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Miki Lau

EDUC1015 Evaluation Rubric for Educational Apps.pdf - 5 views

shared by Miki Lau on 09 Mar 22 - No Cached
  • Webb’s Depth of Knowledge
    • Miki Lau
       
      What is it?
  • 21st Century Skills: Does the app require users to engage “21st Century” skills, which includes the ability to collaborate, make data-driven decisions, and solve complex problems?
  • Connections to Future Learning: Does the app’s content build users’ literacy or numeracy skills so they are more prepared to engage future content area learning and are on track to become “college and career” ready?
Nigel Coutts

Encouraging Persistence - The Learner's Way - 5 views

  •  
    "Nothing in this world can take the place of persistence. Talent will not; nothing is more common than unsuccessful men with talent. Genius will not; unrewarded genius is almost a proverb. Education will not; the world is full of educated derelicts. Persistence and determination alone are omnipotent. The slogan Press On! has solved and always will solve the problems of the human race." ― Calvin Coolidge Growing up, I had a copy of this quote on my wall. It is one of those things that stuck with me over the years. For a long time I might not have truly appreciated its wisdom. Now as a teacher in times of volatility, uncertainty, complexity and ambiguity, its significance seems to have grown. When we can instantaneous consumers of the all of the worlds information, as we access anything and everything at the speed of light, how do we learn the value of persistence?
Nigel Coutts

Celebrating the significance of creativity for educations future success - The Learner's Way - 4 views

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    Our collective ability to learn and by doing so, adapt to changing circumstances through the acquisition of new skills and dispositions is what Edward de Bono refers to as EBNE; Essential But Not Enough. - What then might education need as it develops a response to times of rapid change?
Fil Salustri

How to Think Without Googling - Forge - 20 views

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    It's not just Google. The Web has wiped out all the basic knowledge about practical critical thinking and problem solving that we used to learn through reinforcement learning - which made us far more able to be independent entities in all kinds of unique and atypical situations. Perhaps this is contributing to the rise of anxiety in young people: without those cognitive tools and skills, people are no longer sure of themselves as they once were.
meghankelly492

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

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

Mathematical thinking presents teachers and students with new challenges - The Learner's Way - 16 views

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    The shift away from teaching for the rote memorisation of prescribed methods requires teachers to rethink their approach to the discipline. With this new pedagogy comes a need to understand the processes of mathematical thinking in ways not previously required. When we require our students to be able to reason and problem-solve through unique challenges we also require our teachers to have an understanding of the mathematical moves that their learners are likely to call upon.
Nigel Coutts

Letting how we choose to learn inform our teaching - The Learner's Way - 10 views

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    Think of a time when you were completely immersed in a learning challenge. A time when you became aware of the need to master a new skill or concept. A situation that took you outside of your comfort zone, when there were times that you became frustrated, when you thought of quitting, downed tools and walked away, but came back time and time again. Maybe it was a problem you had to solve. Maybe it was a challenge you wanted to overcome.
Maureen Greenbaum

What Artificial Intelligence Could Mean For Education : NPR Ed : NPR - 15 views

  • , in a world where computers are taking more and more of the jobs, what is it that humans most need to learn? It probably isn't primarily memorizing facts or figures, or simple rules for problem solving.
  • An immediate answer is that more of us need to get better at building and interacting with software tools.
  • the growing movement in education to focus on building social and emotional competencies.
  •  
    ANYA KAMENETZ
Rafael Morales_Gamboa

Contemplating the consequences of Constructivism - The Learner's Way - 21 views

  • learning is a process which occurs within the mind of the individual as they process stimuli arriving from their sensory buffer from their environment (broadly speaking), into working memory and onward into long-term memory. 
    • Rafael Morales_Gamboa
       
      The emphasis does not have to be on the individual, as is common. The social group learns by means of individual, but joined and synchronized, learning.
  • self-guided learning or self-initiated learning
    • Rafael Morales_Gamboa
       
      Not in the case of social constructivism.
  • what is significant
    • Rafael Morales_Gamboa
       
      To others...
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  • independent practice
    • Rafael Morales_Gamboa
       
      and social practice
  • the research on what produces effective learning supports this
    • Rafael Morales_Gamboa
       
      Of course, that depends on what exactly is evaluated.
  • This desire is evident when we expect our learners to be scientists, historians, geographers, researchers and problem solvers/finders.
    • Rafael Morales_Gamboa
       
      As well as critical citizens.
  • We teach the skills of inquiry, problem solving and experimentation and then provide opportunities for independent practice.
    • Rafael Morales_Gamboa
       
