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In the 1960s archaeologists from the University of Chicago had surveyed the region and concluded that Göbekli Tepe was of little interest. Disturbance was evident at the top of the hill, but they attributed it to the activities of a Byzantine-era military outpost.

Schmidt had come across the Chicago researchers' brief description of the hilltop and decided to check it out. On the ground he saw flint chips—huge numbers of them. "Within minutes of getting there," Schmidt says, he realized that he was looking at a place where scores or even hundreds of people had worked in millennia past.

s the months and years went by, Schmidt's team

found a second circle of stones, then a third, and then more. Geomagnetic surveys in 2003 revealed at least 20 rings piled together, higgledy-piggledy, under the earth

The pillars were big—the tallest are 18 feet in height and weigh 16 tons. Swarming over their surfaces was a menagerie of animal bas-reliefs, each in a different style, some roughly rendered, a few as refined and symbolic as Byzantine art.

The circles follow a common design. All are made from limestone pillars shaped like giant spikes or capital T's. Bladelike, the pillars are easily five times as wide as they are deep. They stand an arm span or more apart, interconnected by low stone walls. In the middle of each ring are two taller pillars, their thin ends mounted in shallow grooves cut into the floor.

"They hadn't yet mastered engineering." Knoll speculated that the pillars may have been propped up, perhaps by wooden posts.

To Schmidt, the T-shaped pillars are stylized human beings, an idea bolstered by the carved arms that angle from the "shoulders" of some pillars, hands reaching toward their loincloth-draped bellies.

The stones face the center of the circle—as at "a meeting or dance," Schmidt says—a representation, perhaps, of a religious ritual.

As for the prancing, leaping animals on the figures, he noted that they are mostly deadly creatures: stinging scorpions, charging boars, ferocious lions. The figures represented by the pillars may be guarded by them, or appeasing them, or incorporating them as totems.

The site may have been built, filled in, and built again for centuries.

Bewilderingly, the people at Göbekli Tepe got steadily worse at temple building.

The earliest rings are the biggest and most sophisticated, technically and artistically. As time went by, the pillars became smaller, simpler, and were mounted with less and less care. Finally the effort seems to have petered out altogether by 8200 B.C. Göbekli Tepe was all fall and no rise.

The problem? Namely, this: With no established federal definition of technological literacy, most states have chosen to follow the National Educational Technology Standards (NETS) established by the International Society for Technology in Education (ISTE), and to create their curricula and assessments accordingly.

gical literacy that is very different from anything any state or No Child Left Behind (NCLB) envisioned. From the draft document: "In recent decades the meaning of technological literacy has taken on three quite different… forms in the United States. These are the science, technology, and society approach, the technology education approach, and the information and communications technology approach. In recognition of the importance, educational value, and interdependence of these three approaches, this framework includes all three under its broad definition of technological literacy."

Geoffrey H. Fletcher is the editorial director of 1105 Media's Education Group. He can be reached at gfletcher@1105media.com. Comments

That’s not to say there isn’t any room for humans in Demand’s process. They just aren’t worth very much. First, a crowdsourced team of freelance “title proofers” turn the algorithm’s often awkward or nonsensical phrases into something people will understand: “How to make a church-pew breakfast nook,” for example, becomes “How to make a breakfast nook out of a church pew.” Approved headlines get fed into a password-protected section of Demand’s Web site called Demand Studios, where any Demand freelancer can see what jobs are available. It’s the online equivalent of day laborers waiting in front of Home Depot. Writers can typically select 10 articles at a time; videographers can hoard 40. Nearly every freelancer scrambles to load their assignment queue with titles they can produce quickly and with the least amount of effort — because pay for individual stories is so lousy, only a high-speed, high-volume approach will work. The average writer earns $15 per article for pieces that top out at a few hundred words, and the average filmmaker about $20 per clip, paid weekly via PayPal. Demand also offers revenue sharing on some articles, though it can take months to reach even $15 in such payments. Other freelancers sign up for the chance to copyedit ($2.50 an article), fact-check ($1 an article), approve the quality of a film (25 to 50 cents a video), transcribe ($1 to $2 per video), or offer up their expertise to be quoted or filmed (free). Title proofers get 8 cents a headline. Coming soon: photographers and photo editors. So far, the company has paid out more than $17 million to Demand Studios workers; if the enterprise reaches Rosenblatt’s goal of producing 1 million pieces of content a month, the payouts could easily hit $200 million a year, less than a third of what The New York Times shells out in wages and benefits to produce its roughly 5,000 articles a month.

But once it was automated, every algorithm-generated piece of content produced 4.9 times the revenue of the human-created ideas. So Rosenblatt got rid of the editors. Suddenly, profit on each piece was 20 to 25 times what it had been. It turned out that gut instinct and experience were less effective at predicting what readers and viewers wanted — and worse for the company — than a formula.

Here is the thing that Rosenblatt has since discovered: Online content is not worth very much. This may be a truism, but Rosenblatt has the hard, mathematical proof. It’s right there in black and white, in the Demand Media database — the lifetime value of every story, algorithmically derived, and very, very small. Most media companies are trying hard to increase those numbers, to boost the value of their online content until it matches the amount of money it costs to produce. But Rosenblatt thinks they have it exactly backward. Instead of trying to raise the market value of online content to match the cost of producing it — perhaps an impossible proposition — the secret is to cut costs until they match the market value.

