scholarly journals MOVIMENTAR DIVERSOS MUNDOS COM O CINEMA NO ENSINO DE GEOGRAFIA

2020 ◽  
Vol 5 (19) ◽  
pp. 202019
Author(s):  
Débora Schardosin Ferreira ◽  
Ivaine Maria Tonini
Keyword(s):  
School Curriculum ◽  
Point Of View ◽  
Present Moment ◽  
Geography Teaching ◽  
Teachers And Students ◽  
Geography Instruction ◽  
The Spectator

MOVING OTHER WORLDS WITH CINEMA AND GEOGRAPHY EDUCATIONMOVERSE VARIOS MUNDOS CON EL CINE EN LA ENSEÑANZA DE GEOGRAFÍARESUMOO entendimento do cinema como arte na escola pode proporcionar experiências entre professores e estudantes capazes de movimentar o pensamento. Essa é uma perspectiva que possibilita o surgimento e a consolidação de outras Geografias, que não estão em um currículo tradicionalmente estabelecido. Assim, o objetivo do presente artigo é provocar a discussão sobre o cinema na escola e refletir sobre quais são suas possibilidades para o ensino de Geografia. Problematiza-se o cinema na escola como arte com demandas e oportunidade de artistagem para uma docência com autoria. Ainda, discutem-se as possibilidades da articulação entre o ensino de Geografia e o cinema a partir de um diálogo com as discussões de trabalhos desenvolvidos por autores como Larrosa (2011), Massey (2009), Migliorin (2015), Corazza (2012) Tonini (2013), entre outros. Essa discussão fomentou considerações de que a perspectiva do cinema como arte construída e de toda sua elaboração capturam o espectador para além do que foi assistido. A problematização da imagem é uma oportunidade para abertura de outras Geografias em sala de aula, permitindo, inclusive, a invenção de outros mundos possíveis.Palavras-chave: Cinema; Docência; Ensino de Geografia.ABSTRACTThe understanding of cinema as a school art provide experiences between teachers and students which can change their thinking. This point of view creates a possibility to consolidate all the Geography types, which are not in a pre-established school curriculum. Therefore, this paper goal is promote a discussion about cinema at school and think carefully about what are the possibilities to Geography teaching. This paper purpose the use of cinema like a base tool capable to improve teacher’s imagination providing the appearance of new ways to teach. The article also discusses about the possibilities of articulation between Geography instruction and cinema, considering the teachers and students experiences in classroom. To the discussion basis, are used papers by authors like Larrosa (2011), Massey (2009), Corazza (2012) and Tonini (2013). This discussion brings us a movement of thoughts which is a differential in the present moment. The perspective of the cinema as constructed art and all its elaboration, that capture the spectator beyond what was watched. The problematization of the image is an opportunity to open other Geographies in the classroom, allowing the invention of other possible worlds.Keywords: Cinema; Teaching; Geography Instruction.RESUMENLa comprensión del cine cómo arte en la escuela ofrece experiencias o experimentaciones entre maestros y estudiantes capaces de mover (cambiar) el pensamiento. Esa es un visión que posiblita el surgimiento y la consolidación de otras Geografías, esas que no están en el currículo “estático” o preestablecido. Así, el objectivo del presente artículo és provocar la discusión cerca el cine en la escuela y reflexionar acerca de cuales son sus posiblidades en la enseñanza de la Geografía. Se plantea el cine en la escuela cómo arte con demandas y oportunidad de “artistagem” (el hacer arte) para una maestria con autoria. Además, se propone discusión de las posibilidades de articulación entre la enseñanza de Geografía y el cine y se lleva en consideración la experiencia de maestros y estudiantes en sala de clase. Aún, para eso, alludamnos las discuciones de trabajos desarrollados por autores como Larrosa (2011), Massey (2009), Migliorin (2015), Corazza (2012) Tonini (2013), entre otros. Esa discución, nos ofrece la oportunidad de mover pensamientos los cuales en ese momento presentánse como un diferencial. La perspectiva del cine cómo arte que es hecha en un proceso de construcción y de toda su elaboración sacan a el lector para más allá del asistido. La problematización del imagen es una oportunidad a la creación de otras Geografías en sala de clase, lo que permite, incluso, la invención de otros mundos posibles.Palabras clave: Cine; Maestria; Enseñanza de Geografía.

scholarly journals The Impact of the Pandemic Covid-19 on the Student’s Learning Process

2021 ◽  
Vol 8 (3) ◽  
pp. 97
Author(s):  
Marsela Shehu
Keyword(s):  
Online Teaching ◽  
Meta Analysis ◽  
School Curriculum ◽  
Current Situation ◽  
Point Of View ◽  
Theoretical Point ◽  
Online Platforms ◽  
Teachers And Students ◽  
Level Of Motivation ◽  
The Impact

