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Jeff Andersen

Distance Learning: How Accessible are Online Educational Tools | American Foundation for the Blind - 5 views

www.afb.org/...distance-learning-how

accessibility online tools

shared by Jeff Andersen on 29 Mar 20 - No Cached
  • Jeff Andersen on 29 Mar 20
     
    More and more schools, colleges and universities are using online educational tools that students are required to use to obtain course syllabi, access lectures and associated material, participate in class discussions, read course material, and receive grades and feedback from instructors. These popular tools, such as Blackboard, can frequently pose significant barriers to students with vision loss because they do not work well, if at all, with computer programs commonly used by students who are blind or visually impaired to access content displayed on the computer screen. For example, screen reading software reads the contents of the screen aloud. Screen magnification software enlarges text and graphics displayed on the computer screen in a customized way.
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.
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experiences in Music Education - 7 views

muse.jhu.edu/224140

world Music

shared by meghankelly492 on 22 Jul 19 - No Cached
  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
  • ...39 more annotations...
  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
Martin Burrett

Book: Vocabulary Ninja: Mastering Vocabulary by @MrJenningsA via @BloomsburyEd - 9 views

ukedchat.com/...vocabulary-ninja

book review vocabulary

shared by Martin Burrett on 23 May 19 - No Cached
  • Martin Burrett on 23 May 19
     
    "Building a rich vocabulary, across the curriculum, is one of the main aims for most teachers. Not only does a rich vocabulary help to create strong writing skills, but also can help with improving access to all areas of the curriculum. In his book, Andrew Jennings explains why vocabulary should be a focus in your classroom, providing resources and inspiration to help optimise vocabulary learning. Resources include a focus on SPaG facts, key vocab words that support various popular primary topics, an etymology section to inspire pupils, and looking at various grammatical features that can help build a repertoire of rich vocabulary. Throughout, the book provides other resources that can be copied for classroom use, or be used to take home to help build vocabulary skills away from the school setting."
spdrmn7

The LiederNet Archive: Texts and Translations to Lieder, mélodies, art songs, choral pieces, and other vocal music - 4 views

www.lieder.net

music education translations singers voice

shared by spdrmn7 on 15 Feb 19 - No Cached
  • spdrmn7 on 15 Feb 19
     
    In a crunch, this site is great for finding translations of popular vocal repertoire.
Martin Burrett

Brick A Pic - 21 views

ukedchat.com/...brick-a-pic

brick photo photo effects

shared by Martin Burrett on 13 Nov 18 - No Cached
  • Martin Burrett on 13 Nov 18
     
    "Lego seems to never wane in popularity and my class love it. This site allows you to convert a photo into a blockish Lego image - great for profile pictures and class displays."
Martin Burrett

UKEdMag: Schools, be patient by @HDHSenglish - 1 views

ukedchat.com/...ools-be-patient-by-hdhsenglish

metacognition research pedagogy

shared by Martin Burrett on 08 Jun 18 - No Cached
  • Martin Burrett on 08 Jun 18
     
    "A lot of schools have jumped on buzz words such as metacognition, mindfulness, mindset etc. There is obviously great merit in all these strategies, however as Carol Dweck has emphasised, in a lot of cases these methods are not always understood by school leaders leading to them not being integrated effectively and sustained. These theories are not fads but in many schools, they don't give these methods the planning, time and evaluation that is required for success of any strategies that will benefit learning. Schools are looking for a quick fix and so latch on to 'new, exciting and popular theories'."
Martin Burrett

How Do Scientists Think? by @johnkaiser13 - 10 views

ukedchat.com/...scientists-think

science curiosity thinking creative thinking

shared by Martin Burrett on 26 May 18 - No Cached
  • Martin Burrett on 26 May 18
     
    "Of course, I have always held the opinion that we are all still scientists in our own unique manner.  In light of that, I have chosen to write about how I think on this blog post.  There are two main types of blog posts on this site to 'demystify the life of a scientist'.  The first deals with large numbers or various statistics reported in the popular news with no real context provided."
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."
Gareth Jones

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

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

NaturalScience senseperception paradigm

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

Whip up a brilliant bake sale for Great Ormond Street Hospital Children's Charity - 1 views

ukedchat.com/...bake-sale-gosh

charity baking

shared by Martin Burrett on 11 May 18 - No Cached
  • Martin Burrett on 11 May 18
     
