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british books in printDownload british books in print or read online books in PDF, EPUB, Tuebl, and Mobi Format. Click Download or Read Online button to get british books in print book now. This site is like a library, Use search box in the widget to get ebook that you want.
The British Library Guide To Printing
Author by : Michael Twyman
Languange : en
Publisher by : University of Toronto Press
Format Available : PDF, ePub, Mobi
Total Read : 61
Total Download : 551
File Size : 55,6 Mb
Description : An introduction to the history and techniques of printing that offers a thorough and accessible historical overview of techniques and processes, illustrated with examples, diagrams, and photographs of craftspeople at work.
A History Of British Publishing
Author by : John Feather
Languange : en
Publisher by : Routledge
Format Available : PDF, ePub, Mobi
Total Read : 21
Total Download : 927
File Size : 44,9 Mb
Description : Thoroughly revised, restructured and updated, A History of British Publishing covers six centuries of publishing in Britain from before the invention of the printing press, to the electronic era of today. John Feather places Britain and her industries in an international marketplace and examines just how ‘British’, British publishing really is. Considering not only the publishing industry itself, but also the areas affecting, and affected by it, Feather traces the history of publishing books in Britain and examines: education politics technology law religion custom class finance, production and distribution the onslaught of global corporations. Specifically designed for publishing and book history courses, this is the only book to give an overall history of British publishing, and will be an invaluable resource for all students of this fascinating subject.
Nonfiction Book Proposals Anybody Can Write
Author by : Elizabeth Lyon
Languange : en
Publisher by : Penguin
Format Available : PDF, ePub, Mobi
Total Read : 79
Total Download : 109
File Size : 49,7 Mb
Description : Explains how to write and market a non-fiction book proposal, covering such topics as drafting a concept statement, submitting sample chapters, and writing query letters.
Maps Of The Heavens
British Paperbacks In Print
The British Printer
Print And Publishing In Colonial Bengal
Author by : Tapti Roy
Languange : en
Publisher by : Taylor & Francis
Format Available : PDF, ePub, Mobi
Total Read : 54
Total Download : 975
File Size : 47,7 Mb
Description : This book reconstructs the history of print and publishing in colonial Bengal by tracing the unexpected journey of Bharat Chandra’s Bidyasundar, the first book published by a Bengali entrepreneur. The introduction of printing technology by the British in Bengal expanded the scope of publication and consumption of books significantly. This book looks at the developments and the parallel publishing initiatives of that time. It examines local enterprises in colonial Bengal engaged in producing and selling books and explores the ways in which they charted out a cultural space in the 19th century. The work sheds fresh light on book production and the culture of print, and narrates the processes behind the printing of books to understand the multi-layered literary practices they sustained. A valuable addition to the history of publishing in India, this book will be useful to scholars and researchers of South Asian and Indian history, Bengali literature, media and cultural studies, and print and publishing studies. It will also appeal to those interested in the history of Bengal and the Bengali diaspora.
Reader In The History Of Books And Printing
Author by : Paul A. Winckler
Languange : en
Publisher by : Greenwood Publishing Group
Format Available : PDF, ePub, Mobi
Total Read : 43
Total Download : 580
File Size : 42,9 Mb
Description : An introduction to the history of graphic communication through the ages which studies the role of books and printing in the recording, preserving, and dissemination of ideas and its impact on civilization. The readings and illustrations have been selected from the extensive literature on the book to include items of value and interest to the student, educator, librarian, historian, media specialist, bibliophile, bookman and bookwoman--all who are interested in the world of books and printing.
The Professional Literary Agent In Britain 1880 1920
Author by : Mary Ann Gillies
Languange : en
Publisher by : University of Toronto Press
Format Available : PDF, ePub, Mobi
Total Read : 47
Total Download : 254
File Size : 55,6 Mb
Description : Breaking new ground in the study of British literary culture during an important, transitional period, this new work by Mary Ann Gillies focuses on the professional literary agent whose emergence in Britain around 1880 coincided with, and accelerated, the transformation of both publishing and authorship. Like other recent studies in book and print culture, The Professional Literary Agent in Britain, 1880-1920 starts from the central premise that the business of authorship is inextricably linked with the aesthetics of literary praxis. Rather than provide a broad overview of the period, however, Gillies focuses on a specific figure, the professional literary agent. She then traces the influence of two prominent agents - A. P. Watt (generally acknowledged as the first professional literary agent) and J. B. Pinker (the leading figure in the second wave of agents) - focusing on their respective relationships with two key clients. The case studies not only provide insight into the business dynamics of the literary world at this time, but also illustrate the shifting definition of literature itself during the period. | https://www.e-bookdownload.net/search/british-books-in-print |
Students often neglect the importance of formatting as they view it as unnecessary and tedious work. The students assume that their lectures would understand their work, but it is always essential to do formatting for the readers and those studying.
It is much easier to read an essay with well-structured paragraphs and citations than that which appears like plain text. It becomes easier to grasp the main points of your work. There are some critical skills for students to learn and will help the future carrier. It shows the abilities of the student’s to:
- Structure
- Make complex work to be easy
- Follow the rules
- Be disciplined
Understanding APA
APA stands for American Psychological Association. APA is frequently used in papers that are written to address humanitarian and social issues. There exist many specifications of referencing various sources, which may include articles, books, newspapers, pictures, or even videos.
Students and other writers should place the author’s name first, then the date, and finally secondary producers in case of one’s existence. Publication information is placed at the end.
Citing a book
A writer should understand the three types of books, an e-book, the actual book, and that in the database. A writer ought to be extra careful with the font given and italicize the book’s title.
E-book referencing
Many publishers nowadays deliver their literature work in electronic version format. Publishers can freely access books found on the e-reader. There should be a unique format of referencing an e-book, and it may take a well-structured format:
Author, M.K. (Publication year). The work’s title and lastly, where it was retrieved.
Rules to reference a website
Most of the time, students reference websites and include articles containing some data and valuable information. Sometimes, the author may not be mentioned on the website hence forcing students to use some templates, which are as follows:
Author, C.B… (Year, month and date of publication)
Operating a periodical
Periodicals may include newspapers, academic journals, and magazines. Students or writers may obtain all these sources in print form as uploaded content, and they, therefore, have different citation rules.
Academic source referencing
Some coursework or thesis of another person may be serving as an essential source of data that a student or publisher can use. Some people may get information from conference papers or lectures, which serves them as an essential source of information in their writing. Publishers and students may find these papers in a specific database or website.
More sources of references
A student or publisher is at liberty of citing engraved sources and reference a radio broadcast, video, or photo. The first thing to write should be the author’s name, followed by the year of publication and then the title.
Conclusion
APA referencing is easy to use. A writer only needs to be very attentive, accurate, and able to circumvent mistakes as soon as possible and later compile a list of references. Writers are not supposed to forget the formatting rules that connect to the rest of the paper’s work and make it simple by also adding tables. | https://cioresearchcenter.com/dealing-with-apa-references.html |
Description:
For 8 years, Clare Mackintosh wrote for 'Cotswold Life' about the ups and downs of life with a young family in the countryside. In this memoir she brings together all of those stories - and more - for the first time. From keeping chickens to getting the WI drunk, longing for an Aga to dealing with nits, Clare opens the door to family life with warmth and humour and heart.
Cotswold Hills (England), Social life and customs, 21st century
HIS, History
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0751554146
Year: 2017
Language: English
Interest category: Thriller novels
Media class: Paperback
Publisher: Sphere
372 pages ; 20 cm (pbk)
Tangents Book Group. Enjoyable, easy read. Ending not easy to guess. Interesting to see the Facebook
23/07/18
Bedford
More editions / formats:
0751575577
Year: 2019
Language: English
Interest category: Biography
Media class: Hardback
Classification: 920MACK
Content type: Bibliography
Publisher: Sphere
336 pages ; 23 cm (hbk)
151001778X
Year: 2016
Language: English
Interest category: Large Print
Media class: Large print
Classification: THR
Publisher: Clipper Large Print Books
368 pages (large print) (pbk)
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Lincoln, the Cabinet, and the Generals.
Material type: Book; Format: electronic available online Publisher: Baton Rouge : LSU Press, 2010Online access: Click here to view this ebook. Availability: Items available for loan: UT Tyler Online (1). Location(s): Online E457.45.
Jackson's way : Andrew Jackson and the people of the western waters / John Buchanan.
Material type: Book; Format: print ; Nature of contents: ; Literary form: Not fiction Publisher: New York : Wiley, c2001Availability: Items available for loan: University of Texas At Tyler (1). Location(s): Stacks - 3rd Floor E382 .B89 2001 .
No band of brothers : problems in the rebel high command / Steven E. Woodworth.
Material type: Book; Format: print ; Literary form: Not fiction Publisher: Columbia : University of Missouri Press, c1999Availability: Items available for loan: University of Texas At Tyler (1). Location(s): Stacks - 3rd Floor E487 .W8 1999 .
The class of 1846 : from West Point to Appomattox : Stonewall Jackson, George McClellan, and their brothers / John C. Waugh.
Edition: 1st Ballantine Books ed.Material type: Book; Format: print ; Literary form: Not fiction Publisher: New York : Ballantine Books, 1999, c1994Availability: Items available for loan: University of Texas At Tyler (1). Location(s): Stacks - 3rd Floor E181 .W29 1999 .
The art of command in the Civil War / edited by Steven E. Woodworth.
Material type: Book; Format: print ; Literary form: Not fiction Publisher: Lincoln : University of Nebraska Press, c1998Availability: Items available for loan: University of Texas At Tyler (1). Location(s): Stacks - 3rd Floor E470 .A76 1998 . | https://catalog.uttyler.edu/cgi-bin/koha/opac-search.pl?q=(su%3A%7BGenerals%7D)%20AND%20(su%3A%7BUnited%20States%7D)%20AND%20(su%3A%7BHistory%7D)%20AND%20(su%3A%7B19th%20century.%7D) |
Material type: Book; Format: print ; Literary form: not fiction Publisher: New York: Routledge, c1991Online access: Publisher description | Contributor biographical information Availability: Items available for loan: IIITD [301 MAR-O] (1).
by Montgomery, Scott L | Chirot, Daniel.
Material type: Book; Format: print ; Literary form: not fiction Publisher: New Jersey : Princeton University, ©2015Availability: Items available for loan: IIITD [909.4 MON-T] (1).
Material type: Book; Format: print ; Literary form: not fiction Publisher: London : Penguin Books, ©2015Availability: Items available for loan: IIITD [F ECO-N] (1). | http://library.iiitd.edu.in/cgi-bin/koha/opac-search.pl?q=su:%7BCivilization,%20Modern%7D |
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Material type: Continuing resource; Format: print Publisher: Stockholm Specialtidningsförlaget 1968-Other title: Nya Vi föräldrar.Availability: Items available for loan: Katrineholms bibliotek [Call number: Eh(p)] (12).
Material type: Continuing resource; Format: print Publisher: Stockholm Liber 1985-Other title: Statens ungdomsråds tidskrift om uppväxtvillkor.Availability: Items available for loan: Duveholms bibliotek [Call number: Oab(p)] (1).
Material type: Book; Format: print Publisher: Stockholm AB 1939Availability: Items available for loan: Katrineholms bibliotek [Call number: Dofa] (1).
Edition: 1. uppl.Material type: Book; Format: print Publisher: Stockholm 1972Availability: Items available for loan: Katrineholms bibliotek [Call number: Dofa] (1).
Material type: Book; Format: print Publisher: Umeå Pedagogiska institutionen, Umeå univ. 1997Dissertation note: Diss. Umeå Availability: Items available for loan: Katrineholms bibliotek [Call number: sD] (1).
Edition: 1. uppl.Material type: Book; Format: print Publisher: Stockholm Utbildn.förl. 1990Availability: Items available for loan: Katrineholms bibliotek [Call number: Dofa] (1).
Edition: 1. uppl.Material type: Book; Format: print Publisher: Stockholm A&W 1988Availability: Items available for loan: Duveholms bibliotek [Call number: Ohfh] (1).
by Byréus-Hagen, Katrin | Snickars, Kjell.
Material type: Book; Format: print Publisher: Stockholm Folkhälsoinstitutet 1998Availability: Items available for loan: Duveholms bibliotek [Call number: Ohj] (1).
by Bengtsson, Anna-Bodil | Gavelin, Ingegerd.
Edition: 2. uppl.Material type: Book; Format: print Publisher: Stockholm Liber 1996Availability: Items available for loan: Duveholms bibliotek [Call number: Ohi] (2).
Material type: Book; Format: print Publisher: Stockholm Esselte studium 1970Availability: Items available for loan: Duveholms bibliotek [Call number: Vp] (2).
Edition: 6. uppl.Material type: Book; Format: print Publisher: Stockholm 1970Availability: Items available for loan: Duveholms bibliotek [Call number: E] (1).
Edition: 1. uppl.Material type: Book; Format: print Publisher: Lund Palmkron 2004Availability: Items available for loan: Katrineholms bibliotek [Call number: Eh] (1).
Material type: Book; Format: print Publisher: Jönköping Brain Books 2006Availability: Items available for loan: Katrineholms bibliotek [Call number: Rd] (1).
by Arnér, Elisabeth | Tellgren, Britt.
Edition: 1. uppl.Material type: Book; Format: print Publisher: Lund Studentlitteratur 2006Availability: Items available for loan: Katrineholms bibliotek [Call number: Dofa] (1).
Edition: 1. uppl.Material type: Book; Format: print Publisher: Stockholm Prisma 2006Availability: Items available for loan: Katrineholms bibliotek [Call number: Dofa] (1).
by Bøge, Per | Dige, Jes.
Material type: Book; Format: print Publisher: Stockholm Utbildningsradion 2006Availability: Items available for loan: Katrineholms bibliotek [Call number: Eaa] (1).
by Sonntag, Kirsten | Frenkel, Xenia.
Material type: Book; Format: print Publisher: Moskva AST 2001Availability: Items available for loan: Katrineholms bibliotek [Call number: Vh=ma] (1).
Edition: 1. uppl.Material type: Book; Format: print ; Audience: Juvenile; Publisher: Stockholm Gothia 2010Availability: Items available for loan: Katrineholms bibliotek [Call number: uOac] (1).
Edition: 1. ṭabʿahMaterial type: Book; Format: print Publisher: Stūkhūlm [Stockholm] Gothia 2008Other title: انتظار مولود : كتاب عن الحمل والولادة والأبوة.Availability: Items available for loan: Katrineholms bibliotek [Call number: Vg=sg] (1). | https://bibliotek.katrineholm.se/cgi-bin/koha/opac-search.pl?q=su:%22Utvecklingspsykologi%22 |
by Thorat, Sukhadeo | Newman, Katherine S.
Material type: Book; Format: print ; Literary form: Not fiction Publisher: New Delhi Oxford University Press 2010Availability: Items available for loan: Institute of Law [Call number: 344.01 THO] (1).
Material type: Book; Format: print ; Literary form: Not fiction Publisher: Delhi Universal Law Publishing Co. Pvt. Ltd. 2007Availability: Items available for loan: Institute of Law [Call number: 344.01 BON] (1).
Material type: Book; Format: print ; Literary form: Not fiction Publisher: Lucknow Eastern Book Company 2013Availability: Items available for loan: Institute of Law [Call number: 344.01 BON] (1).
Material type: Book; Format: print ; Literary form: Not fiction Publisher: New Delhi Oxford University Press 2006Availability: No items available Checked out (1).
Material type: Book; Format: print ; Literary form: Not fiction Publisher: Delhi Universal Law Publishing Co. Pvt. Ltd. 2007Availability: Items available for loan: Institute of Law [Call number: 344.011191 BUI] (1).
Edition: 5th ed.Material type: Book; Format: print ; Literary form: Not fiction Publisher: Delhi Universal Law Publishing Co. Pvt. Ltd. 2010Availability: Items available for loan: Institute of Law [Call number: 344.01 KUM] (1).
Material type: Book; Format: print ; Literary form: Not fiction Publisher: New Delhi Viva Books Pvt. Ltd. 2007Availability: Items available for loan: Institute of Law [Call number: 344.0131 CHI] (1).
Material type: Book; Format: print ; Literary form: Not fiction Publisher: New Delhi Pentagon Press 2009Availability: No items available Checked out (1).
Material type: Book; Format: print ; Literary form: Not fiction Publisher: Allahabad Law Publishing House 2006Availability: Items available for loan: Institute of Law [Call number: 344.0131 SRI] (1).
Material type: Book; Format: print ; Literary form: Not fiction Publisher: Delhi Universal Law Publishing Co. Pvt. Ltd. 2007Availability: Items available for loan: Institute of Law [Call number: 344.0131 CHI] (1).
Material type: Book; Format: print ; Literary form: Not fiction Publisher: Hydrabad ALD Publications 2008Availability: No items available Checked out (1).
Edition: 7th EdMaterial type: Book; Format: print ; Literary form: Not fiction Publisher: Allahabad Law Publishing House 2008Availability: Items available for loan: Institute of Law [Call number: 344.0125 KHA] (1).
Material type: Book; Format: print ; Literary form: Not fiction Publisher: Delhi Universal Law Publishing Co. Pvt. Ltd. 2010Availability: No items available Checked out (1).
Edition: 7th Ed.Material type: Book; Format: print ; Literary form: Not fiction Publisher: Allahabad Law Publishing House 2009Availability: Items available for loan: Institute of Law [Call number: 344.01 RAO] (1).
Material type: Book; Format: print ; Literary form: Not fiction Publisher: New Delhi Deep & Deep Publications 2003Availability: Items available for loan: Institute of Law [Call number: 344.01 BHA] (1).
by Verma, N. M. P | Awasthi, I. C.
Material type: Book; Format: print ; Literary form: Not fiction Publisher: New Delhi Concept Publishing Company 2008Availability: Items available for loan: Institute of Law [Call number: 331.542 0954 VER] (1).
Material type: Book; Format: print ; Literary form: Not fiction Publisher: Lucknow Eastern Book Company 1998Availability: Items available for loan: Institute of Law [Call number: 344.012 SRI] (1). | http://librarysearch.nirmauni.ac.in/cgi-bin/koha/opac-search.pl?q=su:%22Labour%20Law%22 |
Echo Point Books has released reprints of R. P. Hunnicutt’s books “Patton” and “Half-Track.” Earlier this year they also released reprint editions of “Stuart” and “Sherman” by Hunnicutt. Unlike the Stuart and Sherman books which are priced at $69.95 softcover and 499.95 hardcover, the Patton book is $59.95/$79.95 while the Half-Track book is $39.95/$49.95. Reviews of these reprints have generally been mixed, with purchasers commenting that the paper quality is not the high quality glossy paper found in the original editions. It has also been noted that these reprints appear to be based on scans of the original works. According to ‘The Chieftain” Nicholas Moran, the publisher will be changing their printing mechanism for future print runs. | https://tankandafvnews.com/2015/05/18/reprints-of-patton-and-half-track-by-hunnicutt-released/ |
University of Arizona Libraries, December 2019
This is an automatically generated list of the latest Non-Juvenile items in WorldCat for this library.
by Jo Nesbø; Don Bartlett
Print book : Fiction
Language: English
Publisher: New York : Vintage Crime/Black Lizard/Vintage Books, A Division of Random House, Inc., 2013.
by James M Banner; John R Gillis;
eBook : Document : Biography
Publisher: Chicago : University of Chicago Press, ©2009.
No tags available
by Laurie R King
Publisher: New York : Bantam Books,
by James M Lang
Print book
Publisher: Cambridge, Massachusetts ; London, England : Harvard University Press, 2013.
by Leigh Gallagher, (Journalist)
Publisher: New York : Portfolio/Penguin, ©2013
by United States. Congress. House. Committee on Energy and Commerce,
eBook : Document : National government publication
Publisher: [Washington, D.C.] : [U.S. Government Printing Office], -
by James McBride
Publisher: New York, New York : Riverhead Books, 2013.
by C J Box
Publisher: New York : Minotaur Books, 2013. ©2013
by W E B Griffin; William E Butterworth
Publisher: New York : G.P. Putnam's Sons,
by Wilton Barnhardt
Publisher: New York : St. Martin's Press, 2013.
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There have been genuine concerns about the decreasing of the numbers of students opting to study science in schools (Kennedy, 2014; Scogin & Stuessy, 2015). Studies have shown that the diminishing student population in science can be largely attributed to the following factors: (1) the difficulty of the subject characterized by abstract concepts and complex computation, (2) the dated instructional pedagogy that often lands in students’ information overload, and (3) the disconnection between the science subject and the real world. (Savasci Acikalin, 2014; Sokolowska, de Meyere & Folmer, 2014).
Over the last several decades efforts have been made to improve student performance including strategies to promote cognitive and motivational aspects in science learning (Azevedo, 2015). Of particular interest to researchers is the use of visual tools to facilitate cognitive information processes in science. For example, Chen and Yang (2014) investigated the relationship between visual tools and students’ problem solving skills in science, and found a close correlation between the two. Similar findings were obtained by Liben, Kastens, & Christensen (2011) who studied students’ learning in geology. Several learner-centered strategies have been proposed including inquiry-based learning (Gillies, Nichols, & Burgh, 2011) and self-regulated learning (Tang & Neber, 2008; Zimmerman, 1998, 2001) where learners are nurtured to develop high level thinking skills such as making inference and transferring knowledge to a new domain in visual-based science learning. Nonetheless, students may still experience frustration or fail to accomplish the learning goals if the design of above learning does not take into consideration the impact of various cognitive load in visual learning. That is, failing to consider the constraints of cognitive load in visual-based science learning may have serious consequences in learners’ performance, especially when visuals cause redundancy or split attention in learning (Mayer, 2001). The purpose of the current chapter is to examine the functional role of visual representations by focusing on (1) the effects of cognitive load on visual learning and (2) instructional strategies targeting at reducing irrelevant cognitive load and increasing relevant cognitive load. By reading this chapter, the readers will be able to:
Identify challenges of cognitive loads in visual information processing.
Understand pedagogical strategies to reduce cognitive load in learning.
Be familiar with the visual learning framework in science learning.
Over the last several decades, educators, psychologists and cognitive scientists have been interested in understanding the cognitive resources in working memory and their relations with visual learning (Paivio, 1986; Sweller, van Merrienboer, & Paas, 1998; Um, Plass, & Hayward, 2012). According to Mayer (2001), cognitive resources play an important role in successful performance in visual learning. Complex cognitive processes in learning such as association across domains, information retrieval from long-term memory, and engagement in deep learning, are closely related to cognitive resources in working memory (Johnson & Mayer, 2009; Paivio, 1986; Zheng, 2007). Several theories have contributed to the understanding of the role and function of cognitive resources in visual learning. They include working memory theory, dual-coding theory, cognitive theory of multimedia learning and cognitive load theory. A discussion of each theory in relation to cognitive resources in visual learning follows. | https://www.igi-global.com/chapter/optimizing-students-information-processing-in-science-learning/154389 |
Recognizing familiar and unfamiliar faces University ofCalifornia, Santa Barbara, California These...
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Memory & Cognition 1984.12 (1).60-70
Recognizing familiar and unfamiliar faces
ROBERTA L. KLATZKY and FIONA H. FORREST University ofCalifornia, Santa Barbara, California
These experiments addressed why, in episodic-memory tests, familiar faces are recognized better than unfamiliar faces. Memory for faces of well-known public figures and unfamiliar per- sons was tested, not only with old/new recognition tests, in which initially viewed faces were dis- criminated from distractors, but also with tests of memory for specific information. These in- cluded: detail recall, in which a masked feature had to be described; orientation recognition, in which discrimination between originally seen faces and mirror-image reversals was required; and recognition and recall of labels for the public figures. Experiments 1 and 2 showed that memory for orientation and featural details was not robustly related either to facial familiarity or to old/new recognition rates. Experiment 3 showed that memory for labels was not the ex- clusive determinant of the famous-face advantage in recognition, since famous faces were highly recognizable even they were not labelable or when labels were forgotten. These results suggest that the familiarity effect, and face recognition in general, may reflect a nonverbal memory representation that is relatively abstract.
This paper concerns the nature of the memorial representation that is encoded when a face is viewed on a particular occasion-that representation to be called a "facial episode"-and how that representation differs ac- cording to the a priori familiarity of the face. To start with, we assume that a facial episode is a composite of several types of information, or components, an assump- tion consistent with models of episodic memory in gen- eral (e.g., Kintsch, 1974). It may include verbally coded information, visual details, more abstract visual proper- ties, or semantic and affective attributes. Whatever its components, this representation is capable of supporting face recognition at high levels of performance-typically 70%-85% in psychological experiments (Goldstein, 1977).
Familiar faces are recognized even better than unfa- miliar ones (e.g., Ellis, Shepherd, & Davies, 1979; Yarmey, 1971; the present studies). Assuming that the recognition rate reflects the memory "strength" of facial episodes, as determined by the contributions of their various components, this finding indicates that the facial episodes of familiar faces are stronger. That is, some of the discriminative information in the episode for a famil- iar face is qualitatively or quantitatively superior. The question addressed here concerns which components of the facial episode vary with familiarity and thus underlie the recognition advantage for familiar faces. [We do not make particular process assumptions about recognition. For example, the components in question might contrib-
This research was supported by NIMH Grant 25090 to the first author. We thank Gale Martin and Maureen McGrath- McGuire for their help with the research. Requests for reprints should be addressed to the first author at: Department of Psychology, University of California, Santa Barbara, California 93106.
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utc to perceptual fluency judgments (Jacoby & Dallas, 1981) or to contextual associations.]
We focus here on two types of potential information in facial representations: highly concrete and specific to the particular picture that was viewed, and highly ab- stract and verbalizable. (By the concreteness of a mem- ory representation, we mean how narrowly it constrains the set of external objects that it represents. The more concrete the representation, the fewer objects can be mapped into or matched with it.) In regard to the first of these, the literature on face recognition leaves open the question of how concretely faces are represented in memory, and whether concrete components of facial epi- sodes might be affected by a priori familiarity with a viewed face. Theories of face memory often assume, at the least, that an individual's idiosyncratic physical fea- tures are encoded. This assumption underlies such ques- tions as: whether features are perceived analytically or holistically (e.g., Smith & Nielsen, 1970); whether a face's recognizability depends on the encoding of unusual or distinctive features (Winograd, 1981); and which features are most important in face perception and memory (Davies, Ellis, & Shepherd, 1977; Klatzky & Thompson, 1975; Smith & Nielsen, 1970). There is even support for the idea that face representations might be specific to a particular viewing, in the finding that small changes in a face between its initial viewing and a subsequent recog- nition reduce the level of performance (Galper & Hoch- berg, 1971; Patterson & Baddeley, 1977).
On the other hand, there are also indications that rep- resentations that commonly mediate face processing are relatively abstract, in the sense that they are not one- to-one mappings from visual displays. Harmon (1973) pointed out that pictures of faces can be recognized de- spite transformations that essentially eliminate specific featural information. Multidimensional scaling analyses
Copyright 1984 Psychonomic Society, Inc.
have indicated that most of the dimensions underlying similarity-of-face judgments are not physical features, like size of nose, but more global and inferential, like at- tractiveness (Hirshberg, Jones, & Haggerty, 1978). Ob- servation of everyday life also provides anecdotal evi- dence for the abstractness of facial representations. We may not be able to recall even enduring attributes of people we know well, such as whether they have facial hair. We often know that a friend's face has changed since a previous viewing, but not how: Was the hair cut? Were glasses added or removed?
At an extreme of abstraction, a face might be rep- resented with a verbalizable category, into which can be mapped a wide variety of particular viewings. Familiarity with a person provides a highly available category label, in the form of a name or personal description, but even unfamiliar faces might be represented categorically ("Burt Reynolds clone," "hairdresser type"-see Klatzky, Martin, & Kane, 1982a, 1982b).
As was stated above, we assume that the superior rec- ognition of familiar faces derives from their memorial representations' being stronger in some component(s). But which? An obvious candidate is the categorical com- ponent, which could provide a verbal label for familiar faces. But this need not be the only basis for the famil- iar-face advantage in recognition. The memory episodes representing familiar faces might also be superior in their more concrete, view-specific components. In particular, this could occur if knowledge about a familiar face, gained from many different viewings, facilitated the en- coding of visual details from anyone instance and thus enhanced its subsequent recognizability (see Klatzky et al., 1982b). Such an effect would resemble the finding that background knowledge about a text can enhance memory for its wording (e.g., Dooling & Lachman, 1971). On the other hand, categorical knowledge about a face might lead to the assimilation of anyone instance, resulting in impaired memory for view-specific attributes. Again, there are parallels in research on memory for text (e.g., Graesser, Gordon, & Sawyer, 1979). This would mean that the advantage in recognizing familiar faces must work against an inferior representation of their visual details.
Some evidence relevant to these possibilities comes from studies of meaningful-interpretation effects on memory for visual stimuli. To the extent that these studies show that applying a priori knowledge (i.e., in- terpretation) enhances memory for picture-like details, it would suggest that familiarity with a person's face might increase memory for a specific viewing. However, the evidence is mixed. Some studies using faces as stim- uli have indeed found that interpretation facilitates sub- sequent recognition; however, the effect may occur not because interpretation directly enhances detail encoding but, rather, because it induces subjects to view the face as a whole (McKelvie, 1976; Winograd, 1981). Other studies have indicated that simply relating a face to a se-
FACE RECOGNITION AND FAMILIARITY 61
mantic category does not improve memory for its partic- ular features (Klatzky et al., 1982b). Similarly, manip- ulations designated to increase interpretation have been found not to affect memory for idiosyncratic details of objects in scenes(Mandler & Ritchey, 1977) and cartoon- like drawings (Rafnel & Klatzky, 1978). There is also ev- idence that categorizing a visual stimulus can impair memory for its appearance, by producing assimilation into a more abstract categorical representation (Daniel, 1972). In short, it remains unclear whether having cate- gorical knowledge relevant to a face, as occurs when the person is familiar, should enhance relatively concrete components of its memory episode. | https://fdocuments.in/document/recognizing-familiar-and-unfamiliar-faces-university-ofcalifornia-santa-barbara.html |
Publication Date:
06 May 2018 (online)
Abstract
Background Many people with epilepsy suffer from cognitive deficits as a consequence of their seizure episodes. Relatively few researches have been undertaken to assess the short term impacts of seizure on cognitive function. This study aimed to evaluate changes in cognitive performance in adults with a new onset generalized seizure in the first 24 h after the onset of their attack.
Methods After having given informed consent, 40 patients with first episode of unprovoked generalized tonic-clonic seizure were investigated with a neuropsychological test battery (Wechsler Memory Scale III). Their performance was compared with 40 healthy individuals from the patients' companions.
Results Newly diagnosed patients had significantly worse performance in paired association recall which is a parameter of verbal memory; other memory parameters showed no significant changes after seizure attack.
Conclusion Our data suggested that even with a one-time seizure episode, patients are susceptible to verbal memory impairment.
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KeywordsCognitive performance - Memory - Paired association recall - First unprovoked seizure - Wechsler memory scale III
Introduction
There is a notable amount of studies implying cognitive impairment in patients with epilepsy. Many have investigated the long term effects of seizure on cognitive function; however, the number of studies on short term memory assessment are only few in number.
There are several studies indicating cognitive function of people with epilepsy is already impaired at the time of diagnosis, although the causes of cognitive impairments in epileptic patients are thought to be multifactorial.
Studies showed that cognitive function in patients with newly diagnosed epilepsy significantly declined compared to their matched healthy volunteers over the first 12 months of antiepileptic treatment. Worse performance on some domains of cognition especially psychomotor speed, higher executive functioning and memory in patients with newly diagnosed epilepsy, was associated with treatment with some antiepileptic drugs (such as topiramate), generalized type of seizure and surprisingly, achieving an immediate first year seizure remission.
Although a number of studies found a negative correlation between cognitive functioning and duration of epilepsy other studies have not found evidences indicating any deterioration in cognitive functioning over time in epileptic patients. However, there are many confounding factors such as aging, chronic antiepileptic drug side effects and comorbid diseases not considered in methodology of most of these studies; so, there are still controversial aspects of cognitive function in epileptic patients that must be elucidated. The aim of this study is to investigate changes in cognitive performance in adults with a new onset tonic and clonic seizure (GTCS) in the first 24 h after the onset of the seizure.
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Methodology
The purpose of this cross-sectional study was to evaluate cognitive functions, particularly memory in patients with the first unprovoked GTCS in the first 24 h after the onset of their seizure.
In this study, all patients who presented with a first onset of GTCS to our hospital emergency room from March 2013 until November of the same year were assessed for cognitive deficits, if they did not have exclusion criteria and had agreed to take part in the study. All patients were evaluated with brain magnetic resonance imaging (MRI) and routine blood chemistry tests to exclude secondary seizure causes. Evidence of mass or vascular lesion, ventriculomegaly (more than 1.5 cm) and any hippocampal abnormalities were considered significant on MRI.
Significant abnormal findings in brain imaging, history of severe systemic diseases (including organ failures, diabetes, connective tissue diseases, and systemic vasculitis), any known psychiatric or neurologic disorders and taking drugs with prominent neuropsychiatric side effects were considered as exclusion criteria. Patients younger than 18 and older than 70 were also excluded.
A total of 40 individuals from patients' companions who were of similar age, gender and educational level in accordance to the patients were served as a control group. Both groups were assessed using comprehensive neurophysiological test battery of Wechsler Memory Scale third edition (WMS-III) validated in Persian.
WMS-III is a neuropsychological test designated to measure different aspects of memory function. It is made up of various subsets:
1. General cognitive screener in which semantic memory is evaluated, 2. Attention and concentration that is assessed through serial seven and reciting months of the year backward. 3. Story recall and paired association recall that are designated to measure episodic memory 4. Digit span recall that evaluates working memory and 5. Visual memory that is investigated through visual reproduction. We also added a few supplementary tests to assess other aspects of cognition apart from memory like abstract thinking, calculation and language.
To exclude clouded sensorium resulting of post-ictal state, we evaluated the patients' attention and concentration with the serial seven test before performing WMS-III to reassure that the patients were not in the post-ictal phase.
Our patients were Persian thus we used the translated form of Wechsler Memory Scale III which was provided by psychology research institute of Sina. The reliability and validity of the Persian version of the WMS has been also proved earlier.
The battery took approximately 15–20 min to complete for each participants. Data were analyzed with SPSS-16 software using independent t-test and Chi-square test to examine any differences in demographic and neuropsychological characteristics between the patients and healthy volunteers. P-values ≤ 0.05 were considered significant.
# 3
Results
A total of 40 patients with first unprovoked GTCS who presented to the emergency room and 40 healthy individuals from patients' companions were considered as patient and control groups, respectively.
Demographic and neuropsychological characteristics of both groups are summarized in [Table 1].
Evaluation of verbal memory function (comprising three parameters of immediate story recall, immediate digit span recall and paired association recall) showed significant difference in performance in paired association recall between two groups (p-value < 0.05; control group mean score = 16.23 and patient group score = 12.92); but two groups’ performance were not significantly different in forward and backward digit span recall (p-value = 0.18) and immediate story recall (p-value = 0.95).
Patients' performance in visual memory did not indicate any significant decline compared to healthy individuals (p-value = 0.90). Finally, we calculated the crude and corrected memory scores of the two groups with the guideline that had been presented by the WMS III that resulted in significant differences between two groups (p-value = 0.04 and 0.02 respectively).
# 4
Discussion
This study showed paired association recall was the only parameter of verbal memory function that significantly impaired at early phase after first seizure attack. The advantage of our study is the assessment of memory function during a few hours after seizure onset that provided a precise estimation of seizure impact on brain cognitive function. Our data are mainly in agreement with the published literature indicating that verbal memory deficit are commonly present even at the time of a first unprovoked seizure.
Ruhle et al. evaluated psychometric characteristics of 53 patients with first unprovoked seizure and demonstrated verbal memory (60%), non-verbal memory (30%) and executive (32%) dysfunctions in the participants. Baker et al. investigated 147 patients with newly diagnosed epilepsy from SANAD study over the first 12 months of antiepileptic drugs treatment with neuropsychological tests; patients performed worse than healthy volunteers particularly in psychomotor speed, higher executive functioning, and memory.
Taylor et al. found that untreated patients with newly diagnosed epilepsy appeared weaker in 6 out of 14 cognitive measures of neuropsychological battery particularly in the domains of memory and psychomotor speed compared to healthy individuals. Importantly, this study confirmed seizure induced cognitive changes irrespective to antiepileptic drug effects. Witt et al. also reported a high prevalence of cognitive deficits at an early stage of epilepsy with 47.8% memory dysfunction. In this study, worse memory performance was related to generalized type of seizure attack but not to lower education or a lesional cause of epilepsy. Therefore, he suggested that application of a short and standardized neuropsychological screening before initiation of treatment can provide a baseline to evaluate future treatment success.
Kalviainen et al. evaluated 74 adults with a newly diagnosed untreated seizure. He declared that the patients had a subtle deficit in tasks requiring memory and sustained attention and concluded that memory deficits may be secondary to attentional dysfunction. In our study, patients were evaluated after clearance of post-ictal confusion and results showed no difference in attentional processing between two groups. Accordingly, Ruhle et al. indicated memory deficits were not improved when the patients were evaluated with a delay of some days after seizure onset. Therefore, memory dysfunction in newly diagnosed epilepsy cannot be attributed to attentional deficit; it is an independent, probably irreversible pathologic process indicating the presence of an active epileptogenic focus. However, these cognitive signs do not predict seizure recurrence. Some authors declared that verbal memory impairment at the onset of epilepsy is very likely to be a risk factor for the development of epilepsy with a refractory course of treatment but according to published data it could not be stated that memory deficits after a first unprovoked seizure is an independent predictor of recurrent seizures.
Few longitudinal studies has been conducted about long term cognitive status of epileptic patients. In Hermann et al. study, 20–25% of chronic temporal lobe epilepsy patients showed worse cognitive outcome, particularly in memory domain after 4 years follow-up. On the other hand, Helmstaedter et al. evaluated 161 patients with surgically and non-surgically treated patients with refractory temporal lobe epilepsy and identified no evidence of significant cognitive decline over time. Taylor et al. assessed 50 newly diagnosed epileptic patients using a comprehensive neuropsychological test battery during 5 years follow-up; most of cognitive parameters remained stable, although memory performance showed a progressive (but subtle) deterioration in 38% of patients.
Although other causes other than seizure activity (such as antiepileptic drug side effects, mood disorder and underlying systemic diseases) are also related to memory problems of people with epilepsy, our study documented to some extent the pure adverse effect of a seizure attack on memory function. Theoretically, it may be expected that predisposing causes of a new onset epilepsy such as brain lesions, genetic susceptibility and inter-ictal epileptic activity are likely present some times before seizure onset; so, memory deficits may exist even before a first unprovoked seizure. Accordingly, the result of our study cannot be attributed completely to seizure attack and the pathologic cognitive decline may have already happened. Retrospective studies searching for evidences of cognitive dysfunctions weeks before seizure onset may be worthwhile.
This study has some limitation. We did not re-assess memory performance after a period of time and did not evaluate effects of antiepileptic drugs to determine the stability of deficits. Therefore, we could not document any claims on the reversibility of observed cognitive deficits in the first 24 h. As a result, it is recommended that in future studies, patients' cognitive functions be investigated within a few days after the onset of the seizure to address if these deficits are permanent or not.
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Conclusion
According to the result of this study, it has been concluded that even with a one-time seizure episode, patients are susceptible to transient or even permanent memory impairment.
It is highly recommended that in patients with even a one-time seizure episode early base line cognitive assessment should be performed and if abnormal, repeated at regular interval.
Considering detrimental effects of antiepileptic drugs on cognitive profile, this assessment is mandatory before starting and choosing antiepileptic drugs.
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Conflict of interest
The authors have none to declare.
This paper has no source of support.
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#
No conflict of interest has been declared by the author(s). | https://www.thieme-connect.de/products/ejournals/html/10.1016/j.ijep.2017.05.003 |
Taste and smell are critical tools for memory and recall, most probably because they are crucial for the survival of human beings. Memories differ from each other in complexity level and the level of detail. These memories often are triggered by one sense or a combination of different senses that relate to the specific memory. The brain has various stages of creating a memory namely encoding the memory, storing it, and retrieving it. The retrieval of memory is linked to stimuli that are related to the memory, which makes it reappear. It is essential to determine the relationship between the senses of smell and taste and their influence on memory to understand the nature of memories further (Zucco, Hummel, Tomaiuolo, & Stevenson 2014).
Studies have been conducted to find out the extent of influence that the senses have on memories creation and retrieval. One such study is that of Lily Yang on the impact of taste on a human beings memory in the year 2015. In the study, the researcher seeks to investigate whether the taste cue helped retrieve memories more about recovering them without the sense as a stimulus. The researcher also aimed at finding out whether a taste that was pleasant and associated with a positive feeling was better at triggering memory than a flavor that had a negative impression of the individual. The researcher based the study on the aspects of memory previously studied by other researchers such as the memory creating process and the memory of emotional events compared to neutral events.
The researcher used a sample of thirty people for the survey who were of the same gender and age. The participants got well informed about the procedure and purpose of the study. The participants were then grouped into three groups of ten each A, B, & C. Group A noted down their favorite drinks while group B indicated their least favorite beverages and group C was the control group was shown the images on a projector for the other participants. Each participant was assigned two sixty ml cups filled with their respective drinks. The participants got a list of questions they were supposed to remember while drinking their beverages (Yang 2015).
The study found that the groups given drinks performed relatively well in the questions compared to Group C who did not get any drink. It was clear that taste was an essential cue for memory retrieval as some of the participants viewed the requirement to drink as they looked at the images as a distraction regardless of whether the drink was their favorite or not. The most probable explanation is that the beverage being a distraction invoked an opinion that was transferred to the brain as an opinion about the image they were viewing. This idea of the drinks tastes then led to the reappearance of the pictures from memory. In the next segment of the study, the groups that were given a drink as they answered questions performed rather poorly compared to the control group C who did not receive any drink. This result pointed to the fact that the taste did not aid positively in the memory of details and events. In fact, it influenced the retrieval of the particulars negatively. The study also concluded that the type of emotion created from the retrieval taste cue did not affect the level of detail of information in the memory.
Another similar study by Laura Shrode focused on the impact of smell and emotion or feelings on the memory of an individual. The research aimed at determining the effects of intrusion of scent on the memory (Shrode 2012). It seeks to investigate the extent and degree of relationship between smell, emotion and memory retrieval. The author also linked the research to other studies conducted by other professionals in the field making the comparison of their findings and drawing conclusions from them relative to the survey. The research focused on determining the relation between feelings and memory, olfaction or smell and emotion and finally olfaction and the human memory. The researcher also reviewed the limitations of odor and perceptions on the human memory where they were only used as memory cues in situations of dependency. This conclusion was according to a study conducted by Aggleton and Waskett.
The survey was conducted with a sample size of thirty-two participants, which only thirty-one sample points were used because of an error that led to the loss of one point. The demographics of the sample used was fourteen men and seventeen women who were all aged between ages eighteen and twenty-two years leading up to a mean age of 19.9 years. Two scents used for the study namely pure vanilla extract and fish sauce. Participants were required to memorize specific words, and in the process, a fan was turned on distributing the own scents. All tests were carried out on a computer utilizing the Medialab Version 2010 and the DirectRT research software version 2010 software. The research determined that no significant impact that could be drawn from scent intrusion on the memory of words as previous studies had suggested.
After looking at the results of the studies on the impact on both sense of smell and taste, it was apparent that more research was necessary to shed light on the facts. This result alluded to the fact that there was not a significant direct relationship between odor and taste intrusion and memory as previously thought. Further studies should look deeper into the phenomenon avoiding bias from studies already carried out in the past.
References
Lily Yang (2015). The effects of taste on memory.Shrode, L. R. (2012). The influence of odor and emotion on memory. Psychology Commons, 1-26.
Zucco, G. M., Hummel, T., Tomaiuolo, F., & Stevenson, R. J. (2014). The influence of short-term memory on standard discrimination and cued identification olfactory tasks. Journal of neuroscience methods. Journal of Neuroscience Methods, 222, 138-141.
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When individuals either witness or are a victim of crime they may be required to give evidence in court. This can involve recounting events that took place or identifying a suspect from an identity parade. Evidence presented in a trial contributes to a judge or jury deciding whether an individual is innocent or guilty and if the information provided by the eyewitness is incorrect then innocent people may be found guilty or guilty people may go free (Loftus, 1986). With DNA testing, many individuals initially identified by eyewitnesses as being the perpetrator have subsequently been found to be innocent (Wells and Olson, 2003). Therefore, it is important that eyewitness testimony presented in court is accurate. The following essay will present research that has investigated why eyewitness testimony can be inaccurate and may consequently not be relevant in a court case. The essay will also consider whether children are accurate and reliable eye witnesses.
Reconstructive Memory and Schemas
When individuals observe an unusual event, such as a crime, their memory is often affected by their mental schemata, which involves prior knowledge and factors such as cultural background and values, and not solely information from the event. If there are gaps in people's understanding of an incident they can reconstruct their memories so that they can make sense of them. The notion of reconstructive memory was proposed by Bartlett (1932, cited in Toglia, 2007, pp.240-241). Witnesses' memories may be influenced by events that occur after the crime, for example, information from news reports in the media or other witnesses talking immediately after the event about what they saw or heard. This is relevant in particular to witnesses who observe one part of an event who then incorporate such information to elaborate and reconstruct their own memories. Toglia (2007) states that this is known as the misinformation effect and also source misattribution, which occurs when witnesses are unable to remember where the information originated from and they are then seen as being unreliable and not relevant to the court procedure.
In their 1974 study, Loftus and Palmer found that the wording of questions affected the recall of witness. Participants watched a film of a car accident and were then asked to write a brief summary of what they had seen. They were then were asked questions about the accident using different verbs to describe the accident such as, 'how fast were the cars going when they smashed/hit/bumped each other?' (Loftus and Palmer, 1974, p.586). The different words implied that the car was travelling at different speeds with some words implying a faster speed than other words. It was found that there was a 9 mile per hour difference between the slowest and fasted estimated speeds of the cars made by the participants. One week later, the participants returned and were asked further questions including 'did you see any broken glass' and, depending on the verb used in the original question, the faster the car was perceived to be travelling, the more participants reported seeing broken glass, even though there was no glass in the film (Loftus and Palmer, 1974, p.587). The study supports Bartlett and the way in which witnesses can reconstruct their memories with their previous knowledge. In a similar study, Loftus and Zanni (1975) reported that more participants said they had seen the broken headlight, rather than participants who were asked if they had seen a broken headlight, even there was no broken headlight in the film. However, both studies were undertaken in a laboratory environment and involved participants watching films, therefore it may not be possible to generalise the findings to the way witnesses respond when witnessing real-life accidents. The studies show the importance of the way in which language can alter perceptions or memories of an event. This has been addressed by introducing a cognitive interview technique which Fisher, Geiselman and Raymond (1987) suggest avoids influencing the answers given by witnesses.
If a car was travelling fast and was involved in an accident, it would be expected that there would be glass or a broken headlight, even though the witnesses (participants) did not see any in the film scenario. Individuals use their schemas to explain what happens in certain situations for example, how a burglar behaves or what type of objects would be present in a specific context, for example, the layout inside a bank or restaurant. Therefore, if something unusual is seen Loftus, Loftus and Messo (1987) argue that a witness will pay more attention to the unusual object. This has been found to be the case for crimes where weapons are involved. Participants in the Loftus et al. study were shown a series of slides of a crime in a fast-food restaurant where a customer either pointed a gun or a cheque at the cashier. It was found that there were more eye fixations on the gun than the cheque. In a second study, it was found that participant's memory for events was poorer in the weapon scenario than in the cheque condition which according to Loftus et al. (1987) emphasises the focus on weapons.
The Effect of Stress on Witnesses.
Observing a weapon in a crime may cause a witness considerable stress and this may have an effect on their ability to accurately remember details. This has been demonstrated by Clifford and Scott (1978) in a study that involved participants watching a film of a violent attack and a control group that watched a less violent version of the film. It was found that participants who watched the violent film remember fewer details than the control group. As the study was conducted in a laboratory, it is possible that the stress experienced by witnesses to violent events is greater in real-life crime and therefore, suggests that accurate recall may be impaired. A review of the literature undertaken by Deffenbacher, Bornstein, Penrod and McGorty (2004) undertook a review of studies that investigated the effects of stress on eye witnesses and found support for the negative effects of stress on accurate recall. Stress was notably higher, for example, if suspect was present in a line-up in comparison to the suspect being absent. A number of studies have attempted to induce stress-related scenarios to study the effects on participants as witnesses, although it could be suggested that this is unethical as it may cause the participants psychological harm. However, in a study with real-life witnesses who had been present during a robbery at gun shop where the perpetrator was shot dead, Yuille and Cutshall (1986) argue that stress may not have an adverse effect on memory and eyewitness testimony. The witness in the gun shop event had very accurate and clear memories of the event, which endured over a period of 5 months.
Intergroup Bias
Another factor that may influence the accurate memory of a crime in intergroup bias. Lindholm and Christianson (1998) found that the eyewitness testimony of Swedish students taking part in a mock crime scenario involving an armed robbery was influenced by whether the perpetrator was Swedish (in-group perpetrator) or an immigrant (out-group perpetrator). The participants in the study were both immigrant and Swedish students and when both groups were shown the film and asked to identify the perpetrator in a line-up afterwards the majority incorrectly identified an innocent immigrant. Both groups of participants typically identified an innocent perpetrator who was ethnically dissimilar more often than an innocent Swede. The study appears to show that witnesses can be influenced by biases and expectations regarding the type of person who is more likely to commit a certain type of crime. However, because the study involves a mock crime scenario it lacks the emotional aspects of a real crime and witnesses may not have the same biases they demonstrate in a laboratory task.
Loftus (1986) reports that in cross-racial identification by eyewitness, individuals are less accurate at identifying a member of a different ethnic group or culture than identifying features of a person's own race. Such findings would appear to be particularly relevant in contemporary, multi-racial society in the UK, and other countries. Alderson (2010) reports that the majority of men held for violent and sexual crimes in inner city London between 2009 and 2010 were black, however, black men have also been found to constitute the greatest number of victims of crime (e.g. 29% male victims of gun crimes, 24% of knife crimes). This can lead to the stereotyping of certain groups such as black men being responsible for violent actions in comparison to white men as found by Duncan (1976).
Children as Eye-Witnesses
There have been some concerns expressed regarding the relevance and reliability of children as witnesses. There may also be concerns about older people as West and Stone (2013) for example, report that young adults are more accurate in their recall as witnesses than older adults. Children who appear as witnesses in a court case may have been exposed to very stressful events such as sexual or physical abuse, which would be unethical to replicate in laboratory conditions. According to Bidrose and Goodman (2000), childhood sexual abuse is additionally accompanied by feelings of shame as well as a lack of emotional support because of the secrecy that surrounds such events. In a study undertaken by Bidrose and Goodman, they investigated the testimony given by four female children aged between 8 and 15 years, in a sexual abuse case in New Zealand and also assessed the level of support regarding the allegations. The findings showed that there was a high degree of support for the children's allegations which was matched to audiotapes and photos of the abuse (Bidrose and Goodman, 2000). The real-life study indicates that children's testimony can be highly accurate although the children in the study were older and younger children may not be able to articulate what happened to them in cases of abuse.
Krähenbühl, Blades and Eiser (2009) conducted a study with 156 children aged between 4 and 9 years to investigate the effects of repeating questions several times in an interview situation as a witness. The children watched a staged event and were asked eight open-ended questions, each of which was repeated 4 times. Some questions could be answered from watching the scenario although others could not, and it was expected that the children would say that they did not know the answer. The children returned again after one week. It was found that for over 25% of children there was a decline in accuracy which was greatest after the first repetition of questions. There was little change with the questions that could be answered but considerable decline in accuracy with those questions with no accurate answers. Krähenbühl et al. (2009) concluded that if there is considerable repetition of questions with child witnesses, the accuracy of responses changes significantly and that if children cannot answer a question, they are more likely to fabricate answers with repeated questioning.
Conclusion
The evidence presented indicates that there are a number of problems around the issue of eyewitness testimony although it would appear that research has attempted to address some of the problems. This means that eyewitness testimony should be considered a valuable and relevant part of court procedure. Avoiding leading questions (Loftus and Palmer, 1974) and the introduction of the cognitive interview technique (Fisher et al. 1987) have helped to contribute to the more accurate recall of witnesses. Some problems are less easy to address, such as the stress experienced at a crime scene which may negatively affect recall although, Yuille and Cutshall (1986) have argued that in real-life witnesses are able to recall stressful events accurately. Similarly, intergroup biases are difficult issues to address in particular the perceptions of black people and their relationship with crime. Children as witnesses has a more positive outcome as their recall has been shown to be accurate (Bidrose and Goodman, 2000). A further problem is that of the methodology used when researching eyewitness testimony which is predominately undertaken in a laboratory and may not be generalisable to real-life situations.
References
Alderson, A. (2010). Violent inner-city crime, the figures, and a question of race. The Telegraph Newspaper, Retrieved on 5/10/2015 from; http://www.telegraph.co.uk/news/uknews/crime/7856787/Violent-inner-city-crime-the-figures-and-a-question-of-race.html.
Bidrose, S. and Goodman, G.S. (2000). Testimony and evidence: A scientific case study of memory for child sexual abuse. Applied Cognitive Psychology, 14, 197-213.
Clifford, B.R. and Scott, J. (1978). Individual and situational factors in eyewitness memory. Journal of Applied Psychology, 63, 352-359.
Deffenbacher, K.A., Bornstein, B.H., Penrod, S.D. and McGorty, E.K. (2004). A meta-analytic review of the effects of high stress on eyewitness memory. Law and Human Behavior, 28(6), 687-706.
Duncan, S.L. (1976). Differential social perception and attribution of intergroup violence: testing the lower limits of stereotyping of blacks. Journal of Personality and Social Psychology, 34, 590-598.
Fisher, R.P., Geiselman, R.E. and Raymond, D.S. (1987). Critical analysis of police interviewing techniques. Journal of Police Science and Administration, 15, 177-185.
Krähenbühl, S., Blades, M. and Eiser, C. (2009). The effects of repeated questioning on children's accuracy and consistency in eyewitness testimony. Legal and Criminological Psychology, 14(2), 263-278.
Linholm, T. and Christianson, S.A. (1998). Intergroup biases and eyewitness testimony. Journal of Social Psychology, 138(6), 710-723.
Loftus, E.F. and Palmer, J.C. (1974). Reconstruction of automobile destruction: An example of the interaction between language and memory. Journal of Verbal Learning and Verbal Behavior, 13, 585-589.
Loftus, E.F. (1986). Experimental psychologist as advocate or impartial educator. Law and Human Behavior, 10(1/2), 63-78.
Loftus, E.F. and Zanni, G. (1975). Eyewitness testimony: The influence of the wording of a question. Bulletin of the Psychonomic Society, 5, 86-88.
Loftus, E.F., Loftus, G.R. and Messo, J. (1987). Some facts about weapon focus. Law and Human Behavior, 11, 55-62
Toglia, M.P. (2007). Handbook of Eyewitness Psychology. Lawrence Erlbaum Associates.
Wells, G.L. and Olson, E.A. (2003). Eyewitness testimony. Annual Review of Psychology, 54, 277-295.
West, R.L. and Stone, K.R. (2013). Age differences in eyewitness memory for a realistic event. Journals of Gerontology, Series B, 69(3), 338- 347.
Yuille, J.C. and Cutshall, J.L. (1986). A case study of eyewitness memory of a crime. Journal of Applied Psychology, 71, 291-301.
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Answers without Questions
I believe that market research still relies far too much on direct questions and answers and that many current practices in research suffer from serious flaws. There are three big problems in relying on direct question and answer approaches:
- They do not take account of the different systems in the brain
- They too often ignore the importance of context (and it’s role in memory)
- The act of asking questions can itself change the answers you get
Why do I say that questions and answers do not take account of the different systems in the brain? Daniel Kahneman describes the profound differences between what he calls System 1 and System 2. And many others have described the differences between unconscious and conscious thinking or implicit and explicit knowledge. These differences are real and profound. As Daniel Kahneman says, “We are to thinking as cats are to swimming, we can do it if we have to.”
It is estimated that System 1 (implicit) is processing around 11 million pieces of information every second – this is the information coming from the world around us via the senses. System 1 is our experiencing brain.
By contrast, System 2 (explicit) can process only 50 pieces of information per second by the most generous of estimates. System 2 is our remembering brain. It can be described as the “spin doctor” of our experience. System 2 likes to make a consistent worldview from the conflicting drives and contradictory behaviours that make us human.
The differences between the systems are summarized in the table below.
|SYSTEM 1||SYSTEM 2|
|Multiple systems||Single system|
|On-line pattern detection||After the fact (check and balance)|
|Here and now||Taking the long view|
|Automatic (fast, unintentional, uncontrollable, efficient, intuitive)||Controlled (slow, intentional, cognitive, energy sapping)|
|Rigid||Flexible|
|Implicit||Explicit|
|Sensitive to negative information||Sensitive to positive information|
|Hard working||Lazy|
|Easy problems||Hard problems|
As you can see our unconscious mind is fast, unintentional, uncontrollable, efficient and intuitive, while our conscious mind is slow, intentional, cognitive and energy sapping. System 1 is dominated by sensory and especially visual thinking, while System 2 is dominated by verbal thinking.
System 1 makes most of our decisions,completely intuitively through simple rules of thumb (based on a lifetime of experience of course). System 2 does not have access to most of what System 1 is doing, and they speak in different languages. Unfortunately for market research, many standard approaches are only accessing System 2.
Context is consistently under investigated in market research. We are all prone to the Fundamental Attribution Error. That is we all over-emphasise the role of personal causes for the behaviours of others rather than the role of context and social situation. I say others because when it comes to explaining our own behaviour, attribution depends on whether the behaviour is considered good or bad.
Context has an important role in memory, providing clues to help us find the relevant memories of previous experiences. When two groups of deep-sea divers were given a memory test, the accuracy of their recall depended on them being in the same situation as when they were given a set of words to remember. For those who were given the words while under water, their recall was significantly higher when under water than when sat on the beach. And for those divers who were given the words on the beach, their recall was significantly higher when on the beach than when asked to remember under water.
I have myself seen this effect in research, for example when the richness and accuracy of brand tracking data for alcoholic drinks improved markedly by moving from street intercept interviews to ones conducted in bars.
And while researchers often considers the importance of context in ensuring the right order of questions, we too often miss the opportunity to frame individual questions in more meaningful ways. More importantly, order effects show us that asking other questions influences the answers we get in research.
This brings me to the rating problem. If you do research with two groups of consumers and get them to rate different jams for their taste, and for the second group you also ask them to give reasons for their preferences, then you get different answers. That is, the groups prefer different products. And you can guess which group’s preferences correspond most closely to market reality. Similarly, people who are asked to describe a wine after drinking it, are then worse at recognizing the same wine later.
The impact of asking questions has not been investigated as much as it should in research, but it has been studied rigorously in criminal psychology. And the studies show that if a witness is asked to describe a criminal, their ability to recognize the criminal afterwards is seriously compromised.
There are two reasons for this. Firstly, our ability to recall memory is much less accurate than our ability to recognize something we have seen before. System 1 is more powerful than System 2 and the richness of our visual perception is much greater than our vocabulary. Secondly, memory is reconstructive, and each time we recall an experience, the experience changes as we update it with newer relevant experiences. Memories are not set in stone, but are constantly being updated.
Some of these studies have shown that the compromising effect of asking for descriptions can be minimized in three ways.
