Self -regulated learning: The role of a journal in the learning process for students and teachers

A fundamental goal of education is to equip students with self-regulatory capabilities that enable them to educate themselves. Self directedness not only contributes to success in formal instruction but also promotes lifelong learning (Bandura, 1997). The area of research on self-regulated learning is well grounded within the framework of psychological literature attributed to motivation, metacognition, strategy use and learning. This study explored past research and established the purpose of teaching students to self-regulate their learning and highlighted the fact that teachers are expected to assume a major role in the learning process. A student reflective writing journal activity was sustained for a period of two semesters in two fourth-grade mathematics classrooms. The reflective writing journal was analyzed in search of identifying strategies reported by students. Research questions were analyzed using descriptive statistics, frequency counts, cross-tabs and chi-square analyses. ^ Results based on student-use of the journals and teacher interviews indicated that the use of a reflective writing journal does promote self-regulated learning strategies to the extent which the student is engaged in the journaling process. Those students identified as highly self-regulated learners on the basis of their strategy use, were shown to consistently claim to learn math “as well or better than planned” on a weekly basis. Furthermore, good self-regulators were able to recognize specific strategies that helped them do well and change their strategies across time based on the planned learning objectives. The perspectives of the participating teachers were examined in order to establish the context in which the students were working. The effect of “planned change” and/or the resistance to change as established in previous research, from the teachers point of view, was also explored. The analysis of the journal data did establish a significant difference between students who utilized homework as a strategy. ^ Based on the journals and interviews, this study finds that the systematic use of metacognitive, motivational and/or learning strategies can have a positive effect on student's responsiveness to their learning environment. Furthermore, it reflects that teaching students “how to learn” can be a vital part of the effectiveness of any curriculum. ^

A Q-Methodology approach to investigating the relationship between level of reflection and typologies among prospective teachers in the physics learning assistant program at Florida International University

The purpose of this mixed methods study was to understand physics Learning Assistants' (LAs) views on reflective teaching, expertise in teaching, and LA program teaching experience and to determine if views predicted level of reflection evident in writing. Interviews were conducted in Phase One, Q methodology was used in Phase Two, and level of reflection in participants' writing was assessed using a rubric based on Hatton and Smith's (1995) "Criteria for the Recognition of Evidence for Different Types of Reflective Writing" in Phase Three. Interview analysis revealed varying perspectives on content knowledge, pedagogical knowledge, and experience in relation to expertise in teaching. Participants revealed that they engaged in reflection on their teaching, believed reflection helps teachers improve, and found peer reflection beneficial. Participants believed teaching experience in the LA program provided preparation for teaching, but that more preparation was needed to teach. Three typologies emerged in Phase Two. Type One LAs found participation in the LA program rewarding and believed expertise in teaching does not require expertise in content or pedagogy, but it develops over time from reflection. Type Two LAs valued reflection, but not writing reflections, felt the LA program teaching experience helped them decide on non-teaching careers and helped them confront gaps in their physics knowledge. Type Three LAs valued reflection, believed expertise in content and pedagogy are necessary for expert teaching, and felt LA program teaching experience increased their likelihood of becoming teachers, but did not prepare them for teaching. Writing assignments submitted in Phase Three were categorized as 19% descriptive writing, 60% descriptive reflections, and 21% dialogic reflections. No assignments were categorized as critical reflection. Using ordinal logistic regression, typologies that emerged in Phase Two were not found to be predictors for the level of reflection evident in the writing assignments. In conclusion, viewpoints of physics LAs were revealed, typologies among them were discovered, and their writing gave evidence of their ability to reflect on teaching. These findings may benefit faculty and staff in the LA program by helping them better understand the views of physics LAs and how to assess their various forms of reflection.

Activation of Serotonin 2C Receptors in Dopamine Neurons Inhibits Binge-like Eating in Mice

