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Tara Heath

Know Your Rights | Students' Rights | American Civil Liberties Union - 2 views

www.aclu.org/...students-rights

civil civil rights

shared by Tara Heath on 28 Feb 23 - No Cached
  • Do I have First Amendment rights in school? You have the right to speak out, hand out flyers and petitions, and wear expressive clothing in school — as long as you don’t disrupt the functioning of the school or violate school policies that don’t hinge on the message expressed. What counts as “disruptive” will vary by context, but a school disagreeing with your position or thinking your speech is controversial or in “bad taste” is not enough to qualify. Courts have upheld students’ rights to wear things like an anti-war armband, an armband opposing the right to get an abortion, and a shirt supporting the LGBTQ community. Schools can have rules that have nothing to do with the message expressed, like dress codes. So, for example, a school can prohibit you from wearing hats — because that rule is not based on what the hats say — but it can’t prohibit you from wearing only pink pussycat hats or pro-NRA hats. Outside of school, you enjoy essentially the same rights to protest and speak out as anyone else. This means you’re likely to be most protected if you organize, protest, and advocate for your views off campus and outside of school hours. You have the right to speak your mind on social media, and your school cannot punish you for content you post off campus and outside of school hours that does not relate to school.
  • Can my school tell me what I can and cannot wear based on my gender? Public schools can have dress codes, but under federal law dress codes can’t treat students differently based on their gender, force students to conform to sex stereotypes, or censor particular viewpoints. Schools can’t create a dress code based on the stereotype that only girls can wear some types of clothes and only boys can wear other types of clothes. For example, your school can require that skirts must be a certain length, but it cannot require that some students wear skirts and prohibit others from doing so based on the students’ sex or gender expression. That also applies to pants, ties, or any other clothing associated with traditional gender roles. Dress codes also must be enforced equally. For example, rules against “revealing” clothing, such as bans on tank tops or leggings, shouldn’t be enforced only or disproportionately against girls. All students should be allowed to wear clothing consistent with their gender identity and expression, whether they identify as transgender or cisgender. This also applies to homecoming, prom, graduation, and other special school events. Schools shouldn’t require different types of clothing for special events based on students’ sex or gender identity — for example, requiring tuxedos for boys and prom dresses for girls.
  • Can my school discipline me for participating in a walkout? Because the law in most places requires students to go to school, schools can discipline you for missing class. But schools cannot discipline you more harshly because of the message or the political nature of your action. The punishment you could face will vary by your state, school district, and school. If you’re planning to miss a class or two, look up the policy for unexcused absences for your school and school district. If you’re considering missing several days, read about truancy. Also take a look at the policy for suspensions. If you are facing a suspension of 10 days or more, you have a right to a formal process and can be represented by a lawyer. Some states and school districts require a formal process for fewer days. You should be given the same right to make up work just as any other student who missed classes.
Jeff Andersen

Technology Teaching Resources with Brittany Washburn: Sub Plans for the Elementary Computer Lab - 6 views

www.brittanywashburn.com/...r-elementary-computer-lab.html

technology teaching teaching resources

shared by Jeff Andersen on 13 Jul 21 - No Cached
  • Jeff Andersen on 13 Jul 21
     
    Whether you're out sick or have a planned day out of the computer lab, writing sub plans is time consuming and often stressful. Technology teachers have a unique set of challenges to consider when deciding what to leave for a sub. This blog post will hopefully give you some solid ideas and peace of mind for the next time you need to be out. I have this other blog post about Technology Tools for Sub Plans with ideas and tools to help your sub be more comfortable using technology. Today's post is going to assume you have a substitute who is not comfortable using or teaching technology. You can skip right to idea #3 if your substitute cannot use any technology. All of the images are linked to the resource if you're interested. Just click or tap to learn more.
Nigel Coutts

Language moves for identity - The Learner's Way - 8 views

thelearnersway.net/...language-moves-for-identity

education language thinking culture

shared by Nigel Coutts on 26 Mar 21 - No Cached
  • Nigel Coutts on 26 Mar 21
     
    What changes when we refer to ourselves or our students as members of the community of thinkers and learners that they are apprenticed to? What changes when we are mindful in our use of a language of identity?
Martin Leicht

