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Siri Anderson

K-12 Educators' Reaction and Response to ChatGPT and AI Tools During the 2022-2023 School Year - 13 views

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    Please consider completing this survey for researchers examining teacher use/perceptions of ChatGPT and AI. Thank you!
Martin Leicht

Treehouse teaching and laundry art: Educators find creative ways to reach kids - 5 views

  • was also concerned about her students’ lack of engagement — so few were completing the assignments she emailed to parents
  • Playing with her family’s laundry marked the first time Maliah seemed happy — actually happy — since the start of the pandemic.
    • Martin Leicht
       
      NOTE - happy - happy is good. Happy kids want to learn or are more likely to learn.
  • Nobody should ever be penalized or put at a disadvantage for the supplies they don’t have,” Dillingham thought to herself. “But everyone’s got laundry!”
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  • Clark started an online fundraiser to pay for bikes. He raised more than $10,000, and neighbors donated dozens of bikes and helmets for the rides.
    • Martin Leicht
       
      NOTE - a little digital citizenship too mixed in with online fund raising.
  • She couldn’t be sure whether her kids were uninterested or whether they lacked the necessary pens, paper and crayons at home.
  • He decided he would take his students on socially distanced bike rides across the city. “It was a leap of faith. I got extremely nervous. I was trying to find a way to connect with kids,” Clark said.
  • her young students are musical detectives, in search of learning. She teaches most grade levels and the school chorus.
    • Martin Leicht
       
      NOTE - musical detectives searching for music.
  • t he’s found other ways to keep his students engaged and cycling the city. He invited students to a weekly entrepreneurship class for which they rode their bikes uptown from Dunbar to the gym where Clark works, Sweat DC. The students met with the owner of the gym and the owners of a nearby bar, Hook Hall, and the bagel shop Call Your Mother Deli to learn what it takes to run a business.
  • She wanted them to create their own composition, their own snowy-day song.
    • Martin Leicht
       
      NOTE - used flipgrid for this
  • When Clark wanted to teach them about resilience, he took them through the hilly streets of Georgetown.
  • In lessons for older students, some days there were makeshift drums involved or recorders that students had taken home.
  • she was able to use the treehouse as a key part of her lessons.
  • She lugged a bookshelf, desk and heater into the 5-by-7-foot space, and ran an Ethernet cable from the house so she’d have Internet.
    • Martin Leicht
       
      NOTE - properly set up
  • before climbing into what passes for her classroom in 2020: her daughters’ decade-old treehouse.
    • Martin Leicht
       
      NOTE - different locals - maybe something with changing backgrounds.
  • So as one class studied architecture this fall, Daney, 54, encouraged them to walk in their neighborhood to take photos of houses of different styles: ranch, colonial, Victorian.
    • Martin Leicht
       
      NOTE - use what you have around you.
  • nd he stuck with his usual method of helping students learn about the design process, asking them to prepare a meal. They started with ideas and research, made a plan, carried it out and evaluated it. The result: soups and pastas and pastries.
    • Martin Leicht
       
      NOTE - edTech class on engineering and design
  • Kids need connection, he said. “I think they’re starving for conversation,” including with adults.
  • In fifth grade, students are expected to learn how to add, subtract, multiply and divide with whole numbers, decimals and fractions. Through a computer application the students have, they can program the robot to move a certain distance, stop, maybe even turn.
    • Martin Leicht
       
      NOTE - use a robot or technology to achieve the same result.
  • With learning all-virtual, he packs a big Ziploc bag — for each student, each quarter — with things like fishing line, foam board, pipecleaners, magnets, Popsicle sticks and rubber bands. Whatever they will need for their projects.
  • And a lot of the math is a little sneaky. They think they are trying to get the robot to move, when they are actually measuring the angles to get it to move.”  
  • Others complete their math problems directly on the computer, which can lead to some troubles as they try to show their work.
    • Martin Leicht
       
      NOTE - will share screen be viable.
  • When Kristin Gavaza interviewed for the music teacher position at Dorothy I. Height Elementary in the summer, she told the principal she had some ideas for how to create a festive concert while students were scattered and learning from home.
    • Martin Leicht
       
      NOTE - picture references a complete teacher set up of a large screen and standing desk. Sure, she's video editing yet the concept carries to teaching class too.
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    Numerous creative examples to how educators promoted learning on line and worked to build engagement.
Nigel Coutts

