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Lisa C. Hurst

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

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    "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
Robert Parker

Andragogy - Wikipedia, the free encyclopedia - 36 views

  • Andragogy consists of learning strategies focused on adults. It is often interpreted as the process of engaging adult learners with the structure of learning experience. The term ‘andragogy’ has been used in different times and countries with various connotations
  • Knowles asserted that andragogy (Greek: "man-leading") should be distinguished from the more commonly used pedagogy (Greek: "child-leading"). Knowles' theory can be stated with six assumptions related to motivation of adult learning:[1][2] Adults need to know the reason for learning something (Need to Know) Experience (including error) provides the basis for learning activities (Foundation). Adults need to be responsible for their decisions on education; involvement in the planning and evaluation of their instruction (Self-concept). Adults are most interested in learning subjects having immediate relevance to their work and/or personal lives (Readiness). Adult learning is problem-centered rather than content-oriented (Orientation). Adults respond better to internal versus external motivators (Motivation). The term has been used by some to allow discussion of contrast between self-directed and 'taught' education
    • GoldenLuca Oake
       
      Andragogy - man-leading as in leading man Pedagogy - child-leading as in leading children
    • Robert Parker
       
      I like this term, it reflects much of waht happens in higher education as the springboard for life-long learning
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    Andragogy From Wikipedia, the free encyclopedia Andragogy consists of learning strategies focused on adults. It is often interpreted as the process of engaging adult learners with the structure of learning experience. The term 'andragogy' has been used in different times and countries with various connotations. Nowadays there exist mainly three understandings: 1. In many countries there is a growing conception of 'andragogy' as the scholarly approach to the learning of adults. In this connotation andragogy is the science of understanding (= theory) and supporting (= practice) lifelong and lifewide education of adults. 2. Especially in the USA, 'andragogy' in the tradition of Malcolm Knowles, labels a specific theoretical and practical approach, based on a humanistic conception of self-directed and autonomous learners and teachers as facilitators of learning. 3. Widely, an unclear use of andragogy can be found, with its meaning changing (even in the same publication) from 'adult education practice' or 'desirable values' or 'specific teaching methods,' to 'reflections' or 'academic discipline' and/or 'opposite to childish pedagogy', claiming to be 'something better' than just 'Adult Education'. The oldest document using the term "Andragogik": Kapp, Alexander (1833): Platon's Erziehungslehre, als Pädagogik für die Einzelnen und als Staatspädagogik. Leipzig. Originally used by Alexander Kapp (a German educator) in 1833, andragogy was developed into a theory of adult education by the American educator Malcolm Knowles. Knowles asserted that andragogy (Greek: "man-leading") should be distinguished from the more commonly used pedagogy (Greek: "child-leading"). Knowles' theory can be stated with six assumptions related to motivation of adult learning:[1][2] Adults need to know the reason for learning something (Need to Know) Experience (including error) provides the basis for learning activities (Foundation). Adults need to be
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    Really not seeing the difference in how children and adults learn here. I have heard the term first about 20 or more years ago. From this definition the principals behind it are no different from those behind what a good learning environment is for all ages. What changes is the content not that the student, regardless of age, leads in their own learning facilitated by a trained practitioner.
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    "Andragogy" is another sexist term, using "andro" = male to stand for all humanity. Why wouldn't it by called "Gynogogy"? Can't we use a different term? Bring the concept up-do-date from 1833?
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    Andragogy From Wikipedia, the free encyclopedia Andragogy consists of learning strategies focused on adults. It is often interpreted as the process of engaging adult learners with the structure of learning experience. The term 'andragogy' has been used in different times and countries with various connotations. Nowadays there exist mainly three understandings: 1. In many countries there is a growing conception of 'andragogy' as the scholarly approach to the learning of adults. In this connotation andragogy is the science of understanding (= theory) and supporting (= practice) lifelong and lifewide education of adults. 2. Especially in the USA, 'andragogy' in the tradition of Malcolm Knowles, labels a specific theoretical and practical approach, based on a humanistic conception of self-directed and autonomous learners and teachers as facilitators of learning. 3. Widely, an unclear use of andragogy can be found, with its meaning changing (even in the same publication) from 'adult education practice' or 'desirable values' or 'specific teaching methods,' to 'reflections' or 'academic discipline' and/or 'opposite to childish pedagogy', claiming to be 'something better' than just 'Adult Education'. The oldest document using the term "Andragogik": Kapp, Alexander (1833): Platon's Erziehungslehre, als Pädagogik für die Einzelnen und als Staatspädagogik. Leipzig. Originally used by Alexander Kapp (a German educator) in 1833, andragogy was developed into a theory of adult education by the American educator Malcolm Knowles. Knowles asserted that andragogy (Greek: "man-leading") should be distinguished from the more commonly used pedagogy (Greek: "child-leading"). Knowles' theory can be stated with six assumptions related to motivation of adult learning:[1][2] Adults need to know the reason for learning something (Need to Know) Experience (including error) provides the basis for learning activities (Foundation). Adults need to be
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    Andragogy From Wikipedia, the free encyclopedia Andragogy consists of learning strategies focused on adults. It is often interpreted as the process of engaging adult learners with the structure of learning experience. The term 'andragogy' has been used in different times and countries with various connotations. Nowadays there exist mainly three understandings: 1. In many countries there is a growing conception of 'andragogy' as the scholarly approach to the learning of adults. In this connotation andragogy is the science of understanding (= theory) and supporting (= practice) lifelong and lifewide education of adults. 2. Especially in the USA, 'andragogy' in the tradition of Malcolm Knowles, labels a specific theoretical and practical approach, based on a humanistic conception of self-directed and autonomous learners and teachers as facilitators of learning. 3. Widely, an unclear use of andragogy can be found, with its meaning changing (even in the same publication) from 'adult education practice' or 'desirable values' or 'specific teaching methods,' to 'reflections' or 'academic discipline' and/or 'opposite to childish pedagogy', claiming to be 'something better' than just 'Adult Education'. The oldest document using the term "Andragogik": Kapp, Alexander (1833): Platon's Erziehungslehre, als Pädagogik für die Einzelnen und als Staatspädagogik. Leipzig. Originally used by Alexander Kapp (a German educator) in 1833, andragogy was developed into a theory of adult education by the American educator Malcolm Knowles. Knowles asserted that andragogy (Greek: "man-leading") should be distinguished from the more commonly used pedagogy (Greek: "child-leading"). Knowles' theory can be stated with six assumptions related to motivation of adult learning:[1][2] Adults need to know the reason for learning something (Need to Know) Experience (including error) provides the basis for learning activities (Foundation). Adults need to be
Adrienne Michetti

Where Everybody Knows Your (Screen) Name: Online Games as "Third Places" - 52 views

    • Adrienne Michetti
       
      This is, I think, why I'm more keen on today's social networks than I am on games -- games do not provide deep emotional support.
  • "bowling alone" hypothesis (Putnam, 2000), which suggests that media are displacing crucial civic and social institutions
    • Adrienne Michetti
       
