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Jac Londe

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

www.law.cornell.edu/...106A

u s rights authors attribution integrity information

shared by Jac Londe on 23 Jan 14 - No Cached
  • (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.
anonymous

Art Project, powered by Google - 123 views

www.googleartproject.com

art project art resources web tools

shared by anonymous on 01 Feb 11 - No Cached
  • Explore museums from around the world, discover and view hundreds of artworks at incredible zoom levels, and even create and share your own collection of masterpieces.
  • Gerald Carey on 02 Feb 11
     
    Visit Art Museums virtually. Zoom in on the Art.
  • ...3 more comments...
  • Lisa Reas on 02 Feb 11
     
    Take virtual tours of art museums all over the world.
  • Martin Burrett on 26 Jun 11
     
    View virtual art galleries from around the world with this great Google resource. http://ictmagic.wikispaces.com/Art,+Craft+&+Design
  • Mark Trerotola on 31 Oct 11
     
    "Explore museums from around the world, discover and view hundreds of artworks at incredible zoom levels, and even create and share your own collection of masterpieces."
  • Lauren Rosen on 02 Mar 12
     
    Museums from around the world. Nice place to view art work from multiple locations quickly.
  • anonymous on 14 Mar 13
     
    The Art Project powered by Google features interior tours of seventeen world famous art museums. Select a museum from the list on the homepage & you can virtually tour it using the same interface style you experience in Google Maps Streetview. Inside the museum, just double click to zoom to a location. You can also open a floor plan overview & click on a room to navigate to that part of the museum. The best part of the Art Project powered by Google is the option to create your own artwork collection while visiting each museum. As you're touring a museum click on the "+" symbol on any work of art see it in greater detail, to add it to your collection, & to open background information about that work of art. To create a collection you must be signed into a Google account. This is a great way to start a story or writing prompt, or to explore history & cultures.
Lisa C. Hurst

Inside the School Silicon Valley Thinks Will Save Education | WIRED - 9 views

www.wired.com/altschool

shared by Lisa C. Hurst on 05 May 15 - No Cached
  • Lisa C. Hurst on 05 May 15
     
    "AUTHOR: ISSIE LAPOWSKY. ISSIE LAPOWSKY DATE OF PUBLICATION: 05.04.15. 05.04.15 TIME OF PUBLICATION: 7:00 AM. 7:00 AM INSIDE THE SCHOOL SILICON VALLEY THINKS WILL SAVE EDUCATION Click to Open Overlay Gallery Students in the youngest class at the Fort Mason AltSchool help their teacher, Jennifer Aguilar, compile a list of what they know and what they want to know about butterflies. CHRISTIE HEMM KLOK/WIRED SO YOU'RE A parent, thinking about sending your 7-year-old to this rogue startup of a school you heard about from your friend's neighbor's sister. It's prospective parent information day, and you make the trek to San Francisco's South of Market neighborhood. You walk up to the second floor of the school, file into a glass-walled conference room overlooking a classroom, and take a seat alongside dozens of other parents who, like you, feel that public schools-with their endless bubble-filled tests, 38-kid classrooms, and antiquated approach to learning-just aren't cutting it. At the same time, you're thinking: this school is kind of weird. On one side of the glass is a cheery little scene, with two teachers leading two different middle school lessons on opposite ends of the room. But on the other side is something altogether unusual: an airy and open office with vaulted ceilings, sunlight streaming onto low-slung couches, and rows of hoodie-wearing employees typing away on their computers while munching on free snacks from the kitchen. And while you can't quite be sure, you think that might be a robot on wheels roaming about. Then there's the guy who's standing at the front of the conference room, the school's founder. Dressed in the San Francisco standard issue t-shirt and jeans, he's unlike any school administrator you've ever met. But the more he talks about how this school uses technology to enhance and individualize education, the more you start to like what he has to say. And so, if you are truly fed up with the school stat
Martha Hickson

Google Art Project - 1 views

www.googleartproject.com/faqs

google_art art museums

shared by Martha Hickson on 20 Jun 12 - No Cached
  • Martha Hickson on 20 Jun 12
     