      Can you imagine anything a better explanation of "knowledge transfer"?
  • we have previously instructed them in
  • The gradual release of responsibility model of instruction suggests that cognitive work should shift slowly and intentionally from teacher modeling, to joint responsibility between teachers and students, to independent practice and application by the learner
    • Rafael Morales_Gamboa
       
      Does not sounds like the classroom is empty? Classmates? Who cares about them?
  • It is not always the case that learning is best served when the process begins with direct instruction.
  • Schools provide a rich environment within which such learning may occur
    • Rafael Morales_Gamboa
       
      It is not always the case, and I would rather say that is not often the case, if our cultural legacy that depicts the school in literature and films.
  • best model can be to begin with an independent exploration of new content even when this produces failure
  • schools maximise their impact on the learning that occurs
  • constructivism urges teachers to ensure that the learner is at least as involved in the process as their teachers are
    • Rafael Morales_Gamboa
       
      I would call that "teacher-centred constructivism".
  •  
    Constructivism is one of those ideas we throw around in educational circles without stopping to think about what we mean by it. They are the terms that have multiple meanings, are at once highly technical and common usage and are likely to cause debate and disagreements. Constructivism in particular carries a quantity of baggage with it. It is a term that is appropriated by supporters of educational approaches that are in stark contrast to the opposing view; constructivism vs didactic methods or direct instruction. The question is what are the origins of constructivism and does a belief in this as an approach to understanding learning necessitate an abandonment of direct instruction or is this a false dichotomy?
Nigel Coutts

Sharing our Puzzles of Practice - The Learner's Way - 19 views

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    Einstein is often quoted as having said "If I have an hour to solve a problem and my life depended on the solution, I would spend the first 55 minutes determining the proper question to ask, for once I know the proper question, I could solve the problem in less than five minutes." Clearly Einstein understood how to attack puzzling problems. As teachers we face a host of puzzles on a daily basis. Every student we teach, thanks to their idiosyncrasies presents a unique puzzle. The interactions between students further complicates things. Our goals for our learners, their learning needs, the demands of the curriculum, pressures from beyond the classroom all result in puzzles for us to manage and to solve.
m101poe

Teach the Seven Strategies of Highly Effective Readers | Adolescent Literacy Topics A-Z | AdLit.org - 35 views

  • Instructional Aid 1.1: Seven Strategies of Highly Effective Readers
  • Activating "Priming the cognitive pump" in order to recall relevent prior knowledge and experiences from long-term memory in order to extract and construct meaning from text Inferring Bringing together what is spoken (written) in the text, what is unspoken (unwritten) in the text, and what is already known by the reader in order to extract and construct meaning from the text Monitoring-Clarifying Thinking about how and what one is reading, both during and after the act of reading, for purposes of determining if one is comprehending the text combined with the ability to clarify and fix up any mix-ups Questioning Engaging in learning dialogues with text (authors), peers, and teachers through self-questioning, question generation, and question answering Searching-Selecting Searching a variety of sources in order to select appropriate information to answer questions, define words and terms, clarify misunderstandings, solve problems, or gather information Summarizing Restating the meaning of text in one's own words — different words from those used in the original text Visualizing-Organizing
  • Constructing a mental image or graphic organizer for the purpose of extracting and constructing meaning from the text
anonymous

Meaningful Problem Solving (Professional Learning that Shifts Practice Part 2) - Katie Martin - 6 views

  • creating experiences that provide opportunities to grapple with challenges that are meaningful to individuals in their context. In order for teachers to do this in their classrooms it is important that they have similar experiences in their own learning.
    • anonymous
       
      PD needs to model lessons and also needs to have focused discussion to 'debrief' and reinforce the learning.
  • Be curious and open to all ideas Seek  to improve learning (students and educators) Expect growth, not perfection Focus reflection how to improve your work, not others Ground work in evidence of learning, not assumptions
    • anonymous
       
      May need to be stated up front at PD.
oconnortammy

Education World: Are You a Techno-Constructivist? - 33 views

  • not only complements instruction but redefines it.
    • missboess
       
      This statement encompasses what I am trying to achieve in this resource design assessment. It also clearly links to the SMAR model of best ICT use in education, by implementing learning experience with technology that 'redefines' the activity. Meaning the activity is something that could not be done without the technology used.
  • help children build on their own experiences, construct their own meanings, create products, and solve problems successfully.
    • missboess
       
      Encompasses the constructivist theory I am using in the resource design and furthermore links to the method of inquiry.
  • long-term problem-solving and product-generating tasks
    • missboess
       
