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guimejia

El lenguaje se mueve para pensar: la forma del alumno - 1 views

thelearnersway.net/...language-moves-for-thinking

shared by guimejia on 09 Mar 21 - No Cached
  • Nigel Coutts on 09 Mar 21
     
    A good place to start in our efforts to shift the impact that our language choices have is with a focus on the language of thinking. If we believe that all learning is a consequence of thinking, it is natural to select language moves that encourage this from our learners.
Martin Leicht

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

www.washingtonpost.com/...b-bc68-96af0daae728_story.html

learning zoom online teaching laundry

shared by Martin Leicht on 11 Jan 21 - No Cached
  • 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
      Martin Leicht on 11 Jan 21
       
      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!”
  • ...19 more annotations...
  • 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
      Martin Leicht on 11 Jan 21
       
      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
      Martin Leicht on 11 Jan 21
       
      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
      Martin Leicht on 11 Jan 21
       
      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
      Martin Leicht on 11 Jan 21
       
      NOTE - properly set up
  • before climbing into what passes for her classroom in 2020: her daughters’ decade-old treehouse.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      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
      Martin Leicht on 11 Jan 21
       
      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
      Martin Leicht on 11 Jan 21
       
      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
      Martin Leicht on 11 Jan 21
       
      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
      Martin Leicht on 11 Jan 21
       
      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
      Martin Leicht on 11 Jan 21
       
      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.
  • Martin Leicht on 11 Jan 21
     
    Numerous creative examples to how educators promoted learning on line and worked to build engagement.
Nigel Coutts

Moving beyond doing inquiry towards embracing an inquiry stance. - The Learner's Way - 12 views

thelearnersway.net/...ds-embracing-an-inquiry-stance

shared by Nigel Coutts on 25 Oct 20 - No Cached
  • Nigel Coutts on 25 Oct 20
     
    When we adopt an inquiry stance towards learning, we start to see things differently. Taking an inquiry stance towards learning involves a shift in mindset and practice for both student and teacher. It allows us to move beyond doing inquiry towards being inquisitive.
Nigel Coutts

Collections - The Learner's Way - 4 views

thelearnersway.net/collections

education learning thinking teaching assessment design inquiry pedagogy mathematics

shared by Nigel Coutts on 19 Jul 20 - No Cached
  • Nigel Coutts on 19 Jul 20
     
    This page makes it easy to find information and resources that are relevant to particular concepts, approaches and strategies. Each Collection is curated to serve a particular need and shares a set of resources pooled from The Learner's Way. In time this set of Collection will grow. In addition to articles from The Learner's Way you will be able to find resources designed to help you get started with the key concepts presented. The aim is to produce a set of resources which are readily accessible and of immediate benefit to classroom teachers and school leaders.
alishanypaver

Backward Design - Educational Technology - 25 views

educationaltechnology.net/design-understanding-by-design

CourseDesign

shared by alishanypaver on 19 Jun 20 - No Cached
  • Identify the desired outcomes
    • alishanypaver
      alishanypaver on 19 Jun 20
       
      I recommend starting with one sentence: "After the course ends, I hope my students will __________________________." The learning goals can come from there.
  • alishanypaver on 19 Jun 20
     
    This is the most fundamental and most simple type of course design. I recommend you start here.
Nigel Coutts

Getting started with Deep-Learning - Part B - The Learner's Way - 7 views

thelearnersway.net/...rted-with-deep-learning-part-b

education deep-learning understanding learning teaching thinking

shared by Nigel Coutts on 08 Jun 20 - No Cached
  • Nigel Coutts on 08 Jun 20
     
    With our goal of deep-learning in mind where do we begin and what learning opportunities might result in this? Having clarified our key terms of understanding, learning and deep, we can turn to a set of questions which might be of use as we plan the learning our students will engage in along their way.
Nigel Coutts

Getting started with teaching for deep learning. - The Learner's Way - 15 views

thelearnersway.net/...ing_started_with_deep_learning

education learning deep-learning

shared by Nigel Coutts on 31 May 20 - No Cached
  • Nigel Coutts on 31 May 20
     
    There is an understandable interest in deep-learning, after all, who wants their students to have a superficial understanding of the content. Read the marketing of almost any school and you are likely to find some statement about the deep-learning that is achieved as a result of their excellent teaching and learning platform. Likewise, ask any teach about their philosophy of teaching and you will hear how they engage their students with learning that promotes a deep-understanding.
Nigel Coutts