- Expert knowledge like that of wine tasters reduces the effects (as experts have richer vocabularies and conceptual frameworks to make sense of experiences)
- Being in the original context where the experience happened reduces the effects (which is why witnesses are asked to go back to the scene of the crime)
- Using free recall has much less impact than asking directed questions
What is to be done about these challenges to questions and answers? Here are three ideas for moving research beyond questions and answers.
Firstly, we can make much greater use of experimentation, including direct and indirect behavioural measurements and designed experiments. Direct measurements include actual purchase or other behaviours of interest (such as click through or visiting a store). Indirect measurements include biometric measurements such as facial expressions, physiological reactions and brain activity. However, many such measures are still at a stage where they are laboratory based and therefore lack contextual validity.
To give one example, in product testing it is possible to create stronger and more predictive models of behaviour by testing products with specific formulation changes and then modeling the data to build understanding of the drivers of consumer acceptance. Such approaches work best, when the product context is as specific as possible.
Indeed the approach of split testing is a powerful tool for optimizing websites, and similar approaches can be much more widely used if they are better understood.
A second answer is to move beyond words to use tools that dig into System 1 with images and metaphors, which use recognition more than recall and understand context through the observation of behaviours. There are many techniques that use non-verbal cues, including projective techniques that have a long history in research.
These tools are powerful, because our ability to recognize patterns is much greater than our ability to recall events. In fact, the brain is a supercharged pattern recognition machine, and the brain processes images hundred times faster than words, with all their richness of associations.
That is why in quantitative research, it is much better to rely on recognition rather than recall, for example by using selection tasks rather than rating tasks. Implicit testing is another approach which can help us understand what associations we have with a topic without asking directly.
“Power corrupts. PowerPoint corrupts absolutely.” – Edward Tufte
Questions and answers are to research what PowerPoint is to storytelling, They corrupt our understanding of what really drives behaviour.
None of us think in bullet points, or in pieces of information. We think, we experience and we remember in stories, and these need to be at the heart of consumer understanding. Stories are the most efficient way to learn, remember and share information, and reflect the brain’s need to search for patterns, and especially those patterns which link events in time (explaining cause and effect).
This is why cultural understanding, storytelling and archetypal frameworks can be powerful research tools, as well as powerful business tools.Customer stories are not just about product attributes or even the functional value of those attributes, but they are about emotional drives and ultimately life goals, and the jobs that consumers need to get done to achieve their goals. Simply put, stories are about characters, goals and challenges.
In summary, the way to get beyond questions and to answers that better reflect the real drivers of human behaviour, research must embrace: | https://www.inspectorinsight.com/insight/answers-without-questions/ |
The advent of modern-day cognitive psychology has produced a substantial change in the way we view learning. Learning is now viewed as an active process whereby learners generate or construct meaning from information by accessing and applying existing knowledge. As a result, much of recent educational research has focused on the effectiveness of cognitive learning strategies. This paper discusses the findings of research on learning and memory which led to new conceptions of learning. The findings of studies on the use of cognitive learning strategies are also presented. In addition, implications of such findings on the approach to teaching and learning are discussed.
Research in the field of cognitive psychology emerged in the late 1950s as a result of the failure of behaviorism to provide adequate explanation of human cognition. This field of study has produced rich descriptions of the mental processes and representations that underlie learning and memory. Studies on how incoming information is processed, stored and retrieved have led to substantial changes in psychological conceptions of the learning process. The traditional, behaviorist views of learning, which permeated both psychology and education for at least half a century viewed learning as a passive, receptive, and reproductive process. The role of the teacher, according to this view, is to dispense information that students can absorb in a more-or-less passive manner and then reproduce it at the appropriate time. When the student makes an appropriate response, it should be reinforced by an external stimulus or event. This view has now been replaced by cognitive views of learning which regard the learner’s role as an active one. The cognitive view of learning emphasizes that learning takes place through the active participation of the learner in cognitive operations such as making sense of new information, and sorting and organizing new information. Learning is believed to take place within a context of previously acquired knowledge. What were the events which led to these new conceptions of learning? This paper presents cognitive psychologists’ findings on learning and memory and the impact of such findings on psychological conceptions of learning.
The behaviorist (or S-R) approach to learning focused on how presentation of material influenced behavior. As Farnham-Diggory (1977, p.128) pointed out, the S-R approach is based on the idea that "a stimulus goes in, a response comes out, and what happens in between is summarized by a hyphen". In contrast, the cognitive approach to learning seeks to understand how incoming information is processed and structured in memory. The desire to find the answer to the question "What happens in the mind during learning?" led cognitive psychologists to investigate the cognitive processes which the learner engages in during learning. The term "cognitive processes" refers to all the processes by which the sensory input is transformed, reduced, stored, recovered and used (Neisser, 1967). Studies conducted to find out more about these cognitive processes included studies on levels of processing, encoding specificity, information processing and working memory, knowledge representation, and interference and forgetting.
A series of studies by Craik and Lockhart (1972) and Craik and Tulving (1975) (cited in Reed, 1992) showed that recall increases as depth of processing increases. Semantic processing (attending to the meaning) produces richer and more discriminative memory traces than phonemic processing (attending to the sound) or structural processing (attending to the physical nature) of the verbal material.
Deep levels of processing enhance recall because of two factors: distinctiveness and elaboration. Distinctiveness refers to how precisely an item is encoded (Benjafield, 1992) while elaboration refers to the amount of extra processing one does that results in additional and related material. Elaboration involves reorganizing the material to fit in with what is already known. Elaboration increases the distinctiveness of the item in memory and enhances recall for the material learned.
It has also been found that appropriate structuring or organization of information during learning improves retention and aids retrieval of information. Tulving and Thomson (1973) (cited in Reed, 1992, p.137) put forward the encoding specificity principle, which states that "specific encoding operations performed on what is perceived determines what is stored, and what is stored determines what retrieval cues are effective in producing access to what is stored". There is interaction between retrieval cues and encoding operations such that retrieval cues that correspond to the way the information is encoded facilitates its recall. This means that the learner should create memory codes that correspond to how the material will eventually be used. In most learning situations, this means semantic processing of information as learners are required to recall, recognize or apply semantic information in answering multiple-choice, essay and problem-solving questions.
Various models have been put forward to explain how information is processed. The information processing approach, which dominated cognitive psychology in the 1960s and 1970s, remains strong and influential today (Galotti, 1994). According to Leahey and Harris (1993), the human mind is rather like a computer, accepting input through perception, storing it in memory, processing it in thought, and acting on it in making decisions. Information-processing theorists believe that the human brain processes and stores information in three different systems: the sensory or perceptual system receives information and transmits this to the short-term memory (STM). Signals received by the sensory perceptual system or sensory memory are quickly lost (one second or less) unless transmitted to the STM where they can be retained for half a minute or more. The information fades away unless it is encoded and passed on to the long-term memory (LTM) where it may reside until death.
The concept of STM functioning as a working memory was introduced by Allan Baddeley. Working memory (WM) is the system that performs the task of temporarily manipulating information from both the environment and LTM whenever a person tries to learn new information, make decisions, retrieve information from the LTM, or solve problems. However the STM has a limited capacity of up to 7+2 chunks of information only. The size of each chunk depends on the knowledge stored in the LTM. If knowledge has been organized in large familiar chunks, then the total amount of information that can be retrieved into the WM will be much more. This means that the organization of knowledge into meaningful or familiar chunks during encoding and subsequent storage in LTM will ensure a "larger" working memory capacity and therefore results in more efficient problem-solving. This phenomenon has been observed in studies involving chess players (de Groot, 1965; Chase & Simon, 1973)(cited in Frederiksen, 1984). Grand Masters were able to recall correctly 90% of the 25 pieces on a chess board (through forming chunks of 5–6 pieces each) while novice chess players could only recall correctly 5-6 pieces as they remembered it piece by piece.
Apart from the above sequential symbol system, another system called the parallel-distributed processing (PDP) system has been put forward by Rumelhart and Norman to explain how cognition takes place. The PDP system argues that cognitive processing can be understood in terms of mutually excitatory networks that link together neuron-like units. Research on this is still in progress (McClelland & Rumelhart, 1995). As yet PDP cannot account for certain memory phenomena such as why we can handle different instances of the same concept at the same time and how we are able to have a number of mental variables during problem solving (Matlin, 1994).
Studies on knowledge representation in LTM have resulted in a variety of models being proposed on how knowledge is mentally represented and organized. According to Stewart (1985), various theories such as semantic network theory (Hierarchical Network Model by Collins & Quillian, 1969; Spreading Activation Model by Collins & Loftus, 1975) and schema theory (Rumelhart, 1975) that have been put forth suggest that the psychological content of memory seems to interconnect and overlap in elaborate ways. Semantic networks are models of how conceptual information is probably stored in an individual’s LTM. A network consists of a set of nodes (concepts) and relational lines that connect the concepts. According to the Hierarchical Network Model, concepts are stored hierarchically, with meaningful associations between concepts. In the Spreading Activation Model, concepts are stored non-hierarchically, with highly related concepts located close together. This probably explains why forming meaningful relationships between concepts in the material learned facilitates understanding and recall.
The schema theory is a more elaborate view of memory organization. Schemata, as explained by Stewart, Finley and Yarroch (1982), are, in a sense, "packages" of knowledge of particular objects, events, or general classes of objects or events. The term schema is usually meant to refer to something larger than an individual concept. A schema is thought to be a large unit of organized information used for representing concepts, situations, events and actions in memory. Learning results in the construction and elaboration of schemata, which serve to organize knowledge and facilitate recall and further learning. Schemata play an important role in perception and pattern recognition as we try to identify objects we see before us or in memory and as we call to mind relevant information to help us interpret current information and make decisions about what to do next. The schema theory provides a theoretical explanation of how learning and recall in some cases is much easier due to the presence of the relevant schemata as recognition devices.
Studies which have been carried out to explain forgetting also point to the importance of effective processing of information during learning. As noted by Galotti (1994), early researchers such as Peterson and Peterson (1959) suggested that forgetting could be due to a process of passive decay. Items that are not recalled or studied for a period of time tend to lose strength in memory as a result of an automatic process of decay. In order to reduce this form of forgetting, it is important to frequently apply and review facts and ideas. However, decay does not seem to be the main reason for forgetting. The alternative view is that forgetting is caused by interference. Galotti (1994) cited a number of studies (Wickens, Born & Allen, 1963; Waugh & Norman, 1965) which showed that interference, not decay, accounts for forgetting. There are two types of interference: proactive interference is when something already learned interferes with remembering something new, and retroactive interference is when learning something new interferes with remembering something already learned. In both types of interference the amount of interference is a function of similarity. The more similar two items are, the more they interfere with each other. One way to reduce forgetting due to interference is to stress meaningfulness and distinctiveness during learning and refrain from using rote-memorization, which does not involve meaningful encoding of information.
The above findings on learning and memory have led to substantial changes in psychological conceptions of human learning. According to Shuell (1993) learning is considered to be an active, constructive, cumulative, self-regulated, and goal-oriented process in which the learner plays a critical role. Learning is active in that the learner must carry out cognitive operations on the newly presented information. The way the learner processes the information determines the quality of learning. Shuell (1987, p. 243) pointed out that "what and how much an individual learns depends on the activities in which he or she engages; learning involves more than passively responding to the environment." As has been discussed earlier, performing cognitive operations such as semantic processing, elaborative processing, organizing and categorizing enhances learning.
Learning is constructive in that new information must be elaborated upon and related to other information. In recent years, educational research has centered on the constructivist approach to learning. According to this approach, learning comes about through the learner’s active involvement in knowledge construction (Driver, 1989). During constructivist learning, knowledge is not passively received, but is actively built up by the cognizing subject. Learning is accomplished by constructing and elaborating schemes based on experiences; it is very much a personal matter (Wheatley, 1991).
Learning is cumulative in that all new learning builds upon and utilizes the learner’s prior knowledge in ways that determine what and how much is learned. Learning as a process of building upon the knowledge base was emphasized by Ausubel (1968) who wrote, "The most important single factor influencing learning is what the learner already knows. Ascertain this and teach him accordingly."
Learning is self-regulated in that the learner must have the capability to mobilize, direct, and sustain his or her learning efforts towards achieving a goal. It includes processes like planning and managing time, attending to and concentrating on instruction, organizing, rehearsing, coding information strategically, establishing a productive work environment, and using social resources effectively (Schunk & Zimmerman, 1997).
Finally, learning is goal-oriented in that it is most likely to be successful if the learner is aware of the goal toward which he or she is working and possesses expectations that are appropriate for attaining the desired outcome (Shuell, 1992). The emphasis here is on the need for the student to formulate appropriate goals. According to the cognitive view of learning, the mere statement of objectives or goals by the teacher is not enough to guarantee effective learning. Unless the learner understands and adopts the objectives or goals as his own, they will have little, if any, impact on the learning process. In the words of Brown (1990, p. 268), "learning is much more an evolutionary, sense-making, experiential process of development than of simple acquisition."
In light of the above new conceptions of human learning, much of recent research aimed at finding ways to enhance student learning has focused on the use of cognitive learning strategies. McCrindle and Christensen (1995) reported that a growing body of research has shown that the nature of cognitive strategies used by the individual during the learning process strongly influences the outcome of the learner’s activity.
Weinstein and Mayer (1986) identified three groups of cognitive strategies: rehearsal, organization and elaboration strategies. Examples of rehearsal strategies are oral repetition, underlining, copying, and making selective verbatim notes. Examples of organizational strategies are grouping, sorting, categorizing, development of hierarchies and constructing networks, while elaboration strategies include mental imagery, paraphrasing text, summarizing, creating analogies, generative note-taking, and self-questioning. There is evidence to show that the use of organizational and elaboration strategies produce better learning: King (1994) found that encouraging students to generate questions and explanations for the text resulted in enhanced learning; Chi, Leeuw, Chiu and Lavancher (1994) investigated the effect of asking students to self-explain after reading each line of a passage on the human circulatory system. These students had a greater gain from the pretest to posttest than the control group students; Pankratius (1990) found that students who learned physics through concept mapping scored significantly higher marks than their counterparts who did not concept-map; McCrindle and Christensen (1995) found that students who employed organizational and elaboration strategies (reflective writing/learning journals) during learning performed better in their final examinations than those who used rehearsal strategies. The above findings show that the quality of learning is related to the type of study strategies employed. According to Lonka, Lindblom-Ylainne and Maury (1994), deep-level, knowledge transforming strategies which involve the learner in active constructive processing, elaboration, or efforts to understand produce greater learning than surface-level reproduction strategies such as maintenance rehearsal, underlining, copying, or reading already-generated material.
The realization that learning is an active process requires a change not only in the way students approach learning, but also in the way teachers approach teaching. A good teacher is not merely a person who can articulate a large number of related facts and ideas (although a sound understanding of the subject matter being taught is certainly essential); a good teacher is one who is able to get students to engage in learning activities that are likely to result in meaningful learning. The teacher’s role should be one of: 1) determining which learning tasks are appropriate for the students to work on and providing the learning environment for it, 2) providing cues as to what is important in the material being learned and the manner in which it can be processed, 3) monitoring their progress to ensure that the desired learning is taking place, 4) repeating the cycle if the learning process is judged to be ineffective, and 5) relating to students in personal ways that affect their feelings of self-efficacy, motivation and personal goals. Since learning is cumulative in nature, with new learning building on prior learning, teachers also need to provide links to the real-world knowledge of students by relating the information with daily experiences.
Meanwhile, the student’s role should be one of taking an active part in the learning process. Students should have a personal sense of commitment towards attaining a goal and work objectively towards it through planning, organizing, rehearsing, reflecting and seeking social assistance. Apart from self-regulating their learning, they should also expend more effort at cognitive processing of information during learning. These include: 1) semantic processing of information (processing for meaning), 2) distinctive elaboration (differentiating between concepts, adding to and relating information), and 3) organization of information into meaningful chunks (forming hierarchical networks, sorting into categories). Students should realize that learning is an individual responsibility that requires mental effort on the part of the learner.
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Wheatley, G. H. (1991). Constructivist perspectives on science and mathematics learning. Science Education, 75(1), 9-21. | http://devadason.tripod.com/seminar/Mary2.html |
Change the perspective: Ask the interviewee to recall the situation from another witnesses point of view.
Recreate the context: Instruct the interviewee to recall the environmental features and the way they felt during the witnessed event.
Order it differently: Ask the interviewee to recall the event backwards rather than in a chronological order.
Recall every detail: Instruct the interviewee to recall every detail from the witnessed event, no matter whether they consider it relevant to the accuracy of the event.
A number of studies have investigated the effectiveness of the Cognitive Interview Schedule.
Bekerian and Dennet (1993) reviewed 27 studies and found that in ALL cases, the Cognitive Interview Schedule was more accurate than other interview procedures. | http://aspsychologyblackpoolsixth.weebly.com/cognitive-interview.html |
Experimental mood manipulations and functional magnetic resonance imaging (fMRI) provide a unique opportunity for examining the neural correlates of mood-congruent memory formation. While prior studies in mood-disorder patients point to the medial temporal lobe in the genesis of mood-congruent memory (MCM) bias, the interaction between mood and emotional memory formation has not been investigated in healthy participants. In particular it remains unclear how regulatory structures in the pre-frontal cortex may be involved in mediating this phenomenon. In this study, event-related fMRI was performed on 20 healthy participants using a full-factorial, within-subjects repeated-measures design to examine how happy and sad moods impact memory for valenced stimuli (positive, negative and neutral words). Main effects of mood, stimulus valence and memory were examined as was activity related to successful memory formation during congruent and in-congruent moods. Behavioral results confirm an MCM bias while imaging results show amygdala and hippocampal engagement in a global mood and successful recall, respectively. MCM formation was characterized by increased activity during mood-congruent encoding of negative words in the orbitofrontal cortex (OFC) and for mood-incongruent processing of negative words in medial- and inferior-frontal gyri (MFG/IFG). These findings indicate that different pre-frontal regions facilitate mood-congruent and incongruent encoding of successfully recalled negative words at the time of learning, with OFC enhancing congruency and the left IFG and MFG helping overcome semantic incongruities between mood and stimulus valence. | http://repository.ubn.ru.nl/handle/2066/99400 |
The fear of dementia is common in the United States. In fact, a survey published by the University of Michigan reported that about half (48%) of respondents between the ages of 50 and 64 were concerned about developing the memory loss associated with dementia.
However, while memory loss is a common symptom, dementia is fueled by various neurological changes that can also affect your reasoning skills, personality, judgement, mood, and behavior.
Dr. Andrew Lerman and our team at Gables Neurology in Miami, Florida, specialize in diagnosing and treating neurological conditions that affect the adult population, including all types of dementia.
Here’s what Dr. Lerman has to say about the warning signs and symptoms of dementia.
Dementia is not a disease. Rather, it’s a collection of symptoms that are driven by underlying neurological deficits that may be related to:
Regardless of the underlying cause of dementia, early diagnosis and treatment play a vital role in your ability to manage or, in the case of treatable conditions, reverse the effects of dementia.
The early symptoms of dementia can vary greatly and are often very subtle, but worsen as the condition progresses. You may notice the following symptoms.
Memory loss related to dementia often starts subtly and is much different than forgetfulness that occurs when you’re busy or otherwise distracted. It is common, for instance, to temporarily forget an appointment. With dementia, you might not recall ever scheduling an appointment or why the appointment was necessary.
Dementia typically affects short term memories first, such as forgetting why you entered a room or what you planned to make for supper. You may also find yourself repeating comments or questions several times during a brief conversation because you have no recall of what’s been said.
As dementia progresses, family members and friends often note more concerning memory lapses such as forgetting a long-time friend, spouse, or grandchild. Individuals with advanced dementia not only forget names. They may not remember ever getting married or having children but can easily recall their childhood home or high school pastimes.
Individuals with dementia often find it difficult to concentrate and may have problems completing certain tasks, especially those that require several steps. This may involve daily care routines such as fixing breakfast, getting dressed, or following the rules of a familiar game.
Dementia can also cause visual problems that can interfere with your ability to read, drive a car, judge distances, or maintain good balance. This may cause you to avoid tasks that require you to leave the familiar routine and comforts of home.
Depression is a common early warning sign of dementia and may include symptoms such as:
Along with mood changes, dementia can also cause shifts in personality and judgement. Someone with dementia may inappropriately engage with strangers despite safety concerns or choose to take a late-night walk to a nearby park.
Conversely, they may become suspicious of once trusted friends or easily upset with family members expressing concern about their behavior.
You may also notice increasing anxiety in individuals who are aware of their cognitive decline or changes in thought process. In the later stages of dementia, these psychological changes may include paranoia, open hostility, and hallucinations.
Those with dementia often find it difficult to express their feelings because they can’t recall familiar words or may lose track of what they’re trying to communicate. This can cause them to trail off in the middle of a sentence or incorrectly identify a familiar object such as a clock.
It’s important to note that many therapies already exist for slowing the progression of dementia. Dr. Lerman is also an active participant in ongoing research, including clinical trials, that focuses on preventing the cognitive decline associated with dementia. He is happy to note that various studies and approval processes are currently underway for medications that do just that.
For an accurate diagnosis and the most effective treatments available for all types of dementia, schedule an evaluation at Gables Neurology today. Call our office or request an appointment online. | https://www.gablesneurology.com/blog/recognizing-the-warning-signs-of-dementia |
Students study and do work in different ways. For example, some may prefer to practice flashcards, while another might prefer to create pneumonic devices. One common study aid is to listen to music. One would assume that music would act as a great distractor to the learning process, yet it continues to be a popular way to study. In fact, a common belief is that the music increases focus and eliminates distracting background sounds. However, music’s impact on memory, as opposed to attention and focus, is usually not considered. How does the background presence of auditory stimuli, specifically music, influence memory? One aspect of music that makes it unique is its immediate familiarity and ease to which it can be remembered and engaged with. How does one’s familiarity with the music impact their ability to study? Also how does the complexity of the music impact memory?
The negative effects of irrelevant auditory stimuli on short term memory have been well documented and observed (D. Jones, 1999). Even at very low levels, irrelevant background speech can result in a 30% performance loss during serial recall, where participants must recite a past list in the same order as presented initially (Tremblay & D. M. Jones, 1998) (Beaman & D. M. Jones, 1997). These effects occur even when study participants are specifically instructed to ignore the background audio as these sounds are not part of the experiment (W. J. Macken, Tremblay, Houghton, Nicholls, & D. M. Jones, 2003b) (Tremblay, Nicholls, Alford, & D. M. Jones, 2000c). Participants are often unaware of any affect the background sounds have on their recall ability (Beaman & D. M. Jones, 1997). This overall occurrence is called the “irrelevant sound effect.” ISE appears to occur specifically during the rehearsal stage (D. Jones, 1999). When sounds are played during only the encoding or retrieval phases no increase in error was observed. This strongly suggests that the decline in serial recall does not come from distraction during the encoding phase. However, this effect is most prominently displayed during serial recall exercises (Beaman & D. M. Jones, 1997). Similar, but notably smaller, effects have been observed in free-recall exercises (LeCompte, 1994), but no effect has been observed when participants are asked to identify missing components from a remembered set (Beaman & D. M. Jones, 1997). These studies all used intermittent tones, white noise, or, most commonly, irrelevant speech. Little research has been done to explore how ISE functions with music as the audio stimulus. What has been determined is that music does produce an ISE (Schlittmeier, Hellbrück, & Klatte, 2008) and that musical preference does not influence the degree of the effect -both liked and disliked music have the same effect on serial recall (Perham & Vizard, 2010). However many factors have not been considered, notably musical complexity and familiarity.
This study proposes that that the listener’s familiarity with... | https://brightkite.com/essay-on/the-impact-of-musical-complexity-and-familiarity-on-serial-recall |
Anchor Point is a stimulating performance, the first phase of experimentation on a work after five days of dancers creatively engaging with an exhibition of installation art (Robyn Webster). As part of an open process, guests of the CoCA Art Gallery were able to view the installation with choreographer (Fleur de Thier), dancers, musician (Jace Northe), and lighting designer (Sean James) during their collaborative creative processes.
As the audience waits in the foyer, dancers enter from outside while Jace plays an electric guitar beckoning to them from the top of a double height, cement staircase. Creatively utilising the wall and banister, six dancers manoeuvre their way up the stairs as the audience follows. Professional dancers; Julia McKerrow and Aleasha Seaward work as a cohesive unit with dancers from the Hagley Dance Company; Olivia O’Brien, Tessa Newton, Phoebe Mander and Frankie Harris.
As we first get up the stairs, the four Hagley dancers are manipulating and intermingling with 12 black, human length Harakeke sticks (NZ Flax) joined end to end creating a circle. The white joins are flexible and move in the most remarkable variety of angles, rotations and designs, from floor level to high above the dancers' heads. There is a stunning moment when Phoebe is left with the entirety of the Harakeke draped around and extending above her. She turns slowly. The sculpture goes with her but changes itself as it moves and as she eases into a slow, controlled backward fall to the floor with the sculpture wrapped around her.
Jace changes from electric to acoustic guitar while Aleasha and Julia dart deftly in and out of the negative space created on the floor by the Harakeke sculpture. As the sculpture is moved to be hung, the audience moves to sit on three sides of the installation which consists of several interactive sculptures suspended from approximately 4 metres.
Aleasha and Julia move with clarity and ease, mirroring and responding to the moving angles of the now hanging Harakeke sculpture as other dancers raise and lower it by moving water-filled plastic bags that serve both as counterweights to the sculptures and sound sources.
There is a hanging mobile of weighted, white strips of canvas in varying lengths and two lengths of NZ art slides. This mobile is turned as two dancers turn inside it, while the musician calls haunting tones. There is a moment where Julia is moving on the floor under it when one of the lengths, ever so gently caresses her cheek.
Various unique elements manage to work together like different instruments in an orchestra, an innovative, cohesive recipe. Keyboard, acoustic and electric guitar and singing are all performed by Jace, as he changes his position in the room, superbly interacting with the dancers. There are some choreographed synchronised contemporary moves by all six dancers, some repeated short phrases by individual dancers along with improvised movements. Julia McKerrow demonstrates her silky smooth, effortless pivots and turns.
Green netting is draped from covered hooks. Several suspended large red net tubes are stuffed with streams of black video tape. While the dancers are moving with long strips of tape pulled from the netting, the musician explores making sounds with the tape. Frankie manages some interesting moves while being blindfold with the video tape and having it wrapped around her body, perhaps images of the past restricting her from seeing or experiencing the present.
Sean James navigates the room, controlling the lights with his iPad and shining a green hand held light on different dancers/sculptures creating a movement of focus. There is a wonderful interplay between the movements of the musician, lighting designer, dancers and the suspended sculptures. From where I am sitting, at one point, I can see dancers right in front of me and, through the sculptures, a dancer at the opposite end of the room. The dancers extend the spatial footprint of the installation and the installation extends beyond the spatial footprint of the dancers.
Fleur and Robyn speak with deep sincerity about the project. Fleur speaks of the joy of the process. For Robyn it is a representation of what we all universally share, “movement, change and the progress through time”. She observes that the various elements in the installation are asleep and then danced to life by the dancers.
This multifaceted show is beautifully performed, captivating and easy to watch. An audience member comments, “I lost all concept of time. The (Harakeke stick) section was like sacred geometry.” I think for most viewers, rather than providing a narrative, Anchor Point stimulates the senses and heightens awareness. It creates a desire to get up, have a play and interact with the installation art. Thoroughly enjoyable! | https://danz.org.nz/anchor%20point%20review |
Remember to let all of your sense soak up the experience of a new exhibition. Everytime I enter a gallery space, I am drawn to work that stimulates my senses. I continue to be fascinated by pieces that create a vivid, tactile surface. When artwork has multiple layers, I take a moment with each piece to experience all aspects of it.
A couple of weeks ago, I was able to surround myself with artwork from another exciting graduating BFA exhibition. I was intrigued by the title M.A.S.H. (I remember this being a game we used to play in middle school) and how the work would coexist together.
Upon entering the space, I was immediately struck by the quietness of the pieces and mix of ambient sound. This allowed for the focus to remain solely on the work and eliminate any distractions.
N O phones or wandering minds allowed.
Quietly focused, I was able to delve into the texture-rich paintings of Hannah Trupe and admire the compelling sculptures of Ana Glenski. Hannah’s paintings were not only visually appealing but made me want to touch each piece. Her process of layering the materials on the canvas created a sea of colorful textures. I imagined how her paintings felt, a mix of grit, smoothness, and rough peaks, throughout the series.
Ana’s work evoked a sense of calm over me as I moved into her space. I was put into a meditative state as I became fascinated with her “Upstream” piece. I was transformed into nature, watching these fish move in unison. The silence in the gallery allowed me to connect with her piece as one of reflection and an escape from the outside world.
When we have the chance to experience art that transports us into a space, uses all of our senses, and reminds us to cherish time, we must revel in these moments. | http://www.danasoutherland.com/dags/mwf-mash |
Dancers in Alabama Repertory Dance Theatre will sync with more than just the music in “aeolian,” a piece by professor Sarah M. Barry, in the ARDT Spring 2014 Concert.
Barry’s piece integrates nearly 200 fiberglass sculptures in the manifestation of its theme and concept.
The sculptures, titled in their entirety as “cresente,” are the work of Kelly Shannon, an master’s student studying studio art with an emphasis in sculpture. After seeing Shannon’s work in a gallery over the summer, Barry was inspired as a choreographer, and quickly approached Shannon about collaborating with ARDT.
“If you think about creative personalities, there’s no real reason to have set and regimented delineations between the arts – between theater or dance, or music or sculpture, or painting and drawing,” Shannon said. “There’s so many similarities between them that a lot of those divisions seem pointless.”
(See also “Dance faculty member branches into film“)
Shannon and Barry have both been pleased with the way this collaboration of art media has transferred to the stage setting.
“Something that’s really interesting about … the way the sets are placed on stage, is that, depending on where you’re sitting in the audience, you’re going to have a really different perspective of the dance,” Barry said. “So you’re really kind of viewing the movement almost through the sculptures. … Sometimes you really mostly see the sculpture, and sometimes you see more the dancing. Also, this piece has become more of a visual experience than a kinetic experience, which is a little different for me.”
Barry began “aeolian” – which means “wind blown” – by pulling words from the artist statement and thesis paper Shannon wrote about the sculptures, using those as roots from which movement could then grow. The choreography is the final combination of phrases composed by both Barry and her dancers.
“It was really exciting for me to see some of the early rehearsals where the dancers would start out on the floor, where they would be eventually screened by the sculptures, and then have an arm pop up that was just sort of doing this growing, popping up out-of-nowhere thing … [Barry] definitely was trying to be inspired by the things that inspired me, and it’s been really exciting to see that transformation,” Shannon said.
(See also “Writing, dance, printmaking classes collaborate“)
Scott O’Toole, a second year master’s student studying percussion performance, also took inspiration from Shannon’s sculptures in order to compose “Nautical,” original music for the piece. O’Toole has been an accompanist for Barry’s modern classes for almost two years, and will be playing his music live on stage during “aeolian.”
“Dancers, I think they like having live music because they can manipulate it more than a recording; it’s like you’re actually talking to a person, working with a person. You’re adjusting things on both sides, instead of constantly feeling like you need to adjust to a recording that never changes,” O’Toole said. “The hierarchy is broken down; it’s more like this third energy is created between two people.”
Hilary Schaff, a senior majoring in dance, has worked with Barry multiple times over the past four years, and said she enjoyed being a part of this collaborative experience for her last semester in ARDT.
“We’re using live music, adding in more depth to the stage, and really using every facility that’s around us, and incorporating more artistic viewpoints. … You can tell the faculty are trying to push themselves even more and push us to incorporate new things into our works,” she said.
While Barry initiated the idea of creating movement to accompany the themes evoked by Shannon’s sculptures, she values the artistic interpretations of the dancers in her cast.
“I like for the dancers’ movements and ideas to be a part of the piece, because I think it gives them a different sense of ownership with the performance and with the material,” Barry said.
ARDT will include Barry’s modern piece, as well as dances of other styles choreographed by the dance faculty. Performances will be Feb. 18-20 at 7:30 p.m., Feb. 21 at 5:30 p.m. and Feb. 22 at 2 p.m. in Morgan Auditorium. Tickets can be purchased at the box office or online at ua.tix.com. | https://cw.ua.edu/18272/culture/ardt-combines-sculpture-with-original-compositions/ |
SERAFINE1369’s programme visions concludes with durational performance works by keyon gaskin and Florence Peake. The intention of the prior weeks of the programme is to invite an arrival at live performance from an embodied perspective, where it is understood that everyone present is implicated.
Past Dates
- Friday, 28 October 2022
- Open rehearsal
- 15:00—19:00
- Gropius Bau, Atrium (Ground floor)
- Free admission
visions is a programme of live performance that seeks to encourage an embodied approach to engaging with live work and choreography where all bodies present are implicated and senses beyond visual sight are activated. It is an invitation to be with what is conjured, stirred up and rising to the surface of each of our particular bodies, in relation and response to environment. As such, each offering is somehow immersive. All events are free to attend and happen during regular opening hours of the Gropius Bau.
The scenography, designed by Soft Tissue Studio, subtly morphs with each intervention.
Florence Peake
Florence Peake is a London-based artist who has been making solo and group performance works intertwined with an extensive visual art practice since 1995. Peake produces movement, interactive sculpture, paintings that use the whole body’s physicality, text, film and drawings which respond and intercept each other to articulate, extend and push ideas. Peake’s work explores notions of materiality and physicality: the body as site and vehicle of protest; the erotic and sensual as tools for queering materiality; the subjective and imagined body as a force equal to those that move in our objective flesh-bound world. By encouraging chaotic relationships between the body and material, Peake creates radical and outlandish performances, which in turn generate temporary alliances and micro-communities within the audience. Peake’s painting is as an extension of the body and performance: it is produced gesturally and performatively, and is both a manifestation of the external body in motion and the way personal experience and feeling is recorded within the tissue and bones. Their painting practice comes together with sculpture and performance in a reciprocal nature: engaging in a shared dialogue and creating multiple modes of processing performance, and the interrelations between dancers, audiences and sites.
Peake is part of the Hayward Gallery’s touring British Art Show 9 (2021). Peake’s work has been presented at Arsenic theatre and Sudpol theatre in Switzerland (2020),Venice Biennale 2019; CRAC Occitanie, Sète, France (2018), London Contemporary Music Festival, UK (2018), Bosse & Baum, London, UK (2019); De La Warr Pavilion, Bexhill, UK (2018); Palais De Tokyo, Paris, France (2018); Hayward Gallery, London UK (2018), Wysing Arts Centre, Cambridge, UK (2017), Studio Leigh, London UK (2017); Sara Zanin Gallery, Rome, Italy (2017); Serpentine, London UK (2016); Whitechapel Gallery, London, UK (2016); ICA, London (2016); Modern Art Oxford (2016); BALTIC, Newcastle UK (2013), Frieze, London UK (2013), Yorkshire Sculpture Park (2012).
About REMAKE and Medallions
REMAKE is a continual negotiation between four performers, three metre-long lengths of wood and the Gropius Bau atrium. All actuers frame and re-frame each other and the architecture of the atrium. Repositioning, constructing sculptural propositions and letting die. Tender unlocking, quarrelsome solutions, clashes and reconnections – perpetual r-discovering. Arriving into constellations that rest, breathe and then move on.
All the while ......
The character Medallions slowly circumnavigates the periphery of the atrium dressed in excessively decorated medals; layers of paintings attached to their body. They circle the atrium, lounging, resting, observing. The paintings (medals) that Medallions wears were made during lock down as a way to externalise and depict lumps of energetic and emotional pain located in different areas of the body. The medals are disks that can transform or recognise and acknowledge internal emotional and bodily states that are not seen. Medallions demarcates the boundary of the space with these emblems, a soft parade intersecting with audience, architecture and REMAKE.
Both REMAKE and Medallions interact with audiences – through proximity, possible consensual touch, and in spatial negotiation.
A performance that spans a day – audience free to come and go. | https://www.berlinerfestspiele.de/en/berliner-festspiele/programm/bfs-gesamtprogramm/programmdetail_409301.html |
By Chelsea Thomas.
CORE Performance Company presented the world premiere of The Liberated Accident May 9-11 to conclude the inaugural season of Tanz Farm, a yearlong performance anthology produced by gloATL and the Goat Farm Arts Center. After working only three weeks with contemporary choreographer Amanda K. Miller-Fasshauer, CORE presented the new three-part, one-hour work that was delightfully intimate, free flowing and thought provoking.
Set in the gorgeous, old brick factory ruins of the Goat Farm’s Goodson Yard, the work was heavily influenced by its environment, often utilizing the space’s openness to break into a run or to interact with its natural noise, which includes passing trains less than 50 yards away. Miller-Fasshauer, formerly the choreographer-in-residence at Ballet Frankfurt under William Forsythe and the founder of Germany’s Pretty Ugly Dance Company, made the spatial decision to set the audience in-the –round, or on all sides of the dancers’ stage, providing unique, varied experiences for all.
With both pre-set and improvisational movement sections, The Liberated Accident went back and forth between structured choreography and dance “adlibbing”. This happenchance attitude appropriately paralleled the organic, evolving nature of the environment, which in itself has gone through various evolutions and uses over the last 100 years. Built during the 1880s and once used as a cotton gin factory, the space has also been used as a mill, an antique mall, a sheet metal factory, an artist’s haven and even as a factory to produce ammunition and mortar during World War II. (The current name, Goat Farm Arts Center, was derived from previous owner Robert Haywood who brought in goats to eat kudzu that was threatening his garden in the early 1970s.)
With a peaceful mood and informal elegance, CORE’s dancers pleasantly embraced Miller-Fasshauer’s contemporary style, known for focusing more on the philosophy of a work’s progress than the final, aesthetic outcome. With open hearts and minds, it was evident that all dancers revered her style and wanted to produce an accessible and warm performance.
The first part of the work opened with dances set to Bach’s Diverse Canons that were courtly, loosely patterned and inwardly meditative. Dancers exchanged curious interactions, glancing at each other in the midst of solos, exchanging timid smiles and brief, guarded smiles. Occasionally, dancers would engage in a pas de deux, but barely touch, with their ligaments wrapping around one another in hungry, but restrained intensity.
This habit of dancing together with little to no physical touch made me envision an invisible barrier keeping the dancers apart. This idea developed as the work progressed and I often wondered what the invisible force field was to them – or perhaps better put, what exactly filled that negative, empty space? Did they all see something there that the audience was blind to?
Miller-Fasshauer’s movement was at times fragmented and mysteriously inverted, bringing an ensemble phrase here and then a seemingly random gesture and shout there. As lush, grounded solos emerged and then vanished as swiftly, audience members’ faces sometimes seemed to be reflecting an inner confusion. Still, there was a transparency and vulnerability that came from the dancers that was lovely to witness.
Perhaps the oddest section of the work was the second part, a highly-improvised pas de deux between dancer Erik Thurmond and Miller-Fasshauer herself. Thurmond read Parable of the Equal Hearts while Miller-Fasshauer constantly interrupted to verbally ask questions and then physically respond in dance phrases filled with childlike inquisition. This section dragged on and with Miller-Fasshauer’s quiet voice, many questions were lost on the audience as they were drowned out in the warehouse’s big space.
Finally, the third part took on a darker, more serious nature as the entire company began to dance once more. By this time the sun had fully set and the brick building’s dusty glass windows shined aglow with flicking tealight candles. A theme of reaching and being pulled returned from the first dance segment and responded beautifully to the music by Fred Frith, titled The Happy End Problem.
As a train began to pull up behind the warehouse the dancers fled the stage to wave to it, pressing their faces against the windowpanes. This happened twice before the dance whined down. To end the evening, the artists sat in a circle in the center of the space and tapped their hands rhythmically on the floor as the lights faded.
Throughout the evening two dancers stood out, Stephanie Boettle and Anna Bracewell. Both performed with great focus and detailed intensity, diving into deep lunges, unhurried spirals and grounded turns. While contemporary dance can be impersonal and extremely abstract, they brought emotion and refreshing sentiment.
In all, this unhurried, serene and deeply complex work was fleeting but rich. It was an intimate performance that adequately allowed viewers to witness and take part in an artistic, ephemeral process.
Photo (top): CORE Performance Company premieres ‘The Liberated Accident’ as part of Tanz Farm at The Goat Farm Arts Center. Photo by John Ramspott. | https://www.danceinforma.com/2013/05/13/core-performance-company-in-the-liberated-accident/ |
In previous posts, I’ve talked about art’s connection to our 5 senses. For the past two years, I’ve taught a Fine Arts Survey class. In my research and prep work for the class, I have come up with a workable definition for art. I say workable because in all honesty, there are many ways to define art. We will look at it in a practical sense.
Art is matter formed in a pleasing way that heightens our 5 senses.
There are a few noteworthy art-forms that involve audience participation. For these I would add that art is a balance between the creator and how much he or she will allow their creation to be touched by the audience. For example, in dance, the dancer /consumer is given a set of specific moves that encompass a dance style. In dance competitions, they are judged by how close they follow the style and by how freely they are able to break out of it. Chefs learn by following recipes created from others. Out of this they eventually become creators themselves.
But this post is about another form of art that requires participation. How does my definition work with video games? Or, as I call it: The Art of Touch.
Beauty, Truth, and Good
Ancient philosophers looked at art as something that is beautiful, truthful, and good. Plato believed the world we live in was not a true reality. Truth lies in a higher universe of forms created by God. He explains this in Plato’s Republic with the “Allegory of the Cave”.
In a nutshell: people are trapped in a false world, a cave. They are fixed in place all their lives to see shadows on the wall. These shadows are their reality. If one were to break away from the shadows and escape the cave, he would first be blinded by the true sun, then he would be in awe of the things he sees. The Matrix does a great job of demonstrating this. Neo was trapped in a false reality. It was like the cave but called the matrix. When he escaped he found truth.
This ancient parable also works with creating video games. Designers present a false reality to the player—shadows on the wall. The better the game, the more immersed they are in playing that game; the more they are fixated on the shadows. This is done by presenting imitations of the nature around us. The best imitations of nature are truthful, beautiful, and good.
Touch, See, Hear, Taste, Smell
We trick the player by affecting his or her 5 senses. The more senses affected, the more intimate the art. Food affects all five. Books, in an internal and imaginative way, can also affect all five senses. These are the two major art forms that drive our society forward.
Food is the most practical art of all. It keeps us alive, helps us make business connections, create friendships, move along a romance, or reinforce family ties. Books feed the inner person. It supports our spiritual well-being. This has a profound effect on our culture. Movements that changed the world began with a book.
The Rest of Art and the Senses
Architecture is both seen and felt. It is the second most practical art. We all need a place to rest our heads, read a book, or drink a cup of coffee with friends.
Paintings and sculptures are a visual representation of the internal thoughts of an artist. This is analogous to books in that both are internal.
Photography is a visual representations of the external views of an artist.
Music for the audience is just heard. Concerts and music videos add a visual element. Playing music affects touch and sound. Sight can also be applied when reading sheet music and/or following a conductor.
Dancing is touch, sight, and sound, if you are the one dancing. For an audience, it is just sight and sound.
The most influential art form to date would be the film industry. This art affects what we see and hear.
Video games will soon usurp film because they go a step further. Game designers share their effect on the art with the player. They break the fourth wall by allowing the audience to touch what he or she creates.
Touch is gameplay. Peripherals—like a controller or a mouse and keyboard—allow the player to affect the world with his or her fingers. The press of a button could blow up a city or open a door.
Design Philosophy for Art
If games also affect what we see and hear, why call it only the Art of Touch?
This is because, touch is the most important part.
Touch what is seen
A great video game must have great gameplay. Well-done visuals, wonderful music, and good sound effects without well-balanced gameplay does not a great game make.
Before we continue our journey with games, let’s review a few design philosophies in other art mediums.
Show don’t tell
With movies, you’re fixed in one place, passively watching a linear story. A great movie has great cinematography and visuals displayed in a coherent and meaningful way. With movies, the visuals are king. Everything, from the story to the dialogue, to the music and sound design should support what the audience sees.
In play-writes it’s the opposite, “Tell because you can’t always show.”
There is a willow grows aslant a brook,
That shows his hoar leaves in the glassy stream;
There with fantastic garlands did she come
Of crow-flowers, nettles, daisies, and long purples
That liberal shepherds give a grosser name,
But our cold maids do dead men’s fingers call them:
There, on the pendent boughs her coronet weeds
Clambering to hang, an envious sliver broke;
When down her weedy trophies and herself
Fell in the weeping brook. Her clothes spread wide;
And, mermaid-like, awhile they bore her up:
Which time she chanted snatches of old tunes;
As one incapable of her own distress,
Or like a creature native and indued
Unto that element: but long it could not be
Till that her garments, heavy with their drink,
Pull’d the poor wretch from her melodious lay
To muddy death.
(Hamlet, Act IV, scene 7)
Ophelia’s tragic death in Hamlet is described so well that you can imagine it. It is the poetry of words that whisks us away to the weeping brook where she drowns herself. This can’t be shown on stage. But the internal image formed by the words can be even more powerful! A great horror movie or game understands this. They hide the monster letting our imaginations run wild.
Amnesia: the Dark Decent does a great job of blurring the monster. The main character goes crazy when the monster approaches so that you don’t really see it. I have only watched the game played and it was the most terrifying thing I have ever seen… or rather, that I haven’t seen.
Imagine don’t explain
Great writers create images not text. The reader’s imagination is paramount. You shouldn’t be seeing the words on a page, but rather, the images they tell you. Everything from the story, plot, character development, and world building should be used to create powerful visuals in the mind. The Harry Potter books do this very well.
And this brings us back to video games where, gameplay is king. The game designer’s motto is, “touch what is seen.” For the longest time, audiences were trapped in their seats, fixated with shadows on the wall. This separation between artist and audience is known through paintings and sculptures (don’t touch those) and to movies (blink as little as you can).
The video game is a break from this. Developers create half-finished works of art that the player is invited to complete.
They give the audience a sense of touch.
Freedom and Control
Good gameplay is the elegant balance of freedom and control. There are many forms of this, and it really depends on the style of game you wish to create.
Platformers need to have the right feel when you jump.
RPGs need to create well-designed and strategic encounters. They also need a good story.
FPS games are all about how the gun feels when you press the trigger.
Story-centered games need to be sure that the plot is interesting in all the different ways it can branch out.
Game designers must weigh how challenging they create the world to how much power they give the player. Everything must support this. The story, the music, the sound effects, and the visuals.
Without the gameplay in place, nothing else can make it a fantastic experience. At most it will be a glorified movie. This frustrates a player who feels out of touch with what he or she sees.
Nintendo is a genius at creating compelling gameplay. They have an impeccable sense of how much touch should be given to the player! Almost everything seen can be explored or affected. Take the new Mario Game: Odyssey coming out for the Switch.
Notice how much power they give the player. And with this power comes a greater responsibility! There is, no-doubt, a gauntlet of gameplay challenges to overcome.
Modern games are growing more sophisticated with their stories. The new Zelda has a heavier focus on story than its predecessors.
And it is in the story that I believe the future of gaming can be gauged.
In my minecraft adventure map Anomalous Ruins, I have blended story with gameplay. Everything you see in Minecraft can be touched or affected. I frustrate this from the player by forcing him or her to play it in adventure mode. Then I tease them throughout the game by showing the player places in the distance that can later be reached. The greatest tease of all is at the beginning where I show the player the Anomaly.
At the end of the game, I turn it into survival mode. I also leave clues for our plucky hero to go and search for this floating city in the sky. | https://deepwellbridge.com/2017/06/25/the-art-of-touch/ |
For this focus question, I viewed the Masters and Visionaries performance on December 8 at 2:30 P.M., which was held at the Ball State University Theatre. The artistic direction by Auda Sokol, associate artistic direction by Christie Zimmerman, Choreography by Marius Petipa (restaged by Lisa Carter), Martha Graham (restaged by Sandra Kaufmann), Sidra Bell, and Jamy meek. There was an amazing list of performers who performed remarkably, to shorten this response I will only list a few. Some of the various performers are as listed: Alexa Abbott, Stephanie Bell, and Emily Coy (all three dances in Works Within Dreams), Emily Busha, Lilian Meyers, and Josh Brinkman (Performed in Le Corsaire), Melanie Schreiber, Mickie Marie, and Elizza Frye (Performed in Steps in the street), Cassidy Crull, Lilly Deeg, and Greta Linder (Performed in No-Ya). To summarize briefly about my experience at the master and Visionary’s performance from an audience perspective, upon arrival it was extremely stunning the lighting was beautiful, the Customs were beautiful, the dancer’s makeup and facial expressions were astonishing and conveyed a story.
Each dance told its own story and had its own style and structure. One performance that stuck out to me the most was the performance piece that is choreographed by Martha Graham titled Steps in the Street. The reason this performance stands out to me the most is because of the color of the costumes which were black, the makeup, the facial expressions, and the way the dancers moved in space with time and energy. a costume may be designed to expose or enhance the lines formed by the dancer’s body, or to express the choreographer’s artistic vision, or to engage the audience, or combinations of these. A costume may portray or relate to some characteristics, mood, or theme of the dance. For this particular performance dancers, wear loose-fitting and dark clothing. To the audience, this color can symbolize the mood of performance and emotion. The dark color clothing to the audience can symbolize power, fear, mystery, strength, authority, elegance, formality, death, evil, and aggression, authority, rebellion, and sophistication. Makeup was plain and facial expression was dreadful. I will continue to discuss Steps in the Street later in my discussion.
Dance Analysis
There are four dance pieces that are included in Master’s and Visionaries in which I mentioned above, the dance pieces included are as listed: Martha Graham Steps in the Street, Marius Petipa Le Corsaire, Sidra Bell Work Within Dreams, and Jamy Meek No-Ya. Of these four pieces, I will only discuss my 2-favorite performance in order to minimize and meet the outlined requirement efficiently. I will first discuss the first piece that was performed and how it relates to the elements BASTE and ORDER. Marius Petipa was born in France but became the pre-eminent choreographer in imperial Russia during the 19th century. The performance piece Le Corsaire is a piece describing a pirate ship, manned by Conrad, his slave, and his friend Birbanto sails toward Turkey. During the viewing when thinking of the BASTE elements the bodies of the dancers conveyed a lot of lower and higher extremity movements. Body shaped varied from symmetrical to rounded and twisted. As for facial expression, the dancers expressed a lot of happy emotions, for example, smiles. In regard to the dancer’s actions, they performed in an open format. There was a variety of gliding and sauté.
The dancers gradually shift from movement in place to traveling in space, traveling was sometimes angular and straight. The dancers performed slow speed but towards the ending of the performance, it began to gradually incline in time. Dancers were full of life and great energy. Attacks were smooth and there was loose tension. The force varied from gentle to full force. The dancers flowed freely and sometimes were controlled. Some observations I made was there were dramatic costumes, they were dramatic but very beautiful. They use blue coloring for the customs to convey a message of emotion that symbolizes trust, loyalty, wisdom, confidence, intelligence, faith, truth, and heaven. The lighting was of amazing quality, beautiful makeup, and great facial expressions. To reflect on the performance, I believe the dancers were conveying a positive message just based on their movements, facial expressions, makeup and color of clothing. Before looking up the meaning of the dance as an audience viewing the dance, I inferred the dance symbolized some sort of hope and happiness. To further discuss the performance, the piece consisted of three different ballet segments and each consisted of different movements and differed in the way the dancers moved in unison. To evaluate the dance, I believe this dance was performed with distinction and was absolutely stunning. If I had the choice to view the performance again, I would definitely pay to attend. I don’t believe this piece of work needs revision; I think everything was executed amazingly.
I will now discuss the next performance Steps in the Streets briefly. Martha Graham is recognized as a primal artistic force of the 20th century. She created 181 ballets and her innovative physical vocabulary has irrevocably influenced dance worldwide. The dance describes homelessness and exile. the dance is a portrait of the human condition born out of the Great Depression and of Graham’s response to the Spanish Civil War. It references the plight of individuals suffering through hunger and poverty. While viewing this performance it caught my interest because of its odd but creative presentation. During my viewing the dancers begun to move their bodies begun to move in unison in a symmetrical shape. Dancers also rounded themselves toward the end of the performance, I think one thing that was important is that they conveyed a variety of shapes with their bodies. Something that I found interesting was that the performers used the hands to illustrate chains on hand. This symbolized that the dancers were acting as prisoners. The dancers began to perform actions that included: Shuffling, sliding, gliding bending, stretching, etc. Dancers traveled in space, they scattered and sometimes walked in unified parallel lines. There was group proximity to objects.
The time displayed in this performance was slow and uneven. There was some movement in unison but sometimes there was running of dancers before and after one another. The energy of this piece was sharp and sudden. There was a strong force implemented and the flow was mostly free but sometimes controlled. I observed some of the most interesting movements during this viewing. Instead of dancing for just entertainment this piece presents dance for meaning. During the viewing, I observed kicking and dancers’ hands placed as if they were chained. There were anger and force presented in the dancers’ movements and facial expressions. From an audience perspective if you were to view this performance you would infer the work symbolized hopelessness and rage. To reflect on this piece the color of custom choice was black which symbolizes power, fear, mystery, strength, authority, elegance, formality, death, evil, and aggression, authority, rebellion, and sophistication. Makeup was plain and expressions were again dreadful. As an audience before even looking up the purpose of the dance, you can already perceive that dance is sad and tells a story about slavery (not physical slavery, but mental slavery). In an evaluation of the dance, the dance was truly amazing in the message it conveyed, and it also is historically meaningful. I don’t believe this piece of work needs any revision because it displayed its message clearly by presenting the kinds of movements, gestures, facial expressions, makeup, and dark clothing.
Performance Take-aways
While viewing the performance my perspective for viewing dance has shifted in a small percentage. I agree it shifted in a small percent because of the fact that after learning different things in this course, the course has told me a new perspective in the way I view dance. With this experience, I was able to put the knowledge to work. This presented me with an opportunity to be a part of the audience and analyzing dance in a way I’ve never done before. As an audience member, I was able to view these dances and give them meaning. Viewing things live is better than watching a video of dance because you’re there with the performers. This gives you a better chance to interpret the dance and feel and see the dancer’s emotion. You can see how the dancers implement dancers more clearly and can understand why dancers are executing certain forms and styles. Majority of the things I listed you can’t get the same quality or experience viewing dance through media. You can receive that actual audience experience as compared to viewing dance at home on a television screen. I can now go view performances and participate as an active audience and thoroughly discuss the performer’s dancing process and its meaning with-out being clueless.
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Connections is a dance project facilitated by choreographer Inma Pavon, and interactive artist Trevor Furlong, in collaboration with Headway Cork. Headway is the national support organisation for people affected by an acquired brain injury.
Connections was originally funded by the Arts Council and Cork County Arts Office in 2015, and partnered with the Firkin Crane Dance Theatre to produce a public performance. The project continues now with funding from the Cork Arts and Health Programme, HSE South.
Aims
The Connections project aims to use movement and bodywork alongside sound and visual technology to explore ideas of identity, self and perception.
For adults who suffer a brain injury, the adjustment to changes in the self can present challenges beyond the comprehension of the outside world. Often hidden, this process can be difficult to communicate verbally, leading to a lack of awareness and understanding from people around them.
The changes within a person who has a brain injury can also bring about feelings of disconnection as they fail to recognise their body and mind in the same way as they used to.
This project aims to give the participants the opportunity not only to express their story and journey to others, but to use dance to challenge their own perceptions of their changed selves in the world around them.
Methods
Dancer and choreographer Inma Pavon:
Through weekly devised and facilitated dance/movement improvisation sessions, we began collaboratively to research the original concept/idea emerging from participants' personal life experiences of living with acquired brain injuries and what it is like for them to go through their everyday life encounters.
We explored the above concept through a range of activities, such as a series of dance/movement workshops based on improvised dance technique, as a way for the participants to engage and to become familiar with their own physical being; thus, breaking down their idea of what dance is - which was based on the traditional idea of dancers being trained from an early age to learn dance steps choreographed to music. Through these chosen activities, we explored their own individual ways of dancing to their own inner rhythms, and made them aware of these other ways to dance which would be original and would translate their personal messages/stories as part of a final performance to an invited audience.
Examples of activities included participants spelling their names using different parts of their bodies to recreate the letters; this was one of German choreographer Pina Bausch’s exercises which she used with her company dance members when devising new dance theatre pieces.
The spelling activities formed the basic foundation from where the performers would begin to create their own dance sequences. These sequences would then be arranged in a more complex choreographic scale, such as making duets and ensemble pieces. All of the participants would then contribute to the creation of the final performance’s choreography - CONNECTIONS.
We also used activities in which participants were asked to write a piece of text based on their own brain condition/accident/experiences before and after the accident. The text was then used to write a group poem which was also used in a section of the spellings’ devising tool and as part of the visual art piece created by artist Trevor Furlong.
Interactive artist Trevor Furlong:
Using interactive media, I created movement-based musical/visual instruments for the Connections performance. To play these instruments, interaction is based entirely on motion in free space. Multiple participants can simultaneously interact with the instruments enabling group music-making.
The instrument’s design, focusing on interaction and immersion, stimulates the artistic personality in people who may not have this outlet for creation in everyday life. Interacting or playing with an instrument in whatever way your physical capabilities allow, bestows a greater opportunity for music-making. It was hoped that the instrument would ensure that people with difficulties in interacting with traditional instruments would be given opportunities to be an integral part in the making of a music performance.
The incorporation of dance, sound and visual representation helps to negate any possible motivation problems, which could discourage engagement. The performers commented that the visual and sonic backdrop helped to counteract any shyness and that they were more open to naturally dance; bypassing areas of deficiency. Confidence grew, having a positive effect on other areas of self, which continued in settings outside of the creative workshops.
Artistic Outputs
The 2015 phase of the project culminated in an interactive dance performance at the Firkin Crane Dance Theatre in September 2015.
Lasting approximately twelve minutes, the performance wove together the choreography created by the dancers during their sessions with Inma, and the visuals and soundscape they developed with Trevor.
The performance sold out and was attended by an audience of 90 people, comprising family, friends, and the general public. A question and answer session, and food and drinks reception, followed the performance.
A video of the full performance can be viewed here: https://www.youtube.com/watch?v=BmqIh8qTxmY&feature=youtu.be
In December 2015, visual artist Carolyn Collier hosted an exhibition at the Triskel Arts Centre Cork in collaboration with Headway. Titled Re-Connected, the exhibition was a response to the Connections project, using Carolyn’s visual and verbal documentation of the Connections workshops to create a contemporary art piece.
In 2016, the Connections project has been working with film. The participants aim to produce a short contemporary dance film building on the themes they developed during the preparation for their initial performance.
Evaluation Methodology
The project was evaluated using qualitative information gathered from the participants during recorded interviews. An internal report was also compiled by Headway staff, and we have been invited to present the findings from the project at the IRC STEAM conference in Trinity College Dublin in September 2016.
Evaluation Outcomes
It is safe to say that the biggest learning taken from the project evaluation is that the impact of Connections on everyone involved was more profound and widespread than even initially hoped.
From a rehabilitation perspective, the project participants reported, and were observed to show, improvements physically, cognitively and psychologically. Acquired brain injury can leave people with a wide range of challenges and difficulties. Sometimes these are easy to see, but often the most complex changes are below the surface. The participants in the Connections project are representative of a spectrum of common difficulties reported post-brain injury. These include communication disorders, physical paralysis, balance issues, poor short-term memory, attention, and information processing, emotional lability (poor mood control), fatigue and chronic anxiety. Throughout the project we saw improvements in almost all of these areas, especially in those with balance and hemi-paresis.
Following the September 2015 performance, we asked the participants to describe their experience of the project, and here is some of what they said:
'This is the first time since my brain injury that I learned and remembered something new. It feels amazing.'
