Bøger af Graeme Smith

RED is for secondary school students and adults.There is more confidence.Their experience is broader.So the range of materials previously encountered is now broadened as well.But they are still gaining greater experience so there is still a need for repetition.Variations within a limited range of materials will provide the foundation.The developmental aspects are given more prominence.They are increasingly important as student experience and confidence increases.Planning criteria is also introduced so you can develop your own path.The new facets of Coach Creativity Skill are introduced in a gradual way.That helps students' gain confidence so improved creativity skill is a benefit for all.You know that creativity is something someone does too.They solve a problem, invent something or bring into existence something new.That means like all other behavior, skill can be developed.BUT the hardest part of developing any skill is to keep going for long enough!Many repetitions of the appropriate behaviour are required, over a long period of time.In addition there must be an ever-higher level of difficulty to improve performance.Developing skilled creativity is no different!Experiments use different materials to introduce the visual elements.How can the component elements of visual material be understood?What kinds of visual materials are there anyway?Developments build on past experience.The different processes of change reinforce previous learning.This leads to developing creativity skill.Two components (code - focus) that combine to title an experience unit.The unit code: Indicates the sequencing of the unit.Unit focus indicates coach planning emphasis which determines the material choices.Base the plan for your experiments on the unit focus.The necessary materials are available in sufficient quantities for your students.Developments are an extension from experiments.These should gradually change over a period of time.Developments guide progression?What relationships do aesthetic principles refer to?How do different environments influence creative activity?Experience gained forms the basis for later creativity skill development.Students develop the creativity everyone has.Using the principles outlined in this guide anyone can coach creativity.AND if they continue long enough anyone can develop student skill at this behavior.

CoachThe best sports coaches, in any sport, changes, improve or otherwise modifies behaviour.They have a basic understanding that each student is different.Coach Creativity Skill is also non-cultural.Students and teachers in any culture, speaking any language, can experience Coach Creativity Skill.So there is NO group or individual who cannot be a student of this program.CreativityCreativity is divergent + convergent thinking followed by an expressive act.Years ago I had one of those 'Eureka' moments you may have heard about. Some teachers stopped listening to what I was saying and became involved in what they were doing.That's when I made a startling and unexpected discovery - the teachers were exhibiting creativity! In the experiments you and your students experienced, the same thing happened.You were in my role and your students were like those teachers.At that time I had read quite a few studies into creativity, creativeness and similar ideas. So at least I had an idea of what creativity was - the invention of new knowledge! It's a behaviour that is intrinsic to both art and education and is NOT language based!Non-verbal education ought to be before anything based on language for that's how we learn.After we know something we can start to find words for that knowledge. SkillSkill is developed by repetition of a behaviour over a period of time.It is therefore built from situations where the behavior is limited.Creativity is a behavior, so like any other behavior, skill can be developed.People considered creative possess that skill.But how do you get have high level autonomous creativity? With practice comes control and we can predict what might happen. As we practice even more we become increasingly effective, and the results are better.Most really creative people work at this level as a result of years of experience. But developing skill takes a lot of time. All children learn to solve problems for that's how they learn to talk, walk and many other things.Adults learning the same things tend to be impatient and not to allow sufficient time for skill to develop. The sport of body building illustrates what should take place. The athlete completes many lifts of weights over a lengthy period of time. Small increments of additional weight are applied at regular intervals. Eventually the weight-lifter builds sufficient strength to lift very heavy weights.Weights that would have been impossible at the beginning of this training process. Developing skilled creativity is no different! Many repetitions of anything with interest and motivation = skill development.Coach Creativity Skill is not rocket science but common sense.Instead of a few seeming to be creative all students are.

The fourth conference in the series of international meetings on Integrated F- mal Methods, IFM, was held in Canterbury, UK, 4-7 April 2004. The conference was organized by the Computing Laboratory at the University of Kent, whose main campus is just outside the ancient town of Canterbury, part of the county of Kent. Kent is situated in the southeast of England, and the university sits on a hill overlooking the city of Canterbury and its world-renowned cathedral. The UniversityofKentwasgranteditsRoyalCharterin1965.Todaytherearealmost 10,000 full-time and part-time students, with over 110 nationalities represented. The IFM meetings have proven to be particularly successful. The ?rst m- ting was held in York in 1999, and subsequently we held events in Germany in 2000, and then Finland in 2002. The conferences are held every 18 months or so, and attract a wide range of participants from Europe, the Americas, Asia and Australia. The conference is now ?rmly part of the formal methods conference calendar. The conference has also evolved in terms of themes and subjects - presented, and this year, in line with the subject as a whole, we saw more work on veri?cation as some of the challenges in this subject are being met. The work reported at IFM conferences can be seen as part of the attempt to manage complexity by combining paradigms of speci?cation and design, so that the most appropriate design tools are used at di?erent points in the life-cycle.

A highly qualified British judge examines the evidence for the resurrection of Jesus Christ. Assessing secular evidence, historical sources, and the testimony of those involved Graeme Smith carefully and critically analyses the various resurrection accounts, their inconsistences and their value as evidence. This succinct but powerful document places less weight on the Gospel accounts and considers other evidence first; sources from outside the gospels, such as Josephus, Tacitus and Pliny; logical alternatives to the resurrection; and the opinions of experts in the fields of history, literary history, palaeography and law. Could this most improbable story be true? If so, what are the implications?

Secularism was born of Christianity. This book argues that it is impossible to understand the idea of the secular without appreciating that, at root, it is Christian. It reshapes discussions of western culture, religion and politics. It is suitable for students of religion, political philosophy, and the history of ideas.