Distracted Minds: 3 Ways to Get Their Attention in Class - 11 views

www.chronicle.com/...o-get-their-attention-in-class

shared by Martin Leicht on 12 Jan 21 - No Cached
  • Attention is reciprocal.
  • The more distracted I am in my interactions with you, the less likely you are to give me your full attention.
  • importance of having students share their strengths and values with you at the beginning of a semester
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - Everyone is their own individual and bring a lot to your class. The more you know about them, the better chance you can find out how to motivate them.
  • ...13 more annotations...
  • Recognize their individuality
  • The researchers also asked students whether it mattered to them that the instructors knew their names, and more than 85 percent of them said it did
  • because making good use of the full physical space of a classroom is one of the most straightforward ways to keep both professor and students attentive.
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - I taught from the back. We showed a lot of videos and did demonstrations. So, it was easy to "teach" from the back. ON ZOOM - how do you teach from the back of the class?
  • One advantage of the Zoom classes that many of us are teaching right now is that the names are all right there on the screen
  • Speak to all corners of the room
  • They bring their unique life stories and experiences, which can help provide new perspectives on familiar questions and challenges.
  • Tell you about an important value
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - Maybe it doesn't need to be all writing? Maybe it can be images and audio or video recordings to accompany them.
  • Tell you about a unique perspective or life experience
  • Describe their greatest academic strength
  • The obvious solution here is to break that barrier
  • Use their names regularly.
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - Notoriety means power or maybe at least the power to capture their attention.
  • She encourages children first to recognize and write their own names and then to compare the letters and syllables in their own names with those of the other names on the grid
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - Author's previous post about CLOSE READING. Really spend some time on the name.
  • What is most deserving of our attention in the classroom, of course, are the other human beings in our presence
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
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.
Nigel Coutts

Questions to ask when planning for deep learning - The Learner's Way - 12 views

thelearnersway.net/...hen-planning-for-deep-learning

learning thinking understanding education

shared by Nigel Coutts on 18 Oct 20 - No Cached
  • Nigel Coutts on 18 Oct 20
     
    When we approach this task with key questions in mind, we focus our thinking on how we might plan learning experiences and opportunities that will have the impact we desire.
Nigel Coutts

Getting started with Deep-Learning - Part B - The Learner's Way - 7 views

thelearnersway.net/...rted-with-deep-learning-part-b

education deep-learning understanding learning teaching thinking

shared by Nigel Coutts on 08 Jun 20 - No Cached
  • Nigel Coutts on 08 Jun 20
     
    With our goal of deep-learning in mind where do we begin and what learning opportunities might result in this? Having clarified our key terms of understanding, learning and deep, we can turn to a set of questions which might be of use as we plan the learning our students will engage in along their way.
Jeff Andersen

Ten Steps Toward Universal Design of Online Courses - Disability Resource Center - 10 views

ualr.edu/...online-education

Universial Design

shared by Jeff Andersen on 29 Mar 20 - No Cached
  • Jeff Andersen on 29 Mar 20
     
    Ten Steps Toward Universal Design of Online Courses Implementing the principles of universal design in online learning means anticipating the diversity of students that may enroll in your course and planning accordingly. Designing a course with principles of universal design in mind is an ongoing and creative process. One does not achieve the level of usability aspired to with a simple checklist, but with an open mind and a commitment to making design and inclusion a priority. There are a few elements, though, that if taken into consideration, can enhance access and usability greatly. Knowing and incorporating these elements on the front end of the design process can save hours down the line.
Deborah Baillesderr

FREE Remote Learning Workshop - 6 Doable Lessons - Minds in Bloom - 10 views

minds-in-bloom.com/remote_learning_workshop

free remote learning workshop lessons minds bloom

shared by Deborah Baillesderr on 17 Mar 20 - No Cached
  • Deborah Baillesderr on 17 Mar 20
     
    If you are new to remote learning, these short tutorials will help you.
Nigel Coutts

Shifting towards student centred learning - The Learner's Way - 20 views

thelearnersway.net/...wards-student-centred-learning

student learner education teaching learning

shared by Nigel Coutts on 20 Oct 19 - No Cached
  • Nigel Coutts on 20 Oct 19
     
    Particular patterns of pedagogy have been of most interest to me across the years, particularly those that shift the focus from what the teacher does to what the student does. With this shift comes an emphasis on understanding how students learn and with this knowledge in mind developing learning experiences that will allow them to develop their skills for learning.
meghankelly492

(PDF) Treatment of music performance anxiety - 1 views

www.researchgate.net/...t_of_music_performance_anxiety

world Music

shared by meghankelly492 on 15 Sep 19 - No Cached
  • A study that evaluated the relative efficacy of four types of treatment for people with comorbid diagnoses showed that conclu-sions about the efficacy of the different therapeutic approaches changed depending on the nature of the outcome measure used.
  • Cognitive behavioral therapy is underpinned by the proposition that emotions and behavior are influenced by cognitions
  • We began with the ‘classical’ psychoanalytic psychotherapies, moving to some recent developments, such as the relational and attachment-based psychotherapies, and intensive short-term dynamic psychotherapy (ISTDP), followed by the behavioral, cognitive, and cognitive behavioral therapies, including the ‘new wave’ of therapies such as mindfulness-based therapies, acceptance and commitment therapy (ACT) and dialectical behavior therapy (DBT).
  • ...4 more annotations...
  • medication in the treatment of music performance anxiety. I considered a range of prescribed substances, including beta-blockers,
  • Kenny, D.T. (2011). The Psychology of Music Performance Anxiety. Oxford: Oxford University Press
  • Three groups of therapies—behavioral, cognitive, and cognitive behavioral—are all based on the same principles, but use the available therapeutic techniques in different amounts.
  • These researchers identified six techniques/interventions that are unique to CBT when compared with the spectrum of psychodynamic-interpersonal psycho-therapies, as follows
Nigel Coutts