'I'm so much stronger now. When I'm dancing my anxiety goes away.'
'You lose your friends after a brain injury. It's hard because they don't understand. But we understand each other, we can laugh as well as cry. We support each other.'
'I can't believe I did it. I didn't think people would understand what we were doing. But they were crying, in the audience, they cried. They got it. And we were just dancing.'
One of the participants, a woman who had a stroke almost five years ago, came in to Headway the Monday following the performance. She told us that on Saturday she went to the local shopping centre with her husband to do the grocery shop. She hasn't done that in five years. She leaves the house only when she has to, and avoids crowds. She does this because she has hemi-paresis and has always felt afraid and embarrassed. That Saturday though, something had changed. Two nights before, she had gotten up and performed her own choreography, with this new body she did not choose, and told her story without words in front of 90 people. Most of them strangers. In her own words, 'If I could do that, I can do anything.'
Documentation & Dissemination
The 2015 phase of the Connections project was documented visually by artist Carolyn Collier. Carolyn attended the early workshops and journeyed with the group through to rehearsals and the main performance.
Using photography and video, Carolyn captured moments from the different stages of the project, tracking the creative evolution of the participants – individually, and as a group.
This documentation was presented as part of the Re-Connected exhibition at the Triskel Arts Centre in December 2015. Carolyn used a selection of the photographs to weave a visual sculpture that captured the dynamic movement of the project. Carolyn also pulled quotes from her interviews with the artists and participants to creates vibrant prints that hung on the walls alongside the sculpture.
This documentation was also disseminated in report form to the project funders – The Arts Council of Ireland and Cork County Arts Office. | https://www.artsandhealth.ie/case-studies/connections/ |
Residency Snježana Premuš at Uferstudios Berlin - cancelled
In the frame of the Creative Crossroad activity, Snježana Premuš was selected by NDA Slovenia to receive a 2 years structural support by the LLB network to work on her latest production "Every now is time, space ?"
This support includes various residencies in Ljubljana and in Budapest, hosted by Workshop Foundation and a co-production support by Uferstudios. The co-production support by Uferstudios is realized in 2 residencies, 13.-22.03.2020 und 2.-12.07.2020.
Title of the performance:Every now is time, space (Tina Valentan, Dragana Alfirević, Dejan Srhoj, Anja Bornšek, Gregor Zorc, Boštjan Perovšek,Špela Škulj).
Working periods:
1. - 10.2. Studio Moj korak Ljubljana
11. - 20.2.2019 SMEEL Ljubjana
8. - 19.7. 2019 SMEEL Ljubljana
16. - 23.8.2019 Artus Studio Budapest – 1stresidency
View her experience report in the upper right column.
23. - 2.10.2019 SMEEL Ljublana
PREMIERE: 30.09. – 20.10.2019 at Stara Mestna Elektrarna Ljubljana
The work has been the result of a creative collaboration between a choreographer and five performing artists working substantially with a lighting designer and a sound artist in the framework of a newly configured collaboration to mix performing arts, visual arts and sound arts using not only the latest digital sound technologies (HyperSound) but also by confronting challenging and relevant questions about the how we perceive the body (both as self and as other) in today’s time, about perception in our hyper-speed world and about open principles of collaboration that even extend into the role and position of the audience as active co-creators of a (holistic) artistic experience, not merely passive observers or overstimulated tuned out bodies. The two main methods that were implemented into the process and the outcome was the notion of editing (real-time editing) and the notion of simultaneous spaces. The idea was implemented as followed: working and testing various frames by opening presentation formats, such as a laboratory and a workshop, were people were intimately involved in the process. The team set up the choreo-social frameworks as environments for sensitizing bodies, their basic material senses, spatial relationships and increased attention, what surrounds them.
As the team was working on co-existence with the audience, the idea of simultaneous spaces, was developed with the help of installation with special speakers (Hypersonic, directed speakers). This helped the team to create smaller, to a certain degree ‘isolated’ spaces within the original stage and auditory space of Old power plant in Ljubljana. The microenvironments were available to the participants to discover and were initially marked on the map, that participants received at the beginning of the laboratory.
Inside view of the participant in the laboratory - sociologists and dance critic Maša Radhi Buh who was participating in some of the laboratories during the year.
In the second part of the rehearsal period - July, the team focused on rehearsing the scores for the dancers. The basic multi-perceptual space established in February was a base for development of the next stage: dance scores and scores for the public.
The idea was to create a mapping, where both the dancers and public could co-exist and intertwin with their action and decisions in the space, thus creating a multilayered event.
The two scores that finally Snježana Premuš chose for the performance event, where based on the work with the question - where a personal becomes collective and how collective leaks into the personal. The work with the detail was first score. It helped the dancers to bring not only personal into the common space but also physiological (what we do not control) When a certain layer of the motion or gesture was getting imprinted in all the bodies, the group would recognize this for the detail of the group. From there were many strategies how to work with the detail, how to reappear with it in the next session, how to develop it back into the personal space and how to diminish it to the neutral position.
The second score was based on the repetition of the position in the space. Snježana introduced basic score: find a space on the diagonal and enter. The dancers kept re-entering the same position and through time they start to modulate it, because each person noticed something specific in the previous position and this influenced how he/she inhabited it. Slowly from very inner micro-changes, the group started to operate with a huge vocabulary of momentums, gestures, motions, that kept appearing, vanishing, being developed, always leaving one person on the initial diagonal.
In the residency in August in Budapest, the team created a setting, which incorporated both what have been developed in the first part (simultaneous spaces within the installation and in the second part (score work for the dancers and public). The presentation was on the last day of the residency on 29th of August, where public/audience were invited and a feedback session was arranged.
Audience was at the beginning given a minimum information: the map of the space, with the assigned spaces where the speakers were. And the score that was introduced in the halfway of the presentation, created a new social-performance situation, where the audience was being active and discovering the perceptual spaces also felt free to join the scores of the dancers at certain points. The participants were creating the whole experience out of the observing, perceiving, acting.
The last part was developed in the Power plant in Ljubljana, where the whole system was developed and became more sophisticated. As Snježana Premuš interest lies in creating the environment where different, sometimes contradictory social roles can engage and can be present at the same time and same space, she became aware that the montage/editing is the key for this performance. So the environment was developed, where the spectator not only perceives (installation - micro space, where different perceptual activity is sensitized), but also edits. Similar as K-effect (experiment in film), which shows the basic influence of the editing on human perception and proves, the reading of the image is dependent on the context of the image before and after.
The space was divided into smaller areas, where micro spaces introduced different environments (listening to the natural sounds like birds coming out of the area in the wall, the corner where the stories where bouncing into the air, the area of shower - different qualities of drops, two areas with microphone, where anybody could go and take a reading score and project the voice into different isolated areas in the space, the sitting corner with sofa, the diagonal, where a dance score was happening).
All these rich and picturesque situations started to evolve in the eyes of the spectator. As the roles had to be changed (at one point one can be observing the image in the corner, the next point one can be reading the text, or closing the eyes and listening to the score or drops of the water) a landscape of images was pouring into the common space and spectators where indeed editing, while mapping their unique trajectory through the event.
Residency in Budapest:
Snježana Premuš, choreographer, artistic director’s used this residency (provided by Workshop Foundation) for the new state of their research. These artists had spent their third time at Workshop Foundation and are looking for these answers: Can we see the sound? Can we touch what we see? Can we hear the visual space? What do we see when our eyes are closed and our other senses are taking in the experience? How does the word touch us?
In Premuš’ work there’s a special focus on sound and light. Unfortunately, for independent artists it is very rare that they can rehearse or research surrounded by technical and a technician support on a stage. Workshop Foundation offers and organises these technical residencies to find a solution to this matter.
Premuš and her companion had spent 1+5 days at one of the studios of Workshop Foundation and at Artus Studio’s stage. Bostjan Perovsek, sound designer has been making sound installation for this research, this installation is made out of recorded sounds and live ones as well, such as noises, musical tunes, oral texts. These make a homogenized experience and it defined the space. The space and attention changes with the sound. Spela Skluj, light designer used not just the lights but the given space natural and artificial lights as well. Skluj’s work gave a frame, new viewpoints and focus for this research. The four performers worked as equals with the sound and light and in this formed space, they experimented with dance, movement, standing and oral texts.
This programme had its end on the 29thof August with the Laboratory installation, where professionals artists who were invited could attend. Premuš and her companion asked the audience to not to be a regular/traditional audience (observer) but to join in however they like and shape this work to a shared sound-light-movement experience. Everyone could decide how she/he wants to be a part of this event.
Artists from abroad: 6 ppl
Choreographer and artistic director: Snježana Premuš
Instant composition (performers): Dragana Alfirević, Dejan Srhoj, Tina Valentan, | http://www.lifelongburning.eu/projects/events/e/residency-snjezana-premus-at-uferstudios-berlin-cancelled.html |
Photos C/O Peggy Baker Dance Projects
It has been said that life is a dance. No one knows that better than celebrated Canadian dance artist Peggy Baker whose dance installation Move captures the duality of caregiving. The free installation will be performed on Feb. 2 at the Art Gallery of Hamilton as part of McMaster University’s Socrates Project.
The dance installation takes place in a 28 by 28-foot square surrounded by a frame. It is 70-minutes long and is organized into four cycles. The cyclic nature of the piece and the fact that it rotates throughout means audience members can take it in from multiple angles.
The performers are not necessarily dancers by trade but members of the community who love dance. There are 16 of them dancing in pairs that reverse roles with each cycle. They were selected in November 2018 during a two-hour workshop and audition.
The story of Move began 10 years ago when Baker first presented the dance as part of Toronto contemporary art event Nuit Blanche. At that time, the dance was 20 minutes long and done on the hour every hour for 12 hours with 12 pairs of professional dancers. When Baker put on Move for the second time at the Art Gallery of Ontario a couple years later, she decided to extend the length of the piece and do it with fewer dancers.
It was while doing the dance at the Art Gallery of Ontario that Baker thought about using community members as the dancers. She has since put on several performances of Move with non-professional dancers, staging the entire performance in five three-hour rehearsals.
Baker’s own experience with caregiving formed a part of the inspiration for the installation. She was the primary caregiver to her late husband, who had primary progressive multiple sclerosis. She found that caregiving involves a beautiful rapport between the one receiving and the one giving care.
Baker was also inspired by art and dance itself. While teaching in Philadelphia, she was struck by the beauty of partnership when she had dancers pair up and help another during some difficult movement sequences. Also while in Philadelphia, she saw an exhibition of paintings by American painter George Tooker and was inspired by the images of people embracing one another.
The dancers changing roles throughout the piece represents the inevitability of being on both sides of caregiving. The choreography for the piece overall is formal and highly organized, mimicking the ritualized elements of human lives. The choice to have four cycles mimics the cyclic structure of the seasons and the fact that there are four cardinal directions.
“[I]t’s something universal. We all receive that kind of intimate physical care and physical nurturing as infants and children. We may all find ourselves in a position where we where we are called upon to give care to a parent or a partner or a child. And we may all eventually need to receive care,” explained Baker.
The electro-acoustic soundtrack, composed by musician and composer Debashis Sinha, is also organized into four cycles. It is subtle and atmospheric, not quite music but a sonic landscape for the audience and dancers to reside in.
Baker encourages audience members to walk around the square performance space, close their eyes or turn their back to view the art in the gallery. The space allows viewers to feel comfortable arriving after it begins or even leaving before it ends.
“I like it to be in a public place. I like it to be in a place that already is claimed by the community as being a place in their town or city like this is… an art gallery, a foyer of a theater, a market… [I]t needs to locate itself in the heart of the community… [I]t’s about community building basically,” Baker said.
At the end of the piece, the dancers pour water for one another and drink it. One of the dancers in the group, a ceramic artist, suggested that the group each makes the vessel that they drink out of. At the end of one of their rehearsals, she guided her fellow dancers through making their own bowl.
The creativity and passion brought on by these community dancers give this installation of Move a unique tint. However, the beauty of Move is the universality of the theme and the way in which it can move anyone. | https://www.thesil.ca/dance-installation-moves-audiences |
Presenting the work of four contemporary artists – Hetain Patel, Florence Peake, Zadie Xa and Benito Mayor Vallejo – 'Dance to the Music of Time' explores the relationship of storytelling and contemporary art through the use of movement, dance and choreography.
Taking its title from a painting by Nicolas Poussin and presented alongside the 'Poussin and the Dance' exhibition, the artists came together for a series of performances, film screenings and talks in the Gallery, from 15 October to 10 December 2021.
You can watch recordings of each performance and learn more about the programme below.
“All bodies that vibrate change are seen as a threat.”
'Scorpion' brings together painting, live performance, costume and sound to tell a story of how disobedience, subterfuge, trickery and masquerade are embodied by characters to challenge the status quo, defy convention and seek alternative outcomes while providing protection to survive the dangers of this world.
Presented by Zadie Xa and Benito Mayor Vallejo, the performance considers the trickster archetype as it appears in mythology, folklore and popular culture.
'Baa’s Gold 10' recounts the story of the burglary of Hetain Patel’s ‘Baa’ (or grandmother in Gujarati), whilst at home in Bolton where she lived alone. In a pursuit for gold, Patel’s Baa endured a violent ordeal at the hands of a gang of men who specifically targeted Hindu widows for their cultural tradition of only wearing gold jewellery. As the story is recounted multiple times by a group of different performers, Baa regains her own agency, becoming a superhero in her strength.
Patel presents his own domestic British Indian story in amongst the Western canon of art history as equally epic and fantastical, using both the traditional act of live performance, and the modern form of cinematic storytelling.
Large, exuberantly painted canvasses are folded, dragged, and suspended by five dancers, moving between flat and sculptural forms and theatrical elements of concealment and revelation.
'Factual Actual' treats the canvases, painted by Florence Peake, with a joyful irreverence, extending the relationship between dance and movement. Unpicking the romantic representation of dance in classical painting and its idealised depiction of the body, Peake looks at the idea of the collapse of the canon of white Western classical painting through the literal manipulation of the large canvases as they are collapsed in form.
Priyesh Mistry, Associate Curator of Modern and Contemporary Projects at the National Gallery, and Curator of 'Dance to the Music of Our Time' introduces the exhibition in a Q&A.
Priyesh explores the parallels between Poussin and the 'Dance to the Music of Our Time' artists' practice and approach to dance, movement and storytelling.
Following their performances at the Gallery, Zadie Xa and Benito Mayor Vallejo joined Priyesh Mistry to talk about Poussin's 'Adoration of the Golden Calf'.
'Unexpected views' are monthly conversations between our curators and contemporary artists.
Hetain Patel discusses Poussin’s composition and technique in ‘The Adoration of the Golden Calf’ with reference to his own cinematic practice as part of a short film for 'Poussin and the Dance', also featuring curator Francesca Whitlum-Cooper and artists Andrew Lacey and Siân Lewis.
Zadie Xa and Benito Mayor Vallejo have been collaborating since 2016. They make performances, films, paintings, sculptures and hand-sewn costumes, drawing on a range of characters and imagery sourced from music, digital space, fashion, global mythologies and art history. Their work together has been informed by Xa’s experiences within the Korean diaspora, as well as the environmental and cultural context of the Pacific Northwest.
Hetain Patel is a visual artist and performance maker. He is interested in connecting marginalised identities with the mainstream in an effort to destabilise notions of authenticity and promote personal freedom. With an autobiographical starting point, he uses humour and the languages of popular culture to highlight familiarity within the exotic, recognition within the unknown. Working collaboratively with artists across disciplines, and with family members and non-professionals, Patel enjoys working across multiple languages, culturally and artistically.
Florence Peake is an artist who makes solo and group performance works intertwined with a visual art practice. Peake produces movement, interactive sculpture, paintings that use the whole body’s physicality, text, film and drawings through an approach which is at once sensual and witty, expressive and rigorous, political and intimate. Her painting practice comes together with sculpture and performance in a reciprocal nature: engaging in a shared dialogue and creating interrelations between dancers, audiences and sites. | https://www.nationalgallery.org.uk/whats-on/dance-to-the-music-of-our-time |
Until 11 December the exhibition Degas and the Ballet: Picturing Movement fills most of the main galleries at the Royal Academy. As well as paintings, drawings, photographs and sculptures by Degas himself, there are photographic panoramas of Paris that share the long horizontal shape of Degas’s pictures of dancers in the rehearsal room; there are also examples of the photographic experiments in which Eadweard Muybridge and Etienne-Jules Marey analysed movement. It was a time when photographers made sculpture, painters took photographs and even scientists did work that helped painters (had they been able to look forward from Eakins to Francis Bacon, they would have found that they had succeeded, if not quite in the way they expected). The particular kind of ‘truth’ revealed by the scientists’ cameras – does a galloping horse ever have all its feet off the ground at the same time? – has the advantage of coming with little or no aesthetic baggage. Photographs made for a practical purpose – medical, anthropological – have a naivety that leaves the manner of their presentation to the artist. Degas doesn’t often make direct use of such material – the catalogue illustrates one drawing of a horse taken from a Muybridge sequence – but his drawings show the same pose from different angles, and his sculptures of exercising dancers were, as much as Muybridge’s photographs, tools of analysis. The remarkable series of drawings associated with the Little Dancer Aged Fourteen is just one instance of work that extends exploration to the point where the notion of what is finished and what isn’t disappears. It is as though all the ballet images taken together are a single exploration of the subject.
In Marey’s photographs, information about the position of a moving object is obtained from multiple exposures in which successive positions of a wing or limb overlap. You get a strong impression of the way a pigeon rows through the air, pushing it back, beat after beat. Degas’s drawings of dancers in positions that could not be held for long, if at all, often seem to be reaching out, by way of multiple outlines, to an extreme position that is the essence of the dance step. Much of the catalogue by Richard Kendall (who also produced an excellent catalogue for the 1996 exhibition Degas: Beyond Impressionism) and Jill DeVonyar is about making images of things that happened too fast to be recorded by the most attentive eye or quickest hand. But the exhibition is also about a great painter and the subject he pursued over several decades. The mix of material – paintings, photographs, drawings and small sculptures by Degas and others – doesn’t always fit very comfortably in the space the Academy allots them. For once one could ask for less space between the pictures (although when the crowds roll in that may seem a foolish wish).
Amateur snapshots and old postcards tend to have high skies and extensive foregrounds in order to get everything in – the whole family, the distant mountain chain. Our two eyes set side by side take in a wide view but much information on the periphery of the image is not attended to. In the Paris panoramas on show, as in paintings like The Rehearsal, Dancers in the Green Room and The Dance Lesson, what you would see top and bottom in a standard landscape format is cropped. These panoramas (some taken with special cameras) also took in the area you would have to scan, turning your head, when standing to admire the view. In some of the paintings large areas of floor push the figures to the side; in others a foreground figure or group pushes in from left or right – and parts of those figures may be cut off by the edge of the picture. The centre of attention may be far away, like the red-shirted ballet master in The Rehearsal, who is reached by following a long curve of bare floor. Again and again the figures take up only half the picture surface.
In the Ballet Scene from Meyerbeer’s Opera ‘Robert le Diable’ the figures on stage are unfocused, ghostly white-sheeted nuns. They are broadly painted and form a pale band across the canvas; moonlight drifts through the round arches of the set; the strongest highlights are a splash of white seen through one of these, and glimpses of the scores on the orchestra’s music stands. Bassoons rise above the footlights; one pair makes a sharp note against a sheet of music. In the foreground are the backs of the audience’s heads. It is a most original and striking picture, but using blurring to convey motion was not a convention that Degas, the master of limbs caught at a precise moment, and of the way a body’s weight is led by leg to floor, would make use of again. In a delicate charcoal drawing of 1880, Dancer (Battement in Second Position), the outline and shading of the right leg is emphasised and annotated; when it is incorporated in The Rehearsal the calf muscle, both correct and unpedantic, seems to carry weight in a way which implies the movements that will follow.
As a subject, ballet provided variety. Other women whom Degas drew and painted many times – laundresses, women bathing or ironing – were also copied or traced again and again from sheet to sheet (pastel on tracing paper was the favourite medium of his old age). But a dancer doing formal exercises at the barre, or with hands raised to straighten a bodice, or head turned to adjust a shoulder strap, or legs apart and slumped against a wall, or bent forward to tie up a shoe, offered a far richer run of possibilities. In many drawings the outlines are thickened, the figures woven into groups, sometimes not dancing, often standing in the wings in tight groups. There is a posed carte de visite photograph of the dancer Joséphine Chabot. Her face engages your eye, her pose is welcoming – she reminds you how rarely Degas’s dancers have individual personalities. The dancer’s body is the theme on which he builds endless complex variations. Sometimes it is hard not to feel that a fine exhibition has been diluted with visual material that is necessary to the admirable catalogue text, but gets in the way of the central, utterly engaging, business of looking at Degas’s pictures. | https://www.lrb.co.uk/v33/n19/peter-campbell/at-the-royal-academy |
Of course it is physically possible to do the actual steps of Middle Eastern dance to any kind of sound, just as with any other kind of dance. Choreographers have been setting classical dance to all kinds of music, not just classical, and they still call the dance piece “ballet.” Sometimes a choreographer will set a piece using a soundscape that many folks wouldn’t even call music at all, and yet it’s still called a ballet, the dancers are still called ballet dancers, and the company is a ballet company, and this is true for several styles of Western dance.
So what’s the problem with me doing belly dance to some kind of music not from the Middle East? To start with, it wouldn’t make any sense. Think about Flamenco for a moment… what kind of sound do hear? Chances are, you’ve got something in mind that is at least similar to the real thing. Do the same thing with Polynesian dance … you’re hearing Polynesian music as well. One wouldn’t expect to see either of these kinds of dances without the traditional music that goes with them, and so it goes with Belly Dance too.
In addition to the aesthetic consideration, I have a responsibility as a performing professional to represent the dance as accurately as I know how to; it’s my duty to present the art form in the manner it would be seen in its countries of origin. One of the major hallmarks of Oriental Dance is the close relationship of the music to the movement vocabulary. The movements a dancer chooses to do are always (or as often as possible) a reflection of what the music is doing. Ideally, the dancer is part of the musical ensemble, a musician whose expression manifests visually, not aurally. There are stylistically traditional ways of doing this that I must do my best to interpret; to do otherwise would be something besides Middle Eastern dance, and while I might choose to make a choreography mixing styles of dance and music, I would not be able to call that piece “Middle Eastern Dance.” I would have to make it clear to my audience that I was doing a fusion piece. To do otherwise would be disrespectful of the art form, its cultures of origin and their people, and to my audiences, who would be thinking they are seeing Belly Dance, when in fact it wouldn’t be. You wouldn’t want me to do that, would you?
If this sounds artistically stifling, it is not. Because Belly Dance relies so heavily on music, and because the musical choices that genre has to offer are so incredibly deep, it is unlikely that even the most jaded dancer, teacher, or choreographer would run out of inspiration.
But, like most other rules in life, there are certain exceptions, fine print, terms and conditions. There are pieces in the standard musical repertoire that Belly Dancers use that have been written in the West or by Westerners that are played in an appropriate style or that lend themselves to the genre well ( think Misirlou). There are a few (very, very few) pieces that an American audience would recognize that are “crossover” pieces, such as Hava Nagila. After all, in the days before convenient sound media, a belly dancer hired to perform at an event would have to dance to whatever band was there, Arabic or not; oh what to do! All of the dancers from that era had some songs that they knew any band could play, and they made do with what they had, like it or not. And then there are the extenuating circumstances or novelty situations in which other music would be okay, but these occasions are rare.
So the next time you see a Belly Dancer perform, remember that a good portion of the show is not just what you see … it’s what you hear. | https://nabilaorientaldance.com/music-matters-insist-using-middle-eastern-music-classes-shows/ |
Club Beat #21: Preview – DANCE
DANCE, the seminal collaboration between choreographer Lucinda Childs, composer Philip Glass, and visual artist Sol LeWitt, comes to the Barbican.
Originally created in 1979 and rarely seen, this exceptional performance has been termed ‘a visionary work… a shimmering edifice of sound, image and action’ (The Guardian). And it is these three parts that will consume the audience. Choreographed by Lucinda Childs, renowned for her use of patterns and repetition, DANCE comprises of three dances, each roughly twenty minutes in length. These abstract movements are encapsulated by a projection of LeWitt’s monochrome film showing sections of the dance sometimes enlarged, sometimes viewed from different angles and sometimes duplicated. These manipulations cause the live dancers and the filmed dancers to appear to interact. These visual elements are set against Philip Glass’ score. A composer of ‘music with repetitive structures’, Philip Glass’ music is captivating and euphoric. With movement, sight and sound synchronised perfectly, this is ‘a hypnotic performance’ (Time Out) and a historical performance not to be missed. | http://www.planetnotion.com/2011/10/17/club-beat-21-preview-dance/ |
Trajectories & Impacts, 2012-2017, Sound installation.
Since 2008 in Taiwan, I am regularly and often collaborating with dancers.Sometimes I perform live improvisation using recorded sounds and electronic instruments, sometimes I prepare soundtrack for the choreography. But something that I find even more intriguing is the sound recording of body movements in space. For several projects, such as Danyagu（身體，聲音）with Wu-Kang CHEN (Horse Dance Theatre), or Second Body by Jeff HSIEH (Anarchy Dance Theatre), I had to do some field recording session of dancers improvising in specific locations : basement, rooftop of building, abandonned ruins, natural area etc. Some of these recordings have been done in multi-channel : setting up a complex system of microphones for catching the trajectory of the dancers, his or her footsteps and the acoustic of the space. Some of these materials have never been used, some were part of a larger project. I would like to re-visit these recordings, and prepare a new sound piece, conceived for four-channel sound diffusion. The audience would be invited to enter into a rather dark room (very minimal light), sit on benches or on tatami and listen. Around the audience, four loudspeakers will provide an unusual sensation of acoustic space, the movements of the dancers being audible from distance to close-up.
The room will be acoustically improved by setting up recycled wood, long planks (40 cm x 180 cm) leaning against the wall. They will allow to reduce the echoes and reverberation, and bring a special quality of in the old houses. In this room, the audience is invited to a very attentive listening, feeling of the space around.As an introduction to this listening space, in a corridor or a stairwell would be installed another kind of sound installation : I would use special loudspeaker to produce vibration of wooden material. This installation will involve the body of the audience : invited to get close to the material, to touch it, the body will feel more the sound with the skin, with the bones, rather that listening through the ears. | http://www.airplants.sense-info.co/en/%E6%BE%8E%E8%91%89%E7%94%9F/ |
Transcribing a path though changes in light, sound and ground.
The performer’s body becomes something between an expressive artistic tool and a medium, embodying qualities of both camera and canvas. Generating a conceptual feedback loop by documenting and describing the environment’s history, architectural features, and inhabitants while simultaneously inhabiting and becoming new history and architecture.
Premiered as a part of "Pattern Languages" and exhibition curated by Kate Hackman at Rockhust University's Greenlease Gallery, September 2017.
Shown at Long Winter Arts, Toronto, ON, November 2018.
481 falls is a video collaboration by choreographer and director Jane Gotch and cinematographer Elizabeth Stehling. With a desire to observe emotional patterns within the human form, the artists document sixteen people in the act of falling. The piece is a 12-minute loop of continuous, arrhythmic, slow motion falling structured to create an environment on and around a gallery wall.
While in the physical act of being off balance, in falling, our primal nature comes to life. For gravity does not discriminate, everything with mass, all bodies are subject to its whims. We grab, kick, look down, look up, we reach for some aspect of control, but once in the throws of a fall there is a singular fate, the ground. We have one measure of defense. A choice in our daily flirtation with gravity, we can tighten and cringe or surrender and release. Between these two extremes, lie infinite possibilities. We depict 481 variations.
A two week residency within The Museum's Noguchi Court along-side the special exhibition of Janet Cardiff: Forty-Part Motet.
Jane Gotch in collaboration with dancers David Knox, Leo Gayden, Trina Warren respond, embody and merge the indoor/outdoor architecture of the museum, the body-like Noguchi sculptures, and the emotional resonance of Janet Cardiff's legendary sound installation.
An inside, outside winter performance, the dancers shift a serene sculpture gallery and lawn into an active rehearsal and performance space. Through open to the public rehearsals, adult and children's dance composition classes, and a final performance, the cast explores sturcturing a improvisation around space, audience, sculpture, sound, and their personal identities.
October 2015 dancers take over Missouri Bank in the Crossroads of Kansas City. Lead by choreographer and director Jane Gotch, in collaboration with Tuesday Faust, Laura Frank and Susan Warden. Video shot and edited by Tammy Shell.
A video collaboration between videographer Johanna Brooks, choreographer Jane Gotch, and artist Peregrine Honig as part of Honig's multi-part installation. The video played on a television inside a hotel room recreated down to every last detail, carpet, bed, furniture, light, and television.
Viewers entered room 1801 in twos. Handing over cell phones in order to receive a room key for entry. Each allowed 10 minutes within the installation.
The video played on continuous loop during all open hours of the installation.
Listen to a radio interview by KCUR.
Through abstracted body lines, break dance styling, and operatic song, “Let it fall” imparts a corporeal tale of two people’s relationship with pain. We swallow it, throw it, allow it, and find our beauty within it. The work unifies the artists’ diverse personal histories, into a lush, sensorial saunter down the fine line between suffering and pleasure. Performed by Leo Gayden and Juliet Remmers.
After two years of performance and process, Let it Fall concluded with two weeks of sold out shows, August 2105 at St. Mark's Hope and Peace Church in Kansas City, Mo.
Jane and dancers returned to NYC February 13th, 2015 for a performance at Roulette in Brooklyn, NY as part of their annual festival [DANCEROULETTE] curated by Jennifer Lafferty.
Read an interview with the KC Metropolis about my work and this piece here.
Collaborative duo, Jane Gotch and Shawn Hansen, curate an evening of movement and sound. Presenting their own work and works by: Timothy Amudson, Leo Gayden, Tiffany Siesmore, Master Chun Man Sit, and Neal Wilson.
Images above from "Artificial Light" by Jane Gotch and Timothy Amundson. Images captured and lit from 35 disposable cameras given to the audience and additional iPhone flashes.
Jane Gotch Perfoirms in collaboration and response to an installation of photography, projection, and sound by TImothy Amundson.
The term fugue state is defined as a dissociative amnesia, especially one that involves unplanned wandering. Timothy Amundson expresses that “nothing is actually constant, nothing has been created.” His work is a variant from the representational nature of photography and explores heightened experience, where the unknown is corroborated with references to the everyday. The photographs are immersive and utilize light in ways that question traditional norms of photography. Through this approach there is as much a sense of levity as there is meditational weight. In collaboration with dancer Jane Gotch the more cerebral elements of the images can be explored through the body.
In collaboration with Abbey Findley, Katie Ford, Laura Frank, Laura Graham Isaac, and Tiffany Sisemore.
Through video, visual constructions, and live movement, the team investigates the human action of sensing. Seeker, Bystander, Sensor and Avoider, a pattern is edge of you interacting with the space. Our creative process will put to practice the research of professor and occupational therapist, Dr. Winnie Dunn — shaping a performance that utilizes each participants (artist and viewer’s) referential world.
An integrated art performance installation, directed and produced by Jane Gotch and Mark Southerland.
Town Pavillion, Kansas CIty, MO.
Performed in collaboration with Brie Blakeman, Brad Cox, Kalen Compernolle, Jason Dixon, Shay Estes, Tuesday Faust, Abbe Findley, Laura Frank, Helen Gillet, Shawn Hansen, Hadley Johnson, Ke-Sook Lee, Chad Meise, Miles Neidinger, Paul Rudy, Matt Tady, and MIca Thomas.
WE! is a collaborative, installation dance performance staged in an abandoned downtown office space formerly occupied by AT&T. WE! takes the “idea of audience” out of their seats and into the lights — stripping away the safety net of the proscenium theater and sandwiching dancer, art, and viewer into close proximity.
The performance will move the audience, in small groups, through a multi-room visual environment created by an award-winning team of Kansas City’s leading dance, visual, lighting and sound designers. Audience size will be limited, to create an intimate scale. The performers’ breath, sweat, body heat, direct eye contact and even touch will be palpable. From breeching walls and new office trails, to tiny tableaus and remote viewings, this collaborative team reorganizes the materials and inhabitants of the office space. WE! will disrupt and remap the relationship between audience and performer.
Creation of this project has been made possible through a Rocket Grant from The Andy Warhol Foundation in cooperation with The Charlotte Street Foundation and The Spencer Museum of Art; by an Inspiration Grant from The Metropolitan Arts Council of Greater Kansas City; and through a space grant from Copaken & Brooks Real Estate.
An installation based performance created by Mark Southerland and Jane Gotch. Created and performed in collaboration with Shay Estes, Tuesday Faust, Shawn Hansen, Peregrine HONIG, Mike Stover, Matt tady, Bill Wenzel, and Neal Wilson.
Through movement, sound, and installation, SEE SAW will examine the moments when the body meets the mind—self realization, personal epiphanies, and modern coming-of-age stories. Told using an array of tools —often elaborate and abstract; other-times pointedly simple and straight forward—this tale involves a large seesaw and a “trophy playground,” from which music and movement will evolve. Situated in-the-round, the audience itself will become part of the installation and actively engaged in the event.
Read a review by David Ollington here.
La Esquina, Kansas City MO.
Performed Originally at the Lawrence Arts Center, Adjudicated Choreographers Showcase, in Lawrence, KS in November 2009.
The creation of “Still Within” was funded in part by an Inspiration Grant from The Arts Council of Metropolitan Kansas City. | https://www.janegotch.com/projects |
Dis_place is a mixed reality performance that takes audiences on a journey using a range of virtual reality (VR) technologies, immersive sound, and live dance performance. Through close analysis of my practice as research project, this article presents reflections on the developing creative strategies and approaches to making VR-based mixed reality performance. It traces the creative process in the making of the work, combining links to the VR artwork, video footage of the live performance, and images from the project. This is combined with my observations and analysis of audience feedback. Through this analysis, the writing assesses the affordances of using VR technologies within immersive performance practices, addressing some of the technological, practical, choreographic, and conceptual concerns. Concluding that these technologies have huge potential for offering audiences new embodied encounters that can shift perspectives and produce transformational, intimate, emotive, and unsettling experiences. Dis_place VR should be viewed on a head-mounted display (HMD). It can be accessed through itch.io here and Viveport here.
Video documentation of Dis_place VR
Edited documentation of Dis-place Live
Introduction
Dis_place is a mixed reality performance that takes audiences on a journey using a range of virtual reality (VR) technologies, immersive sound, and live performance. Through close analysis of my practice as research project, this article presents reflections on the evolving creative strategies and approaches to making VR-based mixed reality performance. As a choreographer interested in making intimate works, using new technologies, the practice aimed to create a performance encounter, offering new perspectives and experiences to the spectator through multi-sensory bodily engagement. Dis_place draws on established practices from immersive and one-to-one performance, dance, film, and digital artworks. This writing traces the creative process in the making of the work, combining links to video footage and images from the project, with my observations and analysis of audience feedback. Through this analysis, the article assesses the affordances of using these technologies within immersive performance practices. Furthermore, using VR technologies within live performance is a new area of investigation within the field and this examination aims to identify the techniques used and to unravel some of the technological, practical, choreographic, and conceptual concerns. Due to limitations of space, I have summarised the artistic concepts underlying the work.
Within this article, I use several terms that need explanation. I use the term ‘360-degree video’ (3DV) to refer to a spherical video file that is generated by a single omnidirectional camera or multiple cameras capturing a view in every direction recorded at the same time. When these images are stitched together using a software programme, they create a panoramic video that can be viewed from any direction in 360 degrees from the perspective of which it was filmed. This captured footage can then be viewed via a head-mounted display (HMD) or on devices through platforms such as Facebook or YouTube (Simcoe, 2018: 120). I use the term ‘Virtual Reality’ (VR) to refer to the immersive volumetric video work which allows the viewer to move around a room-scale VR experience , to see the work from multiple angles, which differs from seated or standing only VR experiences. I use the terms ‘participant’ and ‘spectator’ interchangeably rather than ‘viewer’, as these roles depend on the context, and highlight the more active role that the audience member plays in each element of the project.
Context
Dis_place is a one-to-one site-based immersive performance and VR experience which I created with Creative Technologist Ben Neal. Funded by Arts Council England, The Questlab Network with a range of local industry partners . The first live performance took place in October 2019 at the People’s Hall in Nottingham , a decaying Georgian building with a rich history. Audiences were invited to experience a performance journey that moved across virtual and physical space through a combination of 3DV, immersive audio, and live dance performance. Dis_place highlights the memories and histories of the inhabitants and former uses of the building, revealed in the beautiful, decaying architecture, creating a unique, multi-sensory immersive experience.
The accompanying VR piece captured the People’s Hall space and dancers using the Microsoft Kinect sensor with Depthkit software, using Unity to recreate a virtual representation of the space. This was presented at the Broadway Gallery opposite the People’s Hall building. This practice repurposes the Microsoft Kinect to capture dancers volumetrically and places them in a virtually captured real historic site. The work guides the viewer through internal features of the space which are explored and highlighted by the digitised dancing performers. The interactive nature of VR allows the viewer to be part of a physical and performative response to the building expressed through movement and becomes an integral part of this new reality. Furthermore, the digital techniques enable new choreography, that would not be possible otherwise.
The key aims of Dis_place were to assess whether it was possible to integrate the 3DV into the overall immersive journey, using the virtual space to offer a different perspective and type of intimacy between the audience participant and the virtual and live performers. The practice aimed to explore how participants negotiate the layering of these intimate interactions across digital and visceral encounters, seeking to discover if a tactile closeness can be sensed through and across digital and physical immersive space. The project also acted as a prototype to test out new strategies and techniques when making this type of mixed reality performance work that uses new VR technologies.
The main development of this project was a two-week research and development phase that took place at the disused People’s Hall building in Nottingham in October 2019. The outcomes were prototypes for a one-to-one mixed reality performance and a VR dance work, both responding to the site. My collaborative team, which comprised a choreographer, four dancers, a creative technologist, lighting, sound, and costume designer, responded to the architecture and history of the Peoples Hall, to generate a site-based performance experience. Audience participants moved through the building experiencing 3DV technologies, immersive and live sound, with real performers who engaged with audiences through the mixed reality experience. This created a multi-sensory immersive experience which, accompanied by the VR piece, tested my central research questions through professional practice.
Furthermore, throughout this research, approximately forty-five participants experienced the one-to-one performance and thirty experienced the VR, resulting in twenty-five audience responses to the one to one performance and four in response to the VR piece. I gathered audience data via questionnaires, although some chose to submit audio recordings and freeform written responses. Some questions were adapted from Measuring Presence in Virtual Environments: A Presence Questionnaire (Witmer and Singer, 1998). The questionnaires were extensive and related to the overall experience, artistic content, engagement of the senses, connection to the dancers, as well as posing questions about the integration of the 3DV into the overall performance. This qualitative data has been examined using thematic analysis to understand audience responses to this type of mixed-reality performance environment and the associated questions it raises regarding choreographic approaches, director and spectator agency, and intimacy.
Research Process
I began the research process in March 2019, with several site visits, spending time with the unique atmosphere of the site, identifying distinctive physical features, and researching the history of the building. The creative team explored and responded to the building through a series of agile test and explorations to allow the site to inform the content of the performance. Alongside this, we had to negotiate the extensive technical elements of creating this type of mixed reality performance. Considering factors such as methods to enable the mixture of live and pre-recorded sound through a wireless Bluetooth network. Contemplating whether it would it be a guided or free-roaming experience, with multiple or single audiences, the placement of the 3DV and its integration within the overall immersive experience. This was in addition to all the usual production elements. The technical considerations for this work were immense and, in such a short development period, this had to be balanced with the artistic development.
Figure 1: The Peoples Hall building frontage and Broadway Gallery opposite.
Image credit: Kerryn Wise and Julian Hughes.
Initially, I had planned to combine the volumetric captured VR elements within the live performance, however, the limitations of the People’s Hall space, which was without mains power, hindered this. Therefore, the live performance used 3DV , and the VR became an interrelated element which was shown in the Broadway gallery opposite the People’s Hall. On reflection, this separation allowed me to compare the potentials of both technologies, focusing on the intentions within my practice, leading to some useful insights. In Figure 2, I have identified several key features of both 3DV and Volumetric VR, important within my work, and compared them . The horizontal axis identifies a feature and the vertical axis suggests how much scope there is to achieve in each technology, the higher the number the more potential the technology has .
Figure 2: Comparison chart, 2020.
Dis_place: Volumetric room-scale VR
The first stage of the project involved exploring the potentials of volumetric video, a technology that expands the boundaries of 3DV further and enables some of the affordances of computer-generated VR. Volumetric capture extends audience agency in 3DV virtual space, by allowing spectators the ability to move freely within a room-scale virtual environment (VE) and view the digitised dancers from multiple perspectives. Our explorations involved ‘hacking’ the normative use of the Microsoft Kinect in conjunction with Depthkit to volumetrically capture the dancers, cost-effectively, and to place them within a virtual space created using the Unity software programme.
Figure 3: stills showing how the Kinect camera captures depth using infrared, 2019.
Our explorations initially tested how the camera captures the moving body. At the time of developing this work, Depthkit only supported the use of one Microsoft Kinect , which meant that the capture zone was quite small, and the dancers’ hands and feet kept getting clipped outside the capture area. Through this experimentation with space, we noted that if you were to isolate and capture a specific body part, it had to be dismembered at the correct point on the body to avoid looking macabre when placed in the virtual space. For example, a whole torso or full arm seems natural; however, if the body part is cut at the elbow or mid-thigh, it seems unnatural. Although the effect we eventually worked with had a fractured aesthetic, moving away from photorealism , we did not want to move towards the horror genre, or for the spectators to experience the repulsion associated with the uncanny valley .
Returning to the process, we experimented with different types of movement, including combining single and multiple dancers in the capture zone and experimenting with full-body movement and isolating specific body parts. We found that the smaller gestural sequences, involving intricate actions with the hands and arms whilst standing, worked best to capture the whole body. Furthermore, we experimented with how the dancers entered and exited the capture space as this would impact how they entered the virtual space, which influences how the spectator may interpret and engage with these virtual dancers. It was difficult to capture two dancers moving in contact together, or layered spatially, as the ‘shadowing’ that one person throws against another (caused by blocking the infrared sensor) causes a hole to appear in them as the sensor can no longer reach them. We realised that any layering to give the effect of the dancers moving together in contact would have to be created in the virtual space.
Paul and Levy’s term ‘glitch’ refers to ‘images and objects that have been tampered with…and these images can be created by adjusting or manipulating the normal physical or virtual composition of the machine or software itself, or by using machines or digital tools in methods different from their normative modalities’ (2015: 31). I began to make aesthetic decisions guided partly by how the technology was capturing and rendering the dancers’ bodies, alongside how these visual choices could influence the viewer’s potential engagement with the virtual dancers. Several visual style choices can be used in Depthkit, from very pixelated graphics to high fidelity photorealistic resolution. I decided to capitalise on the fragmented, glitchy quality, which balanced semi-realism with fractured edges. I felt that this style choice complemented the visual qualities of the decaying building we would be working in for the final capture, enhancing the eerie qualities within the work.
Figure 4: still of Dis_place VR, showing fractured edges of performers and space, 2019.
Furthermore, I intended to balance the slightly eerie quality this style creates, whilst avoiding the dancers becoming too pixelated and therefore alien to the viewer. My aim was for the spectator to be able to find some connection to the dancers and their narratives told through the movement, and to cultivate a sense of intimacy between dancer and spectator within the virtual realm. I hypothesised that this intimacy could be enhanced by the spectator’s ability to move, towards, through, and close to the dancers spatially; however, I was equally aware that these digital representations could also appear inhuman and thus, provoke limited engaged connection.
For the final VR work, the choreography was developed in response to the site’s heritage and suggests to the viewer the unknown histories of the space. The viewer is guided through internal features of the captured space, which are highlighted by the digitised performers. The interactive nature of this type of room-scale VR allows the viewer to be part of a physical and performative response to the building expressed through movement and becomes an integral part of this new reality. To begin, we separately captured each wall of a room in the People’s Hall building and the choreographic phrases using the Kinect sensor with Depthkit, utilising the learning developed from stage one. Using Unity, the creative technologist recreated a virtual representation of the room and we then began the process of choreographing the captured performers within the VE. Choreographing in virtual space is an innovative area of research, where the composition potentials are significantly expanded.
Figure 5: still from Unity work, 2020.
As we began this process, we were increasingly aware of how many choices were available using this method; we originally had over a hundred clips which we reduced to thirty-five. These were of three dancers which could be placed anywhere within the virtual space, clips could also be layered and duplicated. In a process like traditional video editing, we were working on a timeline to a five-minute composed soundtrack that had been developed in response to the building. We began by giving the spectator time to acclimatise to this new virtual space, offering a chance to explore their surroundings. After this acclimatisation, one dancer appears; the rationale being that I did not want the spectator to be shocked by the sudden appearance of multiple dancers all around them. I decided to create the effect of the dancers appearing from inside the walls, which adds to the eerie atmosphere created. This aimed to enhance the sense that the dancers belonged to or were part of the building and its history.
Figure 6: still from HMD VR view, Dis_place VR, 2019.
In designing the choreography within this three-dimensional virtual space, initially, I placed the dancers on the periphery, gradually introducing the different dancers successively. At times, the dancers’ presences overlapped in the space and looked like they were dancing in contact, or the dancers were placed in different parts of the room, making the spectator choose which to watch. As the piece progressed, I gradually brought the dancers closer to the centre of the room, which is the location that the spectator initially finds themselves in. We wanted the dancers to progressively get nearer to the spectator, building a more intimate relationship and allowing them a closer look. However, this relies on the spectator staying relatively still and central, which is contrary to the affordance of this technology; the spectator’s ability to move around the room-scale environment. Interestingly, it became apparent that the spectator's agency to move reduces my agency as a director to control the developing choreographic vision . This artistic control had appealed to me in my previous work with 3DV and live performance, Exposure (2017) , where I played with the viewer's lack of agency. In 3DV, the viewer can look around; however, they cannot move in the virtual space and thus can be caught in a particular viewpoint or relationship with a performer and this can become a powerful device for a director.
In the VR work, whilst audiences reflected on the benefit of being able to move freely and ‘look at the movement from different angles’, there were differing responses to how connected audiences felt to the dancers. One respondent suggested that ‘the “glitchiness” and disappearing into walls made it clear that I was looking at digital representation so did not directly feel connected to them’. However, other responses suggested that ‘the feeling of connection grew throughout – probably as I got closer to the dancers’. Another highlighted that ‘the three-dimensionality of the dancers made them “real” but still removed from my immediate senses’. Likewise, these responses offer a range of perspectives on the reading and interpretation of the digital bodies within this work. Highlighting several factors including the effect of aesthetic choice in the capturing, and the positioning and closeness of the dancer to the spectator in the choreographic spatial design, elements I am exploring further as the practice develops. Overall, there was a distinctly lower level of connection experienced between the audience and digital performers in the VR work than in the live performance which combined digital technologies with live action.
Dis_place: one to one live performance
Figure 7: still from Dis_place live. Image credit: Julian Hughes, 2019.
The live performance took one spectator at a time on a journey that moved through a physical building where they encountered live performers who they followed, and as part of this journey, they were invited to experience 3DV via a HMD. This was used to offer the participant new perspectives on the choreography and as a shifting point in their relationship to the performers in the work. As in much immersive theatre work, there is a performer guide role, which acts as an anchor to the participant, managing their journey and easing the negotiation of the practicalities the technology. In this work participants also wear a pair of bone-conducting headphones which allows them to hear the pre-recorded sound as well as the live performers and the amplified parts of the building, furthering the elements of mixed reality. They are given these at the start as part of the onboarding , to make sure they are comfortable and working. One of the issues with using HMD based VR in live performance is how the participant puts on and takes off the headset without it disrupting the overall sense of immersion . The best method I have found is to have the guide place it on and off for the participant as part of the performance. In response to the question ‘How distracting did you find putting on / off the headset? participants noted that ‘I thought it was fairly seamless’ and ‘it worked well with the guide’. Having a performer guide to negotiate this whilst keeping the chosen atmosphere and extending the narrative can work effectively.
Returning to my initial research question which aimed to understand how 3DV technologies can be integrated within live works, there was a question posed within the feedback which asked, ‘How did the 360 VR experience fit within the overall live performance?’. Spectators responded that ‘it enabled more things to happen that would not have been able to happen in reality’, another indicated that it ‘added to the overall impact significantly at being transported through time and space’. Another said that ‘it transformed the space, but the textures of the film and the real smells continued with the movement and sound made me feel like I was inside the walls/fabric of the building’. We decided that the headphones would not be removed for the 3DV element, which aided the continuity for the spectator, as the 3DV visuals were timed with the soundtrack that the participant was already listening to throughout the performance. Another respondent noted that ‘it felt like a natural extension – continuing the images, connections and expanding the perspectives possible’, which is what we had set out to achieve, as well as offering the participant new viewpoints and a unique engagement with the live and virtual performers. Overall, the feedback was positive concerning this, however, two respondents noted that ‘the introduction to it seemed disconnected’, and that ‘the stopping to put the headset on broke the experience a little, however, the gentle guidance kept the performance continuity’. Largely, I think that this was well-managed, although it is always going to be a transitional point and needs to be considered carefully .
Figure 8: still from Dis_place live. Image credit: Julian Hughes, 2019.
In the development of this work, I was interested in framing certain views and perspectives of both the building and the dancers interacting with it. I often use framing devices from traditional film and photography to capture images that I display to the audience. This work was no different, and although the spectators can look anywhere, I was carefully curating both the journey they take through the building and the ‘framed’ images they see on that journey. I concluded quite early that the route needed to be set and would be for one audience member at a time, rather than a free-roam experience, which resulted in limited spectator agency within this structure. However, this meant I could control the timing, pace, imagery, negotiation of the technology, and order of scenes. Drawing on techniques used in immersive theatre practices, subtle lighting cues, sound, and the performer's actions were used to guide the participant's attention both in the physical and 3DV space, and the guide was on hand, should participants get disoriented.
Engaging the senses and finding intimacy across physical and virtual space
In recent years, several performance works have been produced which combine live performance with VR technologies including; ZU-UK’s Goodnight, Sleep Tight (2017), Curious Directive’s Frogman (2017), and Draw Me Close by Jordan Tannahill (2019). In his recent article, Harry Wilson considers the effects of bringing VR technologies to live performance, stating that:
…their specific modes of engagement and the ways of seeing, feeling and being that they produce are the unique result of the meeting point between virtual reality technologies and live performance practices. Furthermore, the specific forms of embodied spectatorship afforded at the intersection of VR and live performance can facilitate the movement between the actual and the virtual, intimacy and distance, immersion and making strange: producing very real and potent effects (2020: 115)
Wilsons’ reflections mirror my experiences of making works that combine intimate and immersive performance with VR technologies. The practice developed for Dis_place and its analysis support Wilson’s claim that this work can produce new, embodied experiences for audiences.
Concepts of embodiment were investigated in the questionnaire to understand how the participant's senses were engaged within Dis_place. The notion being that when spectators have their senses heightened, this can lead to more embodied experiences. Our findings noted, as expected, that participants were engaged by the sound and visual qualities, with many also mentioning the smells encountered in the building. One noted that their senses were ‘sharper’, with another noting that ‘I had a heightened awareness of space, noise, touch, movement’. Josephine Machon’s extensive writing about immersive theatre practices and her concept of (Syn)aesthetics, evidence that this type of multi-sensory engagement is common in immersive theatrical practices (2009; 2013). However, several respondents mentioned how their sense of their body and physicality was significantly intensified by the 3DV experience. The shifts in perspectives afforded by the unique 3DV perspectives, and the immersive quality of this type of virtual space, added to a fuller range of sensations for the spectator. A participant commented that ‘all the senses were combined with digital as well as real-life experiences which were disorienting at times but brought so much more to the experience of the building’.
The one to one immersive performance had the overarching idea to take participants on a multi-sensory journey that gently shifted perceptions of reality and questioned notions of real and virtual, past and present. Offering spectators new ways to experience the building and their embodied presence within it. Furthermore, the work aimed to establish a connection between the participant, the performers, and the spaces they shared across the journey, which encompassed both physical and digital environments. Questioning in a post-digital era, how audiences connect with both digital and live performers. I intended to test whether it was possible to use the virtual space to offer a different perspective and act as a transformational space that could shift the relationship between the spectator and the performer, which could be both comforting and unnerving. Scholar Sarah Whatley states that ‘virtual environments do not imitate live performance but visualisations can awaken the senses through an awareness of orientation, dislocation or displacement’ (Whatley, 2012: 277). Whatley also asserts that ‘immersive viewing environments, provide the viewers of virtual bodies an intense and transformative kinaesthetic experience, quite different from what is produced in a “live” encounter with real dancing bodies’ (2012: 266). I propose that if we combine both virtual and live performers within an immersive performance experience, new transformative embodied experiences can be created.
Dis-place was an ambitious project, and this analysis acts as a starting point for addressing some of these complex questions. In terms of experiencing connection, participants were asked to score from one to four how connected they felt with the dancers and to comment on their experiences. As expected, there was a slightly stronger connection between the spectator and the live performers, with most respondents scoring a four. However, there was also a significant number of responses with a score of four for feelings of connection with the virtual performers, with most scoring three or above. Interestingly, many had given the same score for the connection with both virtual and live performers suggesting that the outdated concept of real and virtual as binary opposites is no longer useful . One participant noted that it was ‘Interesting that no particular difference’ when comparing the scores. My interpretation is that this is due to the timing and placement of the 3DV within the experience, the ongoing soundtrack, and primarily the fact that the virtual performers were the same as the live dancers, which created a sense of authenticity and continuity that aided these feelings of connection.
The Shifting Gaze of the Performer and Role of the Audience Participant
The role of the audience participant can be generally separated into pre and post 3DV within this work. Before the 3DV experience, the participant is an unseen witness, disregarded by the live performers who are preoccupied with their actions. Participants follow these performers who lead them through space, highlighting key features, yet the performers rarely directly face or acknowledge the participant’s presence. During the 3DV experience which takes place around halfway through the journey, the role of the participant shifts as the performers gradually begin to acknowledge their presence. The use of the digital performers’ gaze changes as they begin to look directly at the viewer through the camera’s lens. This use of the performers’ gaze is built up gradually through the rooms visited virtually in the 3DV space . The dancers begin in front of you as you look out from a coal filled fireplace, this first perspective offers you a more traditional framed viewpoint, at the end of this scene one of the dancers notices you for the first time, their gaze is curious, yet distracted. One participant stated that:
In the final sequence one of the women seems to notice me (not ‘me’, of course; the camera) and moves closer, peers closer in a way that would again be uncomfortable in the real space but is okay again here because the screen, this hyper real VR screen is different from a screen; but also the woman is becoming enormous as she peers closer in a very weird unsettling way…
In the ensuing scene, the dancers are on either side of you in a narrow corridor with paint peeling off the walls, which looks almost as if it has been submerged underwater. This proximity forces you to choose who to focus on, as the performers begin to look directly at you, subtly encouraging you to watch them, participants noted the seductive quality of this shifting gaze.
The final 3DV scene begins with a view through a doorway into a cement washroom, aged with dirt. You transport forward virtually entering this room and find yourself very close to the performer, she directly gazes at you as she dances, and as she leaves beckons you to follow her. She is leading you back into the physical space, and when you remove the headset, she is waiting for you to continue the journey together as companions. She hands you a developing polaroid that has been taken of you whilst you were away in the virtual space, this captures and marks your presence in the building using old technology to witness new technology, yet also provokes a sense of shifting power relations. A participant noted, ‘What picture did they take while I was “away”, lost in the VR space, exposed and vulnerable to the other people in the room?’.
Figure 9: Polaroid image taken during the performance. Image credit: Julian Hughes, 2019.
This is a pivotal moment in the performance and the participant/performer relationship has shifted as the participant’s role changes from passive witness to active participant. The participant is now openly acknowledged through the performers’ gaze and use of touch, their presence has been captured by the polaroid image that marks the point of this shifting dynamic between participant and performer. Following this, the participant is taken by the hand and physically led towards the next part of the journey by the performer and encouraged to feel the texture of the building’s Georgian cornicing as you both descend the large, grand staircase. One participant commented:
She takes my hand and guides it to the wall…She guides me to feel the texture of the plasterwork; to experience what she was just experiencing. She guides me down the stairs. I’m still holding the polaroid. It still hasn’t developed. This feels as though we’re coming towards an ending.
Conclusion
This article has traced elements of the technological, practical, choreographic, and conceptual journey of Dis_place – as a live performance, VR work, and research project which broadly aimed to understand the potentials of using 3DV and VR technologies within live performance. I have offered creative strategies, reflective commentary, and audience feedback to highlight some of the affordances and issues of integrating these new technologies into live work. My analysis has led to the creation of a chart to compare the different affordances of 3DV and Volumetric VR important within my practice, focusing on features including audience connection, choreographic potential, and agency; suggesting that 3DV offers more control to the director, which is less possible in free-roam VR experiences.
This highlights that different strategies need to be employed to guide the audience in VR, methods which can be fruitfully drawn from immersive theatre practices. It also reveals the extended choreographic potential of volumetric VR. Furthermore, I have explored the relationship experienced between the spectator and the performers in the works. Finding that in the live performance, similar levels of connection were felt between spectators with both the live and digital performers, noting the lack of separation between real and virtual representations. I also noted that the participant's sense of their body could be significantly intensified by adding 3DV scenes to the wider immersive experience. Overall, it highlights the huge potential that these technologies have for offering audiences new embodied encounters that can shift perspectives and produce exciting, intimate, emotive, and unsettling experiences.
References
Auslander, Philip. 2008. Liveness: Performance in a Mediatized Culture. 2nd ed. Abingdon: Routledge.
Benford, Steve, and Gabriella Giannachi. 2011. Performing Mixed Reality. London: MIT Press.
Broadhurst, Susan, and Josephine Machon. 2011. Performance and Technology: Practices of Virtual Embodiment and Interactivity. Basingstoke: Palgrave Macmillan.
Curious Directive. 2017. Frogman.
Dixon, Steve. 2007. Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. London: MIT Press.
Giannachi, Gabriella. 2004. Virtual Theatres: An Introduction. London: Routledge.
Giannachi, Gabriella, and Nick Kaye. 2011. Performing Presence: Between the Live and the Simulated. Manchester: Manchester University Press.
Machon, Josephine. 2009. (Syn)Aesthetics: Redefining Visceral Performance. Basingstoke: Palgrave Macmillan.
Machon, Josephine. 2013. Immersive Theatres: Intimacy and Immediacy in Contemporary Performance. Basingstoke: Palgrave Macmillan.
Maravala, Persis Jadé, and Jorge Lopes Ramos. 2017. Good Night Sleep Tight.
Paul, Christiane, and Malcolm Levy. 2015. “Genealogies of the New Aesthetic.” In Postdigital Aesthetics: Art, Computation and Design, edited by David M. Berry and Michael Dieter, 27–43. Basingstoke: Palgrave Macmillan.
Rouse, Margaret. 2016. “What Is Room-Scale VR (Room-Scale Virtual Reality)? - Definition from WhatIs.Com.” WhatIs.Com. 2016. https://whatis.techtarget.com/definition/room-scale-VR-room-scale-virtual-reality.
Simcoe, Peter. 2018. 360 Video Handbook. [s.n.].
Slater, Mel, and Sylvia Wilbur. 1997. “A Framework for Immersive Virtual Environments (FIVE): Speculations on the Role of Presence in Virtual Environments.” Presence: Teleoperators and Virtual Environments 6 (6): 603–16.
