Classroom Padleting

Why use Padlet in your classroom?

Kids love using their phones, easy energizer
You can learn a lot about your students from their pics
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RQ: How can using Padlet in my classroom be part of my andragogy?

Padlet allows for quick sharing for individual students or groups while letting students see what other students are thinking. Padlet can be used both synchronously and asynchronously for collaborative learning. Its “word wall” technology is a helpful platform for writing assessment. Not only can Padlet be used for classroom instruction, it allows teachers to collaborate with students, other teachers and professionals.

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Here’s one of my recent Padlets:
I asked my HS students to take a picture of a green building function in their home this month. Gas stoves reigned supreme. Maybe most people think greenhouse gases = gas stoves. From a LEED perspective, there’s a lot of green building functions in our homes that have a heavier carbon footprint.

But now I know gas stoves is a good way into a green building lesson.

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Groth, C., Jousmäki, V., Saarinen, V.-M., & Hari, R. (2022). Craft sciences meet neuroscience. Craft Research, 13(Craft Sciences), 261–283. https://doi.org/10.1386/crre_00079_1

Emad, G., & Roth, W.-M. (2016). x Quasi-communities: rethinking learning in formal adult and vocational education. Instructional Science, 44(6), 583–600. https://doi.org/10.1007/s11251-016-9386-9

investigators tend to approach the collective as a group of individuals and thereby fail to capture the essence of the dialectic (Vygotsky 1997. (n.d.).

concept was originally developed through research on learning in its natural settings such as apprenticeship training in workplaces (e.g., Merriam et al. 2003). (n.d.).

the collective shapes, forms, and legitimizes the actions of individuals (Lave and Wenger 1991). (n.d.).

earning is defined in terms of the changing participation in some form of collectively motivated activity that is the result of a history in a particular culture/society (e.g., Lave 1991; Rogoff 1990). (n.d.).

socio-cultural perspective on learning, a perspective that tends to be overlooked in adult learning literature (e.g. Alfred 2002; Niewolny and Wilson 2009; Stein 1998). (n.d.).

Seitamaa-Hakkarainen, P., Laamanen, T.-K., Viitala, J., & Mäkelä, M. (2013). x Materiality and Emotions in Making. Techne Series: Research in Sloyd Education and Craft Science A, 20(3). https://journals.hioa.no/index.php/techneA/article/view/702

Niedderer, K., & Townsend, K. (2020). x Crafting progress through research education and digital innovation. Craft Research, 11(2), 171–176. https://doi.org/10.1386/crre_00024_2

the skilled handling of tools is anything but automatic…[more a] perceptual activity, reaching out into its surroundings along multiple pathways of sensory participation’ (Ingolds 2006). (n.d.).

capture the essence of craft, of the dedication needed to learn one’s craft and about oneself in the process to become a true master. (n.d.).

Kouhia, A. (2020). x Online matters: Future visions of digital making and materiality in hobby crafting. Craft Research, 11(2), 261–273. https://doi.org/10.1386/crre_00028_1

(Pink, Ardèvol & Lanzeni 2016: 3). (n.d.).

digital materiality. (n.d.).

n recent years, discussions of the interactions with handcrafted materiality and the ways these materialities are being created, displayed, shared, and collectively extended online have become more frequent (e.g., Kouhia 2015; Gauntlett 2011; Golsteijn, Hoven, Frohlich & Sellen 2014; Minahan & Wolfram Cox 2007; Myzelev 2015; Orton Johnson 2014; Searle & Kafai 2015; Torres, 2019). (n.d.).

netnography. (n.d.).