PZ Sydney Network becomes PZ Australia - The Learner's Way - 4 views

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    The PZ Sydney Network has achieved many of its goals in the past five years. Most importantly the network has been able to provide high-quality professional development to many educators through free events large and small and both face-to-face and online. The PZ Sydney Network has been able to expand its reach and in recognition of this is transforming to become the PZ Australia Network.
Nigel Coutts

Essential Reading for Teachers Interested in Thinking - The Learner's Way - 22 views

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    If you are interested in building a classroom culture where thinking is noticed, named and celebrated, there are three books which make essential reading. They provide clear evidence for why teachers should focus their efforts on encouraging and normalising thinking and offer research-backed strategies to support this. The books are the result of ongoing research by Harvard's Project Zero and their lead author Ron Ritchhart.
BIBlinks

A Call to Conscience: The Landmark Speeches of Martin Luther King, Jr. | The Martin Luther King, Jr., Research and Education Institute - 4 views

    • BIBlinks
       
      Talerne er digitaliseret, og kan findes nederst på siden
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    "Dr. Martin Luther King, Jr., is known for being one of the greatest orators of the twentieth century, and perhaps in all of American history. In the 1950s and 1960s, his words led the Civil Rights Movement and helped change society. He is best known for helping achieve civil equality for African Americans, but these speeches--selected because they were each presented at a turning point in the Civil Rights Movement--show that his true goal was much larger than that: He hoped to achieve acceptance for all people, regardless of race or nationality. This companion volume to A Knock at Midnight features the landmark speeches of his career, including: "I Have a Dream"; his acceptance speech for the Nobel Peace Prize; his eulogy for the young victims of the Birmingham church bombing; and "I've Been to the Mountaintop," the last speech he gave before his death."
meghankelly492

Technology Is Changing How Students Learn, Teachers Say - The New York Times - 13 views

  • hat the education system must adjust to better accommodate the way students learn, a point that some teachers brought up in focus groups themselves
  • roughly 75 percent of 2,462 teachers surveyed said that the Internet and search engines had a “mostly positive” impact on student research skills. And they said such tools had made students more self-sufficient researchers.
  • But nearly 90 percent said that digital technologies were creating “an easily distracted generation with short attention spans.”
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  • About 60 percent said it hindered students’ ability to write and communicate face to face, and almost half said it hurt critical thinking and their ability to do homework.
  • Other teachers said technology was as much a solution as a problem.
Nigel Coutts

Student voice, choice, agency, partnerships and participation - The Learner's Way - 13 views

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    This week I joined with teachers, students, researchers and policy writers at Melbourne University to discuss student voice. This conference was hosted by Social Education Victoria and made possible by the conference partners, The University of Melbourne, Education and Training Victoria, Foundation for Young Australians and Connect. Over three days, participants engaged in rigorous dialogue about the significance of student voice and what is required to ensure its benefits are maximised for all.
csandovaldurazo

Using Diigo in the Classroom - Student Learning with Diigo - 66 views

  • Save important websites and access them on any computer. Categorize websites by titles, notes, keyword tags, lists and groups. Search through bookmarks to quickly find desired information. Save a screenshot of a website and see how it has changed over time. Annotate websites with highlighting or virtual "sticky notes." View any annotations made by others on any website visited. Share websites with g
  • Extended Learning
  • Bookmark Lists
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  • Personal Student Bookmarks
  • Diigo can provide a way to enrich or extend learning about a topic.
  • Beyond extended student learning, Diigo can be used as a form of professional development.
  • Research  Teaching students to research is a common standard across all grade levels, elementary, middle school, high school, and beyond. Diigo excels as a research tool: Students can save relevant websites to lists in their Diigo student accounts. Each saved bookmark captures the URL and a screenshot, and can be searched later. Students can highlight important information right on the website, using Diigo. Later, when students return to the website, they find the reason they saved the bookmark in the first place. Students can use virtual sticky notes to summarize the important points of information from the website. This activity will mimic the time-tested procedure of using note cards to summarize and organize research projects. Students working on similar topics can create and join groups in order to collaborate. Later, when students need to document their sources, Diigo can be used to recall website URLs for citing sources.
    • mdause
       