Sparks, Matt. 2019. “Metafocus: Avoiding the Uncanny Valley in VR & Serious Games.” Learning Solutions Magazine. December 26, 2019. https://learningsolutionsmag.com/articles/metafocus-avoiding-the-uncanny-valley-in-vr-serious-games.
Tannahill, Jordan. 2019. Draw Me Close.
Whatley, Sarah. 2012. “The Poetics of Motion Capture and Visualisation Techniques: The Differences between Watching Real and Virtual Dancing Bodies.” Kinesthetic Empathy in Creative and Cultural Practices. https://pureportal.coventry.ac.uk/en/publications/the-poetics-of-motion-capture-and-visualisation-techniques-the-di-2.
Wilson, Harry Robert. 2020. “New Ways of Seeing, Feeling, Being: Intimate Encounters in Virtual Reality Performance.” International Journal of Performance Arts and Digital Media 16 (2): 114–33.
Wise, Kerryn. 2017. Exposure. Dance and 360 Video.
Witmer, Bob G., and Michael J. Singer. 1998. “Measuring Presence in Virtual Environments: A Presence Questionnaire.” Presence: Teleoperators and Virtual Environments 7 (3): 225–40.
Notes
Benford and Giannachi outline the term as ‘intended to express both their mixing of the real and virtual as well as their combination of live performance and interactivity’ (Benford and Giannachi 2011, 1). Benford and Gianacchi provide a detailed exploration of definitions of mixed reality performance in their book, Performing Mixed Reality (2011).
Margaret Rouse provides a clear summary of room-scale VR, stating that ‘Room-scale VR…is the use of a clear space to allow movement for someone using a VR application such as virtual reality gaming. Being able to physically move within the space helps to replicate real-world movement for the user and make the virtual environment seem more real. The term room-scale distinguishes that type of setup from the self-contained environment of a VR room and from seated or standing VR, in which the user remains stationary’ (2016).
Industry partners included Dance4, the National Dance Agency based in Nottingham, NearNow; Broadway Media Centre’s studio for arts and technology, and Nottingham City Council’s Heritage Team.
The People’s Hall is a dilapidated Georgian building with a rich heritage. It was built in 1750 and through the Heritage Lottery Fund is due for renovation in 2020.
The Microsoft Kinect was first designed as a motion sensor camera used in conjunction with the Xbox 360 computer console. Depthkit is a creative software tool developed to provide XR developers with access to low-cost volumetric capture using the Microsoft Kinect depth camera. Unity is a cross-platform game engine, used to develop video games, it is one of the primary engines for developing VR content, alongside Unreal Engine.
Volumetric video capture is a process that involves multiple cameras capturing the volume of an object or performer from different angles, which are then combined to create a realistic 3D digital video asset that can be placed within a range of VR and Augmented reality (AR) virtual environments. See Dimensions Studio for professional volumetric capturing https://www.dimensionstudio.co/solutions/volumetric-video
3DV can be easily shown in a wireless VR device, such as the Oculus Go. Thus, making this a more usable device for site and outdoor work without access to mains power.
Each feature will be discussed further in the subsequent sections.
This chart is focused specifically on the intentions within my own work and is not a general comparison of the potentials of 3DV and VR.
In summer 2019, Depthkit released software to support the Microsoft Azure, with plans to support multiple camera capturing from Autumn 2020.
Photorealism in this context refers to the rendering of computer graphics to create highly realistic imagery.
The Uncanny Valley is a concept first developed by Masahiro Mori in relation to robots, which has since been developed to describe animated versions of humans used in games and film. As the visuals become increasingly realistic, any slight defect could result in feelings of repulsion in the viewer and a lack of emotional connection with the animation (Sparks 2019).
There is much work being done in the field to develop narrative storytelling methods in virtual space. Using sound, action and lighting cues to guide audience attention. For this research phase we did not have enough time to explore these techniques fully within the VR work, although we are now working on using triggers which are activated by participants actions. However, we did use these techniques for guiding audience attention within the live performance.
Information about Exposure can be found at kerrynwise.co.uk/exposure
Bone-conducting headphones sit on the outside of the ear and sound is transmitted through vibrations on the head and jaw bones, creating the effect of hearing the recorded sound and any live sound from external sources combined.
Onboarding is a term which is increasingly being used to describe how participants are prepared to enter virtual spaces.
I am using the term immersion here in the theatrical sense, to encompass the overall performance experience, rather than as a term to describe the 3DV virtual space. See Mel Slater and Sylvia Wilbur article A framework for immersive virtual environments (FIVE): Speculations on the role of presence in virtual environments, for specific discussion of presence and immersion in purely virtual environments (1997, 606).
It also raises an important question about what the 3DV offers to the overall experience. There is not the space to discuss this fully in this article, however, it is crucial to understand why the chosen technology is used. We are still in the infancy of this mediums development and thus drawing from Mark Cogniglio’s discussion in his article Materials vs Content in Digitally Mediated Performance, he states that early experimentation with new technologies often relates to the technological potentials before the work can become content driven (Cogniglio, M. in Broadhurst and Machon 2011, 78–84). As we move towards more affordable and accessible technologies, artistic content driven work will begin to emerge more.
There has been much scholarly discussion of the terms ‘real’ and ‘virtual’, with current thinking moving away from considering these as binary opposites and towards a more integrated use of the terms. For a detailed discussion see (Dixon 2007; Giannachi 2004; Giannachi and Kaye 2011). Also see Philip Auslander’s text Liveness: Performance in a mediatized culture for further discussion of live and mediated performance (2008).
The rooms visited in the 3DV virtual environment are also spaces within the People’s Hall building not used within the live experience. | https://www.creativemediaresearch.org/post/dis_place-reflections-on-creating-mixed-reality-performance-using-virtual-reality-technologies |
What does Full Sensory mean?
Picking things up and feeling their texture is what people often associate with sensory experiences, but it’s about much more than touch!
Sensory learning includes any activity that stimulates a person’s senses of touch, smell, taste, sight, and hearing, as well as anything which engages movement and balance.
While we won’t be working will ALL the senses, the Discover Through Time Exhibit will activate an experience around sound, sight, touch, play, and movement!
The Benefits of a Full Sensory Exhibit
Sensory activities, in addition to being fun and interesting encourage children:
- To explore and investigate.
- To use the ‘scientific method’ of observation, hypothesis formulation, experimentation and coming to a supported conclusion.
- To create stronger connections to sensory information and learn which are useful and which can be filtered out in their brains. | https://discoverycenteramarillo.org/2021/11/19/dhdcs-new-2022-exhibit-will-be-full-sensory/?bsearch_highlight=full%20sensory |
The harmonious collaboration between the lithe dancers from Company Salia ni Seydou with the charismatic musicians of Ars Nova Ensemble is essentially the entire basis of the performance. This multiform artwork transcends the traditional hierarchies of dance theatre, and creates its own theatrical world.
From the very beginning of the performance, the distinction between the ‘dancers’ and the ‘musicians’ is abolished. The performers all enter the stage as one moving chorus. The entire opening sequence is performed with both musicians and dancers executing the exact same movements. It is not until this first sequence is complete, and six of the chorus members move to the side of the stage, that one even realizes that the musicians were part of the group. The musicians are not even seated in the orchestra pit, but set up on the stage itself.
It is in this vein that the entire performance continues: the musicians are not seen as something that simply performs to support the dancers, but as an entirely different entity that is of equal theatrical value. The two co-existing forms work to expand the range of theatrical choices that the production can make. The most exciting part of the performance is witnessing the various relationships that emerge.
Not only are there relationships between the audience and the dancers, the audience and the musicians, and the musicians and the dancers, but we enter this multiple, heightened realm where all three elements of theatre meet and play with each other. The three worlds intersect and collide in a beautiful open performance experience. A phenomenal example of this multiple and open world occurs early in the piece, where the musicians begin to challenge each other with new sounds, and creep into the dancers’ stage space, in a physically expressive instrumental battle. Meanwhile, the dancers are also challenging themselves by slapping themselves and moving through the already moving procession of musicians. The audience has no idea where to look because so much is happening simultaneously, and must make a choice as to where they look and what they interpret from the scene.
The amount of relationships in the piece is insane – the musician and his instrument, the dancer and his body, the body and the instrument, the dancer and the music – the list is endless.
‘Un pas de cote’ is a fantastic example of what good contemporary performance is and where it still has the potential to go.
I realize that a lot of this review has read much into the performance theory, but I cannot explain my elated reaction to the piece without explaining its ingenuity of form. That is not to say that the skill of the musicians or the dancers should be ignored. Ars Nova Ensemble are more than musicians. They act, they play, they explore, and they break the rules of their instruments. The woodwind player blows air into his instrument and presses the buttons, yet no note emerges from the instrument. Or when it does, it is so foul and corrupted that it is interesting in itself. The flute player leaps out his chair repeatedly during one of the dance sequences. The pianist is picked up and carried off stage by a dancer when his playing gets out of control. And when they all play together, a messy, holistic brawl of sound extends from their instruments. This music is so varied and earthy that is the perfect accompaniment for the dancers.
Company Salia di Seydou are incredible. Not only are they intuitively connected to each other, with some of the most simple yet brilliant chorus work I have ever seen, but they also have a deep connection to the music, and the musicians. Their bodies are their own supple instruments. The way the men’s bodies and necks ripple is exhilarating. The choreography is deceptively simple, yet it is the way that the way dancers repeat and sustain movements that give the dance its complexity.
I was nothing less than thrilled by ‘Un pas de cote’. It is quite simply a must see. But this is the type of performance that you do not only ‘see’. This is the type of performance you experience.
Brisbane Powerhouse presents Company Salia ni Seydou and Ars Nova Ensemble in
UN PAS DE COTE
Venue: Powerhouse Theatre
Dates/Times: 22 – 24 November, 7:30pm
Tickets: $36/$30 (Gallery) $27
Bookings: 3358 8600 or brisbanepowerhouse.org
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Genetic counseling is essential both before and after genetic testing for inherited cardiovascular diseases, the American Heart Association says.
The association published its statement in the journal Circulation: Genomic and Precision Medicine, summarizing research on genes or the combination of genes that may influence inherited heart diseases as well as what is unknown about inherited cardiovascular diseases. The statement also notes best practices for genetic testing.
There are several cardiovascular conditions that may have an inherited genetic component, including cardiomyopathies, thoracic aortic aneurysms and dissections, and arrhythmic disorders that predispose people to potentially fatal abnormal heart rhythms.
The association suggests that healthcare providers conduct genetic counseling before testing for inherited cardiovascular diseases, working with patients to document their family medical history. Typically, genetic testing should be conducted on certain patients with a confirmed or suspected diagnosis of an inherited cardiovascular disease or for individuals at high risk due to a previously identified disease-causing gene abnormality in their family.
Genetic counseling is also important after genetic testing, as the counselor can explain the results and potential consequences for the patient and family members, including children.
Read the full statement here.
More articles on cardiology:
Northwell Health selects Dr. Ali Dodge-Khatami as pediatric heart surgery chief at 3 hospitals
3 Baxter Regional Heart Clinic employees test positive for COVID-19
Mount Sinai, New Jersey practice enter cardiac services partnership
© Copyright ASC COMMUNICATIONS 2020. Interested in LINKING to or REPRINTING this content? View our policies by clicking here. | https://rhinoart.co.za/genetic-counseling-needed-before-after-testing-for-inherited-heart-disease-american-heart-association-says/ |
Exome Sequencing Opens a New Chapter in CKD
Study results point to a future when whole exome sequencing will be the method of choice for identifying genetic causes of CKD.
A recent article in The New England Journal of Medicine titled “Diagnostic Utility of Exome Sequencing for Kidney Disease” offers us unique insights into the future diagnostic evaluation of chronic kidney disease (CKD). The most important takeaways from the article by Groopman etal. are that nearly 1 in 10 patients with CKD have a genetic cause of kidney disease, which often is undiagnosed, and that whole exome sequencing can be helpful in making these diagnoses.
The investigators undertook whole exome sequencing of 3315 individuals with CKD. In whole exome sequencing, the nucleotide sequence of the human genome that codes for proteins (exons) is determined. Results were compared with exome sequences of thousands of healthy individuals to determine genetic differences. The investigators focused attention on genes that were expressed in the kidney and were likely to be relevant to kidney pathology.
The study found that 307 patients (9.3%) suffered from a monogenic disorder as the cause of kidney disease, with 66 different genetic conditions identified. As one would expect, autosomal dominant polycystic kidney disease was the most common cause, with 97 individuals affected (accounting for 2.9% of cases of kidney disease and 31% of cases with inherited kidney disease). The next most common causes of inherited kidney disease were mutations in the COL4A3, COL4A4, and COL4A5 genes, found in 91 individuals (30% of inherited kidney disease). Importantly, 39 of the 66 genetic disorders identified were each found in only a single individual. Uncommon genetic disorders included mutations in the gene encoding hepatocyte nuclear factor-1 beta and branchio-oto-renal syndrome.
These results point to a future when whole exome sequencing will be the method of choice for identifying genetic causes of CKD. Instead of targeted gene analysis (for example, in Alport syndrome or polycystic kidney disease), clinicians will screen the whole genome at once. Study findings should encourage nephrologists to take a more thorough family history and give greater consideration to inherited kidney diseases in the differential diagnosis. Nephrologists should more actively pursue a genetic diagnosis, especially when multiple family members have CKD.
Although many of the inherited kidney diseases are not currently treatable, a proper genetic diagnosis will provide families with the cause of CKD, avoid unnecessary kidney biopsies that may not be diagnostic, and allow for screening of family members as potential kidney donors. This year, let us resolve to think more not just about our own families, but the families we see with kidney disease. | https://staging.renalandurologynews.com/commentary/exome-sequencing-opens-a-new-chapter-in-ckd/article/831190/ |
Human genetic disease
Human genetic disease, any of the diseases and disorders that are caused by mutations in one or more genes.
With the increasing ability to control infectious and nutritional diseases in developed countries, there has come the realization that genetic diseases are a major cause of disability, death, and human tragedy. Rare, indeed, is the family that is entirely free of any known genetic disorder. Many thousands of different genetic disorders with defined clinical symptoms have been identified. Of the 3 to 6 percent of newborns with a recognized birth defect, at least half involve a predominantly genetic contribution. Furthermore, genetic defects are the major known cause of pregnancy loss in developed nations, and almost half of all spontaneous abortions (miscarriages) involve a chromosomally abnormal fetus. About 30 percent of all postnatal infant mortality in developed countries is due to genetic disease; 30 percent of pediatric and 10 percent of adult hospital admissions can be traced to a predominantly genetic cause. Finally, medical investigators estimate that genetic defects—however minor—are present in at least 10 percent of all adults. Thus, these are not rare events.
A congenital defect is any biochemical, functional, or structural abnormality that originates prior to or shortly after birth. It must be emphasized that birth defects do not all have the same basis, and it is even possible for apparently identical defects in different individuals to reflect different underlying causes. Though the genetic and biochemical bases for most recognized defects are still uncertain, it is evident that many of these disorders result from a combination of genetic and environmental factors.
This article surveys the main categories of genetic disease, focusing on the types of genetic mutations that give rise to them, the risks associated with exposure to certain environmental agents, and the course of managing genetic disease through counseling, diagnosis, and treatment. For full explanation of Mendelian and non-Mendelian genetics, genetic mutation and regulation, and other principles underlying genetic disease, see the article heredity. The genetics of tumour development, briefly explained in this article, are covered at length in the article cancer.
Classes of genetic disease
Most human genetic defects can be categorized as resulting from either chromosomal, single-gene Mendelian, single-gene non-Mendelian, or multifactorial causes. Each of these categories is discussed briefly below.
Diseases caused by chromosomal aberrations
About 1 out of 150 live newborns has a detectable chromosomal abnormality. Yet even this high incidence represents only a small fraction of chromosome mutations since the vast majority are lethal and result in prenatal death or stillbirth. Indeed, 50 percent of all first-trimester miscarriages and 20 percent of all second-trimester miscarriages are estimated to involve a chromosomally abnormal fetus.
Chromosome disorders can be grouped into three principal categories: (1) those that involve numerical abnormalities of the autosomes, (2) those that involve structural abnormalities of the autosomes, and (3) those that involve the sex chromosomes. Autosomes are the 22 sets of chromosomes found in all normal human cells. They are referred to numerically (e.g., chromosome 1, chromosome 2) according to a traditional sort order based on size, shape, and other properties. Sex chromosomes make up the 23rd pair of chromosomes in all normal human cells and come in two forms, termed X and Y. In humans and many other animals, it is the constitution of sex chromosomes that determines the sex of the individual, such that XX results in a female and XY results in a male.
Numerical abnormalities
Numerical abnormalities, involving either the autosomes or sex chromosomes, are believed generally to result from meiotic nondisjunction—that is, the unequal division of chromosomes between daughter cells—that can occur during either maternal or paternal gamete formation. Meiotic nondisjunction leads to eggs or sperm with additional or missing chromosomes. Although the biochemical basis of numerical chromosome abnormalities remains unknown, maternal age clearly has an effect, such that older women are at significantly increased risk to conceive and give birth to a chromosomally abnormal child. The risk increases with age in an almost exponential manner, especially after age 35, so that a pregnant woman age 45 or older has between a 1 in 20 and 1 in 50 chance that her child will have trisomy 21 (Down syndrome), while the risk is only 1 in 400 for a 35-year-old woman and less than 1 in 1,000 for a woman under the age of 30. There is no clear effect of paternal age on numerical chromosome abnormalities.
Although Down syndrome is probably the best-known and most commonly observed of the autosomal trisomies, being found in about 1 out of 800 live births, both trisomy 13 and trisomy 18 are also seen in the population, albeit at greatly reduced rates (1 out of 10,000 live births and 1 out of 6,000 live births, respectively). The vast majority of conceptions involving trisomy for any of these three autosomes are nonetheless lost to miscarriage, as are all conceptions involving trisomy for any of the other autosomes. Similarly, monosomy for any of the autosomes is lethal in utero and therefore is not seen in the population. Because numerical chromosomal abnormalities generally result from independent meiotic events, parents who have one pregnancy with a numerical chromosomal abnormality are generally not at markedly increased risk above the general population to repeat the experience. Nonetheless, a small increased risk is generally cited for these couples to account for unusual situations, such as chromosomal translocations or gonadal mosaicism, described below.
Structural abnormalities
Structural abnormalities of the autosomes are even more common in the population than are numerical abnormalities and include translocations of large pieces of chromosomes, as well as smaller deletions, insertions, or rearrangements. Indeed, about 5 percent of all cases of Down syndrome result not from classic trisomy 21 but from the presence of excess chromosome 21 material attached to the end of another chromosome as the result of a translocation event. If balanced, structural chromosomal abnormalities may be compatible with a normal phenotype, although unbalanced chromosome structural abnormalities can be every bit as devastating as numerical abnormalities. Furthermore, because many structural defects are inherited from a parent who is a balanced carrier, couples who have one pregnancy with a structural chromosomal abnormality generally are at significantly increased risk above the general population to repeat the experience. Clearly, the likelihood of a recurrence would depend on whether a balanced form of the structural defect occurs in one of the parents.
Even a small deletion or addition of autosomal material—too small to be seen by normal karyotyping methods—can produce serious malformations and intellectual disability. One example is cri du chat (French: “cry of the cat”) syndrome, which is associated with the loss of a small segment of the short arm of chromosome 5. Newborns with this disorder have a “mewing” cry like that of a cat. Intellectual disability is usually severe.
Abnormalities of the sex chromosomes
About 1 in 400 male and 1 in 650 female live births demonstrate some form of sex chromosome abnormality, although the symptoms of these conditions are generally much less severe than are those associated with autosomal abnormalities. Turner syndrome is a condition of females who, in the classic form, carry only a single X chromosome (45,X). Turner syndrome is characterized by a collection of symptoms, including short stature, webbed neck, and incomplete or absent development of secondary sex characteristics, leading to infertility. Although Turner syndrome is seen in about 1 in 2,500 to 1 in 5,000 female live births, the 45,X karyotype accounts for 10 to 20 percent of the chromosomal abnormalities seen in spontaneously aborted fetuses, demonstrating that almost all 45,X conceptions are lost to miscarriage. Indeed, the majority of liveborn females with Turner syndrome are diagnosed as mosaics, meaning that some proportion of their cells are 45,X while the rest are either 46,XX or 46,XY. The degree of clinical severity generally correlates inversely with the degree of mosaicism, so that females with a higher proportion of normal cells will tend to have a milder clinical outcome.
In contrast to Turner syndrome, which results from the absence of a sex chromosome, three alternative conditions result from the presence of an extra sex chromosome: Klinefelter syndrome, trisomy X, and 47,XYY syndrome. These conditions, each of which occurs in about 1 in 1,000 live births, are clinically mild, perhaps reflecting the fact that the Y chromosome carries relatively few genes, and, although the X chromosome is gene-rich, most of these genes become transcriptionally silent in all but one X chromosome in each somatic cell (i.e., all cells except eggs and sperm) via a process called X inactivation. The phenomenon of X inactivation prevents a female who carries two copies of the X chromosome in every cell from expressing twice the amount of gene products encoded exclusively on the X chromosome, in comparison with males, who carry a single X. In brief, at some point in early development one X chromosome in each somatic cell of a female embryo undergoes chemical modification and is inactivated so that gene expression no longer occurs from that template. This process is apparently random in most embryonic tissues, so that roughly half of the cells in each somatic tissue will inactivate the maternal X while the other half will inactivate the paternal X. Cells destined to give rise to eggs do not undergo X inactivation, and cells of the extra-embryonic tissues preferentially inactivate the paternal X, although the rationale for this preference is unclear. The inactivated X chromosome typically replicates later than other chromosomes, and it physically condenses to form a Barr body, a small structure found at the rim of the nucleus in female somatic cells between divisions (see photograph). The discovery of X inactivation is generally attributed to British geneticist Mary Lyon, and it is therefore often called “lyonization.”
The result of X inactivation is that all normal females are mosaics with regard to this chromosome, meaning that they are composed of some cells that express genes only from the maternal X chromosome and others that express genes only from the paternal X chromosome. Although the process is apparently random, not every female has an exact 1:1 ratio of maternal to paternal X inactivation. Indeed, studies suggest that ratios of X inactivation can vary. Furthermore, not all genes on the X chromosome are inactivated; a small number escape modification and remain actively expressed from both X chromosomes in the cell. Although this class of genes has not yet been fully characterized, aberrant expression of these genes has been raised as one possible explanation for the phenotypic abnormalities experienced by individuals with too few or too many X chromosomes.
Klinefelter syndrome (47,XXY) occurs in males and is associated with increased stature and infertility. Gynecomastia (i.e., partial breast development in a male) is sometimes also seen. Males with Klinefelter syndrome, like normal females, inactivate one of their two X chromosomes in each cell, perhaps explaining, at least in part, the relatively mild clinical outcome.
Trisomy X (47,XXX) is seen in females and is generally also considered clinically benign, although menstrual irregularities or sterility have been noted in some cases. Females with trisomy X inactivate two of the three X chromosomes in each of their cells, again perhaps explaining the clinically benign outcome.
47,XYY syndrome also occurs in males and is associated with tall stature but few, if any, other clinical manifestations. There is some evidence of mild learning disability associated with each of the sex chromosome trisomies, although there is no evidence of intellectual disability in these persons.
Persons with karyotypes of 48,XXXY or 49,XXXXY have been reported but are extremely rare. These individuals show clinical outcomes similar to those seen in males with Klinefelter syndrome but with slightly increased severity. In these persons the “n − 1 rule” for X inactivation still holds, so that all but one of the X chromosomes present in each somatic cell is inactivated.
Diseases associated with single-gene Mendelian inheritance
The term Mendelian is often used to denote patterns of genetic inheritance similar to those described for traits in the garden pea by Gregor Mendel in the 1860s. Disorders associated with single-gene Mendelian inheritance are typically categorized as autosomal dominant, autosomal recessive, or sex-linked. Each category is described briefly in this section. For a full explanation of Mendelian genetics and of the concepts of dominance and recessiveness, see the article heredity.
Autosomal dominant inheritance
A disease trait that is inherited in an autosomal dominant manner can occur in either sex and can be transmitted by either parent. It manifests itself in the heterozygote (designated Aa), who receives a mutant gene (designated a) from one parent and a normal (“wild-type”) gene (designated A) from the other. In such a case the pedigree (i.e., a pictorial representation of family history) is vertical—that is, the disease passes from one generation to the next. The figure illustrates the pedigree for a family with achondroplasia, an autosomal dominant disorder characterized by short-limbed dwarfism that results from a specific mutation in the fibroblast growth factor receptor 3 (FGFR3) gene. In pedigrees of this sort, circles refer to females and squares to males; two symbols directly joined at the midpoint represent a mating, and those suspended from a common overhead line represent siblings, with descending birth order from left to right. Solid symbols represent affected individuals, and open symbols represent unaffected individuals. The Roman numerals denote generations, whereas the Arabic numerals identify individuals within each generation. Each person listed in a pedigree may therefore be specified uniquely by a combination of one Roman and one Arabic numeral, such as II-1.
An individual who carries one copy of a dominant mutation (Aa) will produce two kinds of germ cells—eggs or sperm—typically in equal proportions; one half will bear the mutant gene (A), and the other will bear the normal gene (a). As a result, an affected heterozygote has a 50 percent chance of passing on the disease gene to each of his or her children. If an individual were to carry two copies of the dominant mutant gene (inherited from both parents), he or she would be homozygous (AA). The homozygote for a dominantly inherited abnormal gene may be equally affected with the heterozygote. Alternatively, he or she may be much more seriously affected; indeed, the homozygous condition may be lethal, sometimes even in utero or shortly after birth. Such is the case with achondroplasia, so that a couple with one affected partner and one unaffected partner will typically see half of their children affected, whereas a couple with both partners affected will see two-thirds of their surviving children affected and one-third unaffected, because 1 out of 4 conceptions will produce a homozygous fetus who will die before or shortly after birth.
Although autosomal dominant traits are typically evident in multiple generations of a family, they can also arise from new mutations, so that two unaffected parents, neither of whom carries the mutant gene in their somatic cells, can conceive an affected child. Indeed, for some disorders the new mutation rate is quite high; almost 7 out of 8 children with achondroplasia are born to two unaffected parents. Examples of autosomal dominant inheritance are common among human traits and diseases. More than 2,000 of these traits have been clearly identified; a sampling is given in the table.
|trait||conspicuous signs|
|achondroplasia||dwarfism, large head, short extremities, short fingers and toes|
|osteogenesis imperfecta||bone fragility, deafness|
|Huntington disease||involuntary movement, emotional disturbance, dementia|
|Marfan syndrome||long, thin extremities and fingers; eye and cardiovascular problems|
|neurofibromatosis||pigmented spots (café au lait) on skin, skin tumours, occasional brain or other internal tumours|
In many genetic diseases, including those that are autosomal dominant, specific mutations associated with the same disease present in different families may be uniform, such that every affected individual carries exactly the same molecular defect (allelic homogeneity), or they may be heterogeneous, such that tens or even hundreds of different mutations, all affecting the same gene, may be seen in the affected population (allelic heterogeneity). In some cases even mutations in different genes can lead to the same clinical disorder (genetic heterogeneity). Achondroplasia is characterized by allelic homogeneity, such that essentially all affected individuals carry exactly the same mutation.
With regard to the physical manifestations (i.e., the phenotype) of some genetic disorders, a mutant gene may cause many different symptoms and may affect many different organ systems (pleiotropy). For example, along with the short-limbed dwarfism characteristic of achondroplasia, some individuals with this disorder also exhibit a long, narrow trunk, a large head with frontal bossing, and hyperextensibility of most joints, especially the knees. Similarly, for some genetic disorders, clinical severity may vary dramatically, even among affected members in the same family. These variations of phenotypic expression are called variable expressivity, and they are undoubtedly due to the modifying effects of other genes or environmental factors. Although for some disorders, such as achondroplasia, essentially all individuals carrying the mutant gene exhibit the disease phenotype, for other disorders some individuals who carry the mutant gene may express no apparent phenotypic abnormalities at all. Such unaffected individuals are called “nonpenetrant,” although they can pass on the mutant gene to their offspring, who could be affected.
Autosomal recessive inheritance
Nearly 2,000 traits have been related to single genes that are recessive; that is, their effects are masked by normal (“wild-type”) dominant alleles and manifest themselves only in individuals homozygous for the mutant gene. A partial list of recessively inherited diseases is given in the table. For example, sickle cell anemia, a severe hemoglobin disorder, results only when a mutant gene (a) is inherited from both parents. Each of the latter is a carrier, a heterozygote with one normal gene and one mutant gene (Aa) who is phenotypically unaffected. The chance of such a couple producing a child with sickle cell anemia is one out of four for each pregnancy. For couples consisting of one carrier (Aa) and one affected individual (aa), the chance of their having an affected child is one out of two for each pregnancy.
|trait||conspicuous signs|
|albinism||lack of pigment in skin, hair, and eyes, with significant visual problems|
|Tay-Sachs disease||listlessness, seizures, blindness, death in early childhood|
|cystic fibrosis||chronic lung and intestinal symptoms|
|phenylketonuria||light pigmentation, mental retardation, seizures|
|thalassemia||mild or severe anemia, enlarged spleen and liver, stunted growth, bone deformation|
|sickle cell anemia||fatigue, shortness of breath, delayed growth, muscle and abdominal pain|
Many autosomal recessive traits reflect mutations in key metabolic enzymes and result in a wide variety of disorders classified as inborn errors of metabolism. One of the best-known examples of this class of disorders is phenylketonuria (PKU), which results from mutations in the gene encoding the enzyme phenylalanine hydroxylase (PAH). PAH normally catalyzes the conversion of phenylalanine, an amino acid prevalent in dietary proteins and in the artificial sweetener aspartame, to another amino acid called tyrosine. In persons with PKU, dietary phenylalanine either accumulates in the body or some of it is converted to phenylpyruvic acid, a substance that normally is produced only in small quantities. Individuals with PKU tend to excrete large quantities of this acid, along with phenylalanine, in their urine. When infants accumulate high concentrations of phenylpyruvic acid and unconverted phenylalanine in their blood and other tissues, the consequence is intellectual disability. Fortunately, with early detection, strict dietary restriction of phenylalanine, and supplementation of tyrosine, intellectual disability can be prevented.
Since the recessive genes that cause inborn errors of metabolism are individually rare in the gene pool, it is not often that both parents are carriers; hence, the diseases are relatively uncommon. If the parents are related (consanguineous), however, they will be more likely to have inherited the same mutant gene from a common ancestor. For this reason, consanguinity is often more common in the parents of those with rare, recessive inherited diseases. The pedigree of a family in which PKU has occurred is shown in the figure. This pedigree demonstrates that the affected individuals for recessive diseases are usually siblings in one generation—the pedigree tends to be “horizontal,” rather than “vertical” as in dominant inheritance.
Sex-linked inheritance
In humans, there are hundreds of genes located on the X chromosome that have no counterpart on the Y chromosome. The traits governed by these genes thus show sex-linked inheritance. This type of inheritance has certain unique characteristics, which include the following: (1) There is no male-to-male (father-to-son) transmission, since sons will, by definition, inherit the Y rather than the X chromosome. (2) The carrier female (heterozygote) has a 50 percent chance of passing the mutant gene to each of her children; sons who inherit the mutant gene will be hemizygotes and will manifest the trait, while daughters who receive the mutant gene will be unaffected carriers. (3) Males with the trait will pass the gene on to all of their daughters, who will be carriers. (4) Most sex-linked traits are recessively inherited, so that heterozygous females generally do not display the trait. The table lists some sex-linked conditions. The figure shows a pedigree of a family in which a mutant gene for hemophilia A, a sex-linked recessive disease, is segregating. Hemophilia A gained notoriety in early studies of human genetics because it affected at least 10 males among the descendants of Queen Victoria, who was a carrier.
|trait||conspicuous signs|
|hemophilia A||bleeding tendency with joint involvement|
|Duchenne muscular dystrophy||progressive muscle weakness|
|Lesch-Nyhan syndrome||cerebral palsy, self-mutilation|
|fragile-X syndrome||mental retardation, characteristic facies|
Hemophilia A, the most widespread form of hemophilia, results from a mutation in the gene encoding clotting factor VIII. Because of this mutation, affected males cannot produce functional factor VIII, so that their blood fails to clot properly, leading to significant and potentially life-threatening loss of blood after even minor injuries. Bleeding into joints commonly occurs as well and may be crippling. Therapy consists of avoiding trauma and of administering injections of purified factor VIII, which was once isolated from outdated human blood donations but can now be made in large amounts through recombinant DNA technology.
Although heterozygous female carriers of X-linked recessive mutations generally do not exhibit traits characteristic of the disorder, cases of mild or partial phenotypic expression in female carriers have been reported, resulting from nonrandom X inactivation.
Diseases associated with single-gene non-Mendelian inheritance
Although disorders resulting from single-gene defects that demonstrate Mendelian inheritance are perhaps better understood, it is now clear that a significant number of single-gene diseases also exhibit distinctly non-Mendelian patterns of inheritance. Among these are such disorders that result from triplet repeat expansions within or near specific genes (e.g., Huntington disease and fragile-X syndrome); a collection of neurodegenerative disorders, such as Leber hereditary optic neuropathy (LHON), that result from inherited mutations in the mitochondrial DNA; and diseases that result from mutations in imprinted genes (e.g., Angelman syndrome and Prader-Willi syndrome).
Triplet repeat expansions
At least a dozen different disorders are now known to result from triplet repeat expansions in the human genome, and these fall into two groups: (1) those that involve a polyglutamine tract within the encoded protein product that becomes longer upon expansion of a triplet repeat, an example of which is Huntington disease, and (2) those that have unstable triplet repeats in noncoding portions of the gene that, upon expansion, interfere with appropriate expression of the gene product, an example of which is fragile-X syndrome (see photograph). Both groups of disorders exhibit a distinctive pattern of non-Mendelian inheritance termed anticipation, in which, following the initial appearance of the disorder in a given family, subsequent generations tend to show both increasing frequency and increasing severity of the disorder. This phenotypic anticipation is paralleled by increases in the relevant repeat length as it is passed from one generation to the next, with increasing size leading to increasing instability, until a “full expansion” mutation is achieved, generally several generations following the initial appearance of the disorder in the family. The full expansion mutation is then passed to subsequent generations in a standard Mendelian fashion—for example, autosomal dominant for Huntington disease and sex-linked for fragile-X syndrome.
Mitochondrial DNA mutations
Disorders resulting from mutations in the mitochondrial genome demonstrate an alternative form of non-Mendelian inheritance, termed maternal inheritance, in which the mutation and disorder are passed from mothers—never from fathers—to all of their children. The mutations generally affect the function of the mitochondrion, compromising, among other processes, the production of cellular adenosine triphosphate (ATP). Severity and even penetrance can vary widely for disorders resulting from mutations in the mitochondrial DNA, generally believed to reflect the combined effects of heteroplasmy (i.e., mixed populations of both normal and mutant mitochondrial DNA in a single cell) and other confounding genetic or environmental factors. There are close to 50 mitochondrial genetic diseases currently known.
Imprinted gene mutations
Some genetic disorders are now known to result from mutations in imprinted genes. Genetic imprinting involves a sex-specific process of chemical modification to the imprinted genes, so that they are expressed unequally, depending on the sex of the parent of origin. So-called maternally imprinted genes are generally expressed only when inherited from the father, and so-called paternally imprinted genes are generally expressed only when inherited from the mother. The disease gene associated with Prader-Willi syndrome is maternally imprinted, so that although every child inherits two copies of the gene (one maternal, one paternal), only the paternal copy is expressed. If the paternally inherited copy carries a mutation, the child will be left with no functional copies of the gene expressed, and the clinical traits of Prader-Willi syndrome will result. Similarly, the disease gene associated with Angelman syndrome is paternally imprinted, so that although every child inherits two copies of the gene, only the maternal copy is expressed. If the maternally inherited copy carries a mutation, the child again will be left with no functional copies of the gene expressed, and the clinical traits of Angelman syndrome will result. Individuals who carry the mutation but received it from the “wrong” parent can certainly pass it on to their children, although they will not exhibit clinical features of the disorder.
Upon rare occasion, persons are identified with an imprinted gene disorder who show no family history and do not appear to carry any mutation in the expected gene. These cases are now known to result from uniparental disomy, a phenomenon whereby a child is conceived who carries the normal complement of chromosomes but who has inherited both copies of a given chromosome from the same parent, rather than one from each parent, as is the normal fashion. If any key genes on that chromosome are imprinted in the parent of origin, the child may end up with no expressed copies, and a genetic disorder may result. Similarly, other genes may be overexpressed in cases of uniparental disomy, perhaps also leading to clinical complications. Finally, uniparental disomy can account for very rare instances whereby two parents, only one of whom is a carrier of an autosomal recessive mutation, can nonetheless have an affected child, in the circumstance that the child inherits two mutant copies from the carrier parent.
Diseases caused by multifactorial inheritance
Genetic disorders that are multifactorial in origin represent probably the single largest class of inherited disorders affecting the human population. By definition, these disorders involve the influence of multiple genes, generally acting in concert with environmental factors. Such common conditions as cancer, heart disease, and diabetes are now considered to be multifactorial disorders. Indeed, improvements in the tools used to study this class of disorders have enabled the assignment of specific contributing gene loci to a number of common traits and disorders. Identification and characterization of these contributing genetic factors may not only enable improved diagnostic and prognostic indicators but may also identify potential targets for future therapeutic intervention.
The table lists some conditions associated with multifactorial inheritance. Because the genetic and environmental factors that underlie multifactorial disorders are often unknown, the risks of recurrence are usually arrived at empirically. In general, it can be said that risks of recurrence are not as great for multifactorial conditions as for single-gene diseases and that the risks vary with the number of relatives affected and the closeness of their relationship. Moreover, close relatives of more severely affected individuals (e.g., those with bilateral cleft lip and cleft palate) are generally at greater risk than those related to persons with a less-severe form of the same condition (e.g., unilateral cleft lip). | https://www.britannica.com/science/human-genetic-disease |
The Human Genetics Society of Australasia was formed in 1977 to provide a forum for the various disciplines collected under the title of Human Genetics. The HGSA is a full member of the International Federation of Human Genetics Societies and domestically we work closely with the Royal Australasian College of Physicians and Royal College of Pathologists of Australasia as well as other groups through the Pathology Associations Council.
1. Don’t use brain magnetic resonance imagery (MRI) for routine surveillance of asymptomatic neurofibromatosis type 1.
Neurofibromatosis type I (NF-1) is a tumour disorder caused by the mutation of a gene on chromosome 17 that is responsible for control of cell division. It causes tumours along the nervous system that can grow anywhere in the body. Routine screening investigations are not recommended for the detection of the majority of complications associated with the condition. Baseline brain and spine MRI, and routine imaging of the chest and abdomen to identify asymptomatic tumours, do not influence management and should not be undertaken.
Ferner RE, Huson SM, Thomas N, et al. Guidelines for the diagnosis and management of individuals with neurofibromatosis 1. Journal of Medical Genetics 2007;44:81-8.
2. Don’t undertake sequential testing for heterogeneous genetic disorders when targeted next generation sequencing (NGS) is available.
A heterogeneous genetic disorder is one where the same disease or condition can be caused, or contributed to, by a number of different genes. The traditional strategy for genetic testing involves sequential sequencing of individual genes, selected according to the patient’s clinical presentation and family history. By contrast, next generation sequencing (NGS) involves the sequencing of millions of small fragments of DNA at the same time. Reductions in the cost of NGS now make it a more attractive solution for clinical diagnostic testing to identify the disease-causing mutation(s) in patients with genetically heterogeneous disorders than traditional sequential testing. In particular, the targeted NGS approach which restricts analysis to genes known to be implicated in a particular phenotype has been also successfully applied to heterogeneous disorders such as inherited peripheral neuropathy (IP).
Antoniadi T, Buxton C, Dennis G, et al. Application of targeted multi-gene panel testing for the diagnosis of inherited peripheral neuropathy provides a high diagnostic yield with unexpected phenotype-genotype variability. BMC Medical Genetics 2015;16:84.
Ellard S, Lindsay H, Camm N, et al. Practice guidelines for targeted next generation sequencing analysis and interpretation. Association for Clinical Genetic Science, 2014.
3. Don’t undertake genetic testing for methylenetetrahydrofolate reductase (MTHFR), apolipoprotein E (APOE) and other such tests where the clinical utility for diagnostic purposes is extremely low.
While genetic testing can help indicate susceptibility to particular genetic conditions, there are some conditions where the presence of particular alleles is neither necessary nor sufficient to cause the condition or where the alleles have a higher prevalence in the general population than the condition itself. This is the case for instance with apolipoprotein E as a genetic marker for Alzheimer’s disease and methylenetetrahydrofolate as a marker for venous thromboembolism.
Goldman JS, Hahn SE, Catania JW, et al. Genetic counseling and testing for Alzheimer disease: joint practice guidelines of the American College of Medical Genetics and the National Society of Genetic Counselors. Genetics in Medicine 2011;13(6): 597-605.
Hickey SE, Curry CJ, Toriello HV. ACMG Practice Guideline: lack of evidence for MTHFR polymorphism testing. Genetics in Medicine 2013;15(2):153-6.
4. Don’t undertake carrier state testing for rare recessive disorders where a partner has a family history, the couple is non-consanguineous and there are no common causative mutations.
With a rare recessive disorder, although the individual with the family history will have an increased risk of being a carrier, their unrelated partner will have a low general population risk. Therefore, their a priori combined risk of having a child with this rare recessive condition will generally be less than 1%. If the gene has no known common disease causative mutations then testing the unrelated partner for carrier status has low sensitivity and specificity.
Meikle PJ, Hopwood JJ, Clague AE, Carey WF. Prevalence of lysosomal storage disorders. JAMA 1999;281(3):249-54.
5. Don’t undertake genetic testing when clinical diagnostic criteria exist and there are no reproductive or predictive testing implications.
Like other screening or diagnostic tests, genetic tests do not have inherent utility. It is the adoption of therapeutic or preventive interventions that influences health outcomes. If clinical diagnostic criteria already exist for the condition in question and there are no reproductive or other predictive testing implications as a result of definitively identifying a genetic cause for the condition, then this renders genetic testing unnecessary.
Ferner RE, Huson SM, Thomas N, et al. Guidelines for the diagnosis and management of individuals with neurofibromatosis 1. Journal of Medical Genetics 2007;44:81-88.
A preliminary list was developed by the Lead Fellow which was then distributed to all the clinical geneticists in Australia who are all members of the Australasian Association of Clinical Geneticists (AACG), a special interest group of the HGSA. Following feedback the topic was revisited at a meeting of this group during the annual scientific conference of the HGSA, after which the list was finalised. | https://choosingwisely.org.nz/professional-resource/hgsa/ |
What is genetic counselling? Genetic counsellors can help to translate complex medical science into concepts that are easily understood.
During the counselling session individuals and families are provided with information on the nature, inheritance and health implications of genetic disorders, in order to allow them to make informed medical and personal decisions. These include the choice of undergoing genetic testing based on the treatment options that are available, as well as informed decisions about pregnancy and childcare.
Accurate, full and unbiased information should be provided to individuals and families to enable them to make informed decisions about genetic testing and treatment/intervention options. All personal and medical information of patients are kept confidential and is not made available to others without permission of the tested individual.
Genetic Counselling Made Real
A Real-life story by Julie Malan: When our son was born on 14 March 2006 our life seemed perfect. At birth he weighed a healthy 3.95 kg but soon after we took him home he became nauseous and vomited after every feed. After consulting the paediatrician we took him to hospital where he was admitted without anyone knowing what was wrong with him. As the paediatrician was examining him he suddenly had a convulsion in his left arm. A CT scan was taken which showed that he had sub-dural bleeding of unknown cause and needed plasma and a blood transfusion fast. A neurosurgeon was called in and we were transferred to a paediatric ICU ward. Our whole world came to a standstill when we were told they are not sure what will happen through the night – “It’s not in our hands” are words I will never forget. They also informed us that there seem to have been bleeding in the brain in utero already and that could have caused some brain damage. They also could not go ahead and operate to relief the pressure on the brain, because they did not know what caused the bleeding. Blood tests were done to look at his clotting profile and the doctors kept him sedated to keep the head as still as possible. At that moment all we could do was to start praying and ask our friends to do the same.
The next day we were sitting on our usual place in front of the ICU together with my parents in law when the sister who looked after Ruan that day, came out on her way home. Just as she started walking away, she turned back and said to us, “Oh by the way, your son has Haemophilia A and needed factor VIII.” Being a genetic counsellor I immediately realised that this is an X-linked inherited condition, meaning that I was a carrier of the mutation, passing it onto our son. I also thought of my daughter who now had a 50% chance of also being a carrier and then also have a 50% chance to have affected sons. With regards to my son, all his daughters will be carriers of the Haemophilia A gene mutation.I felt that I would have liked to receive such news about a genetic condition in privacy with my husband. My husband and his parents turned to me asking me what this meant, and I had to tell them that this was an inherited disease and that I might well be the carrier of this mutation, passing it onto our son. All I felt at that time was guilt for passing this onto our son and anger at the sister for the way she chose to break this news to us. Suddenly I had to think of how many times I told parents not to feel guilty about the genes they pass on to their children because we cannot choose our genes, and now I had to believe it myself. My husband and I had a counselling session with a psychologist that evening which helped us deal with our emotions. As a genetic counsellor I again realized what an important role counselling has in genetic diseases, not only in the way we break bad news to our patients, but also how we support them and help them work through their emotions. I had to go through a process of working through this unexpected news and wondering if there wasn’t a way I could have prevented this from happening. My mother had a son almost 40 years ago who only lived 7 days and was said to have had a Vitamin K deficiency. She is one of 10 children – 5 brothers and 5 sisters all with their own children and grandchildren, and no other case of Haemophilia. So, with that history, no-one would have thought to test for Haemophilia.As a genetic counsellor, I once again became conscious of how often people don’t take the emotional aspects of breaking bad news into consideration. It made me appreciate just what an important role we as genetic counsellors and medical professionals play. It is our responsibility to make sure our patients can cope with bad news and to help them work through the bad news in such a way that they can carry on with their lives.
Julie laid the foundation for the genetic counselling support provided by Gknowmix from 2007, after working as a GeneCare consultant from 2003-2007. She is a registered genetic counsellor who graduated in 1993 with a BSc degree from the University of Pretoria and obtained her MSc degree in Genetic Counselling 5 years later. In 2003 Julie registered as the first private practicing genetic counsellor in South Africa. She currently works in Pretoria at Ampath. Accredited laboratories such as Ampath are instrumental in the application of pre-screen algorithms used to develop a pathology-genetic testing framework for implementation of genomic medicine in Africa.
Who needs genetic counselling?
Genetic counselling by a registered genetic counsellor is strongly recommended in parents with a child diagnosed with a genetic disease, or in individuals who are concerned about an inherited condition in the family. Pregnant women and those who plan to have children after the age of 35 should be encouraged to seek genetic counselling, as well as individuals who are concerned about genetic conditions that occur frequently in their ethnic group (e.g. Jewish or Afrikaner population).
Who provides genetic counselling?
Registered health care professionals who have knowledge and understanding of genetic diseases and who were trained to offer supportive counselling provide genetic counselling. The purpose of genetic counselling is to provide an individual or family with current information and supportive counselling (advice or guidance) regarding health problems that may have a genetic basis. This can help families and individuals to understand and adjust to the diagnosis of a genetic condition and consider available treatment options.
Why genetic counselling?
Genetic counsellors can help to explain complex medical science into concepts that are easily understood. They translate scientific knowledge into practical information. Through genetic counselling, a supportive atmosphere is created for individuals to discuss their concerns, ask questions and make an informed decision that is right for each individual. Both verbal and written information may be provided to assist individuals with some issues that may arise from genetic testing.
What happens during the counselling session?
An assessment of the family history is performed regarding an inherited condition in the index case, to determine the risk implications for close relatives. A detailed explanation of all possible risks and the role of genetics in the medical condition of interest are discussed. Advice is also provided on available genetic tests, and the potential importance for reference to a clinician for physical examination and the possible performance of relevant laboratory.
Pre-test assessment is performed to determine the appropriateness of genetic testing in a specific individual and to discuss the potential benefits and limitations of genetic testing. This could prevent possible psychological harm or unrealistic expectations of test results.
Post-test counselling should address the implications of a positive or negative test result, the limitations of the specific test procedure, disease penetrance, preventive measures or treatment options, etc.
Matching the type of test to the level of counselling
Genetic testing provides information related to both the tested individual and his/her close family members, therefore the ideal situation would be that both pre- and post-test counselling be provided by registered genetic counsellors to all patients referred for genetic testing.
In general the following levels of counselling/consultation (genetic testing service delivery) will apply preferably in a multi-disciplinary team approach, based on the type of molecular genetic test performed (exceptions are based on level of experience and fulfilment of accreditation criteria):
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Prenatal testing performed during pregnancy to assess the genetic status of a foetus.
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Prenatal diagnostic tests are offered when there is an increased risk of having a child with a severe genetic condition, usually on the basis of the family history.
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Registered genetic counsellor
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Identity testing in healthy individuals
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Determine family links / origin, for forensic purposes or to confirm or exclude paternity.
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Registered genetic counsellor
Confidentiality and informed consent
Accurate, full and unbiased information should be provided to individuals and families to enable them to make informed decisions about genetic testing and treatment/intervention options. It is of critical importance that any genetic information be treated as confidential and that such information is not made available to others without permission from the particular individual who agreed to be tested. Where appropriate and as a general principle, the person who provides pre- or post-test consultation for genetic testing should provide a written explanation regarding the implications of the test results for patient management to the relevant clinician.
The following issues should be explained where relevant to each individual before specimens are collected for genetic testing:
- Inheritance pattern of the condition for which information is sought and the role of genetic vs environmental risk factors.
- Detection of genetic alterations (positive DNA test) implies that other family members may also have the genetic change(s).
- Failure to detect a specific genetic alteration (negative DNA test results) does not exclude undefined gene mutations or other risk factors not tested for.
- The genetic test will only screen for specific genetic alterations expected to provide useful information, e.g. for diagnosis, drug response/toxicity, or risk factors for implementation of risk reduction intervention.
- Early detection or pre-clinical diagnosis of treatable or preventable genetic diseases is beneficial, except if it has a negative effect on psychological well-being.
- Genetic testing may result in better motivation for lifestyle changes or targeted treatment, or possibly anxiety when genetic risk factors are identified in an individual without clinical symptoms of a disease.
- The genetic material is stored for reference purposes or to perform follow-up testing and may be included in a genetic database for research related to the test requested, unless declined.
- Identification of genetic alterations in individuals with a family history or clinical features of the associated disease is unlikely to impact further on insurance, while exclusion of a genetic defect in a family member could be beneficial for insurance purposes in most instances.
- A positive genetic test does not mean that the person has a genetic disease or will develop it, but it can increase the risk to develop clinical disease if left untreated. | https://www.gknowmix.com/genetic-tests/genetic-counselling-info |
The human body is composed of between 20,000 and 25,000 different genes that make us into who we are today. Some of the genes we inherit determine the color of our hair, while others are responsible for the development of the heart. Unfortunately, sometimes a faulty gene can be present, leading to a life-threatening genetic heart condition.
A genetic heart condition, also known as inherited heart conditions or inherited cardiac conditions (ICC), are passed on through families and can affect people of any age.
While it is possible for an individual to be born with a spontaneously faulty gene, more commonly, a faulty gene is inherited from one’s parents. And the more alarming part is that the parent may have the same condition or be completely asymptomatic and unaware of the condition.
There are many types of genetic heart conditions. Common forms of heart disease, such as coronary artery disease and high cholesterol, can be inherited, but are more likely to run in certain families than others.
These more common forms of heart disease are usually not caused by one single faulty gene but may be related to multiple genes or different genes in different individuals. In addition to genetics, there are other risk factors that can cause these conditions as well.
Are You Watching The Warning Signs?
Unfortunately, sometimes there may be no symptoms or warning signs.
If a family member experiences an unexplained cardiac arrest at a young age, other family members should seek evaluation for an inherited cardiac condition.
Also, young individuals with heart failure symptoms such as shortness of breath and difficulty with exercise may need to be evaluated. Additionally, unexplained episodes of loss of consciousness should also be evaluated.
A genetic heart condition can be diagnosed with genetic testing or clinically. The purpose of genetic testing is to evaluate for a faulty gene through the testing of one’s blood. If a faulty gene is not present with blood testing, then it can be diagnosed based on a set of established criteria.
However, testing performed on individuals without a family history of a genetic heart disease would not benefit.
As for treatment options, it depends on the type and severity of the condition. For arrhythmia disorders, a doctor may recommend close observation, medications or implantation of cardiac defibrillators. Whereas, someone with heart failure and vascular disease may require medications or advanced treatment options.
Overall, as long as those living with a genetic heart disease practice a healthy lifestyle and exercise with a moderate degree of intensity, they can be expected to prolong their life and avoid sudden death.
To learn more information about genetic heart conditions, visit BSWHealth.org or find a cardiovascular physician.
Next Next post: Broken Heart Syndrome: Can you die from a broken heart? | https://scrubbing.in/inherited-heart-conditions-could-cause-sudden-death/ |
In biology class, you’ve learned that you inherit certain genes from your parents and grandparents that determine your eye color. But apart from that, have you ever wondered what other characteristics, such as astigmatism and nearsightedness have you gotten from your family? In this article, we discuss the link between genetics and various eye conditions.
When Genes Are To Blame
Refractive errors are the most common eye disorders in which the shape of the eye prevents the retina from focusing on the available light correctly. These include astigmatism, farsightedness, and nearsightedness. According to a 2013 research by Nature Genetics, in which scientists studied the date from 32 previous reports, at least 24 new genes are linked with refractive error. These are in addition to two other genes already known.
Many people suffer from eye conditions where genetics are partially to blame. In fact, there are 350 hereditary ocular diseases compiled in an extensive, highly useful database from the University of Arizona College of Medicine. Here are some of them:
- Astigmatism – British researchers studied 500 sets of twins at the Twin Research Unit at St. Thomas Hospital. They found out that heredity accounts for 50 percent of cases of astigmatism. This condition occurs when the lens inside the eye has an irregular curvature or the cornea (the clear front cover of the eye) has an uneven shape. Astigmatism causes blurry vision at any distance and can lead to eye discomfort and headaches. It frequently occurs with other vision impairments like myopia and hyperopia.
- Hyperopia – Also known as farsightedness, this condition belongs in the category of refractive error. Scientists have seen evidence that hyperopia is among the conditions determined by genetics. Common signs include difficulty maintaining a clear focus on near objects, aching eyes, fatigue, and nervousness after sustained concentration.
- Myopia – Another refractive error, myopia or nearsightedness makes farther objects appear blurred. Studies show that if neither of your parents is nearsighted, you have only about 2.5 percent chance of ending up with this eye disorder. However, if one of your parents does have it, your chance of developing myopia increases to 20 percent. Meanwhile, if both parents are nearsighted, you become 33 percent at risk, or 1 in 3.
- Color Blindness – The human eye can detect about a million colors. Those who suffer from color blindness cannot tell the differences between certain colors. This condition is primarily caused by a defective chromosome. Defects in red-green color perception are the most common type of color blindness in humans. The genes responsible for this are located on the x chromosome. Hence, color blindness affects more males than females.
- Cataracts – This eye disease develops gradually over time due to environmental factors, aging, diabetes, injury, or past surgery. Some are associated with inherited genetic disorders that put an individual at risk. Prolonged exposure to ultraviolet rays may hasten cataract development.
- Dry Eye – Environmental factors primarily cause dry eye syndrome, both in the short- and long-term. Smoking, aging, and Sjogren’s disease can also contribute symptoms. However, Nature Genetics reported in a study of nearly 4,000 sets of female twins that genes have a 30 to 40 percent impact on whether a person would develop dry eyes.
- Glaucoma – You are four to nine times more likely to get open-angle glaucoma if your family has a history with this disease than someone without that affiliation. Open-angle glaucoma is the most common kind, but other forms, such as pediatric glaucoma are usually not hereditary. They are instead caused by surgery, injury, or another condition.
- Retinitis Pigmentosa – This is a group of inherited eye disorders that affect the light-sensitive part of the retina. Retinitis pigmentosa destroys cells in the retina, causing advancing eyesight loss. Night blindness is typically the first sign of RP. As the disease progression, affected individuals develop tunnel vision and eventually loss of central vision.
- Macular Degeneration – Research reveals that your chances of developing age-related macular degeneration are three to four times higher if you have a child, parent, or sibling with the same condition. While not all types of macular degeneration are hereditary, certain genes have a strong link with a person’s risk. In fact, genetic predisposition may account for half the cases in the U.S.
- Retinoblastoma – Patients with retinoblastoma have alterations in both copies of a tumor suppressor gene that is responsible for controlling the replication of cells. Not having this suppression can leave the multiplication of retinal cells unchecked, leading to a mass of cells that constitute the tumor. This enables the cancerous tissue to grow inside the eye and even spread outside. Not all retinoblastoma cases are heritable, that’s why calculating one’s risk of handing down this disease is complex.
It’s important to note that some eye conditions are the result of what happens in your life, such as your lifestyle, overall health, and environmental elements. For example, dry eye syndrome is more common for those who live in sunny or dessert areas. In addition, the Centers for Disease Control and Prevention say that smokers are thrice more likely to develop cataracts and twice as likely to get macular degeneration than nonsmokers.
Correcting Inherited Eye Diseases
Experts from the Center for Genetic Eye Disease at the Cole Eye Institute are working closely with specialists in the Medical Genetics Program and other services at the Cleveland Clinic to find solutions for complicated eye disorders.
Early diagnosis and effective treatment are key to correcting these conditions. Your ophthalmologist, geneticist, or family doctor may refer you or your child to a clinic specializing in testing and evaluation of genetic eye disorders if they suspect the case.
The genetics of poor eyesight is too complicated to be a simple dominant or recessive trait. Every condition usually has more than one gene involved. While you may not have a say in what characteristics you inherit from your parents, you can definitely do something to correct errors in your vision. If you want to have your eyesight checked, Arizona Retinal Specialists is ready to provide topnotch vision care. Call us today at (623)474-3937 (EYES) for your questions. | https://www.arizonaretinalspecialists.com/blog/10-eye-disorders-linked-to-ones-ancestry/ |
To continue our discussion about inherited eye diseases during Healthy Vision Month, I had the pleasure of speaking with Sarah Richards, a clinical genetic counselor who has worked in the Ophthalmic Genetics Clinic at The Emory Eye Clinicfor the last 3 years. Sarah worked under Dr. Suma Shankar, a genetic ophthalmologist who is an Assistant Professor for the Departments of Human Genetics and Ophthalmology at Emory University School of Medicine and serves as the Medical Director for Emory Genetics Laboratory.
Recent Posts
Topics: Inherited Eye Disorders, ocular genetics, genetic counseling
In 2014, the American Academy of Ophthalmology (AAO) Task Force on Genetic Testing published recommendations for the testing of inherited eye disease. These recommendations are intended for ophthalmologists and other eyecare specialists considering testing patients who meet a specific genetic diagnosis, based on clinical findings. The Task Force addressed key points, such as when to order genetic testing for single-gene and complex eye disease, whether children should be tested, and how the use of genetic technologies may assist in the diagnosis of eye disease.
Continue reading for a summary of The AAO Task Force Recommendations.
