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Nigel Coutts

Agency and Mathematics - The Learner's Way - 6 views

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    Of all the subjects that our students engage in, mathematics is the one most requiring an injection of learner agency. What is it about mathematics that engenders it to modes of teaching that are so heavily teacher-directed? How might this change if we seek to understand the place that learner agency plays in producing learners who will emerge from our classrooms with a love of mathematics and a deep understanding of its beauty?
Nigel Coutts

Are we there yet? Are we there? - The Learner's Way - 6 views

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    This much-maligned question seems so appropriate for education's recent history. All that was normal, everything that was routine, all of our structures, have been turned upside down and hurled into the wind of COVID19. From having spoken of a future dominated by volatility, uncertainty, complexity and ambiguity (VUCA), we have found ourselves living in it. Innovation and creativity became the new normal as we "Apollo 13" schooling into a model that met the demands of emergency remote learning. The pressure, the workload, the demands on our time and the cognitive load have all been immense, and so it seems fitting to ask "Are we there yet?".
Nigel Coutts

Maximising student questions in the time of COVID19 - The Learner's Way - 13 views

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    In this time of COVID19 and remote learning or emergency distance learning the value of encouraging students to investigate their questions should not be forgotten.
Jeff Andersen

National Emergency Library : Free Texts : Free Download, Borrow and Streaming : Internet Archive - 19 views

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    National Emergency Library Announcing the National Emergency Library, a collection of books that supports emergency remote teaching, research activities, independent scholarship, and intellectual stimulation while universities, schools, training centers, and libraries are closed. Learn mor
Nancy Salazar

PBS Learning Great resource for daily lessons/activities for all preK-12 grades - 33 views

https://www.pbslearningmedia.org/collection/emergency-closings-collection/

resources

started by Nancy Salazar on 19 Mar 20 no follow-up yet
Nigel Coutts

Desirable Patterns of Learning for Online Learning - The Learner's Way - 15 views

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    With the emerging threat of COVID19 and the closure of schools, teachers are scrambling to move to online learning environments. This will bring with it a myriad of challenges the short time frame is not going to help the situation. While we are fortunate that there are many technological solutions for the provision of remote learning, the more significant challenges will revolve around how we interact with our learners.
Nigel Coutts

The importance of feeling safe in your workplace - The Learner's Way - 5 views

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    It's interesting how threads emerge from the books we read. An idea springs out at you from one book and then occurs again in another or a link is found between the two. When it turns up a third time in a different place and from an alternate perspective you really take notice. I have had this experience with the concept of emotional or psychological safety.
Mark Glynn

(32) (PDF) An Overview and Study on the Use of Games, Simulations, and Gamification in Higher Education | Brad Wiggins - Academia.edu - 14 views

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    "This article examines the use of both game-based learning (GBL) and gamification in tertiary education. This study focuses specifically on the use of games and/or simulations as well as familiarity with gamification strategies by communication faculty. Research questions concentrate on the rate, frequency, and usage of digital and non-digital games and/or simulations in communication courses, as well as instructor familiarity with gamification. A survey was constructed with questions emerging from the game-based learning and gamification literature. It was distributed to communication faculty at public institutions of higher education in a southern state. In this context, the author argues that while the term gamification is novel, the approach is not. Based on the results, current gamification strategies appear to be a repackaging of traditional instructional strategies."
Mark Glynn

(32) (PDF) Gamification in Education: A Systematic Mapping Study | Gennady Agre - Academia.edu - 11 views

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    "While gamification is gaining ground in business, marketing, corporate management, health insurance,ecology and wellness initiatives, its application in education is still an emerging trend. This article presents a study of the published empirical research on the application of gamification to education.The study is limited to papers that discuss explicitly the effects of use of game elements in specificeducational contexts. It employs a systematic mapping design. Accordingly, a categorical structure forclassifying the research results is proposed based on the extracted topics discussed in the reviewed papers. The categories include gamification design principles, game mechanics, context of applyinggamification, consisting of type of application, educational level, and academic subject,implementation and evaluation. By mapping the published work to the classification criteria andanalyzing them, the study highlights the directions of the currently conducted empirical research onapplying gamification to education. It also indicates some major obstacles and needs, such as the needfor a proper technological support, the need for controlled studies demonstrating reliable positive ornegative results of using specific game elements in particular educational contexts, etc. Although mostof the reviewed papers report promising results, more substantial empirical research is needed todetermine whether both extrinsic and intrinsic motivation of the learners can be influenced bygamification"
Nigel Coutts

