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Nigel Coutts

Taking a Reflective Stance - The Learner's Way - 7 views

thelearnersway.net/...taking-a-reflective-stance

reflection metacognition learning education thinking

shared by Nigel Coutts on 23 Nov 20 - No Cached
  • Nigel Coutts on 23 Nov 20
     
    To ensure reflective practice is more than an activity added to our schedule, we need to take a reflective stance. Too often, reflection becomes the thing we do at the end of a task or the end of the day. We look back and contemplate what was, and with that in mind, we look forward to what we might do differently next time. It is in this way a very reactionary process. By all means, this form of reflection has its place, and it can be a powerful strategy to deploy as we seek to learn from experience. If we value reflective practice, we will be sure to set aside time for this form of reflection on a routine basis. By engaging in reflection habitually, we ensure that it is a routine part of our day. But adopting a reflective stance can make this more powerful.
Martin Burrett

FREE - UKEdChat 2020 Online Conference - 3 views

ukedchat.com/...2020onlineconference

conference

shared by Martin Burrett on 09 Apr 20 - No Cached
  • Martin Burrett on 09 Apr 20
     
    "Following the success of our previous online conference, and in line with the frustrations around the COVID-19 virus, we are pleased to announce that we have moved our plans for the 2020 UKEdChat Online Conference forward to June 2020. The conference has proven a great platform for continuous professional development (CPD) and we are lining up some great video presentations based on: pedagogy, classroom management strategies, practical learning, assessments, improving subject knowledge and so on."
Martin Burrett

UKEdChat Global 2020 Online Conference - Call for Speakers - 2 views

ukedchat.com/...ukedchat-global-2020

conference

shared by Martin Burrett on 01 Apr 20 - No Cached
  • Martin Burrett on 01 Apr 20
     
    "As part of our efforts to support the amazing community of schools, teachers and educators globally, we are delighted to announce that our plans for a 2020 UKEdChat Conference have been moved forward to June 2020. The 2020 event will be our second online conference, and many educators got involved in the first event, sharing resources, pedagogy and great ideas that can be used in the classroom. We have now opened our 'Call to Speakers', and we invite school leaders, teachers, educational authors, educational consultants and educational companies to create (upto) 20-minute videos that will inspire delegates during the 3-day event."
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."
Martin Burrett

7 Ways To Improve Staff Meetings by @ICTMagic - 14 views

ukedchat.com/...improve-staff-meetings

meetings

shared by Martin Burrett on 08 May 19 - No Cached
  • Martin Burrett on 08 May 19
     
    "When I look at my timetable for the week, it isn't the recorder practice which happens next door first thing every Monday morning which fills me full of dread, nor the infamous Friday afternoon slot which brings about a sense of foreboding. My true timetable terror occurs shortly after school on a Wednesday afternoon. The (unrelenting) weekly staff meeting should be a time to coordinate with colleagues, create inspirational ideas for the way ahead, and take key decisions for the future of the school. A chance to bring clarity to the chaos, and move the things forward."
Martin Burrett

Safeguarding: What to do when something is wrong - 1 views

ukedchat.com/...safeguarding

safeguarding protection safety

shared by Martin Burrett on 11 Jan 19 - No Cached
  • Martin Burrett on 11 Jan 19
     
    "For most children, school holidays are a chance to grow together as a family and time to take a break from classes (although we hope that learning continues!). But not all children look forward to school holidays. School may be their sanctuary from conflict and abuse from home or elsewhere. The most important, and often the most difficult step to safeguard vulnerable children is identifying that they are vulnerable in the first place, as the truth is often hidden very well. Safeguarding training is a yearly mandatory course in many parts of the UK, but are teachers confident at spotting issues and stepping in when needed?"
Martin Burrett

Reflective Teaching: Looking Back To Move Forward - 6 views

ukedchat.com/...reflective-teaching

shared by Martin Burrett on 04 Jan 19 - No Cached
  • Martin Burrett on 04 Jan 19
     
    "Reflecting on what has been learnt (or not learnt) is vital for our pupils to know where to focus their efforts next. In the same way, reflecting upon one's teaching craft is vital to improvement. Yet too many of us feel we do not have time to reflect because we have to move onto the next lesson or admin task. How can we create the time to pick apart our lessons and what are the best methods to do so?"
Martin Burrett

