243 Matching Annotations
  1. Jun 2015
    1. there is a powerful impact on growth and self awareness when students can see their own development in speaking, in writing, in thinking and problem solving.

      So it all comes back to self-directed learning again. As I've begun to think about this competency in our school, I've thought about how this might be something that is intertwined with all other competencies. In plain language, this might mean that students are always pulling back holding up a mirror (or taking a snapshot) of their learning/journey.

    2. Making clear what students need to know and be able to do, not only in a specific assignment or class, but across the experiences that lead to a college degree, is a necessary base. It requires clear criteria about what will count as meeting the goal that has been set

      This is the goal -- or at least I think it is -- of competency, mastery-based learning and of open badges. One thing I love about looking at Alverno's 8 Abilities like I did this morning is to see two things: First, the over-arching 8 remain more or less the same for almost 40 years. And second, there is a constant revision, re-owning, re-thinking of the skills under each ot the abilities (thus the history of the changes).

    3. The kind of work assigned thus makes a big difference. If students have only been asked to write in one mode or to one type of audience (or no audience except the implied teacher as audience), their portfolios will provide less opportunity to find direction.

      This is real, and perhaps, a bit understated. When students are doing worksheets, filling in blanks, how can we ask them use them for self-expression (sonnet), self-reflection (mirror) or for making a plan (map).

      But then, does this mean that we have to spend more time on creating conditions and projects for meaningful work before working on portfolios? Probably not, but this does remind me of how much gets revealed because of portfolios.

      Seeing what's not there yet -- in our own curriculum -- is a big reason why teachers resist student portfolios, I think.

    4. Criteria for performance, such as the Alverno criteria for speaking across the curriculum guide the interaction between student and teacher.

      The purpose of criteria is not about judgment or meeting standards, it's a precursor for conversation or interaction between teacher and student.

    5. Using explicit criteria, the student develops the ability to look at her own work and determine the strengths and weaknesses evident in a particular performance or across a set of performances. She begins to set goals to address the areas she needs to develop and to deepen her areas of strength.

      The obvious paradox here is that the more "explicit" and digestible (student friendly) our criteria, the more a student can be independent in assessing her own work. That's a wonderful tension between top-down criteria and bottom-up assessment.

    6. That power is unleashed when teachers see the portfolio process as dependent upon the clarity of goals for student performance through their work in the liberal arts and professional education curriculum; when they attend to the quality of the assignments, projects and assessments that they provide for their students; and when they take the responsibility for teaching students the process of reflection and self assessment.

      That's a lot to throw in here at the end. It does make me wonder about how focusing too much on assessment might become the tail wagging the dog, if you know what I mean. Because ultimately it gets back to working together to create quality assignments and teaching the process of self-directed learning.

    1. On one hand there is depth of content understanding to gain and at the same time the schools needs to ensure all students develop the competencies to learn. Students will leave with their unique content learning but all need to be equipped with competencies to learn. This is the essence of personalised learning. Students learn while doing things – they involve themselves in projects in which they see as important. Educationalist Jerome Bruner has written the ‘teaching is the canny art of intellectual temptation’. Students learn, as do scientists and artists, by enlightened trial and error – helped sensitively by adults. It is important to appreciate that not all learning is fun. What it does mean is that, as Guy Claxton has written, children need to see the point of learning, that it is something they want to achieve, reach for or do. With this in mind students will involve themselves in difficult, even painful, learning tasks. Anyone who has seen a student learning to ride a bike, swim, or skateboard, or play a musical instrument cannot but conclude that children are capable of incredible learning feats that are difficult and hard. Contrary to the current focus on intentional teaching project based learning can lead individual students to explore unplanned content to their advantage. In this respect students are learning like artists – new ideas unfolding as opportunities arise. Every study undertaken provides opportunities for students to follow up their areas of interest – to personalize their learning while at the same time working with others as required. Current assessment is constrained by learning objectives and criteria and increasingly by an emphasis on summative National Standards in literacy and numeracy. With personalised learning, or project based learning, assessment is seen by the depth of understanding and creativity of the students, by what they can do, demonstrate, exhibit or store in their portfolios. Constant feedback and assessment is part of the teacher’s role.

      This comes close to my philosophy of education.

    1. The four pillars of learning The four pillars of learning are fundamental principles for reshaping education: Learning to know: to provide the cognitive tools required to better comprehend the world and its complexities, and to provide an appropriate and adequate foundation for future learning. Learning to do: to provide the skills that would enable individuals to effectively participate in the global economy and society. Learning to be: to provide self analytical and social skills to enable individuals to develop to their fullest potential psycho-socially, affectively as well as physically, for a all-round ‘complete person. Learning to live together: to expose individuals to the values implicit within human rights, democratic principles, intercultural understanding and respect and peace at all levels of society and human relationships to enable individuals and societies to live in peace and harmony.