Topics: genetic testing, Inherited Eye Disorders, ocular genetics
Researchers have identified several genetic causes of autism spectrum disorder (ASD), including chromosome abnormalities, copy number variants, metabolic changes, and single-gene disorders. The diagnostic yield for identifying a specific genetic etiology has been reported as 6-15%, which should improve once genetic testing methods evolve, scientific literature expands, and clinical experience increases (Schaefer et al. 2013). The specific genetic defect could be molecular, cytogenetic or biochemical in nature; therefore, choosing a comprehensive lab that offers all three types of testing may be advantageous. Keep reading to learn more about EGL's approach to genetic testing for ASD.
Topics: neurogenetics, genetic testing, Autism, Autism Spectrum Disorder
According to the CDC about 1 in 68 children and over 3 million individuals total in the United States, and tens of millions worldwide, are estimated to have ASD. In addition, boys are 4 times more likely than girls to develop an ASD. Most cases appear to be caused by a combination of autism risk genes and environmental factors influencing early brain development.
While many people are familiar with autism, keep reading to learn more about the autism spectrum.
Topics: neurogenetics, Autism, Autism Spectrum Disorder
Carrier screening is becoming increasingly popular within the medical field. Ideally, integrated in obstetric care and preconception, carrier screening is an extremely useful tool for any couple considering having children. Keep reading for 6 points to consider about expanded carrier screening.
The holiday season has come around once again, bringing the opportunity to celebrate and join our beloved family members and remember those who have gone before us. This precious time also presents the opportunity to discuss and share family health history (FHH).
In 2004, the Surgeon General of the United States declared Thanksgiving as National Family History Day. This declaration was made to help increase awareness of FHH as an important risk factor for common chronic diseases such as cancer, heart disease, and diabetes, and to promote a reduction of the burden these diseases have on the national population. In 2012, the CDC found that 96% of Americans believed that knowing their family history was important. Despite these findings, only one-third of Americans have ever tried to gather and record their family's health history.
Because family health history is such a powerful screening tool, the Surgeon General has created an internet-based application called My Family Health Portrait to help make it fun and easy for anyone to create a sophisticated portrait of their family's health. We have listed important things to consider while recording your Family Health History below. | http://blog.geneticslab.emory.edu/author/eleina-cox/page/2 |
Take-Home Messages:
- Inherited Cardiac Conditions (ICCs) are an important cause of arrhythmias, especially in the younger population.
- Rare genetic variants are involved in the pathophysiology and clinical manifestations of ICCs leading to both brady- and tachy-arrhythmias.
- Genetic testing may help guide the diagnosis, treatment and risk stratification of several ICCs.
- Increasing evidence suggests a role of common genetic variants and polygenic risk in ICCs, although further research is needed before their routine utilisation in the arrhythmia clinic.
Introduction
Over 150 years ago the first theories on the mechanisms governing variability in phenotype between parents and offspring were made. Genetic technologies have evolved sufficiently to be able to uncover the whole human genome, the complete set of genes in a cell or organism . Alongside this, our understanding of the mechanisms underlying the heritability of cardiovascular diseases has also progressed. Cardiac arrhythmias are no exception to this, and the role of genetic predisposition is increasingly being recognised.
Genetic technology
Next-generation sequencing
Current methods for clinical genetic testing (collectively known as next-generation sequencing [NGS]) employ rapid and large-scale analyses of panels of genes selected for association with the condition being tested for, or similar but ‘virtual’ panels from sequencing of the whole genome or the whole exome (the genetic code that directly impacts upon protein product). NGS data generated in research have resulted in large public databases and resources that characterise variation in the genetic code in the general population such as GnomAD (broadinstitute.org). These data, as well as information from the scientific literature, family and functional studies, have been incorporated into a framework for categorisation of rare genetic variants according to their likelihood of disease causation, i.e., their pathogenicity.
A consensus document from the American College of Medical Genetics and Genomics (ACMG) and the Association for Molecular Pathology published in 2015 developed a five-tier system of classification for genetic variants relevant to Mendelian diseases based on several criteria, including: variant position, type and frequency in the general population; resultant changes in the transcribed mRNA sequence and predicted effect on translated protein function; inheritance mode and co-segregation in relatives; and association with clinical phenotype. Variants are ultimately classified as pathogenic (Class 5), likely pathogenic (Class 4), uncertain significance (VUS; Class 3), likely benign (Class 2), or benign (Class 1).
Most inheritable cardiac conditions (ICCs) largely behave as monogenic disorders, i.e., with a classical autosomal dominant Mendelian pattern of inheritance, such that there is 50% chance that the affected allele harbouring a Class 4 or 5 variant is transmitted to each child. These variants have a large effect size as they cause an important disruption in the biological processes associated with the development of the disease (Figure 1); however, the significance of a disease-causing variant in the clinical setting must be interpreted by also taking into account two phenomena: incomplete disease penetrance and variable expressivity. The former refers to the presence of individuals from the same family harbouring the same specific genetic variant as affected subjects, but that do not show evidence of the disease. The latter describes the difference in the clinical manifestation amongst subjects with the same genetic condition. Both disease penetrance and expression are believed to be influenced by non-genetic but also genetic factors as described below.
Figure 1. Genetic variant frequency and effect size and their role in pathogenicity for arrhythmic disorders including ICCs.
Polygenic heritability and disease susceptibility
Most of the causative genes for ICCs were identified using a candidate gene approach, either by genetic linkage analysis (based on the assumption that alleles localised closely on a chromosome tend to be inherited together) or biological pathway information. It has become evident that many ICCs are not entirely monogenic but, rather, have a complex genetic basis.
Genome-wide association studies (GWAS) have associated physiological traits or diseases with common genetic variants or single nucleotide polymorphisms (SNPs), defined as variants with a minimum minor allele frequency (MAF) in the general population of over 5%. GWAS compare the relative frequency of SNPs in affected and control populations, looking for genome-wide significant findings in an agnostic fashion, and uncovering new biological pathways as a consequence. However, the contribution of SNPs to disease development is usually much less significant than pathogenic rare variants while low-frequency variants (MAF 1-5%) may have intermediate effect sizes. In combination, however, SNPs and low frequency variants may contribute to or modify the risk of susceptibility to disease development, giving rise to a model of oligogenic or polygenic heritability (Figure 1). Indeed, the additive effects of permutations of multiple SNPs can be measured using polygenic risk scores (PRSs) that may have an important impact on phenotype and explain some of the “missing heritability” in otherwise Mendelian disorders, as well as variable expressivity .
Arrhythmias in the clinic and heritability of risk
Arrhythmogenic diseases may be secondary to micro- or macroscopic structural abnormalities (i.e., partial or total absence of structures, fatty and/or fibrous replacement of normal tissues, calcification) and/or be due to functional abnormalities of the action potential. Genetic predisposition to these pathophysiological changes may underlie tachy- or brady-arrhythmias observed in the clinic.
Indeed, the genetic susceptibility to cardiac arrhythmias has been documented following descriptions of familial clustering of the most common cardiac arrhythmias: atrial fibrillation (AF) , ventricular fibrillation (VF) and progressive conduction disease . AF is usually secondary to cardiovascular disease or other external factors; however, common and rare genetic variation has been associated with “lone” AF . Sudden cardiac arrest (SCA) due to ST-elevation myocardial infarction survivors were found to have a significantly increased family history of sudden cardiac death (SCD) and SCA .
Ventricular tachycardia (VT) and VF are often a consequence of structural heart conditions, including cardiomyopathies that may have a strong genetic predisposition. Furthermore, the risk of SCD may be particularly high in young people and is also often associated with channelopathies . Finally, bradycardia and heart block, commonly secondary to degenerative cardiac disease, may have genetic determinants and even appear from birth. Indeed, AF, VF and conduction defects may be the only manifestation of an ICC, isolated or in combination.
Whilst ICCs are typically caused by pathogenic rare variants, this monogenic model cannot explain all heritability underlying ICCs, and recent evidence supports the polygenic model, as described below .
Utility of genetic testing in the clinic
The prevalence of the most common rhythm abnormalities increases with age and comorbidities; SCA and SCD in the young most often result from inherited cardiomyopathies or channelopathies, although a high proportion remain unexplained . International guidelines and expert consensus documents have been developed to guide the diagnosis and management of ICCs; however, the widespread integration of genetic testing into the clinical setting has forced clinicians and researchers to implement a rationalisation of not only variant interpretation but adjudication of genes suitable for such testing.
The National Institutes of Health Clinical Genome (ClinGen) Resource (clinicalgenome.org) has established multiple expert panels and a framework for undertaking this process in the ICCs. The ACMG framework for variant interpretation and the ClinGen recommendations have been included in the last 2022 EHRA/HRS/ APHRS/ LAHRS Expert Consensus Statement on the state of genetic testing for cardiac diseases . Figure 2 summarises the diagnostic gene panels frequently associated with clinical arrhythmias and their associated phenotypes according to this latest consensus statement.
Figure 2. Classification of cardiac arrhythmias and overview of genes suitable for genetic testing according to ClinGen and the 2022 EHRA/HRS/ APHRS/ LAHRS Expert Consensus Statement on the state of genetic testing for cardiac disease.
ACM: arrhythmogenic cardiomyopathy; AF: atrial fibrillation; BrS: Brugada syndrome; CCD: cardiac conduction disease; CMP: cardiomyopathy; CPVT: catecholaminergic polymorphic ventricular tachycardia; DCM: dilated cardiomyopathy; HCM: hypertrophic cardiomyopathy; LNCC: left ventricular non-compaction cardiomyopathy; LVH: left ventricular hypertrophy; PCCD: progressive cardiac conduction disease; LQTS: long QT syndrome; SQTS: short QT syndrome; SND: sinus node disease.
After the identification of index cases (probands), cardiologists and genetic counsellors must identify family members potentially at risk, through clinical screening of immediate relatives and/or predictive genetic testing, i.e., testing of Class 4 or 5 variants in relatives to make or exclude a diagnosis. In this context, a detailed three-generational family history may add supporting evidence of the phenotype in a family and improve interpretation of Class 3 variants through assessing segregation of phenotype with genotype. The genetic screening of families is particularly important in channelopathies such as long QT syndrome (LQTS), Brugada syndrome (BrS), catecholaminergic polymorphic ventricular tachycardia (CPVT), and in the cardiomyopathies such as hypertrophic cardiomyopathy (HCM), dilated cardiomyopathy (DCM), and arrhythmogenic cardiomyopathy (ACM), where identification of a causative variant should be pursued even in the absence of symptoms or phenotype, to establish appropriate preventative measures.
Genomic risk
SCD/SCA
SCD in young individuals may be due to a spectrum of cardiac diseases with different arrhythmic risks, including channelopathies, cardiomyopathies, congenital heart disease, myocarditis, and premature coronary artery disease. Therefore, post-mortem evaluation, ideally including a toxicological examination and an expert pathology review, is of utmost importance to investigate any case of sudden unexpected death.
Results from a recent European Heart Rhythm Association (Heart Rhythma Associaton EHRA) survey have shown, however, that an autopsy is performed in only 43% of sudden unexplained deaths, a macroscopic examination of the body and all organs in 71%, and expert cardiac examination in 32% of autopsy cases . Similarly, post-mortem genetic testing (molecular autopsy), which proved to increase the yield of diagnosis in ICC families and is advocated by current guidelines, is requested in only 37% of cases . A study using whole exome sequencing has identified ACMG Class 4 or 5 variants in genes associated with coronary artery disease, cardiomyopathies, channelopathies and aortic disorders in up to 2.5% of unselected cases of SCD . The contribution of common genetic variation to SCD is supported by one study associating the 2q24.2 locus, containing 3 genes with unknown function significance, with an increased risk of SCD .
Recent data from the CASPER registry, a prospective Canadian national registry of cases of initially unexplained SCA, showed that 10% of survivors carry a disease-causing variant in genes associated with ICCs, mainly associated with cardiomyopathy . This is in keeping with a prior study highlighting a genetic yield of ACMG Class 4 or 5 variants in established SCA-predisposing genes ranging between 2% and 17%, depending on the type of genetic test utilised (e.g., disease-specific vs whole exome sequencing) in subjects without discernible cardiac phenotype (idiopathic VF) . Moreover, the possibility of detecting ≥1 Class 3 variant in channelopathy or cardiomyopathy genes (15-26%) exceeded that of clinically actionable Class 4 and 5 variants (2-17%), challenging the utility of pan-arrhythmia, pan-cardiac, and exome-based genetic testing in unexplained SCA survivors with a diagnosis of IVF.
A founder variant, a pathogenic variant with a relatively high prevalence in the population in a particular geographical region, derived from a common ancestor, and whose presence is immediately useful as a diagnostic risk marker, has been associated with an increased risk of sudden death: the DPP6 haplotype on chromosome 7q36 in idiopathic VF survivors of Dutch ancestry . So far common genetic variation has not been associated with SCA. Thus, current guidelines do not support hypotheses-free genetic testing using whole exome or genome sequencing in survivors of unexplained SCA, although testing channelopathy and cardiomyopathy genes may be useful, and in selected cases, testing for founder variants may also be of utility .
AF
Rare monogenic forms of familial AF (Figure 2) have been described as have associations with common genetic variation. Indeed, more than one hundred SNPs have been associated with ‘lone’ AF, identified mainly in non-coding regions of the genome [3, 14]. In the ICC clinic, AF can be associated with both primary arrhythmia syndromes and cardiomyopathies, but familial monogenic AF has been observed in up to 5% of all AF cases referred to an arrhythmia clinic . Current evidence supports a potential role of genetic testing in index patients with an established diagnosis of familial (age <60) AF .
Genomic risk in ICC-related arrhythmias
As mentioned above, rare genetic variants in single genes with large-effect size usually underlie the development and clinical manifestations of ICCs (Figure 1). In addition, a significant shift from the concept of “one gene - one disease” has occurred, with several examples of a single gene affecting multiple phenotypes (Figure 2). Due to the high clinical and genetic variability of ICCs, careful risk stratification approaches must be adopted, and therapeutic strategies tailored to the individual. Depending on the disease, genetic testing results may have a significant impact not only on the diagnosis, but also in the risk assessment and therapeutic approach .
In patients with LQTS the risk of life-threatening arrhythmic events is based on the genetic substrate and is modulated by the QTc measurement; specific genes and variants are associated with different arrhythmic risk and potential therapeutic benefits. For example, the LQT2 and LQT3 subtypes, encoded by KCNH2 and SCN5A genes respectively, carry higher risk for life threatening arrhythmic events than the LQT1 subtype, encoded by KCNQ1. This has been characterised in a few different risk models including a recent risk calculator, 1-2-3-LQTS-Risk, developed in an Italian population and validated in the international LQTS Registry . Furthermore, medical treatment with betablockers is recommended in patients with a pathogenic LQTS variant, regardless of the degree of QTc prolongation, while mexiletine should be considered in patients with LQT3. Similarly, patients with RYR2 variants but limited or absent manifestations of CPVT should also be considered for medical therapy. The identification of SCN5A gene variants in subjects with BrS may be associated with worse prognosis or overlapping cardiac conduction disease, therefore requiring preventative device implantation.
Patients with desmosomal variants causing ACM should avoid competitive sport or high-intensity exercise, which can worsen ventricular dysfunction and increase the incidence of ventricular arrhythmias. Dilated cardiomyopathy patients who carry pathogenic variants in genes associated with higher risk of SCD such as LMNA, PLN, DSP, FLNC or RBM20, may be considered for preventative PM/ICD implantation, a higher ejection fraction (<45%) than usually employed in non-genetic cases (<35%) .
LMNA cases are also substantially at higher risk of developing bradyarrhythmias and may warrant pacing at an earlier stage and thus may be considered for device therapy at an earlier stage. In some syndromic conditions associated with left ventricular hypertrophy which mimics HCM, the identification of a specific genotype may prompt potential disease modifying treatment such as enzyme replacement therapy in patients with GLA variants and Fabry’s disease. Finally, one study demonstrated the feasibility of suppression-and-replacement hybrid gene therapy in an in vitro model of LQT1, thus laying the foundations for a future therapeutic approach to ICCs, directly targeting the abnormal substrate .
Aside from the effect of monogenic rare variations, arrhythmic manifestations of ICCs may be influenced by the presence of one or multiple common SNPs in the genome, contributing directly to disease causation. This has been firstly investigated in the BrS, where only 20% of cases exhibit a Class 4 or 5 SCN5A variant and heritability remained largely unexplained. A first GWAS, performed on approximately 300 BrS probands and 1000 control subjects, led to the identification of three significant loci associated with the disease at the SCN5A, SCN10A, and HEY2 genes . Other loci have been identified in subsequent studies. A significant burden of common variation associated with the QT interval is recognised, with a PRS derived from GWAS of the QT interval in the general population able to explain in part the heritability of LQTS in patients compared to healthy people; most significantly in those without an ACMG Class 4 or 5 genetic variant .
Alternatively, SNPs may act as modifiers of phenotype or acquired disease. For instance, a PRS derived from the first BrS GWAS can predict the occurrence of the type 1 Brugada pattern in response to the ajmaline provocation test. Common variants can also explain in part incomplete penetrance of the Brugada phenotype in families with Class 4 or 5 SCN5A variants . In addition, the QT interval PRS may predict the individual susceptibility to drug-induced QT prolongation and Torsades de Pointes . Although promising as diagnostic or prognostic tools, these are not currently adopted in the clinical setting .
Conclusion
Recent technological advances and developments in our understanding in the genetic architecture of heart disease are leading the way towards new diagnostic and therapeutic approaches to arrhythmias. Genomic techniques generate enormous amounts of data, which are currently not yet used to their fullest potential, due to analytical and interpretative challenges. Furthermore, the challenge remains to complete the shift from disease association to causation to make relevant conclusions about genomic-derived risk of arrhythmias. Currently, the applications of genomics include the early identification of index subjects and their relatives at risk of an ICC, the guidance of more individualised therapeutic approaches and prevention of SCD. | https://www.escardio.org/Journals/E-Journal-of-Cardiology-Practice/Volume-22/the-application-of-genomics-in-the-arrhythmia-clinic |
The use of genetic information to predict future onset of disease in an asymptomatic (presymptomatic) person is called predictive genetic testing.
Every aspect of our being is influenced by both genes and environment. In the future, a strategy for influencing development may be to alter genes. At present, the environment in which genes act can sometimes be changed, and thereby moderate their impact (taking medications or avoiding specific hazards, for example). Sometimes there is no known way to change the deterministic power of a gene, though with increased knowledge of its workings there is always hope for future interventions. Whether or not the course of a disease can be altered, predictive information is increasingly available, and some people choose knowledge over uncertainty.
For generations, people have used family information to anticipate outcomes for themselves. Insurers consider parental age and cause of death for actuarial tables. Evolution in knowledge has been from information with considerable associated uncertainty to that with greater predictive capacity. Huntington Disease (HD) became the prototype for predictive testing and serves to illustrate.
HD is a neurological disease with onset of symptoms usually during adulthood. It is inherited as an autosomal dominant trait; someone with an affected parent has a 50/50 chance of eventually developing the disease. The HD gene was the first human gene to be linked to an otherwise anonymous DNA marker (a restriction fragment length polymorphism, called G8), and long before the gene itself was identified, this marker and others like it became powerful predictive tools. Families in which HD was segregating were studied to determine which variant of the marker was tracking with the mutant HD gene; once that relationship was established, the marker(s) could be used to test family members who wished to know their genetic status. This indirect approach to testing was associated with some probability of error, since the markers were only close to the gene, not within it. With discovery in 1993 of the gene responsible for HD, a direct assay was immediately possible, with or without access to samples from other family members, and results became highly predictive.
The laboratory advances made access to this information possible, but it was quickly recognized that great care would be needed in the application of such knowledge to individuals at risk. A large Canadian collaborative study of predictive testing for HD, initiated in the late 1980s, has been particularly informative for assessing the impact of such information on individuals and families and developing guidelines for the practice of predictive medicine, including the need for supportive counseling and follow-up. Lessons from experience with this relatively obscure disorder were soon applied to other late-onset diseases for which predisposing mutations were identified. Notable in this context are inherited cancers such as familial breast cancer or colon cancer, other neurological disorders such as spino-cerebellar ataxias (including Machado-Joseph Disease), and familial Alzheimer disease. Common afflictions such as heart disease, diabetes, and arthritis will eventually be amenable to similar investigations.
The Human Genome Project recognized the need for ethical considerations to match scientific advances, and its mandate includes significant support for research into ethical, legal and social issues. This has set new standards for the application of knowledge, respecting public concerns about the implications of new technologies. The opportunity to know ones genetic destiny has potential risks that must be mitigated in order for the benefits to be realized. Once the predictive test for HD was available, it was soon apparent that not everyone at risk wished to be tested. The right not to know is a significant issue. The genetic nature of these diseases adds complication, becasue information revealed about one individual may secondarily imply information about other family members, and individual choices will impact others in the family network. Acting upon respect for individual autonomy, early guidelines have advised against the testing of children for late-onset disorders in the absence of preventive options. In countries without universal health care, insurance implications of predictive testing are huge. Will people be required to submit a clean genetic bill of health in order to secure health or life insurance?
Eventually, there will be effective therapeutic interventions for diseases such as HD and Alzheimer disease, individually tailored to the needs of those at risk. Until then, there will be controversy over the practice of predictive testing, but many will continue to choose knowledge and maintain hope for the future.
See also Archaeogenetics; Chromosomal abnormalities; Medical genetics; Pharmacogenetics.
Nussbaum, R.L., Roderick R. McInnes, Huntington F. Willard Genetics in Medicine. Philadelphia: Saunders, 2001.
Rimoin, D.L. Emery and Rimoin's Principles and Practice of Medical Genetics. London; New York: Churchill Livingstone, 2002.
Strachan, T., and A. Read. Human Molecular Genetics. New York: Bios Scientific Publishers, 1998.
Leparc. G.F. "Nucleic Acid Testing for Screening Donor Blood." Infectious Medicine, no. 17 (May 2000): 310–333.A.
Selwa, R. "Researcher Talks About Ethics of Genetic Therapy" Macomb Daily (2000):1A, 8A.
National Human Genome Research Institute. "Ethical, Legal and Social Implications of Human Genetic Research." October 2002 [cited February 2, 2003]. <http://www.nhgri.nih.gov/ELSI/>. | https://science.jrank.org/pages/2983/Genetic-Testing.html |
What is Hereditary Breast and Ovarian Cancer syndrome?
While most cancer happens by chance (i.e. sporadic), about 5-10% of cancers are caused, in part, by inheriting a genetic variant from a parent that increases the risk for certain cancers over a person’s lifetime. Hereditary breast and ovarian cancer syndrome (or HBOC) is an adult-onset inherited cancer predisposition that affects about one out of every 300-500 people in the general population. However, HBOC is more common among certain ethnic groups. Individuals of Ashkenazi Jewish ancestry, for example, have up to a 1 in 40 risk for HBOC.
As the name suggests, HBOC is associated with breast and ovarian cancer. While there are several genes that can increase the risk to have these cancers, the two most common and well-studied genes are BRCA1 and BRCA2. These genes serve as “caretakers”, correcting sporadic DNA errors due to faulty cell division or environmental exposures. Individuals who are “BRCA-positive” have a pathogenic variant (also called a genetic mutation) in the BRCA1 or BRCA2 gene which can cause DNA damage and lead to cancer.
Women who are BRCA-positive have up to a 72% chance of developing breast cancer, and up to a 44% chance of developing ovarian cancer by the age of 80. Males who are BRCA-positive are at an increased risk for male breast cancer and prostate cancer. Also, males and females who are BRCA-positive are at a slightly increased risk for other cancers, such as pancreatic cancer and melanoma.
How is HBOC syndrome inherited?
HBOC is an autosomal dominant condition. There is a 50% chance that someone with a pathogenic variant could pass it on to each of their children. Pathogenic variants can be inherited from either the mother or the father.
How is HBOC syndrome diagnosed?
HBOC is diagnosed through genetic testing. A genetic counselor or other healthcare provider familiar with genetics will review a patient’s personal and family history to see if there is an increased risk to have HBOC.
There are professional guidelines that help providers determine whether or not a patient is appropriate for testing. According to recent guidelines published by the American Society of Breast Surgeons, genetic testing should be made available to all patients with a personal history of breast cancer. The National Cancer Center Network guidelines also recommend that genetic testing be offered to patients with a personal history of male breast cancer, ovarian cancer, pancreatic cancer or metastatic prostate cancer. Patients without a personal history of cancer may be appropriate for genetic testing if they have a family history suspicious of HBOC. Furthermore, a new statement from the US Preventive Services Task Force recommends that primary care providers use a family history tool to assess all women who have an ancestry associated with a higher risk for BRCA1/2 gene mutations (such as Ashkenazi Jewish).
When offering genetic testing for HBOC, most providers suggest testing for a panel of genes that can cause HBOC that extends beyond just the BRCA genes. If the result reveals a pathogenic (clearly disease-causing) variant in one of these genes, the provider will discuss the associated cancer risks as well as the published medical management guidelines available for carriers of the pathogenic variant.
There is a difference between at-home genetic tests and diagnostic tests in the information they provide. Therefore, patients should consult with a genetic counselor or other healthcare provider familiar with inherited cancer testing before they submit a sample to make sure they are getting the best test for their situation.
How is HBOC syndrome treated?
There may be alternative medical management options available for patients with cancer who have HBOC. For example, breast cancer patients who are BRCA-positive may choose to have a total bilateral mastectomy instead of a lumpectomy since their risk to develop a second primary breast cancer is up to 40%. Also PARP inhibitors may be prescribed, which are a type of FDA-approved therapy designed specifically for patients with pathogenic variants in BRCA or other genes who have metastatic breast or ovarian cancer. Ongoing clinical trials are also showing promise for patients with pancreatic or metastatic prostate cancer who are BRCA-positive.
“Previvors” or “unaffected carriers” are individuals who have a hereditary predisposition to cancer, but have not developed the disease. Identifying a pathogenic variant in a cancer predisposition gene may enable preventative options that can catch cancer at an earlier, more curable stage or prevent cancer altogether. For example, women who are BRCA-positive are encouraged to have an annual mammogram with an annual breast MRI often scheduled six months apart. Alternatively, they can significantly reduce their risk for both breast and ovarian cancer by choosing prophylactic surgeries.
Is preimplantation genetic testing available for HBOC syndrome?
Both men and women who have a known pathogenic variant in a gene that causes HBOC can pursue preimplantation genetic testing (also called PGT-M) since they have a 50% chance of passing the disease to their children.
Brandi Preston, Founder and Chief Volunteering Officer of the Kamie K. Preston Hereditary Cancer Foundation, first learned about PGT-M for HBOC at a conference a few years ago. “I do believe women should hear about PGT-M prior to starting a family,” says Preston.
Yet many young patients who carry a hereditary cancer predisposition are unaware of PGT-M as a family planning option. “So many of us wonder if we want to have children, because we fear losing our life to cancer before the children grow up,” says Preston. “We also fear passing on a cancer-causing mutation to children, especially if we know about the gene prior to having children. Giving PGT-M as an option allows patients to decide if they want children, and if they do, there is an option to ensure their children will not carry the same mutation that has often caused so much suffering and heartache within the family.”
Whitney, a male previvor who is BRCA-positive, has an extensive family history of breast cancer and discussed his and his wife’s decision to pursue PGT-M with his family. Whitney has seen and felt the impact of breast cancer. He says, “Just countless cases of breast cancer throughout the family. Being able to eliminate that from our lineage is something that my mom was just thrilled to know was going to happen.” He and his wife Brittney gave birth to a healthy baby boy in the summer of 2016.
If you believe you may be at risk for HBOC and would like to speak with a genetic counselor either in person or by phone, the National Society of Genetic Counselors or a fertility clinic with genetic counseling expertise can help. Identifying a mutation in a gene that causes a hereditary predisposition to cancer is the first step to pursuing PGT-M for the disease.
Leslie is a board-certified clinical genetic counselor and former Program Manager for the preimplantation genetic testing (PGT) program of the ORM Genomics team and former Project Manager for SharingHealthyGenes.com. She completed her Bachelor’s degree at DePauw University and her Master’s degree in Genetic Counseling at the University of Texas Graduate School of Biomedical Sciences at Houston. Since graduating in 2000, she has worked as a clinical genetic counselor in several specialties including prenatal, pediatric and cancer genetics and has been very involved with the National Society of Genetic Counselors. | https://sharinghealthygenes.com/hboc/ |
B1.3 How can and should genetic information be used? How can we use our knowledge to prevent disease?
Different forms of the same gene are called ALLELES. You inherit one allele for each gene from your father and one allele for each gene from your mother. For example, the gene for eye colour has alleles for blue eye colour and alleles for brown eye colour. Your eye colour will depend on the combination of alleles you have inherited from your parents.
Some diseases are inherited from our parents though our genes: they are called GENETIC DISORDERS. They occur because of faulty or defective alleles.
E.g. CYSTIC FIBROSIS
Cystic fibrosis is caused by a recessive allele. You need to inherit two copies of the faulty allele to be born with cystic fibrosis. If you have just one copy, you are a CARRIER
Cystic fibrosis affects the cell membranes causing a THICK MUCUS to be produced in the lungs, gut and pancreas.
SYMPTOMS – Thick and sticky mucus
Breathing problems
Chest infections
Difficulty digesting food
HUNTINGTON’S DISEASE is another genetic that affects the central nervous system. However is caused by a dominant allele – the presence of just one dominant allele can cause the disease. You only need to inherit one copy of the faulty allele to have Huntington’s disorder, unlike cystic fibrosis, where you need to inherit both copies. You can inherit the disorder if one or both of your parents carry the faulty allele, because it is DOMINANT.
SYMPTOMS – Uncontrollable shaking
Clumsiness
Memory Loss
Inability to concentrate
Mood changes
GENETIC TESTING
- It is now possible to test adults, children and embryos for a faulty allele if there is family history of a genetic disorder. If the test turns out positive, the individual will have to decide whether or not to have children and risk passing on the disorder. This is called PREDICTIVE TESTING FOR GENETIC DISEASES.
- Genetic testing can also be carried out to determine whether an adult or child can be prescribed a particular drug without suffering from serious side effects. (TESTING AN INDIVIDUAL BEFORE PRESCRIBING DRUGS). E.g. certain people are highly prone to getting liver damage while taking COX-2 inhibitor drugs. A genetic test would ensure that only those patients who do NOT have the prone gene are prescribed the drug.
- Embryos can be tested for embryo selection. The healthy embryos that do not have the faulty allele are then implanted. This process is called in vitro fertilisation (IVF).
The process for embryo selection is called PRE-IMPLANTATION GENETIC DIAGNOSIS (PGD). After fertilisation, the embryos are allowed to divide into eight cells before a single cell is removed from each one for testing. The selected cell is then tested to see if it carries the allele for a specific genetic disease.
PGD has risks including inaccuracy in results-healthy embryo not being implanted and it may also decrease the chance of the embryo surviving once it has been implanted.
RISKS OF GENETIC TESTING:
However testing adults and foetuses for alleles that cause genetic disorders has implications that need to be considered, including:
- Risk of miscarriage as a result of cell sampling for the genetic test
- Using results that may not be accurate , including false positives and false negatives
- Whether or not to have children
- Whether or not a pregnancy should be terminated
- Whether other members of the family should be informed
There are ethical considerations that need to be considered very carefully
For example: governments may have the ability to impose genetic tests on individuals by implementing genetic screening programmes, but should they be allowed to do so? There is the potential for genetic testing to be used to produce detailed genetic profiles. These could contain information on everything from ethnicity to whether they are prone to certain conditions (e.g. obesity) or diseases (e.g. cancer).
However how will the information be used?
- Employers could potentially refuse to employ someone who possessed certain alleles
- Insurers may not cover a person who had genes that made them more likely to suffer a heart attack. | https://astarbiology.com/ocr/b1-3-how-can-and-should-genetic-information-be-used-how-can-we-use-our-knowledge-to-prevent-disease/ |
Mayo Clinic is sequencing the exomes of tens of thousands of people from diverse backgrounds to investigate large-scale patterns of distinctive mutations that fuel disease. Exome sequencing analyzes almost all the 20,000 genes that provide instructions for making proteins, which play many critical roles in the body. This is where most known disease-causing mutations occur.
The massive diverse database will provide immediate help to people being tested and enable researchers to unlock the secrets of disease and revolutionize patient care for years to come.
“The potential of this project is immense,” says Konstantinos Lazaridis, M.D., the Carlson and Nelson Endowed Executive Director for Mayo Clinic’s Center for Individualized Medicine.
“As we know, we are made of genes, proteins, metabolites, exposures,” Dr. Lazaridis explains. “This is what defines us as humans in health and disease. So imagine if we can not only understand the gene part, but also our metabolites, our exposures of a lifetime, our proteins ― and how those together interact in a human to create disease or wellness.”
The overall goal of the sequencing project is to accelerate discoveries in individualized medicine to tailor prevention, diagnosis and treatment to a patient’s unique genetic makeup.
“Taking all this information, understanding the complexity of this information, and then being able to deliver what we can offer to patients for common and rare disease, for cancer and noncancer, for inflammatory conditions, and elements of aging,” he says.
Dr. Lazaridis says detecting inherited genetic diseases early, or even before symptoms have a chance to develop, will save the lives of patients and their family members.
“This is where knowledge becomes powerful,” Dr. Lazaridis says.
Investigating actionable genetic mutations
As Mayo Clinic researchers are investigating volumes of data in pursuit of translational discoveries, research participants are learning if they carry disease-causing mutations.
“In this particular research study, we are reporting back results for three very specific conditions,” explains Teresa Kruisselbrink, a genetic counselor supervisor in Mayo Clinic’s Center for Individualized Medicine.
The conditions include clinically actionable variants for an inherited form of high cholesterol called familial hypercholesterolemia, hereditary breast and ovarian cancer, and Lynch syndrome — a form of hereditary colorectal cancer. An additional subset of focused clinically actionable genetic findings include certain types of hereditary cancers, hereditary heart conditions and severe responses to certain medications.
Teresa and her team of genetic counselors work closely with research participants to help them understand their genetic-related risks, and best prevention screenings and strategies.
“Some strategies might include having screening earlier in life,” Teresa says. “There are also some preventive measures by way of therapies that people can take to reduce their risk.”
Teresa says many participants find the benefits of genetic testing to be immeasurable, but for some, receiving abnormal results can be overwhelming.
“Genetic information can cause distress. It can cause anger. It certainly can cause guilt, for example, if a person is understanding that they might have passed this on to their children,” Teresa says. “That’s why we’re there for them to help them through that journey of both learning how to deal with their new diagnosis medically as well as how they can go through that journey from a psychosocial standpoint, as well.”
‘My reaction was complete shock’
When Michelle Ewy, 38, received an opportunity at Mayo Clinic to get her DNA tested for genetic mutations related to breast and ovarian cancers, and other cancers and diseases, she jumped at the chance.
“I wasn’t thinking much of what the outcome would be because there has not been a prevalence of breast or ovarian cancer history in any of my family members,” Michelle recalls from her hobby farm in Iowa, where she spends most weekends with her husband and two young sons.
But her DNA results showed a BRCA-2 mutation.
Up to 80% of women who have the inherited genetic disorder will develop breast cancer in their lifetime and up to 30% will develop ovarian cancer. Males have an increased risk of developing breast cancer and prostate cancer.
“So my reaction was complete shock,” says Michelle. ”I spent the next 60 minutes on the phone with a genetic counselor going through what BRCA is; the risks of having this gene mutation; the risks that it poses to me, and to my kids and family members.”
After comprehensive genetic counseling at Mayo Clinic, Michelle decided to have a double mastectomy, followed by a hysterectomy two months later, to reduce her risk.
“I took a fairly aggressive approach, knowing that I have two little boys who I need to be around for and a husband who needs me, as well,” says Michelle. “I feel that making the decision to be a participant in this research study has saved my life.”
‘I’m really glad I found out’
Damask Grinnell, 21, joined the research study because she became curious about genetic testing while researching the topic in her biology college course. As an Asian American, she also wanted to add diversity to Mayo Clinic’s dataset. She found out she carries a hereditary breast cancer gene, despite no family history.
“I’m really glad that I found out about it now because I can do preventive things and look out for it early instead of waiting until it’s too late, and I’m in my 30s with a family and develop breast cancer,” says Damask from her home in Rochester, Minnesota. “It gives me peace of mind.”
Damask says she will now undergo regular screenings and scans.
“And now that I know, I can try to get my brother to do genetic testing and my family members,” she says. “Since I have the mutation, that gives everybody else an excuse to do it, too.”
Konstantinos N. Lazaridis, M.D.
Dr. Lazaridis is the Carlson and Nelson Endowed Executive Director for Mayo Clinic’s Center for Individualized Medicine at Mayo Clinic in Rochester, Minnesota. | https://mcpress.mayoclinic.org/research-innovation/large-scale-exome-sequencing-project-spots-disease-fueling-mutations-to-save-lives-accelerate-discoveries/ |
Significant advances in genetic research are enabling us to learn more about the complex factors that can influence the balance between energy intake and expenditure and ultimately contribute to obesity. While environment can play a substantial role, studies have shown that in rare cases highly impactful variants in just one gene can be sufficient to cause early-onset, severe obesity and an insatiable hunger drive known as hyperphagia. This development is especially important for improving the care of individuals living with rare genetic diseases that may lead to early-onset, severe obesity such as Bardet-Biedl syndrome.
Bardet-Biedl syndrome is an inherited disease characterized by multisystemic dysfunction. While severe obesity and hyperphagia can potentially affect individuals living with the disease, many other health problems are also associated with Bardet-Biedl syndrome, which can make management a challenge. This disease presents with multiple clinical characteristics and symptoms that affect individuals with Bardet-Biedl syndrome to varying degrees, including retinal degeneration, postaxial polydactyly, learning disabilities, hypogonadism, and renal dysfunction, as well as several other features including speech and developmental delays, congenital heart disease, and diabetes mellitus.
Bardet-Biedl syndrome has been linked to impaired function of the melanocortin-4 receptor (MC4R) pathway that regulates body weight and energy balance. Bardet-Biedl is an autosomal recessive inherited disorder caused by variants in BBS genes, of which more than 20 have been identified. Variants in BBS genes impair MC4R pathway signaling, as loss of BBS genes can disrupt localization of leptin receptors, among others, and this impairs activation of MC4R-expressing neurons. Individuals living with Bardet-Biedl syndrome are typically at a normal weight at birth, but some may exhibit behaviors associated with hyperphagia and can develop severe obesity in early childhood.
Ongoing research in Bardet-Biedl syndrome has helped inform healthcare providers and genetic counselors with much-needed guidance to support the development of individualized management plans to the meet the unique needs of people living with the condition. To diagnose Bardet-Biedl syndrome, doctors use the Beales Diagnostic Criteria to assess whether a person presents with specific clinical features associated with the condition. The Beales Diagnostic Criteria, developed by Dr. Philip Beales, outlines the primary and secondary characteristics of Bardet-Biedl syndrome. Doctors may also use genetic testing to confirm a clinical diagnosis or to identify which Bardet-Biedl syndrome gene is the cause. Early recognition and diagnosis may mitigate disease progression by allowing for better management of features including severe obesity and hyperphagia. Early diagnosis can also help alleviate the burden of blame felt by individuals and caregivers, prevent negative health perceptions, and reduce harmful stigmas surrounding obesity.
In recent years, genetic research has given us unprecedented insight on the environmental and genetic factors that can contribute to obesity. We now know that there is not a “one size fits all” approach to treating severe obesity and hyperphagia, especially in cases caused by rare genetic diseases such as Bardet-Biedl syndrome. As we improve our knowledge of underlying genetic variants and their influence on hunger and body weight, we continue to make critical progress in building a better understanding of the unmet needs of individuals living with Bardet-Biedl syndrome and the impact of severe obesity and hyperphagia. | https://obesitymedicine.org/understanding-unmet-needs-in-bardet-biedl-syndrome/ |
History[ edit ] The earliest documentation of critical thinking are the teachings of Socrates recorded by Plato. Socrates established the fact that one cannot depend upon those in "authority" to have sound knowledge and insight.
Methods of Critical Thinking Critical thinking has a useful sequence to follow: Itemize opinion s from all relevant sides of an issue and collect Logical argument s supporting each. Break the arguments into their constituent statements and draw out various additional implication s from these statements.
Examine these statements and implications for internal contradictions. Locate opposing claims between the various arguments and assign relative weightings to opposing claims: Assess the weights of the various claims.
Mind maps provide an effective tool for organizing and evaluating this information; in the final stages, one can assign numeric weights to various branches of the mind map. Critical thinking does not assure that one will reach either the truth or correct conclusions.
First, one may not have all the relevant information; indeed, important information may remain undiscovered, or the information may not even be knowable. Critical thinking may be distinguished, but not separated, from feeling.
Refusal to recognize their interaction in real life leads to various forms of self-deception, individually and socially; and at the left, right, and mainstream of economic, political, and religious issues.Critical thinking is the objective analysis of facts to form a judgment.
The subject is complex, and several different definitions exist, which generally include the rational, skeptical, unbiased analysis, or evaluation of factual caninariojana.comal thinking is self-directed, self-disciplined, self-monitored, and self-corrective thinking.
It presupposed assent to rigorous standards of. Research Methods in Africana Studies is a major contribution to the discipline of Africana studies and social science involving people of African descent in general.
This textbook is the first of its kind, offering instruction on how to conduct culturally relevant critical research on Africana communities in the American context, in addition to the African diaspora. A Critical Evaluation of two Research Methods, Qualitative and Quantitative Words | 7 Pages.
Qualitative Article:A Women 's Place is in the Home: Females and Residential BurglaryThis article uses a qualitative research method.
Teaching critical thinking skills can be supported by an understanding of Information Fluency. Mastering the proper use of information is crucial to our students’ success in school and life. It’s about learning how to dig through knowledge in order to find the most useful and appropriate facts for solving a problem.
Integrating Critical Thinking into the Curriculum; Learning Styles; Integrating Critical Thinking into the Curriculum. Meg Gorzycki, Ed.D. The Socratic Method can be adapted to promote critical thinking, oral communication skills, and writing skills.
Here are some examples. The oldest, and still the most powerful, teaching tactic for fostering critical thinking is Socratic teaching. In Socratic teaching we focus on giving students questions, not answers.
We model an inquiring, probing mind by continually probing into the subject with questions. Fortunately, the. | https://fokaqomyxov.caninariojana.com/methods-of-critical-thinking-52893dz.html |
We recently redesigned our website at Studies Weekly, and as part of that, we moved the blog its own page and tab there. To read current blog posts that include more Thinking on Education, product updates and how-to’s, visit studiesweekly.com/blog. Thanks for reading!
Month: May 2019
Thinking on Education: Differentiating Instruction Does NOT Have To Be Hard
We all want our students to succeed.
On the surface level, student success looks like solid test scores, mastery of grade-level standards, etc. But in life, tests and standards are not the only ways to define success. And just as each student’s path to career success will look very different, there are various paths students can take to learning success.
That’s where differentiated instruction comes in.
“Differentiated instruction honors students’ diverse backgrounds and learning styles. With differentiation, teachers recognize their students as individuals with varying needs and provide them with more options for learning. In other words, teachers use multiple strategies to make sure that all students can absorb the information being taught, share what they’ve learned, and meet long- and short-term goals,” the staff at We Are Teachers said in a January 2018 article.
For many classroom teachers, though, it seems like a lot of work to implement differentiated instruction. Teachers feel overwhelmed with different lesson plans for the same topic, varied content delivery processes and projects.
But it doesn’t have to be, according to veteran teacher Larry Ferlazzo. He explained in a February 2019 Education Week video that it is more a “way of thinking, not a list of pre-planned strategies.”
When teachers develop a growth mindset and zero in on the main learning objectives for a unit or subject, they realize there can be multiple ways to get to that goal.
Ferlazzo shared an example of teaching students the argumentative essay. He’d chosen a topic for the students to research and write about. But he realized one student was completely disengaged. Once he gave the student an alternate topic option, the student immersed himself in the topic and wrote a strong essay.All students in his class completed the learning objective: formulating a solid argumentative essay. But Ferlazzo differentiated by allowing student choice.
Studies Weekly recognizes there are many ways to learn. That’s why our products already have research-backed differentiated learning strategies built right in. Even better, these strategies don’t require hours of extra teacher preparation.
Our differentiated learning strategies are based on the Hattie’s Effect — a research study by New Zealand professor John Hattie that showed the effectiveness of certain teaching methods. The best ones hit the .40 to 1.2 mark on scale of -.2 to 1.2.
Studies Weekly includes seven of these high-impact strategies, in addition to many others.
Reciprocal Teaching Method (Hattie’s Effect .74)
This is a guided-discussion method that works with large or small groups and guided reading groups. It engages students through predicting, questioning, clarifying and summarizing.
Inquiry Model (Hattie’s Effect .40)
This method asks students to investigate a historic source or scientific topic by focusing on an open-ended question. Students are empowered to develop their own approach to solutions and answers.
Question Formulation Technique (HE .66)
This method amps up inquiry-based learning. Students produce, then improve, then prioritize their questions on a subject, event, problem or phenomena. They decide individually, in small groups or as a class where to go with these questions, such as: a research project, building a test model, etc.
Primary Source Analysis Tool (HE .75)
Based on methods from the Library of Congress, this tool helps students better understand history through observing and questioning a primary source.
Graphic Organizers (HE .40 – .79)
According to research, graphic organizers elevate student comprehension. Students who use them can more effectively classify and communicate concepts. Studies Weekly incorporates a variety of these.
See Think Wonder (HE .60)
This method works well individually or with groups, and develops critical thinking skills. Students learn how carefully analyze and ponder a historical image or scientific phenomenon.
Possible Sentences (HE .93)
This is a pre-reading method that works well with vocabulary words and difficult concepts, by activating students’ prior knowledge. Students get excited to tackle a text to prove their understanding.
These are just a few methods educators can easily use to differentiate their content delivery and processes. As ASCD points out in the infographic below, teachers can also differentiate their assessments and their classroom environment.
Ideally, differentiated instruction creates a classroom “where the students understand that they are unique, where their individuality is not simply accepted but celebrated; where their differences are not hidden, but rather used to expand learning in the class,” according to a November 2018 Edutopia article.
Or as Ferlazzo puts it, we need to create relationships with our students, and keep our eyes on the prize, always asking ourselves, “What are the learning objectives, and what are the best roads to get there for different students?”
To learn see training videos on how to use the above-mentioned Studies Weekly learning strategies, visit studiesweekly.com/online/pdod.
Thinking on Education: Test Prep Without Teaching to the Test
We’re in the throes of testing season, with all of its accompanying drama and anxiety. Educators worry if their students will do well. Students either stress out, or totally check out on testing day. And of course, everyone secretly just wants it all to be over.
With all the pressure districts and teachers have to perform, how do we prepare students for these high-stakes assessments without resorting to “teaching to the test”? Education experts say that not only is teaching to the test ethically wrong and yields an inaccurate result, but it’s really not an effective way to prepare students.
“It’s entirely possible to prepare students for standardized tests in a way that maximizes what we know about learning sciences [and] metacognition,” said Jennifer Borgioli, a senior consultant at Learner-Centered Initiatives, in a 2018 Education Week post. “[B]ut this requires quality professional development and district-based guidance around what that looks like inside a standards-based, high quality, learner-centered curriculum.”
Teaching Curriculum vs. Teaching the Test
Experts point to “curriculum teaching” versus “item teaching” for test prep. Educators who gear their instruction to the state standards — and its applicable knowledge and skills — teach curriculum. Those who focus their instruction only on what is on the test are item teaching. As a result, they narrow and limit students knowledge and skills, robbing students of deeper learning, as researchers pointed out in a 2017 Journal of Experiential Education article.
If teachers clearly understand their state’s education standards and what will be tested on state assessments, they can use curricular content to prepare their students.
“Curriculum-teaching, if it is effective, will elevate students’ scores on high-stakes tests and, more important, will elevate students’ mastery of the knowledge or skills on which the test items are based,” said W. James Popham, an emeritus professor of UCLA, in a 2001 ASCD post.
The best test preparation is that which hones critical thinking and problem-solving skills. This is best done using inquiry-based and student-focused instruction that makes students active learners.
Research shows authentic project-based learning, problem-based learning and experiential learning models can greatly help students master these abilities. As students tackle tough problems and questions throughout the school year and find their own pathways to solutions and answers, they gain the confidence and skills needed. They learn for themselves that they can figure out answers, even when they may not have complete information.
Award-winning middle school teacher Heather Wolpert-Gawron explained in a 2017 Edutopia post that educators should teach students how to retrieve and use what they already know.
“Teach them how to activate prior knowledge or make connections to the material. For many kids, this doesn’t just happen magically — we have to preach it over and over and show them that they already have far more knowledge of our content areas in their heads than they realize,” she said.
Two test-related methods teachers can use is teaching students how to review for tests and how to navigate the process of test-taking.
Teaching Test-Review Skills
Pete Barnes, an Ohio fifth-grade science teacher, shared a fun way to teach students test-review skills in his February 2019 Edutopia article. He set up a Science Ninja game-based unit. Students had specific tasks and skills they needed to complete, but Barnes organized it in a way that allowed students more choice in their training.
“Students choose tasks from a Training Menu to prove their mastery of life science, outer space, force and motion, and more,” he said, explaining that the tasks included scavenger hunts for information, videos, simulations, matching activities, lab work and model-building activities.
“Each of these tasks also include a short assessment that students check on their own and then verify with the teacher before moving on to the next task,” he said.
Teaching Test-Taking Skills
Wolpert-Gawron also shared strategies for teaching test-taking skills. Because many state assessments are now computer-based, she encouraged educators to incorporate technology aptitude teaching in their curriculum throughout the year.
For example, she suggested teachers create lessons that require students to use audio tools that will read text aloud, learn the meanings of typical computer icons, practice general word-processing and keyboard skills, and how to use hyperlinks, videos and images.
“Don’t take for granted that our digital natives know how to use the digital tools they need in order to be successful on their online tests,” she said.
She also encourages instructing students in the language of the test. This type of preparation helps all students, whatever their level, better understand the process of testing, including English-language learners.
Betsy Gilliland and Shannon Pella explained in their 2017 book, “Beyond Teaching to the Test,” that according to their research, few high-stakes tests were normed or validated for use with English-language learners during the “No Child Left Behind” era.
“What this means is that in many cases, the complex language used on tests prevents students from understanding what they are supposed to do or from showing their knowledge of the content,” they said.
All students should understand the typical vocabulary used in test directions, so they actually know what it asks them to do.
“Make a list of the most common words used in test instructions. Remember that telling students to read the directions isn’t enough if they can’t understand the directions,” Wolpert-Gawron said.
Teach Confidence
Some of the best test prep is the simplest. Teachers should help students practice recognizing their own successes, and going into a test with a positive mind, Dan Henderson explained this in a 2018 TeachThought prep article — that also hilariously illustrated some of the more absurd test-day requirements.
Many teachers are frustrated with how testing season and test prep cut into instruction time. But with some planning, it can simply be part of effective, authentic instruction.
Teachers who use Studies Weekly for Social Studies and Science have the benefit of knowing where their students are at multiple points in the school year through ready-made, but customizable formative assessments. To learn more, visit studiesweekly.com//online/pdod. | http://blog.studiesweekly.com/2019/05/ |
Critical thinking skills: Developing an analysis and argument outlines best practices for being a critical thinker. Academic advisors find themselves in situations when critical thinking is necessary every day, in each advising appointment. Advisors have to be able to see past the immediacy of the stressed student sitting in their office in order to critically consider the options for the student, while helping the student think critically as well, when choosing classes, career planning, and strategizing to raise GPAs. Sometimes advisors even have to provide information to students that they may not want to hear. Cottrell (2011) asserted that “giving difficult messages in a way other people can accept is an important aspect of critical evaluation” (p. 9). Advisors also need critical thinking skills when conducting research or designing presentations.
The language of this book is directly aimed at students. Originally published in the UK, the text features British spellings. The book features workbook sections with spaces for self-reflection. The end of chapter one provides an excellent chart for self- evaluating particular areas of need in respect to critical thinking, which is useful for guiding the reader to chapters relevant to their individual interests. The author employs the meaningful teaching methodology of ‘signpost, present, summarize’ throughout the text by previewing information to be covered, giving the information, providing examples, providing scenarios for the reader to test themself, providing answers with explanations, and summarizing the information. The text is broken up into small, one-to-two paragraphs sections. Some chapters include opportunities for reflection, featuring designated spaces to fill with one’s own critical responses to the questions posed.
Critical thinking skills provides useful information about identifying arguments relevant for advisors conducting research, designing a presentation, developing arguments in e-mail, or writing notes for students after advising appointments (p. 37). The book also offers detailed descriptions of the components of arguments, teaching the reader to recognize flaws in one’s own arguments to improve reasoning (p 105).
Some other useful components of the book include how to: conduct a literature search (p. 128), choose trustworthy sources, be selective by considering the relevance, reliability, replication, currency, and validity of sources, recognize peer-reviewed articles, and choose carefully between primary and secondary sources. Chapter 9 lists tips for note-taking to support critical reading, offering numerous templates for taking concise, critical notes while analyzing an argument. Chapter 10 is another useful section, offering suggestions for critical, analytical writing. This chapter would be valuable for advisors when writing an article or presentation. The text also offers a chart of words and phrases that can be used to structure a clear line of reasoning as well as an excellent checklist for evaluating essays for overall effectiveness – a great tool to use when evaluating one’s own work. The author compiled a list in the appendix of search engines and databases for on-line literature searches.
From this book, advisors can expect to learn:
• Technical terms relative to critical thinking
• Skills for critically examining information
• Skills for recognizing and creating sufficient arguments.
Reading this book from cover-to-cover may not be the best use of an advisor’s time. This text would be most useful as a professional or personal resource to consider when preparing a presentation or conducting research. Advisors could also recommend this book to their students. While reading the book straight through is not an easy task, there are opportunities for great practical application throughout. | https://nacada.ksu.edu/Resources/Book-Reviews/Current-Past-Book-Reviews/Critical-thinking-skills-Developing-effective-analysis-and-argument-second-edition.aspx |
The purpose of this study was to verify the effectiveness of the CPBL (Creative Problem Based Learning) model on nursing students’ communication skills, resolving (problem-solving) skills and empathy ability.
A quasi-experimental study using a non-equivalent control group: 72 students sampled from the nursing discipline were divided into experimental (n=36) and control groups (n-36). The CPBL program offering was provided to the experimental group for 8 weeks. Data were analyzed with the SPSS /WIN 21.0 program.
After the application of CPBL model the experimental group showed a significant increase in their abilities in communication, resolving and empathy.
Stimulus material in CPBL model led to learning outcomes consistent with improved nursing students’ ability in communication, resolving and empathy.
The present and future society demands the kind of ability to solve problems with novel and original ideas and creative thoughts. This means that higher education should aim to develop the students’ ability to solve the problems creatively (Kang, 2006). The key to this kind of education is in empowering the students to behave as the leaders of change and live their lives with the options they choose. This thinking is in line with the context of the change in the education in the 21st century, where the paradigm of education is shifting to encouraging more creative thinking and enhancing the students’ abilities to solve problems (Kim, 2009).
However, the wide-spread, lecture-type traditional teaching methods in South Korea and elsewhere relies upon the didactic lectures offered by the professors and is reliant on acquisition of knowledge from textbooks. Such a teaching method is optimal for delivering information that is mainly focused on the short-term acquisition of knowledge. Using this method, it is relatively easy to deliver a larger amount of content as set out in the text book. However, careful exploration of this approach shows that this educational approach fails to provide students with the opportunity to extend the students’ thoughts on a particular idea or develop their problem-solving abilities. The students end up simply memorizing knowledge, which is a problem in itself. Many contemporary educators have recognized the limitations of the traditional teaching methods (Kang, 2006, Kim & Hwang, 2011). Since the teaching method is an important factor in perceptions about the learning experience, accounting for 62.7% of the satisfaction about education (Lee, 2007), it is necessary to enhance the satisfaction levels if we are to engage students more. It is necessary to change approaches it in a manner relevant to students and in a way that is more suitable to the rapidly evolving environment that students will encounter in work places and life experiences.
In the case of nursing education, it is necessary to improve and supplement the existing curriculum, in order to reflect the demands in the health service market and introduce a new type of education that is more learner-centered (Kim, 2009). This is because the health service environment has become more and more complex. Many more hospitals are run like a business and are pursuing innovation and higher performance outcomes through a corporate culture: these expectations fuel the demand for highly capable nurses in the market (Kho, Kim & Kang, 2010). In response to these demands the nurses must go beyond simply providing nursing services in a given situation to providing precise information about their patients and deeper understanding of care processes and outcomes. Nurses are involved in analyzing, summarizing and making inferences about care and outcomes. They are making judgments based on such information. Nursing education is now more focused on encouraging nurses with critical thinking skills; they can use such problem-solving traits to make efficient decisions. Schools, too, as the result of changing the approach to nursing education are now more focused on applied knowledge, directly relevant to the practice of nursing. Educators are becoming more interested in designing curriculaum where the critical thinking of the students can be developed and stimulated, through the appropriate use of technical developments and a more engaged educational experience (Shin, Ha & Kim, 2008).
The nurses who are in demand in the clinical environment are the kind of nurses who are not only skilled in nursing work, but also equipped with creative thinking skills. They can integrate the knowledge and contribute to solving problems through efficient communication (Shin, Ha & Kim, 2008). As a result, the nurses equipped with the capacity for creative thinking can integrate their knowledge and skills to solve problems with appropriate communication (Seymour, Kinn & Sutherland, 2003). For this reason, in the field of nursing education, an integrated learning experience is now emphasized; this will equip new nurses with the ability to creatively integrate knowledge and use efficient communication skills, so that the problems they face in the clinical environment can be solved in an integrated manner (Seymour, Kinn & Sutherland, 2003).
The core elements within courses focussing on practical experiences of nursing, which are central to professional care, should include problem solving skills (Park, 2014). Nurses face various problematic situations as they care for the patients using frameworks like the nursing process (Altun, 2003). In the nursing environment which is changing rapidly, in order to provide quality care to patients, the value of nurses who can lead processes that lead to solutions is increasing. Efforts to enhance their problem solving skills continues over decades (Labelle, 1974). Nursing education extends beyond the delivery of simple knowledge and is more focused on the enhancement of the problem-solving skills and integrated thinking about nursing activities. A solutions approach, problem-solving, has become one of the key themes in programs (Lee & Brysiewicz, 2009).
Nurses have to face unexpected emergencies all the time; they are required to provide customized nursing to the needs of each individual patient (Jo, 2000). Nurses encounter more unstructured nursing problems rather than the structured problems provided in some stimulus materials. In order to solve such unstructured problems, the nurses have to think deeply and more creatively in order to create the new strategies for resolution of issues (Roberts, 2000). The core competencies designated by KUSA, include integration and application of nursing knowledge, communication and cooperation between experts, and in-depth critical thinking to solve problems. These are emphasized for students during under-graduate education but educators need to apply new teaching methods to create more positive learning outcomes: New strategies are desperately needed.
1. Developing a creative approach to Problem Based Learning (PBL) as a model which is differentiated from methods of the past and to allow that the teachers and the learners may learn together.
2. Verifying the influence of the CPBL model on the development of communication, problem resolution and empathy skills of the nursing students.
A quasi-experimental design involving a non-equivalent control group was used to verify the effect on the communication skills, resolving skills and empathy ability in the group to which the CPBL teaching model was applied for 8 weeks.
This research was targeted at students in their fourth year of university who understood and agreed to participation: In consideration of dropout rate, 36 students were assigned into each group randomly.
1. C (Communication skills) - to measure communication ability, the Comprehensive Interpersonal Communication Ability Scale developed by Hur (2003) was used. The instrument consists of a 5-point scale and 15 items; the higher the score, the higher the communication ability.
