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Katie Day

BBC - A History of the World - Explorer - 0 views

www.bbc.co.uk/...explorerflash

G5_conflict history timelines images objects

shared by Katie Day on 06 Dec 10 - Cached
  • Katie Day on 06 Dec 10
     
    "At the heart of the project is the BBC Radio 4 series A History of the World in 100 objects. 100 programmes, written and narrated by Neil MacGregor, Director of the British Museum, and focusing on 100 objects from the British Museum's collection. The programmes will travel through two million years from the earliest object in the collection to retell the history of humanity through the objects we have made. Each week will be tied to a particular theme, such as 'after the ice age' or 'the beginning of science and literature', and the programmes will broadcast in three blocks, in January, May and September. Deep zoom imagery of the British Museum objects on the site lets you see the detail up close while listening to the programme. You can also watch short videos of many of the objects and download podcasts of each programme as it is broadcast."
Jeffrey Plaman

Tinkercad - Mind to design in minutes - 0 views

tinkercad.com

3d design cad printer software design-thinking dt

shared by Jeffrey Plaman on 11 Dec 12 - No Cached
  • Jeffrey Plaman on 11 Dec 12
     
    This looks cool... tutorials teach you how to edit progressively more complex objects. Can be 3D printed.
Katie Day

Say Goodbye to Creativity Awards - Werner Reinartz and Peter Saffert - Harvard Business... - 0 views

blogs.hbr.org/...oodbye_to_creativity_awar.html

measurements creativity advertising

shared by Katie Day on 28 Feb 13 - No Cached
  • Katie Day on 28 Feb 13
     
    measuring creativity.... "A metric that we have applied is originally based on the famous Torrance Tests of Creative Thinking (TTCT). We compared 437 ad campaigns from 90 leading brands in 10 different FMCG categories in Germany. Using an advertising creativity scale developed from communications researchers at Indiana University in 2007 we evaluated and indexed each campaign's creativity levels. Specifically, we measured five dimensions of advertising creativity: (1) originality (was the ad original, rare, surprising, unique?); (2) flexibility (does the ad link the product to different ideas, concepts, or subjects?); (3) elaboration (does the ad contain intricate or numerous details?); (4) synthesis (does the ad blend normally unrelated objects or ideas?); and (5) artistic value (does the ad excel visually, verbally, or graphically?). "
Mary van der Heijden

Maintaining Content Standards in a Digital World -- THE Journal - 0 views

thejournal.com/...quality-content-standards.aspx

professional_development

shared by Mary van der Heijden on 21 Apr 12 - No Cached
  • Mary van der Heijden on 21 Apr 12
     
    A textbook follows an arduous process to get approval for use in the classroom. So who vets the curriculum when a teacher can simply pluck a learning object off a virtual shelf?
Louise Phinney

Digital Citizenship Week | always learning - 0 views

kimcofino.com/...digital-citizenship-week

digitalcitizenship

shared by Louise Phinney on 01 May 12 - No Cached
  • Louise Phinney on 01 May 12
     
    Learning objective: A renewed focus on the choices we make and how they affect us, specifically about balance, responsibility and safety. Guiding Question: How are you a responsible digital citizen?
Katie Day

Space Time Travel - Relativity Visualized - 0 views

www.spacetimetravel.org

science secondary_school physics teaching visualizations education

shared by Katie Day on 05 May 12 - Cached
  • Katie Day on 05 May 12
     
    Summary via the Scout Report (May 2012): "This site was created by two German physicists (Ute Kraus and Corvin Zahn) and it offers a "visual and intuitive approach to the theory of relativity." The site does not offer the basics dealing with the theory of relativity, but rather a novel approach to understanding what an object might look like while moving near the speed of light or what it might be like to "travel to the vicinity of a black hole and take a look-around." As the site notes, "Part of the difficulties in understanding relativity are due to the fact that relativistic effects contradict everyday experience." On the homepage, visitors can learn more in the Content area. Here they can watch remarkable visualizations such as Rolling Wheels, Sights that Einstein Could Not Yet See, and Accelerated Motion. The site also offers brief explanations of each visualization, along with links to additional resources. Finally, the site also includes a gallery of images and an FAQ area. [KMG]"
Katie Day

