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Angela Hagan

Aspirin stimulates insulin - 6 views

  • AbstractNormal subjects and patients with adult-onset diabetes received 10 gm. of aspirin in four days. On the fourth day, the fasting serum glucose and the glucose response to oral glucose were decreased in both groups. These changes were associated with increased levels of serum insulin and pancreatic glucagon, although the glucagon responses to oral glucose were unchanged. In the diabetic patients, aspirin therapy was followed by a decreased glucose response to I.V. glucose and by the appearance of an early insulin peak, which could not be demonstrated before treatment. Aspirin did not affect the I.V. glucose tolerance in normal subjects, although it did enhance the early insulin peak. A decrease in the fasting levels of free fatty acids was noted in both groups, whereas the fasting level of triglycerides decreased only in the diabetic patients. Cholesterolemia did not change in either group. A few preliminary observations indicate that, in normal subjects, ibuprofen and ketoprofen, two other presumed prostaglandin inhibitors, did not affect fasting glycemia, glucose tolerance, or the insulin response to glucose. No changes were noted after the administration of placebo. Last A1C 4.8No Rx, Diet modification, exercise, Supps and HerbalsI am a retired HYPOGLYCEMIC Reply With Quote 11-08-2010 #2 trinitarian3n1 D.D. Family Moderator Join Date November 2007 Location In the mitten, USA Age 41 Posts > 100 About T2 dx 3/07, tx w/very lo carb D&E Met, bolus R Blog Entries 127 That's a hefty dose of aspirin. John C.A clean house is the sign of a broken computer.Last HgbA1c - 5.5% 2/2011 Reply With Quote 11-08-2010 #3 MCS D.D. Family Join Date August 2010 Posts > 100 About T2, trying to live a healthy life Yes it is, 650mg 4 times a day. I wonder if they did that to make sure they had a response and if there is a break point of some lower dose. I am on 325 once a day now. Been that high in the past for other things, lots of ringing in the ears when you get that high of a dose. Last A1C 4.8No Rx, Diet modification, exercise, Supps and HerbalsI am a retired HYPOGLYCEMIC Reply With Quote 11-08-2010 #4 furball64801 D.D. Family Join Date December 2009 Posts > 100 About type 2 25 yrs mother aunt type 2 thin 50 yrs Blog Entr
  • The therory is that it helps to regenerate the once turned off Beta cells, not over working the exiting ones. This is just one article I found, they are many, most of them concern Salsalate a drug used for arthritis. It works by lowering the inflammation of the liver and pancreas. Lowers IR, its a pretty interesting concept based largerly on inflammation of one muscles and organs. Originally Posted by jeanne wagner i know for heart health they recommend the baby 81 mg a day. I would think you wouldn't have a stomach lining left if you took that on a daily basis. Also just because it stimulates insulin doesn't mean it is a good thing. Sulfonyureas also overstimulate insulin and there is some thought they lead to beta cell burnout. I think it is better to find things like metformin that make you more sensitive to the insulin you naturally make. Last A1C 4.8No Rx, Diet modification, exercise, Supps and HerbalsI am a retired HYPOGLYCEMIC Reply With Quote 11-08-2010 #7 MCS D.D. Family Join Date August 2010 Posts > 100 About T2, trying to live a healthy life Here is a few more articles concerning NSAID's and insulin if you are interested.http://www.annals.org/content/152/6/346.abstracthttp://onlinelibrary.wiley.com/doi/1...026.x/abstracthttp://www.theannals.com/cgi/content/abstract/44/7/1207 Last A1C 4.8No Rx, Diet modification, exercise, Supps and HerbalsI am a retired HYPOGLYCEMIC Reply With Quote MCS was thanked for this post by: Nan-OH 11-08-2010 #8 CalgaryDiabetic D.D. Family Join Date June 2009 Location Calgary,Canada Posts > 100 About diabetic since 1997, on insulin 2000 Guarantied tummy ulcer with so much aspirin. Reply With Quote 11-09-2010 #9 MCS
Kari Beery

