Sentences with phrase «from constructivist»

Based on cognitive and behavioral techniques, schema therapy applies useful principles from constructivist, psychodynamic, object relations, and gestalt therapies.

The impact of social experience on neurobiological systems: Illustration from the constructivist view of child maltreatment

The impact of social experience on neurobiological systems: Illustration from a constructivist view of child maltreatment

Theoretically, she has sought to combine insights from constructivist international relations theories with international law, and science and technology studies (STS).

After the war, Peter Lanyon (1918 - 64) emerged from constructivist roots to an engagement with Cornwall which sought to use abstract painting as a method to capture his bodily experience of the landscape — in his words, «I paint placeness».

Op art perhaps more closely derives from the constructivist practices of the Bauhaus.

Through his work Grant opens a dialogue on geopolitical issues with colorful landscapes, structures and technology drawn from ideas of various utopian and dystopian fictions, drawing influences from the constructivist / supremacist movement, Persian miniaturists, op, pop, advertising, comics, science fiction films, and contemporary low - brow.

The trampled packaging naturally created compositions reminiscent of the work of artists from the Constructivist movement.

They argued that from a constructivist perspective, «opportunities for authentic experiences are a necessary condition» for this learning to occur (p. 434).

Reconstructing mathematics pedagogy from a constructivist perspective.

The authors discuss the development of classroom norms and rules from a constructivist point of view.

From constructivist theories of psychology, we take a view of learning as a reconstruction rather than as a transmission of knowledge.

From a constructivist point of view, there is, of course, no stable dichotomy between interests and norms.

Not exact matches

From David Hume and Edmund Burke to Michael Oakeshott and Friedrich Hayek (each of whom is amply represented and thoughtfully commented upon in this book) conservative theorists have criticized «contractualist» and «constructivist» approaches to political life that ignore the dependence of the social fabric upon institutions, customs, and habits that are not the product of human design.

The constructivist theory of learning posits that learning is an active attempt to construct meaning from the world around us.

Even the supposedly «constructivist» factors of history, culture and religion have objective bases — these elements make Ukraine a pliable space for Russia to extend influence, and also contain historical narratives tying Ukraine to Russia's geopolitical safety (from the 18th through the 20th centuries, Russia has very often engaged threats from the West and South primarily in the broader Ukrainian / Black Sea region).

Rare Jean Paul Gaultier unisex oversized satin bomber jacket from the «Russian Constructivist» Autumn - Winter 1986 - 87 collection.

Claire Denis has been one of the great directors from the start, an emotional constructivist whose gift for hyper - specific observation and elegiac, elliptical editing transforms even her bleakest films into sensual evocations of her characters» innermost urges.

In a nutshell, in the years to come, we have to move away from, dare I say, «Dropbox» - style Learning Management Systems that have a bias towards the purportedly - pedagogically - sound text - based (social)- constructivist activities, to much smarter, universally accessible Learning Management Systems; ones that can learn, think, adapt, and take action in a way that allows for personalisation of learning, and in a way that reinforces (live) human - to - human interaction.

«I definitely use my qualitative and quantitative skills from HGSE, as well as the constructivist, contextualized approach to understanding neurological, socioemotional, and psychological dimensions of learning.»

By contrast, dyads offer us a form of Constructivist Listening, adapted by the National Equity Project from the National Coalition for Equity in Education, which rests on a few assumptions:

«A constructivist teacher believes that kids are capable, and that they have their own knowledge, and that they construct their knowledge from the things around them,» explains Jamison.

They move from a behavioral approach to a more constructivist approach.

When those who see themselves on the discovery learning or constructivist side also see themselves as facilitators they may shy away from giving «hard» assessment, reporting «failure» or providing feedback which might upset or discourage the learner, a reluctance that can become very strong if you also subscribe to notions of «free expression» and «multiple realities.»

To do this, we start from the Global Citizenship Education approach, where the creation of alternative curricular materials and activities support our appropriate methodological tool to capture human dialogical constructivist cohesion between different local educational agents: the students, the families, teachers, institutions and the media.

After witnessing students planning with the Interactive Lesson Planner and with coaching from the instructor and then teaching their lessons to their fellow students, it seemed evident that this type of linear lesson planning can prepare education students to implement constructivist lessons.

Those planning constructivist lessons are asked to develop a learning activity that is «minds on» as well as hands on (i.e., the activity helps students go from Point A to Point B).

Preservice students were provided with real - world problems from video - based, narrative adventures in order to model and demonstrate the basis of a constructivist lesson concerning such mathematical concepts as ratios.

The metaphor of getting someone from «Point A to Point B» was used to describe constructivist teaching.

It was apparent that this lesson and others like it exemplified the essence of the metaphor of getting students from Point A to Point B, used authentic resources found on the World Wide Web via the Interactive Lesson Planner, followed the video clip models of constructivist teaching found on the Interactive Lesson Planner, and reflected thinking shaped by instructional scaffolding provided during the planning process.