UKLA : The UK Literacy Association - 0 views

www.ukla.org

uk literacy reading childrens_lit books awards

shared by Katie Day on 09 Oct 10 - Cached
  • Katie Day on 09 Oct 10
     
    "The United Kingdom Literacy Association (UKLA) is a registered charity, which has as its sole object the advancement of education in literacy. UKLA is concerned with literacy education in school and out-of-school settings in all phases of education and members include classroom teachers, teaching assistants, school literacy co-ordinators, LEA literacy consultants, teacher educators, researchers, inspectors, advisors, publishers and librarians."
David Caleb

Reading photographs - 1 views

www.learnnc.org/677

photographs visual literacy literacy photography

shared by David Caleb on 03 Nov 16 - Cached
  • Photographs have tremendous power to communicate information. But they also have tremendous power to communicate misinformation, especially if we’re not careful how we read them. Reading photographs presents a unique set of challenges. Students can learn to use questions to decode, evaluate, and respond to photographic images.
  • What happened just before this moment, or just after it?
  • The photograph of a crowd of jubilant Iraqis toppling the statue of Saddam Hussein in Baghdad on April 9, 2003, is one of the most common images of the recent war in Iraq. A closeup shot shows a crowd of primarily Iraqis toppling the statue. A wide shot of the same scene would have revealed that the crowd in the square was made up of primarily US forces and journalists.
  • ...20 more annotations...
  • One type of photography in which setting is very important is travel photography.
  • Using landmarks, monuments, or famous natural elements in a photograph is a core technique for evoking a sense of place.
  • The photographer selects the focal point not only by focusing the camera but also through other techniques.
  • shutter speed to bring only one element into focus immediately elevates that to the most important part of the image.
  • one element in the photograph is strongly backlit, it may seem to glow and thus draw the viewer’s attention.
  • What is the photographer’s thought process as she composes, frames, shoots and selects an image? Listen as photographer Lisa Maizlish narrates the decisions she made in photographing the students featured on the PBS reality show American High.
  • viewers have to decide how to interpret a photograph’s context
  • information about the people, events, setting, and so on are made explicit by the photographer — there are distinct visual clues that tell us who the people are, what they are doing, and where and when the photograph was taken.
  • implicit — implied but not clearly communicated by the photographer, or left to be inferred by the viewer.
  • identities of the people
  • unclear
  • their purpose may be unknown
  • time and place may be difficult or impossible to discern.
  • simple "W" questions can be open to debate.
  • Viewers may not even realize that they are making those assumptions
  • Just as successful written communication requires that the writer and reader speak the same language, successful visual communication requires that the photographer and viewer share a common "visual language" of signs, clues, and assumptions.
  • Were your assumptions correct? Can you always trust your first instinct? (And even having read the caption, how much do we really know about these girls and their lives?)
  • a different culture might ask why this round brown object is
  • we have to be careful that we have enough cultural background in common with the photographer to correctly interpret what we see.
  • The photograph by itself tells us very little about what’s going on; we probably could have invented any number of captions, and you’d have believed us!
  • Keri-Lee Beasley on 03 Nov 16
     
    Reading images - lots of good strategies here
  • David Caleb on 07 Nov 16
     
    Reading photos
Sean McHugh

The Scientific Case For Teaching Cursive Handwriting to Your Kids Is Weaker Than You Think - 2 views

nautil.us/...ting-and-other-education-myths

teaching handwriting research

shared by Sean McHugh on 01 Oct 16 - No Cached
  • here is ample evidence that writing by hand aids cognition in ways that typing does not: It’s well worth teaching. And I confess I’m old-fashioned enough to think that, regardless of proven cognitive benefits, a good handwriting style is an important and valuable skill, not only when your laptop batteries run out but as an expression of personality and character.
  • if they have the time and inclination.
    • Sean McHugh
      Sean McHugh on 01 Oct 16
       
