TAXONOMIA DE BLOOM

viernes, 6 de marzo de 2009 0 comentarios Etiquetas: , Publicado por Claudia Prado 20:04

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Bloom's Taxonomy Blooms Digitally


 Andrew Churches
 Aug 22 2008 10:15PM
 URL:http://www.techlearning.com/article/8670

from Educators' eZine

Introduction and Background:

Bloom's Taxonomy

Bloom's Taxonomy

In the 1950's Benjamin Bloom developed his taxonomy of cognitive objectives, Bloom's Taxonomy. This categorized and ordered thinking skills and objectives. His taxonomy follows the thinking process. You can not understand a concept if you do not first remember it, similarly you can not apply knowledge and concepts if you do not understand them. It is a continuum from Lower Order Thinking Skills (LOTS) to Higher Order Thinking Skills (HOTS). Bloom labels each category with a gerund.

Bloom's Revised Taxonomy

Bloom's Revised Taxonomy

In the 1990's, a former student of Bloom, Lorin Anderson, revised Bloom's Taxonomy and published this- Bloom's Revised Taxonomy in 2001.Key to this is the use of verbs rather than nouns for each of the categories and a rearrangement of the sequence within the taxonomy. They are arranged below in increasing order, from low to high.

Bloom's Revised Taxonomy Sub Categories

Each of the categories or taxonomic elements has a number of key verbs associated with it
Lower Order Thinking Skills (LOTS)

  • Remembering - Recognising, listing, describing, identifying, retrieving, naming, locating, finding
  • Understanding - Interpreting, Summarising, inferring, paraphrasing, classifying, comparing, explaining, exemplifying
  • Applying - Implementing, carrying out, using, executing
  • Analysing - Comparing, organising, deconstructing, Attributing, outlining, finding, structuring, integrating
  • Evaluating - Checking, hypothesising, critiquing, Experimenting, judging, testing, Detecting, Monitoring
  • Creating - designing, constructing, planning, producing, inventing, devising, making

Higher Order Thinking Skills (HOTS)

The elements cover many of the activities and objectives but they do not address the new objectives presented by the emergence and integration of Information and Communication Technologies into the classroom and the lives of our students.

Bloom's digital taxonomy map

Mind map of Bloom's Revised Digital Taxonomy

Key:
Elements coloured in black are recognised and existing verbs, Elements coloured in blue are new digital verbs.

Remembering

This element of the taxonomy does infer the retrieval of material. This is a key element given the growth in knowledge and information.

The digital additions and their explanations are as follows:

  • Bullet pointing – This is analogous to listing but in a digital format.
  • Highlighting – This is a key element of most productivity suites; encouraging students to pick out and highlight key words and phrases is a technique for recall.
  • Bookmarking or favorite-ing – this is where the students mark for later use web sites, resources and files. Students can then organise these.
  • Social networking – this is where people develop networks of friends and associates. It forges and creates links between different people. Like social bookmarks (see below) a social network can form a key element of collaborating and networking.
  • Social bookmarking – this is an online version of local bookmarking or favorites, It is more advanced because you can draw on others' bookmarks and tags. While higher order thinking skills like collaborating and sharing, can and do make use of these skills, this is its simplest form - a simple list of sites saved to an online format rather than locally to the machine.
  • Searching or "Googling" - Search engines are now key elements of students' research. At its simplest the student is just entering a key word or phrase into the basic entry pane of the search engine. This skill does not refine the search beyond the key word or term.

Key Terms - Remembering:

Recognizing, listing, describing, identifying, retrieving, naming, locating, finding, Bullet pointing, highlighting, bookmarking, social networking, Social bookmarking, favorite-ing/local bookmarking, Searching, Googling.

