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tom campbell

Banned Unless Required - 59 views

I think the most salient point is to create learning experiences that captivate students and are compelling so that they use the devices as a way to learn what they want to learn. It's about the i...

1:1

started by Craig Dunlap on 21 Oct 14 4 follow-ups, last by tom campbell on 23 Oct 14
Matt Renwick

Charter School Study Finds High Teacher Pay Helps Students - WSJ - WSJ - 20 views

online.wsj.com/...-pay-helps-students-1414123264

charter school study finds teacher pay students wsj

shared by Matt Renwick on 03 Nov 14 - No Cached
  • After four years at the charter school, eighth-graders showed average test score gains in math equal to an additional year and a half of school, compared with district students.
  • an extra half-year in science and almost an extra half-year in English
  • the charter has a lean administrative staff and slightly larger classes—31 students compared with an average of about 26 or 27 in district schools—so it can pour resources into teacher pay and training.
  • ...4 more annotations...
  • Teachers are observed by colleagues and get feedback weekly, and they have four weeks of full-day professional development each year.
  • Days are long, with teachers at work from 7:30 a.m. to 5 p.m. and students attending from 8 a.m. to 4 p.m.
  • Many teachers don’t last. Of 43 hired during the four years studied, 47% didn’t return for a second year, in most cases because they weren’t asked back.
    • Matt Renwick
      Matt Renwick on 03 Nov 14
       
      I wonder why - performance, or too much stress due to longer hours and out of work expectations? Regardless, this high turnover rate has got to impact the kids in the end.
  • Critics of charter schools say, among other complaints, that they drain money from regular public schools, skim talented students and nudge out disruptive ones.
  • Matt Renwick on 03 Nov 14
     
    mattrenwick.com
Monica Williams-Mitchell

Education in the Age of Globalization » Blog Archive » Five Questions to Ask about the Common Core* - 29 views

zhaolearning.com/...s-to-ask-about-the-common-core

shared by Monica Williams-Mitchell on 20 Jun 13 - No Cached
  • Daniel Pink observed, traditionally neglected talents, which he refers to as Right-brained directed skills, including design, story, symphony, empathy, play, and meaning, will become more valuable (Pink, 2006).
    • Monica Williams-Mitchell
      Monica Williams-Mitchell on 22 Jun 13
       
      YES! We need to address these things. I don't see them as incompatible w CC, however.
  • international assessments such as PISA and TIMSS, which are mostly left-brained cognitive skills.
  • Common Core does not include an element to prepare the future generations to live in this globalized world and interact with people from different cultures.
    • Monica Williams-Mitchell
      Monica Williams-Mitchell on 22 Jun 13
       
      But does that simple fact prevent us from addressing this? I think not.
  • ...2 more annotations...
  • Common Core, by forcing children to master the same curriculum, essentially discriminates against talents that are not consistent with their prescribed knowledge and skills.
    • Monica Williams-Mitchell
      Monica Williams-Mitchell on 22 Jun 13
       
      Is this any different from the current situation? Is this author arguing that we should not have common standards, or that we should maintain our current status quo of a patchwork of test-driven standards?
  • A well organized, tightly controlled, and well-executed education system can transmit the prescribed content much more effectively than one that is less organized, loosely monitored, and less unified. In the meantime, the latter allows for exceptions with more room for individual exploration and experimentation
    • Monica Williams-Mitchell
      Monica Williams-Mitchell on 22 Jun 13
       
      I think the problem lies in seeing this as an either-or question. Any system that relies solely on testing as the measure of success is short-sighted and archaic. Having no identified common ground puts at risk the learners who most need a firm starting point. To say that the current system allows "more room for individual exploration and experimentation" is naive at best and disingenuous at worst. Where in test-crazed American schools do you see this happening??
  • Don Doehla on 20 Jun 13
     
    A provocative article by Yong Zhao on CCSS and reflective questions we ought to as ourselves.
Shelley Hull

Microsoft Word - BlockingSchedules.rtf - CAREI BlockingSchedules.pdf - 25 views

conservancy.umn.edu/...CAREI%20BlockingSchedules.pdf

shared by Shelley Hull on 02 Dec 14 - No Cached
    • Shelley Hull
      Shelley Hull on 02 Dec 14
       