A step back in time is a great leap forward for multi-sensory learning - 7 views

ukedchat.com/...multi-sensory-learning

multi-sensory learning

shared by Martin Burrett on 26 Nov 18 - No Cached
  • Martin Burrett on 26 Nov 18
     
    "Imagine lying on the floor of a Tudor hall and gazing up at the expressions of art all around you, listening to the sound of melodies Henry VIII  would have heard, or breathing in the scent of seasonal herbs that have graced a kitchen garden for three hundred years. These wonderful experiences would be a treat to the senses for any of us, but for our students who are working towards or at Entry Level 1, multi-sensory learning is an essential part of engaging with the world around them."
api_dev

YOPmail - 7 views

Hello, You or someone else has signed up with this e-mail to activate e-mail forwarding from YOPmail. If you were expecting this email, copy the code to active your e-mail. -----------------------...

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started by api_dev on 11 Oct 18 no follow-up yet
Nigel Coutts

The learner's role in their search for learning - The Learner's Way - 10 views

thelearnersway.net/...e-in-their-search-for-learning

learner learning education teaching

shared by Nigel Coutts on 19 Aug 18 - No Cached
  • Nigel Coutts on 19 Aug 18
     
    Rather than expecting to be immersed in learning that shines a light on the path forward the notion of searching for driftwood that suits the learner's needs is very empowering. It requires an imagining of learning as a very active process where the learner is aware of their context, their current understanding and what they might need to move forward. It demands a conscious practice of reflection and a disposition towards taking charge of one's learning. It is a very agentic view where learning is something that you do, not something that happens to you. 
Gareth Jones