Tech Savvy Kids - 86 views

  • To the psychologists, sociologists, and generational and media experts who study them, their digital gear sets this new group (yet unnamed by any powers that be) apart, even from their tech-savvy Millennial elders. They want to be constantly connected and available in a way even their older siblings don't quite get. These differences may appear slight, but they signal an all-encompassing sensibility that some say marks the dawning of a new generation.
  •  PARENTING & KIDS' HEALTH NEWS: ONLY ON USA TODAYNew daditude: Today's fathers are hands-on, pressure offTV: Impairs speech | Leads to earlier sexBaby names: What's popular? Whatever's unusualMore parents share workload when mom learns to let goAre kids becoming too narcissistic? | Take the quizChemicals: What you need to know about BPA | Carcinogens found in kids' bath products | Lead poisonings persist'Momnesia,' spanking, tweens and toddlers fullCoverage='Close  X Todders: Parents' fear factor? A short toddle into the danger zoneTweens: Cooler than ever, but is childhood lost?
  • The difference is that these younger kids "don't remember a time without the constant connectivity to the world that these technologies bring," she says. "They're growing up with expectations of always being present in a social way — always being available to peers wherever you are."
Dean Whaley

iowaonlinelearning - Teaching Standards - 27 views

  • Creates a learning community that encourages collaboration and interaction, including student-teacher, student-student, and student-content (SREB D.2, Varvel VII.B, ITS 6.a)
    • Dean Whaley
       
      What I see in these is that many of these we should be doing already.
  • AEA PD Online Website HomeAbout UsFAQsCurrent InitiativesResearch & ResourcesInstructor ToolboxK-12 Online LearningProject OLLIE Current Projects • Transition Process• Marketing Plan• Job Descriptions guest · Join · Help · Sign In · Teaching StandardsProtected page Details and Tags Print Download PDF Backlinks Source Delete Rename Redirect Permissions Lock discussion (1) history notify me Details last edit by eabbey Mar 11, 2011 6:56 am - 26 revisions Tags none Iowa Online Teaching Standards Composed from Iowa Teaching Standards and Other Resources 1. Demonstrates ability to enhance academic performance and support for the agency's student achievement goals (ITS 1) • Knows and aligns instruction to the achievement goals of the local agency and the state, such as with the Iowa Core (Varvel I.A, ITS 1.f, ITS 3.a) • Continuously uses data to evaluate the accuracy and effectiveness of instructional strategies (SREB J.7, ITS 1.c) • Utilizes a course evaluation and student feedback data to improve the course (Varvel VI.F) • Provides and communicates evidence of learning and course data to students and colleagues (SREB J.6, ITS 1.a) 2. Demonstrates competence in content knowledge (including technological knowledge) appropriate to the instructional position (ITS 2) • Meets the professional teaching standards established by a state-licensing agency, or has the academic credentials in the field in which he or she is teaching (SREB A.1, Varvel II.A) • Knows the content of the subject to be taught and understands how to teach the content to students (SREB A.3, Varvel II.A, ITS 2.a) • Is knowledgeable and has the ability to use computer programs required in online education to improve learning and teaching, including course management software (CMS) and synchronous/asynchronous communication t
Jac Londe

