#domain 1

[infosectrain03]

ISACA CDPSE Domain 1: Privacy Governance by InfosecTrain

This comprehensive blog is to explore and provide an overview of contents and concepts covered in ISACA CDPSE domain 1. Certified Data Priva

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[myfreecourses]

#Unofficial# CISSP CheatSheet – Domain 1 , 2018 Edition [Udemy Coupon]

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#Unofficial# CISSP CheatSheet – Domain 1 , 2018 Edition [Udemy Coupon]

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[thecirculationofinformation]

NT&LPDF D1

I actually found a teaching philosophy statement that I wrote in 2010 as part of a job application! I have to say, I’m still beating down the same old straw man. I’ll reflect on this, and any aspects that might have changed in the ensuing seven years (!) in a future post.

STATEMENT OF TEACHING PHILOSOPHY Kristopher Meen One way I have heard others describe the teaching process is that conveying knowledge is like filling up an empty cup—i.e. the students—with water; such an analogy is problematically based on the belief that a student’s mind is a tabula rasa waiting to be filled with the wisdom of an all-knowing instructor. Over the course of my working life, I have interacted with students ranging from young children with severe learning difficulties, to high school students learning reading and writing skills in a second language, to adults working in advanced postsecondary settings. In no case has the metaphor of the empty vessel waiting passively to be filled adequately described my students, nor does the filling process accurately capture the nature of our engagement with one another.

Instead, I conceive of teaching as an interaction between social subjects, or individuals, between whom there is a knowledge gap, and wherein every participant brings a reserve of knowledge, experience, and life history to the interchange. Thus, the methods involved in bridging the gaps between my students and myself are essentially dialogic ones. Through the processes of communication and exchange the gap between social subjects is reduced. This dialogic vision informs all of my activities as an instructor: exercises conducted live in class, as well as the assignments I design and the projects on which I work with my students.

As an instructor, it is my responsibility to encourage student participation and establish the framework for dialogic interactions. I view the classroom as a discursive intellectual forum in which students can develop skills of consideration, evaluation, argumentation, and effective self-expression. Such a dynamic intellectual forum can only be brought into being by an instructor who is sensitive and responsive to a wide range of outlooks, experiences, beliefs, and learning styles. As a teacher, I aim to foster diversity and to create an inclusive and collegial classroom environment in which all students can comfortably and meaningfully participate.

An inclusive, dialogical outlook also informs the nature of my classroom activities and formal assignments. At the university level, I have prior experience instructing tutorial sections of approximately twenty to forty students. In the past, my tutorials typically combined a mixture of lecture, group discussions, classroom debates, and real-time conceptual exercises. My recent training and work in library sciences has enabled me to expand my knowledge of new media technologies, and I see enormous potential for developing class exercises that involve collaborative technologies such as wikis, blogs, websites, and easy-to-use Web 2.0 applications. In Koç University’s communications classes, I envision assignments that could include group presentation projects, in-class essays, short reading responses, and hands-on assignments engaging library resources, in addition to written papers. When providing feedback to my students, I consistently strive to clearly demonstrate the reasoning behind my evaluations. Students benefit enormously from hearing the ways in which they have been successful in communicating their ideas as well as the ways in which they might improve their future work. I have continued to hone my own abilities as an evaluator and effective assessor of written work, in particular, through my ongoing employment as an editor for numerous academics.

In conclusion, the dialogic orientation of my teaching is advantageous for students because the activities of the broader academic and professional worlds are likewise predicated upon intellectual exchange and the effective sharing of ideas. Research and communication skills developed in the classroom can enable students to join in and contribute to the long-standing dialogues of academia, the professions, and, perhaps most significantly, their social communities. This possibility is exciting to me, and it is to my students as well.

[thecirculationofinformation]

NPDF Domain 1

Whenever I’m in a classroom, I try to think of the classroom as a dialogic space. I don’t think of myself as an all-knowing provider of ontologically straightforward knowledge to be poured into students, conceived as empty receptacles. Few teachers probably do, these days. I think of myself as a social subject occupying a social position that is in some ways distinct -- but not altogether different -- from the students in the classroom. What we’re trying to do is to mediate a kind of gap, to try to come to a kind of mutual understanding about something.