This work was supported by the National Institutes of Health (Grant Nos. R01DK093587 and R01DK101379 [to YX], R01DK092605 to [QT], R01DK078056 [to MM]), the Klarman Family Foundation (to YX), the Naman Family Fund for Basic Research (to YX), Curtis Hankamer Basic Research Fund (to YX), American Diabetes Association (Grant Nos. 7-13-JF-61 [to QW] and 1-15-BS-184 [to QT]), American Heart Association postdoctoral fellowship (to PX), Wellcome Trust (Grant No. WT098012 [to LKH]), and Biotechnology and Biological Sciences Research Council (Grant No. BB/K001418/1 [to LKH]). The anxiety tests (e.g., open-field test, light-dark test, elevated plus maze test) were performed in the Mouse Neurobehavior Core, Baylor College of Medicine, which was supported by National Institutes of Health Grant No. P30HD024064. PX and YH were involved in experimental design and most of the procedures, data acquisition and analyses, and writing the manuscript. XC assisted in the electrophysiological recordings; LV-T assisted in the histology study; XY, KS, CW, YY, AH, LZ, and GS assisted in surgical procedures and production of study mice. MGM, QW, QT, and LKH were involved in study design and writing the manuscript. YX is the guarantor of this work and, as such, had full access to all the data in the study and takes responsibility for the integrity of the data and the accuracy of the data analysis. The authors report no biomedical financial interests or potential conflicts of interest.

The PVC Beret

Dip moulded plastic beret. One of a series starting from Jelly Beret 1997.This was made with a UK with the design company Inflate. This 2009 iteration of the PVC beret chosen for Stephen Jones Hat Anthology V&A, the first millinery exhibition of millinery design held at V&A. Whereas traditional millinery is known for its rather staid and bourgeois Stephen Jones selected chose this hat for its edgy sub cultural capital.This is reflected in the choices of materials and beret style with a reference to the Bohemien Parisienne avant garde revisited in 1960s London and made new for 21st century NY "Jelly Beret" the very first prototype of a plastic millinery Reviewed in Vogue UK, this travelling exhibition went from London, New York, Sydney to add exists at the V&A as a touring show. An accompanying catalogue by Oriole Cullen and Stephen Jones discusses the significance of innovative and original millinery design international design culture today.

Thermobonded Fabrics

In 2009 Avella created a series of innovative fabrics for the Yves St Laurent (YSL) collection, deploying techniques from vehicle engineering to generate new materials for a range of garments. Studying the bonding of layers of material in ceramic plate thermobonding technology, Avella conducted a series of experiments with textiles such as flannel, silk and synthetics, and material such as leather, layered with polyamide foam and textile substrate to create new, textured and insulating fabrics with beautiful surfaces and interesting forms. The lightweight properties of the foam enabled the maximum insulation/weight ratio, and the panel moulding technology brought new forms of draping prêt-a-porter fashion design. Exclusive to YSL, this technique was patented and then shown at the Premiere Vision textiles trade fair in 2010. Much documented in specialist journals this innovation also breached the trade-culture barrier and was reported and documented in mainstream newspapers (New York Herald Tribune). Avella’s background in textile workshop studio experimentation at the RCA brought to YSL textiles research for manufacture, the innovative collaboration between fashion couture and engineering laboratory experiments from vehicle design.

House of Flora (illustrations)

McLean builds strong connections between the cultural capital of the Jerwood prizewinning craft maker and the world of business and trade. It is crucial that higher education research can consider its relationship to the creative industries. London is a fashion capital, known for its style experimentation and playful creativity. The wit and anarchic play of the art school is a leading force in fashion innovation and Mclean's work articulates this clearly. Designing hats that reference the stylised coiffures of Hollywood icons, in the soft medium of felted wool, is a sophisticated play on the relations between nature and culture that, according to Levi Straus, are at the heart of all culture. The Fifty Hats that Changed the World makes direct allusion to the way that fashion is often regarded with mild disdain as insignificant or trivial, and the Design Museum London, an international leader in disseminating design discourse has, recently, included fashion design within its agenda for exhibition. McLean's work is a leading component of this transformation of design culture.

Sunray etched Visors for the Jamaican Olympic Team in three colours: yellow, green and black

