Præsentationen fra Dansk Psykologisk Forlags lanceringsarrangement for bogen "Om at undervise - 20 skridt til at møde dine elever" den 17/11 2015 på Republikken i København.
Undervisningsdifferentiering - 20 skridt til at møde dine eleverOle Ditlev Nielsen
Praktiske tips til og vigtige grundtanker om, hvordan man som lærer kan bedrive undervisningsdifferentiering, der er meningsfuld for eleverne og ikke-stressende for underviseren.
Præsentationen fra Dansk Psykologisk Forlags lanceringsarrangement for bogen "Om at undervise - 20 skridt til at møde dine elever" den 17/11 2015 på Republikken i København.
Undervisningsdifferentiering - 20 skridt til at møde dine eleverOle Ditlev Nielsen
Praktiske tips til og vigtige grundtanker om, hvordan man som lærer kan bedrive undervisningsdifferentiering, der er meningsfuld for eleverne og ikke-stressende for underviseren.
Fra Old School til Go digital - Mit bidrag til læring i organisationer og hvad vi skal være opmærksomme på for at understøtte forretning, strategi og commercial excellence.
Fra Old School til Go digital - Mit bidrag til læring i organisationer og hvad vi skal være opmærksomme på for at understøtte forretning, strategi og commercial excellence.
This document discusses using narratives and storytelling in course design. It suggests that encouraging learners to imagine different outcomes to events helps them think critically about a subject and prepares them for an uncertain future. The workshop aims to help participants identify critical learning incidents in their courses and reframe them as parts of a story. By connecting educational intentions to individual understandings through narratives, spaces can be transformed into meaningful learning experiences.
Projektet søger at skabe en større forståelse og udvikle handlingsrum i forhold til de studerendes udvikling af en professionsidentitet. Dette sker i forhold til de epistemiske baner, der skabes gennem de forskellige aktiviteter i studieaktivitetsmodellens spatiale organiseringer af læringsaktivitet. Det der er i fokus, er udviklingen af en forståelse af de spistemiske kulturer, der udfolder sig i de studerendes aktiviteter, såvel som i de hensigter, der ligger bag og udtrykkes gennem uddannelsernes planlagte aktiviteter. Der vil være fokus på, hvordan aktiviteten iscenesættes, og indgår i de studerendes forståelse. Det teoretiske afsæt er en tilpasset udvikling af Knorr Cetinas begrebssæt om epistemiske kulturer og epistemiske maskiner. I projektet afdækkes de forskellige professionsuddannelsers forståelses- og handlingsrum i indramning af studieaktivitetsmodellen med henblik på at skabe et videns- og muligt handlingsgrundlag for videre udvikling.
The document discusses creativity and innovation in education. It begins by exploring definitions of creativity and innovation, noting creativity involves transforming latent ideas into recognized forms over time. Innovation then transforms creativity into new practices.
It then contrasts the "school" system, which can be seen as prioritizing standardized learning and career selection, with more open-ended creative practices. The school system is caught between modern demands for the sublime/aesthetic versus norms of standardization.
The document proposes taking what schools are good at - like idea development and collaboration - and focusing on sustaining creative practices and entrepreneurship. It explores how workshops can foster hybrid experiences through bringing together diverse actors in collaborative problem-solving. Mediating artifacts also play
Creativity and innovation can be learned through participation in authentic settings that provide constraints and opportunities for mastery. Education needs to bring design-mode thinking into the core curriculum by empowering learners as knowledge workers and changing contexts to generate new perspectives. Micro-case studies show how creativity emerges through a combination of mastery, openness to new ideas, and organizational structures that support double competencies.
The document discusses creativity and innovation through analyzing four "micro-cases" of creative collaborations: Lars von Trier and Niels Vørsel's Dogme film movement; René Redzepi and Claus Meyer founding Noma restaurant; Mark Zuckerberg and Sean Parker creating Facebook; and artist Olafur Eliasson working with Einar Thorsteinn. It examines how these collaborations avoided "isomorphic pressures" through components like mastery, estrangement, organizational structures, and dual competencies.
This document discusses the concept of creativity from several perspectives:
1. It examines definitions of creativity from various theorists, seeing it as a problem in education, dependent on context, or turning potentials into accepted new forms.
2. It analyzes specific case studies of creative collaborations or organizations like Dogme filmmakers von Trier and Ålen, the NOMA restaurant, and Eliasson Studio.
3. It explores how creativity occurs within temporary settings, addressing mastery, estrangement, programming, and double competencies to avoid isomorphic pressures.
The document considers creativity and innovation as related but distinct, with innovation transforming creativity into new practices. It raises questions about holographic
15. En udbredt model .. ” Kurset var forfærdeligt – alle burde tage det” ” Læreren var flink” ” Kursusmaterialet var så let, at selv underviseren forstod det” ” Hvorfor siger undervisere altid – ” Det var et GODT spørgsmål!” ” ..Bortset fra én person som hele tiden forstyrrede – det var underviseren!”