      Putnam - need to check this article. Interesting; not sure I agree.
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  • According to Putnam, time spent with relatively passive and disengaging media has come at the expense of time spent on vital community-building activities.
  • The evidence to date is mixed
  • A core problem on both sides of the debate is an underlying assumption that all Internet use is more or less equivalent
    • Adrienne Michetti
       
      SO True
  • It would be more plausible and empirically rigorous, then, to consider how specific forms of Internet activity impact civic and social engagement as a result of their particular underlying social architectures
  • combining conclusions from two different lines of MMO research conducted from two different perspectives—one from a media effects approach, the other from a sociocultural perspective on cognition and learning.
  • By providing spaces for social interaction and relationships beyond the workplace and home, MMOs have the capacity to function as one form of a new "third place" for informal sociability much like the pubs, coffee shops, and other hangouts of old.
  • loosely structured by open-ended narratives
  • They are known for their peculiar combination of designed "escapist fantasy" and emergent "social realism"
  • from two research projects: one an examination of the media effects of MMOs, the other an ethnographic study of cognition and culture in such contexts.
  • the conclusions of both studies were remarkably aligned.
  • the assumption that the most fruitful advances are sometimes made when congruent findings are discovered through disparate means
    • Adrienne Michetti
       
      Love this quote.
  • demonstrate the "effects" of game play vs. no game play.
  • first project was a traditional effects study
  • second project, a qualitative study of cognition and learning in MMOs (
  • ethnography
  • sociocultural perspective
  • as a way to tease out what happens in the virtual setting of the game and how the people involved consider their own activities, the activities of others, and the contexts in which those activities takes place
  • a reasonable level of generalizability (random assignment to condition in the first study) and contextualization (ethnographic description of existing in-game social networks and practices in the second)
    • Adrienne Michetti
       
      but I wonder why he chose these games -- this is not specified. Only their success in US and abroad?
  • brick-and-mortar "third places" in America where individuals can gather to socialize informally beyond the workplace and home
  • the exaggerated self-consciousness of individuals.
  • In what ways might MMOs function as new third places for informal sociability?
  • virtual environments have the potential to function as new (albeit digitally mediated) third places similar to pubs, coffee shops, and other hangouts.
  • in this section we analyze the structural form of MMOs that warrants this "third place" assertion.
  • eight defining characteristics of third places
  • there is no default obligation
  • To oblige any one person to play requires that explicit agreements be entered into by parties
  • the default assumption is that no one person is compelled to participate legally, financially, or otherwise.
  • Unless one transforms the virtual world of the game into a workplace (e.g., by taking on gainful employment as a virtual currency "farmer" for example, Dibbell, 2006; Steinkuehler, 2006a) or enters into such agreement, no one person is obligated to log in
    • Adrienne Michetti
       
      and this is why, in my opinion, you will never see games in school. The game cannot be the Third Place because school is a Second Place.
  • Yee's (2006) interviews also reveal that individuals who game with romantic partners or family find that such joint engagement in the "other world" of MMOs allows them to redefine the nature and boundaries of their offline relationships, often in more equitable terms than what may be possible in day-to-day offline life
  • the relationships that play-partners have with one another offline are often "leveled" within the online world
  • an individual's rank and status in the home, workplace, or society are of no importance
  • appeal to people in part because they represent meritocracies otherwise unavailable in a world often filled with unfairness
  • conversation plays an analogous role
  • "In all such systems, linguistic interactions have been primary: users exchange messages that cement the social bonds between them, messages that reflect shared history and understandings (or misunderstandings) about the always evolving local norms for these interactions" (p. 22).
  • third places must also be easy to access
  • such that "one may go alone at almost any time of the day or evening with assurance that acquaintances will be there"
  • accessible directly from one's home, making them even more accommodating to individual schedules and preferences
  • barriers to initial access.
  • "What attracts a regular visitor to a third place is supplied not by management but by the fellow customer,"
  • "It is the regulars who give the place its character and who assure that on any given visit some of the gang will be there"
  • affective sense
  • As one informant satirically commented in an interview, "You go for the experience [points], you stay for the enlightening conversation.
  • engendering a sense of reliable mentorship and community stability.
  • Oldenburg argues that third places are characteristically homely, their d�cor defying tidiness and pretension whenever possible. MMOs do not fit this criterion in any literal sense
  • In neither of our investigations did the degree of formality exhibited by players within the game bear any relation to the degree of visual ornamentation of the players' immediate vicinity.
  • Thus, while the visual form of MMO environments does not fit Oldenburg's (1999) criterion of "low profile," the social function of those environments does.
  • Oldenburg (1999) argues that seriousness is anathema to a vibrant third place; instead, frivolity, verbal word play, and wit are essential.
  • The playful nature of MMOs is perhaps most apparent in what happens when individuals do bring gravity to the game.
  • the home-like quality of third places in rooting people
  • Participation becomes a regular part of daily life for players and, among regular gamemates such as guild members, exceptional absences (i.e., prolonged or unforeseen ones) are queried within the game or outside i
  • create an atmosphere of mutual caring that, while avoiding entangling obligations per se, creates a sense of rootedness to the extent that regularities exist, irregularities are duly noted, and, when concerning the welfare of any one regular, checked into
  • Are virtual communities really communities, or is physical proximity necessary?
  • Anderson (1991), who suggests that geographic proximity itself is neither a necessary nor sufficient condition for the emergence and preservation of "community."
  • Social capital (Coleman, 1988) works analogously to financial capital; it can be acquired and spent, but for social and personal gains rather than financial
  • operates cyclically within social networks because of their associated norms of reciprocity
  • bridging social capital is inclusive.
  • This form of social capital is marked by tentative relationships, yet what they lack in depth, they make up for in breadth.
  • On the one hand, bridging social capital provides little in the way of emotional support; on the other hand, such relationships can broaden social horizons or worldviews, providing access to information and new resources.
  • bonding social capital is exclusive.
  • social superglue.
  • it can also result in insularity.
  • shows that bridging and bonding social capital are tied to different social contexts, given the network of relationships they enable.
  • Virtual worlds appear to function best as bridging mechanisms rather than as bonding ones, although they do not entirely preclude social ties of the latter type.
  • One could argue that, if the benchmark for bonding social capital is the ability to acquire emotional, practical, or substantive support, then MMOs are not well set up for the task:
  • While deep affective relationships among players are possible, they are less likely to generate the same range of bonding benefits as real-world relationships because of players' geographic dispersion and the nature of third places themselves.
  • Despite differences in theoretical grounding and methodologies, our conclusions were remarkably similar across complementary macro- and micro-levels.
  • It is worth noting, however, that as gamers become more involved in long-term social networks such as guilds and their activities become more "hardcore" (e.g., marked by participation in large-scale collaborative problem-solving endeavors such as "raids" into difficult territories or castle sieges), the function of MMOs as "third places" begins to wane.
  • It may be, then, that the structure and function of MMOs as third places is one part of the "life cycle" for some gamers in a given title.
  • In such cases, MMOs appear to enable a different kind of sociability, one ostensibly recognizable as a "community" nonetheless.
  • However, our research findings indicate that this conclusion is uninformed. To argue that MMO game play is isolated and passive media consumption in place of informal social engagement is to ignore the nature of what participants actually do behind the computer screen
  • Perhaps it is not that contemporary media use has led to a decline in civic and social engagement, but rather that a decline in civic and social engagement has led to retribalization through contemporary media (McLuhan, 1964).
  • Such a view, however, ignores important nuances of what "community" means by pronouncing a given social group/place as either wholly "good" or "bad" without first specifying which functions the online community ought to fulfill.
  • Moreover, despite the semantics of the term, "weak" ties have been shown to be vital in communities, relationships, and opportunities.
  • is to what extent such environments shift the existing balance between bridging and bonding
  • In light of Putnam's evidence of the decline of crucial civic and social institutions, it may well be that the classification "lacking bridging social capital" best characterizes the everyday American citizen. T
  • Without bridging relationships, individuals remain sheltered from alternative viewpoints and cultures and largely ignorant of opportunities and information beyond their own closely bound social network.
  • it seems ironic that, now of all times, we would ignore one possible solution to our increasingly vexed relationship with diversity.
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views

