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"It seems only fitting to explore the role of questions in education by asking questions about the process of doing so. I propose that we start with the customary way of framing this topic and then proceed to questions that are deeper and potentially more subversive of traditional schooling. 1. WHICH QUESTIONS? To begin, let's consider what we might ask our students. The least interesting questions are those with straightforward factual answers. That's why a number of writers have encouraged the use of questions described variously as "true" (Wolf, 1987), "essential" (Simon, 2002), "generative" (Perkins, 1992; Perrone, 1998), "guiding" (Traver, 1998), or "fertile" (Harpaz & Lefstein, 2000). What the best of these share is that they're open-ended. Sometimes, in fact, no definitive right answer can be found at all. And even when there is one - or at least when there is reason to prefer some responses to others - the answer isn't obvious and can't be summarized in a sentence. Why is it so hard to find a cure for cancer? Do numbers ever end? Why do people lie? Why did we invade Vietnam? Grappling with meaty questions like these (which were among those generated by a class in Plainview, NY) is a real project . . . literally. A question-based approach to teaching tends to shade into learning that is problem- (Delisle, 1997) and project-based (Kilpatrick, 1918; Blumenfeld et al., 1991; Wolk, 1998). Intellectual proficiency is strengthened as students figure out how to do justice to a rich question. As they investigate and come to understand important ideas more fully, new questions arise along with better ways of asking them, and the learning spirals upwards. Guiding students through this process is not a technique that can be stapled onto our existing pedagogy, nor is it something that teachers can be trained to master during an in-service day. What's required is a continual focus on creating a classroom that is about thinking rather

We're not making moral judgments about countries. What we mean by a Good Country is something much simpler: it's a country that contributes to the greater good of humanity. A country that serves the interests of its own people, but without harming - and preferably by advancing - the interests of people in other countries too.

"Open with a question or two. Another favorite education writer of mine, the cognitive psychologist Daniel Willingham, argues that teachers should focus more on the use of questions. "The material I want students to learn," he writes in his book Why Don't Students Like School?, "is actually the answer to a question. On its own, the answer is almost never interesting. But if you know the question, the answer may be quite interesting." My colleague Greg Weiner, an associate professor of political science, puts those ideas into practice. At the beginning of class, he shows four or five questions on a slide for students to consider. Class then proceeds in the usual fashion. At the end, he returns to the questions so that students can both see some potential answers and understand that they have learned something that day. What did we learn last time? A favorite activity of many instructors is to spend a few minutes at the opening of class reviewing what happened in the previous session. That makes perfect sense, and is supported by the idea that we don't learn from single exposure to material - we need to return frequently to whatever we are attempting to master.But instead of offering a capsule review to students, why not ask them to offer one back to you?Reactivate what they learned in previous courses. Plenty of excellent evidence suggests that whatever knowledge students bring into a course has a major influence on what they take away from it. So a sure-fire technique to improve student learning is to begin class by revisiting, not just what they learned in the previous session, but what they already knew about the subject matter.Write it down. All three of the previous activities would benefit from having students spend a few minutes writing down their responses. That way, every student has the opportunity to answer the question, practice memory retrieval from the previous session, or surface their prior knowledge - and not just the students most likely to

"1. Blogging enables reflection. This is true for both students and educators. Too often do we go through our days, class to class, with minimal opportunities for reflection on our experiences or the information that we have acquired along the way. Blogging offers the opportunity to take a step back and connect with our learning and place it in the context of the bigger picture. Make reflection an assignment or part of another assignment - it is an important component to learning. For students: This is not the easiest thing to accomplish - blogging takes time and that is a finite resource during a busy class period. There is great opportunity in academic support periods or advisory classes for students (particularly in 1:1 schools) to blog. Many advisory classes take place throughout the day, which is a great break point for students to create based on their learning from that day. For teachers: This type of reflection can and should be compiled into your lesson planning for future lessons. Take what you learned from teaching and learning that day and incorporate it into the next day's lessons. Find time to do this during a conference period during your day or right after school. Yes, it is tough to get in the habit of doing a new thing - but once you start using reflection through blogging, I think that your lesson planning will be easier and much more meaningful. 2. Develop an Authentic Audience An authentic audience is a great way to increase rigor and in all of my experiences has led to increased performance by students. Authentic audiences in blogging could mean any number of things - family members, students from other classes, students from other buildings, other teachers, individuals interested in the content from around the world, etc. A student knowing that their work may be seen by people other than what they consider their 'typical audience' (read: teacher) typically spends more time and exerts more effort to creating a quality p