2. R (Resolving skills) - measured using the College student/adult Problem-solving Skill Measurement, which is part of the life-cycle ability tools developed by Lee & Jang (2003). This tool is composed of nine categories with 45 questions: problem recognition (5 questions); information gathering (5 questions), analytical skills (5 questions); extended thinking (5 questions); decision making (5 questions); planning (5 questions); execution and risk taking (5 questions); evaluation (5 questions); and feed-back (5 questions). The five-point Likert scale; ‘Very rarely’ - 1 point and ‘Most frequently’ - 5 points a range of scores from 45 to 225 points: the higher score equates to a better problem-solving skill set.
3. E (Empathy ability) - to measure empathy, the Interpersonal Reaction Index (IRI) developed by Davis (1996) was used. This tool has 28 items, with a range of scores 29 to 140 - the higher scores equate with higher empathy ability levels.
The data were analyzed using SPSS / WIN 21.0. The normal distribution of variables was examined through using Kolmogorov-Sminov statistics.
The study was approved by the Institutional Review Board of public institution bioethics committee, Korea (No. P01-201611-12-001). Survey materials with written consent forms were stored in a locked file cabinet located in the principal investigator's office. Participants were informed that they could drop out at any time without any consequences.
1. In order to develop the CPBL program, the ADDIE (Analysis, Design, Development, Implementation, Evaluation) instructional design model was applied.
i. A literature review revealed the need to enhance capabilities of individuals through creative teaching methods and that problem-solving skills based on creative thinking was one of the traits required in order to enhance creative powers. To obtain such skills, faculty as well as students have to work together. In this regard, PBL motivated the students to learn and structure acquisition of knowledge within the clinical context. PBL prompted senses of self-achievement and enhanced the cognitive abilities such as problem-solving given that learners could engage in small-group and self-initiated learning activities to solve problems, as they practiced the critical thinking habits and develop accountability and self-autonomy in learning (Thomas, 1997). Studies have shown that PBL methods used as the basis to deal with real issues, lead to knowledge acquisition and attitude development necessary for finding solutions. The method could enhance ongoing critical thinking abilities, as well as developing sympathy and communication skills among group members (Chang, 2008; Harrison, Beverly, Rene & Karen, 2011). There were common steps in problem-solving processes - identifying the problems, defining these, generating and ideas, identifying problem-solving methods, execution, and assessment: These elements were used in the teaching method development.
ii. Analysis about learner demands involved focus groups; results showed the most urgent need for reality based problems in classes. New reality based ancillary materials, which reflected theories in textbooks were needed: Newspapers, which were readily accessible, were used.
iii. Analysis of the demands in the nursing field – Questionnaires and interviews used to survey service enterprises showed that: problem-solving-centered critical thinking, enhanced levels of empathic behavior with the adoption of the concept of multi-culturalism were identified. Considering trends in Korea shifting from a single to a multicultural society, revolutionary change in teaching methods was deemed necessary.
iv. Focus Group Interview with the managers of enterprises and clinical practice discussion meetings, revealed expectations of students as communication, problem-solving, and the skill to sympathize with the target’s current status. Clinical managers identified the need to understand and sympathize with others, communicate one’s ideas, in addition to creative problem-solving techniques to identify and solve problems in a busy working environment.
b. Design: Based on the analysis of the demands identified through the literature review, questionnaires, and focus group interviews, the educational goals of CPBL and class activities were identified, while the teaching media were selected based on the analysis results and the advice from the education faculty.
c. Development: The development process was i) preparing the preliminary program, ii) adjustment for the verification of content, and iii) supplementation.
d. Implementation: In order for the development of the teaching and learning methods, five students were given information background knowledge on the purpose and methods of the program: There was time for questioning and arrangements made for more queries after implementation of the teaching method.
e. Evaluation: Profound complaints about the new teaching method reflected fears and awkwardness, comparing the new to the older approach. Comments suggested class topics and materials should be provided at the beginning of the term for the whole semester, rather than giving them one week before the classes and that there should be feedback from faculty members after the student presentations. Given the students thought the self-reflection approach was too broad an opportunity to define each topic and make a personal reflection on class participation was provided. The CPBL teaching model was then developed using ADDIE (Table 1) and implemented.
1a. 1 week before class: The Seed Box, the most basic element of the CPBL model, is provided, so that students may have a sufficient amount of information (5-6 pages) and preparation to limit stress during the study process: students were instructed to make five to ten Seed points.
2a. In Class - Sowing Seeds (20 Minutes): After reading the resources, and referring to their chosen Seed points, students are asked to respond to open-answer and multiple choice question. Individuals within each team compare their seed points with those of the teachers or others in the class. If selections differ individuals or groups briefly share their ideas with the rest of the class. group is six to eight. The teams in this study were composed of six to seven members, close to ideal numbers (Kim & Hwang, 2011).
2b. Making Branches (30 Minutes): The important theoretical points are revised and summarized. Additional materials are provided to enhance students’ ideas and skills, but are not to deviate too much from those from the Seed Box, but stimulate a deeper level of individual thinking and knowledge acquisition.
2c. Making Fruit (40 Minutes): These activities are the practical questions, application, and adaptation activities, where various media such as videos, newspapers, and books are utilized to stimulate discussion on a problem. Here, students are to make their own decisions once more and use creative thinking to solve problems as they prepare presentation materials. At this stage, the students are to participate voluntarily, express their opinions, and present the comments collected from each group, so that they can exercise their communication skills.
3a. Closing (10 Minutes): Evaluation i) Self-reflection notes (to be prepared by the students) allow for a self-evaluation by students themselves, reflecting on the participation in the class. Given their apprehension about being encouraged to make statements freely, their class participation focused on a set of given themes – communication and resolving skills, and empathy abilities. This feedback formed part of evaluation of the CPBL teaching model. ii). Final questions are encouraged on the items not readily understood during class.
1. Verification of the Homogeneity of General Characteristics of the Subjects: The average age of the test group and the control group was, respectively, 22.9 and 23.2. There were six males - test group (16.7%) and eight - control group (22.2%). Nineteen in the test group (52.8%) and 20 in the control group (55.6%) did not have any religious affiliations. Other general characteristics of the two groups were indicative of homogeneity (Table 2).
2. Verification of Homogeneity in Dependent Variables: The subjects’ communication and resolving skills, and empathy abilities in the test and control groups did not show statistically significant differences (Table 2).
Hypothesis 1- that a test group who participated in the CPBL model would have higher communication skill scores compared to the control group who did not: Findings showed that the communication skill score of the test group was 3.62 out of 5 before education and increased to 3.76 thereafter, a statistically significant increase (t = -4.98, p<.001). The communication skill in the control group was 3.62 before education and 3.36 thereafter, not a significant difference (t=1.74, p=.091). Therefore, the hypothesis was supported (t=3.82, p<.001) (Table 3).
Hypothesis 2 - that the test group who participated in the CPBL model would have higher resolving skill scores compared to the control group who did not - findings showed that the resolving skill score of the test group before training was 3.25 out of 5 and increased to 3.81 after training, a statistically significant difference (t=- 27.57, p<.001). The resolving skill of the control group was 3.25 before training and 3.23 thereafter, not a statistically significant difference (t=0.23, p=.822). The hypothesis was supported (t=3.21, p=.002) (Table 3).
Hypothesis 3 - that the test group who participated in the CPBL model would have higher empathy ability scores compared to the control group who did not: findings showed that the empathy ability of the test group was 3.31 out of 5 before the training and 3.48 after the training, a statistically significant increase (t=-7.21, p<.001). The empathy ability of the control group was 3.29 before the training and 3.19 after the training, not a statistically significant difference (t=1.75, p=.089). The hypothesis was supported (t=6.98, p<.001) (Table 3).
The results around outcomes related to communication is in line with preceding studies (Choi & Lee, 2010; Oh, 2008; Shin & Lee, 2011; won & Shin, 2008). The communication education process can be defined as one of seamlessly understanding and practising interactions in daily life by having a cognitive system of one’s own and forming a meaning between participants (Ju, 2006). Most nursing classes on the topic were composed of lectures, confined to delivery of knowledge (won & Shin, 2008). Human interactions need to be learned through a variety of subjects using more effective pedagogy involving small group dynamics, where students, are faced with new tasks. Discussion and summaries, applying these to real-life situations, and subsequent debates, result in a synergetic effect through the group dynamics and thus also enhance communication skills.
The resolving skills of the test group was more enhanced compared to the control group, showing that the program is effective in enhancing the resolving skills of these nursing students. This result is in line with preceding studies (Choi & Lee, 2010; Choi, Kim., & Ahn, 2010; Kim, 2009; Kim & Kim, 2011; won & Shin, 2008). Preceding studies suggest that, in order to enhance the resolving skills in a certain area, it is necessary to obtain knowledge on the given area, and, based on such knowledge, it is also necessary to provide environmental factors to provide internal and external motivation. Therefore, in order to enhance the resolving skills, one should not exclude the provision of basic knowledge required to understand all the clinical events in the field. It is necessary to provide actual case studies, so that the students can be motivated by the need for relevant knowledge. Pedagogical approaches, such as the CPBL teaching model, should include a more in-depth lecture by the faculty members, to extend the knowledge which has been acquired during the self-initiated learning processes, which eventually enhance the resolving skills of the students. With appropriate pedagogy, it would be possible to provide higher order skills in actual nursing practices, stimulate creative and critical thinking, and enhance levels of expertise; this will eventually result in enhancement of resolving skill. The quality of nursing services will also ultimately be enhanced in substance.
In this study, the empathy skill of the test group was more enhanced compared to the control group, suggesting that the program is effective in enhancing empathy ability in these nursing students. This finding is in line with preceding studies on various programs (Ryu, 2015; won & Shin, 2008). Empathy ability is a personal and a professional trait that is needed for caring, communication, therapeutic relationships, and as a key element in human relationships. The concept of empathy is gaining more and more attention in the clinical context as an important issue (Ryu, 2015). Many researchers have noted the possibility to enhance empathy ability. Opinions suggest that, in the healthcare environment where empathy abilities are required, it is necessary to embrace the learning strategies covering caring aspects (Catlett & Lovan, 2011; Ozcan, Olfaz., & Bakir, 2012). Nurse educators should seek appropriate pedagogical approaches such as the CPBL method in order to not only deliver basic knowledge, but also enhance the empathy abilities of future nurses.
In this experimental study, the CPBL model was developed and applied to the nursing students. Then, the influence of the model was evaluated in terms of communication and resolving skills, and empathy abilities. It was shown that the communication and resolving skills, and empathy abilities of the test group who participated in the CPBL model were significantly enhanced. It is believed that this program could be useful in providing positive influences to the development of various skillsets, which nursing students can use in clinical contexts. Also, through the development of such programs, it is believed that a new direction was provided for the department’s nursing curriculum for the future.
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28. Won J. S, Shin H. S. 2008;The Effect of Small Group Based Communication Program on the Competency of Communication and the Human Relationship in Nursing College Students. Journal of East-West Nursing Research 14(2):60–67. | https://www.ejpbl.org/journal/view.php?number=16&viewtype=pubreader |
We’re honored to be working with your children at Snowflake Jr. High School. We educate students from seventh and eighth grades with a population of over 400. Our instruction is data-driven, with the intent of providing a complete and comprehensive curriculum for our students. We find this method of teaching brings about positive learning behaviors and contributes to our high standards of student success.
We have many opportunities for elective courses as well as a top-notch library available to all of our students, which helps us cater the learning process to each one of our students’ individual needs. We also have exciting plans for extracurricular clubs this coming year as well as some fun sports opportunities.
These are very important and fun years for our students; we want your children to have the best possible experience while they are with us. Don’t hesitate to contact us with any questions or concerns you may have; it is our pleasure to assist you in any way possible. You will find our staff directory on our Teachers and Staff page.
The mission of our school community is to increase student achievement while developing a love for lifelong learning.
Differentiated Instruction – We believe that all students are capable of learning through personal effort and sound instructional practices.
Challenging – We believe, by challenging students and teachers to higher-level thinking, we will foster a meaningful educational experience.
Safe – We believe in maintaining a campus culture that is fair and consistent for all students to feel safe physically, academically, and emotionally.
Academic Standards – We believe that by constructing engaging lessons based on Arizona State Standards, students will receive common core knowledge of all subject material.
Collaborative – We believe in creating a collaborative atmosphere where students, parents, teachers, and all the community work to create interesting and purposeful educational opportunities for all students.
Positive – We believe positive attitudes increase student learning and growth.
Data Driven – We believe in collecting, analyzing, and evaluating data to further develop and refine teaching practices in pursuit of higher student achievement. | https://jh.susd5.org/Our-School |
This is something I’ve been playing with for some time. I keep coming back to it. It’s one of those writings that started with a clear kernel and morphed into something different. It began about a year ago when the upper administration of the Minneapolis Schools decided to “fresh start” two schools including the one I was in. It was a highly political and in some ways person decision by the powers. It was not reasonably defensible for any of the reasons given. It had the effect in part akin to demolishing slums to eliminate poverty.
Why we have to be critical thinkers to teach critical thinking and why we have to teach critical thinking.
Critical thinking is a set of strategies for processing toward a goal. In developing learners, the process of learning is as much a goal as any tested outcome. AS teachers, we set the got both for the outcomes of our students and for the acquisition of the critical thinking process that lets them reach those outcomes. We want our students to be critical thinkers who know and can do things. We want them to know what a hypotenuse is and how to calculate one, but we also want them to be able to decide when this is the problem that needs to be solved, and what use to make of the solution. Our goal is, or should be, to develop knowledgeable critical thinkers.
To do this, we need to assess their entry status as they come to us, determine about how far along their developmental continuum we can help them to move, given the time they will be with us, and the amount of our work load we can dedicate to them individually and as members of the whole group. In other words, we need to be critical thinkers in assessing the problem presented to us, finding a solution and deciding how best to implement what process knowledge we have to move students along as much as we can. Teachers need to be critical thinkers too, a faculty greatly complicated by the current state of American education.
Currently, many of our goals as teachers are set by entities without, state departments of education, school district administrations, principals. The goals are set for our students, but the teachers are held accountable for the students’ results. This doesn’t work well, and sometimes, not at all. Here’s part of the reason why.
The process needed to successfully reach a goal is tied to the motivation and subsequently the volition of the person or group trying to reach the goal. When a person sets both the goal and the process they will perform for reaching that goal, success is more likely. It may happen that an externally imposed goal, a demand from above for higher scores and fewer failures for example, may align with part of or even the entire goal of those being held responsible for the outcomes, but this is seldom the case. Where things go wrong is that the higher-ups have their own motivation to achieve their own goals, aligned or not, and they attempt to impose strategies on those charged with getting the desired result. Goals and often the process strategies for achieving the goals are now imposed on the performer, but not the motivation to achieve the imposed goals or to perform the imposed process strategies. While the goals may align, the process for working through to that goal seldom does. What gets undermined is the motivation of the performers who then lack the volitional energy to persevere in accomplishing that imposed goal. Why? Simple. The performers are no longer working to their own goal; they are now working toward someone else’s goal, and more importantly, not a goal set, in the case of schools, for the students, but a goal set for the teacher. The teacher may have student success as a goal, but when that ‘success’ becomes a demand from above, the demand sets the goal, not the student success.
The demand goal placed on the teacher for student success is not the same thing as the goal the teacher places on herself for her students’ success. There are two reasons for that: 1) imposed goals—goals that redirect the determination of success away from the intended goal target to some other place—lack ownership by the performer, since they are ‘owned’ by the demander, and 2) the success assessment is almost always invalid because it measures a reality that is isolated in time and no longer exists.
In the first case, a goal that is imposed on someone else ceases to be the goal the performer is acting on. If the goal of student success becomes the goal of an administrator to the extent that there is a direct demand for the teacher to achieve that goal, the goal for the teacher becomes just that—the demand by an administrator to reach his goal, not the teacher’s. Student success is no longer the ‘goal’ of the teacher; it’s the goal of the administrator. Student success has become the ‘score’ of the teacher. The teachers assessment ‘tool’ is the standardized test, the report card or the referral form, and without even considering the lack of a standard for measurements in these tools, “How many?” determines the teacher’s score. ‘Student success’ in any meaningful sense—how much they have grown academically or behaviorally, what they are prepared to take on next or how they feel about learning and its place in their lives—is no longer the teacher’s goal; the teacher’s goal is now the “How many?” test score by which they are being measured.
Okay, so we now have teachers developing strategies for meeting administrative performance goals, goals defining how the teacher should be performing based on what student data can be gathered. The luckiest students will be placed with teachers that will get them to mastery in that standardized data set. The rest will probably get short changed with one teacher and then get a new, less tested teacher who may or of course may not measure up as well. Whether this new industrial model of throwing out and replacing a presumably non-repairable mechanism with a possibly equally poor one will increase the percentage of teachers who meet who meet administrative goals, or if such a policy can keep place with attritions from teaching is not the subject of this document. What is the subject is the problem of how much the making of administrative decisions about teacher performance goals hobbles student learning and ultimately real student success because of its dependence on assessing teachers based on glimpses of artifacts of functionality in students—reading, writing and math skills primarily.
This does all relate to critical thinking by way of a sort of reversal. To bring students to their individual successes, a teacher must of course be motivated and possess the volitional resources to follow through to achieve these very difficult goals. Ideally, teachers have the motivation and volition and the skills necessary to be successful in reaching their goals for student success. No one disputes the reality that this is not always the case, but there is considerable dispute, if often not verbalized, in how to improve this shortcoming. Teachers lacking motivation and volition, which are very much personal energy reserves, may need to be helped out—perhaps out the door, but teachers with motivation and volition often may need to be helped out with the necessary skills—tools if you please—to carry out the process of mobilizing and supporting students along the course of their development. These skills beyond content knowledge and pedagogy prominently include critical thinking skills. Each child is a problem to be solved, as is each classroom, each school calendar, each testing schedule and so on. Teachers need to make critical judgments, plan critical interventions, interpret critical assessments, and so on. This critical thinking process is intense, difficult and demanding. A teacher must be fully motivated, usually by a genuine dedication to and love for the students, their individual histories and their future lives. This is the level of motivation required to set out the effort of volition to carry the work forward with an eye to the true success of the students, not a score but a life. Motivation, volition and goal are inseparably tied.
When the goal is separated from the process, the process collapses. So when administration separates out the student success goal and replaces it with the “How many?” teacher success goal, the need for critical thinking to achieve student success collapses. It is not longer relevant, but the capacity for critical thinking can shift to the new goal for the teachers, meeting the administratively demand goal. This goal is much easier to reach in fact. It will probably result in less development of students as human beings however, and it favors unmotivated teachers who will lack the volitional energy to persevere. In fact, it has in a few cases led to cheating even on a broad scale. Teachers can teach to the test, inflate grades and keep disruptive students in increasingly non-functional classrooms. Result? Higher scores, better grades with fewer failures and reduced behavioral referrals.
The administrative intervention to avoid such practices becomes imposition of mandated practices—one size fits all—standardizing curriculum and policing. Do all teachers teach the same way, start in the same place and work at the same pace? Does this not have a familiar sound? It of course ignores many of the things we’ve learned about student learning in the past fifty years. It further ignores everything we’ve learned about adult learning. Yet the bitter irony is that decision makers, often in senior offices at the state level, demand that schools remain unchanged in a changed and changing world and intensify their efforts in doing all the things that didn’t work for those decision makers themselves. Just do it harder.
Can we never allow ourselves to learn? Imposing student success goals and mandating a classroom processes is in itself unlikely to be successful, and shifts the best critical thinking strengths of teachers into job preservation strategies. And we know who the big losers are—the voiceless victims of 21st century education, the students. What are the students left with? A test score so irrelevant that even its inventors don’t bother to relate it to anything in the lives of the students. Standardized benchmark test scores are worse than a snapshot or slice in time; they are pulled out of time all together. They bear no reference to all what has gone before. They indicate nothing as regards what future options there are. And it tells next to nothing about the slice it is supposed to represent. Not so much a snapshot as a corner of one frame pulled from a life-long movie. Yes, reading, writing and math skills are critical for success in modern life, but so are food, shelter and clothing. These are all artifacts when pulled out from a life and even all together do not approach a whole life or a whole story of success. The tests stand as stark evidence of the lack of critical thinking by their creators and developers. If it is not this lack, and these decision makers really are capable of assessing and solving problems and implementing solutions, then these powerful people are knowingly subverting America’s children and our future.
The inadequacies of standardized testing provide a significant insight into what needs to happen in education. We need to teach students how to critically assess and act on each and every frame of the movie of their own lives. For each of them, education must be adapted, relevant and forwardly focused. Who are they, what do they need to get where they want to go and how do they know where that might be and when they have gotten there? They need the knowledge and skills, but they need to be critically processing their needs and goals as well as acquiring knowledge and skills. Teaching needs to inspire goals and encourage the motivation and support the volition to carry them forward. Supporting the volition means providing them with the critical processing skills, strategies and concepts from which to choose in striving toward their goals. Critical thinking is the tool kit people need to have successful lives. Critical thinking is a dynamic; it cannot be assessed in a snapshot; it can be assessed, perhaps, at the end of a life by casting back over the whole life. Formative assessment is part of critical thinking, but cannot very effectively be used to assess progress toward the process that surrounds it. It’s a bit like thinking about how one’s own brain is thinking about itself.
Others speak eloquently and in detail about why students need to be critical thinkers. Here, I want to point to what may be obvious to some already. Teachers need to be critical thinkers too. They must first get back the goals they are working toward. Teachers and students and their families need to be able to determine toward what goals students are working. Those goals define toward what goals the teacher must work to empower the students. Administration’s goals should not define teacher goals; teacher goals must define administration goals.
Administrators must work toward empowering teachers in defining and reaching there goals. Administrators and teachers, just as students, need the dynamic of critical thinking to analyze, assess and plan as part of the solutions for the problems of teaching and learning. Meaningless standardized ‘scores’ for schools and school districts are ultimately counter productive to good education and real student success. It forces every level of that school system to focus on external goals while corrupting the true education process through data manipulation and reactionary management—teaching to the test, grade inflation, keeping disruptive students in dysfunctional classrooms—disciplinary discharge for teachers with dysfunctional classrooms or teachers with high failure rates—closing and restarting schools, setting school against school in competition for ‘good’ students—withholding funding from underperforming districts, restricting funding for the highest-needs students. None of these actions, currently taking place in our schools, does anything to empower students to reach their own life goals. All of these actions, currently taking place in our schools, result from imposing goals from above, a manic hierarchy of puppet master and puppets, puppet master and puppets, puppet master and puppets.
Unless somewhere in the chain there is the courage to cut the strings, our education system is doomed to settle to it lowest potential for learning. There are two characteristics of critical thinkers that are conspicuously absent in public education: academic or professional humility and risk-taking. Without the humility to say, “I don’t know,” we give in to a failed system. Face it; we don’t have the answer. We need to ask more questions and look harder, at more things and with more eyes. Then we need be willing to step into the dark. Failure following from effort is part of learning, unless that failure becomes a failure to try. We have to risk failure to have success. How else will we learn? We do not know everything. How can we stop trying to learn? We cannot simply cut off our learning in the name of better education. Yes, let every flower bloom. Let the hybridizing happen. Reap the rewards of discovery and even chance. Without this, we ossify education and our future world. Fossils in our own time.
Successful students are the explorers, the risk-takers. They are the critical thinkers. This is the way they learn, if they can, and they must be able to if we help them be those critical thinkers. They have no way to prepare for a world that doesn’t exist yet except by taking a foundation of knowledge, a tool box of skills and a predisposition not only to learn from their future world, but create that future world with things new and as yet untested. Is it so hard to understand that to teach critical thinking students we must be critical thinkers ourselves? The whole educational community needs to be doing that, thinking critically about teaching and teaching and modeling critical thinking as a process for success in life. A success we can determine for ourselves and our students. | https://jaezz.org/2008/05/ |
Beyond striving to ensure that students learn the fundamental content of the courses I teach, my objectives as a university teacher are as follows: (a) to foster critical thinking skills; (b) to facilitate the acquisition of lifelong learning skills; (c) to help students develop evidence-based clinical problem-solving strategies; and (d) to prepare students to function as highly skilled and competent speech-language clinicians across the scope of practice and in my primary teaching area of augmentative and alternative communication (AAC) in particular. Furthermore, my overall teaching philosophy is based on two principles, which are supported extensively in the literature: (a) active student learning strongly influences student-learning outcomes; and (b) assessment procedures strongly influence student acquisition of knowledge.
Given that undergraduate courses in speech-language pathology are necessarily weighted toward acquisition of foundational clinical concepts and knowledge, I use a combination of traditional lecture and problem-based learning formats in my teaching. All of my courses involve at least some WebCT components, giving students opportunities to download lecture note-taking guides and materials and further their knowledge of course content through engagement in complementary online activities (e.g., simulation activities, video case studies).
Service-learning is a pedagogical approach that I use consistently with undergraduate students. This experiential learning tool allows students to apply their knowledge to real-world problems in community contexts and to complete structured reflections on the relationships between assignments, course objectives, and personal educational objectives. I feel it is important to include such activities in all of my classes since writing skills are critical for all speech-language clinicians and researchers. I also use undergraduate research as a teaching tool, since the research process allows students to apply classroom knowledge through scientific questions of specific interest.
One of the main reasons why I decided to pursue a career in academia was so that I would have the opportunity to work with future generations of speech-language pathologists and educators in an instructional capacity. I view teaching as central to all of my scholarly activities and regularly include Scholarship of Teaching and Learning (SOTL) in my strategic plan. These activities allow me to identify and disseminate instructional strategies to ensure that students learn about the cutting edge clinical interventions I research on a daily basis. It is my hope that my teaching will allow me to “keep the flame of scholarship alive” in some way and to inspire students to remain focused on the functional effects of interventions designed to improve clients’ speech, language, and communication skills.
My philosophy of teaching is based on a belief that learning needs to be student centered and that students need to be equal partners in the learning process. My role involves using my expertise to put the necessary resources in the hands of the students or more likely to be sure that my students are well equipped to find and evaluate the resources they need to answer their questions.
Now that the majority of my teaching is in an online forum, I let students know that my role in the online classroom is to be a facilitator, not a provider of information. I create multiple discussion questions to keep the online discussion exciting and stimulating and to address the multiple backgrounds and interests of my adult learners. I provide a good deal of rigor in my undergraduate classes, but am right there to support them as they seek their answers and to encourage them to work together to get the most out of their learning. I always provide detailed descriptions of writing assignments and I provide samples so that they are able to see what a good finished product should look like. My students often wonder at first "where I am" in that I am not actively "running" a discussion. Instead I am carefully reading, correcting errors when I see them, and then working to analyze what the group has said from a meta perspective. I share my analysis with the class as we end each module.
To me the most important skills that I can help an undergraduate student develop are the skills of information fluency: i.e. their ability to write and critically think about the information that is bombarding them as they enter or continue in the nursing profession. Every course I teach is really seen through the lens of information processing skills needed to be effective in use of the best available evidence for practice. I am passionate about the use of writing to teach students to be more aware of their thinking and to be careful and reasoned in their acceptance of new information. If they leave me with a healthy skepticism of information and the skill to use technology to access better evidence, I will have accomplished my goal.
My teaching philosophy is that pedagogic activities should be guided by the principal: “Do this if it enables students to learn.” My teaching practices should empower students to take ownership of their education and help them realize that they are responsible for their learning outcomes. When students take this step, they can make striking progress and achieve academic success. I find that when I can convey my own enthusiasm for physical science, it is often contagious enough that students become engaged in learning. I try to help students transition from memorizing formulas to thinking critically about ideas and connecting concepts with everyday examples. I encourage students to tackle problems creatively, which helps them learn to think outside conventional boundaries and to seek the deeper meaning of a concept or finding. These skills have facilitated the greatest advances in science and also foster personal and intellectual fulfillment.
I believe teaching is the most important service I provide to the Central Florida Community, because I am helping to educate a generation to function knowledgeably in a society where rapid technological advances constantly pose new questions and ethical challenges. I view teaching as inextricably linked with research scholarship. University education must go beyond simply passing on information. It should involve rigorous training in the methods of developing, analyzing, and communicating new knowledge. Teaching should extend well beyond the lecture hall. For many students, the most powerful lessons are learned in informal discussions, working problems during office hours, and encountering science first-hand in the lab.
I chose an academic career because I want to develop new knowledge through research, as well as contribute to my field and society by training top-rate students. There appears to be no single perfect method for teaching, and an important aspect of teaching seems to be identifying the approach, which works best for a given individual. While I believe my teaching has been successful, I also recognize that I have much to learn from my colleagues and students. I look forward to continuing teaching, research, and research training and learning from my students and peers along the way.
The goal of my teaching, and center of my teaching philosophy, is active learning. One of my ultimate objectives in teaching is to facilitate learning by helping students to gain the necessary skills to take control of and become active participants in their own learning. I truly believe that knowledge gained through active participation is knowledge that will stay with an individual. Thus my approach to teaching reflects this philosophy and I have developed and use many techniques that are designed to engage students in their own learning.
I use many different teaching techniques to achieve my philosophy. Biological anthropology is a discipline in which many teaching techniques can be used, particularly hands-on activities. Throughout my tenure at UCF I have worked very hard to build our teaching collections so that all my courses may include an element of hands-on learning. Students have to directly participate in their own learning through these experiences, and I have found that almost all students respond very well to tactile learning (actually “holding” the material in their hands). One particularly innovated teaching method I have developed is a simulated crime scene in the Advanced Forensic Anthropology course in which the students have to apply their cumulated course knowledge. I also believe that students learn from participating in real world activities.
Regardless of content, I also think that students should leave their courses with skills that they will use in their everyday lives. These basic skills include problem solving and critical thinking, research and writing proficiency, and effective communication ability. I have designed all of my courses to include components that impart these skills. All of my upper division courses require research for papers and presentation, and students must also participate in group work. These are skills that students can transfer into any career choice.
I believe that to be most effective as an instructor, one must create a safe environment that is interactive and collaborative and that promotes problem-solving and critical thinking skills. A welcoming environment accommodates a variety of adult learning styles and encourages students to present their opinions while respecting the opinions of others. By giving students a voice in class, not only do the students benefit from peer-peer learning by enriching the course material with personal experiences and knowledge, but they also take responsibility for their own learning and, therefore, enhance the integration of their new knowledge into practice. Promoting independent thinking is essential so that students can take what they have learned and apply it in real-life situations. Therefore, I endeavor to make my classroom an arena for students to learn skills and demonstrate outcomes.
To create a safe learning environment, I encourage students to ask questions and give their views on the material we are covering. I solicit anonymous feedback in the form of “one-minute papers” from my students about assignments as well as my teaching style, and I then implement student suggestions to improve my service delivery and their learning outcomes. I create assignments that improve students’ problem-solving and critical thinking skills, such as analyzing the behaviors of a social worker as depicted in a television show to determine if the social worker abided by the NASW Code of Ethics. I utilize small-group discussions both to actively involve the students in their own learning as well as to improve their critical thinking skills.
The constancy of change in contemporary teaching and learning environments behooves one to think critically about a teaching philosophy. In the 21st century, a new literacy has emerged—the ability to use appropriate technological tools in an Information society. For example, the personal computer and associated technological innovations, e.g., the Internet and E-mail, have become commonplace.
Alvin Toffler, futurist, and author of the classic Future Shock, puts it best, when he says: "The illiterate of the 21st century will not be those who cannot read and write, but those who cannot learn, unlearn, and relearn". Faculty must critically examine and re-examine teaching philosophies, as the environments in which teaching and learning become increasingly diverse and varied.
In teaching, my overarching goal is to develop a student-centered environment. I want students to actively participate, rather than passively learn. When planning a course of instruction, I identify a set of objectives and skills. Next, I compile a rationale for each objective and skill. I design a course plan that emphasizes the application of critical thinking skills to foster deep learning, and the use of collaborative learning skills to facilitate “real-world” problem solving. I also embed activities in the instructional process that are designed to help students develop research and writing skills—readily transferable across disciplines—as they engage in learning of content material.
Throughout the teaching and learning process, I incorporate multiple choices and pathways through the learning materials. I encourage students to engage in open-ended formative and summative evaluation of the course (what’s working, what’s not). I also ask students to self-evaluate individual progress. Finally, my course design includes a data-driven evaluation component, which focuses on systematic outcomes and results, that are clearly tied to course goals and objectives.
My philosophy of teaching asserts that students are entitled to quality instruction in an active and stimulating learning environment. Students should experience frequent and repeated opportunities to act, react, and interact with each other and the professor. Curriculum materials should be timely and relevant. Standards of excellence—high, yet attainable—should be used to facilitate optimal student learning. Finally, as teaching is a process, not an activity, my teaching philosophy offers an invaluable reflective view on “how to” strive for instructional improvement.
I believe that effective teaching is comprised of two necessary and related elements: knowledge of the content and ability to communicate it. Knowing the material is not enough to be effective in teaching it; likewise, communication skills won't work alone. Thus, I take care to understand the concepts I expect to cover and to make them understandable to the students. I organize my presentations with the student's learning in mind and keep my knowledge up to date. I also emphasize the importance of communication by using humor and a variety in teaching techniques to make learning enjoyable so as to motivate the students to learn.
I follow these principles in teaching: being enthusiastic for each class and letting it show; learning about the students in the course; organizing each class well; using a presentation style that maximizes student interest; and using a variety of teaching methods to present the material. I use humor in my presentations to spark student interest and make my presentations engaging. I vary my teaching techniques in class (cases, discussion groups, lecture, etc.). I extensively utilize Powerpoint software and all elements of multimedia (documents, music CDs, videos, web sites, etc). Through the use of my Voluntary Student I.D. forms for graduate students, I find out about my students so I can relate to them personally in class and focus the course on their needs and background. These forms are also used to structure the students into class teams. I keep these forms on file so I can be available to the students as a reference.
Teaching is a process of instilling the concepts and necessary skills for life-long learning, in addition to team participation, with an individual. The student will ultimately leave the protective environment of the ‘educational system’ to enter society as, hopefully, a contributing entity. When this occurs, it is vitally important to have the ability to ‘teach one’s self’ and effectively collaborate with others, in order to manage and process the problems and issues that are presented during life. I believe this is necessary for the continued growth of humanity.
As a teacher, my goal is to share this process, focusing on subject matter in my area of expertise, using current teaching tools available. I strive to personally model this using my professional experience in the real world, often incorporating current projects as they are presented to me, and continuously seek new methods of processing and presentation. My lesson plan allows flexibility for this spontaneous discovery as well as directives toward specific goals. I present students the fundamentals of the subject, real world examples, and a collaborative forum for discussing options to deal with these issues and why. From this, the student will experience a ‘hands-on’ practical application of the learning process, and, as a teacher and professional in my field, I have the opportunity to gain new insight based on individual student needs and collaboration with colleagues. | http://www.fctl.ucf.edu/facultysuccess/professionalportfolios/philosophies.php |
WHAT IS ECONOMICS?
The term economics comes from the Ancient Greek – oikonomia, “management of the household, the administration”.
Economics is the social science that is concerned with the
- Production,
- Distribution and
- Consumption of goods and services.
Economics deals with the study of various activities of man directed towards the acquisition of wealth and earning of money.
NATURE OF ECONOMICS
- Economics is the science that deals with the production, exchange, and consumption of various commodities in economic systems.
- It shows how scarce resources can be used to increase wealth and human welfare.
- Economics aims to explain how economics works and how economic agents interact.
- The expanding domain of economics in social science has been described as economic imperialism”. It tells that economics can be used for raising the living standard of people and their welfare.
SCOPE OF ECONOMICS
Economics is a Science: Science is a systematized body of knowledge that traces the relationship between cause and effect. Economics investigates the possibility of deducing generalizations as regards the economic firms that can be very easily measured in terms of money. Thus, economics is a science.
Economics is a Social Science: Laborers are working on materials drawn from all over the world and producing commodities to be sold all over the world in order to exchange goods from all parts of the world to satisfy their wants. There is, thus, a close inter-dependence of millions of people living in distant lands unknown to one another.
Economics is also an art: An art is a system of rules for the attainment of a given end. Economics offers us practical guidance in the solution to economic problems. Science and art are complementary to each other and economics is both a science and an art.
Economics – A Positive Science: Positive science does not indicate what is good or what is bad to society. It will simply provide results of the economic analysis of a problem.
Economics – A Normative science: It makes a distinction between good and bad. It prescribes what should be done to promote human welfare.
Subject Matter of Economics
Economics can be studied through
- Traditional Approach
- Modern Approach
Traditional approach: In the traditional approach, Economics is studied under five major divisions
- Consumption
- Production
- Exchange
- Distribution
- Public Finance
Modern Approach: In Modern Approach The study of economics is divided into
- Microeconomics
- Macroeconomics
AIMS AND OBJECTIVES OF TEACHING ECONOMICS
The aims and objectives of teaching economics at the higher secondary level are as follows:
- To make the students able to acquire knowledge of various economic terms.
- To make the students able to understand the various causes of population explosion, consequences, and its various remedial measure.
- To make the students able to understand the various causes of poverty, unemployment, price rise, inflation, and their remedial measures.
- To make the students able to understand the economic explosion of consumers, rights of consumers in society.
- To make the students able to understand the mutual relationship between agriculture and industry.
- To make the students able to know the importance of foreign trade.
- To make the students aware of the role of the state in the promotion of economic development
- To develop the attitudes of the students towards the constructive social and economic development of the nation as a whole.
NEED AND SIGNIFICANCE OF TEACHING OF ECONOMICS
- In present-day society, all your needs and wants can be satisfied only if you have enough wealth and money.
- Thus, all human activities are directed towards earning money and acquiring wealth. It means that most of the human activities are economic activities.
- Economics deals with the study of various activities of man directed towards the acquisition of wealth and earning of money.
- Today the growth is seen by the quantity of consumption, where items are used & thrown fast.
- Economics has become the center of various activities.
- Each and every subject is viewed from its economical angle because one always likes subjects which fetch more money in one’s future life.
LearningClassesOnline B.Ed Notes
VALUES OF TEACHING OF ECONOMICS
The value of the study of economics is as follows:
- A Field of Information: The study of economics helps the students to broaden their knowledge. Students can be aware of most of the interesting and logical facts about the behavior of human beings.
- A Field of Training in Mental Horizon: It is the reasoning power that leads human beings towards achieving certain goals of their lives. This reasoning power is increased through the study of economics.
- A Field of Cultural Value: Proper balance is required to develop culturally and the teaching of economics provides a better understanding of the good use of various things in life.
- A Field of Mutual Cooperation: On the basis of cooperation all the activities of the economy is possible
INSTRUCTIONAL PLANNING FOR TEACHING ECONOMICS
Planning is essential in any sort of activity and more so when a teacher is going to a classroom for teaching a subject. Especially for an Economics teacher, it is absolutely essential that he plans the topic well in advance so as to make his teaching interesting and efficient by organizing simple activities.
LESSON PLANNING
Different teaching methods are available for teaching Economics. Before going to the classroom, the teacher has to select the appropriate method for teaching the topic and also the proper teaching aid which will help the learner to understand the concepts in the topic. This is sometimes called planning the strategy.
In the words of Lester B. Stands. “A lesson plan is actually a plan of action. It includes the working philosophy of the teacher, his knowledge of philosophy, his knowledge about students, objectives, material to be taught and his ability to utilize effective methods.”
Components of a Lesson plan
Teachers should follow specific steps in writing lesson plans. They are:
- Preparation
- Presentation
- Comparison
- Generalization
- Application
- Recapitulation
In the modern days these steps are included in four steps, which are as follows:
- Preparation
- Development
- Review
- Assignment
Advantages of Lesson Planning
The advantage of a lesson plan can be listed as follows:
- It makes the teacher’s work regular, well organized, and systematic.
- It prompts confidence and self-reliance in the teacher.
- It provides greater freedom in teaching.
- It avoids wastage of time.
Criteria of a Good Lesson Plan
- A lesson plan should be written and well prepared.
- General and Specific Objectives should be clearly stated.
- Types of aids used should be used.
- Review and assignment should be written at the end of the lesson.
- Questions should be well planned.
UNIT PLAN
A unit is a large subdivision of subject matter with a common fabric of knowledge.
Preston: ‘A unit is as large a block of related subject matter as can be over viewed by the learner’.
Stanford: ‘A unit is an outline of carefully selected subject matter which has been isolated because of its relationship to pupil’s need’s and interests’.
Steps in Unit Planning
- Content analysis (the What of the unit)
- Objectives with specifications (the Why of the unit)
- Learning activities (the How of the unit)
- Testing procedures (Evidence of achievement)
BLOOMS TAXONOMY OF EDUCATIONAL OBJECTIVES
One of the most important aspects of the teaching-learning process is the specifications of instructional objectives.
Dr.Benjamin S Bloom (1956) gave the idea of classification of educational objectives. He classified educational objectives into three main areas or domains called
- Cognitive
- Affective
- Psychomotor
Cognitive Domain: It is also concerned with the intellectual skills and abilities of the students.
Affective Domain: The changes in interests and values and the development of applications
Psychomotor Domain: The development of manipulative or motor skills
EVALUATION TOOLS AND TESTS FOR ECONOMICS
Objective Type Test
An objective type test item is one in which the response will be objective.
Objective type test item can be broadly classified into:
- Multiple-choice Test
- Matching Type Test
- Simple Recall Type Test
Short Answer Type Test
A question requiring value points at the most may be defined as a short answer question. Thus, the length of the answer expected from a short answer question becomes very short.
Essay Type
According to the dictionary by Good, an essay test is a typing test is a type of examination in which the subject or examinee is asked to discuss, enumerate, compare, state, evaluate, analyze, summarize or criticize and involves writing at a specific length on a given topic.
FORMATIVE EVALUATION
Formative evaluation is concerned with making decisions relating to the forming or development of students as well as of the courses.
It provides feedback at appropriate stages of the teaching-learning process which helps in making changes in the curriculum, teaching strategies, and the learning environment.
ACHIEVEMENT TEST
Since evaluation is an integral part of teaching and learning, students are observed in various situations continuously with a view to assessing their level of achievement in terms of what has been expected of them.
The written examination is one of the most commonly employed and widely accepted techniques for measuring student’s achievement.
The construction of an achievement test has its importance in student evaluation.
Steps involved in the Construction of an Achievement test
- Planning of the test
- Preparation of a design
- Preparation of the Blueprint
- Writing of Items
- Preparation of the Scoring key and Marking scheme
- Preparation of Question wise Analysis
TEACHING SKILLS IN ECONOMICS
Teaching includes all the activities of providing education to others. The person who provides education is called the teacher. Teaching means the interaction between teachers and students.
Teaching skill is a group of teaching acts or behaviors intended to facilitate student’s learning directly or indirectly.
Teaching skills would include
- Providing training and practice in different techniques,
- Approaches and strategies that would help the teachers to plan and impart instruction,
- Provide appropriate reinforcement and conduct an effective assessment.
Types of Teaching Skills:
Introducing
- The skill of introducing a Lesson is an important skill required for a teacher.
- The skill is intended for making effectiveness in introducing the content.
- This is always done at the start of a class.
- The teacher gives a brief introduction to the lesson in order to pre-dispose the pupil’s mind to it.
Explaining
- In the classroom, the teacher explains ideas and concepts.
- The Skill of Explanation is the most commonly used skill and is the essence of instruction.
Questioning
- A question is any sentence that has an interrogative form or function.
- In classroom settings, teacher questions are defined as instructional cues or stimuli that convey to students the content elements to be learned and directions for what they are to do and how they are to do it.
- Questioning Skill promotes involvement, initiates thinking, creates motivation, and enhances learning.
Skill of Closure
- This skill is useful for a teacher to close his teaching properly.
- The teacher is to summarize all the teaching during the period and provides opportunities for the students to correlate the learned matter with the past and future knowledge.
Skill of Reinforcement
- This skill is the most important than other teaching skills.
- Reinforcement, the term implies the use of the technique for influencing the behavior of individuals in the desired direction.
- The skill of reinforcement refers to the effective use of reinforcers.
- It can therefore be defined as ‘the effective use of reinforcers to modify student’s behavior in the desired direction”.
The skill of Varying the Stimulus
Varying the stimulus is described as a deliberate change in the behaviors of the teacher in order to sustain the attention of the learners throughout the lesson.
MINI LESSON
It is a teaching training technique for learning teaching skills.
A mini-lesson is a basic precursor to a bigger or broader topic. It is a short lesson that can be taught in just a few minutes, but it can benefit the students in lessons to come.
METHODS OF TEACHING ECONOMICS
Methods of teaching Economics can be classified into two types:
- Teacher-Centered
- Pupil-Centered
Teacher-Centered Teaching
- The teacher-centered teaching is mainly expository in type in which the focus is on telling, memorization, and recalling information.
- The students are passive recipients of knowledge.
- The teaching environment is very much formalized and the teacher occupies a central position in the classroom.
Pupil Centered Teaching
In pupil-centered teaching, the whole teaching-learning process is geared to the needs, requirements, capabilities, and interests of the pupils.
SOME METHODS OF TEACHING ECONOMICS
LECTURE METHOD
- This is a method generally followed in colleges and schools with big classes.
- In this method only the teacher talks.
- The students are passive listeners and they do not take any active part in the development of the lesson.
Merits:
- Attractive and concise
- Economical
- Speedy
- Useful for Factual Information
- Useful for Logical Sequence
- Time-Saving
- Inspirational Value
Demerits:
- Memory-based
- Spoon feeding
- Teacher centered
- Too rapid
- Un psychological
- Authoritarian
- No critical Thinking
- Useful for higher classes
LECTURE CUM DEMONSTRATION METHOD
- This method includes the merits of the lecture method and demonstration method.
- The teacher performs the experiment in the class and goes on to explain what she does.
- It takes into account the active participation of the student.
LEARNER-CENTERED METHOD
Learner-centered methods are those methods where the focus of attraction is learners than teachers.
HEURISTIC METHOD
- A problem is placed before the learners and they are asked to find the solution to the problem through various literacy means like a library, laboratory, and workshops, etc.
- The teacher’s role is to initiate the learning and pupils are active throughout the learning process.
PROBLEM-SOLVING METHOD
- It is a method in which a specific problem is given to the students and they are required to find out the solution through objective reasoning and thinking.
- This method is also highly suitable for teaching economics.
Steps in the problem-solving method
- Recognizing the problem
- Defining and interpreting the problem
- Collecting data related to the problem
- Organizing and evaluating the data of the problem
- Arriving at the final conclusion
- Verifying the result
THE INDUCTIVE METHOD
Induction “is the process of reasoning from a part to the whole, from particulars to generals or from the individual to the universal.”
Bacon described it as “an ascending process” in which facts are collected, arranged, and then general conclusions are drawn.
- The inductive method was employed in economics by the German Historical School which sought to develop economics wholly from historical research.
- The historical or inductive method expects the economist to be primarily an economic historian who should first collect material, draw generalizations, and verify the conclusions by applying them to subsequent events.
- For this, it uses statistical methods.
The inductive method involves the following steps:
- The Problem
- Data
- Observation
- Generalization
Merits of the Inductive Method:
- Realistic
- Future Enquiries
- Statistical Method
- Dynamic
- Historic-Relative
Demerits of Inductive Method:
- Misinterpretation of Data
- Uncertain Conclusions
- Lacks Concreteness
- Costly Method
- Difficult to Prove Hypothesis
THE DEDUCTIVE METHOD
Deduction Means reasoning or inference from the general to the particular or from the universal to the individual.
The deductive method derives new conclusions from fundamental assumptions or from truth established by other methods.
Bacon described deduction as a “descending process” in which we proceed from a general principle to its consequences.
Deduction involves four steps:
- Selecting the problem
- The formulation of assumptions on the basis of which the problem is to be explored.
- The formulation of hypothesis through the process of logical reasoning whereby inferences are drawn.
- Verifying the hypothesis
Merits of the Deductive Method:
- Real
- Simple
- Powerful
- Exact
- Indispensable
- Universal
Demerits of Deductive Method:
- Unrealistic Assumption
- Not Universally Applicable
- Incorrect Verification
- Abstract Method
- Static Method
- Intellectually
RECENT TREND IN TEACHING ECONOMICS
PROJECT METHOD
- A project is a scheme of something to be done.
- The project as a method of teaching is a natural, whole-hearted problem solving and purposeful activity carried to completion by students in a social environment under the guidance of their teacher.
- It is the outcome of the pragmatic philosophy of education propounded by John Dewey.
This method is based on the following principles:
- Students learn better through association, co-operation, and activity.
- Learning by doing
- Learning by living
Merits
- It promotes co-operation and group interaction.
- It is a democratic way of learning.
- It teaches the dignity of labor.
- It helps to widen the mental horizons of students.
Demerits
- The project method absorbs a lot of time.
- It gives the students superficial knowledge.
- It requires much work on the part of the teacher for planning and carrying out projects.
- It is more expensive.
ASSIGNMENT METHOD
The Assignment method is the most common method of teaching especially in the teaching of Economics.
It is an instructional technique comprises the
- Guided information,
- Self-learning,
- Writing skills and
- Report preparation among the learners
DISCUSSION
Discussion as a method of teaching economics may be used for the following purposes:
- Laying plans for new work
- Making a decision concerning future action
- Sharing information
- Obtaining and gaining respect for various points of view
- Clarifying ideas
- Inspiring interest
- Evaluating progress
BRAINSTORMING METHOD
This technique calls for an activity in which a deliberate attempt is made to think and speak out freely creatively about all possible approaches and solutions to a given problem, the group participating in a spontaneous and unrestrained discussion which usually involves evaluative feedback.
TEAM TEACHING
According to Harold S. Davis, “Team Teaching may be considered to be any form of teaching in which two or more teachers regularly and purposefully share responsibilities for the planning and correlating of lessons to one or more classes of students”.
- It involves two or more teachers to teach a class.
- In this type of teaching, a group of teachers is responsible rather than an individual teacher.
- A team or group of teachers of the same subject work together to deal a significant content to the same group of students jointly.
- A group of teachers shares responsibilities of planning, organizing, teaching, controlling, and evaluating the same class of students.
WORKSHOP
In education, a workshop is a brief intensive course, seminar, or a series of meetings emphasizing interaction and exchange of information among a usually small number of participants.
SYMPOSIUM
Here the participants present to the audience their views about various aspects of a selected problem or topic through speeches or proper reading.
In the words of Struck, “we think of a symposium as a group of comments, either spoken or written, which portrays contrasting or at least different points of view”, the chief purpose of the symposium is to clarify thought upon controversial questions.
INDIVIDUALIZED INSTRUCTION
Individualized instruction focuses on the needs of the individual student.
PROGRAMMED INSTRUCTION
Programmed instruction is a method of presenting the new subject matter to students in carefully designed steps through a sequence of instructional "frames"
COMPUTER ASSISTED INSTRUCTION
Computer-Assisted Instruction refers to instruction or remediation presented on a computer.
Many educational computer programs are available online and from computer stores and textbook companies. They enhance teacher instruction in several ways.
RESOURCES FOR TEACHING ECONOMICS
PRINT RESOURCES:
- Newspaper
- Magazines
- Journal
- Economics Encyclopedias
AUDIO RESOURCES:
An audio tape recorder, tape deck, or tape machine is an analog audio storage device that records and plays back sounds, including articulated voices, usually using magnetic tape, either wound on a reel or in a cassette, for storage.
VISUAL RESOURCES:
- Pictures
- Flashcard
- Charts
- Posters
- Photograph
- Models
ICT RESOURCES:
- Radio
- Television
- Internet
- Multimedia
- Interactive whiteboard
COMMUNITY RESOURCES:
- Economics Club
- Exhibitions and Economics fairs
- Fieldtrip
QUALITIES OF A GOOD ECONOMICS TEXTBOOK
“As is the text-book, so is the teaching and learning”.
Textbooks are the most widely used of all instructional materials. Now a day’s textbook has become a course of study. A good text-book can even replace classroom teaching.
The Economics text-book should aim at
- Aiding the pupils in the development of their personalities,
- Developing open-mindedness,
- Developing appreciation and understanding of nature and not merely stuffing their minds with facts
QUALITIES OF AN ECONOMICS TEACHER
- Enthusiastic about teaching students the subject matter.
- Ability to be disciplined, to be firm and fair.
- Sets an example of integrity inside and outside the classroom.
- Plans lessons well in advance.
- Stresses concept learning rather than rote memory.
- Ability to inspire and motivate students.
- Teaches students how to learn, analyze, and think critically.
- Keeps up-to-date on the subject matter.
- Dedication to the teaching profession.
- Creates an exciting classroom atmosphere.
- Acquires up-to-date equipment for laboratory work.
- Generates new and exciting ideas for students to think about.
- Encourages students to ask questions about the lesson.
- Takes an interest in and gets involved in community activities.
- Continually updates his/her knowledge.
Author Remarks:
PEDAGOGY OF ECONOMICS Is A Subject Taught In B.Ed And In Some Other Teaching Courses Also. On This Page, You Will Find Teaching Of Economics Short Examination Notes And Downloadable Free PDF Book In English Medium For B.Ed First Year And Second Year and Semester 1, 2, 3, 4, 5, and 6. Here We Have Covered Some of The Main Topics and Important MCQ Questions of PEDAGOGY OF ECONOMICS Which Will Really Help in Your Exam Preparation and Also You Can Make Your Assignment Report and File for BEd Very Easily with The Help of These Notes. These Notes and Free PDF Book on Teaching Of Economics Subject Will Be Helpful for All the Students and Teachers of Any College or University. We Have Also Suggested Some of the Best Reference Books and Study Material PDF for PEDAGOGY OF ECONOMICS That you can Also Go Through. Students and Teachers Preparing for All The Teaching Exams Like CTET, TET, UPTET, HTET Can Also Learn With The Notes Provided Above.
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Advances in repurposing and recycling of post-vehicle-application lithium-ion batteries.
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Published Date:2016-05-01
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Language:English
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Publication/ Report Number:CA-MNTRC-14-1238 ; MNTRC Report 12-55 ;
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Abstract:Increased electrification of vehicles has increased the use of lithium-ion batteries for energy storage, and raised the issue of
what to do with post-vehicle-application batteries. Three possibilities have been identified: 1) remanufacturing for intended reuse
in vehicles; 2) repurposing for non-vehicle, stationary storage applications; and 3) recycling, extracting the precious metals,
chemicals and other byproducts. Advances in repurposing and recycling are presented, along with a mathematical model that
forecasts the manufacturing capacity needed for remanufacturing, repurposing, and recycling. Results obtained by simulating
the model show that up to a 25% reduction in the need for new batteries can be achieved through remanufacturing, that the sum
of repurposing and remanufacturing capacity is approximately constant across various scenarios encouraging the sharing of
resources, and that the need for recycling capacity will be significant by 2030. A repurposing demonstration shows the use of postvehicle-application
batteries to support a semi-portable recycling platform. Energy is collected from solar panels, and dispensed
to electrical devices as required. Recycling may be complicated: lithium-ion batteries produced by different manufacturers contain
different active materials, particularly for the cathodes. In all cases, however, the collecting foils used in the anodes are copper,
and in the cathodes are aluminum. A common recycling process using relatively low acid concentrations, low temperatures, and
short time periods was developed and demonstrated.
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You May Also Like: | https://rosap.ntl.bts.gov/view/dot/30837 |
As the Frank Lloyd Wright Foundation embraces more sustainable, innovative practices in our preservation work and beyond, we’re sharing some of these methods, and providing some tips on how you can incorporate these practices into your own home and life. Here, we discuss recycling materials, and share more about how we reuse materials in our preservation efforts at Taliesin and Taliesin West.
Since Taliesin and Taliesin West were first constructed, repurposed materials have always been part of the fabric of what make the structures so special. In order to carry on Wright’s legacy of thoughtfully reusing and repurposing, we continue this tradition in many of our preservation efforts today. In this edition of Living with Nature: Sustainable Practices from the Frank Lloyd Wright Foundation, we’re sharing more about reusing and recycling.
When many of us think of recycling, we think of the items that typically go in the blue recycle bin like plastics, papers, and glass. According to a recent study, only nine percent of the 8.3 billion metric tons of plastic produced has been recycled. By recycling these items, the amount of waste sent to landfills is reduced and precious natural resources are conserved. Starting small when it comes to recycling can make a big difference, but there are a variety of great ways you can recycle, repurpose, and reuse items that go beyond the blue recycle bin.
At Taliesin and Taliesin West, our preservation team is always working on a number of ongoing preservation projects. We approach these projects in a very detail-oriented way from start to finish, always with reuse in mind. When we take things apart, we sort and organize the different types of construction materials so we can save them, repurpose them, or recycle them.
The Romeo and Juliet Windmill at the Taliesin Estate is a good example of repurposing materials. When this windmill was rebuilt in the nineties, the siding was obtained by buying wine casks and then milling them to the specified size.
Another example of Wright’s reuse of materials was recently uncovered during the preservation of the Board Room at Taliesin West. When the plywood ceiling was removed, it was discovered that many of the decking boards had evidence of concrete staining, likely because these boards were first used to construct desert masonry formwork. These are just a couple of examples of how Wright and the Foundation has repurposed materials, if you look closely at Taliesin and Taliesin West, you can find repurposed materials everywhere.
Disposal of these building materials would not only be wasteful, it would also add to the landfill and result in pollution when new building materials are made. Ultimately, anything we can do to use less and prevent materials from going to a landfill, whether it’s recycling a single-use plastic, or repurposing wood during a home renovation project, brings us one step closer to a cleaner planet.
Here are some more great tips on how you can reduce, reuse and recycle in your home, workplace, and life:
- Recycle! Check the labels on items before you throw them away, and consult your city’s recycling webpage for more information on the recycling requirements where you live.
- Buy used items whenever possible. It’s easy and more cost effective to buy used clothes or building materials at local thrift shops or reuse centers.
- Opt for reusable items. For example, keep a reusable cutlery set and straw on you, a reusable bag, or choose to use a reusable water bottle – as opposed to plastic silverware, bags, or water bottles. Reducing the amount of disposable items you use helps decrease waste and prevents these items from going to a landfill.
- Compost your food scraps and yard waste. Together food scraps and yard waste currently make up about 30 percent of what we throw away.
- When working on a building project, reuse or repurpose building materials whenever you can. Repurpose old wood or materials for a new project, or take them to a reuse center to prevent them from getting thrown away.
Check back next month to learn more about the sustainable practices we’re using at Taliesin and Taliesin West, and for even more tips on how you can help contribute to a more sustainable, beautiful world.
Living with Nature: Sustainable Practices from the Frank Lloyd Wright Foundation is a year-long campaign where we’ll be sharing sustainable practices and how they play an important part in conservation for National Historic Landmark sites, like Taliesin West in Arizona and Taliesin in Wisconsin. Along the way we’ll be sharing helpful tips on how you can incorporate these practices into your own life, to help you live a more green life. | https://franklloydwright.org/living-with-nature-recycling-and-reusing/ |
Pepper Street Arts Centre presents group exhibition Reduce, Reuse as a unique contribution to the Adelaide Fringe Festival.
Thirty artists take an alternative approach to repurposing and recycling a range of materials, celebrating ideas of inventiveness, resourcefulness and creativity, through a collection of artworks.
Artist Aaron Leng speaks with Festival City’s Emma Wotzke about his experiences in Reduce, Reuse and how he engaged with some of the broader concepts. | https://radioadelaide.org.au/2021/03/19/the-re-purpose-of-art/ |
Welcome to the 2017 Local Recycling Resource Directory provided to you by Public Health Solutions District Health Department serving residents in Fillmore, Gage, Jefferson, Saline and Thayer counties.
