Ambient thing loop 3

Ambient Thing is an uplifting, melodic and motivational track featuring synths, piano,drums. Atmospheric and reflective, yet incredibly inspiring, it expresses positivity, strong emotional connection and success. Upbeat and positive, it is suitable for your business/corporate projects, videos, websites, films, creative pursuits and more.

And on (piano and acoustic guitar cinematic style)

and on is a short instrumental featuring a nylon stringed acoustic guitar with an echo, chorus and tap reverb added to the tail, piano, and two synth pads.

Anything will do

Anything Will Do is a short instrumental piece featuring a tenor saxophone, 1 synth and a piano.

Atmos (piano and guitar)

Atmos (Piano and Guitar) is a short instrumental with piano and guitar.

First of all, I split the 24 : strategies for mental computation

In this article, the author sets out some goals and classroom activities for the teaching of mental computation. The author also discusses the importance of allowing children to help each other and explains that there is benefit in children listening to mathematical strategies given by other children.

Activating teacher critical moments of learning through reflection

Mathematical modelling is one of the current focuses in the Singapore Mathematics Curriculum Framework. A multi-tiered teaching experiment using design research methodology was conducted to build teachers’ capacity in designing, facilitating, and evaluating learning during mathematical modelling tasks for Primary 5 students (aged 10-11). This paper illustrates the use of the retrospective analysis phase within design research cycles to activate a critical moment of teacher learning involving the interplay between questioning and listening during her first attempt at facilitating a mathematical modelling task. The teacher affirmed her deliberate focuses in the use of questions to (a) refine students’ models, (b) encourage articulation of student ideas in self-evaluation of the models, and (c) clarify and understand student reasoning. However, she also discovered the importance of interpretative listening in conjunction with questioning to promote more sophisticated mathematisation processes in model development. Implications from the use of the retrospective analysis phase on activating critical moments of learning during teacher education will be discussed.

Deliberative educational planning : including educators’ deliberations in educational policy making.

The objective of this chapter is to argue a case for the need to include teachers and professional educators in the policy making and implementation processes of the World Bank's Education Sector Strategy 2020. By drawing on evidence from the Consultation Plan, the chapter investigates how communicative practices about teachers are embedded in the discourse of the plan and how these influence the rationalisation of the policy. In doing so, the chapter will examine the relationships between social actions, systems rationalisation and life world rationalisation. Much like commercial and entrepreneurial organisations focus on the voice of the customer (VOC), that is on satisfying the stakeholders and end users in their processes, in this chapter, the voice of the teacher (VOT) is highlighted. The skills and knowledge of key stakeholders need to be leveraged and engaged in order to ensure that the policy achieves its desired aims. In order to frame this argument, notions of Habermas’ communicative action theory is used to show how policy engages in systems steering. Rather than understanding education strategy and reform as a process of engaging only government and policy makers, this chapter suggests that by engaging the practitioners and listening to the practical discourse around reform, teachers can be leaders of reforms rather than obfuscated agents.

ipreps on ipads : exploring the visual/audio nexus of techno-literacy learners in an Australian classroom

This presentation reports on findings from a qualitative study on the use of iPads to support the literacy learning of a group of children who had just commenced their formal schooling in a regional Australian preparatory classroom. Specifically it looks at the affordances the iPad offered to enhance the oral-aural-visual communication of children not yet fluent in print based literacies. The children were interviewed about their techno-literacy learning and observed as they engaged with applications (apps). The researchers were able to video them as they demonstrated high levels of interest, energised learning and a range of independently acquired techno- literacy skills.
There is as yet little research on the use of portable personal computing devices such as the iPad in early years’ classrooms. The children in this study are shown as capable and articulate regarding their iPad use. Beyond the traditionally conceived struggle with passive print decoding when using iPads they become active creators of sophisticated multimodal artefacts that they consider worthy of acclaim, “I’m really proud of myself.” Findings from this study suggest the visual/listening nexus of popular apps potentially challenges print based literacy education approaches and existing paradigms of research and teaching/learning practice in Australian early years’ literacy education.