Understanding

The digital additions and their explanations are as follows:

  • Advanced and Boolean Searching – This is a progression from the previous category. Students require a greater depth of understanding to be able to create, modify and refine searches to suit their search needs.
  • Blog Journaling – This is the simplest of the uses for a blog, where a student simply "talks" "writes" or "types" a daily- or task-specific journal. This shows a basic understanding of the activity reported upon. The blog can be used to develop higher level thinking when used for discussion and collaboration.
  • Twittering – The Twitter site's fundamental question is "what are you doing?" This can be, in its most simplistic form, a one or two word answer, but when developed this is a tool that lends itself to developing understanding and potentially starting collaboration.
  • Categorizing – digital classification - organizing and classifying files, web sites and materials using folders etc.
  • Commenting and annotating – a variety of tools exist that allow the user to comment and annotate on web pages, .pdf files and other documents. The user is developing understanding by simply commenting on the pages. This is analogous with writing notes on hand outs, but is potentially more powerful as you can link and index these.
  • Subscribing – Subscription takes bookmarking in its various forms and simplistic reading one level further. The act of subscription by itself does not show or develop understanding but often the process of reading and revisiting the subscribed-to feeds leads to greater understanding.

Key Terms - Understanding:

Interpreting, Summarizing, inferring, paraphrasing, classifying, comparing, explaining, exemplifying, Advanced searching, Boolean searching, blog journaling, twittering, categorising and tagging, commenting, annotating, subscribing.

 



Applying

The digital additions and their justifications are as follows:

  • Running and operating – This is the action of initiating a program or operating and manipulating hardware and applications to obtain a basic goal or objective.
  • Playing – The increasing emergence of games as a mode of education leads to the inclusion of this term in the list. Students who successfully play or operate a game are showing understanding of process and task and application of skills.
  • Uploading and Sharing - uploading materials to websites and the sharing of materials via sites like flickr etc. This is a simple form of collaboration, a higher order thinking skill.
  • Hacking – hacking in its simpler forms is applying a simple set of rules to achieve a goal or objective.
  • Editing – With most media, editing is a process or a procedure that the editor employs.

Key Terms - Applying:

Implementing, carrying out, using, executing, running, loading, playing, operating, hacking, uploading, sharing, editing.

Analysing

The digital additions and their explanations are as follows:

  • Mashing – mash ups are the integration of several data sources into a single resource. Mashing data currently is a complex process but as more options and sites evolve this will become an increasingly easy and accessible means of analysis.
  • Linking – this is establishing and building links within and outside of documents and web pages.
  • Reverse-engineering – this is analogous with deconstruction. It is also related to cracking often with out the negative implications associated with this.
  • Cracking – cracking requires the cracker to understand and operate the application or system being cracked, analyse its strengths and weaknesses and then exploit these.
  • Validating – With the wealth of information available to students combined with the lack of authentication of data, students of today and tomorrow must be able to validate the veracity of their information sources. To do this they must be able to analyse the data sources and make judgements based on these.
  • Tagging – This is organising, structuring and attributing online data, meta-tagging web pages etc. Students need to be able understand and analyse the content of the pages to be able to tag it.

Key Terms - Analysing:

Comparing, organising, deconstructing, Attributing, outlining, finding, structuring, integrating, Mashing, linking, reverse-engineering, cracking, mind-mapping, validating, tagging.

Evaluating

The digital additions and their explanations are as follows:

  • Blog/vlog commenting and reflecting – Constructive criticism and reflective practice are often facilitated by the use of blogs and video blogs. Students commenting and replying to postings have to evaluate the material in context and reply.
  • Posting – posting comments to blogs, discussion boards, threaded discussions. These are increasingly common elements of students' daily practice. Good postings like good comments, are not simple one-line answers but rather are structured and constructed to evaluate the topic or concept.
  • Moderating – This is high level evaluation; the moderator must be able to evaluate a posting or comment from a variety of perspectives, assessing its worth, value and appropriateness.
  • Collaborating and networking – Collaboration is an increasing feature of education. In a world increasingly focused on communication, collaboration leading to collective intelligence is a key aspect. Effective collaboration involves evaluating the strengths and abilities of the participants and evaluating the contribution they make. Networking is a feature of collaboration, contacting and communicating with relevant person via a network of associates.
  • Testing (Alpha and Beta) – Testing of applications, processes and procedures is a key element in the development of any tool. To be an effective tester you must have the ability to analyze the purpose of the tool or process, what its correct function should be and what its current function is.

Key Terms – Evaluating:

Checking, hypothesising, critiquing, experimenting, judging, testing, detecting, monitoring, (Blog/vlog) commenting, reviewing, posting, moderating, collaborating, networking, reflecting, (Alpha & beta) testing.