      These are great "meta-competencies."

  2. May 2015
    1. “Making creates evidence of learning.” The thing you make—whether it be a robot, rocket, or blinking LED—is evidence that you did something, and there is also an entire process behind making that can be talked about and shared with others. How did you make it? Why? Where did you get the parts? Making is not just about explaining the technical process; it’s also about the communication about what you’ve done.

      This is an important notion, that making something is the beginning of having evidence of learning. AND that embodied in that object is the process and the learning that you went through, which needs to be given time and place to show.

    1. "What connections can I make between what I'm learning in one class with what rm learning in another?" ""What questions do I have about my learning?"

      Versions of these questions would be good for us to consider in our portfolio panels.

    2. making student development visible and accessible to the student, through video portfolios, written portfolios, and multi media collections of work

      What a powerful reason for asking students to keep and develop a portfolio: because we want you to see the progress you will make/are making, or at least see the changes and development of your work.

    3. The challenge for all of us engaged in the design of portfolio assessment is to assist our students to learn how to make their products more "interwoven and complete," weighing "the stress of every chord" to assure that the portfolio becomes an expressio

      What a bracing shift it would be to ask students to consider their portfolios as something that is an expression "worthy of their time and effort." To treat the portfolio as another presentation of their work, for a real audience, and one that matters.

      How can we begin to give students experiences of this kind of presentation of self/work in small ways, not just at the end when a portfolio is due.

    4. the portfolio can be a structure to help an individual express meaning. But its quality depends up what the individual does with it.

      This would suggest that a portfolio is a means of self-expression. Students should be encouraged to show who they truly are through a portfolio.

      So I was just looking at a folder of work that a seventh grader wants to use in her portfolio. She came to me asking me to "approve" of the work. "Is this good enough for my portfolio in Independent Reading?"

      It wasn't easy to get her to understand that I wasn't going to give approval or disapproval, and instead I asked her in as many was as I could think of to show me how the work show us something important about her ability to "have conversations online" (as our competency states) about her reading. Or more generally, I said, "Okay, so here are three responses to short stories that you have first drafts of. You do need to finish them, and as you do, think about what you want these to show about your unique, thoughtful ways of responding to literature."

      We have work to do. But Mary Diez's metaphor here reminds me of how important it is to return the power of the portfolio to the student. It's not my approval of the work that matters, it's the student's ability to recognize and articulate her own sense of why this work matters, how it shows something important about herself.

    1. five critical questions

      There's a lot to learn about the leadership and vision shown by these questions and this process.

      1. We want to know what the burning issues are in your field, and we want to know how you are dealing with these issues in your general courses and in the advanced courses.

      2. What so important in your classes that everybody needs to learn it?

      3. Let's forget credits and course requirements. Instead tell us what students need to know to be successful in your department.

      4. Let's assume that your work with students is one piece of a larger picture. How do you think they might connect the work in your classes with their work in other classes? Let's think about the connections, not just hope they get there.

      5. We value the liberal arts and professional learning. How do you see the two interacting.

      The scheduled discussions make clear that this is a self-research project. This is what we need to do in schools at all levels.

  3. Apr 2015
    1. W h e n   n o n v i o l e n c e   i s   p r e a c h e d   a s   a n   a t t e m p t   t o   e v a d e   t h e   r e p e r c u s s i o n s   o f p o l i t i c a l   b r u t a l i t y ,   i t   b e t r a y s   i t s e l f .   W h e n   n o n v i o l e n c e   b e g i n s   h a l f w a y   t h r o u g h t h e   w a r   w i t h   t h e   a g g r e s s o r   c a l l i n g   t i m e   o u t ,   i t   e x p o s e s   i t s e l f   a s   a   r u s e .   W h e n n o n v i o l e n c e   i s   p r e a c h e d   b y   t h e   r e p r e s e n t a t i v e s   o f   t h e   s t a t e ,   w h i l e   t h e   s t a t e d o l e s   o u t   h e a p s   o f   v i o l e n c e   t o   i t s   c i t i z e n s ,   i t   r e v e a l s   i t s e l f   t o   b e   a   c o n .   A n d n o n e   o f   t h i s   c a n   m e a n   t h a t   r i o t i n g   o r   v i o l e n c e   i s   " c o r r e c t "   o r   " w i s e , "   a n y   m o r e t h a n   a   f o r e s t   f i r e   c a n   b e   " c o r r e c t "   o r   " w i s e . "   W i s d o m   i s n ' t   t h e   p o i n t   t o n i g h t . D i s r e s p e c t   i s .   I n   t h i s   c a s e ,   d i s r e s p e c t   f o r   t h e   h o l l o w   l a w   a n d   f a i l e d   o r d e r   t h a t s o   r e g u l a r l y   d i s r e s p e c t s   t h e   c o m m u n i t y .