The worldwide pandemic situation faced by the education sector presented unprecedented challenges for teachers and students in every subject, in particular, PE teachers. The teaching process was transformed from open environments, practical field instructions, to those of online platforms, with virtual instructions and demonstrations. The aim of the study is to present a theoretical overview of the online teaching of the PE subject, as well as evidence of the level of motivation and involvement of students in online teaching not only in theoretical but also practical subjects. The methodology of the study is based on a review of recent scientific articles, as well as a meta-analysis of the current situation on student involvement in online teaching, conducted and obtained from a recent quantitative database on the psychological and pedagogical aspects of online teaching. From a theoretical point of view, some researchers approve of the fact that to help teachers conceive the integration of online PE teaching with the comprehensive school curriculum of this subject, it is assumed that PE programs based on standards can serve to promote PA for all young people in school, community and home environments with the support of online teaching tools. From the quantitative data obtained from the current situation, it results that most students have had easily accessible access to these online platforms, especially in theoretical subjects. As conclusion affirms that due to the close cooperation online learning for most students in Albanian universities was easily applicable to any school curriculum.

Is Distance Teaching-Learning-Evaluation Triad a Form of Digital Art?

2020 ◽  
Vol 1 (2) ◽  
pp. 3-19
Author(s):  
Tatiana Antipova ◽  
Ioana Riurean ◽  
Simona Riurean
Keyword(s):  
Point Of View ◽  
Educational Activity ◽  
Distance Teaching ◽  
Software Support ◽  
Alternative Teaching ◽  
Evaluation Procedures ◽  
Learning Evaluation ◽  
Teachers And Students ◽  
Computer Knowledge ◽  
Teaching Learning

The pandemic situation at the beginning of March 2020 forced teachers to develop alternative teaching methods, and most important to find the best ways to keep teaching for every student no matter the situation, as for example, the lack of computer knowledge or hardware/software support. Teachers worldwide struggled to support, encourage, find the best ways not only to help students to keep learning but support them emotionally. At the end of the academic year, teachers made efforts to develop fair, appropriate evaluation procedures adapted to distance education. This paper summarizes the Distance Teaching-Learning-Evaluation (DTLE) evolution in Russia and Romania and some methods developed from March to December 2020 to support the educational activity. Some benefits, challenges and difficulties are identified during the same period of time in different DTLE scenarios, from the point of view of teachers and students, as well. Examples of new adapted methods, dedicated to the DTLE scenarios are al-so addressed in this work.

scholarly journals I.—The Metamorphosis of the Lizard Gabbros

1886 ◽  
Vol 3 (11) ◽  
pp. 481-489 ◽  
Author(s):  
J. J. H. Teall
Keyword(s):  
Mechanical Energy ◽  
Earth Pressure ◽  
Careful Consideration ◽  
Point Of View ◽  
Igneous Rocks ◽  
General Point ◽  
Present Moment ◽  
General View ◽  
Original Rock ◽  
The Subject

If we take a general view of the present position of geological science, we are struck by the fact that, although there is substantial agreement amongst geologists on matters relating to the origin of the rocks usually designated as aqueous and igneous, the greatest diversity of opinion prevails with regard to the circumstances under which the so-called metamorphic rocks have been produced. Every fragment of evidence calculated to throw light on the origin of these rocks, therefore, deserves the most careful consideration. Of recent years special attention has been directed to the effects of mechanical energy in modifying the mineralogical and structural characters of rocks originally formed by aqueous and igneous agencies; and a suspicion has been aroused that it is in this direction that we must look for a solution of many of the problems connected with the origin of the crystalline schists. A visit to the Lizard Peninsula of Cornwall during the present summer has convinced me of the immense importance of this view so far as that district is concerned. That portion of the peninsula which lies south of a line drawn from Porthalla on the east to Polurrian Cove on the west is formed.partly of igneous rocks—such as gabbro, greenstone, serpentine, and granite—and partly of crystalline schists. The igneous rocks, in certain places, become foliated and sohistose and sometimes show a definite banding due to a variation in the relative proportions of the different constituents. In other words they present characters which are usually regarded as distinctive of the crystalline schists. There is, moreover, evidence to show that these characters are mainly the result of a yielding to earth-pressure subsequent to the consolidation of the original rock. At the present moment, having just returned from the district, I am unable to treat the subject from a general point of view with any prospect of success; but it has occurred to me that some details with regard to one of the rocks may not be without interest to members of the Association.