Thinking and learning in the postnormal era - The Learner's Way - 8 views

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    We live in a time of chaos, complexity and contradiction. (Sardar, 2010 [1]) Where rapid changes and transformations through technology, politics, globalisation and the climate, conspire against normality (Friedman, 2016 [2]) These times demand a fresh approach to education, one that provides learners with the thinking dispositions they need to turn challenges into opportunities, to connect their learning to their passions and emerge from their years of formal education as self-navigating life-long learners. 
meghankelly492

The rise of creative youth development: Arts Education Policy Review: Vol 118, No 1 - 3 views

  • The article describes creative youth development in the larger contexts of arts education and of education reform.
  • Lastly, the article discusses policy, funding, and research needs and opportunities and provides questions for consideration.
  • Yet these two worlds largely exist apart, failing to address the reality that youth learn and grow—or fail to reach their potential—through influences and experiences in all spheres of their lives, including home, school, and the settings where they spend time outside of schoo
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  • attention due to their high levels of youth engagement that contribute to substantial learning, enhanced critical thinking
  • such as heightened confidence and sense of agency
  • Decades of research findings link adolescent engagement, efficacy, and responsibility with opportunities for immersion and mastery, connection in a community of practice, embracing youth voice, and cultivating youth leadership with adolescent engagement, and non-school settings have emerged as crucial developmental and learning environments for youth
  • Throughout the United States, teen participants in CYD programs assert that the programs saved their lives, putting them on positive trajectories and away from gangs, drug use, crime, and ennui.
  • The creative process at the center of CYD programs contributes to profound personal growth for youth participants
  • And as they experience the creative process over an extended period, they learn that they can use it to express their own identities, understand and change the world around them, and connect to the greater human experience.”
  • community of practice of youth artists and their artist mentors, the paid, professional artists who comprise the full-time faculty. SAY Sí boasts a 100% rate of graduation and pursuit of higher education in a community with a 45% dropout rat
  • hese programs had a central belief in the ability of young people to achieve and grow artistically and personally through creative expression and skill building in the arts.
  • impact of arts-based youth programs in reducing risk factors and building protective factors in a study conducted in three American cities
  • She also catalogued characteristics of effective CYD programs, such as supporting risk within a safe space (
  • Teens develop intrinsic motivation as they immerse themselves and develop competence in a topic, connect with others who share this interest, and work with educators positioned as senior collaborators—
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experiences in Music Education - 7 views

  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
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  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
Nigel Coutts

Four perspectives on truth, normality and education in times of rapid change - The Learner's Way - 9 views

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    We are living in interesting, frightening and rapidly changing times. Where rapid changes and transformations through technology, politics, globalisation and the climate, conspire against normality. These times demand a fresh approach to education, one that provides learners with the thinking dispositions they need to turn challenges into opportunities.  "All that was 'normal' has now evaporated; we have entered postnormal times, the in-between period where old orthodoxies are dying, new ones have not yet emerged, and nothing really makes sense." But what thinking might guide us through this time of volatility, uncertainty, complexity and ambiguity?
Jeff Andersen

Five Predictions for the Future of Education in 2019 | Emerging Education Technologies - 38 views

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    Online education and digital learning tools-whether as a supplement to an on-campus experience, or as a full distance-learning program-have transformed the practice of education in recent years. Even more significantly, it's become clear that this trend is accelerating. What's in store for this year? Here are 5 trends in Education Technology to watch in 2019.
Jeff Andersen

Yes, Your Syllabus Is Way Too Long - The Chronicle of Higher Education - 23 views

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    If you're a faculty member, you've spent the last few weeks preparing your syllabus for the spring semester. You've updated the document and added a little to it. This latest round of edits may have pushed your syllabus another page longer - most now run about five pages, though nearly every campus has lore of some that exceed 20. Lamentations about syllabus bloat started emerging about seven years ago in moods ranging from nostalgia to bemusement to curiosity to irritation to full-blown ideological critique. Based on 20 years of serving on curriculum committees and working with academics across the disciplines on teaching, I agree that, yes, the typical syllabus has now become a too-long list of policies, learning outcomes, grading formulas, defensive maneuvers, recommendations, cautions, and referrals. As a writing-center director who has encouraged instructors to add a pitch for tutoring services, I'm complicit.
Martin Burrett