    The Art Project is a collaboration between Google and 151 acclaimed art partners from across 40 countries. Using a combination of various Google technologies and expert information provided by our museum partners, we have created a unique online art experience. Users can explore a wide range of artworks at brushstroke level detail, take a virtual tour of a museum and even build their own collections to share. With a team of Googlers working across many product areas we are able to harness the best of Google to power the Art Project experience. Few people will ever be lucky enough to be able to visit every museum or see every work of art they're interested in but now many more can enjoy over 30 000 works of art from sculpture to architecture and drawings and explore over 150 collections from 40 countries, all in one place. We're also lucky at Google to have the technology to make this kind of project a reality.
Jac Londe

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

www.law.cornell.edu/...113

u s code scope exclusive graphic works information

shared by Jac Londe on 23 Jan 14 - No Cached
  • 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.
D. S. Koelling

The Liberal Arts Are Work-Force Development - Do Your Job Better - The Chronicle of Hig... - 35 views

chronicle.com/...128149

student education liberal arts

shared by D. S. Koelling on 07 Jul 11 - No Cached
  • Now consider that, according to the American Association of Community Colleges, about half of all freshmen and sophomores are enrolled at the nation's 1,300 two-year colleges, and many of those students transfer to four-year institutions. For a large percentage of people who earn bachelor's degrees, then, the liberal-arts portion of their education was acquired at a two-year college. Next, factor in all of the community-college students who enter the work force after earning two-year degrees or certificates, and whose only exposure to the liberal arts occurred in whatever core courses their programs required. The conclusion becomes obvious: Two-year colleges are among the country's leading providers of liberal-arts education, although they seldom get credit for that role.
  • Employers rank communication and analytical skills among the most important attributes they seek in new hires, according to the National Association of Colleges and Employers. Perhaps those of us who teach those very skills at community colleges should embrace the integral role we play in preparing the nation's workers rather than rejecting the idea of work-force development as somehow beneath us.
  • More important, this new perspective could have a positive effect on student success. If we come to see ourselves as preparing students not just for transfer but ultimately for the work force, students may be more likely to understand the relevance of the skills that we teach them and better able to use those skills for some purpose other than just getting a passing grade.
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  • Require lots of writing. As the management guru Peter Drucker argued, communication is the one skill required of all professionals, regardless of field. "As soon as you take one step up the career ladder," he said, "your effectiveness depends on your ability to communicate your thoughts in writing and in speaking."
  • Clearly, one of the best things we can do for students is to require them to write—a lot.
  • Focus on critical thinking. A common complaint of employers, as reflected in the NACE survey, is that many workers have difficulty thinking for themselves. They may be thoroughly trained, having mastered all of the concepts in the textbooks, but, inevitably, situations arise that weren't covered in the books. When that happens, the ability to think critically, independently, and creatively becomes indispensable.
  • Bring the real world into the classroom. Another strategy we can adopt, if we want our courses to be more relevant, is to make our class discussions, case studies, experiments, and assignments as real-world-based as possible. For example, in my composition courses, I not only allow students to choose their own essay topics, but I also encourage them to write about issues related to their prospective majors. I also assign reading (in addition to the old textbook standbys) from newspapers, popular magazines, even the Internet.
  • Make the connection. Take advantage of every opportunity to connect what students are doing in class with what they will be doing some day as employees. My students hear the term "the real world" so much that, by the middle of the term, they're starting to roll their eyes. But it's important for them to understand that the work we're doing now in class isn't just a series of meaningless exercises, another set of hoops for them to jump through on their way to a degree. They're going to have to do these things for real one day—describe processes, do research to find solutions, draw comparisons—and my course may be the last time anyone ever actually teaches them how.
Margaret Moore-Taylor

Artsonia Kids Art Museum - The Largest Student Art Gallery on the Web! - 52 views

www.artsonia.com

free online art museum web2.0 resources

shared by Margaret Moore-Taylor on 07 Nov 09 - Cached
  • jodi tompkins on 07 Nov 09
     
    A place with teachers can display student artwork for the world to see. Becomes there own online gallery. Secure by parents approving comments. Can order copies of your child's artwork via gift shop and your school will received 15% back. Goal is for students to be able to come back here someday to see their own artwork.
  • sarah taylor on 04 Jun 10
     
    A great website for students and teachers to showcase artwork and create online portfolios, and it's free!
  • Margaret Moore-Taylor on 15 Apr 13
     