17 U.S. Code § 106A - Rights of certain authors to attribution and integrity ... - 1 views

  • (a) Rights of Attribution and Integrity.— Subject to section 107 and independent of the exclusive rights provided in section 106, the author of a work of visual art— (1) shall have the right—
  • (A) to claim authorship of that work, and
  • (B) to prevent the use of his or her name as the author of any work of visual art which he or she did not create;
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  • (2) shall have the right to prevent the use of his or her name as the author of the work of visual art in the event of a distortion, mutilation, or other modification of the work which would be prejudicial to his or her honor or reputation; and
  • (3) subject to the limitations set forth in section 113 (d), shall have the right— (A) to prevent any intentional distortion, mutilation, or other modification of that work which would be prejudicial to his or her honor or reputation, and any intentional distortion, mutilation, or modification of that work is a violation of that right, and (B) to prevent any destruction of a work of recognized stature, and any intentional or grossly negligent destruction of that work is a violation of that right.
  • (b) Scope and Exercise of Rights.— Only the author of a work of visual art has the rights conferred by subsection (a) in that work, whether or not the author is the copyright owner. The authors of a joint work of visual art are coowners of the rights conferred by subsection (a) in that work.
  • (4) All terms of the rights conferred by subsection (a) run to the end of the calendar year in which they would otherwise expire.
  • (d) Duration of Rights.— (1) With respect to works of visual art created on or after the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, the rights conferred by subsection (a) shall endure for a term consisting of the life of the author.
  • (2) With respect to works of visual art created before the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, but title to which has not, as of such effective date, been transferred from the author, the rights conferred by subsection (a) shall be coextensive with, and shall expire at the same time as, the rights conferred by section 106.
  • (3) In the case of a joint work prepared by two or more authors, the rights conferred by subsection (a) shall endure for a term consisting of the life of the last surviving author.
  • (c) Exceptions.— (1) The modification of a work of visual art which is a result of the passage of time or the inherent nature of the materials is not a distortion, mutilation, or other modification described in subsection (a)(3)(A). (2) The modification of a work of visual art which is the result of conservation, or of the public presentation, including lighting and placement, of the work is not a destruction, distortion, mutilation, or other modification described in subsection (a)(3) unless the modification is caused by gross negligence. (3) The rights described in paragraphs (1) and (2) of subsection (a) shall not apply to any reproduction, depiction, portrayal, or other use of a work in, upon, or in any connection with any item described in subparagraph (A) or (B) of the definition of “work of visual art” in section 101, and any such reproduction, depiction, portrayal, or other use of a work is not a destruction, distortion, mutilation, or other modification described in paragraph (3) of subsection (a).
  • (e) Transfer and Waiver.— (1) The rights conferred by subsection (a) may not be transferred, but those rights may be waived if the author expressly agrees to such waiver in a written instrument signed by the author. Such instrument shall specifically identify the work, and uses of that work, to which the waiver applies, and the waiver shall apply only to the work and uses so identified. In the case of a joint work prepared by two or more authors, a waiver of rights under this paragraph made by one such author waives such rights for all such authors.
  • (2) Ownership of the rights conferred by subsection (a) with respect to a work of visual art is distinct from ownership of any copy of that work, or of a copyright or any exclusive right under a copyright in that work. Transfer of ownership of any copy of a work of visual art, or of a copyright or any exclusive right under a copyright, shall not constitute a waiver of the rights conferred by subsection (a). Except as may otherwise be agreed by the author in a written instrument signed by the author, a waiver of the rights conferred by subsection (a) with respect to a work of visual art shall not constitute a transfer of ownership of any copy of that work, or of ownership of a copyright or of any exclusive right under a copyright in that work.
Jac Londe

