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Participants in my Learning Objects workshop are watching DVD video from Learning Objects: Believe It or Not! where Maricopa faculty talk about using content from the MLX.
Georgia Army National Guardsmen, Spc. Austin Ingham, a military policeman with the Fort Stewart based 178th Military Police Company, conduct Raven unmanned aerial vehicle training on July 17, 2018, at Fort Stewart. The guardsmen are completing the pre-flight checks to ensure the safe operation and its systems are operating correctly.
Army National Guard photo by Staff Sgt. R. J. Lannom Jr
Our Active Learning Classroom (ALC) is designed to support interactive and technology enhanced learning. It serves as an incubation space where faculty can implement and assess new teaching and learning ideas.
The classroom is capable of numerous configurations; with computer stations at each table and multiple wall-mounted screens. The purpose of the ALC is to offer active, engaged teaching and learning experiences in a collaborative environment.
This place mostly known as Stone Sea ridge. Located on the south-east of Lago-naki plateau.
In 2008 UNESCO World Heritage Centre recommended Russia to stop development in the Lagonaki plateau.
But today, this place can be lost because of crazy "Height 5642" project, which means constructions of ski resorts in nature reserves.
One of Les Roches Marbella’s advantages is the standard of our modern facilities which host a recently built new teaching wing and residence. Our campus has been carefully designed and equipped to provide students with state-of-the-art teaching facilities while maintaining the physical realities of the hotel industry.
Les Roches Marbella provides a blended learning of the practical and theoretical side of Hospitality Management. We ensure that our students are able to enter the hospitality industry with confidence and particularly develop management theories and competencies using a range of teaching and learning processes.
To find out more about the hospitality industry please visit our Hospitality - Careers without Boundaries webpage.
Connect with Les Roches Marbella! We're on Facebook, Twitter, YouTube, Tuenti and LinkedIn.
"Now that is what I call a Re-enactment!
Bartimaeus the blind beggar
May the Peace of the Risen Christ be with you! Easter is here.
We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.
How do we measure "success" in regards to our re-enactment?
On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.
But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.
We saw many people following the play and praying along with us.
Crowning with Thorns
Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.
One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"
I touched Jesus' Robes!
Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.
Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.
When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.
One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.
At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.
When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.
Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."
We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.
The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.
So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.
Thank you.
~David Bruggeman"
Copied from goodfridaypassionplay.blogspot.com.au/
For more information please visit www.paulinefathers.org.au
No need to meditate or imagine, this event will take you to Calvary!
Images by Giovanni Portelli Photography © 2018.
This young lady was learning to maneuver her bike around the course, under the watchful eye of her father. She kept that tongue firmly between her teeth the whole time. I've seen her Dad at this park before - he rides a skateboard extremely well.
For the last couple of months I've had a lot of trouble finding inspiration for my photography. I just haven't felt very creative. But tonight, as I watched my daughter practice her violin and saw the intensity and concentration on her face as she tried to make each note right, I knew I had to make a portrait of her.
The key light was a flash with 1/2 CTO gel through a 24 inch soft box, high camera left. I positioned a white reflector front camera right and used a gridded flash back camera right for a kicker. In post I added a modest 'S' curve adjustment and a vignette.
You can check out my photography blog at
28 May 2013 - Burkhard Gnärig, Executive Director, Berlin Cicil Society Centre.
For more information, visit: www.oecd.org/Forum
photo: OECD/Herve Cortinat
The CTLS partnered with the Sustainability Action Fund (SAF) to deliver a sustainability-focused focused version of the Winter Teaching and Learning Festival. The Power of Curriculum Festival offered a blend of traditional and innovative ways for participating faculty to explore the intersection between integrating sustainability content into their current courses or developing new courses, selecting appropriate pedagogies and enhancing their teaching.
Photo: Interdisciplinary Perspectives on Water in Curriculum
More info: www.concordia.ca/offices/ctls.html
More drop-in sessions and office hours
Detailed and concise asynchronous material shared on time
More live sessions since students get to interact more with lecturers and clarify doubts. Proper balance of live and pre-recorded lectures
Use of pend and paper for calculations when teaching
Having breakout rooms for labs with each GTA assigned for a particular group of students but also the unit head must have a separate room to take questions GTAs are unable to answer
Short pop-quizzes during live sessions which are not graded to refresh the minds of students
Sunday is race day, during commercials, can get the daily paper read, including the funnies. at least once a year, it is a normal practice to share the why my photography takes on the refined finish, it's the same reason I've learned the benefits of digital comfort. Olypus E-500 an 8MP 4/3 rds camera. the base of the photograph it's depth the Black and white. as well it shows in detail the refined lines, the impact. yet most only look at color. the next photo show colors returned:
ODC Seen From Above
ODC Swirl or swirling
I’m practicing making lattes and want to be able to make cappuccinos as well but I can’t quite master the frothing technique nor the skill of pouring the espresso shot into the frothed milk properly so that I can create a lovely design. I have a long way to go to become proficient in these skills. This shot literally represents my learning curve.
These are the three levels of learning I try to address in my workshops on Design Management across Europe.
What I find most important is that beyond 'content learning' the levels of 'process' and 'social' are key levels for Design Managers who stand out.
The challenge for quite a few groups with this approach is to accept Social Media platforms like Ning as part of the experience.
In the end however the whole learning experience is being captured on one central hub and gives access to insights long after the classes have been finished.