My ideal classroom scenario is one where I’m engaged in a series of questions and answers with students, in a way that takes place as a kind of game. The game is not a competitive one, but one of feeling out a conceptual space within which we can come to an agreement about the shape or texture, or some facet of an object of discussion or interrogation. The object under question might, for example, be a subject-related text. I want to know what different readings students have made of the text, and how these are oriented when it comes to my own reading. To do that, I might have students 

I have a reasonably diverse teaching background that has thrown up how different teaching contexts present different challenges to how trying to create a classroom-as-dialogic space. The kind of dialogic environment that I envision certainly has a lot to do with the kinds of classroom spaces that I’m used to given my Canada-based education (I completed all of my primary, secondary and third-level education in Canada). Classroom, back-and-forth Q&A type scenarios are typical of the ‘game’ of classroom behaviour in the Canadian learning contexts (it’s also my impression that it is widespread in the US, and accords roughly with my experience as a third-level student in the UK, where I spent a single year on exchange).

There were different kinds of games afoot when I was teaching in Istanbul, where I spent two years teaching academic writing. The ethos that invested the teacher-student relationship there was substantially different, with an normative affective register that I would describe as much more ‘caring’ than in the anglo environments within which I did most of my learning (and teaching). I admit that this was not something that I felt I came well to grips with in terms of adjusting my teaching strategies, other than clumsily trying to behave in nicer ways to my students (not that I try to be ‘mean’, but Turkish students can find the behaviour of North American instructors to be ice cold and highly alienating, so I made attempts to be somewhat warmer than how they found me initially).

A difficulty that I did have more success with in Turkey was in getting around awkwardness when it came to language issues. I taught students working in English as their second language, and as difficult as it is getting any student to pay attention in class these days, it was pretty disconcerting in the early days to see how quickly students there turned to their smart phones the instant I opened my mouth (having been a learner in a second-language scenario myself, I can identify with how hard it is to pay attention when someone is speaking in that second language, it is exhausting). 

This was a situation where classroom technology turned out to be very handy. We spent a certain amount of time looking at texts, including both texts for reading, as well as student writing. In both cases, it helped a lot to have a document camera on hand. When discussing specific parts of a text, it was extremely helpful for me to be able to show, visually, what text I was orienting the discussion around. Much of the student frustration and tendency to instantly give up on a class turned out to be simply a lack of ability to follow along with what was going on. Being able to point to the texts with the document camera helped to focus attention and thus enable discussion to ensue.

I am thus a believer in the judicious and thoughtful use of technologies in classrooms in ways that enable dialogue to take place.

In my next post, I will turn to a complementary aspect of my approach to the classroom to that of dialogue, by talking about an interest in experiment in the classroom. I’ll do so with reference to my current teaching role, which is as an instructor of information literacy sessions as a librarian. This has particular challenges, including that most of my teaching takes place in the context of ‘one-shot’ instructional sessions.

[dreyas-beats]

Bela Bartok Music for Strings, Percussion & Celesta, Sz. 106, BB 114 (1936) (via: https://www.youtube.com/playlist?list=PLYa48nCXTm9ErDuXrceeHP4-XVZWssh22 )

I. Andante tranquillo II. Allegro III. Adagio IV. Allegro molto

Chicago Symphony Orchestra James Levine

Bartók wrote some of his finest music for the Swiss conductor Paul Sacher, in whom he found a particularly sympathetic champion. Music for Strings, Percussion and Celesta, written for Sacher in 1936, explores with great refinement and mastery the musical concepts that Bartók had been developing since the mid-'20s. In the Piano Concerto No. 1, Bartók explored the percussive elements of the piano, coupling it effectively with percussion only in the introduction to the concerto's slow movement. In Music for Strings, Percussion and Celesta, Bartók ingeniously sets the piano with the percussion instruments, where its melodic and harmonic material functions in support of the two string choirs.