There are a multitude of credible scientific studies to indicate that diet plays a large role in the development of ADHD.

there are two factors at work in this study: One being the allergic reaction to the actual foods themselves and the second being a possible reaction to food additives, or combinations of food additives, found in industrial foods. Both certainly could be at play in the results of this study, although the discussion of Dr. Pessler's study thus far hasn't addressed the latter issue.

Or maybe the page has been moved and something else is where it used to be. This is known as “content drift,”

For the law and for the courts, link rot and content drift, which are collectively known as “reference rot,” have been disastrous.

According to a 2014 study conducted at Harvard Law School, “more than 70% of the URLs within the Harvard Law Review and other journals, and 50% of the URLs within United States Supreme Court opinions, do not link to the originally cited information.”

one in five links provided in the notes suffers from reference rot

1961, in Cambridge, J. C. R. Licklider, a scientist at the technology firm Bolt, Beranek and Newman, began a two-year study on the future of the library, funded by the Ford Foundation and aided by a team of researchers that included Marvin Minsky, at M.I.T.

Licklider envisioned a library in which computers would replace books and form a “network in which every element of the fund of knowledge is connected to every other element.”

Licklider’s two-hundred-page Ford Foundation report, “Libraries of the Future,” was published in 1965.

Kahle enrolled at M.I.T. in 1978. He studied computer science and engineering with Minsky.

Vint Cerf, who worked on ARPAnet in the seventies, and now holds the title of Chief Internet Evangelist at Google, has started talking about what he sees as a need for “digital vellum”: long-term storage. “I worry that the twenty-first century will become an informational black hole,” Cerf e-mailed me. But Kahle has been worried about this problem all along.

The Internet Archive is also stocked with Web pages that are chosen by librarians, specialists like Anatol Shmelev, collecting in subject areas, through a service called Archive It, at archive-it.org, which also allows individuals and institutions to build their own archives.

Illien told me that, when faced with Kahle’s proposal, “national libraries decided they could not rely on a third party,” even a nonprofit, “for such a fundamental heritage and preservation mission.”

screenshots from Web archives have held up in court, repeatedly.

Perma.cc has already been adopted by law reviews and state courts; it’s only a matter of time before it’s universally adopted as the standard in legal, scientific, and scholarly citation.

It’s not possible to go back in time and rewrite the HTTP protocol, but Van de Sompel’s work involves adding to it. He and Michael Nelson are part of the team behind Memento, a protocol that you can use on Google Chrome as a Web extension, so that you can navigate from site to site, and from time to time. He told me, “Memento allows you to say, ‘I don’t want to see this link where it points me to today; I want to see it around the time that this page was written, for example.’ ”

Symptoms of performance anxiety are generally categorized into cognitive (e.g. catastrophic thoughts), behavioral (e.g. avoidance of performance/auditions) and physiological (e.g. dry mouth, shaking arms/hands, increased heart rate) (Plaut, 1990; Salmon, 1990).

Shoup (1995) reported performance anxiety negatively affected performance in 55% (234/425) junior high and high school instrumentalists.

Over a third of students (36%, 263) reported they experienced the feeling of butterflies most times to always when playing in a concert or competition (Table 1).

There was a significant association between gender and the experience of butterflies (χ2 = 32.32, df (4), p < .001) with more females reporting the experience of butterflies than males. There was a significant association between age and reported experience of the feeling of butterflies (F = 9.012, df (3), p < .001), with older children reporting the experience of butterflies more than younger children.

Less clear, though, is whether COPPA covers information such as IP (internet protocol) address, device identification number, the type of browser being used, or other so-called metadata that can often be used to identify users.

some school lawyers have taken the FTC’s previous guidance to mean that their districts must get consent from every single parent, for every single product that collects information online from young children.

First, according to the FTC, schools can grant consent on behalf of parents only when the operator of the website, online service, or app in question is providing a service that is “solely for the benefit of students and the school system” and is specific to “the educational context.”

How are schools supposed to determine if a website or app is strictly educational?

will any information collected from children under 13 be used or shared for commercial purposes unrelated to education? Are schools allowed to review the information collected on students? Can schools request that student info be deleted? If the answers to that second group of questions are, respectively, yes, no, or no, schools are not allowed to grant consent on behalf of parents, according to the FTC.

Many vendors also allow third-party trackers (usually related to analytics or advertising) to be embedded into their sites and services.

How do schools notify parents and get their consent under COPPA?

Often through an Acceptable Use Policy or similar document that is sent home to parents at the beginning of the school year, said Fitzgerald of Common Sense Media.

Even better, Fitzgerald said, is when schools provide a detailed list of exactly what websites/online services/apps students will be using, and what the information practices of each are.

responsibility for deciding “whether a particular site’s or service’s information practices are appropriate” not be delegated to teachers.

Many districts do in fact have that kind of review-and-approval process.

The process of enactive listening is a pathway to the performance of music. The goal of this third level of a listening pedagogy is to continue ear training with a strong musicianship program by allowing the listening act to guide musicians to stylistically appropriate performance.[ 6] Not only can students learn the music of oral cultures aurally, but they can also effectively learn the nutated music of literate cultures by listening. In attempting to perform a musical selection, students gain from opportunities to hear a recording that allows them to concentrate on timbrai qualities, the dynamic How of a piece, its melodic and rhythmic components, and the interplay of its parts. Notation alone, whether from composed or transcribed works, can never fully depict all the musical nuances of a piece, and so listening is a helpful guide to performance.

Enactive listening takes time. It can be frustrating for those who have learned to use and value notation as an important means for music's transmission.

Young musicians can learn songs for solo or unison voices — as well as multipart songs and selections for percussion ensembles, strings groups, and gatherings of wind players — by ear.