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Holly Barlaam

Cow Digestion - 67 views

www.mnzoo.com/...cowDigestive.asp

cow milk meat microbes digestion stomach

shared by Holly Barlaam on 19 Nov 10 - No Cached
  • Holly Barlaam on 19 Nov 10
     
    How a cow makes milk and meat from things we cannot eat! Super cute animation showing a cow's four stomachs. Students will especially like the cow pie part. :)
Jon Tanner

TV might cause autism. - By Gregg Easterbrook - Slate Magazine - 21 views

www.slate.com/2151538

autism cause tv health tristateplp

shared by Jon Tanner on 02 Dec 09 - Cached
  • Jon Tanner on 02 Dec 09
     
    The is a summary of the 2006 Cornell University study that shows a statistically significant link between increased TV use by children under 3, and autism spectrum disorders. It gives the meat of the study and is an easier read than the complete study, though the link to the original is provided.
  • Jon Tanner on 02 Dec 09
     
    We need to be careful about screen time!
Maria Kilgore

Meat-A-Morphosis: An Introduction to Functions - YouTube - 67 views

www.youtube.com/watch

shared by Maria Kilgore on 06 Apr 12 - No Cached
  • Maria Kilgore on 06 Apr 12
     
    A funny cartoon that introduces function machines (middle/high school). 
Mister Mailloux

A&P John Updike - 8 views

www.tiger-town.com/...updike

shared by Mister Mailloux on 16 Sep 13 - No Cached
    • Mister Mailloux
      Mister Mailloux on 16 Sep 13
       
      implies respect/ mocking repect - thinks she is hot, but scared to talk to her
  • it was bright green and the seams on the bra were still sharp and her belly was still pretty pale so I guessed she just got it (the suit)
  • (do you really think it's a mind in there or just a little buzz like a bee in a glassjar?)
  • ...8 more annotations...
  • bread and were coming bac
  • if she'd been born at the right time they would have burned her over in Salem --
  • From the third slot I look straight up this aisle to the meat counter
  • The fat one
  • The sheep
  • the girls were walking against the usual traffic
  • You could see them, when Queenie's white shoulders dawned on them, kind of jerk, or hop, or hiccup, but their eyes snapped back to their own baskets and on they pushed.
  • A few house-slaves in pin curlers even looked aro
BTerres

The Dicey Calculus of Contemporary Cooking - WSJ.com - 37 views

online.wsj.com/...4638304575636900230543776.html

calculus cocina matemátucas

shared by BTerres on 30 Nov 10 - No Cached
  • What's the difference between a 10-inch skillet and a 12-inch skillet?
  • Not just a mere two inches. The larger pan has 44% more surface area.
  • the rate of evaporation of a liquid is proportional to its exposed surface area, a sauce in a larger, flatter skillet will reduce far more rapidly than one in a taller, narrower pan
  • ...6 more annotations...
  • A cook who doubles a recipe but keeps the same size pot and the same cooking time will wind up with a watery sauce.
  • try to stir-fry a batch of meat in a 10-inch skillet instead of a 12-inch skillet, and "instead of sautéeing you'll end up steaming it.
  • Think you can substitute an eight-inch cake pan for a nine-inch?
  • Don't—the nine-inch holds 27% more batter.
  • one teaspoon of table salt is equivalent to 1.5 teaspoons of Morton or two teaspoons of Diamond Crystal.
  • "I don't have table salt at home, because I made that mistake too often," Mr. Willoughby says.
  • BTerres on 30 Nov 10
     
    Interesante artículo que relaciona matemáticas y cocina. Porcentajes, áreas, volúmenes...
bheath

From Farm to Table | Orion Magazine - 23 views

www.orionmagazine.org/...7807

shared by bheath on 11 Jun 14 - No Cached
  • “Farmers’ markets aren’t sexy anymore
    • bheath
      bheath on 11 Jun 14
       
      Read on and tell me why Farmers markets have failed to advance the sustainable and local food movement.
  • What we need is a system of local “food hubs” that can process and bundle local foods and deliver them to the places where America eats.
  • Perhaps the only thing all these food hubs share is a conviction that there is value in preserving regional identity, artisanal character, and sustainable practices—in saving some products from the great meat grinder of industrial food distribution.
  • ...2 more annotations...
  • Some simply bundle the produce of multiple small farms to reach the consistent volumes and product diversity required to supply local markets. Some are purely virtual marketplaces that allow chefs to find available produce from regional farms and buy it directly. Some have a social mission to not only bring foods to underprivileged neighborhoods but to increase food literacy as well, or to guarantee fair prices to farms and farmworkers. And some specialize in incubating new producers like Pete
  • See an audio slide show about the Mad River Food Hub at the Reimagining Infrastructure series homepage, www.orionmagazine.org/infrastructure.
Jennifer Carey

