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rbatie19

Chronic Absenteeism Can Devastate K-12 Learning (Opinion) - 7 views

www.edweek.org/...10

chronic absenteeism absent learning

shared by rbatie19 on 10 May 22 - No Cached
  • in a study of California students for Attendance Works, the organization that Hedy Chang oversees, only 17 percent of the students who were chronically absent in both kindergarten and 1st grade were reading proficiently by 3rd grade, compared with 64 percent of those with good attendance in the early years. Weak reading skills in the 3rd grade translate into academic trouble ahead: Students who aren’t reading well by that point are four times more likely to drop out of high school, according to a 2012 study released by the Annie E. Casey Foundation.
  • Chronic absence in middle school is another red flag that a student will drop out of high school. By high school, attendance is a better dropout indicator than test scores.
  • A recent report, “Absences Add Up,” also from Attendance Works, documents what many know from common sense: At every age, in every demographic, and in every state and city tested, students with poor attendance scored significantly lower on standardized tests. In our schools, this translates into weaker reading skills, failing grades, and higher dropout rates. Rather than looking at attendance as an administrative chore, schools can use the same data as a warning sign to change the trajectory.
  • ...3 more annotations...
  • The results were significant. Students with mentors gained nine school days—almost two weeks—during the year. They were more likely to remain in school and maintain their grade point averages than similar students without mentors. The program worked at every K-12 level: elementary, middle, and high school, with the greatest impact on students struggling with poverty and homelessness.
  • The mentors had several simple but straightforward responsibilities. They greeted the students every day to let them know they were glad to see them at school. They called home if students were sick to find out what was happening. They connected the students and their families to resources to help address attendance barriers. Mentors participated in school-based teams that analyzed data and shared insights about students. And they also supported schoolwide activities, including assemblies, incentives, and contests, to encourage better attendance for all students.
  • Elementary schools set up attendance teams to identify and monitor the students with the worst attendance. Part-time social workers, hired with philanthropic and state dollars, connected with families. Principals and teachers promoted attendance at back-to-school nights, at parent-teacher conferences, and through regular calls home. This work led to a significant drop in absenteeism in all elementary grades, particularly in kindergarten. The percentage of chronically absent kindergartners fell from 30 percent in the 2011-12 school year to 13 percent in 2013-14. And reading scores began to climb.
Nigel Coutts

Why didn't that work? Maybe its culture? - The Learner's Way - 15 views

thelearnersway.net/...nt-that-work-maybe-its-culture

education change organisational management

shared by Nigel Coutts on 07 Feb 21 - No Cached
  • Nigel Coutts on 07 Feb 21
     
    n practical terms, any change effort that does not consider the culture into which it is introduced is unlikely to succeed. The worst-case scenario is that the change effort is resisted to such a degree that it is never truly implemented. In many cases, however, the change effort fails to produce the sort of results initially imagined despite the efforts of all involved to adopt the change. Although the new behaviours are adopted, something goes wrong, and it isn't always that the new idea itself is to be blamed. - Maybe it's culture?
Nigel Coutts

Questions to ask as we ponder the latest PISA results - The Learner's Way - 7 views

thelearnersway.net/...ponder-the-latest-pisa-results

questions learner education teaching learning PISA OECD

shared by Nigel Coutts on 08 Dec 19 - No Cached
  • Nigel Coutts on 08 Dec 19
     
    I am wanting to take a slightly different approach to this weeks post. The past week has seen the latest round of PISA results and the media has had a field day. Headlines have routinely attacked students, educators and education systems in equal measure. The Canberra Times reported that "Australian school scores plummet on world stage", the Sydney Morning Herald led with "Alarm bells': Australian students record worst result in global tests" and The Weekend Australian went with "PISA global educational rankings: Schools fail on maths, science". 
Paul Bogush

Laziness Does Not Exist - Human Parts - 16 views

humanparts.medium.com/ss-does-not-exist-3af27e312d01

laziness

shared by Paul Bogush on 08 Oct 19 - No Cached
  • Paul Bogush on 08 Oct 19
     
    "People do not choose to fail or disappoint. No one wants to feel incapable, apathetic, or ineffective. If you look at a person's action (or inaction) and see only laziness, you are missing key details. There is always an explanation. There are always barriers. Just because you can't see them, or don't view them as legitimate, doesn't mean they're not there. Look harder."
meghankelly492

