- Sep 2023
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docdrop.org docdrop.org
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several varieties of blind spots.
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for: blind spots, science - blind spots, aware spot, Wittgenstein, Nishada Kitaro, Douglas Harding, BEing journey, finger pointing to the moon, the man with no head
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paraphrase
- blind spot by vacancy
- ie. black area in visual field.
- contrast with the rest of the visual field
- easy to see
- blind spot by vacancy
- further research start
- pure blind spot
- I did not understand
- pure blind spot
- further research end
- aware spot
- Douglas Harding ( Man without a head) exercise
- Wittgenstein also commented on this
- Nothing in your visual field leads you to infer that it is seen by an eye
- BEing journey
- point finger to objects in your visual field
- then point to yourself
- what do you see? There's no object there
- it is empty but is the source of awareness
- Nishada Kitaro
- As soon as you adopt the stance of objective knowledge, the knower doesn't enter the visual field
- aware spot
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- Mar 2023
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www.sciencedirect.com www.sciencedirect.com
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Does not mention foam type
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www.sciencedirect.com www.sciencedirect.com
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Does not mention foam type.
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www.sciencedirect.com www.sciencedirect.com
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Does not mention foam type.
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www.lesswrong.com www.lesswrong.com
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copying a rare token
This is a Induction Head at work, yes?
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github.com github.com
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```js import { renderToReadableStream } from 'react-dom/server'; import type { EntryContext } from '@remix-run/cloudflare'; import { RemixServer } from '@remix-run/react'; import { renderHeadToString } from 'remix-island'; import { Head } from './root';
const readableString = (value: string) => { const te = new TextEncoder(); return new ReadableStream({ start(controller) { controller.enqueue(te.encode(value)); controller.close(); }, }); };
export default async function handleRequest( request: Request, responseStatusCode: number, responseHeaders: Headers, remixContext: EntryContext, ) { const { readable, writable } = new TransformStream(); const head = readableString(
<!DOCTYPE html><html><head>${renderHeadToString({ request, remixContext, Head, })}</head><body><div id="root">, ); const end = readableString(</div></body></html>);const body = await renderToReadableStream( <RemixServer context={remixContext} url={request.url} />, );
Promise.resolve() .then(() => head.pipeTo(writable, { preventClose: true })) .then(() => body.pipeTo(writable, { preventClose: true })) .then(() => end.pipeTo(writable));
responseHeaders.set('Content-Type', 'text/html');
return new Response(readable, { status: responseStatusCode, headers: responseHeaders, }); } ```
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- Feb 2023
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Local file Local file
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the birth of Athena from his head and suggests possibleinterpretations of these episodes
I'll bet there's no mention that this is useful because it's an incredibly memorable image!
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- Jan 2023
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www.ncbi.nlm.nih.gov www.ncbi.nlm.nih.gov
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27.8 cm (78th centile)
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30.5 cm (>99th centile)
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tedgioia.substack.com tedgioia.substack.com
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“There is no substitute for good decisions at the top—and no remedy for stupid ones.”
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- Dec 2021
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www.newyorker.com www.newyorker.com
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The main feature of iA Writer is not having many features. The program is, essentially, a white rectangle, where the user can do little else but type in a custom monospaced font. There are no headers, footers, drawing tools, or chatty paper-clip assistants. The bare-bones interface uses special characters in a simple formatting language called Markdown to bold, italicize, or otherwise transform text—a way of encouraging writers to keep their hands on the keyboard and their minds on their work.
Using a completely blank page as the start of any creative endeavor is a miserable choice for writing. Start with some other object and annotate either on it or next to it. Look at something else as a base. Starting with blank nothing is a recipe for loneliness and disaster. So-called distraction free writing tools are the worst.
Didn't Ernest Hemmingway analogize staring at a blank page like facing a white bull? There is a litany of quotes about writers facing the blank page.