      " Early advocates of bloc scheduling identified the block schedule as the ca talyst, or vehicle, for bringing about desired changes in secondary education (Carroll, 1990; Canady and Rett ig, 1995)"
  • Research examining student achievement in block-scheduled schools compared to traditional schools showed mixed and inconclusive results
  • Most research about block scheduling and classroom instruction, as with research on school climate, used student, teacher, and parent questionnaires and surveys.
  • ...6 more annotations...
  • The levels of engagement were much better in the first year under the block schedule, while in the second year the ratings were the same as under the traditional schedule.
  • Students reported “thinking hard about ideas” and “having indepth discussion” significantly more often under block schedules.
  • his may also be supported by Bexell (1998) who found teachers on block schedules using teaching strategies requiring more interaction than teachers on a traditional schedule
  • It would seem that the small amount of change in the way teachers teach after switching to a block schedule would be disappointing to block scheduling advocates
  • Important questions hover over these findings. What is an effective amount of teacher lecture? Or group work? Or individual work?
  • One thing that is missing from the observation instrument used in this study is any judgment about the quality of a lecture, quality and depth of a discussion, or the complexity of group or individual work
Matt Renwick

Dynamic Versus Static Dictionary With and Without Printed Focal Words in E-Book Reading as Facilitator for Word Learning - Korat - 2014 - Reading Research Quarterly - Wiley Online Library - 17 views

onlinelibrary.wiley.com/...abstract

dynamic static dictionary printed words reading research

shared by Matt Renwick on 03 Nov 14 - No Cached
  • Four groups read the e-book with a dictionary with (1) static visuals (SVs) without the printed focal words, (2) dynamic visuals (DVs) without the printed focal words, (3) SVs with the printed focal words, or (4) DVs with the printed focal words. The fifth group read the e-book without a dictionary (control). The results show that word explanations and word use progressed the most after reading the e-book with DVs and printed focal words. Less progress was observed when reading with SVs with printed focal words and DVs without printed focal words.
  • Matt Renwick on 03 Nov 14
     
    mattrenwick.com
Gerald Carey

Observations: Welcome to 'Bring Science Home' - 71 views

www.scientificamerican.com/...post.cfm

science resources activities

shared by Gerald Carey on 07 May 11 - No Cached
  • Today we kick off Scientific American's Bring Science Home initiative, which will offer 20 free tabletop science activities during the month of May. We hope they will make for easy—and fun—ways to enjoy science at home
Sharin Tebo

Educational Leadership:How Teachers Learn:Fostering Reflection - 27 views

www.ascd.org/...Fostering-Reflection.aspx

reflection observation walkthrough data SDW SDWWL

shared by Sharin Tebo on 14 Aug 14 - Cached
  • Expert teachers adjust their thinking to accommodate the level of reflection a situation calls for.
  • Another way to help teachers become better at reflection is to create study groups that introduce teachers to these four modes of thinking and explore which aspects of teaching call for each mode. Discussions and role-plays can help teachers see which routine decisions can be made through technological or situational thinking and which may require the deliberate or dialectical modes. I
  • Finally, to foster higher levels of reflection, encourage teachers to ask themselves questions about their classroom practice. Prompts like the following promote frequent reflection: What worked in this lesson? How do I know? What would I do the same or differently if I could reteach this lesson? Why? What root cause might be prompting or perpetuating this student behavior? What do I believe about how students learn? How does this belief influence my instruction? What data do I need to make an informed decision about this problem? Is this the most efficient way to accomplish this task?
Tracy Tuten

How Can We Make Assessments Meaningful? | Edutopia - 170 views

www.edutopia.org/...ningful-heather-wolpert-gawron

assessment rubric learning edutopia classroom teaching howto

shared by Tracy Tuten on 09 Aug 12 - Cached
  • Criteria for a Meaningful Classroom Assessment To address these requirements, I ask myself the following guided questions: Does the assessment involve project-based learning? Does it allow for student choice of topics? Is it inquiry based? Does it ask that students use some level of internet literacy to find their answers? Does it involve independent problem solving? Does it incorporate the 4Cs? Do the students need to communicate their knowledge via writing in some way? Does the final draft or project require other modalities in its presentation? (visual, oral, data, etc...)
  • So how can high-stakes assessments be meaningful to students? For one thing, high-stakes tests shouldn't be so high-stakes. It's inauthentic. They should and still can be a mere snapshot of ability. Additionally, those occasional assessments need to take a back seat to the real learning and achievement going on in every day assessments observed by the teacher. The key here, however, is to assess everyday. Not in boring, multiple-choice daily quizzes, but in informal, engaging assessments that take more than just a snapshot of a student's knowledge at one moment in time. But frankly, any assessment that sounds cool can still be made meaningless. It's how the students interact with the test that makes it meaningful. Remember the 4 Cs and ask this: does the assessment allow for: Creativity Are they students creating or just regurgitating? Are they being given credit for presenting something other than what was described? Collaboration Have they spent some time working with others to formulate their thoughts, brainstorm, or seek feedback from peers? Critical Thinking Are the students doing more work than the teacher in seeking out information and problem solving? Communication Does the assessment emphasize the need to communicate the content well? Is there writing involved as well as other modalities? If asked to teach the content to other students, what methods will the student use to communicate the information and help embed it more deeply?
  • Another way to ensure that an assessment is meaningful, of course, is to simply ask the students what they thought. Design a survey after each major unit or assessment. Or, better yet, if you want to encourage students to really focus on the requirements on a rubric, add a row that's only for them to fill out for you. That way, the rubric's feedback is more of a give-and-take, and you get feedback on the assessment's level of meaningfulness as soon as possible.
  • ...1 more annotation...
  • Download the example (left) of a quick rubric I designed for a general writing assessment. I included a row that the participants could fill out that actually gave me quick feedback on how meaningful or helpful they believed the assessment was towards their own learning.
  • Tracy Tuten on 09 Aug 12
     
