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Bo Adams

NAIS - 10 Ways to Teach Outdoor Education and a Sense of Wonder - 2 views

  • Love for the outdoors comes from learning through play, exploration, guidance, fun, and wondering.
  • Learn the natural and human history of the place you are working in order to be open and aware of teachable moments—and to gain your own sense of being. A sense of wonder is the greatest gift you can give children.
  • There are two parts to having a well-developed sense of wonder. One part is the ability to see the wonder in the world (the “wow,” the “amazing,” the “how is that possible?”). It also is the ability to wonder, to ask questions, to know there is more to know.
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  • Don’t just tell children how knowledge was figured out. Have them figure things out for themselves through the activities and lessons you plan.
  • Human-caused problems have human solutions. Small actions multiplied by millions both cause and solve problems.
  • Outdoor education is less about the content and more about the experience. Almost always choose action over talking.
Nicole Martin

This Neuroscientist Wants to Know Your Brain On Art-and How It Improves Learning | EdSu... - 0 views

  • teach for mastery? And mastery means memory
  • toxic stress
  • one of the most important protective factors for kids is a relationship with a caring adult in a school building.
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  • So how can the arts help to reinforce content, and then how can it help to teach it in the first place? And so we started embedding the arts into every Brain-Targeted Teaching learning unit.
Meghan Cureton

How Do You Teach to the Standards When Doing Project-Based Learning? - 4 views

  • People often debate about whether we should be process-driven or product-driven in project-based learning. But I think there’s a third option. We can be learning-driven. In other words, we should start with the question, “What do we want students to learn?” and let that drive the process and the product.
  • PBL is not a license to ditch the standards or take a break from real learning.
  • #1: Inquiry-DrivenInquiry-driven PBL begins with a state of curiosity and wonder. It might be as simple as the sentence stem “I wonder why _________” or “I wonder how _________.” Students then have the opportunity to research, ideate, and create.
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  • #2: Interest-DrivenAnother approach is the interest-driven PBL process.
  • #3: Product-DrivenPBL experts often say, “Students should focus on the process and not the product.” But there’s also a time and a place for projects that challenge students to focus on developing a quality product. In these projects, the product has tighter parameters but the process is more flexible.
  • #4: Problem-DrivenProblem-driven PBL begins with a specific problem or challenge that students must solve. An example is our maker challenges that present a specific scenario that leads students into research, problem-solving, ideation, and a final product that solves the initial challenge.
  • #5: Empathy-Driven (Design Thinking)Empathy-driven PBL can have elements of the previous four PBL approaches.
Meghan Cureton

You Don't Find Your Purpose - You Build It - 3 views

  • Put differently, purpose is a thing you build, not a thing you find. Almost any work can possess remarkable purpose.
  • For almost everyone, there’s no one thing we can find. It’s not purpose but purposes we are looking for — the multiple sources of meaning that help us find value in our work and lives
  • Acknowledging these multiple sources of purpose takes the pressure off of finding a single thing to give our lives meaning.
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  • Just as we all find meaning in multiple places, the sources of that meaning can and do change over time.
  • How do you find your purpose? That’s the wrong question to ask. We should be looking to endow everything we do with purpose, to allow for the multiple sources of meaning that will naturally develop in our lives, and to be comfortable with those changing over time. Unpacking what we mean by “purpose” can allow us to better understand its presence and role in our lives.
Bo Adams

The paradoxes of creative leadership | Innovation Management - 1 views

  • Creative leadership is rich with paradoxes. Creative leaders are driven by their internal passion and purpose, yet they also have an externally oriented, explorative mindset. Creative leaders lead from the front by envisioning a better future, pointing the way and setting an aspiration, yet they achieve this by orchestrating a creative team, often leading from behind to bring out the best in others. In this article, we describe the competencies of a creative leader in detail, and invite you to look in the mirror and see how you score on those key competencies. We explore the topic of paradoxes found in creative leadership and leave you with some practical suggestions on how to grow as a creative leader.
  • We discovered that self-awareness is the cornerstone of leadership: great leaders are aware of what we call their ‘leadership gifts’ as well as their ‘learning edges’. And we found out that self-awareness helps leaders to build authenticity, as great leaders think and act from a place of truth within themselves.
  • At THNK, we distinguish between a management team and a creative team. A management team typically comprises seven or more members and is charged with running an existing business. By contrast, a creative team has ideally three members and is focused on seeking new solutions.
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    Tweet from @akytle: The paradoxes of creative leadership http://t.co/EK2bbsmBkN So Blessed 2 play w/ cre8tve ldrs! #mvpschool @jbrettjacobsen @boadams1 HT @akytle
Jim Tiffin Jr