    With Artsonia, teachers can build a gallery of their students' art projects. The website lets family and friends log on to see the children's art. Friends and relatives can comment on students' work, which is posted with their first name and an ID number. They can also sign up to get alerts when their students' new masterpieces are uploaded. Anyone can purchase coffee mugs, key chains, and other items featuring the artwork. Items are often given as a holiday, Mother's Day, or Father's Day gift. Schools earn 15 percent when parents purchase custom keepsakes with their child's artwork. 
Martin Burrett

Infinite OZ - 48 views

www.syfy.com/oz

dreamscape digital art

shared by Martin Burrett on 25 Oct 13 - No Cached
  • Martin Burrett on 25 Oct 13
     
    This is an extraordinary piece of digital art of zooming dreamscapes. Use it to inspire other digital art work or for creative writing. http://ictmagic.wikispaces.com/Art%2C+Craft+%26+Design
Peter Beens

Teacher Magazine: Stepping Aside: The Art of Working With Student-Teachers - 1 views

www.teachermagazine.org/...tln_norton_student_teach.html

education student teacher

shared by Peter Beens on 14 Sep 09 - Cached
  • Peter Beens on 14 Sep 09
     
    Stepping Aside: The Art of Working With Student-Teachers\n\nTeacher Leaders Network Although traditional teacher-education programs rely on veteran educators to invite student- or "practice-" teachers into their classrooms, many skilled professionals can be heard expressing some reluctance about sharing instructional responsibilities with green recruits. They may be concerned about their ability to mentor an inexperienced colleague effectively, or simply hesitant to relinquish control of instruction in an atmosphere of high-stakes accountability.\n\nIn a recent post to the Teacher Leaders Network Forum daily discussion group, veteran teacher Vicky expressed some reservations of her own about working with a student-teacher and asked for help.\n\nI may be getting the opportunity to work with a student-teacher. I was wondering about your ideas for starting the year off right, helping the student-teacher, and balancing the load of mentoring the student teacher and teaching the students myself. I'm excited about the possibility, but I'm also a pretty hands-on control freak kind of person, so I want to alternately challenge and excite the intern but not be unfair or scary. Tips?\n\nNancy, a veteran K-12 music teacher, replied:\n\nGreat questions, Vicky. My first suggestion would be adopting the perspective that you will learn as much as the novice teacher-about yourself, your beliefs, and your practice. The first step is probably building a relationship in which the novice teacher trusts you enough to share real information and opinion (and vice-versa).\n\nCreate a safe space to communicate honestly, in both directions. A student teacher who feels comfortable enough to share fears, anxieties, confusion, and frustration-and knows that he or she is not being judged, but honored as a learner by a veteran teacher who also has fears and frustrations-will be a student teacher who can grow.\n\nMy second thought is that from your students' perspective there should be two experts
Thieme Hennis

Help Write a Children's Book Online at P2PU - 16 views

info.p2pu.org/...-childrens-book-online-at-p2pu

creativity crowdsourcing kids books participation psd

shared by Thieme Hennis on 12 Sep 14 - No Cached
  • a new P2PU course that I am facilitating, Crowdsourced Art: A Participatory Exercise in Collaboration and Collective Creativity.
  • creativity should not be – and was never meant to be – the prerogative of a few chosen individuals.
  • This course will be an introduction to crowdsourced art, and an experiment in collective creativity. We’ll learn about crowdsourced art – the central topic of my PhD research – and we’ll work together to develop a children’s book about a snail called Hashtag and his adventures on the Internet.
anonymous

Silk - 81 views

new.weavesilk.com

silk art resources web tools

shared by anonymous on 14 Mar 13 - No Cached
  • anonymous on 14 Mar 13
     
    Have students to create visual works of art online. Silk is an interactive site where students can drag their mouse around on the page to create beautiful weaving & whirling designs. Drawing lines on the screen will add color to the moving art, & by speeding up or slowing down their movements the effect will change. Students can choose between 6 different colors, & 3 different modes of symmetry. Students can share their creation with a simple link. Have students describe their unique artwork as a description & creative writing exercise. Also available as an app for the iPad.
Martin Burrett

Create your own Wallpaper - 51 views

wallpapers.x3studios.com

design wallpaper art

shared by Martin Burrett on 18 Aug 11 - Cached
  • Martin Burrett on 18 Aug 11
     
    An amazing desktop wallpaper designer which makes stunning images that are good enough to be works of art. http://ictmagic.wikispaces.com/Art,+Craft+&+Design
Elizabeth Pitel

