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trisha_poole

Education Week: Effective Use of Digital Tools Seen Lacking in Most Tech.-Rich Schools - 100 views

www.edweek.org/...21computing.h30.html

EMT502 technology effective edtech tools digital pedagogy digitallearning digital techintegration flexiblelearning blendedlearning fbl education elearning

shared by trisha_poole on 25 Feb 11 - No Cached
  • Those factors include integrating technology into intervention classes; setting aside time for professional learning and collaboration for teachers; allowing students to use technology to collaborate; integrating technology into core curricula at least weekly; administering online formative assessments at least weekly; lowering the student-to-computer ratio as much as possible; using virtual field trips at least monthly; encouraging students to use search engines daily; and providing training for principals on how to encourage best practices for technology implementation. Only about 1 percent of the 1,000 schools surveyed by Project RED followed all those steps, and those that did “saw dramatic increases in student achievement and had revenue-positive experiences,” Ms. Wilson said.
    • Adam Truitt
      Adam Truitt on 25 Feb 11
       
      Data drives decisions....or at least should
  • cut their photocopying and printing budgets in half.
    • London Jenks
      London Jenks on 26 Feb 11
       
      The "paperless classroom" or the "not so much paper as before" classroom
    • trisha_poole
      trisha_poole on 27 Feb 11
       
      This is similar to what is happening in Australia, particularly NSW, I think.
  • ...1 more annotation...
  • requires leadership,professional development, collaboration, and new forms of pedagogy and assessment
  • trisha_poole on 27 Feb 11
     
    Most schools that have integrated laptop computers and other digital devices into learning are not following the paths necessary to maximize the use of technology in ways that will raise student achievement and help save money, a report concludes."We all know that technology does things to improve our lives, but very few schools are implementing properly," said Leslie Wilson, a co-author of the study, "The Technology Factor: Nine Keys to Student Achievement and Cost-Effectiveness," released last month. She is the chief executive officer of the Mason, Mich.-based One-to-One Institute, which advocates putting mobile-computing devices into the hands of all students.
afager212

Using Social Bookmarking in Schools and with your Students- Part Two | Silvia Tolisano- Langwitches Blog - 17 views

langwitches.org/...nd-with-your-students-part-two

b social bookmarking education bookmarking socialbookmarking social students web2.0 Technology

shared by afager212 on 26 Feb 18 - No Cached
    • afager212
      afager212 on 26 Feb 18
       
      Could be a useful tool when just starting
  • Remember that it is NOT about the tools we use with our students, but the skills we are exposing them to and want them to get proficient in.
  • need to evaluate and interpret information tag bookmarks (their own and/or the ones collected by their teacher) summarize bookmarks (their own and/or the ones shared by teacher) take advantage of “experts in the field” (by subscribing to their RSS for specific tags) learn to search for relevant information beyond “googling” collaborate with other members of a study group (local or global)
  • ...2 more annotations...
  • a critical mistake when introducing digital tools by assuming that armed with a username and a password, students will automatically find meaningful ways to learn together.
  • Handout_SocialBookmarkingRoles.pdf
Enid Baines

In Gatsby's Tracks: Locating the Valley of Ashes in a 1924 Photo | Literary Kicks - 54 views

www.litkicks.com/InGatsbysTracks

gatsby Valley of Ashes

shared by Enid Baines on 08 Sep 12 - No Cached
  • In Gatsby's Tracks: Locating the Valley of Ashes in a 1924 Photo
  • Desolate enough? The sight of workers toiling among these giant piles may have even reminded Fitzgerald of Dante, and Fitzgerald's real-life encounter with this spot must have played a part in the genesis of the entire novel.
  • If Gatsby's caravan took this southern route, the railroad and highway would have merged exactly as described in the novel. Here, then, is the bridge they would have crossed. I can't tell for sure that it's a drawbridge, but I'm willing to believe it must be one. The tiny settlement to the right, then, is exactly the spot where Dr. Eckleburg's billboard would have stood, and where George Wilson would have kept his auto garage.
  • ...1 more annotation...
  • 1939 Worlds Fair and then the 1964-65 Worlds Fair. Shea Stadium was built to host the New York Mets on the northern side, and was then replaced by CitiField on the same spot. Every year the US Open Tennis Tournament is held at the Billie Jean King Tennis Center south of the baseball Fields. Here's what the same spot looks like in an aerial photograph from 2009. Shea Stadium is on the top left, the US Open tennis courts on the bottom left.
anonymous