    Worthwhile article on designing meaningful assessments
Maughn Gregory

Helping Children Become More Mindful | Tufts Now - 77 views

now.tufts.edu/...g-children-become-more-mindful

education children mindfulness WillardChris breathing

shared by Maughn Gregory on 24 Aug 11 - No Cached
  • kids are distracted and a little on edge these days, says the Tufts psychologist Christopher Willard
  • Child’s Mind: Mindfulness Practices to Help Our Children Be More Focused, Calm and Relaxed (Parallax Press)
  • The central idea of mindfulness, he says, is to bring a very focused awareness of the present moment into our everyday lives through things such as breathing exercises and actively listening to and observing the world around us.
  • ...3 more annotations...
  • Studies have shown that children can learn to regulate their emotions and concentrate better with the aid of mindfulness practices. Even children with attention deficit disorders have learned to concentrate better using these kinds of exercises.
  • Children as young as four, he says, can be taught to breathe in and out in a conscious way, with a little visual help. To do this, he suggests having the child lie on her back with a stuffed animal or pillow on her belly, which helps her become aware of her breathing as she watches the object go up and down.
  • Another mindfulness exercise is to ask a child to listen carefully for about a minute and then name five sounds he heard while being quiet.
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."
atressler3

Guideline on Some Questions and Answers about Grammar - 36 views

www.ncte.org/...qandaaboutgrammar

shared by atressler3 on 30 Aug 17 - Cached
  • Grammar names the types of words and word groups that make up sentences not only in English but in any language
  • sentence structure
  • conventions and style of language.
  • ...20 more annotations...
  • apply knowledge of language structure, language conventions (e.g., spelling and punctuation)"
  • language use, patterns, and dialects
  • Students benefit much more from learning a few grammar keys thoroughly than from trying to remember many terms and rules.
  • Experiment with different approaches
  • show students how to apply it not only to their writing but also to their reading and to their other language arts activities.
  • If they know how to find the main verb and the subject, they have a better chance of figuring out a difficult sentenc
  • Traditional drill and practice will be the most meaningful to students when they are anchored in the context of writing assignments or the study of literary models
  • apply it to authentic texts.
  • Try using texts of different kinds, such as newspapers and the students' own writing, as sources for grammar examples and exercises.
  • entence combining: students start with simple exercises in inserting phrases and combining sentences and progress towards exercises in embedding one clause in another.
  • practice using certain subordinate constructions that enrich sentences.
  • All native speakers of a language have more grammar in their heads than any grammar book
  • If a word can be made plural or possessive, or if it fits in the sentence "The _______ went there," it is a noun. If a word can be made past, or can take an -ing ending, it is a verb
  • whole sentence or a fragment
  • verb phrase
  • subject
  • pronoun f
  • Students can circle the sentence subjects in a published paragraph, observe this pattern at work, and then apply it to their own writing.  
  • Most sentences start with information that is already familiar to the reader, such as a pronoun or a subject noun that was mentioned earlier.
  • end focus.
anonymous

Purposeful Professional Learning (Professional Learning That Shifts Practice- Part 1) - Katie Martin - 10 views

katielmartin.com/...ctice-series-part-1-purposeful

shared by anonymous on 25 Apr 17 - No Cached
  • allow learners to solve relevant issues that matter to them
    • anonymous
      anonymous on 25 Apr 17
       
      If it doesn't seem to matter to the learners, it will be wasted time for them. Sometimes teachers are only in a PD session for the hours. In such cases, it is the responsibility of the facilitator to make sure there is at least one nugget of info that matters to them.
  • the team determined a specific goal that they wanted to accomplish by the end of the day
    • anonymous
      anonymous on 25 Apr 17
       
      Good practice to ask what individuals hope to gain but also should ask what hope to gain via collaborative efforts. Maybe should ask them to share their top three strengths to give us a place for building upon.
  • To guide the work time, we observed some classrooms and discussed what we noticed. Based on our goals, we set clear targets and some time boundaries to check in on progress.
    • anonymous
      anonymous on 25 Apr 17
       