Kokko, S. (2022). x Orientations on studying crafts in higher education. Craft Research, 13(Craft Sciences), 411–432. https://doi.org/10.1386/crre_00086_1

x Visar Materiality and Emotions in Making. (n.d.). Retrieved May 11, 2023, from https://journals.oslomet.no/index.php/techneA/article/view/702/654

Visar Materiality and Emotions in Making. (n.d.). Retrieved May 11, 2023, from https://journals.oslomet.no/index.php/techneA/article/view/702/654

Rittel, H. W. J., & Webber, M. M. (1973). x Dilemmas in a general theory of planning. Policy Sciences, 4(2), 155–169. https://doi.org/10.1007/BF01405730

unique. (n.d.).

traces. (n.d.).

ill-defined. (n.d.).

Wicked Problems. (n.d.).

Marchand, T. H. J. (2008). x Muscles, Morals and Mind: Craft Apprenticeship and the Formation of Person. British Journal of Educational Studies, 56(3), 245–271. https://www.jstor.org/stable/20479601

mmersion in challenging and creative work-based education establishes a pride in “making” and a unified sense of muscles, morals and mind. Art. (n.d.).

RBIB, M.A. (2005) From monkey-like action recognition to human language: an evolutionary framework for neurologists, Behav. (n.d.).

erformance. 5 Motor mirror neurons – located in the Broca’s area of the brain and activated when both performing and observing an action – are seemingly responsible for this (seeArbib, 2005). (n.d.).

HARRIS, M. (2007) Introduction: ways of knowing. In M. HARRIS (Ed.) Ways of Knowing: New Approaches in the Anthropology of Experience and Learnin. (n.d.).

By contrast, I have argued throughout this paper that it is with bodies, and not merely words, that people learn, express, interpret, improvise and negotiate – in a word, “craft” – their ways of knowing in the world (Harris, 2007). (n.d.).

Notably, the content of kinaesthetic interpretation is not a semantic depiction of what that practice means but a motor-based one describing the sense and feeling of doing it. (n.d.).

JEANNEROD, M. (1994) The representing brain: neural correlates of motor inten tion and imagery,. (n.d.).

Following neurologist Marc Jeannerod (1994), I suggest that watching another person’s practice acts upon our motor-based understanding of that task. (n.d.).

ARCHAND, THJ. (2007d) Crafting knowledge: the role of “parsing and production” in the communication of skill-based knowledge among masons. In M. (n.d.).

The thrust of my studies with craftspeople is that practice communicates and therefore, like language, skilled actions can be “parsed”, and thus be “acquired” as motor-based mental representations (i.e. the constituents of ’embodied cognition’) (Marchand, 2007d). (n.d.).

t is imperative that we arrive at a more satisfying explanation of how it is that we communicate and understand with our bodies. The aim of the next and final section is to suggest, albeit cursorily, a possible way forwar. (n.d.).

ARCHAND, THJ. (2007c) Vocational migrants and a tradition of longing, Tradi. (n.d.).

Marchand, 2007. (n.d.).

omatic sensory system. (n.d.).

“being in the zone”. (n.d.).

Despite the present-day emphasis on textbooks and examination writing, any practitioner knows that the most efficient understanding and acquisition of craft skills comes from the animated body in practice. (n.d.).

Lasting divisions were drawn between theory and practice as the balance shifted in favour of learning “technical knowledge” with a corresponding de-emphasis on bodily immersion in “techniques.” (n.d.).

collectively bargained apprenticeship. (n.d.).

ocational learning was systematically transferred to the factory or was institutionalised along the lines of state education. (n.d.).

liberal free-market ideolog. (n.d.).

Elizabeth I, a statutory seven year apprenticeship was introduced. (n.d.).

. When asked to explicate their skilled know-how and design expertise, however, language quickly met its limits and the masons, like most craftsmen, resorted to demonstration. (n.d.).

improvisation, thoughtful innovation and personal ambition. Indeed, craftspeople personalise work, foster individual reputations and instantiate competitive hierarchies among themselves. (n.d.).

most on-site communication is non-propositional, and relies more immediately on an intercourse of visual, auditory and somatic information. (n.d.).

trade hierarchy and the exercise of power within. (n.d.).