Elsa Mora is a Cuban artist who was born in 1971, in Holguín, Cuba. She attended The Professional School of Visual Arts, in Camagüey and The Vocational School of Arts, Holguín, both in Cuba. She currently lives and works in New York. Mora's work can be found at the NMWA- National Museum of Women in the Arts, in Washington DC; as well as in numerous private collections in Italy, Spain, France, Germany, Australia, Japan and the United States.
In Latin American art, you can find an effect of an art revolution in Europe, and Surrealism may be considered as one such influence, which is highly noticeable. Surrealism, as one of the movements in the art world, created a strong impact on art styles in Latin America. Possibly, the reputable artists have represented contradiction that is the main aspect in Surrealism.
Considered a national treasure in his homeland, Manuel Reyna was born in Cordoba, Argentina in 1912, where he lived and worked until his death in 1989. Trained as a brick mason and self-taught as an artist, Reyna was recently honored by the Museo Caraffa in Cordoba with a major career retrospective.
Born in Rosario, Argentina, in 1956, Graciela Sacco is both a distinguished professor of theoretical issues in 20th century Latin-American art and an artist who has literally worked in the streets.
"Google Docs, in addition to being a stellar way to write, store and manage your documents and slideshows, is also a fantastically useful way to collect survey data. Basically, you send out a form, people fill it in, and Google reports the documents back to you in an incredibly simple and easy-to-understand fashion."
European Schoolnet is undertaking a major study sponsored by the Interactive Software Federation of Europe on the use of games in schools in Europe: video games, computer games, online games that run on consoles, computers, handhelds or mobile phones.
We can learn what we want, when we want to, if we have the desire and the connection
a surge in personalized learning that, ironically, most people alive at the moment still don’t even know exists
and learn deeply
spaces to learn
We live in a world where we can literally create our own learning networks in which we pull in content and mentors and collaborators to participate with us.
poses huge challenges for those places our kids go off to each day to learn the stuff that others have deemed important for them to learn
My daughter (and my son) are both getting used to learning what they want to learn, when they want to learn it, with whom they want to learn it, and they’re wondering why they can’t do more of that in school.
hey need schools to prepare them for today is much different than what schools have been preparing students for over the past 100 years or so.
lives in a moment when personalizing the learning experience is not just a possibility—it's almost an expectation
The ability to learn what we want, when we want, with whomever we want as long as we have access creates a huge push against a system of education steeped in time-and-place learning.
we need to fundamentally rethink what we do in the classroom with kids
the new dance that teachers have to learn in order to guide students to success—letting each student create his or her own learning experience yet still meet the expectations of the class, the school, the state, and now, perhaps, the nation
students have real difficulty identifying what they love
Sometimes finding a passion just takes time; for some students, it takes several texts or subjects before they find something that really sparks an interest.
"Twitter like all other social media is a virtual Aladdin's cave. It is a gateway to riches. But just like in the story, this Aladdin's cave is also booby-trapped. Use it right and you will come away with the genie of knowledge ready to do your bidding. Use it wrong and you will be a casualty of wasted time. So, 'rub' it just right. Long back, we had taken a look at how to use Twitter for business. Many of the methods hold true for learning as well."
Danah Boyd
Twitter-a microblogging service that enables
users to post messages ("tweets") of up to 140
characters-supports a variety of communicative
practices; participants use Twitter to converse with
individuals, groups, and the public at large, so when
conversations emerge, they are often experienced by
broader audiences than just the interlocutors. This
paper examines the practice of retweeting as a way by
which participants can be "in a conversation." While
retweeting has become a convention inside Twitter,
participants retweet using different styles and for
diverse reasons. We highlight how authorship,
attribution, and communicative fidelity are negotiated
in diverse ways. Using a series of case studies and
empirical data, this paper maps out retweeting as a
conversational practice.
1.
Suzanne Seggerman is President and co-founder of Games 4 Change, an organization that helps individuals and organizations develop digital games for social change. Listen in as she surveys the burgeoning serious games movement, which uses game technology to address the most serious issues of our day: the Israeli-Palestinian conflict, poverty, global warming and the genocide in Darfur.
The Luddites were a social movement of British textile artisans in the nineteenth century who protested – often by destroying mechanised looms – against the changes produced by the Industrial Revolution, which they felt were leaving them without work and changing their way of life. It took its name from Ned Ludd.
The Luddites were a social movement of British textile artisans in the nineteenth century who protested - often by destroying mechanised looms - against the changes produced by the Industrial Revolution, which they felt were leaving them without work and changing their way of life. It took its name from Ned Ludd.
Some teachers are experimenting with the popular microblogging tool as an effective way of distributing assignments and engaging students in content and collaborative lessons.