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Clint Balsar

Many US schools adding iPads, trimming textbooks - Yahoo! Finance - 4 views

finance.yahoo.com/...ding-iPads-apf-1245885050.html

iPads textbooks schools education

shared by Clint Balsar on 01 Oct 11 - No Cached
  • The trend has not been limited to wealthy suburban districts. New York City, Chicago and many other urban districts also are buying large numbers of iPads.The iPads generally cost districts between $500 and $600, depending on what accessories and service plans are purchased.By comparison, Brookfield High in Connecticut estimates it spends at least that much yearly on every student's textbooks, not including graphing calculators, dictionaries and other accessories they can get on the iPads.
  • They include interactive programs to demonstrate problem-solving in math, scratchpad features for note-taking and bookmarking, the ability to immediately send quizzes and homework to teachers, and the chance to view videos or tutorials on everything from important historical events to learning foreign languages.They're especially popular in special education services, for children with autism spectrum disorders and learning disabilities, and for those who learn best when something is explained with visual images, not just through talking.Some advocates also say the interactive nature of learning on an iPad comes naturally to many of today's students, who've grown up with electronic devices as part of their everyday world.
  • Clint Balsar on 01 Oct 11
     
    I find the price comparisons interesting.
anonymous

ThinkDrive - Bloom's Taxonomy Activities for a Digital Age! - 105 views

plana.net.au/?page_id=1868

thinkdrive itc bloom's taxonomy

shared by anonymous on 18 Mar 11 - No Cached
  • Matthew Jorgensen on 18 Mar 11
     
    The blurred line between gaming consoles and real life educational / scientific devices has just been erased. No it's not April 1. Fascinating. Thanks to Craig Crossley for the link. If you haven't seen the Johnny Lee video under this one, it is amazing as well. A great webpage to share with your friends.
  • Matthew Jorgensen on 18 Mar 11
     
    If you want the fastest, most intuitive and most stylish browser available, Firefox 4 BETA is probably still the best. But if you are bound by certain departmental, political or operational constraints, or if you don't know any better, you will probably have to use Internet Explorer (IE). Well the good news is that IE9 is actually VERY good. The similarities to Firefox do feature prominently, but don't take my word for it - this video will showcase the wicked new features. Enjoy. You'll need Windows 7 to run IE9 though. There's always a catch ...
  • anonymous on 23 Jul 12
     
    ITC has released ThinkDrive, a digital version of their very popular Bloom's based thinking strategies. If you would like a trial version with a view to purchasing for your school, please emailmatthew@plana.net.au.
Deborah Baillesderr

Gamestar Mechanic - 46 views

gamestarmechanic.com

programming game design gaming education resource

shared by Deborah Baillesderr on 02 Mar 12 - Cached
  • Michele Brown on 02 Mar 12
     
    Play, design and share games.  Focuses on game design
  • Randolph Hollingsworth on 27 Mar 12
     
    a very popular web-based game design environment. Global Kids http://olpglobalkids.org/ is using it to run social benefits game design contests and badging programs. They are getting 100+ new game design entries per week. From the parents' guide: Gamestar Mechanic is currently supported by a partnership between the Institute of Play and E-Line Media. The game was originally developed by Gamelab in partnership with the Institute of Play and the Academic Advanced Distributed Learning Co-Lab (AADLC) at the University of Wisconsin-Madison. Initial funding for the game and companion learning guides came from the John D. and Catherine T. MacArthur Foundation. The design of the game is based on research by some of the leading academics in the field including Katie Salen (Executive Director of the Institute of Play and curriculum author for the New York City Public School Quest To Learn) and James Paul Gee (author of What Video Games Have to Teach Us About Learning and Literacy).
  • Deborah Baillesderr on 03 Nov 13
     
    This site has students creating games from scratch and putting them out into the world for feedback within the Gamestar Mechanic community. Students use math, problem solving, writing skills and more to make their games interesting. I think this could be used in the classroom as a theme-based project or just to get students interested in coding.
Maureen Greenbaum

