65 research outputs found
La pĂ©dagogie par le projet favorise-t-elle lâapprentissage linguistique ? Mesure de lâimpact Ă©motionnel de ce type dâapproche sur les apprenants
Depuis les annĂ©es 2000, le nombre de publications sur les liens entre Ă©motion et cognition ne cesse de croitre, confirmant une intuition vieille de plusieurs siĂšcles selon laquelle lâĂ©motion est un paramĂštre incontournable du processus dâapprentissage. Dans le domaine de la didactique des langues, câest la perspective actionnelle qui est mise Ă lâhonneur par les auteurs du Cadre europĂ©en commun de rĂ©fĂ©rence pour les langues : apprendre, enseigner, Ă©valuer (CECR) depuis 2001. Or, la pĂ©dagogie par le projet sâinscrit dans cette visĂ©e actionnelle qui consiste Ă apprendre par lâagir, en effectuant des tĂąches qui rĂ©pondent Ă un besoin et ont un sens (CECR, 2001, p. 16). Quel est lâimpact de la pĂ©dagogie par le projet sur le climat Ă©motionnel dans lequel se dĂ©roule lâapprentissage linguistique ?Lâobjet de cet article est de prĂ©senter les rĂ©sultats dâune enquĂȘte menĂ©e auprĂšs dâune centaine dâĂ©tudiants suivant les cours de langues Ă lâInstitut des langues vivantes de lâUniversitĂ© catholique de Louvain (UCL), Ă Louvain-la-Neuve (Belgique). La recherche a permis de mesurer les Ă©motions (Ă©motions positives et nĂ©gatives, ainsi que le stress) et les caractĂ©ristiques sociales des Ă©tudiants (estime de soi et support social) avant et aprĂšs leur implication dans la crĂ©ation dâĂ©vĂšnements « hors classe » en langue cible et intĂ©grĂ©s dans le cursus scolaire. Les rĂ©sultats montrent que la pĂ©dagogie par le projet a un impact Ă©motionnel positif si le produit final de lâactivitĂ© est clairement visualisĂ© par les Ă©tudiants et si le projet proposĂ© est en adĂ©quation avec la filiĂšre professionnelle de ceux-ci.Since the year 2000, the number of publications on the links between emotion and cognition has grown and grown, confirming an intuition several centuries old that emotion is an important variable in the learning process. At the same time, in the field of language didactics the action-oriented approach is recommended by the Common European Framework of Reference for Languages: Learning, Teaching, Assessment (CEFR, 2001). Project-based learning uses this action-oriented approach, which involves learning by doing, carrying out tasks that respond to a need and which have a purpose or sense (CECR, 2001, p. 16). What is the impact of project-based learning on the emotional climate in which language learning takes place?The aim of this article is to present the results of a survey conducted with 100 students of the Institute of Modern Languages (ILV) of the UniversitĂ© catholique de Louvain (UCL) in Louvain-la-Neuve (Belgium). The survey measured positive and negative emotions, self-esteem, stress and social support before and after participating in a project which takes place outside the classroom but is intergrated into the school curriculumâin the target language. The results show that action-oriented pedagogy has a good emotional impact if the aims of the project are clearly defined and if it bears some relation to the studentsâ chosen career path
What Are the Stages of the Creative Process? What Visual Art Students Are Saying.
Within the literature on creativity in the arts, some authors have focused on the description of the artistic process (Patrick, 1937; Getzels and Csikszentmihalyi, 1976; Mace and Ward, 2002; Yokochi and Okada, 2005) whereas others have focused on the creative process (Wallas, 1926; Osborn, 1953/1963; Runco and Dow, 1999; Howard et al., 2008). These two types of processes may be, however, somewhat distinct from each other because the creative process is not always dedicated to artistic creation, and productive work in the arts may not always involve creativity, in terms of specifically original thinking. Our goal is to identify the specific nature of the artistic creative process, to determine what are the basic stages of this kind of process. This description can then be integrated in a Creative process Report Diary (CRD; Botella et al., 2017) which allows self-observations in situ when participants are creating
High-throughput functional metagenomics for the discovery of glycan metabolizing pathways
Glycans are widely distributed in nature. Produced by almost all organisms, they are involved in numerous cellular processes, such as energy supply and storage, cell structuration, protein maturation and signalling, and cell recognition. Glycans are thus key elements mediating the interactions between mammals, plants, bacteria, fungi and even viruses. They also represent a reliable source of carbon for microbes, which have developed complex strategies to face their structural diversity and to harvest them. However between 70 and 99% of these microorganisms are still uncultured, while they represent a goldmine for the discovery of new enzymes.