Looking in the Wrong Places | Edge.org - 5 views

www.edge.org/...er-looking-in-the-wrong-places

NaturalScience senseperception paradigm

shared by Gareth Jones on 19 May 18 - No Cached
  • We should be very careful in thinking about whether we’re working on the right problems. If we don’t, that ties into the problem that we don’t have experimental evidence that could move us forward. We're trying to develop theories that we use to find out which are good experiments to make, and these are the experiments that we build.   We build particle detectors and try to find dark matter; we build larger colliders in the hope of producing new particles; we shoot satellites into orbit and try to look back into the early universe, and we do that because we hope there’s something new to find there. We think there is because we have some idea from the theories that we’ve been working on that this would be something good to probe. If we are working with the wrong theories, we are making the wrong extrapolations, we have the wrong expectations, we make the wrong experiments, and then we don’t get any new data. We have no guidance to develop these theories. So, it’s a chicken and egg problem. We have to break the cycle. I don’t have a miracle cure to these problems. These are hard problems. It’s not clear what a good theory is to develop. I’m not any wiser than all the other 20,000 people in the field.
  • I’m still asking myself the same question that I asked myself ten years ago: "What is going on in my community?" I work in the foundations of physics, and I see a lot of strange things happening there. When I look at the papers that are being published, many of them seem to be produced simply because papers have to be produced. They don’t move us forward in any significant way. I get the impression that people are working on them not so much because it’s what they’re interested in but because they have to produce outcomes in a short amount of time. They sit on short-term positions and have short-term contracts, and papers must be produced.
  • The field that I mostly work in is the foundations of physics, which is, roughly speaking, composed of cosmology, the foundations of quantum mechanics, high-energy particle physics, and quantum gravity. It’s a peculiar field because there hasn’t been new data for almost four decades, since we established the Standard Model of particle physics. There has been, of course, the Higgs particle that was discovered at the LHC in 2012, and there have been some additions to the Standard Model, but there has not been a great new paradigm change, as Kuhn would have put it. We’re still using the same techniques, and we’re still working with the same theories as we did in the 1970s.
  • ...10 more annotations...
  • That makes this field of science rather peculiar and probably explains why there hasn’t been much progress. But it’s not like we don’t have any questions that need to be answered. There are a lot of questions that have been around for decades. For example, what is dark energy? What is dark matter? What are the masses of the Standard Model particles? And what’s up with the foundation of quantum mechanics? Is a theory that's fundamentally not deterministic, where we cannot predict outcomes, the last word that we have, or is there something more to it? Is there maybe another underlying structure to reality?
  • but we haven't reached the fundamental level. Maybe we will never reach it. Certainly, the theories that we have right now are not all there is. The question is, of course, if we don’t have any guidance by experiment, how do we make progress? And are we doing the right thing?
  • We’ve reached this point where we have to carefully rethink if the criteria that we’re using to select our theories are promising at all. If one looks at the history of this field in the foundations of physics, progress has usually been made by looking at questions that, at least in hindsight, were well posed, where there was an actual mathematical contradiction. For example, special relativity is incompatible with Newtonian gravity. If you try to resolve this incompatibility, you get general relativity.
  • There are various similar examples where such breakthroughs have happened because there was a real problem. There was an inconsistency and people had to resolve it. It had nothing to do with beauty. Maybe beauty was, in some cases, the personal motivation of the people to work on it. There’s certainly some truth to this, but I don’t think it’s good to turn this story around and say that if we only pay attention to this motivation that comes from ideals of beauty it will lead to progress.
  • If we are working with the wrong theories, we are making the wrong extrapolations, we have the wrong expectations, we make the wrong experiments, and then we don’t get any new data. We have no guidance to develop these theories. So, it’s a chicken and egg problem. We have to break the cycle. I don’t have a miracle cure to these problems. These are hard problems. It’s not clear what a good theory is to develop. I’m not any wiser than all the other 20,000 people in the field.
  • The way that research is funded in foundations of physics and in many other fields just puts a lot of things at a disadvantage that are not pursued anymore. Typically, everything that takes longer than three years to complete, no one will start it because they can’t afford it. They can literally not afford it.
  • Who makes the decisions about the funding? Superficially, people say that it's a funding agency, so it’s the university who get to hire people. But that puts the blame on the wrong party. In the end it’s the community itself who makes the decisions. What do the funding agencies do if they get a proposal? They send it to reviewers. And who are the reviewers? They're people from the same community. If you look at how hiring decisions are being made, there’s some committee and they are people from the same community. They have some advisory boards or something, which contains people from the same community.
  • Even if that wasn’t so, what the people in these committees would be doing is looking at easy measures for scientific success. Presently, the most popular of these measures are the number of publications and the number of citations. And maybe also whether the person has published in high-impact journals. So, these are the typical measures that are presently being used. But what do they measure? They primarily measure popularity. They indicate whether somebody’s research is well received by a lot of people in the same community. And that’s why once a research area grows beyond a certain critical mass, you have sufficiently many people who tell each other that what they’re doing is the good thing to do. They review each other’s papers and say that that’s great and it's what we should continue to do. It’s a problem in all communities that grow beyond a certain size.
  • I later came to the United States and then Canada, and that gave me the opportunity to learn a lot about quantum gravity. I also figured out that much of what goes on in quantum gravity is very detached from reality. It’s pretty much only mathematics. Yes, the mathematics is there, but I still don’t know if it’s the mathematics that describes reality.
  • That’s the very reason why we don’t normally think of gravity as a weak force. It’s the only force that is left over on long distances, and the reason for this is that it adds up. It gets stronger the more mass you pile up. More precisely, we should say that the reason we find it so hard to measure quantum gravitational effects is that we either have a particle that has very pronounced quantum properties, like, say, a single electron or something like that, but then it’s so light that we cannot measure the gravitational field. Or we have some object that is so heavy that we can measure the gravitational field, but then it doesn’t have quantum properties. Okay, so that’s the actual problem.
Alias Librarian

The Personal Benefits of Writing Poetry | Writing Forward - 14 views

www.writingforward.com/...nal-benefits-of-writing-poetry

benefits writing poetry

shared by Alias Librarian on 10 Apr 18 - No Cached
  • Alias Librarian on 10 Apr 18
     
    The benefits of reading/writing poetry.
Jeff Andersen

Four Stats That Will Impact Higher Ed in 2017 | Academic Impressions - 22 views

www.academicimpressions.com/...ats-will-impact-higher-ed-2017

higher ed higher ed trends

shared by Jeff Andersen on 25 Mar 17 - No Cached
  • Jeff Andersen on 25 Mar 17
     
    2017 has the potential to be a volatile year in higher education, and that was the case even before Donald Trump took office. Regulatory uncertainty, continued economic and demographic headwinds, and shifts in both domestic and international student enrollment trends are just a few of the rapids that higher-ed leaders will need to navigate. At Academic Impressions, as we review current research and much of the best current thinking on paths forward for colleges and institutions, we want to draw your attention to four stats that are likely to have an immediate impact in 2017-but that not many are paying heed to.
Lyn Lord

Circuitboard Education - 37 views

We are excited to announce the launch of the educational consulting partnership Circuitboard Education, LLC at CircuitboardEducation.com . Circuitboard Education, CBE, is a consulting and design te...