Slow Looking at Home or Doing More with Less - The Learner's Way - 16 views

thelearnersway.net/...t-home-or-doing-more-with-less

shared by Nigel Coutts on 19 Apr 20 - No Cached
  • Nigel Coutts on 19 Apr 20
     
    It seems that thanks to COVID19, educators, parents and students are in a rush. It seems the rush started moments after the decision was made to promote social distancing by offering remote learning. From quality learning in classrooms focused on deep learning we shifted into top gear. Packets of work were prepared, online tools rapidly expanded, new options for content delivery were examined and quickly deployed. We wanted to make sure that our students would be kept busy. Parents wanted their children to be busy. - Maybe slow looking is the solution?
Jeff Andersen

Designing for Web Accessibility - Tips for Getting Started | Web Accessibility Initiative (WAI) | W3C - 1 views

www.w3.org/designing

web accessibility

shared by Jeff Andersen on 29 Mar 20 - No Cached
  • Jeff Andersen on 29 Mar 20
     
    This page introduces some basic considerations to help you get started making your user interface design and visual design more accessible to people with disabilities. These tips are good practice to help you meet Web Content Accessibility Guidelines (WCAG) requirements. Follow the links to the related WCAG requirements, detailed background in the "Understanding" document, guidance from Tutorials, user stories, and more.
Deborah Baillesderr

8x8 Education Video Lesson - 19 views

8x8.turtl.co/...3

remote learning

shared by Deborah Baillesderr on 17 Mar 20 - No Cached
  • Deborah Baillesderr on 17 Mar 20
     
    This is a short start guide for 8x8
Nigel Coutts

The folly of goal setting activities - The Learner's Way - 10 views

thelearnersway.net/...lly-of-goal-setting-activities

education learning neurobiology goals purpose thinking reflection teaching

shared by Nigel Coutts on 19 Jan 20 - No Cached
  • Nigel Coutts on 19 Jan 20
     
    It is soon the start of a new school year for students in Australia. In other parts of the world, the year continues after a short break for Christmas while New Year festivities are just around the corner for those observing the lunar new year. The start of the year is considered an excellent time to reflect on key ideas that matter to our learning and potential for success. But does this equate with goal-setting?
Nigel Coutts

Moving beyond linear plans for learning - The Learner's Way - 7 views

thelearnersway.net/...yond-linear-plans-for-learning

education learning teaching curriculum visual thinking

shared by Nigel Coutts on 05 Jan 20 - No Cached
  • Nigel Coutts on 05 Jan 20
     
    An important part of the role of any educator is that of planning learning sequences. Perhaps you are tasked with designing curriculum or more likely you are translating a mandatory curriculum into workable units of learning. The task is complex and there are multiple arrangements. The goal is to design units that connect students with learning in ways that are meaningful and relevant. A well-designed unit of learning fits seamlessly alongside other learning opportunities and the overall sequence of learning should match the learners developing expertise. As we plan units of learning we must consider a great variety of factors which impact the learning we design. Our knowledge of our students and where they are with their learning is crucial and a strong place to start. We also need to know what it is we are required to teach and have a grab bag of pedagogical moves that bring this content alive.
meghankelly492

Precompetitive appraisal, performance anxiety and confidence in conservatorium musicians: A case for coping - Margaret S. Osborne, Gary E. McPherson, 2019 - 0 views