PHS has a long history of program and initiatives to promote litter reduction and recycling. With limited access to recycling programs for a large portion of the PHS district, an overall low recycling rate across the state, and increasing rates of recyclable material being dumped into landfills, we feel that the time is right to focus efforts on litter reduction, recycling, repurposing, and reuse in our rural counties.
Read More
A recent study showed that Nebraskan’s spent an estimated $33.5 million in one year alone (2013), disposing of materials that could have been recycled. PHS would like to help decrease the amount of recycled items that end up in our local landfills.
The 2017 Local Recycling Resource Directory provides a list of resources in one easily accessible location regarding recycling, household waste disposal, donating of goods, material exchange and prescription take back sites. An online resource directory will also be available at www.phsneb.org and updated as necessary.
More Helpful Links & Resources
More information on resources and a little bit more words here. | http://recycling.phsneb.org/ |
Green Star promotes and preserves a healthy Alaska by encouraging and enabling our community to reduce waste and increase recycling. Our mission is driven by a commitment to create a culture of stewardship in Interior Alaska through materials reuse, waste reduction, and recycling.
Functioning as a local non-profit agency, we develop creative and innovative ways to galvanize people and organizations around impactful recycling initiatives. Our ultimate aim is to improve the health of people and the environment by reducing waste and avoiding contaminated groundwater due to heavy metal pollution. | https://www.idealist.org/en/nonprofit/0ea0c364390b4acea2e251fd81404ea5-green-star-of-interior-alaska-fairbanks |
Our recycling-first approach to waste management is guided by five core principles:
- Source separation is the preferred approach to maximizing recycling (through programs such as the blue bin for recyclables, or the green bin for compostables), where practical and cost effective.
- Options for reuse, recycling and recovery must be prioritized over disposal (whether incineration or landfilling).
- As an affiliate of a long-standing BC business, we aim to build on a record of providing innovative solutions for continuous improvements in all aspects of recycling and waste management. This means offering sound alternatives to taxpayer-funded projects where the private sector can provide equivalent or superior services or choices.
- Direct, local and sustainable job creation is a priority.
- Decisions on waste management should align with the zero waste hierarchy adopted by the Recycling Council of British Columbia (RCBC). In particular, decisions should reflect the RCBC’s guiding principle that “Materials are Resources” and should be preserved and valued for continued use. | http://nextuse.ca/about-us/guiding-principles/ |
The City of Portsmouth’s Recycling Program has been named Outstanding Government Agency by the Virginia Recycling Association for 2015! This award recognizes Portsmouth’s Recycling Program as the BEST among all Federal, State, and Local Government agencies, and institutions within the Commonwealth of Virginia.
Each year the Virginia Recycling Association (VRA) recognizes the best waste reduction and recycling programs in the state at an annual awards ceremony. Nominations are sought from the public and private sectors, business, industry, schools, government and non-profit agencies, civic or volunteer organizations, and individuals.
The following are the selection criteria:
- Integrated a waste reduction program (including reduction, recycling, reuse composting, etc.)
- Ongoing employee education program with incentives for waste reduction.
- Policy that demonstrates commitment to waste reduction, reuse and recycling.
- Broad range of material managed or recycled, with records kept of quantities.
- Waste-conscious procurement policies for materials and supplies.
- Sharing of information and technical assistance with peers.
- Innovative and creative components to program.
- Program must have been in operation for at least one year.
The Virginia Recycling Association presented the Outstanding Government Agency award to the City of Portsmouth on May 6th during their annual conference at the Sheraton- Virginia Beach Oceanfront, 3501 Atlantic Avenue.
Guest blog submitted by Donna Corbus, City of Portsmouth Recycling Manager and Executive Director of Keep Portsmouth Beautiful. | https://askhrgreen.org/portsmouths-recycling-program-named-outstanding-government-agency-2015/ |
Amani Olugbala, Community Educator at Soul Fire Farm, is a storyteller and food justice advocate with over 15 years of experience in youth education and community outreach. Amani combines artistic expression, project-based learning and outdoor education tools to facilitate social justice based workshops and discussions with individuals, groups and organizations. Amani seeks to push communities to challenge presumed differences and work together in uncovering interlocked paths towards self determination and community liberation. Amani’s early work with the Natural Leaders, Brother Yusuf and the Youth Ed Venture Network, underscored the necessity of reintroduction to land as a source of healing and power for those of us who have been historically and systematically disconnected. Amani awoke a personal connection to seed while directing YO!, a youth-centered urban garden program in Albany, NY. At Soul Fire Farm’s Black and Latinx Farmer Immersion, Amani further cultivated the tools to sustain this connection and share it with others. Soul Fire Farm raises life-giving food to folks surviving food apartheid, trains farmer activists, advocates for systemic change and offers models for revolutionary thrival through love, ancestral wisdom and Earth reverence. Raptivist, spoken word artist, and abolitionist, Amani O+ is driven to uplift love, art & service as necessary expressions of rebellion against a sense of disconnection and hopelessness that threatens our collective peace and wellness.
Pashon Murray
Keynote Presentation, Thursday, July 11
Pashon Murray is an environmentalist and entrepreneur, known for her work in waste reduction, recycling, and reuse of materials, especially food waste for compost. In 2010 she established Detroit Dirt, a composting company that specializes in providing compost and food waste solutions for the metro Detroit business community. Detroit Dirt's closed-loop model: taking food waste, repurposing it and putting it back into the community, was designed by Murray to help revitalize Detroit and became a part of an urban farming movement and aligned with the automotive industry to help push landfill free, zero waste.
Newsweek Magazine named Murray one of its "13 Women in Business to Bet On." Murray became a Massachusetts Institute of Technology Media Lab Fellow, she received recognition for her environmental work from Modern Farmer Magazine, was recognized by Martha Stewart American Made, and named one of ten women in the world to watch by the United Nations Foundation Global Accelerator's Inaugural Women's Entrepreneurship Day. She was also named Most Innovative Women in Food & Wine, and Forbes magazines.
In 2016 she established the Detroit Dirt Foundation, a 501(c)(3) organization that works on environmental projects through education, research and serving the public with programs, services on sustainable practices and improved waste to resources management practices related to food and corporate responsibility. Murray has received various awards and recognition and continues to dedicate her life to the environment, the low carbon economy and climate resiliency. | https://www.ahsgardening.org/gardening-programs/youth-gardening/ncygs/2019-speakers |
NYC MEDP is solely funded by the New York City Department of Sanitation, Bureau of Waste Prevention, Reuse and Recycling (BWPRR). BWPRR plans, implements, and evaluates the Department's recycling, composting, and waste prevention programs.
BWPRR'S programs cover:
- recycling and waste prevention
- composting
- reuse
- producer take-back
- household special waste
In addition to funding NYC MEDP and it’s programs, the NYC Department of Sanitation supports reuse through the NYC Stuff Exchange (nyc.gov/stuffexchange) website and app as well as through Materials for the Arts (mfta.org).
Visit BWPRR’s website, NYC WasteLess, for more information. | http://www.nycmedp.org/who_we_are/our_funders/index.html |
Humans are extracting and consuming unprecedented quantities of materials. And as our resources are shrinking, our population keeps growing.
This paradox, compounded by shocks to Australia’s waste and recycling sectors, have stimulated interest in the circular economy where we use products for as long as possible and then recover and regenerate materials at the end of their life. This is in contrast to a traditional linear economy where products are made, used and disposed.
We set out to understand how the University of Melbourne, as an example of a large entity, can support a transition to a circular economy and to identify useful metrics to help prioritise efforts.
Universities are large institutions requiring significant resources and hosting thousands of students and staff – over 60,000 for the University of Melbourne. More importantly, they are innovation hubs with a mission to educate future generations, making an ideal ‘living laboratory’ for the transition to a more circular economy.
University campus and material flows
To systematically assess the material flow through the Parkville campus, we used waste disposal data and bin audits for 2017 and University procurement data for the same year to estimate materials coming in.
From the procurement data comprising more than 400,000 financial transactions, we identified 11,555 transactions associated with material purchases – the rest being related to services, travel and the like.
We mapped the transactions to 189 standard material categories, such as a paper ream, a desk, a milk bottle, or a computer screen.
For each category we estimated mass, cost and the energy, water and greenhouse gas emissions associated with production, from raw material extraction to the gate of the factory, using a macro-economic approach or the behaviour and performance of the whole economy.
Results show that 2,280 tonnes of day-to-day materials exited the Parkville campus as waste or recycling in 2017. Approximately 5 per cent of this could be clearly linked with direct University procurement.
The remainder is predicted to be materials brought in by on-campus food and beverage suppliers, students and staff. This waste consisted mostly of food waste and packaging.
It is important to note that these numbers do not include construction-related material flows. This did not undermine the analysis because the University’s major construction projects are relatively self-contained in terms of their material flows.
We also did not model the amount of time each material would spend on campus, for example a ream of paper may be used within a year, whereas a desk would be on campus for many years.
Our model therefore includes inputs for 2017, but the outputs may have come onto campus in 2017 or previous years. Filtering the data might have left some material inputs out, but we estimate these to be negligible.
The modelled procurement-related material purchases represented 22,587 giga joules (GJ) of energy (each GJ is one billion joules), 1,477 kilo tonnes of carbon dioxide equivalent (ktCO2e) of greenhouse gas emissions, 30,891 kilo litres (kL) of water, and AU$3.46M in cost. [Full infographic here].
This is enough energy to build at least 8 new average Australian houses, the tailpipe greenhouse gas emissions of approximately 9,000 cars driving from Melbourne to Sydney, and enough water to fill 12 Olympic swimming pools, every year.
A key point arising from this analysis is that mass is not a good indicator of embodied environmental effects. For example, electronics was the 6th highest stream by mass, but highest for all estimated effects.
Towards a more circular economy on campus and beyond
Our analysis reveals important factors when it comes to material flows on university campuses and for other institutions.
Firstly, institutions should consider material flows that they can influence, as well as those within their direct control, to wage the war on waste and loop their material flows.
For the University, this includes influencing tenants through lease conditions and supporting them with infrastructure, as well as educating staff and students. Education about reducing material use, reusing, repurposing, and recycling is critical.
We strongly support the ban of single-use food and beverage containers on campus in favour of reusable food and beverage containers and packaging. This avoids the use of materials with very little and short-lived value.
The University’s plate washing initiative at the campus’s main food retail building enables retailers to reduce single-use packaging through a centralised service for washing re-usable plates and cutlery.
Secondly, institutions should encourage reusing and recycling furniture and electronics wherever possible as these represent significant environmental effects and cost.
The University of Melbourne has set up its University of Melbourne Reuse Centre, which recovers and repurposes furniture and electronics for internal use.
Based on data from the centre in 2018, the Reuse Centre facilitated the reuse of 4,413 items, diverting approximately 89,000 kg of waste from landfill.
Thirdly, more reliable data would enable faster and better understanding of procurement and material flows.
Better data systems, that already contain multiple metrics on the materials, flowing from suppliers and producers, would enable decision-makers to make better informed decisions and tackle waste and environmental issues from the start.
As major clients and innovative entities, universities should lead by example and implement rigorous data systems that facilitate the evaluation of their material flows in a rapid manner and therefore enable decision-making.
By improving our understanding of the material and environmental flows, we will pave the way for measures that help achieve a more circular economy and demonstrate its potential to the future generations of professionals, leading by example. | https://pursuit.unimelb.edu.au/articles/reduce-reuse-and-recycle-for-a-circular-economy |
Schools Recycling Partnership Program (Cathedral City, Calif.)
About 11 years ago, Cathedral, Calif., officials turned to local schoolchildren to help meet the city’s yearly goal of diverting 50 percent of generated waste from landfills. Led by the city’s Environmental Conservation Division (ECD) in partnership with SCRAP Gallery, a nonprofit Student Creative Recycling Art Project, local elementary and middle schools began creating innovative environmental programs that “place kids at the forefront of the city’s mission to recycle and reuse discarded materials headed for the landfill,” says Deanna Pressgrove, the city’s environmental conservation manager.
The SCRAP Gallery offers all students field trips and arts and science workshops where they create works of art from trash, scraps and recycled materials. In the process, “kids and teens discover a creative and unique means of practicing the four R’s: reduction, reuse, recycling and responsibility,” Pressgrove says.
Last year, more than 10,000 children visited the SCRAP Gallery on field trips, and every year more than 300,000 people attend an exhibition at the county fair featuring SCRAP Gallery artworks from those students. More than 350 local businesses donate materials to the program, and more than 750,000 tons of waste have been diverted from local landfills because of the efforts of the ECD, SCRAP Gallery and local schools.
In response to their experiences at the SCRAP Gallery, students have instituted in-school recycling programs. ECD provides recycling bins and educational materials about proper recycling, and all local elementary schools now have in-school recycling programs.
In addition to in-school recycling, the partnership between the city and the schools has led to additional efforts to build a cleaner, greener community in a cost-effective way. For instance, when unsightly graffiti on the Dinah Shore Bridge needed to be covered, local elementary students worked with a SCRAP Gallery artist-in-residence to create a mural on the bridge using recycled paints. The bridge has remained graffiti-free since the cleanup in 2000.
To encourage students and others to dispose of their trash properly and keep city streets clean, ECD worked with students on a project to decorate trash cans. The partnership also focuses on community beautification. | https://www.americancityandcounty.com/collection_posts/schools-recycling-partnership-program-cathedral-city-calif/ |
To achieve Austin’s Zero Waste Goal by 2040, the community needs to divert more than 90 percent of discards from being burned or buried.
In order to measure Austin’s progress towards zero waste, Austin Resource Recovery hired a third-party engineering firm (CB&I) to conduct a comprehensive study of recycling, composting, reduction, donation and other diversion activities at both residences and commercial businesses.
Find an overview of the study here!
This study was conducted with the following goals:
|• Comprehensive||Inclusive of recycling, composting, reduction, donation, reuse, and other diversion activities|
|• Transparent||Conducted by a third-party environmental engineering firm and the backup data is online for public review|
|• Innovative||First study of its kind in Austin, includes best practices from around the U.S., and establishes a baseline for future studies|
|• Transferable||Other communities can replicate and improve upon Austin's approach|
Key findings
- Austin’s 2015 diversion rate is 42%
- "More than 80% of materials in the trash could have been recycled or composted."
- Organic/Compostable materials make up about 37% of materials sent to local landfills.
- Businesses and apartments generated more than 85% of the discards in our community. City collected materials from one-to-four family homes is less than 15% of the total trash and recycling generated in Austin.
Methodology Overview
|Data Collection: Collected available public data, including hauler tonnage and Universal Recycling Ordinance (URO) information||Biz Surveys: Surveyed thousands of businesses to learn about current business practices in Austin||Lid-lifting Observations: Randomly selected and catalogued over 2300 dumpsters at Austin businesses||Waste Sorts: Random loads of commercial materials were sorted at local landfills and recycling facilities|
Next Steps?
- Austin Resource Recovery Staff will review and provide a thorough analysis in late 2016, including policy, program, and study specific recommendations to accelerate zero waste in our community.
- Continue to support innovative programs for reducing, reusing, recycling and composting material at home and at work.
- Continue to implement the Universal Recycling Ordinance (URO) to find cost-effective solutions that result in less waste.
What can you do?
- Recycle everywhere you work, live and play.
- If recycling or composting is NOT visible, tell the manager or customer service staff so they know you want access to recycling and/or composting. | http://malford.ci.austin.tx.us/print/2015DiversionStudy |
EEB-04-2016 - New technologies and strategies for the development of pre-fabricated elements through the reuse and recycling of construction materials and structures
- CO2 savings (by min. 30 %), energy savings (by min 20%), and higher resource efficiency (minimum share of recycled materials in final product of at least 10-15 %) will ultimately contribute to a resource-efficient and climate change resilient economy.
- Creation of new value chains by expanding the size and attractiveness of CDW recycling and reuse for energy-efficient buildings construction and refurbishment, properly tackling non-technological barriers.
- High replication potential of the solutions obtained, with the possibility to export EU technology worldwide.
- Contribution to achieving the objectives of the European Innovation Partnership on Raw Materials, in particular to the relevant impacts shown in Action I.5 "Recycling of raw materials from products, buildings and infrastructure" of the Strategic Implementation Plan[[https://ec.europa.eu/eip/raw-materials/en/content/strategic-implementation-plan-part-ii#I.5%20Recycling]].
Proposals should include a business case and exploitation strategy, as outlined in the Introduction to the LEIT part of this Work Programme.
Scope:
Energy-efficient building concepts using new or adapted prefabricated components need to be developed, in order to implement construction processes allowing the reuse and recycling of different materials and structures while reducing energy use and minimising environmental impacts.
In the case of building retrofitting with traditional construction methods poor results are frequently obtained. Recent developments show that even with new constructions the use of recycled materials is still a challenge when prefabrication is concerned. There is a need to address material flows (on-site and off-site processes) and harmonize the way to acquire and use all the information related to the building and its stakeholders (procurers, builders, owners, users, operators, etc.) in order to radically modify the construction processes (e.g. lean construction and higher degree of industrial building prefabrication), and the off-site production of components (e.g. prefabricated components).
Proposals should cover the following areas:
- Optimisation of recyclability properties of the materials and development of solutions to recycle and reuse construction materials and existing building structures in particular through the uptake by the manufacturing chain.
- Innovative pre-fabricated elements solutions integrating the latest developments in recycling and reuse of CDW as well as in construction and installation processes which show clear evidence of technical and economic viability for structural and non-structural components with a life-cycle perspective.
The project should also address the demonstration of the recycling technologies in the construction or refurbishment of energy-efficient buildings representative of at least two different climatic zones across Europe, allowing for a high replication potential.
Activities are expected to focus on Technology Readiness Levels 4 to 6.
This topic is particularly suitable for SMEs.
The Commission considers that proposals requesting a contribution from the EU between EUR 3 and 5 million would allow this specific challenge to be addressed appropriately. Nonetheless, this does not preclude submission and selection of proposals requesting other amounts.
SpecificChallenge:
As a consequence of economic development, construction and demolition waste (CDW) has become a serious problem, creating serious environmental pollution in certain areas of the world. In the EU, CDW accounts for approximately 25% - 30% of all waste generated and consists of numerous materials, many of which can be recycled.
Advanced research actions and technical solutions are required for large-scale reuse and recycling of construction materials in building refurbishment, contributing to overall CO2 and energy reduction. At the same time pre-fabricated components are now commonly used in the construction sector not just to reduce costs but also to facilitate installation/dismantling and re-use of components.
The development of pre-fabricated elements containing a high share of recycled materials and of energy-efficient building concepts considering a high fraction of material replacement is needed. The main focus would be on the recovery/ recycling of materials that have the highest technical and economic interest and which are associated to refurbishment or demolition processes.
At the same time, the possibility to reuse different materials in energy-efficient buildings should be further investigated through a proper characterisation of their properties. Also the development of processes for easy disassembly needs to be considered as well as the need to address strict regulations and standards (eg. anti-seismic) in several European regions.
The EC Waste Directive mentions under Art 11- 2b that: "by 2020, the preparing for re-use, recycling and other material recovery, including backfilling operations using waste to substitute other materials, of non-hazardous construction and demolition waste excluding naturally occurring material defined in category 17 05 04 in the list of waste shall be increased to a minimum of 70 % by weight." | https://cordis.europa.eu/programme/rcn/700118_en.html |
PSCU 2019: Are You Really Going to Throw That Away?
Although Todd Stiggins, PE, traded his focus from agricultural engineering to solid waste engineering, he still has a passion to improve the world and environment around him. But now, it’s through environmentally responsible landfills.
He presented “Are You Really Going to Throw that Away?” at PSCU 2019. He shared that 262 million tons of trash were generated in the United States in 2015. Between 1960 and 2015, America almost tripled its tonnage of waste. For Texas, the average person generates 2,500 pounds of trash per year; his own family of four is estimated to contribute 5 tons each year to the landfill.
For many years, trash went to the dump. These sites were generally not designed to consider the surrounding environment, such as protecting wildlife or people from scavenging and more importantly protecting groundwater resources from contamination.
“Unlike a dump, a landfill is an engineered solution for waste disposal – our top priority is to hold paramount the health, safety, and welfare of the public and the environment,” Todd said.
But, do we have better options than the landfill? In the 1970s, industry experts changed the paradigm to consider garbage as a resource for recovery instead of waste that is only destined for disposal. As shown in the image to the right, Todd emphasized a hierarchy of actions available for handling our waste. In order, those activities are Reduce > Reuse > Recycle before arriving at Dispose. With the upper two – Reduce and Reuse – we maintain personal control of what happens. After moving to the lower two – Recycle and Dispose – we forfeit control to the market. Why?
Recycling has its challenges. Texans recycle 22 percent of their materials, far behind the national average of 34 percent. Because Texans have so much space for landfills, the cost to throw trash in the landfill is approximately $35 a ton. In comparison, a 2017 study by TCEQ found that it costs $60 to $90 per ton to recycle glass, metal, or plastics in Texas, and those numbers are even before transportation costs are factored in. Other challenges of recycling include local regulations, problems with sorting, identifying a market for items, and transporting the raw materials to a facility that can repurpose them into finished goods.
Sorting is a major concern. Proper sorting requires either labor-intensive human resources or expensive automated Material Recovery Facilities (MRFs) to the tune of $20M each. Contamination – something as simple as a plastic grocery sack – can gum up the automated recycling stream.
China has historically been a place to send recyclables. For the last decade, China has imported 50 percent of the world’s recyclable materials. In the past two years, China passed more stringent rules to drop that percentage to 10 percent. China also banned 24 products that it will no longer accept and now says that contaminated recyclables will be limited to a mere half a percent. As a result, America is going to need to adapt and in particular improve the nation’s sorting capabilities, Todd said.
Education is vital. Find out what can really be recycled and what is actually “wishcycling.” Wishcycling is putting non-recyclable items with the hope, and personal warm fuzzies, that those items will be recycled. Plastic bottles, newspapers, empty cans, glass bottles with metal tops, paper, and boxes are recyclable. Diapers, pizza boxes, batteries, foam cups, plastic bags, lightbulbs, and food are generally not recyclable.
TCEQ, Take Care of Texas, State of Texas Alliance for Recycling (STAR) and Earth Day programs are good sources of information. For example:
- TCEQ states that your local government, retailers (like Best Buy or Staples), a waste hauler, or landfill may also offer electronics recycling options. Some charities (like Goodwill) may accept electronic equipment that can be repaired or salvaged. Additionally, you can search for a list of electronics recycling locations in your area.
- For options for recycling cell phones, visit https://www.cellphonesforsoldiers.com/volunteer-resources/find-a-drop-off-location/, locate a drop-off location or contact your local phone company, many of which accept old cell phones for reuse or recycling.
- Mulch your yard clippings. Here are 10 ways to make your landscape earth-kind: https://agrilifeextension.tamu.edu/library/landscaping/ten-ways-to-make-your-landscape-earth-kind/
- Get enthused. America Recycles Day is Nov. 15. Awards have been given for repurposing materials in chic ways: https://www.recyclingstar.org/texas-reuse-contest-winners/
- Here are ways to help keep our water clean: http://takecareoftexas.org/conservation-tips/keep-our-water-clean
Landfills offer safe, responsible storage with proper design of a facility, Todd explained.
“In America, we’re getting over the guilt that landfills are a bad thing. We can safely store waste while protecting our environmental resources.”
Todd explored the future of solid waste management, explaining that when recycling technology improves in the future, the waste stored in landfills can be mined and put to beneficial use. We are actually already re-purposing the by-products of landfills. Methane gas is currently captured and used in a variety of ways including electricity generation. In another instance, methane can be piped to a firefighter training facility. America’s propensity for innovation and advancement holds promise for even better solutions in the future.
“We are living in a new age, where we are learning to do things in a different way for resource management,” Todd said.
However, the takeaway is that at the present time, the best choice to decrease what we send to the landfill is to maintain our personal control over the activities and Reduce or Reuse. | https://www.team-psc.com/pscu-2019-are-you-really-going-to-throw-that-away/ |
The aim of the English as a Second Language Program at St. Thomas More School is to enable students whose first language is not English to study successfully at an English medium high school. Because proficiency in English requires a variety of skills, each course incorporates many aspects of the others: for example, Reading will incorporate Listening and Speaking skills by having students read a passage aloud or discuss a recently read story.
An important goal of the ESL I Curriculum is to immerse beginning international students in an intensive program which will provide them with basic reading, writing, listening and speaking skills. We have updated our curriculum to reflect the current trends toward content-based ESL instruction. The topics that we study in our ESL program reflect the subject matter that students will be expected to study in the regular academic classes. Grammar, writing skills, and academic vocabulary are all presented and practiced in the academic areas of social studies, history, science, the arts, and literature. Students find it interesting and relevant to the courses that they know await them as upper classman in high school, followed by university.
This is a four-skills course that will focus on helping low proficiency English learners improve speaking, listening, writing, and reading through content based materials. Students will be exposed to various academic areas such as literature, science, social studies. Participants will learn to notice vocabulary and grammar structures as they learn new information. Students will give presentations based on their own lives and interests as well as the content they are learning in class. In the Listening component, each unit will have a language focus, a comprehension focus, and listening for pleasure. Students will learn and recycle every day and content vocabulary, practice pronunciation, and intonation.
Students gain exposure to a variety of literary genres in this course. It is designed to help students build upon the basic skill of understanding plot. Eventually, students are able to think analytically about theme and genre as well as identify different literary terms such as metaphor and symbolism in an effort to help them create the same depth in their own writing. The course begins as a survey of literature from the reader and eventually expands to include books from the mainstream English curriculum.
Students gain exposure to the important words of the academic word list, which are widely used in all academic disciplines. Students will learn to use a dictionary not just to learn word meanings, but also acquire the ability to use them appropriately in academic contexts and in everyday life. These skills will be continuously reinforced throughout the rest of the ESL curriculum.
This course will be a four-skills course utilizing listening, vocabulary, speaking, and writing. The course will focus on writing fluency, language, use, academic writing, and professional writing. Students will also find that this class presents opportunities to develop everyday vocabulary, content-based vocabulary, and writing skills. Students will write about their routines, places, biographical information, music, hobbies, problems and advice, recent activities, and other topics based on their interests. They will keep a daily journal of their activities and other topics of their choosing, as well as topics selected by their teacher.
This four-skills course will help beginning and low intermediate students review and practice fundamental grammar points so that they can be used in academic and every day situtations. Students will practice the verb tenses, comparatives, superlative adjectives, and phrasal verbs in isolation and then in conversation with each other. Students will learn to recognize these grammar points when they appear in their content-based text.
This course will be a four-skills course utilizing listening, vocabulary, speaking, and writing. The course will focus on writing fluency, language, use, academic writing, and professional writing. Students will also find that this class presents opportunities to develop everyday vocabulary, content-based vocabulary, and writing skills. Students will write about their routines, places, biographical information, music, hobbies, problems and advice, recent activities, and other topics based on their interests. They will keep a daily journal Students will keep a daily journal of their activities and other topics of their choosing, as well as topics selected by their teacher.
This is a more advanced four-skills course that will focus on helping intermediate English learners improve speaking, listening, writing, and reading through content-based materials. Students are exposed to various academic areas such as literature, science, social studies, history and the arts. The meaning and usage of academic vocabulary is a central component of the course. Participants learn to notice vocabulary and grammar structures as they learn new information. Students will give presentations based on their own lives as well as on the content they are learning in class. In the Listening component, each unit will have a language focus, a comprehension focus, and listening for pleasure. The class will learn content vocabulary, practice pronunciation, and intonation. Students will learn to give complete sentence responses to questions.
This course is designed to help students that are learning English as a second language become stronger in their reading skills. This will include reading and introducing literary concepts that are seen in mainstream English literature classes as well as expanding their English vocabulary. Students will work on improving their reading fluency and comprehension as they develop their vocabulary usage. Students will continue to develop the ability to acquire new academic and other high use words and how to use them in proper context. In learning academic vocabulary, students will find themselves better able to describe things that are important to them. Students will read short stories, poetry, memoirs, autobiographical reflections, and folktales. By reading as much as possible, students will broaden their exposure to various genres of literature. They will be prepared to apply newly learned vocabulary and reading skills in mainstream courses. Prerequisite: ESL I Reading and Vocabulary, equivalent preparation, or teacher recommendation. | https://www.stmct.org/Page/229 |
Our knowledge rich and diverse curriculum provides all students with access to and deep understanding of a wide range of disciplines.
We challenge students to and equip them with the skills needed to engage with all subjects including, literature, mathematics, the sciences, humanities, and the Arts.
We teach our students to be inquisitive, to ask big questions, to challenge ideas and solve problems.
Our Values curriculum taught in parallel to the academic, enables our students to become confident and independent citizens.
We are ambitious for our students and encourage them to aim high, whilst taking advantage of as many opportunities and experiences as possible.
Our students all study the following subjects, click on each one for more information, including an overview of topics taught each term.
There are discreet individual programmes in place to enable students who need SEND provision to be supported.
See our SEND Page for more information.
Our students will all continue to study the following subjects, click on each one for more information, including an overview of topics taught each term.
In addition to the core subjects’ students will choose to study four elective certified courses (Vocational or GCSE). We currently offer the following subjects:
The vocational pathway has been specifically designed in collaboration with Wiltshire College, its aim is to provide relevant learning opportunities to a small number of students who would benefit from a more practical/vocational route through to post-16. Students will continue to study the core curriculum of English, Maths, Science and PE, but will also opt to study either Motor Mechanics or Hair & Beauty one day a week at College. They will also have an opportunity to complete extended work experience and achieve additional vocational qualifications.
All students are guided and supported in making their option choices, with the aim of ensuring the subjects they chose to study are of interest, are appropriate and support with their future career decisions.
Follow the link to be taken to our dedicated 6th Form pages The Wellington Academy 6th Form
Our Values curriculum is taught in parallel to the academic curriculum. It covers all content of the updated PHSE and RSE curriculum and is delivered through two tutor led sessions per week in each key stage, including KS5.
The curriculum enables our students to share their opinions in a safe environment and develop their understanding of key aspects of life and issues they may encounter. Our Personal Development days which are delivered six times a year, give our students the opportunity to explore these topics in greater depth by providing them with opportunities to link their learning to real life experiences and interaction with people impacted by the topics and themes covered. Students in KS3 and year 10 also complete the Compass for Life leadership training programme more details can be found by visiting our website or following this link
IAG and work-related opportunities are an important part of the curriculum both embedded in our teaching and learning and through additional activities such as work experience, the assemblies programme, and our Values curriculum. It is of the utmost importance that all young people are encouraged and supported to move towards a working life which is right for them; will be enjoyable and provide economic well-being. This is done through the provision of relevant and impartial careers advice and access to meaningful work-related opportunities. More details can be found on our website.
At The Wellington Academy, we believe that regular participation in extra-curricular activities is just as important as excelling in academic subjects. According to numerous studies, students who take an active part in extracurricular activities have better leadership skills, enhanced team working skills and higher levels of sympathy than their peers. Extra-curricular activities enable students to develop skills that will benefit them for life. For example, joining the football club can improve hand-eye coordination and teamwork skills, attending a drama class will harness their creativity whilst developing public speaking skills. Other benefits include:
• Improved self-esteem
• Exploration and a broader perspective
• Wider social network with actual rather than virtual interactions
• Time management and responsibility
• Greater opportunities for success
All students are encouraged to participate in at least one extra-curricular activity per week, selected from a broad and diverse menu, including sports clubs, theatre, music, creative arts or learning a new language to name but a few. A full list of what is offered is published termly on the school website. | https://www.thewellingtonacademy.org.uk/Pages/Page.asp?PageID=780 |
We use Applied Behaviour Analysis (ABA) and specifically Verbal Behaviour (VB) principles in our teaching. Teaching with ABA/VB reduces challenging behaviour, ensuring our pupils access a broad, balanced and specialised curriculum - drawing on the National Curriculum and working towards the outcomes in a pupil’s EHCP.
Our teaching focuses on language development, particularly functional communication. We aim to develop academic, independent living skills and personal, social and emotional development through highly effective teaching in a variety of ways.
Activities include outdoor playtime, art, music, PE, yoga, and swimming. Regular class community trips, library trips and other school and class outings are planned each term.
All pupils participate in whole school weekly assemblies and there are further drama opportunities throughout the year including a Song Club and a full length Winter Production in December. These opportunities improve communication and public speaking skills, boosting pupils’ confidence and self-esteem.
Are a signing community, and all staff are trained in Makaton sign language and other forms of communication styles. | https://www.beyondautismschools.org.uk/tramhouse/teaching-and-learning |
Through story-telling techniques and introductory improvisational games, students will develop a great sense of self-confidence, self-awareness, and self-expression. Students will strengthen their public speaking skills by presenting their work to one another within small group settings. The Drama curriculum at OTMS allows for integration across the curriculum as students apply their learned dramatic techniques to assignments for other classes. Class assignments consist of oral presentations, creative thinking, and problem solving. The Elements of Drama are taught through creative role play and improvisational exercises at the beginning or the end of a lesson. In our drama classes, students will have multiple opportunities to practice proper breathing, good diction, gesturing, and projecting their voice to any audience.
Drama Class
- enhancing self-awareness and self-confidence
- inspiring creative expression
- improving focus and maintaining concentration
- enriching communication skills and social interaction
- developing physical and vocal expression
- using drama to promote and cultivate reading, writing, and speaking
- deepening understanding of human behavior within the context of drama
- promoting cultural understanding
- acquiring historical perspective by exploring different periods and styles of theatre
Our Drama class at OTMS is an exciting and inviting environment for all students- both beginners and experienced performers- and we would love to have you join us!
DID YOU KNOW…
(The following statistics were posted by the American Alliance for Theatre & Education)
- Students involved in drama performance coursework or experience outscored non-arts students on the 2005 SAT by an average of 65 points in the verbal component and 34 points in the math component(1)?
- Drama activities improve reading comprehension, and both verbal and non-verbal communication skills?
- Drama helps to improve school attendance and reduce high school dropout rates(2)?
- A 2005 Harris Poll revealed that 93% of the public believes that arts, including theatre, are vital to a well-rounded education (3)?
- Drama can improve skills and academic performance in children and youth with learning disabilities? | https://www.madison-schools.com/domain/5145 |
email:
TUTORING TIMES
Tuesday and Wednesday 4:00-4:45 PM
And by appointment
COURSE DESCRIPTION
In this class students will build upon the basic knowledge they already have of the Spanish language. They will continue to develop their vocabulary and grammar skills and they will also begin to use more complex tenses and structures. We will cover present tense and past tenses -regular and irregular forms, future tense and conditional tense -regular and irregular forms . The class will focus on speaking, reading, and writing following grammar rules taught in class. We will be having interactive classes where students will have many opportunities to practice their vocabulary and speaking skills. In addition, we will incorporate technology into the lessons to enhance participation. Students will be listening to music and watching videos in Spanish to hear real accents and dialogues. Students will be expected to participate on a daily basis.Participation and studying outside of the classroom is a huge part of being successful in Spanish 2.
REQUIRED MATERIALS
·One inch binder with 4 dividers
. Pen or pencil, paper
·Textbook- Auténtico Level 2
GRADES
Grades in Spanish 2 will be based on a variety of assignments. Students will have vocabulary quizzes, chapter exams,grammar exercises,and cultural activities that they complete in class, and a few projects they will complete outside of class. They also will be writing bell ringer activities (diarios) in Spanish.
Major assignments-60%
Minor assignments-40%
SISD Grading Policy
Parents and students can check grades and progress online at www.sharylandisd.org . Please check your grades often, it keeps you aware of where you stand.
PROJECTS
Throughout the year, you will have to completeTWO Major projects - they will require online research and work outside of class. I will allow ample time for you to work in the computer lab, however you will need to finalize these projects at home. If you do not have access to a computer and a printer at home, please make the necessary arrangements with time.
SOME AREAS OF STUDY
1. Review or pronunciation, vocabulary, basic grammar structures
2. Review common sentence structures (statements, questions, negatives, etc.)
3. Learn and practice more complex grammar structures (past tense forms and uses, future tense, direct objects, reflexive verbs, etc.)
4. Expand and improve vocabulary
5. Develop and improve reading, writing, and speaking skills
6.Organizational skills
7. In-depth cultural topics
CLASSROOM EXPECTATIONS
Top Right Hand Corner- First & Last Name
Date
Block
*Students may address me as Señora Tamez.
*All the rulesin the student handbook apply to this class, including new B.Y.O.D. policy.
*Please do your best to make sure that all of your actions in the classroom are appropriate and considerate of others.
*If you are not clear about an activity, assignment or teaching point, please ask right away.
*The classroom needs to beneatandcleanat the end of each period. Please help put books away neatly and help pick up trash, even if it isn't yours. Have pride in your school! | https://sharylandshs.ss8.sharpschool.com/faculty/tamez__margarita_-_foreign_language/syllabus_/spanish_2_e |
Our curriculum is designed to provide a broad and balanced education that is ambitious and meets the needs of all children. The early learning areas of social and personal learning, health and physical learning, and language and communication prepares students for adulthood. Our children are taught to be curious, ask questions and are encouraged to make a meaningful contribution throughout their lives for the good of us all.
The curriculum ensures that academic success, creativity and problem solving, reliability, responsibility and resilience, as well as physical development, well-being and mental health are key elements that support the development of the whole child, promoting a positive attitude to learning. The curriculum celebrates the diversity and utilises the skills, knowledge and cultural wealth of the community while supporting the children’s spiritual, moral, social and cultural development, ensuring that children are well prepared for life in modern Britain.
Our curriculum is nurturing and aims to promote the all-round development of our children. In addition, it fosters happiness and nurtures their well-being, helping them lead an independent life and integrate into the community.
Implementation
Our curriculum is linked to the National Curriculum and the EYFS Development Matters. Not only are all pupils taught in line with these expectations, they are challenged and inspired. The curriculum is planned and sequenced so that new knowledge and skills build on what has been taught before ensuring children are ready for future learning.
Additional aspects of our school which enhance learning for our pupils and make for a unique experience include:
- Specialist Physical Education coaches
- Specialist music provision
- Additional Resourced Provision for pupils with severe and complex needs
- Outdoor and residential learning
- Opportunities to become ‘Knights of Tubbenden’.
In order for our curriculum to flourish further, there are key threads running through which ‘drive’ the learning forwards and become the ‘drivers’ for our curriculum.
Our three main drivers are:
Inspiring Curiosity Wider Learning Creativity
Inspiring curiosity – In order to learn effectively, children need to be curious learners. Our curriculum provides opportunities for children to ask questions, seek answers and become independent learners.
Wider learning – In today’s global world it is so important we feel we are part of the local, national and international community – this is where the wider learning driver plays its part. Children will learn about the world around them and through the world around them. With Tubbenden’s extensive grounds, excellent location for links to London and a fantastic community with a wealth of expertise to offer and share, the children learn first-hand through a variety of experiences and locations.
Creativity – children enjoy a variety of creative experiences within school providing a balanced curriculum where they have the opportunity to excel. This is fundamental to the planning of engaging activities incorporating the creative arts within the curriculum.
Subject leaders play an important part in the success of the curriculum by leading a regular programme of monitoring, evaluation and review; the celebration of good practice contributes to the ongoing commitment to evolve and improve further. All subject leaders are given training and the opportunity to keep developing their own subject knowledge, skills and understanding, so they can support curriculum developments and their colleagues throughout the school.
A varied timetable of extra-curricular activities is offered by the school, with clubs that support the core curriculum offer, as well as those which develop specialist skills such as martial arts. Additionally, opportunities to develop leadership are provided through roles and responsibilities within the wider school which promotes citizenship.
Impact
Our practice across the school provides a strong foundation and opportunities for children to collaborate and develop social skills both indoors and out.
Enjoyment of the curriculum promotes achievement, confidence and good behaviour. Children feel safe to try new things. High quality visits and visitors to the school enhance the curriculum.
Our curriculum provides well-rounded, life long learners who are prepared for the challenges and adventures that await them.
Please click here to view examples of diversity and inclusion in our curriculum. | https://www.tubbenden.bromley.sch.uk/Learning-Zone-26112018134148/ |
The Institute of Environmental Science & Meteorology of the University of the Philippines Diliman (UP IESM) and the University of Reading (UR) offer the opportunity to pursue a dual degree PhD program in Meteorology. The students will spend their first semester in UP, during which they finalize their research plans under the joint supervision by both institutions. The next one and a half years is spent in UR to finish the other requirements and exposure to state-of-the-science in the field of meteorology. Students are expected to publish scientific papers in their final year in the Philippines.
The UP IESM is the sole institution offering graduate degrees in Meteorology in the country. In 2017, IESM revised its curriculum to incorporate advanced courses on computational and imaging techniques in weather forecasting and climate modeling, which are expected to improve our understanding of the changing climate and vulnerability to extreme events. We tap the expertise of UR, ranked 2nd in the world for research in Meteorology and Atmospheric Sciences, to further our goal of solving critical problems in the natural environment, particularly weather and climate in the tropics.
PhD by Research*
University of the Philippines Los Baños & UNIVERSITY OF READING
Dual Degree
With specializations in fields contributing to the development of the agricultural sector and to ensuring food security, the Dual PhD by Research program will see faculty and researchers from the two universities jointly supervising students as they take advantage of broad opportunities to provide innovative, theory-based, systematic, and practical solutions to the agricultural and environmental concerns of glocal economies.
The program aims to produce graduates who have contributed to the body of knowledge in fields related to the agricultural/economic sciences or to have provided innovative, theory-based, systematic, and practical solutions to the agricultural/economic concerns of specific industries. Graduates will demonstrate an in-depth understanding of theories and concepts necessary to advance learning and/or professional practice as well as to practice research skills providing a critical perspective of the real-world complex issues related to the intractable problem of food security in the following specific fields: Agricultural Economics; Agronomy; Animal Science; Environmental Economics; or, Horticulture.
Whether evaluated for the minimum three-year duration or the regular four-year program, students will spend one year in mobility to benefit from the advantages of exposure to a variety of cultures and worldviews, experience with diverse facilities and resources, and veritable international recognition of their education, which are all expected to boost research quality and global visibility.
Although a limited number of fields of interest have been offered for the pioneer batch of Dual PhD by Research students, future program configurations are expected to encompass more specializations dealing with ensuring security and responsible management of resources and the environment.
*Structure and other details are subject to the final approval of the program. | https://www.britishcouncil.ph/programmes/education/higher-education/philippine-uk-tne/joint-dual-post-degrees/programmes/msc-meteorology-phd-agriculture |
The intent of the MFL department is to help develop skills in all our students which enables them to use French and or Spanish to a high standard in their future career and lives. We are passionate about opening students’ horizons and preparing them for higher education and the world of work through a positive experience of learning foreign languages. We seek to ensure that all our students acquire the educational and cultural capital to which all children are entitled.
It is our intent to ensure that our curriculum is challenging and inspiring for all students so as to push them academically and we aim to ensure that teaching and learning is rooted in the science of learning. The MFL team promotes a love of language learning and strive for pupils to make outstanding progress at all levels. Finally, we recognise the importance of languages and therefore aim to provide our pupils with maximum opportunities in lessons, on trips or extra-curricular activities to encourage them to develop courage, resilience and self-discipline in the use of the target language and to turn pupils into real linguists.
We support curriculum planning with resources that emphasise transparent explanations and abundant practice building in frequent feedback to maximise confidence and success in language learning. Knowledge, through carefully selected topics, is delivered and accumulated in a logical, cumulative progression. Key vocabulary and frequently recurring grammatical points are identified within each curriculum and built upon. Retrieval practice and interleaving is encouraged through progress quizzes, low stakes quizzes and knowledge organisers. Additionally, students are given the opportunity to revisit content. A big emphasis is given on differentiation in every lesson through the use of Knowledge Organisers. All the lesson activities and more challenging concepts are broken down, scaffolded and modelled.
Planning in years 7 and 8 is in line with the review of MFL Pedagogy and NCELP (National Centre for Excellence for Language Pedagogy). In years 9,10,11 we prepare students for current GCSE content and examinations, which builds on the core grammar and vocabulary taught in the programmes of study for KS3.
Opportunities are also planned for within the curriculum for students to advance their cultural and social capital and develop as individuals on a spiritual and moral level. This is explicit to students. All pupils in year 7 have a French pen friend from our partner school in France: le collège Jas de Bouffan. Every year, we aim at exchanging at least 3 letters where pupils introduce themselves, write about their hobbies and personal interests, describe their school day and their towns, share what they did or are planning to do in their next holidays. Our pupils love these opportunities and take a lot of pride in writing beautifully presented and detailed letters in the target language. They also really look forward to receiving letters and finding out more about the lives of their French peers.
MFL assessment is ongoing throughout each module to inform future planning, lesson activities and differentiation. Summative assessment is completed at the end of each module when each MFL objective has been covered. The impact of our curriculum will be assessed each year using the different types of data available to us. This data will include exams results analysis, examiners reports, emerging research, QA, student voice and staff voice.
All pupils are taught all four skills of listening, reading, speaking and writing and each of these skill areas are practised, consolidated, reinforced and assessed on a regular basis. There is a positive and innovative approach to target language teaching and we encourage our pupils to use the language for their own purposes.
Students who study at A Level need to be either fluent in writing and speaking or at least hold a Grade 6 in the language at GCSE. Advanced levels courses provide students with the options of following a pathway which will enable them to forge a career using languages.
We offer the following courses at Key Stage 5 in MFL: | https://www.stmarksacademy.com/page/?title=Modern+Foreign+Languages&pid=66 |
Physical Education (PE) is the perfect vehicle through which to develop crucial skills, attitude and knowledge required for an ever changing modern world. At Lipson we use a wide range of sports and activities as a medium for students to develop their Heart, Head and Hands. Something which PE is uniquely positioned to do. Students will be supported throughout to lead, to compete, to develop socially and emotionally. Ultimately encouraging lifelong participation in Physical Activity.
Lipson PE are an extraordinarily experienced department and provide a working model for students on how effective teams can succeed. All members of the Lipson PE team are experienced in all areas of the PE curriculum and continue to demonstrate the positive attitudes we aim to instill in all of our students. We have created a department which students are proud to be a part of. Whether they form a team during lessons, in Sports Studies, Level 3 Cambridge Technical or part of our highly successful sporting teams; students will thrive in an environment which maximises participation and develops excellence.
We are dedicated to developing competent students to excel in a broad range of physical activities. Students will leave Lipson having gained the confidence and self-motivation to engage in lifelong participation in physical activity. We offer a synoptic curriculum where sports and activities become the vehicle to develop students within the psychomotor, cognitive and affective domain. Learning is sequential during KS3 where students experience a holistic overview of activities to promote enjoyment and development of key transferable skills and concepts. We aim to instill students with the desire to continue along the Physical Education pathway provided for them.
Curriculum Overview (Click here)
Our Curriculum Learning Pathway
Physical Education Curriculum Pathway (PDF)
Meet the Team
Ed Goodman - Head of PE
Struan Mitchell - PE teacher and Head of Year 11
Katy Geraghty - PE teacher and Head of Year 8
Craig Swiggs - PE teacher and Head of Year 7
Kevin Mee - PE teacher and Deputy Head of Sixth Form
Tom Goodman - PE teacher and Deputy Headteacher
Neil Dyke - PE teacher and Deputy Headteacher
Sarah Law - PE teacher and Primary lead
Beckie Garland - PE teacher and Cover Supervisor
Kate McPherson - PE teacher and lead teacher for Citizenship and SMSC
Alicia Price - Teacher of Dance
Transition and building on KS2
As a department we pride ourselves in our outstanding levels of collaboration with our local feeder schools. Mrs Law leads on the delivery of weekly lessons and CPD opportunities in addition to hosting numerous sporting festivals for our feeder primary schools throughout the year. Using our Sports Leaders in these festivals provides KS2 students a frame of reference for a successful values-based Lipson Cooperative Academy student. This ensures KS2 students are eager and excited to join Lipson PE, as well as allowing us to identify any gaps in their development so we can adapt our curriculum accordingly.
Implementation
What do our students learn?
Ultimately students will gain the knowledge and understanding of the importance of leading healthy, active lives as well as the knowhow to do so. They learn the benefits of participating in physical activity. By the end of the programme students will have gained the competence and the confidence in a range of sports and activities enabling students to lead a physically literate, healthy active lifestyle for their entire life.
In KS3 we offer an inclusive curriculum to develop competence in a broad range of physical activities, ensuring students have regular sustained periods of physical activity. The opportunities for learning we provide are:
- A focus on ensuring all students understand the benefits of leading healthy active lifestyles and leave Lipson as habitual movers.
- Develop a knowledge and application of transferable tactics/strategies and concepts in a range of sports and activities in direct competition both as part of a team and individually.
- Develop and improve their own and others technique and performance in a range of activities.
- Intellectual and physical challenges are presented to students throughout KS3 aiming to develop cooperative and lifelong skills.
- Develop their composing, performing and appreciating skills.
- In Year 8 and 9 students can then opt in to join the dance academy and further develop their choreographic and performance skills in varied styles of dance across the year.
- Students are assessed throughout KS3 and KS4 on their mastery of learning (ME) in the three learning domains using a broad and balanced curriculum.
The range of sports and physical activities that are the vehicle to providing these opportunities are:
- Health related exercise - use of fitness equipment and exploring methods of training and our bodies response to physical activity.
- A wide range of invasion games including football, rugby, netball, handball, basketball.
- Net and wall games such as table-tennis, badminton, volleyball.
- Problem solving and outdoor activities such as orienteering.
- Dance and Gymnastics for all students.
- In the summer term, greater emphasis is placed on developing their own and others' technique in addition to improving upon personal bests in athletics.
- Skills/techniques and concepts used in tennis.
- Tactics/strategies and skills/techniques in striking and fielding games such as cricket, rounders and softball.
What examination courses do we follow?
The concept of language for learning is embedded in all activities in KS3. The introduction of OCR Sports Studies specification terminology and concepts prepares our students for the OCR Level 2 Qualification. Students who have particularly enjoyed the leadership elements of Years 7 and 8 and would like to develop these skills further are invited to join our Sports Leadership programme which forms an additional course for them to engage with in Year 9.
Sport Students in KS4 undertake 4 units of study in OCR Cambridge National Sports Studies. The course on offer allows a high level of practical application of theoretical sports knowledge throughout the key stage, including Outdoor Adventurous Activities, Developing Sports Skills and Sports Leadership. Students will sit the mandatory exam in Contemporary Issues in Sport.
KS4- Completing 4 units across 2 years: (Subject to change - 2022)*
R051: Contemporary issues in sport
R052: Developing sports skills
R053: Sports leadership
R056: Outdoor Activities
Our students finish KS4 and have the desire to continue their sports learning journey at our Sixth Form in a way that opens up ample examples of career pathways and progressions.
The extremely popular Level 3 Cambridge Technical in Sport and Physical Activity is intended as an Applied General qualification, equivalent in size to one, two or three A Levels. It is a two-year, full-time course that meets entry requirements in its own right for learners who want to progress to higher education courses in sport before entering employment.
- Cambridge Technical Extended Certificate (360 GLH)
- Diploma (720 GLH)
- Extended Diploma (1080 GLH)
PE Academies
At Lipson gifted sports students are guided in their journey to become elite performers. Joining the Lipson Sports Academies in Year 7, talented sporting students will develop through professional standard coaching as well as regular high-level competition. The Sport Academy will provide regular sporting opportunities external to the curriculum, in addition to providing expert instruction into the underpinning mechanisms which ignite elite sporting performance.
The Leadership Academy runs from Year 9 through to 13 and provides students with coaching and leadership courses which develops student’s confidence and behaviour, as well as enhancing students career prospects. Students will regularly help organise and lead sporting events across the city.
Along with the sports and leadership academies the dance academy provides students with the chances to learn and work with groups of students to develop their performance skills in dance.
How do we enrich our students outside of the classroom?
Lipson students have vast enrichment opportunities in PE outside of the classroom.
- Throughout the day they are provided with opportunities to use PE facilities and equipment under supervision at lunchtimes.
- We have a huge range of clubs both recreational and competitive for students to join external to the curriculum. Students have the opportunity to represent our successful Lipson Cooperative teams at regional competitions across a large number of sports.
- Students have the opportunity to enroll in the Lipson Leadership Academy and will organise and lead sessions for Primary schools across the city.
- Students have the opportunity to enroll in the Lipson Dance Academy and will perform their own choreographed performances to audiences.
- Every year students will be invited to attend a sports presentation evening to celebrate individual and team successes during the year.
- Year 7 students are encouraged to engage with the ‘Bikeability’ programme which runs external to the curriculum. Students not only gain road awareness and bike riding skills; they also gain the confidence and competence to engage in a physical activity for life.
- KS4 sport students will experience regular trips to develop their understanding of Outdoor Activities including: orienteering and mountain biking at Saltram National Trust, rock climbing (both indoor and outdoor) and archery.
- As a department we also offer enrichment opportunities in the form of trips – regularly taking students to see elite sporting performance including International and local professional sporting events.
- Students are also provided outdoor residential opportunities in the form of trips to Dartmoor National Park aiming to develop problem solving and team building skills during the Year 7 transition.
- In addition students can access International Skiing trips which help to develop cultural experiences as well develop lifelong skills and memories.
Impact
Students are assessed formatively during lessons looking at development of learning in all three learning domains - Psychomotor, Cognitive and Affective. The assessment of student development in PE is in a mastery-oriented climate where skills, knowledge and attitudes can be transferred across activities sequentially throughout the key stage using the various ME’s in PE:
Competitive ME
Healthy ME
Social ME
Leadership ME
Theory ME
Expressive ME
The ME’s are used to provide students with a visual way to see that not only will their skills, techniques and tactics from sports be assessed but other areas of themselves to develop in all three learning domains. The ME approach used with the three learning domains as the underpinning cornerstones allows the teacher to see the development of the whole student. The rationale for this is that in PE the learning domains are continuously interlinking and influencing one another.
Enrichment
Please follow this link for our full sports extra curricular activities. | https://www.lipsonco-operativeacademy.coop/Our-Curriculum/Physical-Education/ |
# English Opens Doors
The English Opens Doors Programme (Spanish language: Programa Inglés Abre Puertas Spanish pronunciation: ) is an initiative of the Chilean Ministry of Education (MINEDUC) to apply technical expertise and improve English as a foreign language (EFL) teaching, making it more accessible to Chilean people. The English Opens Doors programme was launched in 2003 and has been constantly supported since the first government of President Michelle Bachelet.
In 2014, the English Opens Doors Programme was transferred from the Curriculum and Evaluation Unit to the Division of General Education. This structural change reflects the Educational Reform of the second Bachelet government, as the Programme has been tasked with carrying out the English component of the reform and reaching 1000 schools over the course of Bachelet's term.
## Activities
### National Volunteer Center
Sponsored by the United Nations Development Program and the English Opens Doors Program (EODP) of the Ministry of Education, the National Volunteer Center seeks native and near-native English speakers to work as English teaching assistants in public schools throughout Chile. The National Volunteer Center runs a fee-free volunteer program.
The full-time volunteer program began in 2004 with a pilot project consisting of 14 volunteers placed in the Antofagasta Region. The project was evaluated by the Adolfo Ibáñez University Business School. The number of volunteers has considerably extended, and the program now covers all regions of Chile, with the specific focus of benefiting socially-vulnerable school communities. The National Volunteer Center annually recruits approximately 200 - 300 international English speaking volunteers to work in partnership with Chilean English teachers, helping students develop their communicative English abilities through dynamic and game-based learning.
Since 2004, over 2,100 English-speaking volunteers have been assigned to schools in every region of Chile, including the islands of Rapa Nui, Chiloe, and more. Over 650 municipal and state-subsidised private establishments have benefited from the program.
### English summer and winter camps
Total immersion English camps take place during students' summer and winter holidays. Camps are designed to give Chilean public secondary school students the chance to practise English through interactive activities including role-playing exercises, group projects, and competitive games.
### Debate, public speaking and spelling bee competitions
Each year, the English Opens Doors Programme sponsors debate competitions for high school students, public speaking competitions for students in year 7 and year 8, and spelling bee competitions for students in year 5 and year 6. Students are expected to prepare and present material entirely in English and to compete at local and regional events in order to advance to the national finals, held in Santiago.
### Scholarships
In 2006, President Bachelet officially announced a government-funded scholarship for undergraduates pursuing an EFL teaching degree at private and public accredited Chilean universities. This scholarship has now been incorporated into Sistema Bicentenario BECAS Chile. The main objective was the creation of a "long-term, comprehensive policy" for professional and academic development abroad. The scholarship enables Chilean undergraduates in their penultimate year of university to improve their English-language skills and become familiar with a foreign culture. It is the only scholarship the Chilean government grants to undergraduate students and is designed 'to provide Chilean schools with high-quality professionals, thereby improving English-language education'.
The destination country must be one in which English is either an official language or is used widely enough that the Chilean student will be experiencing total immersion. All scholarship applicants undergo a rigorous selection process that includes taking an English-language proficiency test such as the TOEFL or IELTS.
### Professional development for EFL teachers
The English Opens Doors Programme has developed several strategies to provide EFL teachers in public schools with more professional development opportunities, helping them to improve their English-language fluency and teaching practices. These include English language and methodology courses, local teachers' networks where peers form communities of collaboration, English Summer Town and English Winter Retreat (annual total immersion seminars where foreign professionals share their expertise with EFL teachers), among others.
### Mandarin Chinese teaching programme
In 2005, just prior to the China-Chile free trade agreement, the Ministry of Education developed a programme that allows educators to incorporate Mandarin Chinese into the curriculum, which is also managed by the English Opens Doors Programme. Native Chinese speaking trained teachers spend up to two years at a public or semi-private Chilean school teaching Chinese as a foreign language and developing initiatives such as dialogues and immersion camps. | https://en.wikipedia.org/wiki/English_Opens_Doors |
Through our curriculum we aim to give all learners, particularly the most disadvantaged, the knowledge and cultural capital they need to succeed in life and to enable them to be a pillar of any community.
The curriculum through all phases of the school is designed to incorporate our four values which are driven by our six pillars:
1 An appreciation and curiosity for life and learning
The foundation of this is our broad and balanced curriculum. In conjunction the core disciplines of English, mathematics, science, humanities and languages all students study a wide range of supplementary subjects (design technology, music, art and PE) with the additional opportunity to study a musical instrument. Within each discipline we use our planning cycle to ensure that our values come to life through the taught curriculum by critically evaluating what topics are to be taught and why whilst promoting deep thinking at every opportunity
2 The courage and ambition to unlock their full potential
We want our staff to teach consistently outstanding lessons that instil a love of learning and drive progress. In this context, all subject areas prepare students for future study within their discipline, with mastery of core and foundation subjects ensuring students have choice later on in their education; as they specialise in key areas of study. The curriculum in each subject area has been designed backwards from university study, through A-Level and GCSE to ensure students can reach their fullest potential. Our careers programme complements the curriculum to ensure that students can access a range of work- related experiences which motivate and inspire them. Our Ks3 curriculum deliberately creates opportunities for students to experience and excel at talent and creative based subjects which creates a diverse experience. Our vision for our students is that they enjoy their learning experience at APA because of the range of subjects they are exposed to which are threaded through all Key Stages. Our curriculum is driven by our teaching and learning vision which is based on the six principles of learning:
1.Memory matters! Learning is a change in long-term memory. If nothing has been remembered, nothing has been learned!
2.Working memory is weak. In order to remember things, we have to process knowledge in working memory, which is weak and easily overloaded. In order to learn complex new skills, we need to break them down into small chunks of knowledge that do not overload working memory.
3.Knowledge is a pathway to skill. Skilful mastery is the result of the gradual memorisation of hundreds of discrete items of knowledge over time, which will enable our pupils to think critically, creatively, and collaboratively to solve new problems.
4. Memory is the residue of thought, so it’s important that we ensure students are doing tasks that have them thinking about and remembering the right things.