Games and classrooms. Authentic assessments.

started by Lyn Lord on 02 Dec 16 no follow-up yet
Jason Underwood

Flashcard Machine - Create, Study and Share Online Flash Cards - 53 views

www.flashcardmachine.com

shared by Jason Underwood on 31 Dec 09 - Cached
  • Gretchen Schroeder on 07 Apr 10
     
    I am forwarding you a link for an online flashcard generator that I think may be useful. I like this one because you can:\n* Create your own cards \n* You can use the cards from the existing database\no The cards in the database are categorized by \n Age/grade\n subject\n* You can share cards with the database (and therefore your students)\n* You can practice your cards\no On the computer\no By printing them\no By creating an iPod file\n* You can add pictures\n* You can add audio files\nThere are many flashcard generators out there, but this one is free (for registration) and does everything I need plus, being able to review the cards on the ubiquitous iPod is nifty!\n
Martin Burrett

UKEdMag: Assessing Without Levels: …12 Months On by @musingsofmrb - 9 views

ukedchat.com/...s-12-months-on-by-musingsofmrb

levels grades assessment SATs

shared by Martin Burrett on 18 Aug 16 - No Cached
  • Martin Burrett on 18 Aug 16
     
    Wind back 12 months, Year 6 SATs, in their old form, were over and we were beginning to plan for a whole new world….assessing without levels. Every discussion threw up problems and positivity about how we moved forward was severely lacking...
Nigel Coutts

Lessons Learned from Genius Hour - 54 views

thelearnersway.net/...lessons-from-genius-hour

learning education 'Genius Hour'

shared by Nigel Coutts on 27 Dec 15 - No Cached
  • Nigel Coutts on 27 Dec 15
     
    After eight years of engaging our students with a Personal Passion Project during Term Four we shifted to a 'Genius Hour' model for 2015. In the end the results from the students were impressive but along the way some lessons were learned and we are looking forward to making some minor tweaks for 2016 that should further enhance the learning opportunities.
kgrill

How to Teach in an Age of Distraction - The Chronicle of Higher Education - 99 views

chronicle.com/...233515

teach distraction education

shared by kgrill on 04 Oct 15 - No Cached
  • Where we put our attention is not only how we decide what we will learn, it is how we show what we value.
  • Distraction is contagious.
  • he myth of the moment is that multitasking is a good idea.
  • ...10 more annotations...
  • The path forward is to learn more about our vulnerabilities and design around them. To do that, we have to clarify our purpose. In education, learning is the focus, and we know that multitasking is not helpful. So it’s up to us to actively choose unitasking.
  • A moment of boredom is an opportunity for new thinking.
  • Research shows that when people watch online educational videos, they watch for six minutes,
  • ake class notes by hand.
  • he saw that students taking notes with computers suffered from more than inattention.
  • "They were trying to establish transcripts of the class."
  • tudents in online classes do better when they include face-to-face encounters.
  • f you ask people where their love for learning comes from, they usually talk about an inspiring teacher. The most powerful learning takes place in relationship.
  • But for all its flaws, the lecture has a lot going for it. It is a place where students come together, on good days and bad, and form a small community. As in any live performance, anything can happen.
  • They learn from speaking and from listening.
Julie Golden

Have you taught online? Your opinion is needed! - 16 views

www.surveymonkey.com/WKZGXX6

resources elearning community collaboration teaching online web2.0 edTech

shared by Julie Golden on 20 Sep 15 - No Cached
  • Julie Golden on 20 Sep 15
     
    https://www.surveymonkey.com/r/WKZGXX6 Please consider taking my survey. It is anonymous, so I won't be able to send a proper thank you. Please know that I will pay your kindness forward to another doctoral student in need and will send warm thoughts out into the universe for you. Thank you for your consideration and for passing this on to eLearning faculty!
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