Philadelphia Museum of Art - Exhibitions - Represent: 200 Years of African American Art - 17 views

www.philamuseum.org/...815.html

art exhibitions african american resources

shared by Elizabeth Pitel on 05 Feb 15 - No Cached
  • Elizabeth Pitel on 05 Feb 15
     
    Collection and slideshow of great works of art by African American Artists
Marianne Hart

The Creativity Crisis - Newsweek - 48 views

www.newsweek.com/...the-creativity-crisis.html

shared by Marianne Hart on 13 Jul 10 - Cached
  • there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
  • “Creativity can be taught,”
  • it’s left to the luck of the draw who becomes creative: there’s no concerted effort to nurture the creativity of all children
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Students are labeled as "creative" if they display a knack for art or music, and sometimes in writing, however, they are rarely recognized as creative in math or science where a lot of creativity is not only needed, but excellent for learning within those very two disciplines.
    • Bill Genereux
      Bill Genereux on 23 Aug 10
       
      This is precisely why creativity education is important. It is needed everywhere, not just in the arts. Those teaching outside of arts education need to start recognizing the importance of creative thinking as well.
  • ...23 more annotations...
  • When faculty of a major Chinese university asked Plucker to identify trends in American education, he described our focus on standardized curriculum, rote memorization, and nationalized testing. “After my answer was translated, they just started laughing out loud,” Plucker says. “They said, ‘You’re racing toward our old model. But we’re racing toward your model, as fast as we can.’ ”
  • The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process.
  • When you try to solve a problem, you begin by concentrating on obvious facts and familiar solutions, to see if the answer lies there. This is a mostly left-brain stage of attack. If the answer doesn’t come, the right and left hemispheres of the brain activate together. Neural networks on the right side scan remote memories that could be vaguely relevant. A wide range of distant information that is normally tuned out becomes available to the left hemisphere, which searches for unseen patterns, alternative meanings, and high-level abstractions. Having glimpsed such a connection, the left brain must quickly lock in on it before it escapes. The attention system must radically reverse gears, going from defocused attention to extremely focused attention. In a flash, the brain pulls together these disparate shreds of thought and binds them into a new single idea that enters consciousness. This is the “aha!” moment of insight, often followed by a spark of pleasure as the brain recognizes the novelty of what it’s come up with. Now the brain must evaluate the idea it just generated. Is it worth pursuing? Creativity requires constant shifting, blender pulses of both divergent thinking and convergent thinking, to combine new information with old and forgotten ideas. Highly creative people are very good at marshaling their brains into bilateral mode, and the more creative they are, the more they dual-activate.
  • those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better
    • Ed Webb
      Ed Webb on 23 Jul 10
       
