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Katie Day

Flat World Knowledge Book Archive - free textbooks online - 0 views

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    "Flat World Knowledge is a textbook publisher, focusing on (mostly entry-level) college textbooks. From its beginning until the end of 2012, Flat World Knowledge licensed all of its books under a Creative Commons by-nc-sa 3.0 license, allowing anyone who so desired to copy them, give them away, or modify them, as long as they acknowledged the authors, released the copies under the same license, and didn't do so for commercial gain."
Jeffrey Plaman

Apple to announce tools, platform to "digitally destroy" textbook publishing - 0 views

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    Article speculating on what Apple's big education announcement might include. Garageband for Textbooks?
Mary van der Heijden

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

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    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

Reflections on a 1:1 iPad: It is a Tool, NOT a Toy! « techchef4u - 2 views

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    I had the wonderful app-ortunity to make a site visit to Westlake H.S. in Eanes ISD on Wednesday February 1st. When we arrived, various campus and district officials shared some background on the student-centered learning initiative. They focused on multiple benefits of the 1:1 iPad initiative where high school seniors were issued iPads like textbooks at the beginning of the year. In a time where global communication, inquiry-based opportunities, and self-directed learning is how students manage the information revolution, it was refreshing to get to observe an iLearning Utopia.
Katie Day

Smarthistory: a multimedia web-book about art and art history - 0 views

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    << Smarthistory.org is a free multi-media web-book designed as a dynamic enhancement (or even substitute) for the traditional art history textbook. Dr. Beth Harris and Dr. Steven Zucker began smARThistory in 2005 by creating a blog featuring free audio guides in the form of podcasts for use in The Museum of Modern Art and the Metropolitan Museum of Art. Soon after, we embedded the audio files in our online survey courses. The response from our students was so positive that we decided to create a multi-media survey of art history web-book. We created audios and videos about works of art found in standard art history survey texts, organized the files stylistically and chronologically, and added text and still images. >>
Katie Day

What Should Children Read? - NYTimes.com - 1 views

  • There are anthologies of great literature and primary documents, but why not “30 for Under 20: Great Nonfiction Narratives?” Until such editions appear, teachers can find complex, literary works in collections like “The Best American Science and Nature Writing,” on many newspaper Web sites, which have begun providing online lesson plans using articles for younger readers, and on ProPublica.org. Last year, The Atlantic compiled examples of the year’s best journalism, and The Daily Beast has its feature “Longreads.” Longform.org not only has “best of” contemporary selections but also historical examples dating back decades.
  • Adult titles, like “The Omnivore’s Dilemma,” already have young readers editions, and many adult general-interest works, such as Timothy Ferris’s “The Whole Shebang,” about the workings of the universe, are appropriate for advanced high-school students.
  • In addition to a biology textbook, for example, why can’t more high school students read “The Immortal Life of Henrietta Lacks”?
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  • What Tom Wolfe once said about New Journalism could be applied to most student writing. It benefits from intense reporting, immersion in a subject, imaginative scene setting, dialogue and telling details. These are the very skills most English teachers want students to develop.
  • In my experience, students need more exposure to nonfiction, less to help with reading skills, but as a model for their own essays and expository writing,
  • Common Core dictates that by fourth grade, public school students devote half of their reading time in class to historical documents, scientific tracts, maps and other “informational texts” — like recipes and train schedules. Per the guidelines, 70 percent of the 12th grade curriculum will consist of nonfiction titles. Alarmed English teachers worry we’re about to toss Shakespeare so students can study, in the words of one former educator, “memos, technical manuals and menus.”
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    "A striking assumption animates arguments on both sides, namely that nonfiction is seldom literary and certainly not literature. Even Mr. Coleman erects his case on largely dispiriting, utilitarian grounds: nonfiction may help you win the corner office but won't necessarily nourish the soul. As an English teacher and writer who traffics in factual prose, I'm with Mr. Coleman. In my experience, students need more exposure to nonfiction, less to help with reading skills, but as a model for their own essays and expository writing, what Mr. Gladwell sought by ingesting "Talk of the Town" stories. I love fiction and poetry as much as the next former English major and often despair over the quality of what passes for "informational texts," few of which amount to narrative much less literary narrative. What schools really need isn't more nonfiction but better nonfiction, especially that which provides good models for student writing. Most students could use greater familiarity with what newspaper, magazine and book editors call "narrative nonfiction": writing that tells a factual story, sometimes even a personal one, but also makes an argument and conveys information in vivid, effective ways."
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    "What schools really need isn't more nonfiction but better nonfiction, especially that which provides good models for student writing. "  Totally supports my belief that nonfiction longreads are out there on the internet and are not being taken advantage of by teachers -- enough.
Keri-Lee Beasley