      The power of this concluding paragraph says it all! Wow. And it's not just cops who show this disrespect.

    2. T h e r e   w a s   n o

      This parallel list, with the devastating quotations interspersed is powerful indeed!

    3. a d m i r a t i o n   a n d   r e s p e c t

      I wonder how many cops even seek to receive admiration and respect. I agree that fear and caution are a much less human level of respect, but how do we move from a culture where only the lower levels of safety are sought or given?

    4. i n t u i t i v e l y

      What this means is that there is a gap between what people feel on their gut level (or whatever you want to call it and what they are willing to act upon on an intellectual and political level. Intuitions can be true, but isn't it important to help people move from the intuitive levels of understanding to more committed levels that will lead to more sustained political action and change?

    5. m y s t e r i o u s l y   i n   s o m e   b a c k   a l l e y

      Seems to me like we need to value the lives lost mysteriously in back alleys too, no?

    1. other needed resources

      These five barriers, "in addition to poverty" seem similar to what we face in trying to support the educational needs of migrant farmworkers and their children.

    1. r e m a i n s u n c e r t a i n

      One could also describe this as "contested." "Remains uncertain" already feels like the authors are moving toward an inevitable certainty of using nuclear power. Or am I being paranoid?

    1. soldiers, Shia militia forces, Sunni tribal fighters and members of Iran’s Revolutionary Guard Corp

      Coalition of enemies!

    2. ISIS executed some of its own fighters for trying to flee

      That doesn't sound good for ISIS. What kind of impact does that have on morale when they kill their own fighters for trying to escape the enemy?

    3. ISIS control

      It's odd to think how little territory is actually controlled by ISIS, at least in the area of Tikrit.

    1. Mr. Sadr’s loyalists had sat out recent battles after he said he was “freezing” their participation, in part because of allegations of atrocities committed by Shiite militias in Diyala and Anbar Provinces after driving out Islamic State militants.

      Okay, so it's paragraphs like this that make me want to throw up my hands. Check out what is being said here. First, who is Sadr? "Sadr is one of the most influential religious and political figures in the country," according to Wikipedia. And he is sitting this one out. Why? Because forces who are supposed to his allies, the Shiite militias. Sadr is also a Shiite, I think. But after defeating ISIS, they kill the people who live there? I think I remember something like this being reported on Democracy Now. So yeah, what kind of unity is this? Sounds like mad confusion! Here's a Human Rights Report.

    2. but

      So what's the truth? Do Shiites slaughter Sunnis when they get a chance to or not? This article leaves me more confused than when I started.

    3. Qaeda-linked Sunni

      And the Sunnis are connected to Qaeda?

    4. whose numbers are much greater than that of the regular armed forces,

      Oh, so the Peace Brigades aren't the official troops, but they vastly outnumber the government's soldiers, and without them, nothing happens. I get it.

    5. Iraqi government troops

      So Mr. Sadr's Peace Brigrades aren't the official government troops of Iraq? Makes you want to give up on ever understanding this stuff.

    6. Peace Brigades

      That's some name for militias of soldiers!

    7. Sunni militia

      So this is implying that the Sunnis and the Shiites, from the above paragraph are working together with the Islamic government. Is that the case or is this a small exception tot the rule of not working togeter?

    8. 700 fighters

      700 in a force of 30,000? Seems like this could only be symbolic.

    9. share a measure of credit for an expected victory and to position themselves

      This makes it sound like some sort of game.

    10. called for unity

      If you have to call for unity, it's implied that you don't have it currently. Also later in this same paragraph. It feels chaotic and splintered to refer to fighters as a "faction" -- faction of what? I assume a faction of the Iraqi government forces.

  4. Mar 2015
    1. porque era muy triste el cuento y me gusto mucho.

      I'd love to know why you enjoyed a sad story.

    1. 51-year-old Korean woman

      This makes me wonder how complicated this story is, with biases and struggle all over the place.

    1. And when I kick it flows, But you already know, And then you will see that you’re ready to go And that’s how you know that you’re ready to go and you see that I be, the one that can flow, yo!

      I like how the final four lines, all of which start with "and," make connections between the reader and you, showing how we know about each other and motivate each other.

    1. hard and endlessly

      One of the problems is that teachers burn out after their first few years of hard and endless works.

    1. Why are they “cool” and I am “weird”?

      I think we all feel this way at times. I wonder why it overwhelms us sometimes, makes us angry at other times, and we just brush it off still other times.