Creating

The digital additions and their explanations are as follows:

  • Programming – Whether it is creating their own applications, programming macros or developing games or multimedia applications within structured environments, students are routinely creating their own programs to suit their needs and goals.
  • Filming, animating, videocasting, podcasting, mixing and remixing – these relate to the increasing availability of multimedia and multimedia editing tools. Students frequently capture, create, mix and remix content to produce unique products.
  • Directing and producing – to directing or producing a product, performance or production is a highly creative process. It requires the student to have vision, understand the components and meld these into a coherent product.
  • Publishing – whether via the web or from home computers, publishing in text, media or digital formats is increasing. Again this requires a huge overview of not only the content being published, but the process and product. Related to this concept are also Video blogging – the production of video blogs, blogging and alsowiki-ing - creating, adding to and modify content in wikis. Creating or building Mash ups would also fit here.

Key Terms – Creating:

designing, constructing, planning, producing, inventing, devising, making, programming, filming, animating, Blogging, Video blogging, mixing, remixing, wiki-ing, publishing, videocasting, podcasting, directing/producing, creating or building mash ups.

Bibliography

Churches, A. 2007, Educational Origami, Bloom's and ICT Tools

Anderson, L.W., and D. Krathwohl (Eds.) (2001). A Taxonomy for Learning, Teaching and Assessing: a Revision of Bloom's Taxonomy of Educational Objectives. Longman, New York.

Acknowledgements: For assistance, discussion and often punctuation:Miguel Guhlin, Sheryl Nussbaum-Beach, Alan Knightbridge, Sue Cattell, Raewyn Casey, Marg McLeod, Doug DeKock

Email: Andrew Churches

 


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Those who can, Teach. 1000 Words of advice for design. Allan Chochinov teachers.

miércoles, 4 de marzo de 2009 0 comentarios Etiquetas: Publicado por Claudia Prado 12:36

Industrial Design Supersite. Core 77. Those who can, Teach. 1000 Words of advice for design teachers. http://www.core77.com/reactor/09.06_chochinov.asp

Two years ago, I wrote an article titled "Everything You Ever Needed to Know You Learned in...: 1000 Words of Advice for Design Students." Truth be told, tweaking the paragraphs to get the word count to total exactly 1000 took many more hours than writing the damn piece in the first place, but it was short and sweet, and I meant it. So in an attempt to put a flipside on that coin, here I present 1000 words of advice for design teachers. And given the propensity for teachers to go on and on, keeping that number to 1000 words—whatever else you may think of them—might earn me a couple minutes of your time reading them. Or you could just count 'em. I did.

Treat the undergrads like they're grown-ups (which they are); show them crazy respect, and ask their opinions all the time. Tell your graduate students to stop talking and start building; tell them not to come to class next week if they don't bring in 12 sketches. And then thank your lucky stars when they arrive with 3.

Don't start your class with your lesson.
There is only one way to start a design class: Ask your students what they did the past week, what they read, what design shows they attended. Communicate that design learning is not confined within class (or campus) walls, and give them license to go out and learn all the things we don't possibly have enough semesters to teach. I go so far as to say "You can bring in less homework next week if you just go see something." And some of them take me up on it. (Precious few, sadly.)

 Place insane demands. Then double them. 
If you ask students for 2 models, they'll bring in 2 models. If you ask for 6 models, you'll get 6 models. The more work that comes in, the higher the chances that some it will be good, and that a tiny bit of it will be great. So ask for 12 models.

 Assign at least 3 books for each course you teach.
And a bunch of blogs, and magazines. But...

 Don't test them on that reading.
Don't make them do a book report. Hell, you don't even have to talk about the books in class. Send the message that reading is a natural, wonderful part of becoming a designer; that that's just what designers do. Also, not testing them will evidence something else: that you trust them. You assign a book, you expect them to read it; you're not wasting their time, and they're not children.

 Talk to undergrads like they're grads; talk to grads like they're undergrads.
This is the best trick I've learned in 11 years of teaching. Undergraduates have youth, fearlessness, and great tolerance for being pushed around. What they don't have is people talking to them like they matter. They are used to being talked to like children by people of authority (high school didn't help), and will be stunned when you address them like real designers who have ideas of worth. 

Graduate students have wisdom, life experience, and a desire to actually  be in school. But graduate students also are old enough to know that ideas have consequences, and as a result they run, basically, on fear. They have refrains like "I didn't think that idea would be any good, so I didn't mock it up," or "I wasn't sure what to build, so I read these books." 