"1. The teacher is choosing the technology. It's not always possible, but when you can, let the students choose, and see what happens. Not all of them will be able to. Some need help; so let other students help them. 2. The teacher is choosing the function. This doesn't mean you can't choose the function, but if you students can't control the technology the use nor its function, this can be problematic: the learning is passive from the beginning. 3. The teacher is determining the process. To an extent you have to, but don't overdo it. 4. The technology is distracting. If the technology is more magical than the project, product, collaboration, process, or content itself, try to muffle the bells and whistles. Or use them to your advantage. 5. The technology isn't necessary. You wouldn't use a ruler to teach expository writing, nor would you use a Wendell Berry essay to teach about the Water Cycle. No need for a Khan Academy account and a fully-personalized and potentially self-directed proficiency chart of mathematical concepts just to show a 3 minute video on the number line. 6. The process is too complex. Keep it simple. Fewer moving parts = greater precision. And less to go wrong. 7. Students have access to too much. What materials, models, peer groups, or related content do students actually need? See #6. 8. The teacher is the judge, jury, and executioner. Get out of the way. You're (probably) less interesting than the content, experts, and communities (if you're doing it right). 9. They artificially limiting the scale. Technology connects everything to everything. Use this to the advantage of the students! 10. They're not limiting the scale. However, giving students the keys to the universe with no framework, plan, boundaries or even vague goals is equally problematic. 11. Students access is limited to too little. The opposite of too board a scale is too little-akin to taking students to the ocean to fish but squaring of

1) the ways they currently implement Twitter in their teaching and learning, 2) ideas for future development of Twitter-based assignments and pedagogical practices, and 3) issues concerning the integration of Twitter and other digital media into both traditional and non-traditional pedagogies. Collaborators should feel free to add material to these pages, to comment on existing material, and to share links to relevant external readings and resources. It may be helpful to tag your contributions with your Twitter handle. Collaborators are asked to please respect this space as a forum for open and respectful dialogue and networking. Let's fill up the pages below with great ideas!  Share the ways you currently implement Twitter in your teaching and learning: Students in my course New Information Technologies do an "Internet Censorship" project, focused on a specific country. I ask them to follow a journalist who tweets on that country as part of their research to understand the state of Internet freedom in the country they select. -- Lora Since shortly after Twitter was launched, I've experimented with various iterations of "The Twitter Essay," an assignment that has students considering the nature of the "essay" as a medium and how they might do that work within the space of 140 characters. -- Jesse (@Jessifer) In my fully online classes, I've started using Twitter to replace the discussion forum as the central location for student interaction. -- Jesse (@Jessifer) Show Tweets that have gotten people arrested and prompt discussion on whether it is fair that anyone be arrested for any Tweet in the US, who is likely to be arrested for their Tweets, what kinds of Tweets are likely to prompt arrest, etc. Students in my First Year Seminar course "The Irish Imagination: Yeats to Bono" developed a platform for digital annotation of Irish literature. Embedded in their platform was a twitter feed of relevant individuals/groups, makin

"... Reclaiming pedagogy as a form of educated and militant hope begins with the crucial recognition that education is not solely about job training and the production of ethically challenged entrepreneurial subjects and that artistic production does not only have to serve market interests, but are also about matters of civic engagement and literacy, critical thinking, and the capacity for democratic agency, action, and change. It is also inextricably connected to the related issues of power, inclusion, and social responsibility.[2] If young people, artists, and other cultural workers are to develop a deep respect for others, a keen sense of the common good, as well as an informed notion of community engagement, pedagogy must be viewed as a cultural, political, and moral force that provides the knowledge, values, and social relations to make such democratic practices possible. In this instance, pedagogy needs to be rigorous, self-reflective, and committed not to the dead zone of instrumental rationality but to the practice of freedom and liberation for the most vulnerable and oppressed, to a critical sensibility capable of advancing the parameters of knowledge, addressing crucial social issues, and connecting private troubles into public issues. Any viable notion of critical pedagogy must overcome the image of education as purely instrumental, as dead zones of the imagination, and sites of oppressive discipline and imposed conformity. ..."

"This book YOUNG & CREATIVE - Digital Technologies Empowering Children in Everyday Life aims to catch different examples where children and youth have been active and creative by their own initiative, driven by intrinsic motivation, personal interests and peer relations. We want to show the opportunities of digital technologies for creative processes of children and young people. The access to digital technology and its growing convergence has allowed young people to experiment active roles as cultural producers. Participation becomes a keyword when "consumers take media into their own hands". Digital technologies offer the potential of different forms of participatory media culture, and finally creative practices. YOUNG and CREATIVE is a mix of research articles, interviews and case studies. The target audience of this book is students, professionals and researchers working in the field of education, communication, children and youth studies, new literacy studies and media and information literacy."

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"JAK nace el año 1931, tras la crisis del 29, en una zona de la Dinamarca rural. Un grupo de granjeros y granjeras decidieron crear la asociación Jord Arbejde Kapital (Tierra Trabajo Capital) al percibir que, tras la crisis, seguían disponiendo de la misma fuerza de trabajo y de las mismas tierras, pero no disponían de capital: sufrían la falta de dinero líquido La Banca JAK surgió inicialmente con una moneda complementaria que permitía a los miembros de la asociación hacerse préstamos entre ellos sin intereses y mantener la economía local circulando. En 1933, cuando el movimiento creció, el gobierno danés prohibió la moneda, pero la asociación continuó con su filosofía, ahorrando y prestando coronas danesas sin intereses. ..."