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Clint Heitz

Department of Psychology | JMU - 10 views

www.psyc.jmu.edu/...etextbooks.html

reading digital resources review

shared by Clint Heitz on 21 Mar 18 - No Cached
  • If the new trend in textbooks is moving them to computer screens, the switch could have negative consequences as many suggest that people skim more, process more shallowly, and may retain less information when reading online, Daniel said.
  • he readers’ goals are different: Individuals reading an e-book for enjoyment aren’t required to pass a comprehension-based test afterward. While they found that learning is possible from both formats, learning from e-textbooks takes longer and requires more effort to reach the same level of understanding, even in a controlled lab environment. At home, students report taking even more time to read e-textbooks as well as higher rates of muti-tasking (e.g., Facebook, electronic chat, texting, email, etc.) than do their peers using printed textbooks.
  • In their preliminary findings, the scanning pattern produced when the student read a textbook showed consistent reading from line to line down the page. But the scanning pattern from reading on the screen was less intense.
  • ...1 more annotation...
  • Daniel and Jakobsen argue that the information dense textbooks characteristic of natural and social science subjects are not a good fit for current e-textbooks, but there are exceptions for subjects like chemistry and math that include doing formulas and other activities. The liability, Daniel emphasizes, comes when math and chemistry teachers hope their students will learn the explanations, not just the formulas, “Students tend to skip the text and go straight to the formulas, especially if they are graded.”
Clint Heitz

This Is How The Way You Read Impacts Your Memory And Productivity - 17 views

www.fastcompany.com/...s-your-memory-and-productivity

reading digital resources

shared by Clint Heitz on 21 Mar 18 - No Cached
  • Studies have shown that taking notes by longhand will help you remember important meeting points better than tapping notes out on your laptop or smartphone. The reason for that could be that “writing stimulates an area of the brain called the RAS (reticular activating system), which filters and brings clarity to the fore the information we’re focusing on
  • says one explanation for the benefit of reading analog books may come down to something called metacomprehension deficit. “Metacomprehension refers to how well we are ‘in touch with,’ literally speaking, our own comprehension while reading,” says Mangen. “For instance, how much time do you spend reading a text in order to understand it well enough to solve a task afterwards?”
  • “Length does indeed seem to be a central issue, and closely related to length are a number of other dimensions of a text, e.g., structure and layout. Is the content presented in such a way that it is required that you keep in mind several occurrences/text places at the same time?” says Mangen. In other words, she says, complexity and information density may play a role in the importance of the medium providing the text.
  • ...2 more annotations...
  • “It is not–and should not be–a question of either/or, but of using the most appropriate medium in a given situation, and for a given material/content and purpose of reading,”
  • As the study cited above mentions, like other digital readers, you probably think you are absorbing the information better than you actually are, and thus move through the book faster.A simple solution to this is to simply slow down and take more time reading the material, and you might absorb the information just as well as those who naturally take longer to read a paper book.
anonymous

Organize Your Information in Diigo - 176 views

freelancefolder.com/how-to-get-started-on-diigo

shared by anonymous on 24 Aug 13 - No Cached
  • David McGavock on 24 Aug 13
     
    Good walkthrough for people who are new to Diigo. Provides explanation of it's benefits and instructions for getting started.
  • anonymous on 26 Aug 13
     
    Great article for getting started using Diigo
Martin Burrett

Kurzgesagt - 13 views

ukedchat.com/...kurzgesagt

YouTube science explanation animation

shared by Martin Burrett on 31 Oct 18 - No Cached
  • Martin Burrett on 31 Oct 18
     
    "A great YouTube channel which aims to make information beautiful through superb graphics and narration. The videos are mostly about science."
Frederick Eberhardt

Powerful Learning: Studies Show Deep Understanding Derives from Collaborative Methods | Edutopia - 85 views

www.edutopia.org/uiry-project-learning-research

Collaborative Learning Powerful Student as Researcher

shared by Frederick Eberhardt on 03 Oct 09 - Cached
  • In essence, students must learn how to learn, while responding to endlessly changing technologies and social, economic, and global conditions.
  • students learn more deeply if they have engaged in activities that require applying classroom-gathered knowledge to real-world problems.
  • developing inquiring minds
  • ...10 more annotations...
  • Studies of problem-based learning suggest that it is comparable, though not always superior, to more traditional instruction in teaching facts and information. However, this approach has been found to be better in supporting flexible problem solving, reasoning skills, and generating accurate hypotheses and coherent explanations.
  • design challenges need to be carefully planned, and they emphasized the importance of dynamic feedback.
  • When students have no prior experience with inquiry learning, they can have difficulty generating meaningful driving questions and logical arguments and may lack background knowledge to make sense of the inquiry.
    • Adrienne Michetti
      Adrienne Michetti on 03 Oct 09
       