My First Attempt at Employing Digital Storytelling in the Classroom « Indiana... - 175 views

indianajen.com/...-storytelling-in-the-classroom

digital storytelling classroom web2.0 technology resources history teaching learning tools

shared by Jennifer Carey on 17 Sep 11 - No Cached
  • Jennifer Carey on 17 Sep 11
     
    Would love colleagues' thoughts and input on this lesson!
  • ...1 more comment...
  • Irene Reynolds on 17 Sep 11
     
    Thank you, Jennifer, for sharing your process on digital storytelling. I teach middle school English and am not as tech-savvy as you, but I know the value of a well-planned multimedia project for students. I am inspired to plan out a similar project, now that I see how to do it. I like that they create a storyboard and script to emphasize the "meat" of their project and not the glitzy stuff. Their narrated videos are quite impressive. Your students are lucky to have you!
  • Jennifer Carey on 17 Sep 11
     
    Thanks Irene! The students did such an amazing job. You really don't have to be tech-saavy to employ this in your classroom. The software is already so user-friendly. The person who taught me how to do this was an English teacher - she would use it with poetry, so that students would have to emphasize emotion in their reading. Very effective!
  • bruce schwartz on 17 Sep 11
     
    Jennifer, this is wonderful! I love how you give your students choices of which app to use and how you place the onus on them to learn it and to troubleshoot on their own. This is something that I teach in my computer classes because students have to acquire and feel comfortable with that skill. Thanks!
tthomasuscu

Gun Culture Is My Culture. And I Fear for What It Has Become. - The New York Times - 15 views

www.nytimes.com/...ar-for-what-it-has-become.html

shared by tthomasuscu on 02 Apr 18 - No Cached
    • tthomasuscu
      tthomasuscu on 02 Apr 18
       
      Very clear imagery. He opens the essay with his personal anecdote to set the scene for this discussion. It also lets the reader know right away that he is a gun owner.
  • What I was doing was perfectly legal. In North Carolina, long-gun transfers by private sellers require no background checks.
    • tthomasuscu
      tthomasuscu on 02 Apr 18
       
      Should this be changed to prevent criminals from buying guns from private sellers? How is something this dangerous allowed to take place?
  • ...70 more annotations...
  • so long as the buyer has a purchase permit or a concealed-carry license.
  • I felt uneasy
  • He liked the rifle. I needed the cash. We shook hands, and off we went.
  • There is rarely a moment when I’m not within reach of a firearm.
  • We don’t touch the guns or draw them from their holsters. They are unseen and unspoken of, but always there.
  • Rarely do we mention what we carry
  • I didn’t know what I was doing, but I knew the rules: Always assume a firearm is loaded. Always keep the gun pointed in a safe direction. Know your target and what’s beyond it.
  • Guns were often a bridge between father and son.
  • or my family, guns had always been a means of putting food on the table. My father never owned a handgun. He kept nothing for home defense.
  • had a gun put to my head
  • I can remember that
  • steel
  • I can remember
  • In the end, what happened was swept under the rug. My parents said the school was probably trying to keep the story off the news.
  • surrounded myself with the people I did as a form of protection.
  • I dropped to the ground as gunfire rang from a car at a bonfire party.
  • I pushed friends behind the brick foundation of a house as a shootout erupted over pills. There were times when someone could have easily been shot and killed.
  • his service weapon pushed into the base of my skull.
  • I stood there trembling while they apologized.
  • Jackson County
  • I found a community that reminded me of my grandmother, where folks still kept big gardens and canned the vegetables they grew. They still filled the freezer with meat taken by rod and rifle — trout and turkey, dove and rabbit, deer, bear, anything in season.
  • hared passion for wilderness and time spent in the field with gun in hand.
  • Those types of things are rare now, even in places like Appalachia.
  • A few weeks later, the boy took that .30-30 lever action into the field and killed his first deer with it — the same as his uncle, his grandfather and great-grandfather.
  • centuries of experience gathered around the campfire each night
  • the .308 blew apart the morning.
  • There is a sadness that only hunters know, a moment when lament overshadows any desire for celebration
  • Life is sustained by death
  • the killing is not easy, nor should it be.
  • would feed me for a year
  • I asked if there was anything I could’ve done differently to make him more comfortable when he first approached the truck.
  • He smiled and told me: “But this is South Carolina. Most every car I pull over has a gun.”
  • As I headed toward the mountains, all I could think about was Philando Castile,
  • situation was re
  • All I could think about was how things might have been different if the
  • versed and that young black state trooper with braces had been behind the wheel, a white trooper cautiously approaching the car.
  • It was impossible not to recognize how gun culture reeks of privilege.
  • Ruger 10/22s and Marlin Model 60s, the .22LRs
    • tthomasuscu
      tthomasuscu on 02 Apr 18
       
