Creative Feedback: a manifesto for social learning

Arguably one of the most important activities of a university is to provide environments where students develop the wide variety of social and intellectual skills necessary for giving and receiving feedback. We are not talking here about the kinds of activity typically associated with the term “feedback” -such as that which occurs through individual course evaluation questionnaires or more universal systems such as the National Student Survey, but the profoundly creative and human act of giving and receiving feedback in order validate, challenge and inspire. So as to emphasise we are talking about this kind of feedback, we coin the term “creative feedback” to distinguish it from the pre-conceived rather dreary compliance-inflected notions of feedback and set out in this paper to characterise its qualities. In order to ground and motivate our definition and use of “creative feedback” we take a historical look at the two concepts of creativity/creative and feedback. Our intention is to use this rich history to motivate both the choice two words, and the reason to bring them together. In doing so we wish to emphasise the characteristics of an educational philosophy underpinned by social interaction. By describing those qualities necessary to characterise creative feedback this paper sets out an educational philosophy for how schools, communities and universities could develop their learning environments. What we present here serves not only as a manifesto for designing learning environments generally but as a driver for designing technologies to support online social learning. Technology not only provides us with new opportunities to support such learning but also to investigate and evidence the way in which we learn and the most effective learning environments

Social Feedback as a Creative Process

Arguably one of the most important activities of a university is to provide environments where students develop the wide variety of social and intellectual skills necessary for giving and receiving feedback. We are not talking here about the kinds of activity typically associated with the term “feedback” — such as that which occurs through individual course evaluation questionnaires or more universal systems such as the National Student Survey, but the profoundly creative and human act of giving and receiving feedback in order to validate, challenge and inspire. So as to emphasise we are talking about this kind of feedback, we coin the term “creative feedback” to distinguish it from the pre-conceived rather dreary compliance-inflected notions of feedback and set out in this paper to characterise its qualities. In order to ground and motivate our definition and use of “creative feedback” we take a historical look at the two concepts of creativity/creative and feedback. Our intention is to use this rich history to motivate both the choice of these two words, and the reason to bring them together. In doing so we wish to emphasise the characteristics of an educational philosophy underpinned by social interaction. By describing those qualities necessary to characterise creative feedback this paper sets out an educational philosophy for how schools, communities and universities could develop their learning environments. What we present here serves not only as a manifesto for designing learning environments generally, but as a driver for designing technologies to support online social learning, as captured in the concept of social Moocs [70]. Technology not only provides us with new opportunities to support such learning but also to investigate and evidence the way in which we learn and the most effective learning environments

2000-2001 The Lynn University Philharmonia

Program Concerto for 3 Keyboards and Orchestra / J. S. Bach Roberta Rust, Phillip Evans, and Ying Huang, piano Adagio & Allegro Molto for French Horn, Trombone and Orchestra / M. Haydn Gregory Miller, horn and Mark Hetzler, trombone Sinfonia Concertante for Winds and Orchestra / W. A. Mozart Ray Still, oboe, Paul Green, clarinet, Arthur Weisberg, bassoon, and Gregory Miller, horn Concerto for Two Cellos / D. Ott Johanne Perron and Claudio Jaffe, cello Sinfonia Concertante for Strings and Orchestra / W. A. Mozart Sergiu Schwartz, violin and Laura Wilcox, violahttps://spiral.lynn.edu/conservatory_philharmonia/1122/thumbnail.jp

Finishing the euchromatic sequence of the human genome

The sequence of the human genome encodes the genetic instructions for human physiology, as well as rich information about human evolution. In 2001, the International Human Genome Sequencing Consortium reported a draft sequence of the euchromatic portion of the human genome. Since then, the international collaboration has worked to convert this draft into a genome sequence with high accuracy and nearly complete coverage. Here, we report the result of this finishing process. The current genome sequence (Build 35) contains 2.85 billion nucleotides interrupted by only 341 gaps. It covers ∼99% of the euchromatic genome and is accurate to an error rate of ∼1 event per 100,000 bases. Many of the remaining euchromatic gaps are associated with segmental duplications and will require focused work with new methods. The near-complete sequence, the first for a vertebrate, greatly improves the precision of biological analyses of the human genome including studies of gene number, birth and death. Notably, the human enome seems to encode only 20,000-25,000 protein-coding genes. The genome sequence reported here should serve as a firm foundation for biomedical research in the decades ahead

The historical and philosophical context of rational psychotherapy

This book brings together the papers written by the authors over the last fifteen years on the historical and philosophical foundations of Albert Ellis' Rational Psychotherapy (later Rational Emotive Behavior Therapy, REBT) and its relationship to Stoicism, especially the later practical form represented by Epictetus. It goes beneath the well known similarities between Stoic "spiritual exercises" and modern psychotherapy, to look at the cause of these similarities. These lie in the conceptual continuities that connect the Stoics and other ancient philosophies with the modern cultural framework underlying psychotherapy

Effects of soft-segment prepolymer functionality on structure development in RIM block copolymers

Segmented copolyureas and copoly(urethane-urea)s comprising 50 % by weight of polyurea hard segments (HS) and polyether soft segments (SS) with different functionalities, have been formed by reaction injection moulding (RIM). The HS were formed from 4,4'-diphenylmethane diisocyanate reacted with mixed isomers of 3,5-diethyltoluene diamine. The nominal functionality of the SS prepolymers used (either amino- or hydroxyl-functionalized polyoxypropylenes with a constant molar mass per functional group of similar to 2000 g mol(-1)) was systematically increased from 2 to 4. RIM materials were characterized using a simple demould toughness test, and d.s.c. and d.m.t.a. were used to obtain SS and HS glass transition temperatures, T-g(S) and T-g(H), and the degree of phase separation. Variations in the development of copolymer molar mass and HS sequence length, resulting from reactivity differences between the monomers and increasing functionality of the SS prepolymer, have been modelled using a statistical analysis of the RIM copolymerization. Schematic phase diagrams are presented, to aid interpretation of the complex effects of SS structure on the kinetic competition between polymerization and phase separation processes during the formation of RIM copolymers