journals.sagepub.com/...0305735618755000

world Music

shared by meghankelly492 on 21 Aug 19 - No Cached
  • Primary and secondary appraisals formed theoretically consistent and reliable evaluations of threat and challenge. Secondary appraisals were significantly lower for students who viewed the performance as a threat. Students who viewed the performance as a challenge reported significantly less cognitive anxiety and higher self-confidence. Findings indicate that the PAM is a brief and reliable measure of cognitive appraisals that trigger precompetitive emotions of anxiety and confidence which can be used to identify those performers who could benefit from pre-performance intervention strategies to manage performance stress.
  • Music performance anxiety (MPA) can be controlled when musicians cognitively restructure their own thoughts and feelings about their performance by anticipating symptoms of anxiety and turning them to constructive use
  • The cognitive interpretation, or appraisal, of an initial emotional response, such as fear, exerts a proximal influence on performance
  • ...4 more annotations...
  • and substantially determines if performers will suffer emotion-related detriments or profit from emotion-related benefits
  • Emotions that are too weak or intense and feel unpleasant lead to lower motivation, distracted attention, and reduced performance.
  • On the other hand, appropriately intense emotions which feel pleasant and are expected to help future performance are more likely to lead to increased effort, better decision making, and hence enhanced performance
  • Mann-Whitney U tests of mean ranks showed that compared to students who viewed performance as a threat (MThreat = 7.00, SDThreat = 0.99), students who viewed performance as a challenge (MChallenge = 5.02, SDChallenge = 1.91); reported significantly less cognitive anxiety at pre-recital (U = 21.00, z = -2.167, p = .028) and significantly higher self-confidence both at the start of semester, (MThreat = 4.79, SDThreat = 0.90; MChallenge = 6.42, SDChallenge = 1.08; U = 29.50, z = -3.555, p < .001) and pre-recital (MThreat = 4.45, SDThreat = 0.72; MChallenge = 6.55, SDChallenge = 0.98; U = 2.50, z = -3.104, p < .001, Figure 2).
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

Running an Extra Curricular Activity (Why, What and How) by @richardjarogers - UKEdChat - 4 views

ukedchat.com/...extra-curricular

extra curricular club

shared by Martin Burrett on 27 Jun 19 - No Cached
  • Martin Burrett on 27 Jun 19
     
    "My teenage years were brilliant, and one of the reasons for this is that I was involved in so many active clubs and hobbies. I was an army cadet, I did karate and I even tried hockey and acting for a short while. The Extra-Curricular Activities (ECAs) I did as a kid shaped my character more than my lessons in school. I can say that with conviction. In my ECAs, I made new and lasting friendships and learnt cool skills (such as how to start a fire with potassium permanganate, and how to disarm an attacker with a pistol)."
Martin Burrett

Webinar: Inspiring #EdTech in your teaching, with @ICTMagic - 4 views

ukedchat.com/...inspiring-edtech

webinar EdTech

shared by Martin Burrett on 22 Mar 19 - No Cached
  • Martin Burrett on 22 Mar 19
     
    "We are delighted to announce the start of a series of webinar sessions, designed at supporting teachers develop skills, knowledge and resources for daily classroom practice. Through 2019, we will be releasing webinar series on a variety of essential topics for educators worldwide, and although the webinar sessions will be live, registered participants will be able to watch the replay at any time."
Martin Burrett

Mental Health Is 'Everyone's Business' by @MrsRuthStacey1 - 3 views

ukedchat.com/...mental-health

mental health

shared by Martin Burrett on 12 Mar 19 - No Cached
  • Martin Burrett on 12 Mar 19
     
    "We all have mental health. Talk around mental health should be high priority in schools and we have to start with ourselves, realising that mental health is a continuum; it is not static. Positive mental health is a gift, one that should not be taken for granted, and wellbeing is something that needs to be worked at, just like physical health. "
Dallas McPheeters

This 1 sentence summarizes the entire Millennial generation | Ladders - 9 views

www.theladders.com/...e-entire-millennial-generation

shared by Dallas McPheeters on 09 Mar 19 - No Cached
  • This one sentence summarizes the entire Millennial generation:“I want to be the one who comes up with the idea, not the person who executes on it.”That’s the problemThe world doesn’t need more ideas. Ideas are easy. Ideas are as abundant as air itself.What the world needs is more hands on deck, more doers, more builders — more people who know the value of patience, and who can take something that sounds great in theory and work to bring it to life.Because let me tell you: The way an idea starts is never the way the idea ends.
    • Dallas McPheeters
      Dallas McPheeters on 09 Mar 19
       
      Lead your millennial classroom to take action... here's why...
Martin Burrett

Storytelling For Assessment by @JamietheColes - 13 views

ukedchat.com/...storytelling-assessment

shared by Martin Burrett on 08 Mar 19 - No Cached
  • Martin Burrett on 08 Mar 19
     
    "You are obsessed with stories. I am obsessed with stories. We are obsessed with stories. Even when you go to sleep at night, your mind stays awake telling itself stories in your dreams.  It's predicted that modern humans began to speak language around 100,000 years ago. It's no great leap of the imagination to assume they started telling stories not long after.  We're obsessed with stories. But why? It's how we make sense of the world. We have a deep neurological compulsion to find patterns. "
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