Three Creativity-Fostering Projects Implemented in a Statistics Class

Undergraduates in an introductory statistics class at a rural Southeastern college were assigned three creativity-fostering projects: statistics vocabulary crossword puzzle, word wall, and graffiti art poster. Given math anxiety, fear of failure, and lack of enthusiasm, it seemed imperative to spark interest and involvement. Rhodes 4P’s model (1961) served as the framework for this intrinsic case study involving 62 students. Independent thinking and research, peer collaboration, and use of art supplies within this model (person, press, process and product) generated remarkable learning outcomes. Grading rubrics focused on originality, quality and statistics content. Projects were classified into three qualitative categories ranging from lowest to highest: developing, satisfactory, and outstanding. Post-hoc student opinion surveys revealed therapeutic benefits of social interactions with peers and working together. Students enjoyed using art supplies, working with their hands, and engaging in meaningful constructive processes, in contrast to just writing class notes and doing online homework. Teachers are encouraged to acknowledge their repressed inner creative strengths and learn ways to foster creativity among students. Traditional and adaptive curriculum settings can utilize math art projects as qualitative authentic assessments in addition to traditional methods

Trivia Night

A poe

Alien Registration- Adams, Margaret (Presque Isle, Aroostook County)

https://digitalmaine.com/alien_docs/34210/thumbnail.jp

White-Painted Walls

A poe

Living by one's pen: vocational problems of authors in New England’s golden age

Thesis (M.A.)--Boston University, 1939. This item was digitized by the Internet Archive

Reflective Practice as a Community-Government Intermediary: The Resource Center for Raza Planning and the Isleta Boulevard and Village Centers Sector Development Plan

This paper is a reflection of my work as an employee of the Resource Center for Raza Planning and Project Manager for the Isleta Boulevard and Village Centers Sector Development Plan, which began in the summer of 2004 and continues today. In combination with the sector plan draft that was submitted to Bernalillo County in July 2005, this paper also serves as my professional project for the partial fulfillment of a masters degree in Community and Regional Planning at the University of New Mexico. In this reflection, I examine the role of the Resource Center for Raza Planning (RCRP) as a \u27reflective intermediary\u27 between the community and the government throughout the planning process for the Isleta Boulevard and Village Centers Sector Development Plan. I consider the outcome of the County Planning Commission (CPC) hearing on September 7, 2005 through the lens of a reflective practitioner, community-based planner, and member of a community-focused organization. First, I begin by introducing RCRP and the planning process for the Isleta Boulevard and Village Centers Sector Development Plan. Then I examine RCRP\u27s identity as a \u27reflective intermediary\u27 and explore how the term describes RCRP, its staff and its work. Next, I take a close look at the CPC hearing and consider the reasons for the one-year deferral of the sector plan. I review some happenings post-CPC hearing and what they can teach RCRP about its practice. Next, I look at ways to move beyond the CRP hearing and pass the sector plan. Finally, I consider RCRP as an organization and offer some thoughts about its direction and future as a successful organization hoping to continue positively impacting grassroots communities in New Mexico. I end with what I hope could be a new objective for RCRP that would reaffirm its organizational principles and allow RCRP to continue enacting true, long-lasting change in New Mexico\u27s traditional communities. In this time of transition for RCRP, when the organization is facing changing leadership and a staff that is constantly in flux, this analysis looks at how an organization like RCRP can stay true to its founding principles and staff of reflective practitioners while operating effectively in mainstream settings that require technical expertise and instruction. The analytical framework for examining RCRP\u27s reflective intermediary status come from the experience of developing the Isleta Boulevard sector plan and understanding RCRP\u27s role through the lens of Donald A. Schön\u27s classic The Reflective Practitioner: How Professionals think in Action. I hope the outcome of this analysis will offer insights for future planning processes that RCRP might undertake as it examines how to best manage a planning process when the typical constants like the myth of expertise are not espoused. For future RCRP projects, those answers lie not in changing its organizational structure of philosophy, but in better relating to and acting within the traditional structures that still govern politics and in changing the way outsiders view expertise, professionalism, and capacity

Master of Arts

thesisMy thesis explores how Brazilian artist Antônio Henrique Amaral grappled with the censorship and oppression of the military regime (1964-1985) in his series of oil paintings entitled Campos de batalha (Battlefields, 1973-1974). In these works, he included various representations of bananas that are decaying and bound or mutilated by knives, forks, and ropes. Central to these paintings is the multifaceted symbolism of the banana, and in particular the critical stance against oppression and human rights' abuses in the work Campo de batalha 3 (1973). I build my argument on art critic Frederico Morais's comparison of the banana as a surrogate human body and Czech born philosopher Vilém Flusser's interest in exploring the political meanings inherent to the fruit. My thesis develops these claims further by including testimonies and declassified documents that account for the violence and oppression at that time and how Amaral's paintings address these conditions. In general, art produced under the Brazilian military dictatorship (1964-1985) responded to the highly oppressive atmosphere, which manifested in selective arrests, institutionalized torture, and disappearances of those deemed dissidents of the regime. My research incorporates Amaral's role as a painter during a time when oil paint was not a popular medium and as a relocated artist contending with the art market in New York during the early 1970s. The last section of my thesis chronicles efforts by Brazil's National Truth Commission and other social groups not only to substantiate the events of torture and disappearances, but also to preserve this history for future generations. I make the claim that during our present moment, Amaral's oil paintings form part of a visual archive documenting the period of the military regim

Feeling the difference in the languages classroom: explorations of teacher understanding of diversity

In this article, the authors examine the fourth stage of their research into diversity in the languages classroom, focusing specifically on the teacher perspective in planning for and managing diversity in adult student groups. The article discusses findings from a day with experienced Open University language teachers working together on lesson planning. It examines differentials in teacher approaches to diverse student needs. Some participants demonstrated this as instinctive to their practice, whilst others focused more on issues of language, the classroom mirroring real life and methodological expectations. To achieve greater and more dynamic understanding of different needs in groups of adult students in current society, the authors advocate more discussion and reflection around how we interpret and engage with diversity in situated learning contexts and its impact on planning, implementation and feedback on classroom tasks, management and teacher and student focus