17 U.S. Code § 113 - Scope of exclusive rights in pictorial, graphic, and scu... - 10 views

  • U.S. Code › Title 17 › Chapter 1 › § 113 17 U.S. Code § 113 - Scope of exclusive rights in pictorial, graphic, and sculptural works
  • (a) Subject to the provisions of subsections (b) and (c) of this section, the exclusive right to reproduce a copyrighted pictorial, graphic, or sculptural work in copies under section 106 includes the right to reproduce the work in or on any kind of article, whether useful or otherwise.
  • (b) This title does not afford, to the owner of copyright in a work that portrays a useful article as such, any greater or lesser rights with respect to the making, distribution, or display of the useful article so portrayed than those afforded to such works under the law, whether title 17 or the common law or statutes of a State, in effect on December 31, 1977, as held applicable and construed by a court in an action brought under this title.
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  • (c) In the case of a work lawfully reproduced in useful articles that have been offered for sale or other distribution to the public, copyright does not include any right to prevent the making, distribution, or display of pictures or photographs of such articles in connection with advertisements or commentaries related to the distribution or display of such articles, or in connection with news reports.
  • (d) (1) In a case in which— (A) a work of visual art has been incorporated in or made part of a building in such a way that removing the work from the building will cause the destruction, distortion, mutilation, or other modification of the work as described in section 106A (a)(3), and
  • (B) the author consented to the installation of the work in the building either before the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, or in a written instrument executed on or after such effective date that is signed by the owner of the building and the author and that specifies that installation of the work may subject the work to destruction, distortion, mutilation, or other modification, by reason of its removal,
  • then the rights conferred by paragraphs (2) and (3) of section 106A (a) shall not apply.
  • (2) If the owner of a building wishes to remove a work of visual art which is a part of such building and which can be removed from the building without the destruction, distortion, mutilation, or other modification of the work as described in section 106A (a)(3), the author’s rights under paragraphs (2) and (3) of section 106A (a) shall apply unless—
  • (A) the owner has made a diligent, good faith attempt without success to notify the author of the owner’s intended action affecting the work of visual art, or (B) the owner did provide such notice in writing and the person so notified failed, within 90 days after receiving such notice, either to remove the work or to pay for its removal.
  • For purposes of subparagraph (A), an owner shall be presumed to have made a diligent, good faith attempt to send notice if the owner sent such notice by registered mail to the author at the most recent address of the author that was recorded with the Register of Copyrights pursuant to paragraph (3). If the work is removed at the expense of the author, title to that copy of the work shall be deemed to be in the author.
  • (3) The Register of Copyrights shall establish a system of records whereby any author of a work of visual art that has been incorporated in or made part of a building, may record his or her identity and address with the Copyright Office. The Register shall also establish procedures under which any such author may update the information so recorded, and procedures under which owners of buildings may record with the Copyright Office evidence of their efforts to comply with this subsection.
Anthony Giannini

Discipline - 15 views

  •      ClassPeriodSectionDaysRoomSemester Computer Information & Technology 1 1A,B167S1, S2 Computer and Information Technology 2 1B314S1, S2 Computer and Information Technology 3 2B314S1, S2 Computer Applications 4 1A,B314S1, S2 to
  • 12345
  • ClassesSearchCampusReportsActionsMissing StudentsMessagesMy Home Welcome, Anthony Giannini, today is Friday, December 6, 2019 #pnlExpand, #pnlCollapse{ padding-top: 5px; padding-bottom: 10px; } Show Cycle Day Information Hide Cycle Day Information Cycle day B in Emanuel Axelrod Education Center - John A. Flannery High School and John A. Flannery Middle School Cycle day B in Regional Education Center At Arden Hill - Marguerite A. Flood Middle School, Marguerite A. Flood High School, Academy at Arden Hill High School and Academy at Arden Hill Middle School Cycle day B in Chester School District Satellite - Chester Academy Satellite MS CurrentTodayAll Take attendance at: 01 02 03 04 05 06 07 08 09 10 11 12 : 00 01 02 03 04 05</opti
Roland Gesthuizen

'Dance Your Ph.D.' Finalists Announced - ScienceNOW - 49 views

  • Over the past 3 years, scientists from around the world have teamed up to create dance videos based on their graduate research.
  •  
    "The dreaded question. "So, what's your Ph.D. research about?" You could bore them with an explanation. Or you could dance. That's the idea behind "Dance Your Ph.D." Over the past 3 years, scientists from around the world have teamed up to create dance videos based on their graduate research. This year's contest, launched in June by Science, received 45 brave submissions. "
  •  
    What a great idea, to dance your way to new understandings and thinking :-)
meghankelly492

Music performance skills: A two-pronged approach - facilitating optimal music performan... - 1 views

