Title
Salmeboka minutt for minutt
URI
http://tv.nrk.no/serie/salmeboka-minutt-for-minutt http://www.nrk.no/informasjon/hvilke-kor-synger-hva-i-nrks-salmemaraton_-1.12064239 full list of hymns sources and performers from salmeboka minutt for minuttDescription
The latest as of November 2014 of NRK TV (Norway's state broadcaster) slow TV examples. 60 consecutive hours of more than two hundred musical ensembles singing the new Norwegian hymnal cover to cover.
Norwegian ballad which retells the story of the chanson de Roland. Also referred to as Roland og Magnus Kongen.
https://en.wikipedia.org/wiki/Roland_og_Magnus_kongen Wikipedia EntryThere are two tunes , The more common is Faroese in origin and has a refrain (tune 1). The other tune (tune 2) was collected in Norway prior to 1850
Sources:
Text:
http://www.visearkivet.no/pdf_filer/norske_ballader/2_5_Rolandskvadet.pdfTune 1
http://folk.uio.no/hege/Sanger/Rolandskvadet.htmlTune 2
http://books.google.com/books?id=MKMKAAAAQAAJ&pg=PA873&img=1&zoom=3&hl=en&sig=ACfU3U034cY8yQQP-Z2DnLLU2UCv-_cBPw&ci=29%2C188%2C829%2C511&edge=0 From Google Books - Norske folkeviser By Magnus Brostrup Landstad, Olea Styhr Crøger, Ludvig Matthias Lindemann p 873 text on pp 169 cfThe earliest reference to this concept that I can find is in a 1996 speech by Tim Berners-Lee. He uses the term vaguely in connection with a mention of web content filtering schemes. In the US, one can think of 13 as the age of digital majority, since this is the age, per COPPA, that someone can sign up for a website without written parental permission.
Thinking in a broader sense, this concept touches on the question of at what age one ought to do the things that adults do online, like posting in public or having one's own site. Jessica Reingold suggests that given the tendency of adolescents to say and write things they regret later and the permanence of everything on the public Internet, this age migh be as old as 19 or 20.
[http://tumblr.jessicareingold.com/post/127550538521/its-about-digital-identity link]
Term coined by Frank Pasquale to describe a society where intellectual property laws make the algorithms responsible for important individual and societal decisions opaque -- not subject to study, review, or transparency. Pasquale has written a book with the same title and spoke in April 2015 at the Berkman Center. [https://www.youtube.com/watch?v=f_PFhJrPxoU YouTube link]
"school is the advertising agency which makes you believe that you need the society as it is" , wrote Illich. I found this in a Dave Cormier blog post. For me this ties into the notion that a key function of school, that is, institutionalized education, is to perpetuate a society's culture and values.
Does this differ from learning, which is essentially individual? A related question is: "What would the economy of a learning-centered system look like?"
The strategy of making an experience so onerous that users will go to some lengths (paying money, choosing different travel dates, etc.) to avoid it. From Tim Wu in an article on airline fees from the New Yorker (link ) Tim Wu Quotation
But the fee model comes with systematic costs that are not immediately obvious. Here’s the thing: in order for fees to work, there needs be something worth paying to avoid. That necessitates, at some level, a strategy that can be described as “calculated misery.” Basic service, without fees, must be sufficiently degraded in order to make people want to pay to escape it. And that’s where the suffering begins.
I suspect many student view what are sometimes referred to as weed-out courses (calculus for engineers, organic chemistry for pre-med) as a sort of calculated misery. This class is so hard that I'll change my major rather than take it.
Larry Ferlazzo has pointed out how charter schools can be seen as an instance of calculated misery. Systematic defunding of public schools create an environment where parents and the broader community will accept charters, despite their for profit nature and corporateness, because they are desperate to escape decaying public schools.
A model of workplace learning, created by Charles Jennings, which proposes that:
70% of workplace learning is self-directed (learning by doing) This reminds me of the quotation attributed to Pablo Picasso: Pablo Picasso
"I am always doing that which I cannot do, in order that I may learn how to do it."
20% of workplace learning is informal (mentoring, etc.)
10% of workplace learning is formal
Jennings refers back to the research of Allen Tough, Michael Lombardo and Robert Eichinger (see The 70:20:10 Framework slides 20-23), but acknowledges that the numbers aren't an empirical absolute. Jennings quotation
"70:20:10 is not about a fixed ratio. It’s a simple and extremely helpful framework for changing focus and aligning resources to support workforce development and learning with where most of it already happens – in the workplace." SOURCE It's not about the numbers, it's all about change
In pondering what this means for formal education, I remember that the workplace learners Jennings is talking about aren't in most cases novices and have a base of context-relevant skills on which to build. However, it does make models like competency based education more intriguing.
Proposed by Stephen Krashen as part of the Monitor Model, The Monitor Hypothesis posits that when expressing onesself in an L2, learners have an inner monitor that is checking for grammatical errors and the like.
Krashen, Stephen D.
from Principles and Practice in Second Language Acquisition (15-16)
"The Monitor hypothesis posits that acquisition and learning are used in very specific ways. Normally, acquisition "initiates" our utterances in a second language and is responsible for our fluency. Learning has only one function, and that is as a Monitor, or editor. Learning comes into play only to make changes in the form of our utterance, after is has been "produced" by the acquired system. This can happen before we speak or write, or after (self-correction)....The Monitor hypothesis implies that formal rules, or conscious learning, play only a limited role in second language performance."
From Alan Levine:
John Hopkins surgeon Charles Limb analyzed brain scans of jazz musicians to try to identify the brain activity indicators of creativity. His results suggest their creativity highs are correlated at times when their self criticism activity is low (they have muffled the voice of the Imposter Syndrome).
"Activity in the lateral prefrontal cortex, an area associated with self-monitoring, dropped dramatically, while that in the medial prefrontal cortex—a structure associated with the self-expression—spiked." (unknown player)
"This is Your Brain on Jazz Improvisation: The Neuroscience of Creativity" from Open Culture link
This is reminiscent of Stephen Krashen's Monitor Hypothesis.
quoted from cyborganthropology.com
"Definition A self or identity that is produced through various participation architectures, the act of producing a virtual or digital representation of self by filling out a user interface with personal information."
Attributed to Amber Case, this refers to the idea that one's (especially digital) identity is constrained and shaped by the platforms one uses.