Beginning the search for core principles underpinning literacy development in the early years

Providing opportunities for all people to become literate is now a global imperative (World Bank 2008). There are many and varied reasons underlying this emphasis including global, national, community and personal perspectives (Friere & Macedo 2000) and countries world-wide are investing more money into their early childhood programs and the development of associated policies (Oberhuemer 2005). From a socio-cultural view, literacy development is emergent, ongoing (Cook-Gumperz 2006) and multifaceted (New London Group 1999). Literacy involves far more than reading and writing and encompasses listening, speaking and critical thinking (Department of Education, Science and Training 2005, Luke & Freebody 1997). Literacy is not merely a curricular area, but an important empowering life skill (Harrison 2012, Friere & Macedo 2000). It seems logical then, to search for and identify if there are core principles underpinning early years literacy development.In seeking to identify core principles for emergent literacy development, the study reported here adopted Wiersma & Jurs' (2005) 'Four Step' Historical Research methodological approach involving the identification of a research problem, collection and evaluation of source materials, synthesis of information from the source materials and finally, the analysis, interpretation and the formulation of conclusions. The historical research approach requires creative interpretation (Keastle 1988) and is valued for its effectiveness in sourcing ideas, enlightening current debates, empowering decision-making (Stricker 1992) and influencing policy formation (Wiersma & Jurs 2005).This study involved analysis of Early Years Language and Emergent Literacy Research from the past decade, sourced via education and social sciences databases, as well as information gathered from correspondence with Australian government departments, their websites and policies. The findings from a synthesis of these data sources led to the identification of nine core principles viewed as underpinning children's emergent literacy development. Interested in exploring the relevance and application of these principles to the field of early childhood in Australia, additionally, the researcher has embarked upon a mapping exercise that reveals how the recently introduced Early Years Learning Frameworks align with these principles. Furthermore, in recognition of the importance of the early years as a crucial time in a child's literacy development (Cook-Gumperz 2006, Raban & Nolan 2005, Hall, Larson & Marsh 2003), it is argued that these literacy principles will be valuable to the development of a range of educational tools to be used by Pre-service and practicing Early years educators.

Testimony, memory, and art at the Jewish Holocaust museum, Melbourne, Australia

Taking its cue from Charlotte Delbo’s powerful writing about the Holocaust in which she highlights the role of sense memories, this chapter begins with the proposition that sense memories – as distinct from narrative or vicarious forms of memory – are a particularly effective vehicle for the communication of past trauma in the present. The paper explores the potential value of this proposition for the display of objects in a Holocaust museum which are given meaning by the voices of the survivor community and their focus on the importance of testimony. The chapter undertakse an analysis of how the sense memories of survivors animate specific objects on display, exploring the ways in which these objects help the Museum to create a bridge between the survivor community and the wider general public (Auerhahn and Laub, 1990). I argue that built into that process there is a requirement that audiences listen in a manner that makes them a witness to past traumas. This listening process, I want to argue, offers not only an opportunity for healing on the part of survivors but also, following Simon (2005), the exchange of a ‘terrible gift’. That gift, I will suggest, places the visitor as a witness to past traumas and builds an ethical request that they should actively work against future genocides. Central to that possibility, I want to argue, is the way in which the process of witnessing a sense memory is an affective experience for the viewer leading to the potential production of empathy.

Confucius institutes and China's national identity

This article examines China’s Confucius Institute program, a significant language policy and planning initiative. I adopt a political perspective in looking into the birth of this language policy initiative, focusing on its role in reconstructing China’s national identity in the context of its rise and its international relations. I explore the background against which the Confucius Institute initiative was formed, and analyse how the Confucius Institute initiative was received in the West and how China responded to it. I argue that China is undergoing a reconstruction of its national identity and the Confucius Institute initiative is a major part of this effort. I suggest that such a reconstruction of national identity is an interactive process with an outcome resulting from China’s negotiation with the international community, involving China stating a new position, listening to international responses, clarifying and elaborating upon its position until its new position is accepted by the international community.

