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Comrad Compadre

Tunnel of Love (railway) - Wikipedia - 0 views

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    The Tunnel of Love (Ukrainian: Туне́ль Коха́ння, Tunel Kokhannya) is a section of industrial railway located near Klevan, Ukraine, that links it with Orzhiv. It is a railway surrounded by green arches[1] and is three to five kilometers in length. It is known for being a favorite place for couples to take walks.
jnet0124

Can Mary Shelley's Frankenstein be read as an early research ethics text? | Medical Hum... - 7 views

shared by jnet0124 on 13 Nov 17 - No Cached
  • Can Mary Shelley’s Frankenstein be read as an early research ethics text?
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  • Frankenstein is an early and balanced text on the ethics of research upon human subjects and that it provides insights that are as valid today as when the novel was written.
  • Mary Shelley conceived the idea for and started writing Frankenstein in 1816 and it was first published in 1818.1 In its historical context, the earlier 17th and 18th centuries had seen the early signs of the rise of science and experimentation. Francis Bacon (1561–1626) had laid the theoretical foundations in his “Great Insauration”2 and scientists such as Boyle, Newton, and Hooke developed the experimental methods. Sir Robert Talbor, a 17th century apothecary and one of the key figures in developing the use of quinine to treat fevers, underlined this: “the most plausible reasons unless backed by some demonstrable experiments seem but suppositions or conjectures”.3
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  • The 18th century saw the continued construction of foundations upon which all subsequent medical experimentation has been built.
  • Lady Mary Montagu promoted smallpox vaccination; its proponents experimented on prisoners to study its efficacy, and James Jurin, the secretary of the Royal Society, developed mathematical proof of this in the face of ecclesiastical opposition.4 Many of the modern concepts of therapeutic trials were described although not widely accepted. Empirical observation through experimentation was starting to be recognised as the tool that allowed ascertainment of fact and truth. An account of Dr Bianchini’s experiments on “Le Medicin Electrique”, reported to the Royal Society explains that “The experiments were made by Dr Bianchini assisted by several curious and learned men … who not being able to separate what was true … determined to be guided by their own experiments and it was by this most troublesome though of all the others the most sure way, that they have learned to reject a great number of what have been published as facts.”5
  • Similarly, Henry Baker’s report to the Royal Society, describing Abbe Nollet’s experiments, outlined the need for comparative studies and that “treatment should not be condemned without a fair trial”6 and a Belgian doctor, Professor Lambergen, describing the use of deadly nightshade for the treatment of breast cancer wrote “Administration of this plant certainly merits the attention of the medical profession; and surely one may add entitles the medicine to future trials … nevertheless the most efficacious medicines are such if its efficacy by repeated trials be approved.”7 In the mid 18th century James Lind conducted the first controlled trial to establish a cure for scurvy and his Treatise on the Scurvy contains what could be seen in modern terminology as the first “review of the current literature” prior to a clinical trial.8
  • Her motives for writing Frankenstein are more difficult to define. In her introduction to the 1831 edition she writes that she wanted her work to … speak to the mysterious fears of our nature and awaken thrilling horror—one to make the reader dread to look round. If I did not accomplish these things, my ghost story would be unworthy of its name … (p 7, p 8)
  • The 1818 preface, written by Percy Bysshe Shelley, indicates a deeper purpose. He wrote that the story recommends itself as it “…affords a point of view on the imagination for the delineating of human passions more comprehensive and commanding than any which the ordinary relations of existing events can yield…” (p 11) and that “…I am by no means indifferent to the manner in which ... moral tendencies (that) exist in the sentiments of characters shall affect the reader…”(p 12).
guimejia

El lenguaje se mueve para pensar: la forma del alumno - 1 views

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    A good place to start in our efforts to shift the impact that our language choices have is with a focus on the language of thinking. If we believe that all learning is a consequence of thinking, it is natural to select language moves that encourage this from our learners.
meghankelly492