      Surely, "more quickly"?
  • Creativity has always been prized in American society, but it’s never really been understood. While our creativity scores decline unchecked, the current national strategy for creativity consists of little more than praying for a Greek muse to drop by our houses. The problems we face now, and in the future, simply demand that we do more than just hope for inspiration to strike. Fortunately, the science can help: we know the steps to lead that elusive muse right to our doors.
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Likely because it was out of necessity and the hardships of life. Not that we don't have hardships and necessities, but innovation has solved a lot of problems and automation has made skills and tasks easy.
  • What’s common about successful programs is they alternate maximum divergent thinking with bouts of intense convergent thinking, through several stages. Real improvement doesn’t happen in a weekend workshop. But when applied to the everyday process of work or school, brain function improves.
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Everyday process of work or school... over time, consistent and non-prescriptive.
  • kids demonstrated the very definition of creativity: alternating between divergent and convergent thinking, they arrived at original and useful ideas. And they’d unwittingly mastered Ohio’s required fifth-grade curriculum—from understanding sound waves to per-unit cost calculations to the art of persuasive writing. “You never see our kids saying, ‘I’ll never use this so I don’t need to learn it,’ ” says school administrator Maryann Wolowiec. “Instead, kids ask, ‘Do we have to leave school now?’ ” Two weeks ago, when the school received its results on the state’s achievement test, principal Traci Buckner was moved to tears. The raw scores indicate that, in its first year, the school has already become one of the top three schools in Akron, despite having open enrollment by lottery and 42 percent of its students living in poverty.
  • project-based learning
  • highly creative adults frequently grew up with hardship. Hardship by itself doesn’t lead to creativity, but it does force kids to become more flexible—and flexibility helps with creativity.
  • When creative children have a supportive teacher—someone tolerant of unconventional answers, occasional disruptions, or detours of curiosity—they tend to excel. When they don’t, they tend to underperform and drop out of high school or don’t finish college at high rates. They’re quitting because they’re discouraged and bored, not because they’re dark, depressed, anxious, or neurotic. It’s a myth that creative people have these traits. (Those traits actually shut down creativity; they make people less open to experience and less interested in novelty.) Rather, creative people, for the most part, exhibit active moods and positive affect. They’re not particularly happy—contentment is a kind of complacency creative people rarely have. But they’re engaged, motivated, and open to the world.
  • solutions emerge from a healthy marketplace of ideas, sustained by a populace constantly contributing original ideas and receptive to the ideas of others
  • The age-old belief that the arts have a special claim to creativity is unfounded.
  • When scholars gave creativity tasks to both engineering majors and music majors, their scores laid down on an identical spectrum, with the same high averages and standard deviations. Inside their brains, the same thing was happening—ideas were being generated and evaluated on the fly.
  • The lore of pop psychology is that creativity occurs on the right side of the brain. But we now know that if you tried to be creative using only the right side of your brain, it’d be like living with ideas perpetually at the tip of your tongue, just beyond reach
  • those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better. A lifetime of consistent habits gradually changes the neurological pattern.
  • The home-game version of this means no longer encouraging kids to spring straight ahead to the right answer
  • The new view is that creativity is part of normal brain function.
  • “As a child, I never had an identity as a ‘creative person,’ ” Schwarzrock recalls. “But now that I know, it helps explain a lot of what I felt and went through.”
  • In China there has been widespread education reform to extinguish the drill-and-kill teaching style. Instead, Chinese schools are also adopting a problem-based learning approach.
  • fact-finding
  • problem-finding
  • Next, idea-finding
  • there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
  • Christian Howd on 13 Jul 10
     
    For the first time, research shows that American creativity is declining. What went wrong-and how we can fix it.
Martin Burrett

The Warholizer - 6 views

warholize.me

art artist photos images

shared by Martin Burrett on 10 Aug 11 - No Cached
  • Martin Burrett on 10 Aug 11
     
    Make an image into a work of art in the style of Andy Warhol. Just upload your chosen image and choose a colour. http://ictmagic.wikispaces.com/Art,+Craft+&+Design
anonymous

This Exquisite Forest - 72 views

www.exquisiteforest.com

this exquisite forest art resources web tools

shared by anonymous on 14 Nov 12 - No Cached
  • Martin Burrett on 14 Nov 12
     
    This site is a collaborative online drawing and animation project from Google and the UK's Tate Modern art gallery. Draw part of a picture and add to other people's creation. http://ictmagic.wikispaces.com/Art%2C+Craft+%26+Design
  • anonymous on 14 Mar 13
     
    An online art project developed by Google, this site is a place for digital storytelling through pictures, not words. Students can work collaboratively to create a short animated story, with each animation building off the previous branches. Students can create their own seeds & invite others to grow a tree with them. Before students can create their own seeds, they do have to contribute to an already existing tree. If a student does not feel they can express their words with an animation, think about having the students pair up. Have one student become an author & write an outline of the story, while the other student draws the animation of the story.
anonymous

The Art of Virtual Leadership - 4 Keys to Leading Remote Workers and Managing Virtual T... - 19 views

www.evancarmichael.com/...nd-Managing-Virtual-Teams.html

leadership leading remote workers managing teams

shared by anonymous on 18 May 13 - No Cached
  • Many organizations believe that one of the biggest challenges they face when implementing a virtual office is managing mobile or remote workers. It is unfortunate that they let this perception stop them from reaping the many benefits of a more flexible workplace.
  • Remote management is not radically different from managing people on-site. The biggest difference is a shift in management style from "eyeball management" (assuming workers are being productive because you physically see them at their desks working) to managing by results. By learning to mange by results rather than activity, improving communication, and nurturing trust between managers and employees the whole organization benefits. In fact, virtual team managers have reported that their overall management skills increased for both on and off-site workers.
  • MANAGING BY RESULTS, NOT ACTIVITY One of the most common fears that managers and executives have when considering virtual teams is, "How do I know my employees will be working if I'm not there to watch them?" Well the simple answer is that you won't, not every minute. But realistically, you can't be sure they are really working every minute you see them in the office either; it is easy to confuse activity with productivity. A manager's job is to provide specific, measurable, and attainable goals for the remote employee so that he or she knows what must be done and when. These can include reports completed, number of calls made, and number of support issues resolved - or any other appropriate measure of job productivity.It is important that the employee and manager arrive upon a shared definition of the deliverables and timetable together. This ensures that everyone is on the "same page" and prevents miscommunication. It also ensures that the goals and expectations are realistic. A manager's value to an organization is as more of a coach and mentor, not an overseer. This move away from "eyeball management," and the resulting clearer definition of employee job responsibilities, is one of the major contributing factors to the improved productivity normally experienced with virtual teams. Shifting your focus to performance based management will help you build a more productive mobile workforce.
  • anonymous on 18 May 13
     