Your Team Is Brainstorming All Wrong - 2 views

  • demonstrate that groups that use Osborn’s rules of brainstorming come up with fewer ideas (and fewer good ideas) than the individuals would have developed alone.
  • There are several reasons for this productivity loss, as academics call it. For one, when people work together, their ideas tend to converge. As soon as one person throws out an idea, it affects the memory of everyone in the group and makes them think a bit more similarly about the problem than they did before. In contrast, when people work alone, they tend to diverge in their thinking, because everyone takes a slightly different path to thinking about the problem.
  • Early in creative acts it’s important to diverge, that is, to think about what you are doing in as many ways as possible. Later, you want to converge on a small number of paths to follow in more detail.
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  • Many techniques use a structure like this. For example, in the 6-3-5 method, six people sit around a table and write down three ideas. They pass their stack of ideas to the person on their right, who builds on them. This passing is done five times, until everyone has had the chance to build on each of the ideas. Afterward, the group can get together to evaluate the ideas generated.
    • Jim Tiffin Jr
       
      The 6-3-5 technique summarized.
  • allow individual work during divergent phases of creativity and group work during convergent phases.
    • Jim Tiffin Jr
       
      Here is the key to the most productive brainstorming techniques.
  • t is often important to spend time agreeing on the problem to be solved. A whole round of divergence and convergence on the problem statement can be done before giving people a chance to suggest solutions. 
    • Jim Tiffin Jr
       
      Wonder if there is a place for this in our HMW work?
  • It’s important that groups have time to explore enough ideas that they can consider more than just the first few possibilities that people generate.
  • Many brainstorming sessions involve people talking about solutions. That biases people toward solutions that are easy to talk about. It may also lead to solutions that are abstract and may never work in practice.
  • a combination of drawing and writing is ideal for generating creative solutions to problems
  • First, it’s hard for people to describe spatial relationships, so any solution that requires a spatial layout is better described with pictures than with words. Second, a large amount of the brain is devoted to visual processing, so sketching and interpreting drawings increases the involvement of those brain regions in idea generation. Third, it is often difficult to describe processes purely in words, so diagrams are helpful.
  • To develop stronger ideas, you need to manage the conversation so that the team doesn’t converge on a solution before everyone hears what others are thinking.
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    "Early in creative acts it's important to diverge, that is to think about what you are doing in as many ways as possible. Later, you want to converge on a small number of paths to follow in more detail."
Meghan Cureton

Mathematics must be creative, else it ain't mathematics - 0 views

  • There are no topics in mathematics; only artificial barriers that we have erected to help organise the curriculum. At school, we study topics in discrete chunks and come to understand them as separate islands of knowledge. Yet the most powerful and interesting mathematics arises when we cut through these barriers.
  • Knowledge has its place; you cannot connect or create what you don’t know. Tokio Myers is a trained pianist; his thousands of hours of deliberate practice are the foundation of his creativity. But he is more than a pianist (he’s a BGT winner!), and that is because he dared to defy the the conventional norms of music. Wiles is similarly the world class mathematician that he is because his field of vision is not restricted to any one topic.
  • If only students were encouraged to transcend their study of individual topics.
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  • The tyranny of school maths lies in the false promise that stuffing oneself with facts and procedures prepares you for creativity. The act of creativity is deferred to an unspecified time — presumably it is for older, more knowledgeable people.
  • Young age is no barrier — my most impressive students are also the shortest; it only takes a well-crafted maths problem to unleash their innate creativity.
  • There are obvious benefits to going deep in a particular area and I always offer a gracious nod to the fluency and fundamentals of mathematics. But mathematics at its most fundamental is an integrated body of ideas, replete in patterns. The patterns and connections are what makes it mathematics. Let that be your next headline.
Meghan Cureton

Grades are for Onions, Beef, and Other Produce; Not Children - 1 views

  • What good is gained in assigning a grade to a child’s work? The concept of 90–100% = A, 80–89% = B etc. is so entirely subjective and fraught with fallacy. Because a child can do every question on your arbitrarily chosen and constructed exam, and do so by anticipating what it is you are looking for with 100% accuracy does not mean they understand or can explain what the mathematics is about.
  • Why should our children be assigned something we also use for factory produced vegetables? Grading is an anachronistic hold-over from the Scientific Management era inserted into schooling during the 19th century.
  • Finnish kids have NO homework, but call me a believer in the idea that the Finns place less importance upon grading their children against each other. Formative assessment replacing heaps of summative assessments.
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  • Finnish national curriculum has been addended to include a multi-disciplinary requirement in each year of schooling. This will require a completely different method of assessment, there is no way to assign a single letter or numeric grade to such a task.
  • Honestly, is ranking an important outcome of education? Do we need to know who was “best” or “worst” at reading the minds of their teachers and regurgitating what those teachers want?
  • My point in this is that we seem to have lost the learning purpose, the goal of growing humans into their best selves is not central to our endeavor.
  • education needs to drop its focus upon grades as being the product of 13 years of a child’s life. Bring to schooling the joy of learning as it will go farther than the negative consequences associated with grades.
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