(PDF) A Systematic Review of Treatments for Music Performance Anxiety - 2 views

  • Four other studies (three of which are dissertations) assessed behavioral treatments forMPA on music students. Grishman (1989) and Mansberger (1988) used standard musclerelaxation techniques, Wardle (1969) compared insight/relaxation and systematic desensi-tisation techniques, and Deen (1999) used awareness and breathing techniques
  • A systematic review of all available treatment studies for music performance anxiety was undertaken.
  • reported that 24% of musicians frequently suffered stage fright, defined in this study as themost severe form of MPA, 13% experienced acute anxiety and 17% experienceddepression.
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  • 59% of musicians in symphony orchestras reported performance anxiety severe enough toimpair their professional and/or personal functioning.
  • A recent study indicated that MPA is not limited to orchestralmusicians, showing that opera chorus artists are also prone to high levels of performanceanxiety
  • However, since not allperformers suffer the same degree of MPA, or indeed report the same levels of occupationalstress, individual differences in a range of psychological characteristics are likely to accountfor variations in the degree to which musicians experience symptoms
  • A large number of treatment modalities (e.g., behavioral, cognitive, pharmacological andcomplementary) has been developed for music performance anxiety (MPA)
  • However, areview of this literature indicates that the field is still in its infancy with respect to theconceptual and theoretical formulations of the nature of MPA and its empiricalinvestigation.
  • Anxiety may be triggered by conscious,rational concerns or by cues that trigger, unconsciously, earlier anxiety producingexperiences or somatic sensations.
  • These findings suggest that multi-modal interventions are needed toaddress the multiple difficulties experienced by test anxious individuals.
  • with some focusing on behavioral change, some on cognitivechange, others on reduction of physiological symptoms through the use of pharmacotherapy,and some on idiosyncratic formulations
  • For drug studies, the keywords were beta-blocker [Beta blockers block the effect ofadrenaline (the hormone norepinephrine) on the body’s beta receptors. This slows downthe nerve impulses that travel through the heart. As a result, the resting heart rate is lower,the heart does not have to work as hard and requires less blood and oxygen
  • Brodsky (1996) and Nube´(1991) were most useful.
  • The interventionsassessed included systematic desensitization, progressive muscle relaxation, awareness andbreathing and behavioural rehearsal
  • In summary, behavioral treatments do appear to be at least minimally effective in thetreatment of MPA, although the heterogeneity of the treatment approaches employedmakes it difficult to isolate consistent evidence for the superiority of any one type ofbehavioral intervention
  • Two studies (see Tables II and IV) assessed the therapeutic effect of cognitive techniquesalone on MPA.
  • A dissertation by Patston (1996) reported a comparison of cognitive (e.g.positive self-talk, etc.) and physiological strategies in the treatment of MPA. No significantimprovements on vocal and visual manifestations of performance anxiety were found foreither treatment or control groups. However, the sample consisted of only 17 operastudents who were not specifically selected on the basis of their MPA severity, and theintervention was conducted by the author, a singer and teacher, who had no training inpsychology.
  • Three studies (see Table III) assessed the therapeutic effect of cognitive-behavioralstrategies on MPA. Harris (1987), Roland (1993), and Kendrick et al. (1982) all reportedthat standard CBT techniques were effective in the treatment of MPA in studentsspecifically selected for study because of the severity of their MPA.
  • Harris (1987) and Roland(1993) reported that CBT led to reductions in state anxiety as measured by the STAI,although Kendrick et al. (1982) failed to find a significant difference between treatment andcontrol groups on this measure.
  • The evidence for improvements in MPA following CBT is quite consistent, althoughfurther studies with larger samples are needed to confirm this evidence.
  • Beta-blockers have become increasingly popular among performers in recent years. Forexample, Lockwood (1989), in a survey of 2,122 orchestral musicians, found that 27% usedpropranolol to manage their anxiety prior to a performance; 19% of this group used thedrug on a daily basis.
  • Nube´ (1991) identified nine studies examining the effects of various beta-blockers(Atenolol, Metopolol, Nadolol, Oxprenolol, Propranolol, Pindolol) on MPA.
  • The findings regarding the effects of beta blockers on otheroutcome measures were less conclusive.
  • A rigorous definition of MPA is needed to advance treatment. However, defining MPA as asocial anxiety (social phobia) using criteria set out in DSM-IV-TR (APA, 2000) as theinclusion criteria may be too restrictive, particularly if the musician presenting for treatmentexperiences MPA as a focal anxiety (ie does not meet other criteria for social anxiety).
  • Few ofthe intervention studies reviewed acknowledged that performers need a certain amount ofarousal or anxiety to maximise their performance.
  • None of the studies could be pooled in a meta-analysis primarily because too fewprovided sufficient data to calculate effect sizes, use of diverse subject groups andtreatments, duration and intensity of treatment, and use of disparate outcome measures
  • In conclusion, the literature on treatment approaches for MPA is fragmented, incon-sistent, and methodologically weak. These limitations make it difficult to reach any firmconclusions about the effectiveness of the various treatment approaches reviewed. Forsignificant progress to be made, future research will require a clear definition of MPA,consistency and strength in methodology, and the development of robust and appropriateoutcome measures.
meghankelly492