  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
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  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
Natalie Morris

Educational Leadership:Teaching Screenagers:Screenagers: Making the Connections - 78 views

  • February 2011 | Volume 68 | Number 5 Teaching Screenagers     Pages 7-7 Screenagers: Making the Connections Marge Scherer "Education has to change. We can't pull kids into learning in school if they are engaged in a different world outside school." "If you don't know how to use technology in class, you are in trouble. But, of course, technology is a double-edged sword. You can use it poorly, or you can use it well." The principals speaking were two of the candidates for the ASCD Outstanding Young Educator Award, which will be presented in March at ASCD's Annual Conference in San Francisco. A group of us were interviewing 13 finalists—both administrators and teachers—over the course of a few weeks, and we were talking to them about their leadership, their creativity, their whole child philosophy, their impact on student achievement, and, of course, their technology use. All the educators spoke to us via Adobe ConnectPro, a two-way technology that allowed us to see, hear, and record them in their schools—whether in New York, Oregon, the Philippines, or places in between—while they viewed us in our meeting room in Alexandria, Virginia.
  • February 2011 | Volume 68 | Number 5 Teaching Screenagers     Pages 7-7 Screenagers: Making the Connections Marge Scherer "Education has to change. We can't pull kids into learning in school if they are engaged in a different world outside school." "If you don't know how to use technology in class, you are in trouble. But, of course, technology is a double-edged sword. You can use it poorly, or you can use it well." The principals speaking were two of the candidates for the ASCD Outstanding Young Educator Award, which will be presented in March at ASCD's Annual Conference in San Francisco. A group of us were interviewing 13 finalists—both administrators and teachers—over the course of a few weeks, and we were talking to them about their leadership, their creativity, their whole child philosophy, their impact on student achievement, and, of course, their technology use. All the educators spoke to us via Adobe ConnectPro, a two-way technology that allowed us to see, hear, and record them in their schools—whether in New York, Oregon, the Philippines, or places in between—while they viewed us in our meeting room in Alexandria, Virginia.
  • February 2011 | Volume 68 | Number 5 Teaching Screenagers     Pages 7-7 Screenagers: Making the Connections Marge Scherer "Education has to change. We can't pull kids into learning in school if they are engaged in a different world outside school." "If you don't know how to use technology in class, you are in trouble. But, of course, technology is a double-edged sword. You can use it poorly, or you can use it well." The principals speaking were two of the candidates for the ASCD Outstanding Young Educator Award, which will be presented in March at ASCD's Annual Conference in San Francisco. A group of us were interviewing 13 finalists—both administrators and teachers—over the course of a few weeks, and we were talking to them about their leadership, their creativity, their whole child philosophy, their impact on student achievement, and, of course, their technology use. All the educators spoke to us via Adobe ConnectPro, a two-way technology that allowed us to see, hear, and record them in their schools—whether in New York, Oregon, the Philippines, or places in between—while they viewed us in our meeting room in Alexandria, Virginia.
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    We'll take a look at this article tomorrow in our session.
Misha Miller

Using Groups Effectively: 10 Principles » Edurati Review - 50 views

  •  
    "Conversation is key . Sawyer succinctly explains this principle: "Conversation leads to flow, and flow leads to creativity." When having students work in groups, consider what will spark rich conversation. The original researcher on flow, Mihaly Csikszentmihalyi, found that rich conversation precedes and ignites flow more than any other activity.1 Tasks that require (or force) interaction lead to richer collaborative conceptualization. Set a clear but open-ended goal . Groups produce the richest ideas when they have a goal that will focus their interaction but also has fluid enough boundaries to allow for creativity. This is a challenge we often overlook. As teachers, we often have an idea of what a group's final product should look like (or sound like, or…). If we put students into groups to produce a predetermined outcome, we prevent creative thinking from finding an entry point. Try not announcing time limits. As teachers we often use a time limit as a "motivator" that we hope will keep group work focused. In reality, this may be a major detractor from quality group work. Deadlines, according to Sawyer, tend to impede flow and produce lower quality results. Groups produce their best work in low-pressure situations. Without a need to "keep one eye on the clock," the group's focus can be fully given to the task. Do not appoint a group "leader." In research studies, supervisors, or group leaders, tend to subvert flow unless they participate as an equal, listening and allowing the group's thoughts and decisions to guide the interaction. Keep it small. Groups with the minimum number of members that are needed to accomplish a task are more efficient and effective. Consider weaving together individual and group work. For additive tasks-tasks in whicha group is expectedtoproduce a list, adding one idea to another-research suggests that better results develop
Laura Doto

Final Report: Friendship | DIGITAL YOUTH RESEARCH - 1 views

  • Social relations—not simply physical space—structure the social worlds of youth.
    • Laura Doto
       