In order to boost their identification and characterization, a functional metagenomic approach was developed, based on the design of various high-throughput, robust and sensitive screening strategies. The functional potential of Gbp of metagenomic DNA from various origins was explored, revealing dozens of novel enzyme families and functions.
Integration of biochemical, structural, meta-omic and omic data allowed us to decipher, from the molecular to the ecosystemic scale, novel mechanisms of plant, microbial and mammal glycan metabolization. These new metabolic pathways involve batteries of glycoside-hydrolases, glycoside-phosphorylases and sugar transporters. These fascinating proteins appear as new targets to control host-microbe interactions. They also constitute very efficient biotechnological tools for biorefineries and synthetic biology
Genetic background modulates phenotypic expressivity in OPA1 mutated mice, relevance to DOA pathogenesis
Dominant optic atrophy (DOA) is mainly caused by OPA1 mutations and is characterized by the degeneration of retinal ganglion cells (RGCs), whose axons form the optic nerve. The penetrance of DOA is incomplete and the disease is marked by highly variable expressivity, ranging from asymptomatic patients to some who are totally blind or who suffer from multisystemic effects. No clear genotypeâphenotype correlation has been established to date. Taken together, these observations point toward the existence of modifying genetic and/or environmental factors that modulate disease severity. Here, we investigated the influence of genetic background on DOA expressivity by switching the previously described DOA mouse model bearing the c.1065â+â5GâââA Opa1 mutation from mixed C3H; C57BL/6âJ to a pure C57BL/6âJ background. We no longer observed retinal and optic nerve abnormalities; the findings indicated no degeneration, but rather a sex-dependent negative effect on RGC connectivity. This highlights the fact that RGC synaptic alteration might precede neuronal death, as has been proposed in other neurodegenerative diseases, providing new clinical considerations for early diagnosis as well as a new therapeutic window for DOA. Furthermore, our results demonstrate the importance of secondary genetic factors in the variability of DOA expressivity and offer a model for screening for aggravating environmental and genetic factors
Artificial Intelligence & Creativity: A Manifesto for Collaboration
With the advent of artificial intelligence (AI), the field of creativity faces new opportunities and challenges. This manifesto explores several scenarios of humanâmachine collaboration on creative tasks and proposes âfundamental laws of generative AIâ to reinforce the responsible and ethical use of AI in the creativity field. Four scenarios are proposed and discussed: âCo-Cre-AI-tion,â âOrganic,â âPlagiarism 3.0,â and âShut down,â each illustrating different possible futures based on the collaboration between humans and machines. In addition, we have incorporated an AI-generated manifesto that also highlights important themes, ranging from accessibility and ethics to cultural sensitivity. The fundamental laws proposed aim to prevent AIs from generating harmful content and competing directly with humans. Creating labels and laws are also highlighted to ensure responsible use of AIs. The positive future of creativity and AI lies in a harmonious collaboration that can benefit everyone, potentially leading to a new level of creative productivity respecting ethical considerations and human values during the creative process
Une recherche écologique pour développer la flexibilité et les relations sociales dans la créativité artistique