Design for visors for the delegation from Jamaica to the London Olympic Games 2012. This design was commissioned by PUMA 2012 based on McLean's designs featured in the website House of Flora, which functions as a space of display, archive, folio, point of sale and dissemination. The McLean standard design for visors is a component of the avant garde, pret a porter millinery, accessory design collections, and stylistically customised for the Jamaican team. McLean's oeuvre is original in its integration of the experimental traditions of art school workshop culture with the professional demands of fashion manufacture and trade culture. Combining the innovation of the postmodern urban artisan with the exacting demands of industrial production, dissemination and distribution McLean's design work spans the disparate worlds of national art collections such as the Victoria and Albert Museum (A Hat Anthology Exhibition, and catalogue 2009), London Design Museum ( Fifty Hats that Changed the World 2009). Integrating design considerations of multiple and mass production with the stylistic considerations of the studio workshop McLean brings the wit of the avant garde urban artisan to the structures and systems of fashion industry. The designs reach to a global audience as product users, as well as to the international connoisseurship of crafts and design specialists. The rigour of McLean's research and innovation is evident in the specificity of the stylistic references made through her selection of materials, processes, form, colour and symbolism. A range of cultural references cite the rich fusion of early twentieth century modernist culture in which the disparate worlds of popular, proletarian, culture fertilised the stylistic austerity of high modern formalism. McLean here considers the relationship between millinery and coiffure, following from the millinery piece featured in (Marcel bobbed hairpiece hat), and now brings the considerations of ethnic difference to bear on her design. Afro hair brings user group specificity to the milliner, and the visor design is a resolution of function and style for both protection and display. Connoting the sartorial conventions of workwear headgear, rather than the nineteenth century colonial 'cricketer's' cap, or the twentieth century US 'baseball' peaked cap, McLean's 'Jamaican Olympic Visor' brings distinctively postcolonial meaning to the cultural profile of the heterotopic media space. Designing for the popular culture of Olympic sports, televised and broadcast to global audiences, brings new forms of agency to the fashion designer, and McLan's design deploys a style that is widely recognisable from other popular culture's film and TV depictions of workwear to mark the distinctive tradition of supremacy that black athletes bring to the European traditions of cultural heritage. Supplanting the Arcadian 'laurels' with which winners are, traditionally, crowned, McLean's visor design innovation, suggests that it is not impossible to challenge and transform apparently timeless hierarchies of power and supremacy, so that ex-slaves may also become victors. McLean's fashion designs all work within this reach of fashion towards the carnivalesque inversion of social orderliness through play, display and sartorial activism.

HATWALK/ Guerilla Millinery/ Part of the Cultural Olympiad

Stealth Visor for the Duke of Wellington Project HATWALK The 2012 Cultural Olympiad would not have been representative of London's creative industries without fashion design. Sponsored by the Mayor of London brought milliners to organise an alternative to the catwalk format , the designers brought together a Hatwalk, uniting landmark heritage statues, classical and modern, to be crowned with a new bespoke design piece each. Together forming a pedestrian navigation through the Jubilee city, the hats also invited twenty one milliners to consider the specificity of working for the great outdoors. Rigorously tested in wind tunnel laboratory to withstand hurricane wind speeds and squally shows the designs aim to bring the 'exclusive' culture of fashion accessories to the inclusive culture of international festival. Working with new technologies of engineering, such as laser measuring tools, and crane for assemblage and fitting, McLean brings new meaning to the familiar figures of national public authority. Since the storming of the Bastille in revolutionary France it has been traditional for the new order to symbolize change through attacking public statuary. In a similar vein, Hatwalk, invites spectators to reconsider the relationship between distant and lofty personages of power and the sartorial insignia through which their power is signified. Crowned with a revolutionary red ' large plexi punk neon number' the Duke of Wellington, at Wellington arch is the first in the Hatwalk exhibition. The originality of this research consists in the effects of surprise and Brechtian 'de familiarisation' resulting from the unexpected. The effects of this structural carnivalesque inversion of authorities can involve a range of reactions from the disdain of the offended to the laughter and pleasure of the surprised. This strategy of bringing the ludic element of play to the formalised authority of legitimised power is also signified through the conscious use of materials and colour in a monochrome and uniform culture of statuary. Here the difference in materials and visible surface of the design signifies the differences that need to be included within a socio political order before it may takes its place in history as being representative of the people it is entrusted to lead. This research output continues the work that led to the Hat Anthology exhibition (output 1), the Fifty Hats that Changed the World (output 2), the Jamaican Olympic team headwear design ( output 4), and is continued in the design, merchandise, accessories and avant garde artefacts of the House of Flora ( see website). The iterative process of the research brings innovation within continuity to McLean's work. It is difficult to theorise the 'rigour' that is undeniably present in a creative design praxis except in that McLean;s research outputs are always surprising and unexpected.