  • music performance anxiety (MPA)
  • The concept of “flow”, describing the subjective psychological state in which a person is completely immersed and fully concentrated in an activity which is enjoyable and rewarding, is often associated with optimal functioning
  • Anxiety is generally regarded as having an antithetical relationship with flow
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  • The clinical implications of this negative association between MPA and flow suggest that a two-pronged approach focusing on facilitating flow and positive functioning as well as reducing pathological MPA may bring about improvements in the performer’s subjective performing experienc
  • Seligman’s (2011) most recent model of well-being, from the field of positive psychology, understands well-being as comprising five elements: Positive emotion, Engagement, Relationships, Meaning and Achievemen
  • There is a substantial body of Music Performance Anxiety (MPA) research providing evidence that MPA is a debilitating phenomenon (Kenny, 2011) which can affect musicians at any stage of their careers, from highly experienced professional performers (Fishbein, Middlestadt, Ottati, Straus, &amp; Ellis, 1988; Kenny, Driscoll, &amp; Ackerman, 2014) through to child beginners
  • Anxiety is often described as having an antithetical relationship to the experience of flow (Csikszentmihalyi, 1975), and it has been suggested that fostering techniques for facilitating flow may provide a powerful tool for reducing MPA and encouraging optimal performance
  • “when performance anxiety was highest, flow was lowest and vice versa … the presence of one minimises the magnitude of the other” (Fullager et al., 2013, p. 251), and a recent study found evidence of a strong, significant negative association between flow and MPA amongst 200 professional orchestral musicians (Cohen &amp; Bodner, 2018), supporting Kirchner et al.’s (2008) earlier findings with music students
  • Investigations of the efficacy of existing methods for treating MPA indicate that Cognitive Behavioural Therapy based interventions are most effective (for an overview, see Burin &amp; Osorio, 2016).
  • However, evidence suggests that pharmacological methods, particularly beta-blockers, are most commonly used, often in the absence of medical supervision (Cohen &amp; Bodner, 2018; Kenny et al., 2014) and that the subject of MPA is still stigmatised, with many musicians and teachers unwilling to talk openly about it
  • Csikszentmihalyi’s nine dimensions of flow as follows
  • Although there was an increase in flow over time, this was not significant, F(1, 20) = 4.27, p &gt; .05, η2 =.18, and there was no evidence of a significant interaction between group and time, F(1, 20) = 0.56, p &gt; .05, η2 = .03, indicating that the hypothesis that there would be an increase in self-reported levels of flow in the intervention group, was not supported.
  • Figure 4. Judge-rated musical performance quality and signs of performance anxiety in the intervention group.
  • These results support the fourth hypothesis that there would be an increase in judge-rated PQ and a decrease in judge-rated SPA.
  • Results showed evidence of a significant negative association between MPA and flow, and three out of the four study hypotheses were supported: the music performance skills intervention was found to be effective in reducing pre-/post-test MPA in the intervention group compared to the wait-list control group; there were significant improvements in positive and negative affect and state anxiety associated with the performance situation in the intervention group; and there were significant improvements in judge-rated PQ and behavioural signs of performance anxiety. However, there was no significant change in pre-/post-test measures of flow. These findings will now be discussed in more detail.
  • This supports the understanding of MPA as a specific type of anxiety, where the performer suffers from MPA without necessarily being generally anxious or impaired in any other areas of his/her life (Clark &amp; Williamon, 2011; Hoffman &amp; Hanrahan, 2011) and corresponds to Kenny’s (2011) description of the first and most mild of three types of MPA (for full coverage of this issue, see Kenny, 2011).
  • Thus, the absence in improvement in levels of flow in the current study could also be due to the low average hours of daily practice reported
  • The increases in participants’ positive affect and decreases in negative affect after the second simulated performance compared to the first indicate that the intervention was effective in facilitating positive emotion, the first component of Seligman’s (2011) PERMA model of well-being
  • Evidence of improvements in judge-rated performance quality indicate that the intervention was also effective in facilitating the fifth (Achievement) component of the PERMA model.
  • “Ironically, it may be that the last people to receive some benefit from the therapeutic value of music may be the musicians themselves” (Brodsky, 1996, p. 95).
  • Hopefully, such an approach will enable developing musicians to acquire the skills necessary to enjoy satisfying, successful and healthy lives as performing musicians, in which the threat of debilitating MPA and the need to recourse to beta-blockers are a thing of the past.
  • Cohen, S., &amp; Bodner, E. (2019). Music performance skills: A two-pronged approach – facilitating optimal music performance and reducing music performance anxiety. Psychology of Music, 47(4), 521–538. https://doi.org/10.1177/0305735618765349
Gregory Louie