(PDF) A Systematic Review of Treatments for Music Performance Anxiety - 2 views

www.researchgate.net/..._for_Music_Performance_Anxiety

world Music

shared by meghankelly492 on 15 Sep 19 - No Cached
  • Four other studies (three of which are dissertations) assessed behavioral treatments forMPA on music students. Grishman (1989) and Mansberger (1988) used standard musclerelaxation techniques, Wardle (1969) compared insight/relaxation and systematic desensi-tisation techniques, and Deen (1999) used awareness and breathing techniques
  • A systematic review of all available treatment studies for music performance anxiety was undertaken.
  • reported that 24% of musicians frequently suffered stage fright, defined in this study as themost severe form of MPA, 13% experienced acute anxiety and 17% experienceddepression.
  • ...24 more annotations...
  • 59% of musicians in symphony orchestras reported performance anxiety severe enough toimpair their professional and/or personal functioning.
  • A recent study indicated that MPA is not limited to orchestralmusicians, showing that opera chorus artists are also prone to high levels of performanceanxiety
  • However, since not allperformers suffer the same degree of MPA, or indeed report the same levels of occupationalstress, individual differences in a range of psychological characteristics are likely to accountfor variations in the degree to which musicians experience symptoms
  • A large number of treatment modalities (e.g., behavioral, cognitive, pharmacological andcomplementary) has been developed for music performance anxiety (MPA)
  • However, areview of this literature indicates that the field is still in its infancy with respect to theconceptual and theoretical formulations of the nature of MPA and its empiricalinvestigation.
  • Anxiety may be triggered by conscious,rational concerns or by cues that trigger, unconsciously, earlier anxiety producingexperiences or somatic sensations.
  • These findings suggest that multi-modal interventions are needed toaddress the multiple difficulties experienced by test anxious individuals.
  • with some focusing on behavioral change, some on cognitivechange, others on reduction of physiological symptoms through the use of pharmacotherapy,and some on idiosyncratic formulations
  • For drug studies, the keywords were beta-blocker [Beta blockers block the effect ofadrenaline (the hormone norepinephrine) on the body’s beta receptors. This slows downthe nerve impulses that travel through the heart. As a result, the resting heart rate is lower,the heart does not have to work as hard and requires less blood and oxygen
  • Brodsky (1996) and Nube´(1991) were most useful.
  • The interventionsassessed included systematic desensitization, progressive muscle relaxation, awareness andbreathing and behavioural rehearsal
  • In summary, behavioral treatments do appear to be at least minimally effective in thetreatment of MPA, although the heterogeneity of the treatment approaches employedmakes it difficult to isolate consistent evidence for the superiority of any one type ofbehavioral intervention
  • Two studies (see Tables II and IV) assessed the therapeutic effect of cognitive techniquesalone on MPA.
  • A dissertation by Patston (1996) reported a comparison of cognitive (e.g.positive self-talk, etc.) and physiological strategies in the treatment of MPA. No significantimprovements on vocal and visual manifestations of performance anxiety were found foreither treatment or control groups. However, the sample consisted of only 17 operastudents who were not specifically selected on the basis of their MPA severity, and theintervention was conducted by the author, a singer and teacher, who had no training inpsychology.
  • Three studies (see Table III) assessed the therapeutic effect of cognitive-behavioralstrategies on MPA. Harris (1987), Roland (1993), and Kendrick et al. (1982) all reportedthat standard CBT techniques were effective in the treatment of MPA in studentsspecifically selected for study because of the severity of their MPA.
  • Harris (1987) and Roland(1993) reported that CBT led to reductions in state anxiety as measured by the STAI,although Kendrick et al. (1982) failed to find a significant difference between treatment andcontrol groups on this measure.
  • The evidence for improvements in MPA following CBT is quite consistent, althoughfurther studies with larger samples are needed to confirm this evidence.
  • Beta-blockers have become increasingly popular among performers in recent years. Forexample, Lockwood (1989), in a survey of 2,122 orchestral musicians, found that 27% usedpropranolol to manage their anxiety prior to a performance; 19% of this group used thedrug on a daily basis.
  • Nube´ (1991) identified nine studies examining the effects of various beta-blockers(Atenolol, Metopolol, Nadolol, Oxprenolol, Propranolol, Pindolol) on MPA.
  • The findings regarding the effects of beta blockers on otheroutcome measures were less conclusive.
  • A rigorous definition of MPA is needed to advance treatment. However, defining MPA as asocial anxiety (social phobia) using criteria set out in DSM-IV-TR (APA, 2000) as theinclusion criteria may be too restrictive, particularly if the musician presenting for treatmentexperiences MPA as a focal anxiety (ie does not meet other criteria for social anxiety).
  • Few ofthe intervention studies reviewed acknowledged that performers need a certain amount ofarousal or anxiety to maximise their performance.
  • None of the studies could be pooled in a meta-analysis primarily because too fewprovided sufficient data to calculate effect sizes, use of diverse subject groups andtreatments, duration and intensity of treatment, and use of disparate outcome measures
  • In conclusion, the literature on treatment approaches for MPA is fragmented, incon-sistent, and methodologically weak. These limitations make it difficult to reach any firmconclusions about the effectiveness of the various treatment approaches reviewed. Forsignificant progress to be made, future research will require a clear definition of MPA,consistency and strength in methodology, and the development of robust and appropriateoutcome measures.
meghankelly492