Warm-up as part of a training session

2021 ◽  
pp. 89-98
Author(s):  
Е.И. Чучкалова ◽  
О.Г. Маскина
Keyword(s):  
Higher Education ◽  
Training Session ◽  
Practical Experience ◽  
Structural Features ◽  
Educational Process ◽  
Point Of View ◽  
Educational Organizations ◽  
Business Training ◽  
Warm Up ◽  
Teachers And Students

Статья посвящена организации учебного процесса в высшей школе. Авторы, в частности, считают, что лекционные и практические занятия должны начинаться и заканчиваться разминкой, подразумевающей выполнение коротких упражнений. С помощью специально проведенного исследования в работе анализируются структурные особенности учебных разминок, уточняются их отличия от бизнес-разминок, применяемых в ходе тренингов, а также рассматривается с содержательной и организационной точек зрения специфика применения разминок в высшей школе. Выводы сделаны с учетом мнения преподавателей и студентов, уже имеющих опыт участия в разминках. Научная новизна публикации заключается в расширении представлений о возможностях, которые открываются при использовании разминок в учебном процессе. В статье проведена их классификация по различным критериям: виду активности, массовости, желаемому результату, формату проведения. Кроме того, автор обобщил собственный практический опыт использования инструментов бизнес-тренингов, накопленный в ходе подготовки бакалавров и магистрантов, привел примеры наиболее популярных упражнений в каждой группе матрицы разминок. Особое внимание уделено разминкам, сопровождающим вебинары, что продолжает оставаться чрезвычайно актуальным в свете современного перехода на смешанный формат обучения в профессиональном образовании. Статья предназначена для преподавателей и студентов высших и средних профессиональных образовательных организаций. The article focuses on the organization of the educational process in higher education. The author, in particular, believes that lectures and practical classes should begin and end with a warm-up, which implies doing short exercises. With the help of specially conducted research, the paper analyzes the structural features of training warm-ups, clarifies their differences from business warm-ups used during training, and also considers the specifics of using warm-ups in higher education from a substantive and organizational point of view. The conclusions are made considering the opinions of teachers and students who already have experience of doing warm-ups. The scientific novelty of the publication lies in bringing better understanding of the opportunities that open up with using warm-ups in the educational process. The article classifies them according to various criteria: the type of activity, mass character, the desired result, the format of the event. In addition, the author summarized his own practical experience of using business training tools during the preparation of bachelors and undergraduates gave examples of the most popular exercises in each group of the warm-up matrix. Special attention is paid to the warm-ups accompanying webinars, which continues to be extremely relevant in the light of the modern transition to a mixed format of training in vocational education. The article is intended for teachers and students of higher and secondary professional educational organizations.

Spectator View: Enabling Asymmetric Interaction between HMD Wearers and Spectators with a Large Display

2021 ◽  
Vol 5 (ISS) ◽  
pp. 1-17
Author(s):  
Finn Welsford-Ackroyd ◽  
Andrew Chalmers ◽  
Rafael Kuffner dos Anjos ◽  
Daniel Medeiros ◽  
Hyejin Kim ◽  
...  
Keyword(s):  
Virtual World ◽  
Large Scale ◽  
User Study ◽  
Point Of View ◽  
Virtual Camera ◽  
Head Mounted Display ◽  
Joint Task ◽  
Reference Space ◽  
Collaborative Interaction ◽  
The Spectator

In this paper, we present a system that allows a user with a head-mounted display (HMD) to communicate and collaborate with spectators outside of the headset. We evaluate its impact on task performance, immersion, and collaborative interaction. Our solution targets scenarios like live presentations or multi-user collaborative systems, where it is not convenient to develop a VR multiplayer experience and supply each user (and spectator) with an HMD. The spectator views the virtual world on a large-scale tiled video wall and is given the ability to control the orientation of their own virtual camera. This allows spectators to stay focused on the immersed user's point of view or freely look around the environment. To improve collaboration between users, we implemented a pointing system where a spectator can point at objects on the screen, which maps an indicator directly onto the objects in the virtual world. We conducted a user study to investigate the influence of rotational camera decoupling and pointing gestures in the context of HMD-immersed and non-immersed users utilizing a large-scale display. Our results indicate that camera decoupling and pointing positively impacts collaboration. A decoupled view is preferable in situations where both users need to indicate objects of interest in the scene, such as presentations and joint-task scenarios, as it requires a shared reference space. A coupled view, on the other hand, is preferable in synchronous interactions such as remote-assistant scenarios.

scholarly journals DE NARCISO A ORFEO. ALTERIDAD NARRATIVA Y ESPECTATORIAL EN TWIN PEAKS. THE RETURN DE DAVID LYNCH

2021 ◽  
Vol 30 ◽  
pp. 323
Author(s):  
Víctor ITURREGUI-MOTILOA
Keyword(s):  
Point Of View ◽  
The Other ◽  
David Lynch ◽  
Twin Peaks ◽  
The Spectator

