Use of computer teaching systems in the learning process

Just a few decades ago, books were mostly used as educational media, while posters, various mechanical models, etc. were used as educational visual illustrations. Laboratory experiments for teaching chemistry, physics, biology, etc. were conducted in schools and colleges using real materials. Today the situation is drastically changed and all this has been forgotten. Modern computer teaching technologies are being rapidly introduced in the educational space replacing old tehcnology with hypertexts, e-books and textbooks, tutorials and many other forms and contents.

Five ways to get a grip on the drawbacks of logic models in program evaluation

Logic models are perhaps the most widely used tools in program evaluation work. They provide reasonably straightforward, visual illustrations of plausible links between program activities and outcomes. Consequently, they are employed frequently in stakeholder engagement, communication, and evaluation project planning. However, their relative simplicity comes with multiple drawbacks that can compromise the integrity of evaluation studies. In this Black Ice article, we outline key considerations and provide practical strategies that can help those engaged in evaluation work to identify and mitigate the limitations of logic models.

Seeping Ugly

<p>This thesis examines the human experience of encountering manifestations of historical pollution from the Houghton Bay legacy landfill in Wellington New Zealand. While much scholarship has already been dedicated to researching the broad characteristics of environmental victims, there exists a gap within the literature regarding the specific human experiences of historical pollution within urban contexts. This thesis tells the experiential stories of the Houghton Bay residents and their encounters with the landfill and examines their efforts to have overseeing institutions acknowledge their victimization. Through the examination of institutional documents, scientific evidence, visual illustrations and ten qualitative interviews with Houghton Bay residents, the research constructs a holistic view of how a deliberately confused and obfuscated informational landscape concerning a case of historical pollution can not only inhibit institutional acknowledgement of the experience of becoming and living as an environmental victim, but exasperate it. The thesis concludes that the human experience of historical pollution within urban settings is complicated by means of state and corporate propagated agnosis and ainigmology, and that in that process the question of ‘who is responsible’ becomes evident. </p>

Seeping Ugly

<p>This thesis examines the human experience of encountering manifestations of historical pollution from the Houghton Bay legacy landfill in Wellington New Zealand. While much scholarship has already been dedicated to researching the broad characteristics of environmental victims, there exists a gap within the literature regarding the specific human experiences of historical pollution within urban contexts. This thesis tells the experiential stories of the Houghton Bay residents and their encounters with the landfill and examines their efforts to have overseeing institutions acknowledge their victimization. Through the examination of institutional documents, scientific evidence, visual illustrations and ten qualitative interviews with Houghton Bay residents, the research constructs a holistic view of how a deliberately confused and obfuscated informational landscape concerning a case of historical pollution can not only inhibit institutional acknowledgement of the experience of becoming and living as an environmental victim, but exasperate it. The thesis concludes that the human experience of historical pollution within urban settings is complicated by means of state and corporate propagated agnosis and ainigmology, and that in that process the question of ‘who is responsible’ becomes evident. </p>

KONSTRUKSI PEMBINGKAIAN VISUAL EDHY PRABOWO DALAM KASUS KORUPSI BENUR PADA ILUSTRASI SAMPUL MAJALAH DAN KORAN TEMPO

Tempo publications between 23-30 November 2020, raised the issue of corruption in the export of lobster seeds (Bahasa: Benur). Tempo tried to present the figure of Edhy Prabowo on several covers by using a variety of intriguing visual illustrations, surreal depiction and signs. There is an effort to frame the figure of Edhy Prabowo in the case of fry export, visually as well as textually in the article contents . This study uses a qualitative approach with framing analysis method. The Gamson-Modigliani framing analysis model is used to analyze the main cover line texts contained in the cover illustration. To analyze Visual Framing, Rodriguez-Dimitrova's 4 levels of visual framing model was used. Of the 4 covers studied, Tempo seems to be trying to present its main subject in a denotative way, by using Edhy Prabowo's caricature and fry visuals appeared as the image focus. Abstract subjects such as 'export' are presented connotatively through symbols. Edhy Prabowo's visual framing process using illustrations on the cover of Tempo media looks like a visual story highlights, depicting one chapter after another. First act, Edhy Prabowo as an intellectual actor who has power in the fry export game. Second act, Edhy Prabowo fell into his own toy. Third act, flashback of the scheming of new rules for fry export. The fourth act, disclosure of the characters behind the scenes.

The Teaching of Pattern Comprehension in the 2nd Grade of Primary School Using Origami Applique

In this study, we investigated the expression of the pattern concept in primary education. For this purpose, we chose the concept of rhythm as a means of repeating found in different contexts. In Music and Arts, rhythm is first a way to make compositions. In the case of learning Math, rhythm can aid in comprehending various structures. We used action research in this article – our study contained some trials of learning to understand composition and structures by completing some origami applique tasks; pupils from the 2nd grade were our study participants. The study was held during the following 3 stages: the investigation of simple repeating, the exploration of rhythmical directional changes, and the examination of rhythmical size changes. Fourteen participants took part in the study. The pupils were asked to make some compositions of origami applique based on certain rules set for them. The participants had to also use their experience acquired in the aforementioned tasks for further tasks, which required them to create their own patterns. They had to realize the basic underlying structures for completing such tasks.The data were gathered by collecting paper crafts made by students and by audiotaping the discussions with these children. After employing content analysis, for the sake of visual illustrations of the results, the main features of various task performance were depicted using some typical real examples from the paper crafts of the students.The results showed that 2nd graders were able to replicate a simple rhythm without making mistakes. When creating line-type ornaments, they concentrated on one possible feature to make the rhythm, often mostly ignoring such possibilities as repetitions in number, direction, and size. After gaining some new knowledge during the process of origami applique activities designed to teach the possibilities in changing direction and size, the pupils were eager to apply various structures elsewhere. The children were fast to realize the importance of tidy composition, to solve the arising difficulties, and to generalize the experience in some other contexts.

Orí (Head) as an Expression of Yorùbá Aesthetic Philosophy

Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head receives special aesthetic attention because of its spiritual and biological importance. It is an expression of the practicalities of Yorùbá aesthetic values. Literature and field work has been of paramount aid to this study. The study uses photographs, works of art and visual illustrations to show the various ways the head is adorned and cared for among the Yoruba. It relied on Yoruba art and language as a tool of investigating the concept of ori and aesthetics. Yorùbá aesthetic values are practically demonstrable and deeply located in the Yorùbá societal, moral and ethical idealisms. It concludes that the spiritual importance of orí or its aesthetics has a connection which has been demonstratively established by the Yorùbá as epressed in the images and illustrations used in this paper.