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C Clausen

POV - West 47th Street | PBS - 14 views

www.pbs.org/west47thstreet

abnormal psychology mental disorder West 47th

shared by C Clausen on 04 Dec 09 - Cached
  • C Clausen on 04 Dec 09
     
    Mental Illness, homelessness, and the raw lives of individuals in Hell's Kitchen
  • C Clausen on 04 Dec 09
     
    Mental Illness, homelessness, and the raw lives of individuals in Hell's Kitchen
D. S. Koelling

Font Size May Not Aid Learning, but Its Style Can, Researchers Find - NYTimes.com - 110 views

www.nytimes.com/...19mind.html

education undergraduate Learning font

shared by D. S. Koelling on 19 Apr 11 - No Cached
  • Is it easier to remember a new fact if it appears in normal type, like this, or in big, bold letters, like this?
  • Font size has no effect on memory, even though most people assume that bigger is better. But font style does.
  • New research finds that people retain significantly more material — whether science, history or language — when they study it in a font that is not only unfamiliar but also hard to read.
  • ...6 more annotations...
  • “So much of the learning that we do now is unsupervised, on our own,” said Robert A. Bjork, a psychologist at the University of California, Los Angeles, “that it’s crucial to be able to monitor that learning accurately; that is, to know how well we know what we know, so that we avoid fooling ourselves.”
  • “Studying something in the presence of an answer, whether it’s conscious or not, influences how you interpret the question,” Dr. Bjork said. “You don’t appreciate all of the other things that would have come to mind if the answer weren’t there. “Let’s say you’re studying capitals and you see that Australia’s is Canberra. O.K., that seems easy enough. But when the exam question appears, you think: ‘Uh oh, was it Sydney? Melbourne? Adelaide?’ ” That’s why some experts are leery of students’ increasing use of online sites like Cramster, Course Hero, Koofers and others that offer summaries, step-by-step problem solving and copies of previous exams. The extra help may provide a valuable supplement to a difficult or crowded course, but it could also leave students with a false sense of mastery. Even course outlines provided by a teacher, a textbook or other outside source can create a false sense of security, some research suggests. In one experiment, researchers found that participants studying a difficult chapter on the industrial uses of microbes remembered more when they were given a poor outline — which they had to rework to match the material — than a more accurate one.
  • a cognitive quality known as fluency, a measure of how easy a piece of information is to process.
  • On real tests, font size made no difference and practice paid off, the study found.
  • And so it goes, researchers say, with most study sessions: difficulty builds mental muscle, while ease often builds only confidence.
  • To test the approach in the classroom, the researchers conducted a large experiment involving 222 students at a public school in Chesterland, Ohio. One group had all its supplementary study materials, in English, history and science courses, reset in an unusual font, like Monotype Corsiva. The others studied as before. After the lessons were completed, the researchers evaluated the classes’ relevant tests and found that those students who’d been squinting at the stranger typefaces did significantly better than the others in all the classes — particularly in physics. “The reason that the unusual fonts are effective is that it causes us to think more deeply about the material,” a co-author of the study, Daniel M. Oppenheimer, a psychologist at Princeton, wrote in an e-mail. “But we are capable of thinking deeply without being subjected to unusual fonts. Think of it this way, you can’t skim material in a hard to read font, so putting text in a hard-to-read font will force you to read more carefully.” Then again, so will raw effort, he and other researchers said. Concentrating harder. Making outlines from scratch. Working through problem sets without glancing at the answers. And studying with classmates who test one another.
  • D. S. Koelling on 19 Apr 11
     
    Students' raw effort improves learning [No surprise there, huh?]
Roland Gesthuizen

Productive Living - 31 views

www.davidco.com/...0513.html

GTD productivity timemanagement workload workspace

shared by Roland Gesthuizen on 03 Jun 13 - No Cached
  • Roland Gesthuizen on 03 Jun 13
     
    "To tackle something most productively you need room. Physically you need all your tools in order and an open space for spreading your raw elements and assembling structures. Psychically you need an empty head, clear of distractions and unfinished business holding your attention hostage"
maureen greenbaum

Knewton Salon: How has the internet changed the way you think? | Knewton Blog - 20 views

www.knewton.com/...rnet-changed-the-way-you-think

shared by maureen greenbaum on 15 Mar 12 - No Cached
  • why school is so important. On a raw level, school can show students what it feels like to concentrate at different levels–what it feels like to write a paper, solve a difficult math puzzle, and synthesize various skills. That way, students develop a taste for cognitive satisfaction and learn to look for it throughout their lives.
  • , I don’t think that skills like memorization have decreased in importance. Sure, it may seem like we don’t need to commit facts to memory anymore and that the relevant skills today are navigation, retrieval, and analysis (how quickly you can find something, whether you can find it again later, and absorb what you need from it as quickly as possible). But memorization is still important; even in today’s world, where you have a universe of information at your fingertips, you have to remember how to navigate information, how to find it again, how to use tools to find it again as well as what you found in the past and how that might relate to the information rushing at you in the present. So in this sense, memorization is inextricably linked to navigation, retrieval, and analysis. The more you remember at any given point, the more space you have left in your “working memory” to perform complex cognitive processes.
navclarke

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

layersmagazine.com

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
Tonya Thomas

http://pewsocialtrends.org/files/2010/10/millennials-confident-connected-open-to-change... - 0 views

pewsocialtrends.org/...t-connected-open-to-change.pdf

generations Gen-Y millennials workplace management portrait generation pew research center raw data resources tools

shared by Tonya Thomas on 28 Sep 12 - No Cached
  • Tonya Thomas on 28 Sep 12
     
    This report represents the Pew Research Center's most ambitious examination to date of America's newest  generation, the Millennials, many of whom have now crossed into adulthood.  We began looking at this age  group in 2006 in a comprehensive survey we conducted in association with the PBS documentary series,  "Generation Next." 
Roland O'Daniel

RAW INcK - Reading and Writing in Kentuckiana - 24 views

rawinck.ning.com

reading writing english instruction literacy ning

shared by Roland O'Daniel on 11 Mar 10 - Cached
  • Roland O'Daniel on 11 Mar 10
     
    A reading and writing community started by a local high school (Silver Creek). Just shows the power of thinking outside the four walls of your classroom.
Ann Steckel

Font Size May Not Aid Learning, but Its Style Can, Researchers Find - NYTimes.com - 0 views

www.nytimes.com/...19mind.html

font education learning nytimes technology fonts size

shared by Ann Steckel on 20 Apr 11 - No Cached
  • “Studying something in the presence of an answer, whether it’s conscious or not, influences how you interpret the question,
  • participants studying a difficult chapter on the industrial uses of microbes remembered more when they were given a poor outline — which they had to rework to match the material
  • raw effort, he and other researchers said. Concentrating harder. Making outlines from scratch. Working through problem sets without glancing at the answers. And studying with classmates who test one another.
  • Maureen Greenbaum on 20 Apr 11
     
    We know this- working with the material, incorporating it with that we already know takes time- time on task - if a weirder font makes us think about the material more, we'll remember more
Marianne Hart

The Creativity Crisis - Newsweek - 48 views

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

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