      Absolutely true. I discovered this when I used inquiry-based methods with my students in Qatar who were used to rote learning. They truly did not know where to start. They first needed to learn *how* to be inquisitive.
  • Requiring students to track and defend their thinking focused them on learning and connecting concepts in their design work
  • All the research arrives at the same conclusion: There are significant benefits for students who work together on learning activities.
  • groups outperform individuals on learning tasks and that individuals who work in groups do better on later individual assessments.
  • In successful group learning, teachers pay careful attention to the work process and interaction among students.
  • "It is not enough to simply tell students to work together. They must have a reason to take one another's achievement seriously.
  • She and her colleagues developed Complex Instruction, one of the best-known approaches, which uses carefully designed activities requiring diverse talents and interdependence among group members.
    • Adrienne Michetti
      Adrienne Michetti on 03 Oct 09
       
      Interesting... worth checking out.
  • They require changes in curriculum, instruction, and assessment practices -- changes that are often new for teachers and students.
  • Adrienne Michetti on 03 Oct 09
     
    A scholarly article with tremendous real-world practical implications and suggestions. Love this.
  • Adrienne Michetti on 03 Oct 09
     
    A scholarly article with tremendous real-world practical implications and suggestions. Love this.
  • Frederick Eberhardt on 06 Oct 11
     
    Vocational Education meets Research in the dynamic classroom of Linda Darling-Hammond, 2008. The students are doing the research, teaching and learning. They control their own destiny and they are taking the world by storm! They are not waiting to be taught, they are teaching each other and themselves as teams of researchers. Darling-Hammond, L. (2008). Powerful learning: what we know about teaching for understanding. San Francisco, CA: Jossey-Bass.
meghankelly492

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

muse.jhu.edu/224140

world Music

shared by meghankelly492 on 22 Jul 19 - No Cached
  • 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
  • ...39 more annotations...
  • 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."
Dallas McPheeters

Single and double loop learning | Organizational Learning - 25 views

organizationallearning9.wordpress.com/ingle-and-double-loop-learning

shared by Dallas McPheeters on 02 Jun 17 - No Cached
  • Single and double loop learning
    • Dallas McPheeters
      Dallas McPheeters on 02 Jun 17
       
      Clear explanation of Single, Double, and Triple loop learning. Nice.
Rafael Morales_Gamboa

Contemplating the consequences of Constructivism - The Learner's Way - 21 views

thelearnersway.net/...consequences-of-constructivism

constructivism teaching learning

shared by Rafael Morales_Gamboa on 10 Sep 17 - No Cached
  • learning is a process which occurs within the mind of the individual as they process stimuli arriving from their sensory buffer from their environment (broadly speaking), into working memory and onward into long-term memory. 
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      The emphasis does not have to be on the individual, as is common. The social group learns by means of individual, but joined and synchronized, learning.
  • self-guided learning or self-initiated learning
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      Not in the case of social constructivism.
  • what is significant
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      To others...
  • ...11 more annotations...
  • independent practice
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      and social practice
  • the research on what produces effective learning supports this
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      Of course, that depends on what exactly is evaluated.
  • This desire is evident when we expect our learners to be scientists, historians, geographers, researchers and problem solvers/finders.
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      As well as critical citizens.
  • We teach the skills of inquiry, problem solving and experimentation and then provide opportunities for independent practice.
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      Can you imagine anything a better explanation of "knowledge transfer"?
  • we have previously instructed them in
  • The gradual release of responsibility model of instruction suggests that cognitive work should shift slowly and intentionally from teacher modeling, to joint responsibility between teachers and students, to independent practice and application by the learner
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      Does not sounds like the classroom is empty? Classmates? Who cares about them?
  • It is not always the case that learning is best served when the process begins with direct instruction.
  • Schools provide a rich environment within which such learning may occur
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      It is not always the case, and I would rather say that is not often the case, if our cultural legacy that depicts the school in literature and films.
  • best model can be to begin with an independent exploration of new content even when this produces failure
  • schools maximise their impact on the learning that occurs
  • constructivism urges teachers to ensure that the learner is at least as involved in the process as their teachers are
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      I would call that "teacher-centred constructivism".
  • Nigel Coutts on 10 Sep 17
     
    Constructivism is one of those ideas we throw around in educational circles without stopping to think about what we mean by it. They are the terms that have multiple meanings, are at once highly technical and common usage and are likely to cause debate and disagreements. Constructivism in particular carries a quantity of baggage with it. It is a term that is appropriated by supporters of educational approaches that are in stark contrast to the opposing view; constructivism vs didactic methods or direct instruction. The question is what are the origins of constructivism and does a belief in this as an approach to understanding learning necessitate an abandonment of direct instruction or is this a false dichotomy?
Clara Bakken

Extensions and Web Apps - Chromebook Classroom - 104 views

sites.google.com/...extensions-and-web-apps

chrome extensions google apps classroom Resources

shared by Clara Bakken on 15 Oct 15 - No Cached
  • Alias Librarian on 15 Oct 15
     
    Explanations for what an app and an extension are as well as great list of links.
  • Clara Bakken on 16 Oct 15
     
    Great list of extensions and apps for use in the classroom
Kay Bradley

Mercantilism vector illustration. Labeled economic policy explanation scheme Stock Vector Image by ©VectorMine #375029500 - 5 views

depositphotos.com/...stration-labeled-economic.html

graphics explainers

shared by Kay Bradley on 09 Dec 22 - No Cached
  • Kay Bradley on 09 Dec 22
     
    high quality graphic explainers: mercantilism, lever, opportunity cost, wedge, etc.
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