Just as one may build a travel plan by considering how to get from the origin to the destination, so too when teaching in a constructivist mode, one must encourage the student to build upon their prior knowledge («Point A») in order to get them to reach the learning objectives («Point B»).

If one agrees with von Glasersfeld (1984) and the constructivist philosophy, then prospective mathematics teachers need opportunities to develop their ideas and learn from one another, regardless of the environment in which they are learning.

Heafner and Friedman's (2008) study on the use of wikis demonstrated a pedagogical shift from traditional teacher - centered instructional approaches to student - oriented, constructivist learning, which resulted in increased student self - efficacy and motivation (p. 288).

«NASA eClips ™ supports the 5E constructivist learning cycle, helping students build their own understanding from experiences and new ideas.»

The authors cover a variety of topics and offer rationale for listening to students, barriers to student involvement, engaging «student voice» in constructivist classrooms, issues of social justice and authenticity, and how pre-service teachers can — and must — learn from students.

Organised chronologically, the volume features over 2,500 seminal designs from all over the world, seventy - two of which are profiled in detail beside 57 leaders in the field, including Alphonse Mucha (chocolate advertisements), Edward Johnston (London Underground logo and typeface), El Lissitzky (constructivist graphic), Herbert Matter (photomontage travel posters from Switzerland), Saul Bass (animated opening titles), and A. M. Cassandre (art deco posters).

These slats, which appear lifted, flat, and sometimes bowed from the wall, perform as unwitting Constructivist drawings.

THE GUGGENHEIM, which has presented solo shows by artists from non-Western regions consistently over the last decade, struck a blow for a broader Western modernism with a magnificent survey of the Hungarian Constructivist Laszlo Moholy - Nagy, who seemed never to have met an art or design medium he couldn't advance.

Suspended from the ceiling throughout the space are 55 wooden constructions that look like a cross between Aleksandr Rodchenko's Constructivist sculpture and a torn - up fruit vendor's stand.

In the first decades of the twentieth century, Russian Constructivist artists like Kazimir Malevich and Alexander Rodchenko separated from visual reality altogether.

The exhibition combines a chronological display with a thematic approach, structured in a series of major chapters in the artist's career, with emphasis on two key moments: the period from 1923 to 1933, when Torres - García participated in various European early modern avant - garde movements while establishing his own signature pictographic / Constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.

As well as following the rise of Constructivist art from its revolutionary beginnings amongst the avant - garde in Russia and Europe, the exhibition sheds new light on the evolution of geometric abstraction from continents across the globe including Asia, the US and Latin America.

A display of sculptures, reliefs and constructions by Victor Pasmore's contemporaries in the British Constructivist movement, including Kenneth and Mary Martin, Anthony Hill, Norman Dilworth and John Ernest, drawn from the Petitgas Collection.

On the contrary all kinds of abstract art, from painterly to constructivist, were possible.

The Visceral Gallery in Centerville showed the works of Bing Davis and his son Derrick Davis with «Kente Spirit» panels masterly executed with Prismacolor colored pencils through February 18; the rich Impressionist «Canvases from the French Countryside» by Richard Mantia through June 17; and the «Parallel Visions» group of works by Susan Scherette King with polished acrylics, organic hard - edged ceramics by Don Williams, and Constructivist prints and sculpture by Matthew Burgy through August 18.

Or to Abraham Cruzvillegas, «we're remaking the sculptural contents of the groundbreaking first Constructivist show from May 1921, and we think your work would speak well — do you have a proposal?»

2000 Art of Our Century, Part II, The Appleton Museum of Art, Ocala, FL Michael Rosenfeld Gallery: The First Decade, Michael Rosenfeld Gallery, New York, NY Die Sammlung Erling Neby im Arithmeum (Geometric Constructivist Art from the Collection of Erling Neby), Bonn University, Bonn, Germany Drawn Across the Century: Highlights from the Dillard Collection of Art on Paper, Weatherspoon Art Gallery, University of North Carolina at Greensboro, Greensboro, NC In Depth: Recent Acquisitions in Prints, Whitney Museum of American Art, New York, NY Pasted Pictures: Collage and Abstraction in the Twentieth Century, Knoedler & Company, New York, NY 2000 Collector's Show, Arkansas Art Center, Little Rock, AR

They contrast or sometimes blend in, like a «where's Waldo» (where's Wally) effect, with carefully composed, stage - like settings that range from scenic landscapes to the imagined interior of a constructivist painting.

From the outset his art was based on space and a constructivist organisation, which led to works of great formal rigour, where drawing, painting and sculpture were integrated into a spatial dimension that was architectural in scope.

That show marked a shift from the idea of a constructivist, analytical and technological Colombo, attributed to him over the years by various Italian critics, to one that placed more emphasis on his dadaist - surrealist links, which were formulated by the artist himself as a part of a thesis on Max Ernst and Dadaism, completed as part of his diploma at Milan's Accademia di Brera in 1959.