#CdnELTchat was happy to have Anna Bartosik (@ambartosik) share her expertise on Self-Directed Professional Development (SDPD) on June 1. Anna is an English language teacher at George Brown College, instructional designer, and PhD Candidate at OISE. Her research is in self-directed professional development in digital networks. Learn more by reading her blog: https://annabartosik.wordpress.com/.
Consider how much time instructors and students spend in front of electronic screens and how essential technology has become within the last eight months. Meetings and lessons delivered via Zoom and other online platforms are the new normal. Given the challenging times that we are facing including new approaches to learning, living, and overcoming adversity, the idea of new materialism is gaining momentum.
Writing is an art, and art is supposed to be creative. But how come there’s a course called “Creative Writing?” How is this different from any conventional “Writing Course?” To be even more specific, should we have a course called – Creative Writing – in ESL, or can a conventional “Writing Course” do the job?
As an ESL teacher, I think that in the world of language pedagogy every piece of writing should be creative and therefore whether the course is called “Writing” or “Creative Writing,” creativity is an inherent part.
In this article, I’d like to share with you what happens when I teach a Writing course, which to me is no different than a Creative Writing course.
Noticing theory in the
context of cognitive linguistics seems to offer an interesting insight into the
processes accompanying second language acquisition focusing on the problems of
attention, awareness and memory. “Noticing” – despite disagreements in defining
the term – seems to function as a gateway into these processes in Richard
Schmidt’s (1995) deliberations. An ESL instructor “in the field,” might have burning
questions such as these: How is noticing initiated? Is it totally subjective
and personalized, or does it have some regularities that could be exploited in
the classroom? If the latter is true, then what are the stimulants? How can one
effectively manage the process of transforming “comprehensible input” into
At the recent TESL Toronto’s T4T mini conference at York University, I was inspired to take 4C integration into my instruction to a new level. Specifically, I was spurred on by James Papple and Tabitha Lewis’s session called Connections to Learning through Makerspaces. They provided a myriad of potential activities that extend and enhance learning beyond what is expected in a language learning class. Tabitha and Jim highlighted resources that are available through the Brock University’s Makerspace room.
In Brock’s Makerspace, learning
opportunities include tools to create high quality audio, shoot and edit digital
video, create and edit images, print 3D models, create moving LEGO structures,
scan objects into digital 3D models, cut materials with lasers, interact with virtual
reality, record video against a green screen, control a Sphere ball with a
smartphone app, build robots, paint 3D objects, and more.