      How in the WORLD do I do the social part of it?? This seems useful, but I'm still trying to figure out how to let the kids collaborate on Outliners and then share the Outliners with me easily. I bet there's something huge that I'm missing here...
Mark Glynn

(32) (PDF) An Overview and Study on the Use of Games, Simulations, and Gamification in Higher Education | Brad Wiggins - Academia.edu - 14 views

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    "This article examines the use of both game-based learning (GBL) and gamification in tertiary education. This study focuses specifically on the use of games and/or simulations as well as familiarity with gamification strategies by communication faculty. Research questions concentrate on the rate, frequency, and usage of digital and non-digital games and/or simulations in communication courses, as well as instructor familiarity with gamification. A survey was constructed with questions emerging from the game-based learning and gamification literature. It was distributed to communication faculty at public institutions of higher education in a southern state. In this context, the author argues that while the term gamification is novel, the approach is not. Based on the results, current gamification strategies appear to be a repackaging of traditional instructional strategies."
Mark Glynn

(32) (PDF) Gamification in Education: A Systematic Mapping Study | Gennady Agre - Academia.edu - 11 views

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    "While gamification is gaining ground in business, marketing, corporate management, health insurance,ecology and wellness initiatives, its application in education is still an emerging trend. This article presents a study of the published empirical research on the application of gamification to education.The study is limited to papers that discuss explicitly the effects of use of game elements in specificeducational contexts. It employs a systematic mapping design. Accordingly, a categorical structure forclassifying the research results is proposed based on the extracted topics discussed in the reviewed papers. The categories include gamification design principles, game mechanics, context of applyinggamification, consisting of type of application, educational level, and academic subject,implementation and evaluation. By mapping the published work to the classification criteria andanalyzing them, the study highlights the directions of the currently conducted empirical research onapplying gamification to education. It also indicates some major obstacles and needs, such as the needfor a proper technological support, the need for controlled studies demonstrating reliable positive ornegative results of using specific game elements in particular educational contexts, etc. Although mostof the reviewed papers report promising results, more substantial empirical research is needed todetermine whether both extrinsic and intrinsic motivation of the learners can be influenced bygamification"
Martin Burrett

Study shows students in 'active learning' classrooms learn more than they think - 18 views

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    "For decades, there has been evidence that classroom techniques designed to get students to participate in the learning process produces better educational outcomes at virtually all levels. And a new Harvard study suggests it may be important to let students know it. The study, published Sept. 4 in the Proceedings of the National Academy of Sciences, shows that, though students felt as if they learned more through traditional lectures, they actually learned more when taking part in classrooms that employed so-called active-learning strategies."
Martin Burrett

Book: The Arts in Primary Education by @Gigske via @BloomsburyEd - 1 views

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    "The Arts in Primary Education shows how resources already present in schools, such as picture books or the outdoor environment, can be used to develop a creative culture. With a focus on long-term initiatives including partnerships with art institutions and the training and personal development of teachers, the book also presents clear and accessible explanations of the benefits of integrating the arts across a school. Backed by research and evidence and complete with images and descriptions of artworks, this guide is ideal for helping develop a whole-school arts curriculum to enrich learning and raise attainment in all subject areas."
Martin Burrett

The intervention programme that claims to lessen the achievement gap - 4 views

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    "A multi-national European study, looking at over 5,500 students, has found that a novel school intervention programme can not only improve the mathematics scores of primary school children from disadvantaged areas, but can also lessen the achievement gap caused by socioeconomic status. Known as the Dynamic Approach to School Improvement (DASI), the programme is based on the latest findings in educational research. Rather than a one-size-fits-all, top-down approach, DASI works by first assessing a school to identify the specific teaching areas that could be improved and then implementing targeted measures to improve them. This process involves all members of the school community, including teachers, pupils and parents, with support from a specialized Advisory and Research Team."
meghankelly492

The association of music experience, pattern of practice and performance anxiety with playing-related musculoskeletal problems (PRMP) in children learning instrumental music - Sonia Ranelli, Anne Smith, Leon Straker, 2015 - 0 views