Why not, instead, use the advice of ancient rhetors by starting with the best? Become a bee and collect the best materials for your honey first. If we don't look to them, then perhaps follow the lesson taught by Benjamin Franklin on writing or the same lesson repeated in the movie Finding Forrester. Start with someone else's work and rewrite that until you find your own words. This is what makes writing while annotating so easy and simple. You've got a nice tapestry of textures to begin your work.
Giving birth to something fully formed as if from the head of Zeus is a fallacy. It only works for the gods.
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- Jul 2021
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stackoverflow.com stackoverflow.com
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I don't like that I can't really use head? to know it's a HEAD request, but I (think I) understand the reasoning
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- Feb 2021
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cherrycreekschools.instructure.com cherrycreekschools.instructure.com
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I find it crazy that the school lost 100 students weekly.
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educationinnovation.pressbooks.com educationinnovation.pressbooks.com
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unfamiliar—that is, a metaphorical Journey in which designers move into unchartered territory by attempting to formulate what hasn’t yet been formulated.
Head Scratcher: using this simple explanation of "unfamiliar" we can see that it is difficult to navigate through territory that has not been properly formed yet or mapped out.
How do we move forward as Instuctional Designers into the future of Education and Instruction?
My best efforts so far have been to never be afraid to try new models or technology to lead your instruction.
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innovative learning in situ provides a progressing basis for improvements in designer practices, which informs how they can relate to future work, and might, in that sense, contribute to shifts in professional identity and practical wisdom over time.
This has me wondering, how often should IDs update their work? We have talked a lot about the process, but not about a time frame. Innovative learning makes me think of something that should be revisited and revised often, specially in the realm of education and technology. If I think of it outside of this realm, and it is something a company budgets for, it may not be revisited for many years. Is that effective?
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frees designers from the need to innovate all aspects of their practice
Innovations is hard work, but is that not what we should strive for?
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In this sense, it can be said that the artifact, as it is used (and possibly studied; e.g., Howard, Boling, Rowland, & Smith, 2012) in various ways, will reveal something about the designer; and the learning that occurred in the design process—for example, that the designer had a particular perspective, used certain techniques, made certain assumptions, and so on.
As I read this, I wonder though, should the artifact not be more reflective of the client than the designer?
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educationinnovation.pressbooks.com educationinnovation.pressbooks.com
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Critical and creative thinkers engage in active planning and forethought to set goals, outline strategies, and determine the best methods through which they can achieve their goals
Head Scratcher: How are we promoting critical and creative thinkers in our instruction?
As a high school math teacher this can be easier at times, and more difficult at times depending on the class and the course material. At times it is easy to promote creative when dealing with honors classing and higher math courses. But when working with remedial Algebra classes it can be more difficult to promote creativity and critical thinking because of high levels of apathy and prior knowledge. Sometimes the best way to promote success in those classes is through repetition and memeorization of steps to solve common test promblems.
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but what does it mean to be clever, and how can you teach someone to be clever?
Head Scratcher: How do you teach "cleverness"? This is a tough question and I feel that it is hard to understand for most instructors. How do I get my students to be more creative and clever, I believe we usually feel that students either are or are not creative and thats the end of the story. So really maybe we are the ones at fault for not teaching studetns to be "creative".
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But how do we develop students who are critical and creative thinkers, able to Figure 1. Conceptual model of critical and creative thinking processes. meet the challenges of 21st century thinking, learning, and doing?
As an educator, this is a question I ask myself every day.
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educationinnovation.pressbooks.com educationinnovation.pressbooks.com
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We still must decide how to present certain information, but it doesn’t have to be at the cost of another medium.
Headscratcher: How do we make sure, in our times creating instuction, that we do not neglect a medium that could be used for instruction?
I feel that one way could be to allow learners choice in how they respond to prompts and learning. I feel that this could allow for students to use their gifting and talents to excel and produce amazing work.
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While this may not be unique to the design of creative instruction, the importance of knowing the characteristics of the target population and the instructors will be critical for creating engaging instruction.
