Sentences with phrase «working shared language»
What will that vision be and what simple manifesto can the GG help construct so that we all have a working shared language to draw from and activate with?
https://www.interviewmagazine.com/ Not exact matches
International business speaker, trainer, and author Michael Kerr shares some random musings and ideas on creating a more rocking workplace, plus a great fun at work tip to help you keep your language clean and simple at work, a fabulous humor quote of the week from Victor Borge, and a contest that really stinks!
On the 3rd of February we invited our community partners to come together to explore opportunities to share a common understanding of our programme and a common language in our practice and to work more
The court found that working class residents shared a common language, lived in similar types of housing, used the same subway lines and health clinics, and got their news from Chinese - language media.
«The authors themselves are understandably cautious in drawing strong conclusions, but I think that their work clearly supports the contention that speech and language is an old feature of our lineage going back at least to the last common ancestor that we shared with the Neanderthals,» Dr Dediu told BBC News.
No word on what the tone of the film will be as of yet, although from the sound of things it'll share quite a bit in common with the rest of his work; a combination of morbid and absurdist comedy with the occasional heavy dramatic element... and plenty of foul language.
And that gives you a shared history, language, a shorthand, so when you're writing for them, when you're acting, it makes all of those directors who work with the same people, makes their films so rich.
Working with elementary students learning English as a second language, Georgia teacher Melissa Smith shares reading passages that demonstrate how writers choose their words carefully to help readers create brain movies.
Certain basic commonalities must be met: shared language, connectivity, adequate bandwidth, and in our case, ability to work in an online conference room.
According to Clark, Lesaux's documents have helped to bring awareness to the important work of improving children's literacy and have enabled partnering organizations to share information with their own constituencies, allowing them to talk about the work «with a common language.»
This grant supports work to build a movement across many organizations in support of that goal, specifically by developing a shared strategy, language, and set of frames that would unite actors in support of these objectives.
Today I want to share a really cool site that ~ Sarah Pennington ~ a language arts middle school teacher at the school where I work ~ uses with her...
Milly's body language alone made it clear that the process of sharing work and receiving widespread recognition helped shatter a piece of her shell and challenged her to see herself in new, positive ways.
The work is broad ranging from a school beginning this work through a campaign aimed at sharing stories of self to another school designing curriculum that fosters language around race to elementary - aged students to another school struggling with how to engage parents of color.
A missing period at the end of a sentence might make teachers cringe, but it's a real - life example of how readers and writers develop a shared understanding of what conventions mean and how language works in patterns.
Through various photo projects, students can achieve these general objectives: • participate in listening, speaking, reading, and writing activities related to the photo project; • develop appreciation of photography; • interact with other students, parents, and teachers to accomplish and share the photo project; • demonstrate increased oral and written language production; and • work cooperatively throughout the process.
We had a great session where teachers shared classroom video and led mini-exercises so parents could get a real feel for how dual - language was working in the classrooms.
The piece, «An Immigrant Student's Story: I Was a Dictionary Girl,» shared her personal experience and made suggestions for how English language learner educators can work with immigrants from countries for which they do not have language partners.
«By working in groups to improve instruction, teachers are able to develop a shared language for describing and analysing classroom teaching, and to teach each other about teaching.
By making the Core Knowledge Sequence and other curricular materials freely available, we work to put into practice the principle that every child in a democracy should have access to shared, enabling knowledge and language.
Today in The Global Search for Education, our teachers share their answers to this question: How do you help students accept and work well with people of different beliefs, cultures, languages, socio - economic statuses, education backgrounds, and learning styles?
In spring 2009, the National Governors Association (NGA) and the Council of Chief State School Officers (CCSSO) began work on the Common Core State Standards initiative, a state - led effort to establish a shared set of academic standards for English language arts and mathematics.
They have a shared instructional language that lets people talk back and forth about what high quality teaching should look like, and a common language and set of goals let's faculty work together to measure their progress towards those goals.
The shared instructional language from the Beyond Textbooks framework made it easy for these three teachers to work with each other, across subjects, to modify instruction for their own classrooms.
HOT Schools shares the same broad goals identified in the Common Core State Standards readiness anchor standards for reading, writing, speaking and listening, and language, and HOT practices affect work habits (imagination, investigation, construction and reflection) identified by National Core Arts Standards.
- States will share models of teacher licensing related to content instruction for ELs, English language development, certification for bilingual instruction, and use of different funding streams to support states and districts addressing the shortage in high quality teachers who can work with ELs.
«Setting our schoolwide vision of being an arts - integrated school made us work more closely together, created a shared language, fostered stronger communication, and focused us on what we need to accomplish,» Kent explains.
For example, in Minnesota, the district works to hire teachers who share the language and culture of immigrants to support the students and, just as importantly, to educate the staff.
Topics include code - focused and explicit instruction, alphabet knowledge, phonological awareness, phonics, print awareness, handwriting, oral language, and shared reading, in addition to the more general topics of assessment, planning, and working with parents.