Resumen: Este artículo propone un estudio de la alteridad y la ficción en la serie Twin Peaks. The Return. Realizaremos un estudio de las decisiones formales y narrativas como procesos de significación, con el análisis fílmico y narratológico como herramienta. El trabajo se centra en la construcción del punto de vista y la identificación del espectador. El motivo de los mundos y figuras duplicadas desarrollado por David Lynch en su cine alcanza su acmé en la ficción televisiva. Además, estas ideas se materializan en la revisión de dos de los mitos clásicos sobre la relación con el Otro: Orfeo y Narciso.Abstract: This paper consists on a study of alterity and fiction in Twin Peaks. The Return. It will discuss the formal and narrative decisions as forms of signification, using film and narratological analysis. This research will pay attention to the construction of the point of view and to the identification of the spectator towards these images. The classical themes on lynchean films, such as alternative and duplicate worlds and figures, sublimate in TV fiction. Moreover, these ideas are represented by reinterpreting two myths related to the Other: Orpheus and Narcissus.

scholarly journals THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME

Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  
Keyword(s):  
Scientific Knowledge ◽  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Ethical Aspect ◽  
Close Relationship ◽  
History Of ◽  
The Spectator ◽  
The Aesthetic ◽  
Considerable Body

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.

scholarly journals DESIGNING PISA-LIKE MATHEMATICS TASK USING A COVID-19 CONTEXT (PISACOMAT)

2021 ◽  
Vol 12 (2) ◽  
pp. 349-364
Author(s):  
Duano Sapta Nusantara ◽  
Zulkardi Zulkardi ◽  
Ratu Ilma Indra Putri
Keyword(s):  
Formative Evaluation ◽  
Design Research ◽  
School Curriculum ◽  
Competency Assessment ◽  
Learning Platform ◽  
Mathematics Skills ◽  
Mathematics Literacy ◽  
Teachers And Students ◽  
Different Levels ◽  
Core Framework

New changes to the school curriculum by enacting a minimum competency assessment (MCA) with PISA criteria in 2021 have led to confusion over the form of MCA questions among teachers and students due to limited learning resources at schools. This study aimed to produce valid and practical PISA COVID-19 mathematics tasks (PISAComat) potentially affecting mathematics literacy. This study involved 27 secondary-level students aged 15 years old with different levels of mathematics skills. Design research in the form of development studies was chosen as the core framework of this research assisted with the online learning platform. Data were analyzed descriptively through observations, tests, interviews, and document reviews. A set of PISAComat on quantity and change & relationship at the level of reasoning was gained after a formative evaluation. The formative process was conducted through zoom meetings and intensive communication at WhatsApp Group (WAG) to produce valid and practical PISAComat. After being tested in the classroom, the resulting PISAComat had been potentially effective in promoting students' mathematics literacy and life skills during the COVID-19 pandemic.

scholarly journals Books about postdramatic theatre

2020 ◽  
Vol 5 (1) ◽  
pp. 158-171
Author(s):  
Vera V. Kotelevskaya
Keyword(s):  
Aesthetic Experience ◽  
Point Of View ◽  
Transformative Power ◽  
Binary Oppositions ◽  
Per Se ◽  
The Spectator ◽  
The Times ◽  
Radical Theatre ◽  
Bodily Contact ◽  
Self Reference

The review considers three books on post-dramatic theatre (in various studies it is also called anti-mimetic, radical, post-modern theatre, metatheatre, etc.). Different concepts of post-dramatic theatre are brought together by what may be considered as experiments per se, overcoming or problematizing genre and media boundaries, neutralizing binary oppositions, such as subject – object, playwright – director, platform – hall, actor – character, etc. I analyze the concept of H.-T. Lehmann (“Postdramatic theatre: 1999), who argues concerning the main feature of the “radical theatre” in weakening the connection with the text of the play, “re-theatricalization”, and rejection of the mimesis. For E. Fischer-Lichte (“Ästhetik des Performativen”, 2004 / “The Transformative Power of Performance: A New Aesthetics”, 2008), the main feature of the newest theatre is “performativity” – the production of aesthetic meaning within the event of a performance, and not in the perception of an artifact by an observing subject. The criteria for the so called “performative turn” in drama and theatre, which, according to Fischer-Lichte, are self-reference, materiality, bodily contact, the liminality of aesthetic experience, and the transformation of the spectator. The neoconservative point of view of G. Stadelmaier (“Director’s Theatre. On the Scenes of the Spirit of the Times”, 2016), which expresses nostalgia for the tradition, is considered as polemic in respect to the innovations of the post-drama

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