Students tap into technology - Pittsburgh Tribune-Review - 1 views

  • use their laptops to read "Don Quixote" and Dante's "Divine Comedy" on the Internet
  • Technology is the wave of the future
  • a computer program
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  • "Most jobs require computers," noted Brittnee Stephen, 16, as she assembled a slideshow on her HP Mini laptop. "It's good that we're learning it now."
    • Ed Webb
       
      The technology is still very visible, if students are talking in terms of 'computers' rather than the skills involved. We don't talk about 'paper' but writing, critical reading etc. Yet here the platform itself is emphasized. Early days, I guess.
  • has just begun incorporating technology
    • Ed Webb
       
      Uh, no. They have been using 'technology' forever, in the form of, say, books.
  • students seem far more interested in learning via interactive technology than they had been with a chalkboard and an overhead projector
    • Ed Webb
       
      Well, the problem here is that some of that can be ascribed to novelty. Once every class uses 'interactive technology' (yuk) then how much difference will there be? The tools are great. All tools can be useful. But focus on the pedagogy, people!
    • Scott Merrick
       
      I'm for focusing on understanding. I love the word "pedagogy" because most lay people don't really know what it entails--theory (which can be anything institutional or community deems effective or correct), practice (which, as we know, can be summed up with the phrase "mileage will vary"), and some third thing which if I could come up with it I'd have the magic 3 elements in an effective argument. I think effective tools used effectively by effective teachers (there! 3 uses of one adjective!) will remain effective as long as they are used to promote understanding. No argument here, Ed, just sayin'...
    • Ed Webb
       
      Perhaps the magic third thing would be 'attitude' or 'state of mind'? Alternatively, perhaps another of those non-transparent terms, 'praxis'. The point I was trying to make, of course, was that it ain't what you use, it's the way that you use it.
  • "I think the kids that have turned school off because it's boring to them will come here and see something familiar,"
    • Ed Webb
       
      Boring and familiar seem to me to be closely related, not opposites. I suspect that often when students say their learning environment is 'boring' they mean 'challenging'.
  • Educational technology does not come cheaply
    • Ed Webb
       
      The cost of books is astronomical!
  • "Learning is changing,"
    • Ed Webb
       
      Was it EVER the case that we could "just deliver a lecture and expect all the kids to get it"?
    • Gregory Louie
       
      Computer technology in my classroom has revolutionized my teaching of biology. Instead of static images on a printed page, or talk and chalk, my students can manipulate 3-D images of DNA, RNA and proteins. These have even been embedded in a research-based learning progression that leads the students to a robust understanding of the foundational elements of molecular literacy. 1. Atoms and molecules are constantly in motion. (A visualization is not possible on a 2-3 printed page.) 2. All atoms and molecules have a 3-D structure that determines how they interact with other particles. 3. Charges and other intermolecular forces play a role in atomic and molecular interactions. My students can see these for themselves, change the number of particles in a box, or the distribution of charge on a large particle or the temperature of the box and other thought experiments which they can follow in real-time. There is no way, I could do that without the computer!
anonymous

3-D Animated Animals Help Kindergartners Read - 92 views

  • A new reading curriculum based on augmented reality technology grabs student attention and shows them difficult concepts in a visual form. "Letters alive" uses 26 animals to help pre-kindergartners and kindergartners learn to read.
Cüneyt Birkök