Treat the undergrads like they're grown-ups (which they are); show them crazy respect, and ask their opinions all the time. Tell your graduate students to stop talking and start building; tell them not to come to class next week if they don't bring in 12 sketches. And then thank your lucky stars when they arrive with 3.

 Teach them to write thank you notes.
Designers need other people—for research, collaboration, support, everything. But people skills are hard to teach. This one's easy. Thank you notes are the right way to do business (or pleasure), and will help inject some civility back into this world.

 You don't teach a class.
 You teach a group of individuals. Whether it's a lecture or studio or seminar or fieldtrip, you must never forget that you are teaching unique students who happen to show up at the same time and at the same place.

 Watch their faces.
Teachers have their fingers on two sets of dials: One set for each of the students (see above); another—the Masters—for the class as a whole. You've gotta be attenuating one while monitoring reverberations through the other. A class is a dynamic system changing minute-to-minute, depending on time of day, empty stomachs, the sun outside. And the VU meters for this system? Your students' faces. Read them and you'll know how you're doing. (Tip: Stop talking long enough to do that.)

 Be clear about your grading scheme.
There are those who grade for excellence and those who grade for effort. For some teachers, "'A work' is 'A work'...I don't care if they spent 40 minutes or 40 hours;" that in the real world, results are what get judged, and that "you're not doing them any favors" by giving them any other grade than one which reflects their finished product. I grade for effort. I believe that if they kill themselves over the length of a semester, they will come up with excellence. And they'll learn more. Both of these grading schemes are defendable, but you should tell your students which one you use. And then use it.

 Know when to quit, or to start anew. 
If you start to "watch yourself teach" during a class, it's either time to hang it up or to change courses. The most dangerous design teachers are the ones who think they've seen it all, who pigeonhole students before seeing their work, and don't think they can be surprised any longer. No joke here; if this is you, time's up.

 Meet with your students half-way through the semester. 
Critical: Have one-on-one sessions with each student (particularly if you teach a lecture class), asking them questions like, "Is this class delivering what you thought?" Or "Are there things we could change that would personally give you more value?" Sure, you can also help them understand their strengths and weaknesses (that's what they're expecting). But it's not disingenuous to ask what their experience is of your class; it's considerate.

And here's why:  

 It's their class, not yours.
You are there because your students are paying you to be, and your job is to serve them. You don't have to like the idea that they are "consumers of education," but they are; you work for them, not the other way around. Teach 'em a few things, and help them learn how to get the rest. Create an environment of excitement and wonder about the power of design, then get out of the way. And if, by chance, you yourself receive one of those thank you notes, well, that's pretty swell.

They grade for excellence  and effort, you know.

 

-->Add your own advice to this article in the Students 'n' Schools forum<

 Allan Chochinov is a partner at Core77. He teaches one day week at Pratt Institute in Brooklyn.

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EXPOSICIÓN PROFESOR: Pablo Kobayashi

martes, 3 de marzo de 2009 0 comentarios Publicado por Claudia Prado 14:41

Spline-space

Intervencion Showroom Esrawe, Alfonso Reyes 58

 
SPLINE SPACE from Pablo Kobayashi on Vimeo.



Más allá de la intervención bidimensional de la vitrina, se buscó una alteración espacial que en vez de obstruir el funcionamiento diario del showroom, lo acentuara interactuando con sus visitantes, expresando hacia el exterior su actividad interior. La pieza es generada a partir de una spline trazada en el espacio respondiendo en su invasión hacia el interior a las zonas de mayor y menor  nivel de estaticidad y movimiento de los visitantes. La forma obtenida expresa directamente su generación digital y su origen emergente: cada pieza, idéntica en código y origen a las demás, sufre alteraciones locales menores, generando un conjunto que no es el resultado de la suma directa de sus partes, sino de la interacción entre cada una de ellas. En cuanto a la programación de los componentes electrónicos se sigue la misma lógica; esta basado en el Sistema Interactivo de Control Local, donde no hay toma de decisiones ni procesamiento de datos centralizados sino un reducido numero de comandos simples en cada uno de los componentes.