Cet article prĂ©sente une Ă©tude concernant le dĂ©veloppement de la flexibilitĂ© cognitive et des relations interpersonnelles dans le cadre de la rĂ©solution dâune tĂąche de crĂ©ation artistique. Des exercices ont Ă©tĂ© proposĂ©s Ă des Ă©tudiants en arts plastiques afin de les aider Ă dĂ©velopper leur crĂ©ativitĂ©. GrĂące Ă des comparaisons prĂ©-/post-test, cette Ă©tude a permis de mettre en Ă©vidence la possibilitĂ©, par des exercices simples, de modifier des aspects spĂ©cifiques du processus crĂ©atif. Cette recherche illustre des pistes de crĂ©ation pĂ©dagogique afin de favoriser la dĂ©marche crĂ©ative puisque nous avons montrĂ© que, selon le profil des Ă©tudiants, certains ont besoin de renforcer leur flexibilitĂ© et dâautres le lien social. Il sâagit dâune pĂ©dagogie diffĂ©renciĂ©e pour la crĂ©ativitĂ© oĂč lâapprentissage de la crĂ©ativitĂ© serait diffĂ©renciĂ© selon le profil des apprenants.This paper features a study on the development of cognitive flexibility and interpersonal relationships to resolve an artistic creation task. Art students were given exercises to help them develop their creativity. By comparing pre and post-test findings, this study highlighted the possibility, using simple exercises, to alter specific aspects in the creative process. This research illustrates avenues for educational activities to foster the creative process as we have illustrated that, based on student profiles, some need to boost their flexibility and others, their social ties. This is a differentiated learning approach for creativity where learning about creativity may be targeted, based on learner profiles
La pĂ©dagogie actionnelle a-t-elle un impact Ă©motionnel favorable sur lâapprentissage linguistique ?
Depuis les annĂ©es 2000, le nombre de publications sur les liens entre Ă©motion et cognition ne cesse de croĂźtre, confirmant une intuition vieille de plusieurs siĂšcles selon laquelle lâĂ©motion est un paramĂštre incontournable du processus dâapprentissage. Dans le domaine de la didactique des langues, câest la perspective actionnelle qui est mise Ă lâhonneur par les auteurs du Cadre EuropĂ©en Commun de RĂ©fĂ©rence pour les langues : apprendre, enseigner, Ă©valuer (CECR) depuis 2001. Or, la pĂ©dagogie par le projet sâinscrit dans cette visĂ©e actionnelle qui consiste Ă apprendre par lâagir, en effectuant des tĂąches qui rĂ©pondent Ă un besoin et ont un sens (CECR, 2001, p. 16). Quel est lâimpact de la pĂ©dagogie par le projet sur le climat Ă©motionnel dans lequel se dĂ©roule lâapprentissage linguistique ? Lâobjet de cet article est de prĂ©senter les rĂ©sultats dâune enquĂȘte menĂ©e auprĂšs dâune centaine dâĂ©tudiants suivant les cours de langues Ă lâInstitut des langues vivantes de lâUniversitĂ© catholique de Louvain(UCL), Ă Louvain-la-Neuve (Belgique). La recherche a permis de mesurer les Ă©motions (Ă©motions positives et nĂ©gatives, ainsi que le stress) et les caractĂ©ristiques sociales des Ă©tudiants (estime de soi et support social) avant et aprĂšs leur implication dans la crĂ©ation dâĂ©vĂ©nements « hors-classe » en langue cible et intĂ©grĂ©s dans le cursus scolaire. Les rĂ©sultats montrent que la pĂ©dagogie par le projet a un impact Ă©motionnel positif si le produit final de lâactivitĂ© est clairement visualisĂ© par les Ă©tudiants et si le projet proposĂ© est en adĂ©quation avec la filiĂšre professionnelle de ceux-ci
Fooling System 1 in the field of perception: Failure to intuitively detect attribute substitution in the flushtration count illusion
International audienceTo facilitate our interactions with the surroundings, the human brain sometimes reshapes the situations that it faces to simplify them. This phenomenon has been widely studied in the context of reasoning, especially through the attribute substitution error. It has however been given much less attention in the field of perception. Recent research on the bat-and-ball problem suggests that reasoners are able to intuitively detect attribute substitution errors. Using a perceptual illusion drawn from the field of magic, we investigate the extent to which a perceptual form of attribute substitution depends on executive resources and can be detected. We also investigate the relationship between susceptibility to attribute substitution error in the flushtration count illusion and in a French adaptation of the bat-and-ball problem. Finally, we investigate the link between the intuitive cognitive style (assessed by the cognitive reflection test) and the susceptibility to the flushtration count illusion. Our results suggest that participants do not detect perceptual attribute substitution error, that this phenomenon could be independent of the executive resources allocated to the task, and could rest on mechanisms distinct from those that produce errors in reasoning. We discuss differences between these two phenomena, and factors that may explain them