These 10 trends are shaping the future of education | Education Dive - 74 views

www.educationdive.com/...404406

shared by Maureen Greenbaum on 29 Aug 15 - No Cached
  • e demands for innovation probably won't create an all-new landscape, the resulting product of ongoing changes is likely to be unrecognizable compared to that of the last several decades.
  • alternative credentialing and changing demographics to testing concerns and the rise of STEM
  • America's 629 public four-year institutions, 1,845 private four-year institutions, 1,070 public two-year institutions, and 596 private two-year institutions will soon be competing over a smaller pipeline of potential incoming students. 
  • ...4 more annotations...
  •  expect to see a number of for-profits make the transition to nonprofit or benefit corporation
  • 5. Open educational resources gaining popularity as textbook prices rise
  • Digital textbooks have solved some of those issues to an extent, carrying a lower price point on average and being capable of receiving updated content. But many in higher ed and K-12 are looking beyond the traditional-textbook-
  • 15 Virginia community colleges are using OER to pilot a "zero textbook cost" program that is expected to save 50,000 students $5 million in its first year.
Nigel Coutts

Revisiting Digital Natives, Digital Immigrants - 66 views

thelearnersway.net/...tal-natives-digital-immigrants

tools technology learning

shared by Nigel Coutts on 18 Oct 15 - No Cached
Evon Zundel liked it
  • Nigel Coutts on 18 Oct 15
     
    In 2001 Marc Prensky divided the world into two broad groups, Digital Natives and Digital Immigrants. His idea struck a chord with popular culture and has become a dominant paradigm in education. Given the core concept remains a feature of educational dialogues it is worth re-visiting and seeing how the idea might evolve to better serve our needs and understandings of how people born after the internet, learn with and think about, technology.
Martin Burrett

Study finds popular 'growth mindset' educational interventions aren't very effective - 29 views

ukedchat.com/...mindset-ineffective

research growth mindset

shared by Martin Burrett on 23 May 18 - No Cached
  • Martin Burrett on 23 May 18
     
    "A new study co-authored by researchers at Michigan State University and Case Western Reserve University found that "growth mindset interventions," or programmes that teach students they can improve their intelligence with effort - and therefore improve grades and test scores - don't work for students in most circumstances."
Kathryn Murphy-Judy

The 10 Best Social Bookmarking Sites to Increase Your Traffic | Brandwatch - 38 views

www.brandwatch.com/...cial-bookmarking-websites-2015

SWS diigo social bookmarking

shared by Kathryn Murphy-Judy on 09 Feb 18 - No Cached
  • Pinterest goes for the “show, don’t tell” approach
    • Kathryn Murphy-Judy
      Kathryn Murphy-Judy on 09 Feb 18
       
      About Pinterest
  • Kathryn Murphy-Judy on 09 Feb 18
     
    Not a bad site to give a number of ok social bookmarking sites.
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."
Deborah Baillesderr

ClassHook | Educational Clips from Popular Media - 49 views

www.classhook.com

Lesson Hooks education technology tools video

shared by Deborah Baillesderr on 24 Apr 17 - No Cached
  • Deborah Baillesderr on 24 Apr 17
     
    Great site to get some video clips to start a lesson.
Kari Beery

Tech Savvy Kids - 86 views

www.usatoday.com/...0-02-10-igeneration10_CV_N.htm

shared by Kari Beery on 03 Mar 11 - No Cached
  • To the psychologists, sociologists, and generational and media experts who study them, their digital gear sets this new group (yet unnamed by any powers that be) apart, even from their tech-savvy Millennial elders. They want to be constantly connected and available in a way even their older siblings don't quite get. These differences may appear slight, but they signal an all-encompassing sensibility that some say marks the dawning of a new generation.
  •  PARENTING & KIDS' HEALTH NEWS: ONLY ON USA TODAYNew daditude: Today's fathers are hands-on, pressure offTV: Impairs speech | Leads to earlier sexBaby names: What's popular? Whatever's unusualMore parents share workload when mom learns to let goAre kids becoming too narcissistic? | Take the quizChemicals: What you need to know about BPA | Carcinogens found in kids' bath products | Lead poisonings persist'Momnesia,' spanking, tweens and toddlers fullCoverage='Close  X Todders: Parents' fear factor? A short toddle into the danger zoneTweens: Cooler than ever, but is childhood lost?
  • The difference is that these younger kids "don't remember a time without the constant connectivity to the world that these technologies bring," she says. "They're growing up with expectations of always being present in a social way — always being available to peers wherever you are."
meghankelly492