PVC Beret as part of Hats: An Anthology exhibition

Dip moulded plastic PVC beret. One of series starting from Jelly Beret 1997. This was made with the design company Inflate. This 2009 iteration of the PVC beret chosen for Stephen Jones Hat Anthology V&A, the first millinery exhibition of millinery design held at V&A. Whereas traditional millinery is known for its rather staid and bourgoise Stephen Jones selected chose this hat for its edgy sub cultural capital. This is reflected in the choices of materials and beret style with a reference to the Bohemien Parisienne avant garde revisited in 1960s London and made new for 21st century NY. "Jelly Beret" the very first prototype of a plastic millinery, reviewed in Elle 2000. This travelling exhibition went from London, New York, Sydney and exists at the V&A as a touring show. An accompanying catalogue by Oriole Cullen and Stephen Jones discusses the significance of innovative and original millinery design international design culture today.. " “House of Flora is noted for its sculptural and architecturally inspired hats made from technologically innovative materials such as latex,PVC and Perspex” Oriole Cullen

Relating Innovative 2D Ideas into 3D Garments in Terms of Structure, Using ‘Sculptural Form Giving’ as an Intermediate Step in Creation.

This research focuses on finding a fashion design methodology to reliably translate innovative two-dimensional ideas on paper, via a structural design sculpture, into an intermediate model. The author, both as a fashion designer and a researcher, has witnessed the issues which arise, regarding the loss of some of the initial ideas and distortion during the two-dimensional creative sketch to three-dimensional garment transfer process. Therefore, this research is concerned with fashion designers engaged in transferring a two-dimensional sketch through the method ‘sculptural form giving’. This research method applies the ideal model of conceptual sculpture, in the fashion design process, akin to those used in the disciplines of architecture. These parallel design disciplines share similar processes for realizing design ideas. Moreover, this research investigates and formalizes the processes that utilize the measurable space between the garment and the body, to help transfer garment variation and scale. In summation, this research proposition focuses on helping fashion designers to produce a creative method that helps the designer transfer their imaginative concept through intermediate modeling.

Escrita reflexiva na formação inicial de professores: vivências no curso de pedagogia da furg

A presente dissertação de mestrado vincula-se ao Programa de Pós-Graduação em Educação – PPGEDU da Universidade Federal do Rio Grande – FURG, estando situada na linha de pesquisa Culturas, linguagens e utopias. O estudo tem como objetivo contribuir para pensar a respeito do lugar que as práticas de escrita reflexiva ocupam no curso de Pedagogia da FURG, propondo-se a investigar quais as possíveis contribuições da escrita reflexiva na constituição de professoras em formação. Em sua realização, a pesquisa contou com a participação de seis egressas do já referido curso, as quais disponibilizaram seus registros reflexivos construídos ao longo da disciplina de Estágio dos Anos Iniciais do Ensino Fundamental acerca das práticas educativas desenvolvidas junto da turma de estágio. A partir de uma abordagem qualitativa, a análise dos dados seguiu a orientação da Análise Textual Discursiva (ATD) de Moraes e Galiazzi, a qual consiste na impregnação do material coletado, unitarização, construção de categorias analíticas e por fim a construção de metatextos. As problematizações feitas ao longo da dissertação, encaminharam para pensar que a escrita reflexiva pensada a partir de Marques contribui na constituição das professoras em formação, oferecendo ferramentas para pensar e qualificar a própria prática. Tais ferramentas dizem respeito à possibilidade que as professoras em formação encontram de ampliar a compreensão do vivido como sugerido por Ostetto e de se apropriar de seu fazer por meio da reflexão escrita com a contribuição de Waschauer; ao caráter descritivo presente no registro reflexivo, o qual auxilia na qualificação, na avaliação e no planejamento da prática docente, por meio de elementos possibilitados pela descrição de atividades; por fim a escrita reflexiva contribui com a autoria da própria prática e com a construção de um repertório de experiências proposto por Contreras, ambos possibilitados pelo registro dos sentimentos e das percepções das estagiárias em relação ao estágio.

Richard Serra

Dissertação de Mestrado para obtenção do grau de Mestre em Design de Moda, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

A obra de Rafael Bordalo Pinheiro

Dissertação de Mestrado para obtenção do grau de Mestre em Design de Moda, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

Expression and connection : the integration of the reflective learning process and the writing process into social network sites

A number of instructors have recently adopted social network sites (SNSs) for learning. However, the learning design of SNSs often remains at a preliminary level similar to a personal log book because it does not properly include reflective learning elements such as individual reflection and collaboration. This article looks at the reflective learning process and the public writing process as a way of improving the quality of reflective learning on SNSs. It proposes a reflective learning model on SNSs based on two key pedagogical concepts for social networking: individual expression and collaborative connection. It is expected that the model would be helpful for instructors in designing a reflective learning process on SNSs in an effective and flexible way.