  • Music inexperience, changed pattern of practice and performance anxiety are associated with playing-related problems in child instrumentalists and are therefore important issues for music education.
  • Research on adult musicians has adopted these models and identified individual intrinsic factors such as age and gender, music performance anxiety and enjoyment, extrinsic factors such as music practice habits and type of instrument played and intrinsic–extrinsic interaction factors such as playing posture, technique and student–teacher interaction which influence the development of PRMP.
  • The aim of this study was to describe the music practice of child instrumentalists and determine their associations with playing-related musculoskeletal problems (PRMP), accounting for gender and age
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  • Symptoms of performance anxiety are generally categorized into cognitive (e.g. catastrophic thoughts), behavioral (e.g. avoidance of performance/auditions) and physiological (e.g. dry mouth, shaking arms/hands, increased heart rate) (Plaut, 1990; Salmon, 1990).
  • Shoup (1995) reported performance anxiety negatively affected performance in 55% (234/425) junior high and high school instrumentalists.
  • Over a third of students (36%, 263) reported they experienced the feeling of butterflies most times to always when playing in a concert or competition (Table 1).
  • There was a significant association between gender and the experience of butterflies (χ2 = 32.32, df (4), p < .001) with more females reporting the experience of butterflies than males. There was a significant association between age and reported experience of the feeling of butterflies (F = 9.012, df (3), p < .001), with older children reporting the experience of butterflies more than younger children.
meghankelly492

The rise of creative youth development: Arts Education Policy Review: Vol 118, No 1 - 3 views

  • The article describes creative youth development in the larger contexts of arts education and of education reform.
  • Lastly, the article discusses policy, funding, and research needs and opportunities and provides questions for consideration.
  • Yet these two worlds largely exist apart, failing to address the reality that youth learn and grow—or fail to reach their potential—through influences and experiences in all spheres of their lives, including home, school, and the settings where they spend time outside of schoo
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  • attention due to their high levels of youth engagement that contribute to substantial learning, enhanced critical thinking
  • such as heightened confidence and sense of agency
  • Decades of research findings link adolescent engagement, efficacy, and responsibility with opportunities for immersion and mastery, connection in a community of practice, embracing youth voice, and cultivating youth leadership with adolescent engagement, and non-school settings have emerged as crucial developmental and learning environments for youth
  • Throughout the United States, teen participants in CYD programs assert that the programs saved their lives, putting them on positive trajectories and away from gangs, drug use, crime, and ennui.
  • The creative process at the center of CYD programs contributes to profound personal growth for youth participants
  • And as they experience the creative process over an extended period, they learn that they can use it to express their own identities, understand and change the world around them, and connect to the greater human experience.”
  • community of practice of youth artists and their artist mentors, the paid, professional artists who comprise the full-time faculty. SAY Sí boasts a 100% rate of graduation and pursuit of higher education in a community with a 45% dropout rat
  • hese programs had a central belief in the ability of young people to achieve and grow artistically and personally through creative expression and skill building in the arts.
  • impact of arts-based youth programs in reducing risk factors and building protective factors in a study conducted in three American cities
  • She also catalogued characteristics of effective CYD programs, such as supporting risk within a safe space (
  • Teens develop intrinsic motivation as they immerse themselves and develop competence in a topic, connect with others who share this interest, and work with educators positioned as senior collaborators—
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
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  • 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

Researchers claim that educational success among children of similar cognitive ability depends on their background - 8 views

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    "Children of similar cognitive ability have very different chances of educational success; it still depends on their parents' economic, socio-cultural and educational resources. This contradicts a commonly held view that these days that our education system has developed enough to give everyone a fighting chance. The researchers, led by Dr. Erzsébet Bukodi from Oxford's Department of Social Policy and Intervention, looked at data from cohorts of children born in three decades: 1950s, 1970s and 1990s. They found significant evidence of a wastage of talent. Individuals with high levels of cognitive ability but who are disadvantaged in their social origins are persistently unable to translate their ability into educational attainment to the same extent as their more advantaged counterparts."
Nigel Coutts

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

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    It is generally accepted that learning is enhanced by the inclusion of deliberate, reflective practice. Indeed the act of reflecting on the impact that our actions have towards the achievement of any goal (learning oriented or other) is shown to have a positive impact. Reflective practice is defined as the praxis (interdependent and integrated theory, practice, research, thought and action) of individuals or groups to move from 'better thinking to better action' as a result of reflection for, in and on learning (Harvey et al. 2010 p140). With this in mind, it is worth considering what reflective practice might look like and to consider it in a range of contemporary contexts. 
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