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

www.researchgate.net/..._for_Music_Performance_Anxiety

world Music

shared by meghankelly492 on 15 Sep 19 - No Cached
  • Four other studies (three of which are dissertations) assessed behavioral treatments forMPA on music students. Grishman (1989) and Mansberger (1988) used standard musclerelaxation techniques, Wardle (1969) compared insight/relaxation and systematic desensi-tisation techniques, and Deen (1999) used awareness and breathing techniques
  • A systematic review of all available treatment studies for music performance anxiety was undertaken.
  • reported that 24% of musicians frequently suffered stage fright, defined in this study as themost severe form of MPA, 13% experienced acute anxiety and 17% experienceddepression.
  • ...24 more annotations...
  • 59% of musicians in symphony orchestras reported performance anxiety severe enough toimpair their professional and/or personal functioning.
  • A recent study indicated that MPA is not limited to orchestralmusicians, showing that opera chorus artists are also prone to high levels of performanceanxiety
  • However, since not allperformers suffer the same degree of MPA, or indeed report the same levels of occupationalstress, individual differences in a range of psychological characteristics are likely to accountfor variations in the degree to which musicians experience symptoms
  • A large number of treatment modalities (e.g., behavioral, cognitive, pharmacological andcomplementary) has been developed for music performance anxiety (MPA)
  • However, areview of this literature indicates that the field is still in its infancy with respect to theconceptual and theoretical formulations of the nature of MPA and its empiricalinvestigation.
  • Anxiety may be triggered by conscious,rational concerns or by cues that trigger, unconsciously, earlier anxiety producingexperiences or somatic sensations.
  • These findings suggest that multi-modal interventions are needed toaddress the multiple difficulties experienced by test anxious individuals.
  • with some focusing on behavioral change, some on cognitivechange, others on reduction of physiological symptoms through the use of pharmacotherapy,and some on idiosyncratic formulations
  • For drug studies, the keywords were beta-blocker [Beta blockers block the effect ofadrenaline (the hormone norepinephrine) on the body’s beta receptors. This slows downthe nerve impulses that travel through the heart. As a result, the resting heart rate is lower,the heart does not have to work as hard and requires less blood and oxygen
  • Brodsky (1996) and Nube´(1991) were most useful.
  • The interventionsassessed included systematic desensitization, progressive muscle relaxation, awareness andbreathing and behavioural rehearsal
  • In summary, behavioral treatments do appear to be at least minimally effective in thetreatment of MPA, although the heterogeneity of the treatment approaches employedmakes it difficult to isolate consistent evidence for the superiority of any one type ofbehavioral intervention
  • Two studies (see Tables II and IV) assessed the therapeutic effect of cognitive techniquesalone on MPA.
  • A dissertation by Patston (1996) reported a comparison of cognitive (e.g.positive self-talk, etc.) and physiological strategies in the treatment of MPA. No significantimprovements on vocal and visual manifestations of performance anxiety were found foreither treatment or control groups. However, the sample consisted of only 17 operastudents who were not specifically selected on the basis of their MPA severity, and theintervention was conducted by the author, a singer and teacher, who had no training inpsychology.
  • Three studies (see Table III) assessed the therapeutic effect of cognitive-behavioralstrategies on MPA. Harris (1987), Roland (1993), and Kendrick et al. (1982) all reportedthat standard CBT techniques were effective in the treatment of MPA in studentsspecifically selected for study because of the severity of their MPA.
  • Harris (1987) and Roland(1993) reported that CBT led to reductions in state anxiety as measured by the STAI,although Kendrick et al. (1982) failed to find a significant difference between treatment andcontrol groups on this measure.
  • The evidence for improvements in MPA following CBT is quite consistent, althoughfurther studies with larger samples are needed to confirm this evidence.
  • Beta-blockers have become increasingly popular among performers in recent years. Forexample, Lockwood (1989), in a survey of 2,122 orchestral musicians, found that 27% usedpropranolol to manage their anxiety prior to a performance; 19% of this group used thedrug on a daily basis.
  • Nube´ (1991) identified nine studies examining the effects of various beta-blockers(Atenolol, Metopolol, Nadolol, Oxprenolol, Propranolol, Pindolol) on MPA.
  • The findings regarding the effects of beta blockers on otheroutcome measures were less conclusive.
  • A rigorous definition of MPA is needed to advance treatment. However, defining MPA as asocial anxiety (social phobia) using criteria set out in DSM-IV-TR (APA, 2000) as theinclusion criteria may be too restrictive, particularly if the musician presenting for treatmentexperiences MPA as a focal anxiety (ie does not meet other criteria for social anxiety).
  • Few ofthe intervention studies reviewed acknowledged that performers need a certain amount ofarousal or anxiety to maximise their performance.
  • None of the studies could be pooled in a meta-analysis primarily because too fewprovided sufficient data to calculate effect sizes, use of diverse subject groups andtreatments, duration and intensity of treatment, and use of disparate outcome measures
  • In conclusion, the literature on treatment approaches for MPA is fragmented, incon-sistent, and methodologically weak. These limitations make it difficult to reach any firmconclusions about the effectiveness of the various treatment approaches reviewed. Forsignificant progress to be made, future research will require a clear definition of MPA,consistency and strength in methodology, and the development of robust and appropriateoutcome measures.
tkiser84