      A critical conclusion to be realized that can inform our assumptions as educators.
  • When teens are involved in friendship-driven practices, online and offline are not separate worlds—they are simply different settings in which to gather with friends and peers
  • these dynamics reinforce existing friendship patterns as well as constitute new kinds of social arrangements.
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  • Homophily describes the likelihood that people connect to others who share their interests and identity.
  • One survey of Israeli teens suggests that those who develop friendships online tend toward less homogenous connections than teens who do not build such connections
  • Teens frequently use social media as additional channels of communication to get to know classmates and turn acquaintances into friendships.
  • Some teens—especially marginalized and ostracized ones—often relish the opportunity to find connections beyond their schools. Teens who are driven by specific interests that may not be supported by their schools, such as those described in the Creative Production and Gaming chapters, often build relationships with others online through shared practice.
  • there are plenty of teens who relish the opportunity to make new connections through social media, this practice is heavily stigmatized
  • the public myths about online “predators” do not reflect the actual realities of sexual solicitation and risky online behavior (Wolak et al. 2008). Not only do unfounded fears limit teenagers unnecessarily, they also obscure preventable problematic behavior
  • As she described her typical session on Photobucket, it became clear that a shared understanding of friendship and romance was being constructed by her and other Photobucket users:
  • The fact that they draw from all of these sources suggests that youth’s friendship maintenance is in tune with a discourse of love and friendship that is being widely displayed and (re)circulated.
  • “It’s like have you noticed that you may have someone in your Top 8 but you’re not in theirs and you kinda think to yourself that you’re not as important to that person as they are to you . . . and oh, to be in the coveted number-one spot!”
  • Taking someone off your Top 8 is your new passive-aggressive power play when someone pisses you off.
  • Top Friends are persistent, publicly displayed, and easily alterable. This makes it difficult for teens to avoid the issue or make excuses such as “I forgot.” When pressured to include someone, teens often oblige or attempt to ward off this interaction by listing those who list them
  • Other teens avoid this struggle by listing only bands or family members. While teens may get jealous if other peers are listed, family members are exempt from the comparative urge.
  • to avoid social drama with her friends:
  • The Top Friends feature is a good example of how structural aspects of software can force articulations that do not map well to how offline social behavior works.
  • teens have developed a variety of social norms to govern what is and is not appropriate
  • The problem with explicit ranking, however, is that it creates or accentuates hierarchies where they did not exist offline, or were deliberately and strategically ambiguous, thus forcing a new set of social-status negotiations. The give-and-take over these forms of social ranking is an example of how social norms are being negotiated in tandem with the adoption of new technologies, and how peers give ongoing feedback to one another as part of these struggles to develop new cultural standards.
  • While teen dramas are only one component of friendship, they are often made extremely visible by social media. The persistent and networked qualities of social media alter the ways that these dramas play out in teen life. For this reason, it is important to pay special attention to the role that social media play in the negotiation of teen status.
  • primarily a continuation of broader dramas.
  • social media amplify dramas because they extend social worlds beyond the school.
  • Gossip and rumors have played a role in teen struggles for status and attention since well before social media entered the scene
  • social media certainly alter the efficiency and potential scale of interactions. Because of this, there is greater potential for gossip to spread much further and at a faster pace, making social media a culprit in teen drama. While teen gossip predates the Internet, some teens blame the technologies for their roles in making gossip easier and more viral
  • That’s what happened with me and my friends. We got into a lot of drama with it and I was like, anyone can write anything. It can be fact, fiction. Most people, what they read they believe. Even if it’s not true (C.J. Pascoe, Living Digital).
  • finds the News Feed useful “because it helps you to see who’s keeping track of who and who’s talking to who.” She enjoys knowing when two people break up so that she knows why someone is upset or when she should reach out to offer support. Knowing this information also prevents awkward conversations that might reference the new ex. While she loves the ability to keep up with the lives of her peers, she also realizes that this means that “everybody knows your business.”
  • Some teens find the News Feed annoying or irrelevant. Gadil, an Indian 16-year-old from Los Angeles, thinks that it is impersonal while others think it is downright creepy. For Tara, a Vietnamese 16-year-old from Michigan, the News Feed takes what was public and makes it more public: “Facebook’s already public. I think it makes it way too like stalker-ish.” Her 18-year-old sister, Lila, concurs and points out that it gets “rumors going faster.” Kat, a white 14-year-old from Salem, Massachusetts, uses Facebook’s privacy settings to hide stories from the News Feed for the sake of appearances.
  • While gossip is fairly universal among teens, the rumors that are spread can be quite hurtful. Some of this escalates to the level of bullying. We are unable to assess whether or not bullying is on the rise because of social media. Other scholars have found that most teens do not experience Internet-driven harassment (Wolak, Mitchell, and Finkelhor 2007). Those who do may not fit the traditional profile of those who experience school-based bullying (Ybarra, Diener-West, and Leaf 2007), but harassment, both mediated and unmediated, is linked to a myriad of psychosocial issues that includes substance use and school problems (Hinduja and Patchin 2008; Ybarra et al. 2007).
  • Measuring “cyberbullying” or Internet harassment is difficult, in part because both scholars and teens struggle to define it. The teens we interviewed spoke regularly of “drama” or “gossip” or “rumors,” but few used the language of “bullying” or “harassment” unless we introduced these terms. When Sasha, a white 16-year-old from Michigan, was asked specifically about whether or not rumors were bullying, she said: I don’t know, people at school, they don’t realize when they are bullying a lot of the time nowadays because it’s not so much physical anymore. It’s more like you think you’re joking around with someone in school but it’s really hurting them. Like you think it’s a funny inside joke between you two, but it’s really hurtful to them, and you can’t realize it anymore. Sasha, like many of the teens we interviewed, saw rumors as hurtful, but she was not sure if they were bullying. Some teens saw bullying as being about physical harm; others saw it as premeditated, intentionally malicious, and sustained in nature. While all acknowledged that it could take place online, the teens we interviewed thought that most bullying took place offline, even if they talked about how drama was happening online.
  • it did not matter whether it was online or offline; the result was still the same. In handling this, she did not get offline, but she did switch schools and friend groups.
  • Technology provides more channels through which youth can potentially bully one another. That said, most teens we interviewed who discussed being bullied did not focus on the use of technology and did not believe that technology is a significant factor in bullying.
  • They did, though, see rumors, drama, and gossip as pervasive. The distinction may be more connected with language and conception than with practice. Bianca, a white 16-year-old from Michigan, sees drama as being fueled by her peers’ desire to get attention and have something to talk about. She thinks the reason that people create drama is boredom. While drama can be hurtful, many teens see it simply as a part of everyday social life.
  • Although some drama may start out of boredom or entertainment, it is situated in a context where negotiating social relations and school hierarchies is part of everyday life. Teens are dealing daily with sociability and related tensions.
  • Tara thinks that it emerges because some teens do not know how to best negotiate their feelings and the feelings of others.
  • Teens can use the ability to publicly validate one another on social network sites to reaffirm a friendship.
  • So, while drama is common, teens actually spend much more time and effort trying to preserve harmony, reassure friends, and reaffirm relationships. This spirit of reciprocity is common across a wide range of peer-based learning environments we have observed.
  • From this perspective, commenting is not as much about being nice as it is about relying on reciprocity for self-gain
  • That makes them feel like they’re popular, that they’re getting comments all the time by different people, even people that they don’t know. So it makes them feel popular in a way (Rural and Urban Youth).
  • Gossip, drama, bullying, and posing are unavoidable side effects of teens’ everyday negotiations over friendship and peer status. What takes place in this realm resembles much of what took place even before the Internet, but certain features of social media alter the dynamics around these processes. The public, persistent, searchable, and spreadable nature of mediated information affects the way rumors flow and how dramas play out. The explicitness surrounding the display of relationships and online communication can heighten the social stakes and intensity of status negotiation. The scale of this varies, but those who experience mediated harassment are certainly scarred by the process. Further, the ethic of reciprocity embedded in networked publics supports the development of friendships and shared norms, but it also plays into pressures toward conformity and participation in local, school-based peer networks. While there is a dark side to what takes place, teens still relish the friendship opportunities that social media provide.
  • While social warfare and drama do exist, the value of social media rests in their ability to strengthen connections. Teens leverage social media for a variety of practices that are familiar elements of teen life: gossiping, flirting, joking around, and hanging out. Although the underlying practices are quite familiar, the networked, public nature of online communication does inflect these practices in new ways.
  • Adults’ efforts to regulate youth access to MySpace are the latest example of how adults are working to hold on to authority over teen socialization in the face of a gradual erosion of parental influence during the teen years.
  • learning how to manage the unique affordances of networked sociality can help teens navigate future collegiate and professional spheres where mediated interactions are assumed.
  • articulating those friendships online means that they become subject to public scrutiny in new ways;
  • This makes lessons about social life (both the failures and successes) more consequential and persistent
  • make these dynamics visible in a more persistent and accessible public arena.
  • co-constructing new sets of social norms together with their peers and the efforts of technology developers. The dynamics of social reciprocity and negotiations over popularity and status are all being supported by participation in publics of the networked variety as formative influences in teen life. While we see no indication that social media are changing the fundamental nature of these friendship practices, we do see differences in the intensity of engagement among peers, and conversely, in the relative alienation of parents and teachers from these social worlds.
  •  
    MacArthur Foundation Study - Friendship chapter
Michèle Drechsler