Our house, is a very, very, very fine house…by @MaximJKelly - 7 views

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    "Say what you like about Hogwarts but it's difficult to deny its 'old school' charm struck a chord with millions of avid readers both young and old. Amongst the many effects of Harry Potter in our education system was the revival, or re-emergence, in the state sector at least, of that gloriously stereotypical mainstay of public education: houses. Having been fortunate enough to spend a career working across a rich variety of settings, centres and schools - both private and state-led - I have seen many examples of the house system; and many examples of both the best - and the most pointless - systems and what they do or don't achieve."
Clint Heitz

Screen Reading Worse for Grasping Big Picture, Researchers Find - Digital Education - Education Week - 27 views

  • Among young adults who regularly use smartphones and tablets, just reading a story or performing a task on a screen instead of on paper led to greater focus on concrete details, but less ability to infer meaning or quickly get the gist of a problem,
  • The findings align with other emerging research on how students process information differently in print and digital forms. A 2014 series of experiments found that while taking more notes overall was better than taking fewer, students who typed notes on their laptops rather than writing them on paper tended to take down information verbatim rather than summarizing concepts, and the more students wrote verbatim, the less they remembered a week later. 
  • For example, she said, teachers should consider the format of information when designing different types of activities, to help students focus on details or overall themes. 
Clint Heitz

Do we read differently on paper than on a screen? - 9 views

  • In total, there are more than 180 researchers from 33 different countries participating in the COST-initiated research network E-READ, reading in an age of digital transformation. This network examines the effects and consequences of digital developments in terms of reading.
  • It is not a case of "one size fits all," but patterns are beginning to emerge from empirical research into the subject. The length of the text seems to be the most critical factor. If the text is long, needs to be read carefully and perhaps involves making notes, then studies show that many people, including young people such as students, still often prefer a printed book, even if it is available as both an e-book and in electronic formats with options for making notes, enabling the user to search for and highlight the text digitally. This is not the case when it comes to shorter texts.
  • When reading long, linear, continuous texts over multiple pages that require a certain amount of concentration, referred to as "Deep Reading," the reader often experiences better concentration and a greater overview when reading from a printed medium compared to a screen. When we are reading from a screen, only one section can be seen at a time and the available reading surface area is limited. If you read a printed medium such as a book, several text areas are available simultaneously and it feels easier to form an overview and make notes in the margins.
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  • However, an interesting finding in some of the empirical studies is that we tend to overestimate our own reading comprehension when we read on screen compared to on paper.
  • it has been found that we tend to read faster on screen and consequently understand less compared to when reading from paper. This is a very new research topic and there are studies that have not found any differences in this area.
  • such findings do highlight something very important, namely that we may have a different mental attitude to what we read on a screen. This has very significant implications, including in the context of education.
  • For example, reading literature has proven to have a stimulating effect on the imagination and encourage the development of empathy. Reading has an effect on our ability to concentrate and for abstract thinking. We want to discover if such processes are influenced by the reading medium.
  • There is a need for more empirical research on reading comprehension in terms of screen reading and also on the subjective reading experience.
Dallas McPheeters

Change and why we all see it differently - The Learner's Way - 14 views

  • the rise of the ‘gig’ economy where freelance and short term contract work is common and training and retraining for new projects is the norm
  • it is more important to be able to learn than it is to be learned
  • If the young people of today are to thrive beyond the walls of the classroom they will need to be able to cope with a world characterised by volatility, uncertainty, complexity and ambiguity.
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  • teaching children who have lived their entire lives in that very century
  • multiple reports that detail the skills and dispositions children will need
  • there are broad typologies which emerge along a continuum from those who actively seek to change to those who actively resist it. 
  • There are those for whom change is the next adventure
  • There are those who are open to change but need to be shown the evidence.
  • There are those who need to be show how the change will impact them
  • There are those who publicly embrace the change but in the privacy of the classroom continue as they have always done
  • There are those who are outright afraid of change
  • “A person’s sense of identity is partly determined by his or her values, which can mesh or clash with organizational values”
  • There are of course also those for whom the change is just wrong
  • Change is always complicated. A the least it involves people, personalities, cultures, beliefs, values, emotions and identity.
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     If the young people of today are to thrive beyond the walls of the classroom they will need to be able to cope with a world characterised by volatility, uncertainty, complexity and ambiguity. The children of todays Kindergarten will enter the workplace in the fourth-decade of the 21st Century. We debate the merits of teaching 21st Century Skills and what they might be while teaching children who have lived their entire lives in that very century. The challenge is how will schools and individual teachers respond to this drive for urgent change.
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