The district leadership's investment in building shared language, commitment, and ownership through support for the instructional coaches» development work and the successive rounds of feedback throughout the district combined with the coaches» collaborative learning process, relentless pursuit of high - quality, evidence - based practices, and dedication to creating accessible, practical guidance to produce an exceptional roadmap for implementing student centered learning with clear parameters for fidelity and improvement.
For example, in Minnesota, the district works to hire teachers who share the language and culture of immigrant students.
The shared instructional language from the Beyond Textbooks framework made it easy for these three teachers to work with each other across subjects to modify instruction for their own classrooms and students.
Assessment for learning begins when teachers share achievement targets with students, presenting those expectations in student - friendly language accompanied by examples of exemplary student work.
-- Formatting HTML newsletters — Formatting books for Smashwords — Research about the business side of being an author (e.g., how Street Teams work, how to market a book in a foreign language, podcasts that might be a good fit to have you as a guest, etc.)-- Scouting for bloggers to send book review requests to — Pitching to those bloggers and tracking responses — Formatting (and perhaps light editing) of blog posts, or organizing content — Managing your Street Team Facebook group (posing questions to keep the group engaged, answering questions, sharing upcoming news, etc.)-- Creating box sets in Scrivener from individual novels — Moving works translated into a foreign language from Word into Scrivener — Scheduling tweets and Facebook posts (ones that don't require your direct input or engagement with your audience)-- Transcribing audio interviews or notes — For non-fiction authors, VAs can do an enormous number of tasks around webinars or other training you offer (e.g., planning and booking the event, scheduling guests, managing registration lists, dealing with the back - end technology, creating and proofing slide decks, sending out advance information packages to the trainees, and then sending out follow - up information to the trainees, etc..)
As part of their toolkit, ToyTalk has created a method for writing character dialogue that contains a considerable library of possible responses to the types of things kids might say or answers to the questions they may ask — and they plan to share this technology with children's story writers (instead of just app developers) Jacobs is excited by the work they are doing, explaining that «speech recognition for kids has really not been built by anybody, so part of what we're doing — what are partners are developing — is developing the language and acoustic models for children to open up that space.»
Today on Maake, Chicago based artist Alice Tippit shares her work and thoughts on language, form, ambiguity and the role of the audience in experiencing work.
The language may exist to explain his beautiful abstraction through the obsessive marking and etching of the surface, but my words are unable to share the weight of these works.
Though the works on view vary in execution and are separated by several decades, these films possess a shared thematic concern: the disruption of the conventional interpretation of the language of desire, offering in its place an interpretation that is considerably more layered, ambivalent and complex.
We're very lucky to be living and working in a time when the rapid change in the cycles of art - making — coupled with souped - up systems of information - sharing — has made it easy to follow the trajectory of some of the many ideas, languages, techniques, politics, and passions that shoot in and out of one or another art discussion.
I talked to other artists realized it would be important to share the kinds of things I was getting from works by reading the formal language that I had clarified for myself working in the architecture school.
What emerges from setting these works together is a strong sense of a shared language and purpose, albeit one developed independently and in markedly different cultural and social circumstances.»
And while sometimes that material was radically different from one to the other, I was overwhelmed to find commonality, for instance, the same book in both places, «The Poetics of The New American Poetry,» 1973... Which is emblematic of so much that each think about: America, place, politics, the creativity and fluidity of language, how the same words can to be constantly reconstructed to describe anew... While language is essential to both practices, they share an incredible ability to transform language or imagery with equal grace into the poetics of a purely visual yet rigorously embedded experience... The work is saturated with content.
Both artists share an interest in language and poetry, particularly when illogical and experimental, often incorporating them in their works.
Points of View: Our writers on what's happening in the artworld and beyond: J.J. Charlesworth on Banksy and the case for copying and erasing; Jonathan T.D. Neil's post-November art sales analysis; Maria Lind on the Glassware and Ceramic Museum of Iran; Sam Jacob on how to pick out curtains for the Demilitarised Zone; Mark Sladen on the use of language in the work of Ryan Trecartin and Ed Atkins; Mike Watson on Masbedo's Ionesco Suite; Andrew Berardini on The Chalet, Los Angeles; Jonathan Grossmalerman on the benefits and pitfalls of the sharing economy; Oliver Basciano on ApArt, Copenhagen
«Post-Second World War art in St Ives is the starting point for this new display, exploring some of the common characteristics of Modern Art and the shared visual language of artists working in Europe and America from the 1930s to the late 1970s.
Despite working a century apart, the two artists share a visual language of dreams, and inhabit the dark side of the domestic.
Reframing floor as painting, this work connects Crowner's work to its environment through a shared language of abstract pattern and texture.
Ceal Floyer is a British visual artist known for her work in a variety of mediums that share a humorously wry approach to language and its semiotics.
Rather than following the necessarily destructive drive of Modernism, both Black and Lowman's work engages the possibility of generating new meaning through recuperation and the language of repetition, mining a shared culture and art historical field.
In Penone's work, above all its more recent developments, the opposed concepts of identità (identity) and identicità (analogy) are assimilated according to a logic that is not extraneous to the Italian language, as in other European languages in which the two cognate words share the same etymon.