879 resultados para Creative activities and seat work.
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Mode of access: Internet.
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You will find scientific names used in this activity book. The scientific name will be in italics and will immediately follow the animal's common name. For example, the woodchuck's scientific name is Marmota monax. Your scientific name is Homo sapiens. Scientific names are used so that scientists from different parts of the world can communicate with one another and know that they are talking about the same species. These names are based on a Latin system.
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When using this activity book, students will become familiar with the traits and appearance of 16 mammal species that live in Illinois. The information and activities can help you meet the following Illinois Learning Standards: 6.B.1, 6.B.2, 6.C.1, 6.C.2, 10.1.1a, 10.A.1b, 10.A.2a, 10.A.2b, 12.B.2a, 12.B.2b, 12.B.3b.
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When using this activity book, students will become familiar with the traits and appearance of 16 mammal species that live in Illinois. The information and activities can help you meet the following Illinois Learning Standards: 6.B.1, 6.B.2, 6.C.1, 6.C.2, 10.1.1a, 10.A.1b, 10.A.2a, 10.A.2b, 12.B.2a, 12.B.2b, 12.B.3b.
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"3/11"--Colophon.
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"1/07"--p. 2.
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When using this activity book, students will become familiar with the traits and appearance of 16 mammal species that live in Illinois. The information and activities can help you meet the following Illinois learning standards: 6.B.1, 6.B.2, 6.C.1, 6.C.2, 10.1.1a, 10.A.1b, 10.A.2a, 10.A.2b, 12.B.2a, 12.B.2b, 12.B.3b.
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This thesis provides the first inquiry into the use of creative activities in dementia care in residential aged care facilities in Australia. The study used descriptive method design, incorporating a mix of quantitative and qualitative approaches to explore the incidence and the characteristics of these activities from the carers' perspective. Information about the use of creative activities and the appreciation of these activities by residents and carers is essential to the provision of dementia care and treatment to improve the quality of life of people with dementia.
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This article is concerned with the many connections between creative work and workers, and education work and industries. Employment in the education sector has long been recognised as a significant element in creative workers’portfolio careers. Much has been written, for exam- ple, about the positive contribution of ‘artists in schools’ initiatives. Australian census analyses reveal that education is the most common industry sector into which creative workers are ‘embedded’, outside of the core creative industries. However, beyond case studies and some survey research into arts instruction and instructors, we know remarkably little about in which education roles and sectors creative workers are embedded, and the types of value that they add in those roles and sectors. This article reviews the extant literature on creative work and workers in education, and presents the findings of a survey of 916 graduates from creative undergraduate degrees in Australia. The findings suggest that education work is very common among creative graduates indeed, while there are a range of motivating factors for education work among creative graduates, on average they are satisfied with their careers, and that creative graduates add significant creative-cultural and creative-generic value add through their work.
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The expansion of creative and cultural industries has provided a rich source for theoretical claims and commentary. Much of this reproduces and extends the idea that autonomy is the defining feature of both enterprises and workers. Drawing on evidence from research into Australian development studios in the global digital games industry, the article interrogates claims concerning autonomy and related issues of insecurity and intensity, skill and specialisation, work–play boundaries, identity and attachments. In seeking to reconnect changes in creative labour to the wider production environment and political economy, an argument is advanced that autonomy is deeply contextual and contested as a dimension of the processes of capturing value for firms and workers.
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This paper presents an experimental study that was conducted to compare the results obtained from using different design methods (brainstorming (BR), functional analysis (FA), and SCAMPER) in design processes. The objectives of this work are twofold. The first was to determine whether there are any differences in the length of time devoted to the different types of activities that are carried out in the design process, depending on the method that is employed; in other words, whether the design methods that are used make a difference in the profile of time spent across the design activities. The second objective was to analyze whether there is any kind of relationship between the time spent on design process activities and the degree of creativity in the solutions that are obtained. Creativity evaluation has been done by means of the degree of novelty and the level of resolution of the designed solutions using creative product semantic scale (CPSS) questionnaire. The results show that there are significant differences between the amounts of time devoted to activities related to understanding the problem and the typology of the design method, intuitive or logical, that are used. While the amount of time spent on analyzing the problem is very small in intuitive methods, such as brainstorming and SCAMPER (around 8-9% of the time), with logical methods like functional analysis practically half the time is devoted to analyzing the problem. Also, it has been found that the amount of time spent in each design phase has an influence on the results in terms of creativity, but results are not enough strong to define in which measure are they affected. This paper offers new data and results on the distinct benefits to be obtained from applying design methods. DOI: 10.1115/1.4007362]
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This paper presents a program centred on arts and education as tools in social work for the inclusion of people with earlyonset dementia and Alzheimer’s. The objective of the programme is to eradicate the stigma and myths associated with the disease.The program is part of the Junta de Castilla y León and the European Social Fund’s ARS Project (Arte y Salud Alzheimer; Alzheimer’s Art & Health). The programme presents a series of evaluated artistic and educational activities that can be undertaken by people in the early stages of Alzheimer’s disease and that can also be used by caregivers and family when working with this group of people, with the aim of improving their wellbeing, self-esteem and quality of life.
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Includes bibliography