Social Bookmarking and Diigo - Student Learning with Diigo - 146 views

sites.google.com/...project-definition

shared by tkiser84 on 29 Sep 12 - No Cached
    • Steve Johnson
      Steve Johnson on 09 Nov 12
       
      This explains what Diigo does, what the main functions are for the classroom, and that it can be saved in Delicious.  They refer to Delcious as the grandfather of all bookmarking in that it was the first but just bookmarks and collects.  This would allow annotation and collaboration.
    • Steve Johnson
      Steve Johnson on 09 Nov 12
       
      These are the main features I would sue in 371 as well as 368, 362, and 391.
  • disadvantages
  • ...1 more annotation...
  • Social Bookmarking is simply making bookmarks available to a social network. Rather than storing bookmarks on a local computer, the bookmarks are stored to a social bookmarking website. By default, the bookmarks are available for the network to view.
    • bhsclasses
      bhsclasses on 30 Sep 16
       
      on specific computer unmanageable available to one user
  • Corrine Beresford on 29 Sep 12
     
    Great article that explains the advantages of using Diigo with other educators and students. It also has links to lesson plans and how to videos.
  • Corrine Beresford on 29 Sep 12
     
    I found many useful links along with this resource. It clearly points out advantages of using Diigo in education. It also shares how to sync to another popular social bookmarking site. I highly recommend checking this article out.
Maggie Tsai

TechBlo.com - Sanity to Insanity - Diigo: powerful tool, so much underrated - 5 views

techblo.com/...l-annotation-and-research.html

diigo review

shared by Maggie Tsai on 05 Aug 07 - Cached
  • A powerful Social Annotation and Research Tool - DIIGO! Well indeed Diggo is the coolest tool I have ever come across on the web2.0 scenario. It is a social annotation tool, social book mark tool and a online notes. Fits good to the best researchers online, it is a team tool, that leverages the time spent online. You do not waste a single minute and not waste the time spent in finding data and loosing it. Find it, mark it, send it, store it, import it!! surprising, this is all accomplished by a single tool and it is so much under rated.
  • With Diggo you can be rest assured you have the data saved and sent in seconds! Once your fellow researcher (or a friend) gets online on the same page, knowing or by chance, he can see that you have left a message for him. All you need is, both of you will have to install the Firefox/Internet Explorer/Flock/Opera browser toolbars. These toolbars will make sure both of you do not note the same or miss an important data.
  • Not only researchers, or known friends, but also strangers with same interest can make use of (rather exploit) this tool and do wonders. Say for example a bird watching community is on the prowl for a rare bird, or the very famous Flamingos, they all land up in a page that has abundance of information about the Flamingos, they can mark certain text in the page and leave a comment. Say a professor is leaving a comment about the Flamingos, and their migratory pattern, the others can see this note, respond to it! Later people with the same tool (Diigo toolbar) come to the page can see the conversation that has happened on the web, and note that this page is quite popular.
  • ...2 more annotations...
  • That is why "Ramanathan of TechnoPark" claims this tool is under rated, I kinda more than agree with his view
  • once this tool is leveraged the right way, this tool would rock the world. The world (read Internet) would be a better and wonderful place to live in.Imagine you stumble upon a web page and think no one has ever come into this page before! or Come into the page and see how many people have come in and left comments on the same page, and information. It is up to the Netizen to decide how good this tool can be put to use, and not destroy the beauty of this Web2.0 tool! >
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