This might be the “role” of the teacher here – to make learners realize they are better off becoming more independent.
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Independence as Essential for Lifelong Learning | Reflecting Allowed - 1 views
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I don’t know how to foster this, or if it is possible.
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I bet you do know how to foster this. In social capital theory they describe two ways of connecting that we all use--bridging (across groups) and bonding (within groups). All of this is part of a larger tool-reciprocation.
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In fact annotating and sharing this is a way to reinforce both your independent stance and your interdependent connections. It is like Mrs. Malaprop discovered: she has been speaking dialogue here entire life. I think we all are doing this dance of independence and interdependence all the time.
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my attempts to let them
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(with my help at first,
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Even worse control because it becomes internalized,
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None of the issues of pre-requisites and order of learning and institutional imperatives matters if we put the power in the heart of the learner. After that 'engine' is started all of the world becomes fuel whether it is credentialing, certification, accrediting--it doesn't matter. It is all grist for each unique learning soul to turn into her or his own bread.
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these questions an “A” for “answering”
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You could argue he system is flawed, its structures non-conducive to learning,
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shared by Jaap Bosman on 20 Jan 14
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Self-assessment and self-remediation | Dave's Educational Blog - 0 views
davecormier.com/...ssessment-and-self-remediation
rhizome assessment rhizo14 independent scaffolding
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Teaching students how to make good questions for themselves, to ask them in ways that are going to lead to effective searching and learning,
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Down the Rabbit Hole | Exploring Digital Culture - 0 views
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“the reader is invited to move among plateaux in any order.”
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In the #clmooc I helped to facilitate last summer one of the principles that we reiterated in welcoming posts was that of invitation. Not just any invitation, but invitation anywhere and any time. The course/collaboration had no beginning in that all who came to it brought with them a history that powered them like an artesian well. The cMOOC has also had no end either. It still exists and is used and is bring those who are and were a part of it into other worlds like #rhizo14.
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A rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo. (Deleuze & Guattari, A Thousand Plateaus. P. 25)
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Sometimes my familiarity with the the fact of real rhizomes saps the metaphor's usefulness. I understand that D & G are talking about power relationships, but in a way that makes no sense at all when discussing 'whole things'. There are power relationships in biological beings, but all the parts are pulling toward the imperative of surviving. So...I have been working through the uncertainty of applying this vague theoretical scaffold into the learning space of the classroom. Now that is where the idea of being always in the middle makes sense, suspended across to learners as a bridge and at the same time walking across other's bridges.
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Lines of Flight: Deleuze and Nomadic Creativity,
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Maureen Maher
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Knowmadic thinking is “exposing metaspaces in between each, opening new opportunities for new blends of formal, informal, non-formal and serendipitous learning. As in the Invisible learning project, we focus on educating for personal knowledge creation that cannot be measured easily.”
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Rhizomatic Learning
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This is what I asked about last week, too. What makes learning different from rhizomatic or deep or knowmadic learning. I think the modifiers (deep, rhizomatic, knowmadic) have a purpose. They allow us to filter learning differently very like having a variety of critical stances. It is, however, like the story of the blind men and the elephant. Which description is correct? All of them--in part.
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“how do we bring this concept of embracing uncertainty into our classrooms?”
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I tried to address this in my blog post this week: http://impedagogy.com/wp/blog/2014/02/01/hodie-quid-egisti-what-have-ye-done-a-rhizomagic-week-of-blooming-buzzing-confusion/ I don't think I used the word 'uncertainty' once in that post, but the tone is, I think, one of taking that leap.
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the leap into the unknown is the learning process.
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It is unnatural to leap into the total darkness of the unknown. In fact I think that by definition it is impossible. Instead I think we leap into the partly known. My analogy is the Kentucky pioneer Daniel Boone. Some might say that he worked his way into virgin, unknown territory. I would say yes and no. He did blaze trails into places no Euro-American had ever been, but the territory itelf shared lots of known traits with where he had already been. For example, water flows downhill to larger streams. The sun rises in the east. And the thousand other 'knowns' that come from a lifetime of living close to ground. And, of course, he really did blaze the trails he made by walking. He emblazened trees with marks for others to follow. Now that must've been an ego trip and a half! The other half of the analogy is that we too have general knowledge that we take with us into the knowmadic life and the rhizomatic wilderness of learning. We have theoretical knowledge. I would include the whole baggage of ed school in that. But we have to dump most of that when we move into the partly known territory of deep, rhizomatic knowmadicism. You need to travel light when you are blazing the trail. You need the practical stuff in your backpack. All week and every week I will be bringing back news as I light out into the territories. I expect to get well and truly turned around on occasion, but I don't plan on backtracking much except to send back reports. Boone wasn't much good at this part, but Lewis and Clark were, but I daresay I call more on the Kentuckian than I do the Virginian. All I know is that every one who reads this could be my Sacajewia, a real guide to the undiscovered country. Amen.
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The Art ofCritical Making, Rhode Island School of Design on Creative Practice. Ed: Rosa... - 1 views
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"In my teaching, I stress the importance of the creative process over the product, but the impact of how or when this shift in understanding takes place came into sharp focus only recently. In preparation for the final of my Studio Design{ course, I took my class to the study Room at the RISD Museum to view a portfolio of paper folding structures by the artist Tauba Auerbach. The Complex structural and color interactions in the portfolio make it a favorite to show[….] instead of witnessing surprised joy, I watched a roomful of heads and shoulders slump in desperation. I was startled to realize the little more than half-way through their first semester, my students were projecting themselves into this portfolio not with the passive eyes of spectators, but with the knowledge of makers. No longer just an end product to them, this portfolio now embodied hours of toil and experimentation, trial and error, measuring and calculating. Seeing it demonstrated to the students that if they wished to make successful work they needed to build up their creative muscles." Page 37