Le processus créatif et les émotions (traits émotionnels et dynamique processus-états dans la créativité artistique)
Cette thĂšse s inscrit dans les interrogations suivantes : Comment se dĂ©roule le processus de crĂ©ativitĂ© artistique ? Quel est son lien avec les Ă©motions ? . Pour rĂ©pondre Ă ces questions, nous avons Ă©tudiĂ© les traits Ă©motionnels stables des artistes (alexithymie et intensitĂ© affective) et nous avons explorĂ© la dynamique du processus de crĂ©ativitĂ© artistique et des Ă©tats Ă©motionnels dans son contexte naturel d apparition (approche Ă©cologique ). Cette double perspective nous a permis Ă la fois de dĂ©crire les traits Ă©motionnels des artistes et leurs processus (activitĂ© crĂ©ative) mais aussi de dĂ©terminer quel est le rĂŽle des Ă©motions dans la crĂ©ativitĂ© artistique. Notre travail se dĂ©cline en 6 Ă©tudes empiriques : la premiĂšre consiste en une Ă©tude qualitative, elle comprend des entretiens avec des artistes afin de dĂ©terminer quels sont, selon eux, les facteurs impliquĂ©s dans leur crĂ©ativitĂ©. Cette Ă©tude souligne l importance de l examen des facteurs Ă©motionnels. La deuxiĂšme Ă©tude est une exploration de deux traits Ă©motionnels que sont l alexithymie et l intensitĂ© affective. Cette Ă©tude nous a permis de dĂ©terminer quels sont les fondements Ă©motionnels stables caractĂ©risant les artistes. Des entretiens prĂ©alables avec des Ă©tudiants en art dĂ©terminent les Ă©tapes du processus. Puis, les transitions d une Ă©tape Ă une autre sont observĂ©es pendant que des Ă©tudiants en art rĂ©alisent une tĂąche crĂ©ative. Sur la base de nos rĂ©sultats empiriques et des donnĂ©es de la littĂ©rature, un nouveau modĂšle thĂ©orique sera proposĂ©. Nous y dĂ©montrons qu il est important d intĂ©grer les composantes Ă©motionnelles Ă l Ă©tude du processus crĂ©atif. En particulier, ces rĂ©sultats pourraient ĂȘtre utiles aux enseignants en art afin de favoriser la crĂ©ativitĂ© de leurs Ă©tudiants ou le dĂ©veloppement personnel de la crĂ©ativitĂ©.This dissertation explores the artistic creative process and its link with emotions. To answer these questions, we studied the emotional traits of artists (alexithymia and affect intensity) and investigated the dynamics of the artistic creative process and emotional states in their natural context ("ecological" approach). This double perspective allowed us to describe the emotional traits of artists and their processes (creative activity) but also to shed light on the role of emotions in artistic creativity. Our work is organized in 6 empirical studies: the first one consists of a qualitative study, including interviews with artists to determine what are, according to them, factors involved in their creativity. This study underlines the importance of the examination of the emotional factors. The second study is an exploration of two emotional traits: alexithymia and affect intensity. This study allowed us to determine which are the stable emotional characteristics of artists. The following studies concern the observation of the dynamic emotional state-process relationship in several natural contexts of artistic creativity. Preliminary interviews with art students identified the stages of the process. Then, transitions from one stage to another are observed while art students completed a creative task. Based on our empirical results and the literature, a new theoretical model is proposed. We demonstrate that it is important to integrate emotional components into creative process studies. In particular, these results could be useful for art teachers to favor the creativity of their students or the personal enhancement of creativity.BOULOGNE-BU Psych. Henri Pieron (920125201) / SudocSudocFranceF
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