    Manage by results
Thieme Hennis

About | The Open Master's Program - 21 views

www.openmasters.org/about

self-directed learning self-organization education p2p

shared by Thieme Hennis on 10 Sep 13 - No Cached
  • Thieme Hennis on 10 Sep 13
     
    "Learning- even "self-directed learning"- is an inherently social activity. The Open Master's is a global community of small groups for self-directed learners, offering each other the structure, accountability, relationships, and sense of forward direction that are often hard to find outside formal programs and institutions. These groups are using and building on an open source framework of shared practices to help us: Master the art of social, self-directed learning Be more intentional about our learning journeys Take bolder risks in our journeys of becoming Discover and share our unique gifts Ensure that our short-term learning goals feed into our longer-term vision for transformation for ourselves and the world We invite any existing community, organization, or even groups of friends or colleagues to use the Open Master's framework to make their own learning process more intentional.  You can do that simply by: Mapping out a personal plan or curriculum, including a clear statement of purpose and some intentions for your own learning journey, and sharing them on a personal website or blog Bringing the rhythm of semesters back into your life, including regular opportunities for evaluation and reflection Developing deeper relationships with study buddies, mentors, and advisers Starting an Open Master's group with a clear commitment to study together, support each other, and share your work Offering a presentation or organizing a study group on a topic that interests you Maintaining a portfolio of learning projects (including professional work) you've completed and reviewed with peers and mentors We also invite you to link up with the broader global community of Open Master's groups by joining regional or global events to spotlight members, mix with members across groups, and cross-pollinate ideas or strategies that are working in different contexts."
Martin Leicht

Distracted Minds: Why You Should Teach Like a Poet - 4 views

www.chronicle.com/...y-you-should-teach-like-a-poet

education higher ed students engagement focus build zoom learning

shared by Martin Leicht on 11 Jan 21 - No Cached
  • Routine is a great deadener of attention.
  • When you follow the same routines at home, folding the laundry or doing the dishes, your mind goes on automatic pilot.
  • same generic suite of teaching activities: listen to a lecture, take notes, ask some questions, talk in groups.
  • ...17 more annotations...
  • Be astonished.
  • Pay attention.
  • Through the creative turns of language they use to describe the world and our experiences, the familiar becomes unfamiliar again, and we discover in the everyday world fresh food for insight and reflection.
  • We want them to pay attention to course content, to be astonished by what they find there, and to report back to us and the world what they have discovered.
  • Find an everyday object that connects to your discipline, or a photograph or image that accompanies an article or book in your field.
  • Close — and I mean really close — reading.
  • in which practitioners slowly read the sacred scriptures of Judaism aloud to one another, pausing and discussing and questioning at every turn.
  • Tell about it.
  • asked what they had learned from the experience, and especially what they had noticed about the text that they hadn’t perceived before
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      Metacognition exercise of sorts?
  • Engagement with objects.
  • pointed out anomalies and inconsistencies, and wondered
  • What? For the first step, students spend time just observing the object and taking notes.
  • So what? Students write down questions based on their observations and share them with one another.
  • Now what? The final stage shifts into more whole-class and teacher-centered discussion
  • Attention through assessments.
  • For 13 consecutive weeks, she asked students to leave the campus and make a visit to the nearby Worcester Art Museum in order to spend time in front of the same work of art.
  • As they learned to train their attention on a work of art, their attention brought them insights. They saw more clearly, developed new ideas, and wrote creatively about what they observed.
  • Martin Leicht on 11 Jan 21
     
    Could some or all of this work online to build engagement? 1) close reading 2) engage with objects 3) attention through assessments
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