(PDF) Treatment of music performance anxiety - 1 views

  • A study that evaluated the relative efficacy of four types of treatment for people with comorbid diagnoses showed that conclu-sions about the efficacy of the different therapeutic approaches changed depending on the nature of the outcome measure used.
  • Cognitive behavioral therapy is underpinned by the proposition that emotions and behavior are influenced by cognitions
  • We began with the ‘classical’ psychoanalytic psychotherapies, moving to some recent developments, such as the relational and attachment-based psychotherapies, and intensive short-term dynamic psychotherapy (ISTDP), followed by the behavioral, cognitive, and cognitive behavioral therapies, including the ‘new wave’ of therapies such as mindfulness-based therapies, acceptance and commitment therapy (ACT) and dialectical behavior therapy (DBT).
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  • medication in the treatment of music performance anxiety. I considered a range of prescribed substances, including beta-blockers,
  • Kenny, D.T. (2011). The Psychology of Music Performance Anxiety. Oxford: Oxford University Press
  • Three groups of therapies—behavioral, cognitive, and cognitive behavioral—are all based on the same principles, but use the available therapeutic techniques in different amounts.
  • These researchers identified six techniques/interventions that are unique to CBT when compared with the spectrum of psychodynamic-interpersonal psycho-therapies, as follows
meghankelly492

Children's Natural and Necessary Musical Play: Global Contexts, Local Appli...: EBSCOhost - 4 views

  • Young children living around the world are singing, moving, and playing. It is part of their home cultures, neighborhood cultures, and regional and national cultures.
meghankelly492

Deep Listening to the Musical World: EBSCOhost - 1 views

  • Deep-listening experiences, wrapped in a pedagogy of music listening, take students far beyond the surface of their barely noticeable surround-sound environment and into the nature of music and its workings.
  • Attentive-listening experiences occur when teachers point out specified points of focus, put questions or challenges to the listeners, or merge graphics or visuals with the sound experience itself. Graphs or maps of particular musical features can be helpful, since visual cues may enhance listening. Teachers can provide diagrams of the contours of the melody or depict rhythmic components of a piece through iconic symbols-staff notation, splotches of color, or geometric shapes, for example. Instruments, real or illustrated, can focus student attention on their entrance or continuing presence in the music.
  • Engaged listening invites listeners to enter into the groove or the flow of the music, pick a part to contribute, and consequently feel more involved in the music. A phenomenon of "participatory consciousness"[ 5] unfolds as engaged listeners find their place in the music, find something in the music to hang on to (a melody, a pulse, an ostinato, a groove), and select a contribution to make back to the music. In this way, they connect with the music, joining the recorded musicians and their live participant-colleagues in a musical team.
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  • The process of enactive listening is a pathway to the performance of music. The goal of this third level of a listening pedagogy is to continue ear training with a strong musicianship program by allowing the listening act to guide musicians to stylistically appropriate performance.[ 6] Not only can students learn the music of oral cultures aurally, but they can also effectively learn the nutated music of literate cultures by listening. In attempting to perform a musical selection, students gain from opportunities to hear a recording that allows them to concentrate on timbrai qualities, the dynamic How of a piece, its melodic and rhythmic components, and the interplay of its parts. Notation alone, whether from composed or transcribed works, can never fully depict all the musical nuances of a piece, and so listening is a helpful guide to performance.
  • Enactive listening takes time. It can be frustrating for those who have learned to use and value notation as an important means for music's transmission.
  • Young musicians can learn songs for solo or unison voices — as well as multipart songs and selections for percussion ensembles, strings groups, and gatherings of wind players — by ear.
Sharin Tebo

Education in the United States and Finland: What is and what can be | CTQ - 36 views

  • The simple answer is this: Finland’s cultural values and priorities are manifested in its system of education: “to guarantee all people…equal opportunities and rights to culture, free quality education, and prerequisites for full citizenship.”
  • Finland aims to uplift everyone in society; in Finland’s case, this vision can be achieved by providing equitable access to education and other social benefits. 
  • Finnish students do not begin their formalized education until the age of 7, standardized testing is unheard of in the formative years, and autonomy and play are encouraged throughout the curriculum.
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  • At the foundation of Finnish educational success are two core values: trust and equity. 
  • Finland’s educational system had become more decentralized and decision-making occurred at the local level.
  • local autonomy
  • Constraints on control and standardization facilitated greater flexibility, freedom, and the teaching profession became more supported, trusted, and respected.
  • Love of Learning
  • growth
  • relationships
  • personalized learning
  • n such a climate, adult stakeholders ostensibly trust one another, causing classroom environments to be less controlling and more collaborative in nature. 
  • With trust and equity as twin pillars of the educational system, it is unsurprising that Finland is able to focus on learning processes for civic engagement and development rather than on expending unnecessary energy for checklists, data, and oversight. 
  • Too many of our communities, schools, and students remain constrained and marginalized by poverty, lack of access, and limited opportunities.  Too many of us are focused on extrinsic motivators that inevitably lead to competition, compliance, expediency, sanctions, disengagement, and a diminished love of learning. 
  • “we’re measuring a lot of things in education today,” and wondered, “how are we measuring care?” 
  • perhaps we should be focusing less on Finnish education and more on the cultural values and conditions that make it possible.
Martin Burrett