Socialbookmarking with Diigo and Education. A survey that could interest you. - 77 views

Please note that this survey is usually taken in 20 minutes, but you can save your partial answers with the "Resume later" button: this would ask you a login and password to save your answers. Then...

socialbookmarking Diigo survey research

Peter Beens

Education Week Teacher: Teaching Secrets: Communicating With Parents - 1 views

  •  
    Teaching Secrets: Communicating With Parents By Gail Tillery Premium article access courtesy of TeacherMagazine.org. You will face many challenging tasks as a new teacher. Dealing with parents is probably among the most intimidating, especially if you are young and in your first career. While communicating with parents can be tricky, a little preparation will help you to treat parents as partners and to be calmer when problems arise. Here's the first rule to live by: Your students' parents are not your enemies. Ultimately, they want the same thing you want, which is the best for their children. By maintaining respectful and productive communication, you can work together to help students succeed. Second, whenever problems arise, remember that parents are probably just as nervous about contacting you as you are about returning the contact-and maybe more so. I'll confess: Even after 26 years of teaching, I still get a little frisson of fear in my belly when I see an e-mail or hear a voicemail from a parent. But I have seen time and again that parents are often more nervous than the teacher is-especially if their child doesn't want them to contact the teacher. Indeed, some parents may even fear that if they raise concerns, their child will face some kind of retaliation. Remember that parents' tones or words may reflect such fears. In your response, try to establish that everyone involved wants to help the child. Here are some practical tips for communicating effectively with parents: Contact every parent at the beginning of the year. Do some "recon." Telephone calls are best for this initial contact, since they are more personal than e-mail. Ask the parent to tell you about his or her child's strengths, weaknesses, likes, dislikes, etc. Make sure to ask, "What is the best thing I can do to help your child succeed?" Remember to take notes! Once you've gathered the information you need, set a boundary with parents by saying, "Well, Ms. Smith, I have 25 more parent
Paul Beaufait

The purpose of aggregating bookmarks for the Diigo in Education group - 143 views

As somewhat of a Johnny-come-lately to this group, since hearing of new Diigo outline functionality AND planned deprecation of Diigo lists, I believed this group would focus on the transition in Di...

aggregations Diigo education groups purposes moderation noise-to-signal signal-to-noise tools

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
  • ...19 more annotations...
  • 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, & Ellis, 1988; Kenny, Driscoll, & 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 & 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 & Osorio, 2016).
  • However, evidence suggests that pharmacological methods, particularly beta-blockers, are most commonly used, often in the absence of medical supervision (Cohen & 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 > .05, η2 =.18, and there was no evidence of a significant interaction between group and time, F(1, 20) = 0.56, p > .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 & Williamon, 2011; Hoffman & 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., & 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
navclarke

Layers Magazine « The How-to Magazine for Everything Adobe Layers Magazine - 1 views

shared by navclarke on 20 Jun 12 - Cached
  • DR Expose 2 Plugins Processing HDR images to get just the right effect can be as much art as science. The new HDR Expose 2 from Unified Color Technologies (UCT) aims to help you find the right balance between the two, so you get just the finished image you want without headaches and frustration. 0 Continue Reading Using Scripted Patterns in Photoshop CS6 CS6 One of the problems with pattern fills in Photoshop is the complete lack of randomness you get in shape, color, and position. Just think about it: a real brick wall isn’t made from perfectly identical bricks; each brick varies in color, texture, and even size. That’s why Adobe added the ability to apply scripts to pattern fills in Photoshop CS6. 0 Continue Reading 2D to 3D in Photoshop CS6 Extended CS6 Stephen Burns shows viewers how to take an image of a 2D object and transform it into a 3D object using depth maps in the new Photoshop CS6 Extended. 1 Continue Reading Corel AfterShot Pro Product Reviews Corel’s first professional photo catalog and RAW editing software, AfterShot Pro, is based on a number of technologies—Bibble Pro, Noise Ninja, and Perfectly Clear—that are widely known and respected in the photography world. It’s available for Mac OS X, Windows, and Linux. 0 Continue Reading Photoshop CS6 Type Styles CS6 http://layersmagazine.com/photoshop-cs6-typ
Jon Tanner

What's the point of media specialists...? on School Library Journal - 49 views

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    "Joyce Valenza Ph.D On the librarian: What's the point . . ? The Twitter conversation April 30, 2009 @karlfisch: What's the point of having a media specialist if they aren't specialists in the media forms of the day? I was nearly finished copying and pasting, figuring out how best to post Tuesday's Twitter conversation, when I discovered that Karl Fisch (@karlfisch), who kinda started it all, already took care of that. (You likely know of Karl's very popular and provocative videos.) I am still not sure how best to frame this conversation on the place of the information/media specialist in today's school. What is clear is that a lot of smart people--people who are out there teaching, speaking, moving, and shaking--are disappointed in what they see when they see school librarians. Either we have a perception problem or we need to do some serious retooling. I'd say we have to deal with both. In a hurry. Being an information (or media) specialist today means being an expert in how information and media flow TODAY! It is about knowing how information and media are created and communicated. How to evalute, synthesize, and ethically use information and media in all their varied forms. It is about being able to communicate knowlege in new ways for new audiences using powerful new information and communication tools. Forgive me if it hurts. In my mind, if you are not an expert in new information and communication tools, you are NOT a media specialist for today. Tuesday's conversation happened in the open, on Twitter. We need to be aware that these conversations are happening where we cannot hear them--at conferences, at Board and cabinet meetings. We also need to make sure that our voices are heard and that we hear the voices of others in places like Twitter, where so many educational leaders and thinkers are chatting about us and many other things. I've selected the remarks that resonated loudest for me. (I've shuffled a bit, but you can visit Karl'
pepe1976