      We do this with teachers as we begin work with them. Maybe we need to be more transparent and have this in writing as well for them to reference- menu.
  • ...4 more annotations...
  • each teacher shared what they had learned, what they had created, and their actionable next steps.
    • anonymous
      anonymous on 25 Apr 17
       
      Probably the most important step of the day!
  • The more you empower learners, the more they will be invested in the work.
    • anonymous
      anonymous on 25 Apr 17
       
      Profound statement!
  • society evolves and schools work to meet the needs of learners
    • anonymous
      anonymous on 26 Apr 17
       
      I think one of the keys here is to acknowledge that society is evolving and we need to evolve to meet the needs of society - for example, just because research shows that, for some things, handwriting helps people remember something better or reading a hard copy is easier for comprehension than a digital copy - just because research at this point confirms these concepts, that doesn't mean we don't need to provide opportunities for practice and teach learners to recall digitally written info or comprehend digital text. If that is the trend the world is moving toward, we have to move in that direction as well - or be left behind.
  • purposeful
    • anonymous
      anonymous on 26 Apr 17
       
      We know that when learning is purposeful, students are more engaged and grasp more. So, why wouldn't we want professional learning to be the same?
jnet0124

Can Mary Shelley's Frankenstein be read as an early research ethics text? | Medical Humanities - 7 views

mh.bmj.com/32

shared by jnet0124 on 13 Nov 17 - No Cached
  • Can Mary Shelley’s Frankenstein be read as an early research ethics text?
    • jnet0124
      jnet0124 on 13 Nov 17
       
      SEE HEAR
  • Frankenstein is an early and balanced text on the ethics of research upon human subjects and that it provides insights that are as valid today as when the novel was written.
  • Mary Shelley conceived the idea for and started writing Frankenstein in 1816 and it was first published in 1818.1 In its historical context, the earlier 17th and 18th centuries had seen the early signs of the rise of science and experimentation. Francis Bacon (1561–1626) had laid the theoretical foundations in his “Great Insauration”2 and scientists such as Boyle, Newton, and Hooke developed the experimental methods. Sir Robert Talbor, a 17th century apothecary and one of the key figures in developing the use of quinine to treat fevers, underlined this: “the most plausible reasons unless backed by some demonstrable experiments seem but suppositions or conjectures”.3
  • ...5 more annotations...
  • The 18th century saw the continued construction of foundations upon which all subsequent medical experimentation has been built.
  • Lady Mary Montagu promoted smallpox vaccination; its proponents experimented on prisoners to study its efficacy, and James Jurin, the secretary of the Royal Society, developed mathematical proof of this in the face of ecclesiastical opposition.4 Many of the modern concepts of therapeutic trials were described although not widely accepted. Empirical observation through experimentation was starting to be recognised as the tool that allowed ascertainment of fact and truth. An account of Dr Bianchini’s experiments on “Le Medicin Electrique”, reported to the Royal Society explains that “The experiments were made by Dr Bianchini assisted by several curious and learned men … who not being able to separate what was true … determined to be guided by their own experiments and it was by this most troublesome though of all the others the most sure way, that they have learned to reject a great number of what have been published as facts.”5
  • Similarly, Henry Baker’s report to the Royal Society, describing Abbe Nollet’s experiments, outlined the need for comparative studies and that “treatment should not be condemned without a fair trial”6 and a Belgian doctor, Professor Lambergen, describing the use of deadly nightshade for the treatment of breast cancer wrote “Administration of this plant certainly merits the attention of the medical profession; and surely one may add entitles the medicine to future trials … nevertheless the most efficacious medicines are such if its efficacy by repeated trials be approved.”7 In the mid 18th century James Lind conducted the first controlled trial to establish a cure for scurvy and his Treatise on the Scurvy contains what could be seen in modern terminology as the first “review of the current literature” prior to a clinical trial.8
  • Her motives for writing Frankenstein are more difficult to define. In her introduction to the 1831 edition she writes that she wanted her work to … speak to the mysterious fears of our nature and awaken thrilling horror—one to make the reader dread to look round. If I did not accomplish these things, my ghost story would be unworthy of its name … (p 7, p 8)
  • The 1818 preface, written by Percy Bysshe Shelley, indicates a deeper purpose. He wrote that the story recommends itself as it “…affords a point of view on the imagination for the delineating of human passions more comprehensive and commanding than any which the ordinary relations of existing events can yield…” (p 11) and that “…I am by no means indifferent to the manner in which ... moral tendencies (that) exist in the sentiments of characters shall affect the reader…”(p 12).
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