Aproaches to learning - Theories of learning styles and learning strategies Essay Example for Free

Aproaches to learning Theories of learning styles and learning strategies Essay Kolb (1984), in introducing the idea of the experiential learning cycle and of learning styles, defines learning as the process whereby knowledge is created through the transformation of expertise. He suggests that ideas are not fixed but are formed and modified through current and past experiences. His learning cycle consists of four stages; completing each stage is important to improve learning in the next stage : Active Experimentation (The learner actively uses the theories formed and also tries them in new situations. The latter takes him back to the start of the cycle. ) Concrete Experience (The learner is encouraged to become involved in new experiences. ) Reflective Observation (The learner reflect on his experience from different perspective. Enough time and supportive feedback is helpful in this stage. ) Abstract Conceptualisation (The learner forms ideas and logical theories. ) Of course, not everyone acts in the same way, some prefer considering all possible alternatives whilst others like trying out as much as possible. Hence, Kolb associated four learning styles with his learning cycle: the Converger, who applies ideas in a practical way, the Accommodator, who carries out plans and tasks involving him in new experiences, the Diverger, who has good imagination and ideas, and finally the Assimilator, who creates theoretical models. Kolb also points out that learning styles are not fixed personality traits but relatively stable patterns of behaviour. Based on Kolbs model Honey and Mumford (1992) developed a similar model with new terms for Kolbs learning preferences (Honey and Mumford terms in brackets): Active Experimentation (Activist) Concrete Experience (Pragmatist) Reflective Observation (Reflector) Abstract Conceptualisation (Theorist) According to Honey and Mumford four learning styles can be distinguished: the Activist, the Pragmatist, the Reflector, and the Theorist: Activists strengths: Acting quickly; interested in actually doing things Putting ideas into action Activists weaknesses Lack of planning and attention to detail Unlikely to consider many alternatives Pragmatists strengths Integrating theory and practice. Testing things out to get correct solutions Pragmatists weaknesses Lack of imagination Impatient Not interested in concepts and theories Reflectors strengths: Collecting data from variety of sources Reflecting on experiences Reflectors weaknesses: Needs a lot of time before he is able to start Dislike precise instructions Theorists strengths Creating theoretical models Paying attention to detail and systematic analysis Theorists weaknesses Overcautious Relies on logic and usually does not trust feelings Needs a stated purpose. Honey and Mumford developed a Learning Styles Questionnaire to be used as a checklist to identify ones learning preference. Kolb states the combination of all four learning forms produces the highest level of learning by allowing more powerful and adaptive forms of learning to emerge. But still, there is the danger of labelling people as theorists or pragmatists although most people exhibit more than one strong preference. To overcome this problem other theorists, e. g. Schmeck (1988) and Entwistle (1998), use the expression learning strategy which also includes personal traits. According to them people can not be labelled because they usually react flexibly on learning, depending on the expected outcome: A student may read a book about the British history because he is actually interested in or because he needs to read it to pass an exam. Either way involves learning, but in the second case the student is unlikely to take notes about facts he is interested in but those the tutor may ask. Bibliography: Bendrey, M. et al (1996), Accounting and Finance in Business. London: Continuum. Cottrell, S. (2003) The Study Skills Handbook. New York: Palgrave Macmillian. Entwistle, N. (1998) Styles of Learning and Teaching. London: David Fulton Publishers. Brown, R. and Hawksley, B. (1996) Learning skills, studying styles and profiling. Dinton: Mark Allen Publishing. Honey, P. and Mumford, A. (1992) The manual of learning styles, Maidenhead: Peter Honey Publications Ltd. Honey, P. and Mumford, A. (2000) The learning styles helpers guide. Maidenhead: Peter Honey Publications Ltd. Kolb, D. A. (1984) Experiential learning: experience as the source of learning and development. Englewood Cliffs, New Jersey: Prentice-Hall.