SLAVERY | The Handbook of Texas Online| Texas State Historical Association (TSHA) - 26 views

  • SLAVERY. Texas was the last frontier of slavery in the United States. In fewer than fifty years, from 1821 to 1865, the "Peculiar Institution," as Southerners called it, spread over the eastern two-fifths of the state. The rate of growth accelerated rapidly during the 1840s and 1850s. The rich soil of Texas held much of the future of slavery, and Texans knew it. James S. Mayfield undoubtedly spoke for many when he told the Constitutional Convention of 1845 that "the true policy and prosperity of this country depend upon the maintenance" of slavery. Slavery as an institution of significance in Texas began in Stephen F. Austin's colony. The original empresario commission given Moses Austin by Spanish authorities in 1821 did not mention slaves, but when Stephen Austin was recognized as heir to his father's contract later that year, it was agreed that settlers could receive eighty acres of land for each bondsman brought to Texas. Enough of Austin's original 300 families brought slaves with them that a census of his colony in 1825 showed 443 in a total population of 1,800. The independence of Mexico cast doubt on the future of the institution in Texas. From 1821 until 1836 both the national government in Mexico City and the state government of Coahuila and Texas threatened to restrict or destroy black servitude. Neither government adopted any consistent or effective policy to prevent slavery in Texas; nevertheless, their threats worried slaveholders and possibly retarded the immigration of planters from the Old South. In 1836 Texas had an estimated population of 38,470, only 5,000 of whom were slaves.
  • SLAVERY . Texas was the last frontier of slavery in the United States. In fewer than fifty years, from 1821 to 1865, the "Peculiar Institution," as Southerners called it, spread over the eastern two-fifths of the state. The rate of growth accelerated rapidly during the 1840s and 1850s. The rich soil of Texas held much of the future of slavery, and Texans knew it. James S. Mayfield undoubtedly spoke for many when he told the Constitutional Convention of 1845 that "the true policy and prosperity of this country depend upon the maintenance" of slavery. Slavery as an institution of significance in Texas began in Stephen F. Austin 's colony. The original empresario commission given Moses Austin by Spanish authorities in 1821 did not mention slaves, but when Stephen Austin was recognized as heir to his father's contract later that year, it was agreed that settlers could receive eighty acres of land for each bondsman brought to Texas. Enough of Austin's original 300 families brought slaves with them that a census of his colony in 1825 showed 443 in a total population of 1,800. The independence of Mexico cast doubt on the future of the institution in Texas. From 1821 until 1836 both the national government in Mexico City and the state government of Coahuila and Texas threatened to restrict or destroy black servitude. Neither government adopted any consistent or effective policy to prevent slavery in Texas; nevertheless, their threats worried slaveholders and possibly retarded the immigration of planters from the Old South. In 1836 Texas had an estimated population of 38,470, only 5,000 of whom were slaves
  • States. In fewer than fifty years, from 1821 to 1865, the "Peculiar Institution," as Southerners called it, spread over the eastern two-fifths of the state. The rate of growth accelerated rapidly during the 1840s and 1850s. The rich soil of Texas held much of the future of slavery, and Texans knew it. James S. Mayfield undoubtedly spoke for many when he told the Constitutional Convention of 1845 that "the true policy and prosperity of this country depend upon the maintenance" of slavery. Slavery as an institution of significance in Texas began in Stephen F. Austin 's colony
  •  
    The issue of Slavery in Texas before, during and post Texas Revolution and the establishment of a new government.
anonymous

What are the Disadvantages of Online Schooling for Higher Education? - 18 views

  •  
    "hat Are the Disadvantages of Online Schooling for Higher Education? Today, online schooling for higher education is prevalent across many fields. While there are several benefits to online schooling, such as flexibility and convenience, there are also real and perceived disadvantages. Explore some of the potential drawbacks of online learning. View 10 Popular Schools » Online Schooling In 2012, about a quarter of undergraduate college students were enrolled in distance education courses as part -- if not all -- of their studies, according to a 2014 report from the National Center for Education Statistics. That same data found that 29.8% of graduate students in this country are enrolled in some or all distance learning classes as well. A 2013 report from Babson Survey Research Group and Quahog Research Group, LLC, pointed out that approximately 86.5% of higher education institutions offer distance learning classes. Clearly, online schooling is commonplace. Disadvantages: Student Perspective Despite advantages, online schooling is not the right fit for every student. Taking online courses is generally believed to require more self-discipline than completing a degree on campus, a belief that is supported by SCHEV -- the State Council of Higher Education for Virginia. Because online schooling options often allow students to complete much of the coursework at their own pace, students must be motivated to stay on schedule and manage their time accordingly. Other potential disadvantages from a student's viewpoint may include the following: Less Instructional Support Although instructors are available to students via e-mail, telephone, Web discussion boards and other online means, some students may see the lack of face-to-face interaction and one-on-one instruction as a challenge. A lack of communication or miscommunication between instructors and students may frustrate students who are struggling with course materials. That could be exacerbated by the casual nature
Christine Schlitt

Lesson Plans: Name & Word Wall Activities, Building Blocks (Kindergarten, Building Blocks) - 32 views

  • Word Walls and The Name Game Each day we have one person who is our helper and we focus onher name. When everyone has had a turn, we start another round.I find it easiest to go in alphabetical order by first names. I write the students names on sentence strips, using one colorfor boys, and another for girls.First round: We reveal one name each day, beginning with a cheer:?Gimme a B (B), Gimme an i (i), Gimme an l (l), Gimme another l(l), Gimme a y (y). What?s that spell? (Billy). One more time!(Billy). Then I ask if anyone ?notices? anything about Billy?s name andwe look for letters in common with other names, or count lettersand look for other names with the same number of letters. Thenwe take a good look at the student, discussing colors ofclothing, so each child can draw a picture of the helper. Iwrite the helper?s name on the board and encourage everyone totry to write that person?s name and then draw a picture of thehelper. The helper gets to take home the pictures drawn byothers, his is put up on the bulletin board with the name cardI?ve made. 2nd Round: The self-portraits are put into a class book and thename cards are transferred to an alphabet word wall. Each day weread the alphabet and names, then take the helper?s name off tocheer and ?notice? letters about this name and others. We formthe helper?s name in magnetic letters, scramble them up and taketurns putting them in the right order. 3rd Round: When we read the alphabet, we say the sounds inaddition to the letters and names. This time we cheer, writethe letters in the helper?s name on the board and then count howmany of those letters are in the names on the word wall. Thenwe talk about which letter has the most, least, etc. We havealso added another name cheer: ?Bryan, Bryan, that?s his name.It starts with B, it ends with n, hooray, Bryan! We stillscramble the name with magnetic letters. At some point we begin to add sight words to the names on thewall, usually starting with go and we. In December, or after wecome back from Christmas, we take the names off the word walland put them in a pocket chart for the kids to use duringcenters. We continue to add sight words the rest of the year,reading the alphabet, and saying the sounds and words each day. Here are additional name ideas; some I?ve tried, some I haven?t.*Count the syllables.*Write the names like a rainbow.*Name poems from the website Korky?s Kool rhyme machine (http://www.literacyhour.co.uk/learning_activities/rhyme/rhyme.html)*Think of words that begin the same as the name.*Make up tongue twisters.*Fill out an interview sheet.*Mystery person (hangman type game where you draw blanks for theletters and the kids guess letters until they know the name.* Use the letters in the name and look for smaller words. *Cut up name puzzles to keep in a literacy center.*Change the initial consonant and play with the word (Sue, Bue,Lue, etc.).*Another name cheer: No matter what I do or say,My name will always be the same,It starts with_____It ends with ____Now count to 3 and say my name,1,2,3,_______.
    • Christine Schlitt
       