Reflections from Mathematics: The Greatest Show - The Learner's Way - 4 views

thelearnersway.net/...-mathematics-the-greatest-show

reflections mathematics MANSW education teaching learning

shared by Nigel Coutts on 22 Sep 19 - No Cached
  • Nigel Coutts on 22 Sep 19
     
    I have just had the opportunity to spend the weekend learning alongside a large group of mathematics teachers. After a day and a half of talking and thinking about mathematics teaching, I am excited to get back to school and try out some new ideas. There were also some key takeaways for me that I share below. These are the questions or wonderings that my mind wandered to while listening to the numerous talented speakers over the past two days.
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."
Nigel Coutts

The Conditions Required for 'Learner Flow' - The Learner's Way - 11 views

thelearnersway.net/...ions-required-for-learner-flow

learner flow education learning teaching

shared by Nigel Coutts on 21 Jul 19 - No Cached
  • Nigel Coutts on 21 Jul 19
     
    What might it take to ensure students choose to be in our courses because the value of the learning achieved through mindful attendance is such that they would not want to be anywhere else?
Nigel Coutts

Realising the benefits of reflective practice - The Learner's Way - 9 views

thelearnersway.net/...enefits-of-reflective-practice

practice reflection thinking learning education teaching collaboration

shared by Nigel Coutts on 09 Jun 19 - No Cached
  • Nigel Coutts on 09 Jun 19
     
    It is generally accepted that learning is enhanced by the inclusion of deliberate, reflective practice. Indeed the act of reflecting on the impact that our actions have towards the achievement of any goal (learning oriented or other) is shown to have a positive impact. Reflective practice is defined as the praxis (interdependent and integrated theory, practice, research, thought and action) of individuals or groups to move from 'better thinking to better action' as a result of reflection for, in and on learning (Harvey et al. 2010 p140). With this in mind, it is worth considering what reflective practice might look like and to consider it in a range of contemporary contexts. 
Martin Burrett

Maps of Mind - 22 views

ukedchat.com/...maps-of-mind

mindmap mindmapping mindmaps

shared by Martin Burrett on 16 May 19 - No Cached
  • Martin Burrett on 16 May 19
     
    "Organising information to find clarity is key for making good decisions. This collaborative mind-mapping tool allows multiple users to work together to put together their ideas and resources."
Antoinette Siarabalos

bubbl.us | brainstorm and mind map online - 152 views

bubbl.us

mindmap mindmapping web2.0 brainstorming elearning

shared by Antoinette Siarabalos on 07 Mar 11 - No Cached
Lance Jilbert liked it
  • Randolph Hollingsworth on 07 Mar 11
     
    Very simple graphic builder and easy to use
  • ...2 more comments...
  • Marc Patton on 26 Jun 12
     
    brainstorm and mind map online
  • teacherboyle on 16 Aug 12
     
    Great for creating bubble charts for brainstorming, note-taking, or categorizing.
  • Kate Pederson on 12 Nov 12
     
    Concept mapping tool
  • kellidgegroup on 07 Feb 15
     
    Brainstorm online with bubbl.us. Easily create colorful mind maps to print or share with others. Almost no learning curve. Businesses, universities, and other schools are using bubbl.us worldwide to generate ideas, map out processes and create presentations.
Martin Burrett

Book: Learning with Leonardo by Ian Warwick & Ray Speakman via @JohnCattEd - 10 views

ukedchat.com/...learning-with-leonardo

book review

shared by Martin Burrett on 09 May 19 - No Cached
  • Martin Burrett on 09 May 19
     
    "From the outset, I want to be clear - Leonardo da Vinci, not Leonardo DiCaprio. But don't despair, there is a still a lot Mr da Vinci has to offer in our modern world, with many of seven key concepts that drove his inventive thinking still helping to influence our creative thinking. Ray Speakman and Ian Warwick, in their book, look closely at the seven key concepts that influenced da Vinci's life, and how they can make our own learning more original and thoughtful. The seven key concepts are no big secret, but the authors frame them into a modern narrative that makes understanding ourselves, nature and reality possible. Throughout, much is made of Leonardo's notebooks - the sanctuary where he noted his observations, thoughts and discoveries - where he was constantly pushing his understanding to the edges of what was possible during the period he lived. A lot can be learned from such an approach, as jotting down our thoughts, discoveries and inspirations can help us organise our minds - and could be beneficial for many young learners."
Nigel Coutts

Number Talks for Number Sense - The Learner's Way - 7 views

thelearnersway.net/...number-talks-for-number-sense

number talks sense education teaching learning mathematics

shared by Nigel Coutts on 07 Apr 19 - No Cached
  • Nigel Coutts on 07 Apr 19
     
    "Number Talks" is an approach to the teaching and learning of Number Sense. Rather than relying on the rote-memorisation of isolated number facts achieved through drills of "table-facts", Number Talks aim to build confident, number fluency, where learners recognise patterns within and between numbers and understand the properties of numbers and operations. Number Talks are a "mind on" learning task that engages students in an active learning process as they search for patterns, decompose and recompose numbers and develop a flexible understanding.
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