International Journal of Human Sciences - 18 views

  • ©2002 Uluslararası İnsan Bilimleri Dergisi / International Journal of Human Sciences (ISSN:1303-5134) is an "Open access journal" that uses a funding model that does not charge readers or their institutions for access. From the BOAI definition of open access, users take the right of read, download, copy, distribute, print, search, or link to the full texts of these articles.
  •  
    ©2002 International Journal of Human Sciences (ISSN:1303-5134) is an "Open access journal" that uses a funding model that does not charge readers or their institutions for access. From the BOAI definition of open access, users take the right of read, download, copy, distribute, print, search, or link to the full texts of these articles. Creative Commons License # We look forward to work with scholars from all over the world and in any subject fields. All academicians (hold a Ph.D degree) are welcomed. # Refereeing pre-request is to supervise at least three (Master) or (Doctoral) thesis. # We elaborate scientific branches mentioned in the about page according to any requests from referees. # Referees are responsible to review and approve submitted works in English language and subject fields by filling out this evaluation form. # To join with editorial board, Login/Register to this journal and then submit your full academic vitae with your subject fields you are able to review to journal editor (editor@insanbilimleri.com). Please fill completely out all the information asked (such as your bio statement, languages, institution etc.) at user profile page.
  •  
    ©2002 International Journal of Human Sciences (ISSN:1303-5134) is an "Open access journal" that uses a funding model that does not charge readers or their institutions for access. From the BOAI definition of open access, users take the right of read, download, copy, distribute, print, search, or link to the full texts of these articles. Creative Commons License # We look forward to work with scholars from all over the world and in any subject fields. All academicians (hold a Ph.D degree) are welcomed. # Refereeing pre-request is to supervise at least three (Master) or (Doctoral) thesis. # We elaborate scientific branches mentioned in the about page according to any requests from referees. # Referees are responsible to review and approve submitted works in English language and subject fields by filling out this evaluation form. # To join with editorial board, Login/Register to this journal and then submit your full academic vitae with your subject fields you are able to review to journal editor (editor@insanbilimleri.com). Please fill completely out all the information asked (such as your bio statement, languages, institution etc.) at user profile page.
  •  
    ©2002 International Journal of Human Sciences (ISSN:1303-5134) is an "Open access journal" that uses a funding model that does not charge readers or their institutions for access. From the BOAI definition of open access, users take the right of read, download, copy, distribute, print, search, or link to the full texts of these articles. Creative Commons License # We look forward to work with scholars from all over the world and in any subject fields. All academicians (hold a Ph.D degree) are welcomed. # Refereeing pre-request is to supervise at least three (Master) or (Doctoral) thesis. # We elaborate scientific branches mentioned in the about page according to any requests from referees. # Referees are responsible to review and approve submitted works in English language and subject fields by filling out this evaluation form. # To join with editorial board, Login/Register to this journal and then submit your full academic vitae with your subject fields you are able to review to journal editor (editor@insanbilimleri.com). Please fill completely out all the information asked (such as your bio statement, languages, institution etc.) at user profile page.
Marc Patton

Create and Publish Amazing Multi-touch Books for iPad using iBooks Author - mLearnCon 2... - 74 views

  •  
    Participants in this session will learn the basics of iBooks Author - from Apple's pre-built templates, to creating chapters, pages, and glossaries. You will learn to turn textbooks into interactive training materials through Apple's interactive widgets like Photo Galleries, Videos, Review Interactions, Keynote Presentations, Interactive Images, 3-D material, and even custom HTML5 interactions and animations.
Mary Blow

Explore the Ruins of the Parthenon - An Interactive 360° View - 62 views

  •  
    3-D tour of the Parthenon--VERY cool.
C CC

Resource: Paleontology Museum features 3-D Images of Prehistoric Fossils - 3 views

  •  
    3D Dinosaur Skeletons
Randolph Hollingsworth

Phase 1 Findings from eReader Project, ePublishing Working Group, Fall 2010, Notre Dame... - 19 views

  •  
    Use of iPads in MGT30700 (Project Management), Fall 2010 from Aug 23-Oct 8 Report Prepared by Corey M. Angst, Ph.D. & Emily Malinowski (MBA 2011) Mendoza College of Business, University of Notre Dame December 21, 2010 First, our findings suggest the greatest value of the iPad may not be its ability to function as an eBook reader but instead its capacity to function as a consolidator or aggregator of information. Second, a statistically significant proportion of students felt the iPad, 1) makes class more interesting, 2) encourages exploration of additional topics, 3) provides functions/tools not possible with a textbook, and 4) helps students more effectively manage their time. See wiki https://wiki.nd.edu/display/oitepublishing/iPad+Configuration+for+Pilot. It also includes an Enterprise Deployment Guide
Mark Clemente