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

www.tandfonline.com/...10632913.2015.1064051

world Music

shared by meghankelly492 on 11 Aug 19 - No Cached
  • 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
  • ...11 more annotations...
  • 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

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."
meghankelly492

"Can't We Just Change the Words?": EBSCOhost - 1 views

web.b.ebscohost.com/...detail

Music Theory Test Review UFMUE

shared by meghankelly492 on 24 May 19 - No Cached
  • The idea of wanting to be true to the music of a culture, to the people of that culture, and to one's students in teaching is at the heart of the discussion of authenticity.
  • However, teaching music without attention to its cultural context is a problem in several respects: it risks misrepresenting the musical practice being studied, it fails to take advantage of the potential benefits of culturally infused music teaching, and it promotes a conception of music as isolated sonic events rather than meaningful human practices.2 Discussion about this struggle to balance accurate performance practice with accessibility has focused on the concept of authenticity
  • The definitions of authenticity represented in the music education literature fall into four models: the continuum model; the twofold historical/personal model; the threefold reproduction, reality, and relevance model; and the moving-beyond-authenticity model.
  • ...10 more annotations...
  • how does each author use authenticity as a strategy for making or justifying decisions in music education?
  • authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation
  • since the original loses some of its essential qualities in a simplification.5
  • His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions
  • Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).
  • Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"
  • Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.
  • Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.
  • Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.
  • "World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.
Martin Burrett

Why INSET Days Fail by David Hughes - 5 views

ukedchat.com/...inset-days-fail

training

shared by Martin Burrett on 15 May 19 - No Cached
  • Martin Burrett on 15 May 19
     
    "Every learning organisation has a culture. This forms an underlying set of values and ways of doing things which determines how practice is maintained, and changes resisted or embraced. This culture changes slowly over time and resides in the experience and experiences of staff and other significant stakeholders in the organisation. A wise leader, before embarking on significant changes, would do well to ensure they understand the cultural drivers of the particular school for these may accelerate, or hinder the pace and direction of change."
Martin Burrett

On the stretching of brighter history pupils by @historylecturer - 2 views

ukedchat.com/...stretching-history-pupils

history

shared by Martin Burrett on 05 Mar 19 - No Cached
  • Martin Burrett on 05 Mar 19
     
    "The education twitter-sphere has been all a-buzz today with stuff about helping (or failing) bright pupils. I am not at all qualified to contribute directly to the debate; I can only recount my own experiences, and anecdotal evidence is not very valuable in such a case. Because of my work as an examiner, I meet history teachers from scores of other schools every summer, and I do not think my approaches were in any way unusual. Yes, I taught at an independent school, so it was selective in terms of ability to pay fees. It was not very selective in terms of ability; plenty of our pupils did well to get C passes at GCSE with a couple of Bs thrown in."
Alex Grech

Opinion | Don't Fix Facebook. Replace It. - The New York Times - 12 views

www.nytimes.com/...facebook-fix-replace.html

facebook DGA3008 MCS3953 MCS1050

shared by Alex Grech on 13 Apr 18 - No Cached
  • If we have learned anything over the last decade, it is that advertising and data-collection models are incompatible with a trustworthy social media network. The conflicts are too formidable, the pressure to amass data and promise everything to advertisers is too strong for even the well-intentioned to resist.
  • the real challenge is gaining a critical mass of users. Facebook, with its 2.2 billion users, will not disappear, and it has a track record of buying or diminishing its rivals (see Instagram and Foursquare). But as Lyft is proving by stealing market share from Uber, and as Snapchat proved by taking taking younger audiences from Facebook, “network effects” are not destiny. Now is the time for a new generation of Facebook competitors that challenge the mother ship.
  • When a company fails, as Facebook has, it is natural for the government to demand that it fix itself or face regulation. But competition can also create pressure to do better. If today’s privacy scandals lead us merely to install Facebook as a regulated monopolist, insulated from competition, we will have failed completely. The world does not need an established church of social media.
Nigel Coutts