      But should we be dedicating swathes of curriculum time towards this? Surely not.
  • what teachers “know” about how children learn is sometimes more a product of the culture in which they’re immersed than a result of research and data.
    • Sean McHugh
      Sean McHugh on 01 Oct 16
       
      Never were truer words written.
  • ...20 more annotations...
  • What does research say on these issues? It has consistently failed to find any real advantage of cursive over other forms of handwriting
  • our real understanding of how children respond to different writing styles is surprisingly patchy and woefully inadequate
  • Evidence supports teaching both formats of handwriting and then letting each student choose which works best for him or her
    • Sean McHugh
      Sean McHugh on 01 Oct 16
       
      Shouldn't we include touch typing here as well?
  • So was cursive faster than manuscript? No, it was slower. But fastest of all was a personalized mixture of cursive and manuscript developed spontaneously by pupils around the fourth to fifth grade
  • They had apparently imbibed manuscript style from their reading experience (it more closely resembles print), even without being taught it explicitly
  • While pupils writing in cursive were slower on average, their handwriting was also typically more legible than that of pupils taught only manuscript. But the mixed style allowed for greater speed with barely any deficit in legibility.
  • The grip that cursive has on teaching is sustained by folklore and prejudice
  • freeing up cognitive resources that are otherwise devoted to the challenge of simply making the more elaborate cursive forms on paper will leave children more articulate and accurate in what they write
    • Sean McHugh
      Sean McHugh on 01 Oct 16
       
      Likewise if they can touch-type instead of wrestling with ascenders and descenders...
  • for typical children, there’s some reason to think manuscript has advantages
  • the difference in appearance between cursive and manuscript could inhibit the acquisition of reading skills, making it harder for children to transfer skills between learning to read and learning to write because they simply don’t see cursive in books.
  • There’s good evidence, both behavioral and neurological, that a “haptic” (touch-related) sense of letter shapes can aid early reading skills, indicating a cognitive interaction between motor production and visual recognition of letters. That’s one reason, incidentally, why it’s valuable to train children to write by hand at all, not just to use a keyboard.
  • even if being taught both styles might have some advantages, it’s not clear that those cognitive resources and classroom hours couldn’t be better deployed in other ways.
    • Sean McHugh
      Sean McHugh on 01 Oct 16
       
      In other ways... the time it takes for kids to learn cursive, spread over years, compared to the relatively short time it takes to master touch-typing being a case in point.
  • that cursive is still taught primarily because of parental demand and tradition, rather than because there is any scientific basis for its superiority in learning
  • inertia and preconceptions seem to distort perception and policy at the expense of the scientific evidence
  • How much else in education is determined by what’s “right,” rather than what’s supported by evidence?
  • Beliefs about cursive are something of a hydra: You cut off one head, and another sprouts. These beliefs propagate through both the popular and the scientific literature, in a strange mixture of uncritical reporting and outright invention, which depends on myths often impossible to track to a reliable source.
  • the reasons to reject cursive handwriting as a formal part of the curriculum far outweigh the reasons to keep it.
  • This must surely lead us to wonder how much else in education is determined by a belief in what is “right,” unsupported by evidence.
  • it’s often the case that the very lack of hard, objective evidence about an issue, especially in the social sciences, encourages a reliance on dogma instead
  • There needs to be wider examination of the extent to which evidence informs education. Do we heed it enough? Or is what children learn determined more by precedent and cultural or institutional norms?
  • Sean McHugh on 01 Oct 16
     
    There needs to be wider examination of the extent to which evidence informs education. Do we heed it enough? Or is what children learn determined more by precedent and cultural or institutional norms?
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