Eyes on the Solar System - 87 views

  •  
    "Eyes on the Solar System" is a 3-D environment full of real NASA mission data. Explore the cosmos from your computer. Hop on an asteroid. Fly with NASA's Voyager 2 spacecraft. See the entire solar system moving in real time. It's up to you. You control space and time.
Laura Miller

Explore the planet Mars with realistic Mars habitats, rockets, ground cars and robots - 61 views

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    A realistic walk-though of a 3-D model of a Mars base for the first humans to land on Mars. Over 100 images representing a Mars habitat, a greenhouse, a Mars car and robot rovers.
meghankelly492

The association of music experience, pattern of practice and performance anxiety with p... - 0 views

  • Music inexperience, changed pattern of practice and performance anxiety are associated with playing-related problems in child instrumentalists and are therefore important issues for music education.
  • Research on adult musicians has adopted these models and identified individual intrinsic factors such as age and gender, music performance anxiety and enjoyment, extrinsic factors such as music practice habits and type of instrument played and intrinsic–extrinsic interaction factors such as playing posture, technique and student–teacher interaction which influence the development of PRMP.
  • The aim of this study was to describe the music practice of child instrumentalists and determine their associations with playing-related musculoskeletal problems (PRMP), accounting for gender and age
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  • Symptoms of performance anxiety are generally categorized into cognitive (e.g. catastrophic thoughts), behavioral (e.g. avoidance of performance/auditions) and physiological (e.g. dry mouth, shaking arms/hands, increased heart rate) (Plaut, 1990; Salmon, 1990).
  • Shoup (1995) reported performance anxiety negatively affected performance in 55% (234/425) junior high and high school instrumentalists.
  • Over a third of students (36%, 263) reported they experienced the feeling of butterflies most times to always when playing in a concert or competition (Table 1).
  • There was a significant association between gender and the experience of butterflies (χ2 = 32.32, df (4), p &lt; .001) with more females reporting the experience of butterflies than males. There was a significant association between age and reported experience of the feeling of butterflies (F = 9.012, df (3), p &lt; .001), with older children reporting the experience of butterflies more than younger children.
Tonya Thomas

New era of Workplace Learning | Centre for Learning & Performance Technologies - 0 views

  • 1 – Encourage and support individuals’ and teams’ self-sufficiency to address their own learning and performance problems.
  • So here are 5 ways that L&amp;D can become involved:
  • 2 – Help develop autonomous workers
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  • 3 – Provide performance consulting services, where individuals and teams need help in addressing their own learning and performance problems
  • 4 – Rethink the use of learning tools and system
  • 5 – Help to develop an open, enabling culture for working and learning
  • It is clear that formal training is not going disappear overnight, but it is also becoming apparent that we are at the beginning of a fundamental shift in the way that both learning and working is happening in organisations. This should not be seen as a threat to the L&amp;D profession, but as an opportunity to evolve the profession to take on the new challenges it offers. The first step on the path will be to become immersed in the new social media tools that are underpinning this change. Social Learning is not something you just talk or read about; it’s something you do!
Dan Robinson

What Facebook Users Share: Lower Grades - TIME - 4 views

  • What Facebook Users Share: Lower Grades By Anita Hamilton Tuesday, Apr. 14, 2009 Print var artId= "1891111"; var chn = "bizTech"; var contType = "article"; Email Reprints Digg Facebook time:http://www.time.com/time/business/article/0,8599,1891111,00.html Twitter MORE Add to my: del.icio.us Technorati reddit Google Bookmarks Mixx StumbleUpon Blog this on: TypePad LiveJournal Blogger WordPress MySpace var ad = adFactory.getAd(88, 31); ad.setPosition(8) ad.write(); Forget the widely unloved redesign. Facebook has committed a greater offense. According to a new study by doctoral candidate Aryn Karpinski of Ohio State University and her co-author Adam Duberstein of Ohio Dominican University
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    Finally someone has admitted it, Facebook makes you dumber.
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