      This guy knows his guns. Even though his essay doesn't cite research, you can see his ethos through his personal experience and his use of precise jargon.
  • There were always guns, but nothing like the assault weapons that line the shelves today.
  • firearms whose sole purpose would be to take human life if I were left with no other choice.
  • I’ve witnessed how quickly a moment can turn to a matter of life and death. I live in a region where 911 calls might not bring blue lights for an hour. Whether it’s preparation or paranoia, I plan for worst-case scenarios and trust no one but myself for my survival.
  • they joke about the minute hand of the doomsday clock inching closer to midnight.
  • as they wait for the end of the world.
  • they own them because they’re fun at the range and affordable to shoot. They use the rifles for punching paper, a few for shooting coyotes. E
  • step as close to Title II of the federal Gun Control Act as legally possible without the red tape and paperwork. They fire bullets into Tannerite targets that blow pumpkins into the sky.
  • None of them see a connection between the weapons they own and the shootings at Sandy Hook, San Bernardino, Aurora, Orlando, Las Vegas, Parkland. They see mug shots of James Holmes, Omar Mateen, Stephen Paddock, Nikolas Cruz — “crazier than a shithouse rat,” they say. “If it hadn’t been that rifle, he’d have done it with something else.”
    • tthomasuscu
      tthomasuscu on 02 Apr 18
       
      Where is the fault in this logic? It just doesn't add up.
  • They fear that what starts as an assault-weapons ban will snowball into an attack on everything in the safe.
  • I understand what’s at stake
  • I think about that boy picking up that AR in Cabela’s, and I’m torn between the culture I grew up with and how that culture has devolved.
  • changes I know must come, changes to what types of firearms line the shelves and to the background checks and ownership requirements needed to carry one out the door.
  • an unrelenting fear of what could be lost
  • a subsistence culture already threatened by the loss of public land, rising costs and a widening rural-urban divide; the right of individuals to protect their own lives and the lives of their families.
  • He cut a look in my direction as if I’d absolutely lost my mind.
  • I’d be fine with an assault-weapons ban
  • question is irrelevant, that the reason doesn’t supersede the right.
  • Despite everything we have in common, despite the fact that he’s my best friend and we were going squirrel hunting in a few days, the two of us fundamentally disagree
  • As sad as it is to say, the silence is easier
  • there were kids on the television in the background, high school survivors who were willing to say what we are not, and I was ashamed.
  • ne of those pretty, late-winter days with bluebird skies when the trees are still naked on the mountains and you can see every shadow and contour of the landscape.
  • The muzzle was pointed in our direction. Ashley was terrified.
  • The truth is, there are guns I feel justified in owning and guns I feel belong on battlefields.
  • I know that part of what they’re missing or refusing to acknowledge is how fear ushered in this shift in gun culture over the past two decades.
  • Fear is the factor no one wants to address — fear of criminals, fear of terrorists, fear of the government’s turning tyrannical and, perhaps more than anything else, fear of one another.
  • I recognize this, because I recognize my own and I recognize that despite all I know and believe I can’t seem to overcome it.
  • I don’t buy into that only-way-to-stop-a-bad-guy-with-a-gun-is-a-good-guy-with-a-gun bravado.
  • I have no visions of being a hero. Instead, I find myself looking for where I’d run, asking myself what I would get behind. The gun is the last resort. It’s the final option when all else is exhausted.
  • we walked, I could feel the pistol holstered on my side, the weight of my gun tugging at my belt. The fear was lessened by knowing that there was a round chambered, that all it would take is the downward push of a safety and the short pull of a trigger for that bullet to breathe. I felt safer knowing that gun was there.
    • tthomasuscu
      tthomasuscu on 02 Apr 18
       
      How does fear drive so many of us to distrust and hate our fellow Americans? How does the Gun Lobby and the NRA use this fear to their advantage? What role does fear play in racial prejudice? How do we combat and address this fear?
meghankelly492

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

muse.jhu.edu/224140

world Music

shared by meghankelly492 on 22 Jul 19 - No Cached
  • 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
  • ...39 more annotations...
  • 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."
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