Since the early '30s, Bartók had also incorporated elements of Baroque music into his compositions, inspired partly by his exploration of pre-Classical keyboard composers such as Scarlatti, Rameau and Couperin. In reflection of this, Music for Strings, Percussion and Celesta evokes the Baroque concerto grosso, with its two antiphonal string orchestras separated by a battery of tuned and untuned percussion instruments. The work's prosaic title was actually just a working title which was subsequently allowed to stand.

The opening movement, Andante tranquillo, is a slow fugue on a chromatic melody that springs from a five-note cell, each subsequent phrase growing in length and elaborating on its predecessor. At this point, the two string orchestras play together. As the string voices accumulate, the fugue's texture increases in complexity and the chromatic implications of the theme are brought to a rigorously dissonant fulfillment. The fugue climaxes at its apogee with an ominous rumble from the timpani and a loud stroke on the tam-tam. As the fugue folds in upon itself the celesta makes its first entrance with an arpeggiated chord, mysterious and remote. The work subsequently grows from the motivic material explored in this first movement.

Bartók deploys antiphonal string choirs for the second movement, a fast, fugitive piece in which the two orchestras chase each other through a breathtaking series of elaborations on the main theme. In the percussion section, piano, xylophone, and harp take the lead while two side drums (with and without snares) provide emphatic punctuation. 

The third movement is one of Bartók's most accomplished "night music" pieces, with cricket-like notes from the xylophone, eerie timpani glissandi, fragmentary murmurs, and frightened exclamations from the strings, along with the always-mysterious notes of the celesta floating clear and sphinx-like over the nocturnal weft. 

The finale, a dance of energy and abandon, restores the antiphonal deployment of the strings and juxtaposes the diatonic aspects of the work's main theme with its chromatic elements. There are also some striking touches like the furious, strummed four-note chords in the violins, violas and cellos that opens the movement, a theme midway through that is based on a repeated note first hammered out on piano and xylophone, and then a grand peroration of the initial fugue theme, now with its intervals doubled and richly harmonized. In the quick coda there is a brief, suspended moment ("a tempo allargando") before the work tumbles to a conclusion in unabashed A major. [Allmusic.com]

Art by Victor Brauner

[kristiallan123-blog]

Differentiated Instruction and Choice Boards

Mr. Awesome or Mr. Boring are grappling with differentiation in their classrooms.  Which one will succeed?  Watch example 1 to get a reminder on "What is Differentiation" and how to get started.

1.   http://www.youtube.com/watch?v=YAWKxpCv1Fw

Not new to differentiation, but looking for an new idea to try?  Watch example 2, which allows us to visit a teacher describing the use of a differentiation strategy called Choice Boards. 

2.  http://www.youtube.com/watch?v=dGbulODMVgM

Domain I: Planning and Preparation is the essential Domain in planning for and incorporating effective differentiation strategies into your instruction.  A Choice Board sample has been placed in ALL mailboxes! 

[kristiallan123-blog]

As you prepare for introducing Close Reading to your classes, be sure to revisit the process.  In your instructional planning, provide time and opportunity to allow for the reading of the text multiple times.  Text selection is key in avoiding student boredom with "digging deeper."  Thinking of creating an anchor chart for your class?  Can be a great year-long resource to use throughout instruction.

Doing the reading isn't enough.  What will students do with the information gained from the Close Read?  Will you share the purpose of "digging deeper" and not just say "this is for PARCC!"  Share with students the real world connections of the text and showcase the "Capacities of Literate Individuals" within the CCSS.  Check out this resource for more information on students who are "college and career ready."   All instructional decisions should have a purpose!

http://www.corestandards.org/ELA-Literacy/introduction/students-who-are-college-and-career-ready-in-reading-writing-speaking-listening-language/

 Want to see an example in action?  Check out this science teacher doing a close read of a text!

http://www.youtube.com/watch?v=QQc1q3qq7wU