Hidden Exposure - Working Diary :: Drama

Hidden Exposure - Working Diary =============================== This is a written analysis and evaluation of the creative process leading up to, and applied during, the dance performance of 'Hidden Exposure', based on Obsessive Compulsive Disorder and Dreams. The piece, was choreographed by 'Dance Performance Experience' year 2, and performed on January 13, 1998. The aims of this 'Dance Performance' module were to apply newly learnt techniques, movement skills, and the research of existing practitioners, combine them with existing dance skills and knowledge to create an original innovative dance performance. Members of the class will choreograph sections, with the common theme, in pairs or individually that will be put together to create a collage style dance. Each individually choreographed section should make use of some recurring motifs and demonstrate contact improvisation where possible. Before we started any of our own choreography we had to decide on a stimuli. This is very important, as it will be the idea that all movements are representing. This is called Ideational Stimuli and is when "the movement is stimulated and formed with the intention to convey an idea or tell a story."[1], as opposed to us taking a piece of music and dancing to it. As a group we had many ideas to choose from but after weighing out the options we opted for OCD, Obsessive Compulsive Disorder. The idea of counting within the disorder gives us a good basis for a dance, because we perform to a beat, or a count, usually of eight. It is an interesting subject with much scope for contact improvisation, or non-contact, as the sufferers would prefer. The stimulus for the dance, Obsessive Compulsive Disorder, is a condition that affects approximately 2.5% of the UK population. More common in females than males, the sufferer has an irresistible impulse to perform relatively meaningless acts repeatedly and in a specific manner. Compulsive persons do not enjoy their ritualistic behaviour and view the activity as foreign to their personality. They are unaware of the absurdity of their behaviour and yet are unable to stop it. Compulsive hand washers may wash their hands several times in an hour. In addition to being time consuming, compulsions can be costly to a person's well being. Other common compulsions are counting things to make sure that they are all there, checking the placements of objects, checking appliances are switched off, Exercising, cleaning, and feeling suffocated. (See appendix 1) A dance session should always start with a warm up; this comprises of warming up the different body parts in a range of exercises. Start, standing in parallel, beginning with the head and neck, we gently roll the head slowly to the left and then to the right repeating this

English Original Writing – The Slime

I had detention because some of my so called friends told the teacher I did it when I never. I was on my way home when I heard something smash therefore I went nearer to the source of the sound. It was leading me to a dark deserted old alley. At any rate this way was quicker to my house so I strolled down. I never used to go home this way since my mum said not to for the reason that bad things happened to her when she went through the alley. The thought of the scream made me shiver and I felt a tingle down my spine. I heard the leaves crisp as I toddled along the footpath. The street was isolated I could even hear my self breathing. My stomach was churning so thus, I felt I was going to be sick. There it was I saw it, I was amazed of the features it had. He came closer and closer. It looked like he was horrified and his face was turning blue, pale blue. He made another impulsive move towards me and vomited. I felt the puke on my injured car bonnet. The bonnet got injured due to a hit and run ten minuets a go. The Schoolboy strolled towards the shimmering door and went inside me. He opened my shirt pocket gradually. He saw a creepy look in the mirror which gave a different image. I felt sick so I puked on the car. I hurried into the car and my eye was caught on this compartment, so therefore looked inside the box. I was shocked to see my self look like this. So I ran out of the motor vehicle, the engine was still running. I found out what made the crash it was this car so me and my conscience started to clean the vomit. I decided to restore it to its previous pristine condition as a mark of respect to the decease inhabitant of the car. He started to clean me additionally I started to undergo a feeling I have never felt before, cleanliness it felt so nice. He walked away from me but from my view I could see a silhouette following his every move. Something was saying to me go back the car or someone may need my help. I turned round ambled to the car. The car's engine went off I believed to think the battery ran out. The cars door opened, thus made my heart pound, erstwhile I was thinking the car was calling me in. I took the weight off my feet and the cars engine turned back on and the cars doors and front bonnet and rear bonnet were clanging and horning, it made me jump. I could not believe my eyes no one come out or looked to see what that noise was. I saw a house. I was very curious to see the house. He gathered the courage to go into the gloomy dark house. He walked through the front door and plodded up the stairs. He looked around; I went inside a mansion. I saw a bathroom door open. The bathroom was covered in slime. The sink was bubbling slime; the floor was flooding slimy slipper sludgy slime. I tried to run back out but the door slammed shut in my face so there fore I went for the window that too slammed shut. The house was flooding green slime. I was scared and could see my future passing through my eyes. Then suddenly I heard an engine start. There was slime coming out through the panes of the window and the door. I heard banging, I thought it was the boy, I was thinking should I go in. I was drowning in slime I did not know what to do. The gunk was going in my mouth and I had to breathe through my nose I had a few seconds left. I was thinking. Then it came to me ill ram the car into the house so I rammed it. I saw a bright light. I thought I was gone, but when I heard a bang I saw the car I owed my life to a realistic car.

Is The Eternal Life Or Plastic - 1024 Words

Hien Tran Doan Professor Butler English 101 11 November 2016 Eternal Life or Plastic â€Å"In the US, tap water is underfunded by $24 billion partly because people believe drinking water only comes from a bottle!† (qt. in The Story of Bottled Water). Are people even aware why this is happening? As much as everyone in the world needs water every day, do they realize where exactly does the water that big corporations are getting it from? Annie Leonard, Rick Anderson, and Adam Smith all want to show the public what these companies are doing to the environment. They don’t know what’s happening outside of their own town. Now, from the looks of the amount of people purchasing plastic bottled water, they have to mentally get into their heads now and think. Is commercially bottled water a sustainable practice? Plastic bottles are being made continuously from huge companies, which is affecting the environment to change throughout the years. 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