Re-envisioning Writing for a Networked Age: A Few Moments with Elyse Eidman-Aadahl | DM... - 1 views

  • To write still means to make something. Writers are makers.
  • much of the power of writing is that it takes thought and externalizes it
  • whether we are writing on a digital platform or in our spiral notebooks. There is a core to writing that is still about creating and sharing knowledge
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  • some components that have hugely changed, mainly the issues of what we can create and how it circulates.
  • teacher who acted as the sole reader of our material.
  • The internet and 21st century tools have opened up the possibility for one individual to not only produce the text but also to design it, circulate it, and manage publicity
  • very young or beginning writers can actually participate in all of those processes
  • we think of digital writing as writing that is not only created using digital tools, but is also typically created in or for a networked environment and meant to be interacted with on a screen.
  • We need to be able to make that part of our understanding of the new normal of writing -- not an additional piece -- but the new normal.
  • As computers become increasingly networked, teachers could see the potential for the read/write web, for writing as a way to participate in online communities, to hyperlink vast amounts of information connected to a text, and to interact and even collaborate directly with others to create something
  • being a writer yourself and participating in digital environments alongside the youth you work with, you are able to observe patterns and experience the new in such a way that you could be part of remaking knowledge in the field of composition. The writing revolution is not done and we can be right in the middle of it.
  • it's all about an inquiry stance and creating learning experiences where students can do the same because the "textbook" is all around us in the reading and writing going on in the world
  • participating as a digital writer and deeply reflecting upon your work by looking for patterns and understanding what shifts are being required of you
  • shift from being the person who hands out formulas for writing success to the person who stands shoulder-to-shoulder with the students to understand what happens when we write for real in world.
  • build the platforms for publishing and circulation of student work
  • It’s vital for teachers and curriculum developers to start with the assumption that every young person not only can become a participant in the public internet, but will become a participant and likely already is a participant.
  • youth are going to have to manage their online identity. How they present and represent their identities and manage the multiple footprints they leave on the web are going to be key things for students to understand.
  • develop a sense of responsibility around what they put out there
  • sense of power and authority
  • making, creating, and collaborating about real work that matters to them
  • tools are not the issue
  • They allow us to do new things and expand our capacity to make things, yet deep, consistent issues remain at the center: what am I saying? Is what I have to say warranted? Have I been accurate and credible? Have I crafted something that my reader and my audience can take in? Am I listening to response and looking at my drafts iteration by iteration?
  • it’s so important to slow oneself down and to take one’s text quite seriously.
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    "A learning environment expert and education advocate, Elyse is dedicated to improving the teaching of writing by helping educators understand the changing nature of the discipline in a digital age."
Keri-Lee Beasley

10 ways to find global connections for your class | Ditch That Textbook - 0 views

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    Many educators are interested in the idea of connecting their classes to other classes or individuals that could have a positive influence on their students. They just aren't sure where to find people to connect with. Thankfully, the Internet is full of resources to help classes get connected. Here are 10 places where you can turn
Sean McHugh

Stop Taking Notes And Pay Attention | Synergy Tutoring - 0 views

  • It is amazing to me that the practice of note-taking in class is so widespread, given how ineffective it is
  • Unfortunately, if you try to take notes while you are listening, and then try to study from your notes later, you are receiving half-way exposure twice that doesn’t even add up to a whole
  • The philosophy of note-taking is patently absurd when you really think about it. The idea is that in class, the teacher verbally recites relevant facts, while students are supposed to split their attention between listening and writing them down, essentially taking dictation and creating a very low-fidelity personal copy of their textbook on the fly. Then the students are supposed to go home and re-learn (or learn for the first time) the information that the teacher gave them in class from this hastily constructed replica.
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  • If you have spent your time in class trying to write things down rather than listening fully, of course you won’t remember what was said, and will feel later like you have to rely on your notes.
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