      In my resource design students will take part in a long term water sustainability project. A website will assist them in attaining access to multiple resources, communication with the outerworld (blogging) and creating products such as videos, visuals etc.
    • oconnortammy
       
      How are you helping your students to connect to the outside world? Are they having dialogues with others?
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  • See The Webquest Page or WebQuest.org for endless materials.)
    • missboess
       
      Webquest was used as an inspiration for my resource design, as it provides a useful platform for inquiry units to be created. There are endless examples on there. I really recommend you have a look at them. I decided to create my own website on weebly, as it provided more options and interactivity.
Nigel Coutts

Playing with Habits of Mind - The Learner's Way - 50 views

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    What are the mindful habits of successful learners and how can an understanding of these habits help us better achieve our learning goals? This is the question Art Costa Bena Kallick set out to answer with their study of the Habits of Mind. In 'Learning and Leading with Habits of Mind' Costa and Kallick identify sixteen habits which when utilised promote deeper understanding, unlock creativity, encourage reflective thinking and scaffold problem solving for individuals and groups. 
Dan Bench

Process vs Product in Maker-centered Learning - The Learner's Way - 42 views

  • by ‘Making Thinking Visible’ (MTV) can help here. MTV strategies offer two advantages to teachers and learners. Importantly they provide structure to thinking and encourage a deeper engagement with concepts and ideas. They also allow the thinking that is occurring to be made visible and thus a part of the assessment process
  • mastery of the process that students are utilising as they solve the problems they encounter in their making. How do they deal with obstacles? How did they plan their solution? How effectively do they collaborate? What did they do to understand the problem and how did they monitor their progress?  
  • Students move through phases of thinking that include empathy, needs analysis, ideation, planning, prototyping and evaluation in patterns both linear and non-linear as needs require.
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  • Failing is a part of the process and failing disrupts output based assessments. At the core of the maker philosophy is a process of ideation, iteration and emergence.
  • their Personal Passion Projects. Many of the projects fit neatly into the description of maker-centered learning. These are the projects where the students have identified a need and the solution is a product which they design and then prototype.
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    The maker movement and with it maker-centered learning brings new possibilities and challenges into the classroom. It has spawned makerspaces and students are busy designing and making products. The danger with all this frenzied making is that it is very easy to miss the point, to focus on the product and not the journey.  
Maureen Greenbaum

The Realities of Artificial Intelligence and Adaptive Learning - 17 views

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    Excellent article on where we are (could not use diigo highlight)   research suggests that experts literally don't have conscious access to 70% of what they do. In well-defined domains, like mathematics and programming, we've created intelligent tutoring systems that can develop specific outcomes, but even those have problems transferring into practice. Real learning comes from approaching complex problems, experimenting with alternatives, and accessing resources in the process of solving them
Maureen Greenbaum

What It Takes to Move From 'Passive' to 'Active' Tech Use in K-12 Schools - Education Week - 51 views

  • U.S. Department of Education's new National Education Technology Plan, which places a premium on closing the so-called "digital-use divide." In the modern era, the plan says, schools must ensure "all students understand how to use technology as a tool to engage in creative, productive, lifelong learning rather than simply consuming passive content."
  • In other words, students should be making things and connecting with others and exploring the world, rather than staring at screens.
  • "In my class, each child decides what it is they want to work on,"
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  • values and beliefs embedded in Craft's classroom projects—student agency, real-world problem solving, hands-on building and experimentation and creation, collaboration with peers and others, working for an audience outside their own classroom, and using technology as a means rather than an end—are what the experts are looking for.
  • students should be creating something, not consuming something.
  • ow educators can make that happen, South said, is by offering students choices in how they get to show what they know.
  • what does passive technology use look like? Why is it a problem
  • "digital divide" emerging, one that is more about how education technology is used than about who has access to it.
Nigel Coutts

Tinkering with Old Technology - The Learner's Way - 27 views

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    As technology evolves and its inner workings increasingly disappear from view, replaced with solid-state parts hidden by glass, aluminium and plastic, our understanding of what makes the world operate is similarly impeded. When machinery from just a few decades ago is viewed a world of moving parts, linkages, cogs and levers is revealed. These mechanical objects contain an inherent beauty and inspire curiosity in ways that modern devices with their pristine surfaces and simplified design language do not. Opportunities to explore devices from the past open our eyes and lead us to new questions of how our devices function, how machines do the jobs we need them to do and how engineers solve problems.
MaryLiz Jones

Sample Maker Rubric | Edutopia - 80 views

  •  
    Design and creative thinking rubric - worth your time to review
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