Report examines origins and nature of 'maths anxiety' - 10 views

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    "A report out examined the factors that influence 'maths anxiety' among primary and secondary school students, showing that teachers and parents may inadvertently play a role in a child's development of the condition, and that girls tend to be more affected than boys."
Javier E

Preschool lessons: New research shows that teaching kids more and more, at ever-younger... - 1 views

  • Suppose we gave a group of 4-year-olds exactly the same problems and only varied on whether we taught them directly or encouraged them to figure it out for themselves? Would they learn different things and develop different solutions? The two new studies in Cognition are the first to systematically show that they would.
  • Direct instruction really can limit young children's learning. Teaching is a very effective way to get children to learn something specific—this tube squeaks, say, or a squish then a press then a pull causes the music to play. But it also makes children less likely to discover unexpected information and to draw unexpected conclusions.
  • Adults often assume that most learning is the result of teaching and that exploratory, spontaneous learning is unusual. But actually, spontaneous learning is more fundamental. It's this kind of learning, in fact, that allows kids to learn from teachers in the first place.
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  • there is an intrinsic trade-off between that kind of learning and the more wide-ranging learning that is so natural for young children. Knowing this, it's more important than ever to give children's remarkable, spontaneous learning abilities free rein. That means a rich, stable, and safe world, with affectionate and supportive grown-ups, and lots of opportunities for exploration and play. Not school for babies.
Steve Ransom

Outdoor Preschool - Norway - YouTube - 9 views

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    Wow... so much potential danger here. In America, we have successfully removed most all danger from any kind of learning. It's sanitized... and boring.
Tara Heath

Know Your Rights | Students' Rights | American Civil Liberties Union - 2 views

  • Do I have First Amendment rights in school? You have the right to speak out, hand out flyers and petitions, and wear expressive clothing in school — as long as you don’t disrupt the functioning of the school or violate school policies that don’t hinge on the message expressed. What counts as “disruptive” will vary by context, but a school disagreeing with your position or thinking your speech is controversial or in “bad taste” is not enough to qualify. Courts have upheld students’ rights to wear things like an anti-war armband, an armband opposing the right to get an abortion, and a shirt supporting the LGBTQ community. Schools can have rules that have nothing to do with the message expressed, like dress codes. So, for example, a school can prohibit you from wearing hats — because that rule is not based on what the hats say — but it can’t prohibit you from wearing only pink pussycat hats or pro-NRA hats. Outside of school, you enjoy essentially the same rights to protest and speak out as anyone else. This means you’re likely to be most protected if you organize, protest, and advocate for your views off campus and outside of school hours. You have the right to speak your mind on social media, and your school cannot punish you for content you post off campus and outside of school hours that does not relate to school.
  • Can my school tell me what I can and cannot wear based on my gender? Public schools can have dress codes, but under federal law dress codes can’t treat students differently based on their gender, force students to conform to sex stereotypes, or censor particular viewpoints. Schools can’t create a dress code based on the stereotype that only girls can wear some types of clothes and only boys can wear other types of clothes. For example, your school can require that skirts must be a certain length, but it cannot require that some students wear skirts and prohibit others from doing so based on the students’ sex or gender expression. That also applies to pants, ties, or any other clothing associated with traditional gender roles. Dress codes also must be enforced equally. For example, rules against “revealing” clothing, such as bans on tank tops or leggings, shouldn’t be enforced only or disproportionately against girls. All students should be allowed to wear clothing consistent with their gender identity and expression, whether they identify as transgender or cisgender. This also applies to homecoming, prom, graduation, and other special school events. Schools shouldn’t require different types of clothing for special events based on students’ sex or gender identity — for example, requiring tuxedos for boys and prom dresses for girls.
  • Can my school discipline me for participating in a walkout? Because the law in most places requires students to go to school, schools can discipline you for missing class. But schools cannot discipline you more harshly because of the message or the political nature of your action. The punishment you could face will vary by your state, school district, and school. If you’re planning to miss a class or two, look up the policy for unexcused absences for your school and school district. If you’re considering missing several days, read about truancy. Also take a look at the policy for suspensions. If you are facing a suspension of 10 days or more, you have a right to a formal process and can be represented by a lawyer. Some states and school districts require a formal process for fewer days. You should be given the same right to make up work just as any other student who missed classes.
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