5. Deliberate Practice is essential to closing the knowing-doing gap. Deliberate practice focusses on mastering the ‘small steps’ of a complex task, so that recall and transfer become automatic.
6. Effective Feedback makes the right memories. Responsive teaching helps pupils avoid misconceptions. When learning is new, feedback needs to be particularly frequent.
3 A desire to contribute to society in a positive way
Our ambition for all students is that they are academically challenged from their first day at school, meaning that there is a clear focus on the core concepts within each subject which in turn gives structure to the deep knowledge and skills required to be able to creatively and critically. We build and tailor our curriculum to ensure rigorous academic stretch for all students and to provide those who need it with the additional support to meet functional literacy and numeracy needs. We prioritise depth over breadth and provide opportunities to explore concepts fully. Within this context we focus on learnt knowledge to increase cultural capital and social mobility. This is driven by a knowledge rich curriculum in which recall is regarded as an essential part of every student’s toolkit and is in turn personified in our ‘Stickability Seven’ techniques.
4 A sense of self -awareness combined with integrity to be compassionate towards others
- ambition is to encourage ethical, respectful learners with a strong moral purpose. We want student to leave APA as fluent readers who are able to make inferences and judgements from a variety of texts. In addition to this we want our students to be confident speakers who can speak confidently and fluently to a variety of audiences and have the ability to listen and learn from others. We also create opportunities for students to write extended pieces which are cogent and well-argued thus ensuring that our students leave us as self- aware and emotionally intelligent individuals. At APA we believe that students need to access knowledge and skills outside of individual academic disciplines. At the core of this is our Six Pillars which firstly are harnessed in lessons to intentionally coach students in academic skills. Secondly, are utilised beyond lessons to build character through the house system and extra -curricular programme in conjunction with PSCHE, careers and current affairs. Students are encouraged in all lessons to utilise the pillars to achieve the best possible outcomes for themselves.
- Effort – Show a willingness to work hard; focus hard on learning and complete everything to the best of your ability.
- Enthusiasm - Be enthused by the learning opportunities; contribute ideas and ask questions.
- Independence – Have self-discipline; use your initiative to successfully work alone and complete all homework.
- Team work – Learn effectively with others; communicate clearly and work efficiently in pairs or groups.
- Commitment – Be committed to your progress; finish everything you start and work diligently towards reaching your potential.
- Community – Make a positive contribution to everyone’s learning; support and encourage others in the classroom.
A broad curriculum that is planned backwards
- At key stage 3 we offer a broad curriculum: approximately half the timetable is devoted to English, maths and science to ensure that students can meet baseline standards in KS4. All students in KS3 also study French/Spanish, history, geography, PE, art, music, DT reading, PSCHE and a group musical instrument lesson
- Students who are identified as having a high level of need or are working well below national expectations are placed in a small nurture group, which has a bespoke programme which gives them additional opportunities to improve their literacy skills and receive specialist tuition. These student access all of the supplementary subjects but are taught by a singular teacher for English, literacy, MFL and humanities.
- In addition to this, students who are working below expectations in English /reading as identified through the NGRT tests also have access to literacy programmes taught outside of the regular timetable such as phonics and lexia
- At key stage 4, the vast majority of students’ study 8 subjects. This is a deliberate curriculum decision to enable students to access the required teaching time to enable them to be successful in their GCSEs. We encourage students, where appropriate, to follow the English Baccalaureate as this will help them secure access to the best universities and future employment. However, we firmly believe that the EBacc is not appropriate for every child and students should be encouraged to make their own choices at GCSE in subjects that they are interested in and will excel in.
- At Key stage 5 we offer the full range of facilitating A Level subjects which are required as entrance criteria by the best universities. This is supported by a range of additional subjects such as psychology, media and sociology as well as a Level 3 BTECs in Business Studies Extended Diploma, Sport and Exercise and Media Production
- In both Key Stage 4 and Key Stage 5 we offer targeted intervention through both years of the key stage to ensure that all students meet their minimum expected grades. In Key Stage 4 English and Maths are our highest priority to ensure that students can progress to level 3 courses in our Sixth Form or elsewhere.
- As a whole, the curriculum is rigorous in its design and is planned from end points. Each Head of Department has a LTP which incorporates a five year overview. This document is used collaboratively by departments to formulate strategic Medium Term Plans which include the bigger picture, lesson objectives, sequenced activities designed to have the highest leverage and defined points to consolidate learning and check for understanding.
C0-Planning and Professional Development to Ensure Quality Teaching
Quality Professional Development is crucial in ensuring that our Curriculum Intention is implemented. A key part of this is Co-planning, where staff engage in a variety of activities such as backwards planning, subject/pedagogical development and strategic medium term planning etc. – This is directed by the HOD and are regularly discussed with SLT line managers in order to ensure use of this time is continually reviewed and maximised.
In addition to this we have focused on the most effective pedagogical tools at any teachers’ disposal and tried to embed these well, rather than introduce too many tools that staff then implement inconsistently. Our whole-school strategies including; cold call questioning, Think-Pair-Share, mini-whiteboards, visualisers, summarising and quizzing
This year, the key pedagogical tool that we are developing in classrooms is ‘Intentional Monitoring’. Intentional monitoring means that you should see teachers circulating the class with a purpose, gathering data about student work, followed immediately by the teacher responding to the information gathered, assessing and responding to ensure that all students can be successful learner.
In addition to this we have been implementing a long term reading strategy to support students on their journey to become better readers and unlock the curriculum
This year, the focus will be on further embedding the reading programme across the academy with an emphasis on strategies that enable students to lead on the development of their own reading. This will be a holistic approach to reading delivered through curriculum, pastoral and an intervention programme. Staff will have training on each of these strategies through CPD as part of the school teaching and learning INSET program.
- Increase student ratio of reading through the strategies of Hear/See/Say, Speed Words and Control the Game. Strategies such as Hear, See, Say which require students to segment and blend complex or unfamiliar words as a way to aid fluency, alongside Speed Words and Control the Game support students towards becoming independent readers who are able to read challenging and complex texts and provide teachers with the opportunity to assess and support them. These processes ensure a high level of engagement as well as accountability – they enable high leverage reading opportunities for all.
- Students take ownership of Accountable Independent Reading through a student framework aligned with ‘Guided Annotation’. The ‘Guided Annotation’ student framework will include paired reading to engage with vocabulary, silent solo sentence annotation and the reciprocal reading strategies of summarising and questioning to develop students’ text comprehension, equipping students to effectively tackle texts independently.
- Reading intervention programme. Use of NGRT data to target all students that are 2+ grades below their chronological reading age in year 9. This will be delivered through the Lexia programme which is an online reading programme that builds students’ text comprehension. Teaching Assistants will lead on the delivery of the reading intervention programme.
- Curriculum Reading lessons in year 7 and 8. Timetabled Reading for pleasure lessons in Year 7 and Year 8 to develop students’ independent reading through use of whole school teaching and learning strategies around increasing student ratio of reading, such as Control the Game and Hear/See/Say. These strategies will aid students’ fluency when reading aloud, allowing the teacher to support and assess students.
- Reading for pleasure during tutor time. All KS3 and KS4 years groups to read a novel in tutor time around diversity to support the reading for pleasure and to explore issues around race, gender and sexuality.
CPD is differentiated for staff to ensure that all staff are being developed but at the same time ensures that as a team we are ‘flying in formation’ so that we can consistently quality assure our classroom practice. As part of this process we have adopted the Ark Great Teacher Rubric. The GTR document is a holistic tool used to enable goal setting for teachers to get to the next level. It divides into four levels of proficiency; Attempting, Foundational, Proficient, Exemplary. It then describes the thinking, actions and influence of a teacher at these different stages using five strands of a teacher’s practice, Climate for Learning, Planning and Preparation, Teaching and Learning, Assessing and Responding and Professionalism.
Carefully defined Student Groupings and Settings
We believe that students perform best when working with peers of a similar ability in core and foundation subjects. Students are baseline tested on entry to the academy and as such and from mid -year 7 our classes are set, with opportunities for students to change classes according to the progress they are making after key assessment points. Students who have lower starting points benefit from being placed our nurture group or smaller lower sets where they are supported with an expert teacher and additional support, following an adjusted curriculum. However, our houses and tutor groups are mixed ability, facilitating collaborative work across all abilities reflecting our inclusive ethos.
Assessment, Revision/Stickability and Marking for Progress
Assessment plays a key role at Ark Putney and is intrinsically linked to both curriculum and teaching and learning. All students sit summative exams at the end of the year with exam year groups completing regular mocks. In addition to this students complete regular diagnostic test which enable staff opportunity to review learning, measure progress and inform planning and teaching
In order for staff to provide effective feedback and engage with responsive teaching, we have a whole school policy that allows teachers to give specific, constructive and personal feedback to every student throughout the year. We want students to feel reassured that, in every subject, their work will be marked regularly and consistently, formative feedback will be provided, and they will have the opportunity to act upon this in order to close the gap in their progress. The whole school approach to marking and feedback is in then realised/delivered by each department in a way that suits their curriculum requirements
KS3 and KS4 students will have an assessment portfolio for every subject that they will keep throughout their key stage. These portfolios will contain all assessed work, with teacher feedback and evidence of student progress as a result. Marking and feedback will include; Formative marking and feedback every 2-3 weeks, marking and feedback comments on green stickers for all extended writing/exam, literacy marking code on all extended writing/exams and student green pen actions (corrections and improvements) in response to all marking and feedback
At KS5, students will have a folder for each subject they take and this folder must be with them and out on their desk in every lesson. All marked work, including big writes, in-class assessments and mock exams, should be kept in a separate section within the student folder. This section should be clearly labelled. An extended piece of student work should be marked at least once every three weeks, in line with the on/above/below data entry. This could be an essay or series of exam style questions.
In order for staff to embed the principles of learning in their teaching practice and to effectively prepare students for examinations we developed our ‘Stickability’ initiative - our whole-school strategy to support students with the shift to linear learning and subsequent knowledge retention in all subjects with the launch of ‘The Stickability Seven’. This is a comprehensive set of revision tasks used by teachers to inform all planning, to set homework, to strategically re-cap content throughout the year and to create revision lessons before assessment weeks. They are also used by students independently, following direct instruction in assemblies and tutor times with the intention of improving student preparation and performance in their cumulative assessments.
Enrichment and Careers
To complement our curriculum offer we ensure that students have the opportunity to widen their experiences through a range of different activities during enrichment. Core enrichment means that all KS3 students and sixth formers attend at least one extra -curricular club on a weekly basis and that all year 11 students attend at least 2 after school interventions. The basic entitlement of all students is of four trips per year to deepen their cultural experience.
Students also benefit from our career’s destination journey, which maps out how each year group at APA benefits from our core entitlement and is fully aligned to the Gatsby benchmarks of best practice in careers education:
- All students have at least one session of 1-to-1 career advice as they approach the end of key stage 4;
- All students in years 7-10 participate in an annual whole cohort workshop with business volunteers (in conjunction with Young Enterprise) focussed on professional communication (Year 7), entrepreneurial skills (Year 8), career pathways (Year 9) and CV and interview techniques (Year 10);
- All students participate in “Career of the Term” activities (focussed on growth employment sectors) through assemblies, talks, competitions and tutor led activities;
- All students plan, attend and reflect on their encounters with employers at an annual careers fair.
- All students in KS4 and KS5 undertake 2-5 days of meaningful work experience;
- Targeted groups of students are selected for various intensive courses and activities run with partner organisations such as:
- 40 predominantly less engaged high prior attainers recently graduated from our Urban Scholars programme in partnership with Brunel University;
- 12 underachieving year 10 students graduated from an Outward-Bound programme focussed on resilience and motivation;
- 25 female students, predominantly from a BAME background, participated in a series of business breakfasts with local entrepreneurs.
- This is all underpinned by careers education within the curriculum and strong, and growing links, with multiple employers associated with specific subjects.
Impact
- Our academic outcomes at both KS4 and KS5 demonstrate consistency in surpassing national expectations:
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Full details of our curriculum can be found here. | https://arkputney.org/curriculum-aims |
At Haven Hub International Academy (HHIA), we pride ourselves on the breadth of our curriculum. We strive to provide a broad, balanced, challenging, creative and highly enjoyable curriculum which not only incorporates the National Curriculum but celebrates the ideas and experiences of every learner. Our schemes of work reflect the content and challenge of the curriculum. Teachers have received training in key areas of curriculum change and are ready to provide outstanding curriculum provision.
The curriculum will be taught with the consideration of the needs of all learners (see our SEND and Inclusion Policy). Our curriculum will be exciting and will inspire children to nurture a passion for learning.
At HHIA, the curriculum we have developed is based on fostering a desire for lifelong learning and ensuring that students are well prepared for identified academic examinations. The curriculum and courses are offered to cater for a range of assessments: 11+, Cambridge, IGCE, AQA, Exdecel, ZIMSEC, among other examination boards.
As an institution, we recognise the importance of English and Maths teaching to open up other curriculum areas. Therefore a significant emphasis is placed on these areas, in addition to the regular maths and English sessions. Deliberate cross-curricular links are utilised to develop English and maths skills in a range of contexts. In addition, HHIA offers small groups and individual programmes for Science, Chemistry, Physics, Modern Foreign Languages, Geography, History, Art, and General Knowledge.
We create opportunities for students to experience and excel in a range of activities that enhance and extend their knowledge and skills. Students have opportunities to apply both theoretical and practical skills through personalised and prioritised teaching and learning opportunities. Students have opportunities to share their learning, their parents and carers and other learners through online external exhibitions, performances, and competitions.
The curriculum developed at HHIA aims to develop students’ independence, motivate learners and instil their sense of responsibility as global citizens. This philosophy is at the heart of all our teaching and learning. | https://havenhubinternational.co.uk/curriculum/ |
The Center for Innovation, Entrepreneurship & Franchising (CIEF) and Center for Faculty Excellence (CFE) invite UNO faculty to participate in a cohort focused on infusing entrepreneurship principles and practices across the curriculum.
Specifically designed for faculty in arts and sciences, public affairs, education and other areas outside business, the Entrepreneurship Fellows Program will train, coach and fund participants to create new entrepreneurial courses in their departments or incorporate entrepreneurship principles into existing courses.
All regular faculty members — including tenured, tenure-track and lecturers — are eligible to apply.
Up to seven faculty members will be selected for the cohort, led by CIEF Director Dale Eesley.
Participants will spend approximately 40 hours on cohort activities throughout the academic year, including background readings and “homework” activities, course development, progress meetings and a fall workshop.
Dr. Dianne H.B. Welsh, Hayes Distinguished Chair of Entrepreneurship at the University of North Carolina-Greensboro, will lead a workshop on interdisciplinary entrepreneurship and curriculum development for Entrepreneurship Fellows.
October 7, 2016, 8 A.M.–4:30 P.M.
In addition to the engagement and support of colleagues, cohort participants will receive $250 after the fall workshop, $250 when the course is listed in the catalog and $1,000 for the first three times a new course is taught ($500 for a modified course). Additional funding opportunities are available.
Click here for full program details, a timeline and application information.
Submit an application for the inaugural cohort.
Innovation and entrepreneurship allow individuals to apply their creativity and skills, solve problems or improve the status quo. As such, their usefulness extends far beyond the College of Business Administration.
By becoming an Entrepreneurship Fellow, faculty will discover new ways to apply their knowledge, educate and empower UNO students to acquire entrepreneurial skills and sharpen innovative thinking, and create an entrepreneurial spirit across the University of Nebraska at Omaha. | https://www.unomaha.edu/college-of-business-administration/center-for-innovation-entrepreneurship-franchising/fellows-program/index.php |
Physical education plays a crucial role in the education of the whole child. It contributes directly to development of physical ability and health and fitness, and helps children learn to make informed choices and understand the value of leading a physically active lifestyle. Physical education is unique to the school curriculum as the only programme that provides students with opportunities to learn fundamental movement skills, develop fitness, gain an understanding about physical activity and promote social, cooperative and problem-solving abilities in children. Through physical education, pupils learn about the benefits of being physically active as well as the skills and knowledge to incorporate safe, satisfying physical activity within their lifestyle.
Curriculum Intent for Physical Education
At Harrow Gate we promote a high-quality physical education curriculum that inspires all pupils to succeed and excel in competitive sport and other physically demanding activities. It provides opportunities for pupils to become physically confident in a way, which supports their health and fitness. We ensure they have opportunities to compete in sport and other activities, build character and help to embed values such as fairness and respect.
The national curriculum for physical education aims to ensure that all pupils:
- develop competence to excel in a broad range of physical activities
- are physically active for sustained periods of time
- engage in competitive sports and activities
- lead healthy, active lives
PE curriculum at Harrow Gate
Champions is a Sports, Fitness and Health programme for Years 1 to 6. It is an holistic approach to the teaching of PE, which improves fitness, develops skills and deepens knowledge of health and wellbeing. It was inspired by an approach at Ark Bentworth and Ark Conway schools. It has been developed and successfully implemented in school by specialist teachers and, as such, is a proven part of wider school improvement and an effective measure of individual children’s fitness and sport progress.
The structure
The PE curriculum for each year group is organised into Sports units, six Health units, and six Fitness units. Within each unit are 6 lesson plans. The curriculum is built on a progression of skills and these are revisited to ensure application and refinement of all aspects.
PE Overview
Swimming and water safety
‘All schools must provide swimming instruction either in key stage 1 or key stage 2’. (National Curriculum 2014)
At Harrow Gate Primary we provide a 2 week intensive swimming programme for years 5 and 6. We ensure that all children leave us with the ability to:
- swim competently, confidently and proficiently over a distance of at least 25 metres
- use a range of strokes effectively (for example, front crawl, backstroke and breaststroke)
- perform safe self-rescue in different water-based situations
Enhanced Physical Education offer
At Harrow Gate we try to ensure that our children experience a range of sports, skills and competitive events. We work closely with local schools within the 'Stockton Schools Sport Partnership' http://northfieldssc.org/ssp to create opportunities for children to develop their physical, social and emotional skills through experiencing high quality PE, competition and sports leadership. The Stockton Schools Sport Partnership supports schools to:
- Engage their students in regular activity to kick start healthy & active lifestyles.
- Increase the confidence, knowledge and skills of teachers and wider school staff in delivering PE & school sport.
- Access a broader experience of a range of sports and activities for all pupils.
- Encourage increased participation in competitive sport and helping young people to achieve their personal best.
- Use sport as a tool for whole school improvement
School Clubs
At Harrow Gate Primary, we offer all children a variety of sports clubs before school, lunch time and after school. These clubs are free to all children. It is important that all children have equal access and opportunities to be active. Due to our schools location, it is difficult for all of our families to access extra sporting interests for their children. This is sometime due to cost and ability to travel. Below are the schedules for all of our clubs:
School Clubs
Sports Premium
The primary PE and sport premium was introduced in March 2013 to improve the provision of physical education and school sport in primary schools across England. The £150 million per year funding is provided jointly by the Departments for Education, Health, and Culture, Media and Sport (DfE, DH, DCMS).
At Harrow Gate we ensure that the PE and sport premium is spent on ‘making additional and sustainable improvements to the provision of PE and sport’ for the benefit of all pupils to encourage the development of healthy, active lifestyles. | https://harrowgateacademy.org/statutory-information/curriculum/pe |
The English department is characterised by a strong sense of collaboration and enthusiasm for our subject and our students. It makes a major contribution to the life of the school as a whole in terms of both academic and creative achievements. We believe that all students can achieve their full potential in a supportive, positive and enjoyable environment.
The department's main aim is to achieve the highest possible standards for all of our students and in our classrooms every child really does matter. We maintain an inclusive ethos that is underpinned by a diverse and engaging curriculum for the students and a diverse teaching range for the teachers.
Every English classroom is fully resourced with an interactive whiteboard and projector. We enjoy an excellent working relationship with a very active and exciting school library and have incorporated formal links with the library in the curriculum provision at Key Stage 3 and 4. Interactive whiteboards and projectors are integrated into classroom practice as an invaluable resource for the modelling of responses to reading, writing, speaking and listening tasks. However, our most effective resource is a team of outstanding English teachers who are passionate about the subject and ensuring every student is supported to achieve their full potential.
Many members of the team are directly involved in leading workshops for a range of audiences. We continue to develop our skills and embrace opportunities to extend our practice through collaboration and training both within and outside of PHS.
The skills of reading, writing, speaking and listening underpin all our teaching and learning in English and it is through our innovative approaches to the development of these skills, that we are best able to prepare students for the challenges and opportunities of the 21st Century.
Key Stage 3
We run a three-year Key Stage 3 course with an exciting new curriculum, which offers a variety of texts, activities and outcomes. Therefore, by the end of Year 9, all students will have completed their first stage of secondary English studies with links to the GCSE syllabus and the assessment objectives they will need to be familiar with in KS4.
Over the three years, we teach a range of units: novels, poetry, drama, Shakespeare, media, factual, persuasive and creative texts, and myths and legends. The outcomes of these units will mean that students complete their first three years having produced: literature analysis, role-play, speeches, film reviews, creative writing and writing for a variety of other purposes.
Throughout the three years, we assess students’ progress several times within each half term, in line with the assessment criteria for the new English curriculum. We give students the opportunity to reflect on their own progress and set targets, whilst tracking all progress on a database. We use assignments and an end-of-year exam to give a grade at the end of each year.
In order to provide some students needing extra support in the transition from Key Stage 2 to Key Stage 3, we provide a reciprocal reading programme, an EAL support programme, a reading buddies programme and intervention programmes.
We also run a range of extra-curricular and intervention opportunities for students at Key Stage 3 and Key Stage 4:
- Year 7 and 9 Buddy Reading programme
- EAL programme
- Year 10 debate club
- Year 10 intervention
- Whole school poetry competitions
- DEAR Day
- Accelerated reader programme for year 7, 8 and 9
- Year 11 intervention
- A Level Literature
- G&T groups taught in year 8, 9, 10 and 11
- SEN and Low literacy groups taught in year 8, 9, 10 and 11
As a department, we are excited about our Key Stage 3 and 4 curriculum and all that they offer.
Key Stage 4
At GCSE we follow the AQA specification for English Language and English Literature with the vast majority of students achieving a GCSE in both. Our results have consistently been outstanding for the last few years. In particular, we ensure that nearly every student makes 3 or more levels of progress from Key Stage 2 to Key Stage 4 and students with specific learning needs achieve just as highly as the rest of the cohort. We believe that no student should ‘slip through the net.’
However, we do not allow our desire for students to achieve highly to compromise their enjoyment of English and the rich experience that studying literature can provide. The GCSEs offer a varied and interesting curriculum covering a number of texts and different forms of writing. The areas of study include: writing for a variety of purposes and audiences including creatively, reading fiction and non-fiction texts.
From 2015 onwards all students will study both Language and Literature GCSE regardless of their set. This will prove challenging for some of our students who may require extra support. Every effort will be made to support students who may find this difficult in a smaller set or with extra support in a middle set, where appropriate.
The course is assessed through exams and controlled speaking and listening activities.
The teaching of the GCSE's is a particular strength and area of enjoyment for the English department, who enjoy developing the skills and appreciation for literature of the pupils when they have reached this level of maturity. | http://putteridgehigh.org/curriculum/english |
At Ainslie Wood Primary School we have developed a child centred enquiry based curriculum that is innovative, broad and varied. It enables children to use their imaginations, develop their creativity and become ‘experts’. We develop the children's individual abilities, interests and potential. We do this through a variety of teaching methods and by taking account of children's different learning styles. We also take note of what interests our children, and adapt our lessons and curriculum to accommodate this. We focus on reading, writing and mathematics as a foundation for all our learning. In years 1 and 2, children learn Phonics from the Letters and Sounds programme. Creativity is embedded into everyday teaching and learning.
Our unique, school-designed WE ARE Curriculum [Whole, Engaging, Active, Real, Exceeding expectations] is designed to provide a stimulating, challenging and rewarding learning journey so that all children become confident, competent and accomplished learners. This is taught through Project Based Learning (PBL) which covers science and most of the foundation subjects, whilst PE, RE, French and music are taught as stand-alone lessons.
Our curriculum threads SMSC (Spiritual, Moral, Social and Cultural) across all subject areas and school life, ensuring pupils are aware of the history and the values of Britain and ensuring pupils’ are prepared for life in modern Britain.
We teach children how to keep safe by a variety of means, which includes assemblies; and sessions on specific areas such as internet safety.
A big focus in Green Quad (Years 1 and 2), is widening children’s experiences. We incorporate this in to all aspects of our curriculum including Project Based Learning by providing opportunities and exposing children to things that they may not have experienced previously.
Phonics continues to be an essential tool for the development. In KS1, children continue to learn phonics every day using the Letters and Sounds program.
Click here to view the government produced Letters and Sounds materials
The following websites have excellent phonics activities;
http://www.letters-and-sounds.com/
http://www.familylearning.org.uk/phonics_games.html
http://www.phonicsplay.co.uk/freeIndex.htm
https://www.topmarks.co.uk/english-games/5-7-years/letters-and-sounds
We believe a key life skill that should be taught explicitly to children in Red Quad (Years 3 and 4) is COLLABORATION. We incorporate this in to all of our subjects and Project Based Learning. The flexible walls in Red Quad and the shared learning space allow for collaboration across year groups as well as within year groups. We make full use of this amazing feature!
In Yellow Quad (Years 5 and 6), our focus is on Aspiration. The relentless drive to ensure all children fulfil their potential builds resilience and perseverance and creates a hardworking ethos amongst all children which helps to prepare them for a smooth transition into secondary school and beyond. We provide children with opportunities and experiences to ensure they develop key life skills and we introduce them to a range of careers and interests to inform and develop their aspirations.
We teach children how to keep safe in a variety of ways including assemblies, and sessions on specific areas such as internet safety and sex and relationship education (SRE).
Our systems include:
- Formative and summative assessment to improve teaching and learning and raise achievement.
- Accurate and moderated assessment drawing on a range of evidence from real learning experiences (we do not test our children until they learn test technique in Year 6)
- Regular evaluations of how well pupils' are doing against age related expectations.
- Identifying pupils who are at risk of falling behind and ensuring there is aspirational challenge for all learners.
We are currently delivering our curriculum through:
· A wide range of after school clubs and breakfast clubs, including art, cooking, variety of sports, dance and drama.
· Supporting all staff to deliver the WE ARE Curriculum.
· Educational visits linked to Project Based Learning
· Inviting experts in to work with our children in the school.
If you would like any further information on any aspect of our curriculum, please get in touch with Ms Baldwin our Leader of Learning. | https://www.ainsliewood.co.uk/curriculum-information-years-1-6/ |
Junior School is a dynamic environment where we foster a sense of belonging, a love of learning, and a deeper relationship with God.
With nurture and encouragement the key components of classroom culture, these early Junior School years help students grow in confidence, interact in more depth with new knowledge and skills, learn from one other, and develop learning responsibility.
Literacy and numeracy are encountered in every context across the curriculum, forming a strong foundation for students' future schooling. At the same time, music, sport, technology and a range of extracurricular offerings give students an outlet for expression and provide opportunities to develop their individual interests and talents.
We encourage you to get in touch for more information or enrol for junior school today.
Click relevant title below to expand for further information
We help your child develop values based on the qualities displayed by Jesus. These values will contribute to shaping their characters as adults. Compassion, enthusiasm, self-control, determination, forgiveness, attentiveness, faith, nurture and excellence are taught explicitly. They are also inherent in the way we instruct, guide and support students in their daily learning activities and social interactions. Students receive awards for positive conduct in the school community.
BIBLE: The study of the life of Christ and other people in the Bible
ENGLISH: The study of grammar, reading, spelling, handwriting, writing and speaking
MATHEMATICS: The study of problem solving, estimation and calculation
SCIENCE & TECHNOLOGY: The study of scientific process, experimentation, and introduction to different technologies
HISTORY & GEOGRAPHY: The study of history, geography and citizenship
CREATIVE & PRACTICAL ARTS: Exploring, expressing, communicating and performing through dance, drama, art and music
PERSONAL DEVELOPMENT, HEALTH AND PHYSICAL EDUCATION: Playing and learning new skills and sports, developing fine and gross motor skills
LOTE: French
Personal excellence is a focus in every classroom, with assessments and activities used as a basis for extending those who show greater levels of interest and ability. Students are streamed in reading, maths and spelling, thus allowing for more targeted instruction and academic development.
Additional opportunities that challenge and extend learning, interests and talents are available through international competitions and assessments for schools (ICAS) and co-curricular activities such as music tuition, band, choir and art.
It is understood that each student learns in a different manner. Our teachers aim to cater for all learning styles and incorporate a wide variety of activities such as student-led tutorials, excursions, question and answer sessions, experiments, group work, creative expression and arts, multi-media, games, technology, and discussions. These activities complement teaching, textbook use, projects and assessments.
Activities may include but are not limited to:
- Band
- String ensemble
- Guitar ensemble
- Choir
- Chess classes
- Music tuition
- Interschool worship program
- Sports Carnivals and Gala Days
- Tennis lessons
- ASISSA Interschool Sports Competition
Our classrooms are digitally equipped with age-appropriate technology. This enhances the delivery of the curriculum, caters to a broad range of learning styles, and allows students to solve problems, work, and connect with each other and the world in 21st century ways. Regular access to technology in the classroom is a part of the weekly program. | https://wahroonga.adventist.edu.au/junior/ |
Oracy in the classroom: A teacher's guide to the development of pupils speaking skills for knowledge acquisition.
Oracy in the classroom: A teacher's guide to the development of pupils speaking skills for knowledge acquisition.
Get them talking, that would be our advice for any teacher thinking about developing really strong language work in the classroom. The importance of oracy in language development cannot be emphasised enough. Discussion is central to all aspects of the curriculum including areas such as grammar development. If the conditions are set up correctly with the right sort of tools, children can have purposeful discussions about the possibilities, effects and meaning of the curriculum. Oracy can be described as learning to talk and learning through talk. This article focuses on the latter, we are particularly interested in how using active discussions can form the foundation for pupils understanding of curriculum content. Enabling children to understand the different types of discussion roles available to them broadens their repertoire of classroom talk. As well as being a tool of communication, effective oracy skills enable pupils to participate in deep learning activities where they can exchange ideas, explore new areas and challenge assumptions. This area of pedagogy has particular significance for disadvantaged or low-attaining pupils. Within this article and the rest of the website you will find examples of how classroom talk can be used for knowledge acquisition and the development spoken language skills.
Oracy is to communicate what literacy is to reading and writing; and numeracy to mathematics. The term ‘oracy’ was first used by Andrew Wilkinson in the 1960s. Andrew believed that oracy – one's ability to express themself with fluency in speech – must get equal status to math performance and literacy in school curriculums. In simple words, oracy is to be able to express oneself well. It relates to having a broad range of vocabulary to say what one needs to say and the proficiency to structure thoughts so that the person makes sense to others. More recently, oracy has become even more important. This is because, education in schools is predominantly provided in English (in the UK), but many children lack spoken communication skills because they speak another language at home. Once schools begun reopening after the initial pandemic lockdown, many educators reported a dip in oracy skills particularly in children from disadvantaged backgrounds.
Many studies have discussed the potential role of teachers and schools in building Oracy skills in students. In recent times, online learning has made serious negative impacts on students such as social isolation, and poor communication skills. After opening, the majority of schools can reduce the negative impact of online education through different competitions, programmes and resources based upon 4 key oracy skillsets: evidence and reasoning; response and listening; delivery and expression; and prioritisation and organisation. Schools must teach and develop students' proficiency in these skillsets just like literacy and numeracy.
Schools can take the following steps to build strong foundations of oracy skills for the students in a classroom:
1. Allocating Extra Classroom Time for Oracy Techniques: More than anything else, classroom time is needed for building correct language speaking skills in the students. Although each class has a fixed timetable to follow, the teachers must try to engage students in oracy explicit activities within the classroom time. Also, teachers must not be hesitant to make oracy an objective or focus for a lesson. Learning through Oracy must be practised in every classroom.
2. Promoting Oracy in the Classroom: The most effective teachers take the responsibility for the language development of children very seriously. They make sure to commemorate oracy in their classroom environment. Following are some of the ways to promote oracy in the classroom.
a. Children’s verbal comments must be gathered and displayed in the classroom.
b. Teachers must frequently read aloud and tell stories to the students.
c. Children must be invited to perform the poetry and plays.
d. Displaying unusual objects in the classroom and encouraging children to talk about them.
e. Making a ‘talking corner’ in the classroom and inviting guests to talk about an interesting topic with the class.
All the above activities will build students' confidence and enhance their oracy skills.
3. Explicitly Teaching Oracy: Teachers must use direct vocabulary instruction especially with the students having any other native language. They must teach oracy related topics in the classroom. It is suggested to start by teaching a language structure or speaking frame each week. But unfortunately, teachers cannot give everything they know to the students. Children have to grab things and make them their own. Hence, teachers must support children to reflect and analyze their language skills - not only after they've completed their written tasks but also while they're writing their ideas and vocabulary.
4. Providing Opportunities to Practise Oracy: To make children confident speakers, teachers must provide them with a lot of opportunities to use their oracy skills in the classroom. Teachers must try different ways to talk about different topics and the structures they use in the classroom. Teachers can ask questions about students' major achievements in education or, prompt or comment about any topic. Teachers need to build upon students' comments. It is a must to think about how frequently children get the opportunity to report verbally, both planned and unplanned. It is also recommended to allocate some of the classroom time for children with poor communication skills and design additional language-related activities for them. Teachers can build a ‘conversation station’ with some rules to facilitate conversations between children.
5. Practice to Elaborate: An element of communication that's extremely powerful is 'elaboration.' Elaboration means to explain one's idea to someone else and add details to it. This method acts as a verbal rehearsal before writing ideas on paper. For young learners, oral practice separates the process of the creation of ideas from the more complex task of writing them. Older children can practice elaborating which help them in trying out different ways to write sentences and to listen to their writing aloud.
6. Expect Oracy from each student: For teachers, it is crucial to teach students about the fundamentals of classroom talk and model what good communication sounds like. A teacher's thinking voice plays an important role in building children’s metacognitive skills in both oracy and writing. To think about the most useful ways to phrase speech and to verbalise oracy choices are keys to supporting the development of oracy skills. It is an effective way to give feedback about Oracy. A teacher must not highlight if a child says something incorrectly, it might be more effective to repeat what they said incorrectly using the right words.
7. Make Oracy a fun-filled Activity: It is necessary to enjoy oracy explicit activities in the class with children such as games, role play, performances and debates. Teachers can design a thorough curriculum for oracy including many oracy related activities to improve oracy in children.
A child first acquires language to build upon natural fluency. Each student must get the opportunity to improve their content vocabulary through oral presentations and discussion rather than learning new vocabulary to be used in writing. Improvements in a student’s spoken English are usually followed by developments in their writing skills. However, incorporating tier 2 direct vocabulary instruction into the curriculum has been shown to have positive outcomes for pupils.
High-quality language development activities in primary classrooms can greatly improve educational attainment, from improving science and SAT results in maths to enhancing reasoning, reading and writing skills.
There is an extensive body of evidence that suggests that students with better communication skills are 4 times more likely to achieve five A* at GCSE. When teachers engage students in cognitively challenging classroom talk students do not only improve their language skills but also gain additional progress in subjects like science and mathematics. High-quality oracy education improves different techniques of writing in students; mainly including extended writing and collective writing skills. Oracy also has a positive impact on children's spelling and reading comprehension. The spoken language supports children's cognitive development, helping them to understand the world around them.
More recently, teachers and employers think that life skills such as communication, confidence, resilience and motivation are equally or even more important than educational qualifications. Oracy improves a child's academic and cognitive outcomes, his mental-wellbeing, self-esteem, employability, social mobility, and civic engagement. With companies now rating effective speaking as the most desirable skill, having superior public speaking and communication skills and a strong ability to express ideas through discussion are more needed in life beyond school.
There are hundreds of schools all across the country where teachers have understood the importance of building strong Oracy skills within the students. But, despite having all the above advantages and teachers' realisation of its importance we don't see the oracy curriculum receiving as much attention as literacy and numeracy in the school curriculum. According to academic evidence, pupils' average contribution in each class remains limited to just four words per lesson. Therefore, it is suggested that just as literacy and numeracy, oracy framework and key oracy skillset must be taught and, essentially practised for developing communication proficiency in students.
As a teacher you can't give them what you know. Learners have to take it and make it their own, and it's the discussion that really helps to do that. You can really support this by giving children tasks that require them to create several versions of something and then discuss which is best. Using the ‘Writer’s block’, we have seen children make changes and then reason their ideas to someone else. So you might say,‘write several opening sentences and discuss which one is the best’. The children can then use the Structural Learning blocks to move and change the parts of the sentence without any fear of ‘getting it wrong’. As learners make changes, they always justify their thinking to their peers, a gateway to critical thinking.
Another important role for talk in writing is the kind of talk that helps children to generate the ideas.
You can't write if you haven't got anything to say and the talking to generate ideas helps you to work through your ideas in a logical way. One element of talk that's particularly powerful is elaboration. This is the idea of explaining your ideas back to someone else and adding details along the way. This approach acts as an oral rehearsal before pen is committed to paper. For very young children, oral rehearsal separates the formulating of a sentence from the very difficult demand of writing it.
With older children it helps them try out different possibilities for sentences and to hear their writing aloud. And finally, talk is important for reflection and evaluation. We all know how hard it is to get children revising their work. Support children to reflect and evaluate on their writing - not just after they've written but also as they're developing their ideas and vocabulary. The block structures can easily be manipulated into different combinations, it’s a lot less daunting than putting a line through it. Focus their revision with key evaluative questions tied to the learning focus.
Remember, talk is the foundation of all learning. | https://www.structural-learning.com/post/the-importance-of-oracy-in-language-development |
Angeline Loh replied 16th Feb '14:
Reality's Contradictions
A slogan is an attention catcher, often used by politicians, but implementation is the test. When reality kicks in, rhetoric is kicked out. Proof of the pudding is in the tasting.
Politicians frequently ride on the waves of the most pressing current issues, or what they perceive as popular public concerns. A typical example is corruption, which is a major concern in many countries globally. The ordinary citizen is well aware that when corruption sets in at the top, it inevitably infects the lower echelons of government and society. Any public figure with the guts to make a stance against this public evil will inevitably attract popular interest and votes.
However, impementing anti-corruption measures and policies in reality is far more difficult than touting a slogan, especially in an established system where corrupt practices have become the norm rather than the exception. How can right sounding laws be juxtaposed on an establishment that chooses to ignore them or selectively implement them, besides imputing interpretations that result in the justification of such malpractices; and this is only referring to the possible malfunction of the justice system.
Corrupt practice always gives way to higher profile underground activity and mob reign over the ordinary, powerless person, rendered voiceless, and silenced into submission and conformity to the prevailing moral decay. Might becomes right, and money says more than honest fair play.
Thus, the power of persuasion lies, not in mere accumulation of wealth, but is driven by the hunger for power. A potentially incurable addiction. As was expressed by the 19th century historian and moralist, Lord Acton in a letter to Bishop Mandell Creighton in 1887, "Power tends to corrupt, and absolute power corrupts absolutely. Great men are almost always bad men."
Who then are the victims of their own slogans? Isn't it those who often take the high ground of self-righteousness, promising the ideals that many hope for? The much sought after deliverance from 'slavery' to an imagined freedom and justice. It is easy to sow hope, but not as simple to make it a reality.
When deliverance doesn't materialise, the proposer is discredited and the slogan remains a mere slogan. | https://www.myreplyis.com/node/879 |
A look under the surface of a public consultation: Part 2/5 – Planning and design
As we described in the Introduction to this blog series looking ‘under the surface of public consultation’, Dialogue by Design, part of the OPM Group, delivered a large-scale public consultation commissioned by the Human Fertilisation and Embryology Authority (HFEA) on new IVF-based techniques to avoid mitochondrial disease.
In this installment we consider the process of planning and designing a large-scale public consultation, the challenges involved in consulting on contentious subjects, and some tried and tested practices that help ensure accurate and in-depth results.
Choosing the right questions: a case of catch-22
The first challenge in any public consultation is establishing the right questions to ask. Not only do the questions need to make sense to respondents and help them to address the different aspects of the consultation topic, they also need to generate data that is ultimately useful to decision makers. For a consultation on a topic as underexplored as mitochondria replacement, it’s extremely difficult to foresee what issues will be important to respondents. Essentially there is a catch-22 scenario at play: the consultation questions need to be informed by public opinion, while some form of research or consultation is needed to establish public opinion first. This paradox was acknowledged by the HFEA, and led them to propose a consultation process involving a number of stages. Well before the public consultation began, OPM and Dialogue by Design ran a number of public dialogue events (in Cardiff, London and Newcastle), with the purpose of exploring the public’s views on mitochondria replacement and their responses to specific issues that might affect their opinions. The outputs of these deliberative dialogue events were valuable to decision makers in their own right, but also helped DbyD to establish the important questions for the public consultation.
Balancing the needs of respondents with decision makers
Once the issues for consultation have been established, the next stage is deciding on the structure and layout of the questionnaire. Again, this process is far more important than it may seem. When a contentious proposal is put out to consultation it tends to attract responses from people with strong opinions on the subject, who are very keen to make a particular statement. This can be to address a specific aspect of the proposal, or to record an overall statement of support or opposition. To enable these respondents to do this, the consultation questionnaire started with a very open question about how people felt about mitochondria replacement. This opening question allowed respondents to immediately address the issues most pressing to them before (in some cases) engaging with the more specific questions around the subject. Designing a successful consultation questionnaire involves balancing potential respondents’ needs with those of the analysts and the decision makers, and something as seemingly basic as having the right structure and layout of questions can prove vital in getting to the heart of public opinion.
Ensuring availability of relevant and unbiased information
One great advantage of consulting online is the ability to signpost respondents to information they may want to consider when responding to the consultation. In the HFEA consultation, each question was hyperlinked to a section of the HFEA project website which contained accessible information relevant to the topic. A panel of experts were consulted to ensure that the information provided was balanced and accurate. On all consultations, but particularly those focused on more ‘technical’ issues, it is vital to make sure that respondents have access to relevant and unbiased information, in this case both on the science of the techniques and the ethical considerations around their application. The design of the HFEA consultation anticipated the needs of respondents and allowed people to access the information they needed to give well-informed responses.
Integrity depends on access
Although the consultation encouraged respondents to use the online questionnaire, and most respondents did respond online, alternative ways of responding were also available. On request DbyD provided paper response forms to respondents who did not have access to the Internet, or who preferred to respond in other ways. Email and letter responses were also accepted. Although online consultation is arguably the most efficient way of consulting, it is vital for the integrity and inclusiveness of the process that anyone can respond in a way they are comfortable with. Maximising access is crucial in ensuring that views from different groups in society are heard.
Planning and designing this kind of consultation involves continual problem-solving, anticipating road-blocks and navigating around them to get the most accurate, in-depth and broadest results possible. It’s a challenging journey, but it is through this process of problem-solving that public engagement techniques continue to develop, and to become ever more nuanced and finely honed.
______________________
This is the second blog in a five-part series which analyses how Dialogue by Design, (part of the OPM Group), consults and reports on contentious subjects, paying special attention to a recent consultation conducted on behalf of the Human Fertilisation and Embryology Authority (HFEA).
In the next installment in the series – the results are in, but how do researchers begin to analyse the thousands of responses they receive in a public consultation? We discuss the challenges and solutions of analysing consultation responses, and how Dialogue by Design created ‘clarity from complexity’.
‘A look under the surface of a public consultation’ blog series: | http://www.opm.co.uk/blog/a-look-under-the-surface-of-a-public-consultation-part-25-planning-and-design/ |
In the wake of the 2016 presidential election turmoil, some groups have turned to storytelling to demonstrate solidarity and to show support for what they see as important issues. In the not-so-secret Facebook group Pantsuit Nation, for instance, members share stories of themselves and others standing up against racism and sexism. Sociologists recognize the power of storytelling in many contexts, especially in building movements for social change by shifting opinions or establishing solidarity, but they also point to some important barriers that come with using stories to change social policy.
Narratives are commonly used to establish a common group identity. For example, public officials might tell stories about a certain group of “dangerous” immigrants, thus establishing solidarity between people in the categories of “citizens,” in opposition to immigrants constructed as “enemies.” Public narratives such as these often follow a recognizable formula with actors who engage in typical behaviors, and plot lines that lead to a predictable moral conclusion.
- Donileen R. Loeske. 2007. “The Study of Identity as Cultural, Institutional, Organizational, and Personal Narratives: Theoretical and Empirical Integrations.” The Sociological Quarterly 48(4): 661-688.
Without people to listen, stories do not go very far. Thus, in order to make progress toward social change, social movement groups must find a way to speak to a broad public audience. Many groups try to gain public attention through protest, in an attempt to attract media coverage. However, news coverage of protests tends to neutralize or undermine their movement’s main issues, and sometimes ignores them altogether. Likewise, much of the news coverage tends to emphasize individual responsibility, rather than systemic explanations for the group’s grievances (i.e. racism).
- Jackie Smith et al. 2001. “From Protest to Agenda Building: Description Bias in Media Coverage of Protest Events in Washington, D.C.” Social Forces 79(4): 1397-1423.
But what makes a story effective in the public domain? Against common belief, sociologists have found that the ambiguity of personal stories makes them particularly effective for public deliberation. Stories that can be interpreted in multiple ways allow others to offer new ideas or compromises without seeming divisive. Conversely, personal stories that work well in value-oriented discussions, like remembering victims of 9/11, are not as effective in policy-oriented settings where reason-based arguments typically prove more effective. This is important because often it is the people with the most privilege (i.e., white, male, native-English speakers) who create these types of narratives, while stories told by people in less powerful social positions often have little traction in the policy realm.
- Francesca Polletta and John Lee. 2006. “Is Telling Stories Good for Democracy? Rhetoric in Public Deliberation after 9/11.” American Sociological Review 71(5): 699-723.
In short, stories are not just about the meaning people convey through or derive from them — they have a social organization of their own, and require certain conditions to be taken seriously. | https://thesocietypages.org/trot/2017/02/28/public-stories-and-social-change/ |
Ron Smith's Teaching Notes on ...
Publics
Updated Spring 2016 as a supplement to Professor Smith's textbooks
Strategic Planning for Public Relations and Becoming a Public Relations Writer, (Routledge/Taylor and Francis).
The "public" in public relations offers an important insight into what the profession is all about. Organization generally focus their public relations not on individuals, not even on every group that exists. Rather, public relations focuses on a select and carefully identified groups known as publics.
Definitions
A public is a group of people who
face a similar situation
recognize the consequences
seek to deal with the situation
--John Dewey, philosopher of sociology
A public is ...
- Identifiable
- Homogenous
- Important to the organization
- Large enough to matter
- Reachable
A general public is a logical impossibility because it does not refer to a group of people, as defined above. Instead, speak about populations, but any identification of publics must be specific.
Public, Market, Audience, or Stakeholder?
A public is a group within a population that has mutual concerns and consequences vis-a-vis the organization. Public may be helpful or annoying, friendly or not, but an organization must deal with each regardless. Think of a public as being like family. You don't pick them, they just are. Publics exist because of their interaction with an organization.
A market is a type of public. This is a more like a friend, with shared interests and common values. A market is a public based on a producer-consumer relationship.
An audience is an aggregation of individuals who share the use of a particular channel of communication. An audience may overlap with a public, but they are not the same. Following the friends and family analogy, an audience is more like fellow passengers on the bus, neither friend nor family (though they could be) using a common conveyance.
Stakeholder is a more confusing term. Some use it as an umbrella term, synonymous with public. Others use it as an alternative for shareholder, defining people who have a vested interest in an organization. The Public Relations Society of America has given its preference for "public" as the best umbrella term for the profession.
Discussion Point: It has been said that consequences create publics. With an understanding of the information above, what does this statement mean to you?
Linkages
Linkage is a sociological concept that identifies a pattern of relationships between an organization and its publics within interdependent or interpenetrating systems. Linkage theory is associated with Milton Esman, a researcher studying the Agency for Internal Development.
Every organization is moving toward equilibrium, with a continuing series of actions and reactions. This perennial adjustment creates a dialectical pattern of social change
-- Peter Blau, sociologist
Types of Linkages (identified by Esman)
1. Enabling Linkages
2. Functional Linkages (input / output)
3. Normative Linkages
4. Diffused Linkages
Types of Publics (Linkages)
1. Customers - publics who receive the output of the organization, either directly or indirectly
2. Producers - publics who create the output of the organization
3. Enablers - publics who establish the climate and generate support for the organization
4. Limiters - publics who limit the work of the organization
Examples of publics within each category of linkages
Customers
Occasional / Regular
Competitive / Loyal
By age, ethnicity, spending potential, or other variable
Current / Potential / Former
Producers
Employees / Volunteers
Veteran / Novice
Line / Staff
Management / Nonmanagement
Supervisory / Staff / Maintenance / Production / Uniformed
Management / Union
Families / Retirees
Investors / Donors
Current / Potential / Former
Enablers
Community Leaders (government, professional, business, union, educational, religious, ethnic...)
Organizations (service, professional, religious, cultural, political, environmental, activist, etc...)
Regulators (industry, association, regulatory agencies, accreditation bodies...)
Professional experts, consultants, analysts
Government Bodies Town, city, county, state, federal, international; Elective, appointive
Legislative, executive, judicial
Staff, advisory, committee, department
Diplomatic
Military / Civilian
Media (local, state, regional, national, international
Specialized (professional, financial, consumer, religious, ethnic, trade, advocacy, academic...)
By availability (general, limited, restricted)
Print / Broadcast / Digital / Social
Print (newspaper, magazine, newsletter)
Newspapers (Daily / nondaily; metropolitan / community)
Broadcast (television, terrestrial radio, online radio)
Television (broadcast / cable; commercial / public)
Radio (AM / FM, commercial / public
Social Media (website, wiki, microwiki (Twitter), social networking (Facebook, LinkedIn...), share sites (Flickr, YouTube, Vimeo)
Limiters
Competitors
Opponents
Activists
Stages in the Development of Publics
Nonpublic
- have nothing in common
- no consequences between organization and group of people
Public Relations Activity: Monitor
Latent Public
- face a similar situation
- unaware of consequences
Public Relation Activity: Plan for communication
Apathetic Public
- face a similar situation
- don't care; consequences not perceived as important
Public Relation Activity: Monitor
Aware Public
- face a situation
- perceive it as relevant
- not organized or active on the issue
Public Relation Activity: Initiate proactive communication
Active Public
- face a situation
- perceive it as relevant
- organized for action
Active publics may be active on all issues, on popular issues, or on single issues
Public Relation Activity: Engage in reactive communication
The more a public...
- recognizes a situation
- perceives it as relevant
- feels able to affect it
... the more the public will appreciate and participate in communication
Grunig Situational Theory of Communication Behavior
Purpose: To explain when and how people communicate
And when communication aimed at people is likely to be effective
Publics can be understood
by measuring how members of publics perceive situations
in which they are affected by organizational consequences
Communication behavior is affected by three conditions: | https://www.ron-smith.com/publics |
2017 has seen a growing number of advocates. Many of these activists are young adults and millennials who were spurred into action by the injustices that they have witnessed and/or desire to prevent. These new advocates have bolstered the numbers of continuously growing movements across a variety of issues such as healthcare, education, climate change and immigration. The reason for this is simple, they are passionate about justice.
In the pursuit of justice, there are a few things to keep in mind to increase the effectiveness of advocacy efforts. There are many different forms of advocacy in addition to marching and protesting. Two such forms are social media and in-person legislative visits.
Social media has become an increasingly effective form of advocacy. It is a powerful tool to educate and mobilize the public as well as to draw attention to an important issue. Not to mention legislators also frequently use social media such as Facebook and Twitter to interact with their constituents. Consistently framing and posting respectful messages on your social media or on a legislator’s social media can help to bring awareness, attention, and/or garner support for issues. This type of advocacy is most effective when used in conjunction with other forms.
In-person legislative visits are exactly what they sound like, meeting with your legislative representative in-person; whether it is at their Albany office or their district office to discuss issues important to you. These visits are an especially effective form of advocacy because it shows that you are serious. It is one thing to call your representative and another to talk with them face to face. It is harder to ignore you and the issue when you are in front of them.
Take the Ending Child Marriage Bill that the New York State Coalition Against Domestic Violence (NYSCADV) was advocating in partnership with advocates and allies across New York State as an example. Through using social media advocacy, the bill to end child marriage drew a lot of public attention and interest. Combined with the in-person legislative visits, that were conducted by NYSCADV, advocates, and allies throughout the legislative session and on NYSCADV's Day of Action, it garnered the support needed from the Legislature to officially end child marriage. The bill was signed into law by Governor Andrew Cuomo on June 20, 2017. To learn more about the Ending Child Marriage Bill please click here
When utilizing different forms of advocacy, there are a few things to keep in mind. It is important to always be yourself and to tell your story because it is the stories that bring a face to the facts. Additionally, it helps to be courteous and kind especially when the other party is not. When talking to a legislator, it is critical that you try to get a commitment from them, such as their guaranteed support on an issue. Lastly, recognize that you don’t have to know everything. It is completely appropriate to say that you will get back to them with an answer. Besides, that is an opportunity to follow-up which can lead to building a positive relationship with them. | https://www.nyscadv.org/news-events/blog.html/article/2017/06/29/tips-and-tactics-of-advocacy-in-pursuing-justice |
gives the university international recognition and reputation.
A fundamental question for the modern college of agriculture
is: what kind of research should be carried out and who determines
the goals of research activities? Internationally there is
a tradition of academic freedom which includes the freedom
of research. The researcher defines the topics of his research
work and tends to resist intervention from superiors or colleagues.
He wants to select a topic which satisfies his curiosity and
which he believes to be important, scientifically rewarding,
and, thus, would promote his careers. Undeniable, most original
research results came out of this system, and many urgent
problems have been solved because a certain researcher took
it up and spent years of efforts finding a solution:
Today, however, certain factors all over the world cause
doubt in this system of almost unlimited freedom in research:
The larger the research funds involved, the larger the manpower
engaged in research, and the more urgent the development needs,
the more important is a research policy with sound formulation
of objectives, means to define priorities and reliable methods
of evaluation. The prime consideration of such a research
policy is research for the benefit of the public, not for
the benefit of the researcher. In a modern college of agriculture,
research activities have to be re-oriented to meet the development
needs.
This will not take place without causing friction. First,
there may be a conflict between research goals, determined
by development requirements, and interests in promoting scientific
knowledge. Second, both the university and the researcher
are involved in international competition for their reputation.
If they are interested in gaining international recognition,
they should turn to Harvard and Oxford for examples of research
programmes and goals. The more they do so, the less they will
probably contribute to the development of their country because
the relevant issues are different. Universities have to find
their way out of the difficulties arising from their two-fold
membership. On the one hand, they are part of the national
community which support them, on the other hand, they are
part of the international scientific community which not only
influences intellectual life, but makes it at all possible.
There are three aspects of research at the modern college
of agriculture which require some discussion. | http://www.professor-frithjof-kuhnen.de/publications/agricultural-colleges/4.htm |
Back in the 1990s, when Akhila Sivadas was part of a growing women’s rights movement in India, she and other activists, frustrated with the lack of attention to their cause, recognised that their movement needed effective engagement with the media to grow and succeed.
Akhila now leads the Centre for Advocacy Research in New Delhi, which helps civil society organisations to craft media strategies. They also track and monitor the media on behalf of their stakeholders across India.
‘Akhila reminded civil society partners that they needed to take “media advocacy” as seriously as their policy advocacy goals.’
Akhila, alongside Ambika Raja, a reporter with disabilities at The New Indian Express, led a session on media engagement at a Foundation learning exchange on disability rights. In the presentation, Akhila reminded civil society partners that they needed to take ‘media advocacy’ as seriously as their policy advocacy goals.
Participants at the exchange expressed scepticism about whether to trust the media, given the current political climate and a tendency toward distortion. There was also understandable confusion over the dizzying array of media channels to choose from.
Here are some of the strategies and tactics that Akhila and Ambika shared in response:
- Find kindred spirts in the media. They are certain to exist, but it takes time and research to find the journalists and bloggers who share an interest in your advocacy issue. Interact regularly with reporters whose work you like and understand the kinds of stories they want. This knowledge can be helpful when crafting story ideas.
- Clear, confident messaging. A single, compelling idea is more likely to attract attention. Be ready with background information and data to back up your points. Remember that journalists and editors want to get to the heart of the issue, so do not overburden them with all the issues and causes you are working on.
- Pique their interest. Remember that media houses have a commercial imperative. They want to feature important stories, but they also want to increase their readership. Prepare your stories and press releases with attention-grabbing titles and clear, well-written messaging. Present an interesting angle to your story—one that discusses not just the issue at hand but also how it might affect the everyday person. Journalists and audiences in particular like ‘human interest stories’: so move beyond events and look for stories.
- Track the issues covered in the news. Journalists will be encouraged to write about your issue if you can show evidence that it is under-reported. Providing that evidence takes time and research but it will be worth it.
- Social media influences mainstream news. If the mainstream media is ignoring your cause, consider ramping up your social media output, or using alternative media. Journalists are constantly trawling through social media for stories and to identify trends. Create a short video about your cause and tag relevant media and influencers. This may grab the attention of those who can get your story out to a wider audience.
- Don’t give up if ‘breaking news’ drowns your story. Let the dust settle on the big story of the day and go back tomorrow—or next week—and try again. Revamp the story, refresh the title, add some new quotes, and continue to nurture your relationships with journalists.
- Try newsjacking. If there is a compelling story that has dominated the news, show how the issue you are working on connects to it. For example, if your organisation is working to advance the rights of persons with disabilities and there has been a natural disaster somewhere, build a story on persons with disabilities affected by the disaster, or how you are trying to help them. This is a clever way of amplifying your voice and showing how your issue is relevant to current events.
- Choose the best spokesperson for your story. Ensure your spokespeople understand your issue thoroughly and will not distort your message. The best spokespeople are often those with a lived experience of your issue who can articulate it clearly and concisely. Different mediums might require different spokespeople – or a range of different people with different viewpoints.
- Data and evidence improve credibility. In the print press, a local story will go to the national bureau and then to the chief editor for final approval. When you pitch your story, include key data and evidence in your pitch. This makes your story more credible and likely to grab the attention of editors. Citizen data from scorecards and audit reports are good sources of local-level data.
- Run a fellowship programme for journalists. If there is a lack of sensitivity and awareness of your cause, you need to build the media’s awareness yourself. Consider running a fellowship programme or providing support for young journalists to write about your cause.
- Track the work of journalists you like and have worked with already. If a journalist has featured a story on your issue in the past, keep track of their work. You may see the opportunity to interest them in a follow up story to review progress made over the year on your issue.
- Use politicians and celebrities to attract newsmakers, but also invite journalists who focus on substance. Inviting Ministers and high profile public figures to your events can attract the mainstream media; however, their presence can eclipse coverage of your issue. The media is likely to be more interested in what the Minister or celebrity has to say than what you have to say. While this is frustrating, civil society can use these events to invite a range of journalists—those focusing on the sound bites as well as those focusing on more in-depth pieces. Both give your issue coverage and reach a range of audiences.
In summary, Ambika reminded us that journalists are doing their best in a challenging climate and that there are journalists out there dedicated to just causes; it is simply up to us to build a relationship with them. Akhila encouraged participants not to give up: ‘Our issues are a struggle and if you start from that premise, you’ll be reminded to just keep at it until you find success.’
Gillian Cooper is Programme Manager of Knowledge, Learning, and Communications at the Commonwealth Foundation. | https://commonwealthfoundation.com/there-is-no-movement-without-media-12-tips-for-successful-engagement/ |
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