      Name Game Ideas for Kindergarten
  •  
    "Word Walls and The Name Game Each day we have one person who is our helper and we focus on her name. When everyone has had a turn, we start another round. I find it easiest to go in alphabetical order by first names. I write the students names on sentence strips, using one color for boys, and another for girls. First round: We reveal one name each day, beginning with a cheer: ?Gimme a B (B), Gimme an i (i), Gimme an l (l), Gimme another l (l), Gimme a y (y). What?s that spell? (Billy). One more time! (Billy). Then I ask if anyone ?notices? anything about Billy?s name and we look for letters in common with other names, or count letters and look for other names with the same number of letters. Then we take a good look at the student, discussing colors of clothing, so each child can draw a picture of the helper. I write the helper?s name on the board and encourage everyone to try to write that person?s name and then draw a picture of the helper. The helper gets to take home the pictures drawn by others, his is put up on the bulletin board with the name card I?ve made. 2nd Round: The self-portraits are put into a class book and the name cards are transferred to an alphabet word wall. Each day we read the alphabet and names, then take the helper?s name off to cheer and ?notice? letters about this name and others. We form the helper?s name in magnetic letters, scramble them up and take turns putting them in the right order. 3rd Round: When we read the alphabet, we say the sounds in addition to the letters and names. This time we cheer, write the letters in the helper?s name on the board and then count how many of those letters are in the names on the word wall. Then we talk about which letter has the most, least, etc. We"
Gareth Jones

Looking in the Wrong Places | Edge.org - 5 views

  • We should be very careful in thinking about whether we’re working on the right problems. If we don’t, that ties into the problem that we don’t have experimental evidence that could move us forward. We're trying to develop theories that we use to find out which are good experiments to make, and these are the experiments that we build.   We build particle detectors and try to find dark matter; we build larger colliders in the hope of producing new particles; we shoot satellites into orbit and try to look back into the early universe, and we do that because we hope there’s something new to find there. We think there is because we have some idea from the theories that we’ve been working on that this would be something good to probe. If we are working with the wrong theories, we are making the wrong extrapolations, we have the wrong expectations, we make the wrong experiments, and then we don’t get any new data. We have no guidance to develop these theories. So, it’s a chicken and egg problem. We have to break the cycle. I don’t have a miracle cure to these problems. These are hard problems. It’s not clear what a good theory is to develop. I’m not any wiser than all the other 20,000 people in the field.
  • I’m still asking myself the same question that I asked myself ten years ago: "What is going on in my community?" I work in the foundations of physics, and I see a lot of strange things happening there. When I look at the papers that are being published, many of them seem to be produced simply because papers have to be produced. They don’t move us forward in any significant way. I get the impression that people are working on them not so much because it’s what they’re interested in but because they have to produce outcomes in a short amount of time. They sit on short-term positions and have short-term contracts, and papers must be produced.
  • The field that I mostly work in is the foundations of physics, which is, roughly speaking, composed of cosmology, the foundations of quantum mechanics, high-energy particle physics, and quantum gravity. It’s a peculiar field because there hasn’t been new data for almost four decades, since we established the Standard Model of particle physics. There has been, of course, the Higgs particle that was discovered at the LHC in 2012, and there have been some additions to the Standard Model, but there has not been a great new paradigm change, as Kuhn would have put it. We’re still using the same techniques, and we’re still working with the same theories as we did in the 1970s.
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  • That makes this field of science rather peculiar and probably explains why there hasn’t been much progress. But it’s not like we don’t have any questions that need to be answered. There are a lot of questions that have been around for decades. For example, what is dark energy? What is dark matter? What are the masses of the Standard Model particles? And what’s up with the foundation of quantum mechanics? Is a theory that's fundamentally not deterministic, where we cannot predict outcomes, the last word that we have, or is there something more to it? Is there maybe another underlying structure to reality?
  • but we haven't reached the fundamental level. Maybe we will never reach it. Certainly, the theories that we have right now are not all there is. The question is, of course, if we don’t have any guidance by experiment, how do we make progress? And are we doing the right thing?
  • We’ve reached this point where we have to carefully rethink if the criteria that we’re using to select our theories are promising at all. If one looks at the history of this field in the foundations of physics, progress has usually been made by looking at questions that, at least in hindsight, were well posed, where there was an actual mathematical contradiction. For example, special relativity is incompatible with Newtonian gravity. If you try to resolve this incompatibility, you get general relativity.
  • There are various similar examples where such breakthroughs have happened because there was a real problem. There was an inconsistency and people had to resolve it. It had nothing to do with beauty. Maybe beauty was, in some cases, the personal motivation of the people to work on it. There’s certainly some truth to this, but I don’t think it’s good to turn this story around and say that if we only pay attention to this motivation that comes from ideals of beauty it will lead to progress.
  • If we are working with the wrong theories, we are making the wrong extrapolations, we have the wrong expectations, we make the wrong experiments, and then we don’t get any new data. We have no guidance to develop these theories. So, it’s a chicken and egg problem. We have to break the cycle. I don’t have a miracle cure to these problems. These are hard problems. It’s not clear what a good theory is to develop. I’m not any wiser than all the other 20,000 people in the field.
  • The way that research is funded in foundations of physics and in many other fields just puts a lot of things at a disadvantage that are not pursued anymore. Typically, everything that takes longer than three years to complete, no one will start it because they can’t afford it. They can literally not afford it.
  • Who makes the decisions about the funding? Superficially, people say that it's a funding agency, so it’s the university who get to hire people. But that puts the blame on the wrong party. In the end it’s the community itself who makes the decisions. What do the funding agencies do if they get a proposal? They send it to reviewers. And who are the reviewers? They're people from the same community. If you look at how hiring decisions are being made, there’s some committee and they are people from the same community. They have some advisory boards or something, which contains people from the same community.
  • Even if that wasn’t so, what the people in these committees would be doing is looking at easy measures for scientific success. Presently, the most popular of these measures are the number of publications and the number of citations. And maybe also whether the person has published in high-impact journals. So, these are the typical measures that are presently being used. But what do they measure? They primarily measure popularity. They indicate whether somebody’s research is well received by a lot of people in the same community. And that’s why once a research area grows beyond a certain critical mass, you have sufficiently many people who tell each other that what they’re doing is the good thing to do. They review each other’s papers and say that that’s great and it's what we should continue to do. It’s a problem in all communities that grow beyond a certain size.
  • I later came to the United States and then Canada, and that gave me the opportunity to learn a lot about quantum gravity. I also figured out that much of what goes on in quantum gravity is very detached from reality. It’s pretty much only mathematics. Yes, the mathematics is there, but I still don’t know if it’s the mathematics that describes reality.
  • That’s the very reason why we don’t normally think of gravity as a weak force. It’s the only force that is left over on long distances, and the reason for this is that it adds up. It gets stronger the more mass you pile up. More precisely, we should say that the reason we find it so hard to measure quantum gravitational effects is that we either have a particle that has very pronounced quantum properties, like, say, a single electron or something like that, but then it’s so light that we cannot measure the gravitational field. Or we have some object that is so heavy that we can measure the gravitational field, but then it doesn’t have quantum properties. Okay, so that’s the actual problem.
anonymous

