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Dominic Salvucci

Top 10 Teacher Tools for Digital Curation ~ Educational Technology and Mobile Learning - 14 views

www.educatorstechnology.com/...teacher-tools-for-digital.html

teacher tools tools curation technology educational technology learning

shared by Dominic Salvucci on 16 Aug 13 - No Cached
David Hilton liked it
  • Dominic Salvucci on 16 Aug 13
     
    Ten data collection and curation tools.
tcornett

MOOC | Eric Foner - The Civil War and Reconstruction, 1850-1861 | Sections 1 through 10... - 0 views

www.youtube.com/playlist

Civil War youtube TEKS Eric Foner History Social Studies MOOC

shared by tcornett on 05 Apr 16 - No Cached
  • tcornett on 05 Apr 16
     
    Youtube Playlist The Civil War and Reconstruction - 1850 -1861 Discover how the issue of slavery came to dominate American politics, and how political leaders struggled and failed to resolve the growing crisis in the nation. A House Divided: The Road to Civil War, 1850-1861 is a course that begins by examining how generations of historians have explained the crisis of the Union. After discussing the institution of slavery and its central role in the southern and national economies, it turns to an account of the political and social history of the 1850s. It traces how the issue of the expansion of slavery came to dominate national politics, and how political leaders struggled, unsuccessfully, to resolve the growing crisis. We will examine the impact of key events such as Bleeding Kansas, the Dred Scott decision, the Lincoln-Douglas debates, and John Brown's raid on Harpers Ferry, and end with the dissolution of the Union in the winter of 1860-61. This course is part of the series, The Civil War and Reconstruction, which introduces students to the most pivotal era in American history. The Civil War transformed the nation by eliminating the threat of secession and destroying the institution of slavery. It raised questions that remain central to our understanding of ourselves as a people and a nation - the balance of power between local and national authority, the boundaries of citizenship, and the meanings of freedom and equality. The series will examine the causes of the war, the road to secession, the conduct of the Civil War, the coming of emancipation, and the struggle after the war to breathe meaning into the promise of freedom for four million emancipated slaves. One theme throughout the series is what might be called the politics of history - how the world in which a historian lives affects his or her view of the past, and how historical interpretations reinforce or challenge the social order of the present. Eric Foner, DeWitt Clinton Professor o
Eric Beckman

A History Lesson About "School Choice" During Reconstruction - 3 views

www.nche.net/hm0917horton

US History Reconstruction Primary sources lesson plans

shared by Eric Beckman on 29 Sep 17 - No Cached
  • Eric Beckman on 29 Sep 17
     
    History Professor curated six excerpts from testimony before Congress about KKK intimidation of teachers and students at black schools during reconstruction.
Ed Webb

Modern art was CIA 'weapon' - World, News - The Independent - 6 views

www.independent.co.uk/...rt-was-cia-weapon-1578808.html

CIA ColdWar history art politics US USA UK

shared by Ed Webb on 23 Nov 10 - Cached
  • The Central Intelligence Agency used American modern art - including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko - as a weapon in the Cold War. In the manner of a Renaissance prince - except that it acted secretly - the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.
  • in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.
  • The decision to include culture and art in the US Cold War arsenal was taken as soon as the CIA was founded in 1947. Dismayed at the appeal communism still had for many intellectuals and artists in the West, the new agency set up a division, the Propaganda Assets Inventory, which at its peak could influence more than 800 newspapers, magazines and public information organisations. They joked that it was like a Wurlitzer jukebox: when the CIA pushed a button it could hear whatever tune it wanted playing across the world.
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  • Initially, more open attempts were made to support the new American art. In 1947 the State Department organised and paid for a touring international exhibition entitled "Advancing American Art", with the aim of rebutting Soviet suggestions that America was a cultural desert. But the show caused outrage at home, prompting Truman to make his Hottentot remark and one bitter congressman to declare: "I am just a dumb American who pays taxes for this kind of trash." The tour had to be cancelled.
  • This philistinism, combined with Joseph McCarthy's hysterical denunciations of all that was avant-garde or unorthodox, was deeply embarrassing. It discredited the idea that America was a sophisticated, culturally rich democracy. It also prevented the US government from consolidating the shift in cultural supremacy from Paris to New York since the 1930s.
  • If any official institution was in a position to celebrate the collection of Leninists, Trotskyites and heavy drinkers that made up the New York School, it was the CIA.
  • Moscow in those days was very vicious in its denunciation of any kind of non-conformity to its own very rigid patterns. And so one could quite adequately and accurately reason that anything they criticised that much and that heavy- handedly was worth support one way or another
  • As president of what he called "Mummy's museum", Rockefeller was one of the biggest backers of Abstract Expressionism (which he called "free enterprise painting"). His museum was contracted to the Congress for Cultural Freedom to organise and curate most of its important art shows. The museum was also linked to the CIA by several other bridges. William Paley, the president of CBS broadcasting and a founding father of the CIA, sat on the members' board of the museum's International Programme. John Hay Whitney, who had served in the agency's wartime predecessor, the OSS, was its chairman. And Tom Braden, first chief of the CIA's International Organisations Division, was executive secretary of the museum in 1949.
  • "It was very difficult to get Congress to go along with some of the things we wanted to do - send art abroad, send symphonies abroad, publish magazines abroad. That's one of the reasons it had to be done covertly. It had to be a secret. In order to encourage openness we had to be secret."
  • Would Abstract Expressionism have been the dominant art movement of the post-war years without this patronage? The answer is probably yes. Equally, it would be wrong to suggest that when you look at an Abstract Expressionist painting you are being duped by the CIA. But look where this art ended up: in the marble halls of banks, in airports, in city halls, boardrooms and great galleries. For the Cold Warriors who promoted them, these paintings were a logo, a signature for their culture and system which they wanted to display everywhere that counted. They succeeded.
David Hilton

The Object of History | Behind the Scenes with the Curators of the National Museum of A... - 14 views

www.objectofhistory.org

history museums artefacts objects social studies teaching modern medieval ancient europe america usa activities excursions videos resources tools

shared by David Hilton on 21 Mar 10 - Cached
  • David Hilton on 21 Mar 10
     
    Might be a great resource for a lesson using historical artefacts or during an archaeology unit.
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