Living with suicidal thoughts

The dominant understandings of suicide have privileged the professional observations of health professionals and sociologists over the lived experiences of persons who have reported feeling suicidal. The current study explores what it is like to feel suicidal by examining comments posted voluntarily in an online forum. Adopting an inductive thematic analysis, a number of themes were uncovered which shed light on the following questions: Who has suicidal thoughts? What triggers suicidal thoughts? What is it like to feel suicidal? Also drawn from the data, was information relating to the types of treatments that people received, as well as ongoing survival strategies that people have relied on. The fi ndings indicated people with suicidal thoughts form a heterogeneous group with mixed opinions about the causes of suicidal thoughts. The findings also highlighted a variety of experiences, descriptions and means for survival highlighting the depth of insight that those with fi rst-hand experience have about suicidal thoughts, highlighting also the deep gap in knowledge and understanding in the existing literature about suicide and suicidal ideation. The recommendations for future direction in practice and research include, listening to, and valuing more, the voices and perspectives of suicidal people themselves.

Finding the edge : online persona creation by fringe artists

Self-presentation through the creation of profiles and pages on digitally networked spaces is becoming ever more ubiquitous. In order to develop greater depth of understanding of the place of social media in our self-identification practice, my dissertation investigates the experiences of online persona creation by eight artists. Drawing on sociological and cultural studies approaches to understanding identity as performance, I tie current artists’ presentational and representational practices to historically grounded, socio-culturally constructed discourses of ‘artistness’. Through this connection, I argue that the creation of online persona has not radically changed notions of what it means to be an artist, or how artistness is represented and understood by audiences of fans or followers, but rather that digital technology has allowed for renegotiation of the boundaries of artistness that still draws from historical understandings of the role and persona of the artist. This shifting of boundaries, allowing for more inclusivity within the art world, is demonstrated by my focus on ‘fringe’ artists: those whose creative practice places them outside of the traditional art world and its existing structures of representation, distribution and consumption. The eight fringe artists who participated in this study are drawn from street art, performance poetry, craftivism and tattoo.

Interpretative Phenomenological Analysis drives the methodological focus on the experiences of the artists. Rather than a consideration of behaviour and habit, or what the artists do, this phenomenological approach allowed me to instead focus on what it is like for the artists to create persona, what drives particular types of representational practices. Using unstructured interviews, and online listening as an extension of participant observation, the artists’ narratives of experience are expressed through transcript extracts and screenshots: both are necessary to fully explore the nature of online persona creation.

My analysis of the artists experiences has demonstrated that there are three somewhat distinct registers of performance with which an artist’s persona can engage: the professional register, where one demonstrates ones proficiency, experience, popularity, and professionalism; the personal register, where one connects with
wider social and political interests and activities; and the intimate register, where one allows the audience in to one’s private world. These three registers occupy the same performance space, but are implicitly or explicitly for different segments of the digitally networked audience of fans, followers, friends and family. The complexity of the performance and reception of these registers is influenced by the shared nature of the performance space – where previously different roles would be performed for different audiences without reference to one another, the networked nature of online social media influences decisions of how much, and when, to share with whom.

Interpreted here using themes of strategy|happenstance, specialisation|diversification, visibility|self-protection,
self|others and work|play, the professional, personal and intimate registers of performance enable us to see the consideration and care with which each participant creates their artists persona. The experiences of performing the self in these three registers, as presented here, provides an insight into the complexities involved in creating online persona, while also demonstrating that this type of presentation of self is, in itself, no different from the types of role play and performance of self that has arguably always occurred in our physical world. Despite focusing on the role and performance of artistness, this dissertation speaks to the creation and performance of online persona more broadly. 

A music and health perspective on music's perceived 'goodness'

In this paper consideration is given to aspects of social and professional music use premised from a “music as health” perspective. This critical exploration is intended to reveal values about music participation and music listening, with consideration of the way music is constructed as a contributor to social gains within music as health application. The frequently encountered expectation that music participation and music listening are innately good and “helpful” is examined. A range of projects are described and examined with reference to the theme of music's “commodified goodness” or what has elsewhere been termed, the ubiquitous “goodness of music” (Edwards, 2008b).