The Coach in the Operating Room - The New Yorker - 37 views

  • I compared my results against national data, and I began beating the averages.
    • anonymous
       
      this is one of the most important reasons for data and using the data to help guide instruction
  • the obvious struck me as interesting: even Rafael Nadal has a coach. Nearly every élite tennis player in the world does. Professional athletes use coaches to make sure they are as good as they can be.
    • anonymous
       
      Why wouldn't we want a coach? Our supervisor or administrator often serves as an evaluator but might not have the time due to time constraints to serve as an effective and dedicated coach. Yet, a coach doesn't have to be an expert. Couldn't the coach just be a colleague with a different skill set?
  • They don’t even have to be good at the sport. The famous Olympic gymnastics coach Bela Karolyi couldn’t do a split if his life depended on it. Mainly, they observe, they judge, and they guide.
    • anonymous
       
      PROFOUND!!!
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  • always evolving
    • anonymous
       
      Please tell me what profession isn't always evolving? It something isn't evolving, it is dying! So, why doesn't everyone on the face of the earth - regardless of his/her profession or station in life - need coaching periodically to help them continue to grow and evolve?
  • We have to keep developing our capabilities and avoid falling behind.
  • no matter how well prepared people are in their formative years, few can achieve and maintain their best performance on their own.
  • outside ears, and eyes, are important
  • For decades, research has confirmed that the big factor in determining how much students learn is not class size or the extent of standardized testing but the quality of their teachers.
    • anonymous
       
      So, instead of having students take test after test after test, why don't we just have coaches who observe and sit and discuss and offer suggestions and divide the number of tests we give students in half and do away with half? Are we concerned about student knowledge? student performance? student ability? student growth or capacity for growth? What we really need to identify is what we value!
  • California researchers in the early nineteen-eighties conducted a five-year study of teacher-skill development in eighty schools, and noticed something interesting. Workshops led teachers to use new skills in the classroom only ten per cent of the time. Even when a practice session with demonstrations and personal feedback was added, fewer than twenty per cent made the change. But when coaching was introduced—when a colleague watched them try the new skills in their own classroom and provided suggestions—adoption rates passed ninety per cent. A spate of small randomized trials confirmed the effect. Coached teachers were more effective, and their students did better on tests.
    • anonymous
       
      Of course they are more effective! They have a trusted individual to guide them, mentor them, help sustain them. The coach can cheer and affirm what the teacher is already doing well and offer suggestions that are desired and sought in order to improve their 'game' and become more effective.
  • they did not necessarily have any special expertise in a content area, like math or science.
    • anonymous
       
      Knowledge of the content is one thing and expertise is yet another. Sometimes what makes us better teachers is simply strategies and techniques - not expertise in the content. Sometimes what makes us better teachers could simply be using a different tool or offering options for students to choose.
  • The coaches let the teachers choose the direction for coaching. They usually know better than anyone what their difficulties are.
    • anonymous
       
      The conversation with the coach and the coach listening and learning what the teacher would like to expand, improve, and grow is probably the most vital part! If the teacher doesn't have a clue, the coach could start anywhere and that might not be what the teacher adopts and owns. So, the teacher must have ownership and direction.
  • teaches coaches to observe a few specifics: whether the teacher has an effective plan for instruction; how many students are engaged in the material; whether they interact respectfully; whether they engage in high-level conversations; whether they understand how they are progressing, or failing to progress.
    • anonymous
       
      This could provide specific categories to offer teachers a choice in what direction they want to go toward improving - especially important for those who want broad improvement or are clueless at where to start.
  • must engage in “deliberate practice”—sustained, mindful efforts to develop the full range of abilities that success requires. You have to work at what you’re not good at.
  • most people do not know where to start or how to proceed. Expertise, as the formula goes, requires going from unconscious incompetence to conscious incompetence to conscious competence and finally to unconscious competence.
    • anonymous
       
      Progression
  • The coach provides the outside eyes and ears, and makes you aware of where you’re falling short.
    • anonymous
       
      The coach also makes you aware of where you are excelling!
  • So coaches use a variety of approaches—showing what other, respected colleagues do, for instance, or reviewing videos of the subject’s performance. The most common, however, is just conversation.
  • “What worked?”
    • anonymous
       
      Great way to open any coaching conversation!
  • “How could you help her?”
  • “What else did you notice?”
    • anonymous
       
      These questions are quite similar to what we ask little children when they are learning something new. How did that go? What else could you do? What could you do differently? What more is needed? What would help?
  • something to try.
    • anonymous
       
      Suggestions of something to try! Any colleague can offer this - so why don't we ask colleagues for ideas of something to try more often?
  • three colleagues on a lunch break
  • Good coaches, he said, speak with credibility, make a personal connection, and focus little on themselves.
    • anonymous
       
      I probably need this printed out and stuck to the monitor of my computer or tattooed on my hand!
  • “listened more than they talked,” Knight said. “They were one hundred per cent present in the conversation.”
    • anonymous
       
      patient, engaged listening
  • coaching has definitely changed how satisfying teaching is
  • trying to get residents to think—to think like surgeons—and his questions exposed how much we had to learn.
    • anonymous
       
      Encouraging people to think - it is important to teach and encourage thinking rather than teaching them WHAT to think!
  • a whole list of observations like this.
  • one twenty-minute discussion gave me more to consider and work on than I’d had in the past five years.
  • watch other colleagues operate in order to gather ideas about what I could do.
    • anonymous
       
      This is one of the greatest strategies to promote growth - ever!
  • routine, high-quality video recordings of operations could enable us to figure out why some patients fare better than others.
    • anonymous
       
      I always hate seeing a video of me teaching but I did learn so much about myself, my teaching, and my students that I could not learn in any other way!
  • I know that I’m learning again.
  • It’s teaching with a trendier name. Coaching aimed at improving the performance of people who are already professionals is less usual.
    • anonymous
       
      But it still works and is effective at nudging even those who are fabulous to be even better!
  • modern society increasingly depends on ordinary people taking responsibility for doing extraordinary things
  • coaching may prove essential to the success of modern society.
  • We care about results in sports, and if we care half as much about results in schools and in hospitals we may reach the same conclusion.
  •  
    Valuable points about coaching - makes me want my own coach!
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.
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