Inquiry vs Direct Instruction - The Great Debate and How it Went Wrong - The Learner's Way - 48 views

thelearnersway.net/...t-debate-and-how-it-went-wrong

inquiry debate instruction education teaching learning

shared by Nigel Coutts on 26 Nov 17 - No Cached
  • Nigel Coutts on 26 Nov 17
     
    There is a debate taking place in the world of education. It is not a new debate but recently it has gathered new energy and the boundary between polite discussion of opposing views and hostility has been stretched. The debate is that between those who are advocates of inquiry based learning and those who believe direct instruction produces the best outcomes. - This article explore how the debate has gone wrong and fails to serve the needs of learners.
Martin Burrett

Talking Education - 5 views

ukedchat.com/...talking-education

talking communication

shared by Martin Burrett on 23 Nov 17 - No Cached
  • Martin Burrett on 23 Nov 17
     
    "Teachers talk… a lot! As a teacher I have lost my voice many times, and still the talking continues. But do we say the right things in education. This session will explore how teachers, pupils, the community, educational leaders and outside professionals communicate, or fail to do so and why this might be."
Martin Burrett

5 things learnt in 5 years of teaching by @Mr_Gillett - 13 views

ukedchat.com/...ears-of-teaching-by-mr_gillett

learnt

shared by Martin Burrett on 22 Nov 17 - No Cached
  • Martin Burrett on 22 Nov 17
     
    "Maybe it is something to do with starting something new, but when I started thinking about my new role as Head of Science, I thought I should write a blog. This led me to re-discover the blog I had wanted to start before starting teaching. Unsurprisingly, I failed to keep going with the blog during the first chaotic years of teaching, but now I think it will be really useful and so I am going to stick with it this time! Since the previous post was 5 years ago, I thought I would start with a very general blog about five of the big lessons I have learnt since starting teaching."
Martin Burrett

If Technology Fails, Use Basic Math Skills - Count Manually!! by @johnkaiser13 - 15 views

ukedchat.com/...tech-fails-basic-maths

Technology tech maths math

shared by Martin Burrett on 03 Sep 17 - No Cached
  • Martin Burrett on 03 Sep 17
     
    "Technology has inevitably been inserted to nearly all aspects of our lives today. First and foremost, the use of computerised cash registers have been around for a few decades now. Trying to remember cash registers which operated without a digital display might be nearly impossible. The generation which might be able to do so has been replaced with a new generation who depend on technology to a large degree. The dependence on new technology is starting to 'show signs' of the effect of converting from our analogue counterparts. Below is an example that I recently experienced the effect of technology in a transaction at a doughnut shop."
Dallas McPheeters

Learning and earning: Equipping people to stay ahead of technological change | The Economist - 34 views

www.economist.com/...t-their-careers-practicalities

shared by Dallas McPheeters on 13 Jan 17 - No Cached
  • Today robotics and artificial intelligence call for another education revolution
  • working lives are so lengthy and so fast-changing that simply cramming more schooling in at the start is not enough. People must also be able to acquire new skills throughout their careers.
  • lifelong learning that exists today mainly benefits high achievers—and is therefore more likely to exacerbate inequality than diminish it.
  • ...6 more annotations...
  • a burst at the start and top-ups through company training—is breaking down. One reason is the need for new, and constantly updated, skills.
  • The 19th and 20th centuries saw stunning advances in education. That should be the scale of the ambition today
  • It is easier to learn later in life if you enjoyed the classroom first time around: about 80% of the learners on Coursera already have degrees. Online learning requires some IT literacy, yet one in four adults in the OECD has no or limited experience of computers. Skills atrophy unless they are used, but many low-end jobs give workers little chance to practise them.
  • Lifelong learning starts at school. As a rule, education should not be narrowly vocational. The curriculum needs to teach children how to study and think. A focus on “metacognition” will make them better at picking up skills later in life.
    • Dallas McPheeters
      Dallas McPheeters on 15 Jan 17
       
      Lifelong learning begins at home. Otherwise, it's an anomaly to the student's mind and may not be adopted.
  • Pushing people into ever-higher levels of formal education at the start of their lives is not the way to cope.
  • WHEN education fails to keep pace with technology, the result is inequality.
    • Dallas McPheeters
      Dallas McPheeters on 15 Jan 17
       
      Inequality was there long before high-tech innovations. The only gap produced by tech is between those with access to networks and devices and those without. two thirds of earth still without access to internet. 
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