web based Teaching Materials - 18 views

www.techtrekers.com

virtual field trip technology educational teacher sites

shared by anonymous on 20 Nov 17 - Cached
  • anonymous on 20 Nov 17
     
    At Techtrekers, technology is our watchword. We aim to provide teachers with free teaching materials, information, help and advice - with a leaning towards technology related subjects.
mmdenne

https://stkate.desire2learn.com/content/enforced/113596-410502017/Readings%20for%20Module%20Two/I%20know%20who%20you%20are%20and%20I%20saw%20what%20you%20did.pdf?_&d2lSessionVal=tJ1y3Qxe06TiD9hLWZq10636L&ou=113596 - 9 views

stkate.desire2learn.com/...I%20saw%20what%20you%20did.pdf

new_literacies technology ethics privacy

shared by mmdenne on 07 Jul 17 - No Cached
    • mmdenne
      mmdenne on 07 Jul 17
       
      There are moany online businesses on facebook. I can't even begin to htink about the number of people selling Rodan and Fields, 31, etc... - My negihbor works n the prison and she still can't have a cell phone - You have ti be careful what you ike and don't like because that could look bad to potential employrs. You have tore realize that your posts are seen by everyone. Ha! Line 23 just said wthe same thing! - Why can't stuents, exmployees, have personel lives and live them on facebook. How you are in a social speace does not define you as an employee, students, etc... Okay- this background- checking service that takes pictures and keeps themfor 7 years is skechy! - It is scary to think that anything we post can be used by anyone for any purpose.
    • mmdenne
      mmdenne on 07 Jul 17
       
      Really? We are monitored if we type in a cerain term? Pork seems abit scary in that a certain group is clearly being targeted here. - I do like the advanteages soical media can bring to horrific siutation: missing children. thefts, etc... It can really help people find who they are looking for: parents looking for birth children, etc... -- Streaming in our own state on facebook of cop shooting F"Facebook holds the cards , and its citizens have little recourse- other than to leave the service entirely." ( ) scary! page 9 - ads on facebook r targeted to us for what we search which is unsettling. Facebook knows alot about me! - Where do companies like Spokeo get all of our information??? Ahh- okay I see. But because they claim they are out there for entertainment that do not have to be accurate and can post that stuff??
meghankelly492

Music performance skills: A two-pronged approach - facilitating optimal music performance and reducing music performance anxiety - Susanna Cohen, Ehud Bodner, 2019 - 1 views