 

In the computer science subfields of computer-aided design and computer graphics, the term spline more frequently refers to a piecewise polynomial (parametric) curve. Splines are popular curves in these subfields because of the simplicity of their construction, their ease and accuracy of evaluation, and their capacity to approximate complex shapes through curve fitting and interactive curve design.

Pablo I. Kobayashi Santoscoy





AA MA EmTech

Arquitecto por la Universidad Intercontinental y Maestro en Artes con especialidad en Tecnologías y Diseño Emergentes (EmTech) por la Architectural Association School of  Architecture, en Londres. Ha enfocado su estudio e investigación entorno  al entendimiento y aplicación de la lógica del emergence en los procesos creativos.  Su proyecto de investigación, lotsof,  se enfoca en la combinación de procesos creativos sofisticados con origen en las tecnologías digitales con recursos tecnológicos cotidianos, simples y accesibles, llevando el principio fundamental de emergence hasta sus causas fundamentales: la interacción y proliferación de elementos simples genera fenómenos complejos. Becario del FONCA en el programa Jóvenes Creadores 2006-2007 con el proyecto “Sistema interactivo de control local”. Director fundador de la revista-cartel “LOO-lectura escatológica inteligente”, que trata temas teóricos tangenciales a la arquitectura desde una perspectiva escatológica, manteniendo siempre como plataforma la relación entre el proceso excretorio y el creativo.

 

Ficha técnica:

Superficie reglada generada digitalmente a partir de una spline que al responder a la presencia de los visitantes, acentúa la actividad interior hacia el exterior al mismo tiempo que fomenta un dialogo  activo entre el espacio y el usuario.

 

Autor: Pablo I. Kobayashi

lotsof@loo.com.mx

lotsof.vox.com


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EXPOSICIÓN FOTOGRÁFICA DEL PROFESOR PAVKA SEGURA

0 comentarios Etiquetas: , Publicado por Claudia Prado 13:44


EXPOSICIÓN FOTOGRÁFICA: PIONEEROS

Prof. Pavka Segura y Dante Busquets

 

26 de febrero al 17 de mayo,   

MUCA Roma

 

Ejercicio paralelo con modelos geográficamente opuestos

La exposición Pioneeros presenta el trabajo desarrollado por Dante Busquets (1969) y Pavka Segura (1971). Hace ya más de tres años, estos fotógrafos nacidos en la ciudad de México, se dieron a la tarea –de manera casi simultánea–, de “retratar” dos zonas específicas de la ciudad y su zona metropolitana: Ciudad Satélite, al norte, y Villa Coapa, al sur. Sin saberlo, llevaron a cabo un ejercicio en paralelo con modelos geográficamente opuestos, pero cercanos en su nivel de representación de lo que podemos considerar como el espíritu Chilango.

 

Estas series se componen tanto de retratos y panorámicas como de imágenes que analizan en detalle la intimidad y la esencia de los habitantes de las áreas referidas, quienes han cultivado una estética que los agrupa. Estas peculiaridades representadas por la arquitectura, el vestido y las aspiraciones de cada grupo o comunidad son común denominador en los proyectos de Busquets y Segura.

 

Pioneeros es un ensayo visual más que un registro antropológico. A través de esta muestra se puede reconocer la capacidad de los dos artistas para capturar el ánimo de los lugares y las personas elegidas como modelos.

 

El proyecto cuenta con un acervo de más de 300 imágenes de las cuales se seleccionaron alrededor de 80 fotografías en distintos formatos. El montaje propone una lectura dinámica que recurre al juego entre el espacio que sirve como soporte de la muestra y el tiempo congelado por las fotografías; existe también un diálogo constante entre interiores y exteriores, como lo hay entre los retratos, la ambientación y el color.

 

Para MUCA Roma es de suma importancia entablar un diálogo entre las comunidades reflejadas en este proyecto, las cuales reconocerán en el espacio de la galería un lugar para la discusión sobre lo cotidiano a partir de la experiencia de identificarse como parte de la obra.

 

MUSEO UNIVERSITARIO DE CIENCIAS Y ARTE ROMA (MUCA Roma). Tonalá 51, esquina Colima, colonia Roma, delegación Cuauhtémoc, C.P. 06700. Abierto de martes a domingo de 10:00 a 18:00 hrs. Entrada Libre. Tels.: 5511 09 25

http://www.muca.unam.mx/mucaroma/

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