    "GOSH Charity is encouraging schools, nurseries and playgroups to get involved with the popular fundraiser between 21-27 May. The charity is inviting the next generation of budding bakers and patisserie pros, teacher and pupils alike, to roll up their sleeves, don their aprons, and bake up tasty treats to raise vital funds that will help support children cared for at GOSH, and their families too."
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.
Martin Burrett

Educational websites identified as recording your 'every keystroke' - 25 views

ukedchat.com/...educational-websites-keystroke

shared by Martin Burrett on 24 Nov 17 - No Cached
  • Martin Burrett on 24 Nov 17
     
    "A study from Princeton University has suggested that some of the most popular websites track every keystroke made by visitors, including various educational websites that are popular with teachers searching for resources or jobs."
gaby eyzaguirre

ISTE | 11 hot edtech trends to watch - 38 views

www.iste.org/...articleDetail

edtech trends instructional technology technology integration

shared by gaby eyzaguirre on 08 Sep 17 - No Cached
  • gaby eyzaguirre on 08 Sep 17
     
    This are the topics that were the most popular in ISTE 2017, very telling and inspiring
Nigel Coutts

Reflections on a service trip to Fiji - The Learner's Way - 4 views

thelearnersway.net/...ions-on-a-service-trip-to-fiji

reflections Fiji tools learning collaboration teaching

shared by Nigel Coutts on 09 Jul 17 - No Cached
  • Nigel Coutts on 09 Jul 17
     
    Recently I left the cold and dark of a Sydney winter and journeyed north to the warmer climate of Fiji. A jewel dropped in the warm waters of the Pacific, Fiji is a popular holiday destination for those looking for a tropical escape. This trip was very different from the norm. There would be no resorts, no five-star dining and my company was to be a group of 24 Year Nine students. It was to be a journey full of learning and insights into the challenges facing education. 
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.
Jeff Andersen

Reading reduces stress levels - 20 views

www.kumon.co.uk/...reading-reduces-stress-levels

reading and stress

shared by Jeff Andersen on 15 Feb 17 - No Cached
  • Jeff Andersen on 15 Feb 17
     
    There are many ways to reduce stress levels; going for a walk, listening to music or drinking tea are all popular ways of winding down. None of these will come as much of a surprise, but have you considered the stress reducing benefits of regular reading? A 2009 study by the University of Sussex found that reading for just six minutes can reduce stress levels by up to 68%. (The Telegraph, March 2009)
anonymous

What are the Disadvantages of Online Schooling for Higher Education? - 18 views

study.com/...ling_for_Higher_Education.html

online disadvantages

shared by anonymous on 23 Oct 16 - No Cached
  • anonymous on 23 Oct 16
     
    "hat Are the Disadvantages of Online Schooling for Higher Education? Today, online schooling for higher education is prevalent across many fields. While there are several benefits to online schooling, such as flexibility and convenience, there are also real and perceived disadvantages. Explore some of the potential drawbacks of online learning. View 10 Popular Schools » Online Schooling In 2012, about a quarter of undergraduate college students were enrolled in distance education courses as part -- if not all -- of their studies, according to a 2014 report from the National Center for Education Statistics. That same data found that 29.8% of graduate students in this country are enrolled in some or all distance learning classes as well. A 2013 report from Babson Survey Research Group and Quahog Research Group, LLC, pointed out that approximately 86.5% of higher education institutions offer distance learning classes. Clearly, online schooling is commonplace. Disadvantages: Student Perspective Despite advantages, online schooling is not the right fit for every student. Taking online courses is generally believed to require more self-discipline than completing a degree on campus, a belief that is supported by SCHEV -- the State Council of Higher Education for Virginia. Because online schooling options often allow students to complete much of the coursework at their own pace, students must be motivated to stay on schedule and manage their time accordingly. Other potential disadvantages from a student's viewpoint may include the following: Less Instructional Support Although instructors are available to students via e-mail, telephone, Web discussion boards and other online means, some students may see the lack of face-to-face interaction and one-on-one instruction as a challenge. A lack of communication or miscommunication between instructors and students may frustrate students who are struggling with course materials. That could be exacerbated by the casual nature
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