Often I think this may be the struggle in our public school system. Many people making decisions about instruction are far removed from the classroom and the students in it.
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They may be less concerned about either effectiveness or creativity.
As an educator, this statement was difficult for me to wrap my mind around. I can't imagine creating a product / lesson and not being concerned about how effective it is!
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it doesn’t allow for moving back and forth among the steps as new information and insights are gained.
"The critics" as the author refers to them as would definitely point to ADDIE as being restrictive and linear in design, but I wonder if they would feel the same way about SAM which is typically more flexible, dynamic, and iterative?
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Keller’s (1987) ARCS Model as a means of systematically addressing the motivation of learners.
I wonder if the ARCS Model reflects Robert M. Gagne's events of instruction? I think I recall 1) "gaining the attention of the learner" as a shared component among the two types of models.
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- Jul 2020
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theartsdesk.com theartsdesk.com
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African Head Charge Songs of Praise + In Pursuit of Shashamane Land + Vision of a Psychedelic Africa + Voodoo of the Godsent + Churchical Chant of the Iyabinghi (On-U Sound)Following the Early Years reissues a few years back, these are a second tranche of releases exploring the back catalogue of African Head Charge, the band whose nexus was - and is - British-Jamaican percussionist supremo Bonjo Iyabinghi Noah and post-punk dub-meister Adrian Sherwood, with a revolving cast of On-U sorts popping in and out. These albums range over the band’s career since 1990: Songs of Praise from 1990, In Pursuit of Shashamane Land from 1993, Vision of a Psychedelic Africa from 2005, and Voodoo of the Godsent from 2011, while Churchical Chant of the Iyabinghi is a lovingly rendered collection of outtakes and dubs based on the first two of those albums. Songs of Praise may be the best-loved oAfrican Head Charge album, but perhaps this is because it hit a historical sweet spot when ravers needed something exactly like it to come down to after an ecstatic night out. That’s my story anyway. Like all the others, it comes as a two record set with the second disc devoted to previously unheard cuts, as well as a 12” x 24” insert containing an interview with Noah. Full of chants and explicit spirituality, it has an earthy quality, the whole built around endless pattering bongos as much as dub reggae. You can get lost in it and many of us frequently did. The follow-up, In Pursuit of Shashamane Land takes that blueprint and produces it up. Alongside the Jah vibes, there’s a conscious sense of connectivity with the newly rising electronic dance scene (check the groove on the sensibly titled “No, Don’t Follow Fashion”). After that, while Noah continued to release Head Charge albums here and there, and moved to Ghana (where he is to this day), the On-U Sound connection broke down (although he and Sherwood remained close). When they reconvened for Vision of a Psychedelic Africa, they hauled in the whole of Tackhead (Skip McDonald, Doug Wimbish and Keith LeBlanc), as lethal a rhythm section as anyone could ask for. The result, while absolutely Head Charged, has an added musicality to it, as well as a cleaner forward-thrusting pulse and playful instrumentation (check the twangy guitar on “Surfari”). Voodoo of the Godsent - which has Adamski on synths and also features original Aswad bassist George Oban – is also a shinier outing (“Stoned Age Man” has an almost Pink Floyd feel), with a tendency towards actual songs. But let’s not give the wrong impression, it’s still spaced out, oddball music, that smells strongly of ganja overload in the best way.
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- Apr 2020
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accessmedicine.mhmedical.com accessmedicine.mhmedical.com
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Attention, therefore, is focused on maintaining cerebral perfusion rather than merely lowering ICP.
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Resuscitation efforts aim for a euvolemic state and a SBP of >100 mmHg.
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The goal of resuscitation and management in patients with head injuries is to avoid hypotension (SBP of <100 mmHg) and hypoxia (partial pressure of arterial oxygen of <60 or arterial oxygen saturation of <90%).
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Penetrating injuries to the head may require operative intervention for hemorrhage control, evacuation of blood, skull fracture fixation, or debridement.
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- Jun 2017
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www.swamirara.com www.swamirara.com
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