journals.sagepub.com/...0305735618765349

anxiety Music

shared by meghankelly492 on 21 Aug 19 - No Cached
  • music performance anxiety (MPA)
  • The concept of “flow”, describing the subjective psychological state in which a person is completely immersed and fully concentrated in an activity which is enjoyable and rewarding, is often associated with optimal functioning
  • Anxiety is generally regarded as having an antithetical relationship with flow
  • ...19 more annotations...
  • The clinical implications of this negative association between MPA and flow suggest that a two-pronged approach focusing on facilitating flow and positive functioning as well as reducing pathological MPA may bring about improvements in the performer’s subjective performing experienc
  • Seligman’s (2011) most recent model of well-being, from the field of positive psychology, understands well-being as comprising five elements: Positive emotion, Engagement, Relationships, Meaning and Achievemen
  • There is a substantial body of Music Performance Anxiety (MPA) research providing evidence that MPA is a debilitating phenomenon (Kenny, 2011) which can affect musicians at any stage of their careers, from highly experienced professional performers (Fishbein, Middlestadt, Ottati, Straus, & Ellis, 1988; Kenny, Driscoll, & Ackerman, 2014) through to child beginners
  • Anxiety is often described as having an antithetical relationship to the experience of flow (Csikszentmihalyi, 1975), and it has been suggested that fostering techniques for facilitating flow may provide a powerful tool for reducing MPA and encouraging optimal performance
  • “when performance anxiety was highest, flow was lowest and vice versa … the presence of one minimises the magnitude of the other” (Fullager et al., 2013, p. 251), and a recent study found evidence of a strong, significant negative association between flow and MPA amongst 200 professional orchestral musicians (Cohen & Bodner, 2018), supporting Kirchner et al.’s (2008) earlier findings with music students
  • Investigations of the efficacy of existing methods for treating MPA indicate that Cognitive Behavioural Therapy based interventions are most effective (for an overview, see Burin & Osorio, 2016).
  • However, evidence suggests that pharmacological methods, particularly beta-blockers, are most commonly used, often in the absence of medical supervision (Cohen & Bodner, 2018; Kenny et al., 2014) and that the subject of MPA is still stigmatised, with many musicians and teachers unwilling to talk openly about it
  • Csikszentmihalyi’s nine dimensions of flow as follows
  • Although there was an increase in flow over time, this was not significant, F(1, 20) = 4.27, p > .05, η2 =.18, and there was no evidence of a significant interaction between group and time, F(1, 20) = 0.56, p > .05, η2 = .03, indicating that the hypothesis that there would be an increase in self-reported levels of flow in the intervention group, was not supported.
  • Figure 4. Judge-rated musical performance quality and signs of performance anxiety in the intervention group.
  • These results support the fourth hypothesis that there would be an increase in judge-rated PQ and a decrease in judge-rated SPA.
  • Results showed evidence of a significant negative association between MPA and flow, and three out of the four study hypotheses were supported: the music performance skills intervention was found to be effective in reducing pre-/post-test MPA in the intervention group compared to the wait-list control group; there were significant improvements in positive and negative affect and state anxiety associated with the performance situation in the intervention group; and there were significant improvements in judge-rated PQ and behavioural signs of performance anxiety. However, there was no significant change in pre-/post-test measures of flow. These findings will now be discussed in more detail.
  • This supports the understanding of MPA as a specific type of anxiety, where the performer suffers from MPA without necessarily being generally anxious or impaired in any other areas of his/her life (Clark & Williamon, 2011; Hoffman & Hanrahan, 2011) and corresponds to Kenny’s (2011) description of the first and most mild of three types of MPA (for full coverage of this issue, see Kenny, 2011).
  • Thus, the absence in improvement in levels of flow in the current study could also be due to the low average hours of daily practice reported
  • The increases in participants’ positive affect and decreases in negative affect after the second simulated performance compared to the first indicate that the intervention was effective in facilitating positive emotion, the first component of Seligman’s (2011) PERMA model of well-being
  • Evidence of improvements in judge-rated performance quality indicate that the intervention was also effective in facilitating the fifth (Achievement) component of the PERMA model.
  • “Ironically, it may be that the last people to receive some benefit from the therapeutic value of music may be the musicians themselves” (Brodsky, 1996, p. 95).
  • Hopefully, such an approach will enable developing musicians to acquire the skills necessary to enjoy satisfying, successful and healthy lives as performing musicians, in which the threat of debilitating MPA and the need to recourse to beta-blockers are a thing of the past.
  • Cohen, S., & Bodner, E. (2019). Music performance skills: A two-pronged approach – facilitating optimal music performance and reducing music performance anxiety. Psychology of Music, 47(4), 521–538. https://doi.org/10.1177/0305735618765349
Martin Leicht

Distracted Minds: Why You Should Teach Like a Poet - 4 views

www.chronicle.com/...y-you-should-teach-like-a-poet

education higher ed students engagement focus build zoom learning

shared by Martin Leicht on 11 Jan 21 - No Cached
  • Routine is a great deadener of attention.
  • When you follow the same routines at home, folding the laundry or doing the dishes, your mind goes on automatic pilot.
  • same generic suite of teaching activities: listen to a lecture, take notes, ask some questions, talk in groups.
  • ...17 more annotations...
  • Be astonished.
  • Pay attention.
  • Through the creative turns of language they use to describe the world and our experiences, the familiar becomes unfamiliar again, and we discover in the everyday world fresh food for insight and reflection.
  • We want them to pay attention to course content, to be astonished by what they find there, and to report back to us and the world what they have discovered.
  • Find an everyday object that connects to your discipline, or a photograph or image that accompanies an article or book in your field.
  • Close — and I mean really close — reading.
  • in which practitioners slowly read the sacred scriptures of Judaism aloud to one another, pausing and discussing and questioning at every turn.
  • Tell about it.
  • asked what they had learned from the experience, and especially what they had noticed about the text that they hadn’t perceived before
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      Metacognition exercise of sorts?
  • Engagement with objects.
  • pointed out anomalies and inconsistencies, and wondered
  • What? For the first step, students spend time just observing the object and taking notes.
  • So what? Students write down questions based on their observations and share them with one another.
  • Now what? The final stage shifts into more whole-class and teacher-centered discussion
  • Attention through assessments.
  • For 13 consecutive weeks, she asked students to leave the campus and make a visit to the nearby Worcester Art Museum in order to spend time in front of the same work of art.
  • As they learned to train their attention on a work of art, their attention brought them insights. They saw more clearly, developed new ideas, and wrote creatively about what they observed.
  • Martin Leicht on 11 Jan 21
     
    Could some or all of this work online to build engagement? 1) close reading 2) engage with objects 3) attention through assessments
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.
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