title: Applications of Implicit Praise in the Classroom

authors: Frank, Tenille

subjects: implicit praise

abstract: Sharpley (1985) showed that the use of implicit praise for a behaviour that had previously been praised directly would have extinction effects. To replicate this, the order of the praise given (direct or implicit) was varied, with three groups within a classroom of twenty-seven children aged 7-8 years. Results do not support Sharpley (1985); however, a statistically significant increase in academic performance was produced through the implementation of direct praise. Sharpley's (1985) also predicted that this effect would be observed in classrooms. To further examine this, observations were conducted across classrooms with children of various ages to determine the type of praise used by teachers and the temporal order of this praise. The results show that implicit praise was not typically used for behaviours that had been previously praised directly, and when this order of praise did occur, the results were not negative or extinguishing as Sharpley (1985) argued. The results also show that when implicit praise was used by teachers, it included a description of the behaviour that was being praised. Next the implicit effects of descriptive praise were investigated, with thirty-four children aged 7-8 years across two classrooms. The results suggest that this use of descriptive praise successfully increased the occurrence of a specific novel behaviour in children within close proximity to a target child that was praised for demonstrating that novel behaviour.

text: Applications of Implicit Praise in the Classroom Sharpley (1985) showed that the use of implicit praise for a behaviour that had previously been praised directly would have extinction effects. To replicate this, the order of the praise given (direct or implicit) was varied, with three groups within a classroom of twenty-seven children aged 7-8 years. Results do not support Sharpley (1985); however, a statistically significant increase in academic performance was produced through the implementation of direct praise. Sharpley's (1985) also predicted that this effect would be observed in classrooms. To further examine this, observations were conducted across classrooms with children of various ages to determine the type of praise used by teachers and the temporal order of this praise. The results show that implicit praise was not typically used for behaviours that had been previously praised directly, and when this order of praise did occur, the results were not negative or extinguishing as Sharpley (1985) argued. The results also show that when implicit praise was used by teachers, it included a description of the behaviour that was being praised. Next the implicit effects of descriptive praise were investigated, with thirty-four children aged 7-8 years across two classrooms. The results suggest that this use of descriptive praise successfully increased the occurrence of a specific novel behaviour in children within close proximity to a target child that was praised for demonstrating that novel behaviour.

year: 2009

title: David Bowie and the Art of Music Video

authors: Perrott, Lisa

subjects: Art

abstract: The first in-depth study of David Bowie's music videos across a sustained period takes on interweaving storyworlds of an iconic career. Remarkable for their capacity to conjure elaborate imagery, Bowie's videos provide fascinating exemplars of the artistry and remediation of music video. When their construction is examined across several years, they appear as time-travelling vessels, transporting kooky characters and strange story-world components across time and space. By charting Bowie's creative and collaborative process across five distinct phases, David Bowie and the Art of Music Video shows how he played a vital role in establishing music video as an artform. Filling a gap in the existing literature, this book shines a light on the significant contributions of directors such as Mick Rock, Stanley Dorfman and David Mallet, each of whom taught Bowie much about how to use the form. By examining Bowie's collaborative process, his use of surrealist strategies and his integration of avant-garde art with popular music and media, the book provides a history of music video in relation to the broader fields of audiovisual media, visual music and art.

text: David Bowie and the Art of Music Video The first in-depth study of David Bowie's music videos across a sustained period takes on interweaving storyworlds of an iconic career. Remarkable for their capacity to conjure elaborate imagery, Bowie's videos provide fascinating exemplars of the artistry and remediation of music video. When their construction is examined across several years, they appear as time-travelling vessels, transporting kooky characters and strange story-world components across time and space. By charting Bowie's creative and collaborative process across five distinct phases, David Bowie and the Art of Music Video shows how he played a vital role in establishing music video as an artform. Filling a gap in the existing literature, this book shines a light on the significant contributions of directors such as Mick Rock, Stanley Dorfman and David Mallet, each of whom taught Bowie much about how to use the form. By examining Bowie's collaborative process, his use of surrealist strategies and his integration of avant-garde art with popular music and media, the book provides a history of music video in relation to the broader fields of audiovisual media, visual music and art.

year: 2023-07-27

title: Ōpōtiki Mai Tawhiti

authors: Maxwell, Te Kahautu

abstract: Ōpōtiki Mai Tawhiti competed at the Mātaatua Regional Kapa Haka Competition 2014 to qualify for the Te Matatini World Championship Kapa Haka Competition 2015, Christchurch. Ōpōtiki Mai Tawhiti placed first overall, 1st mōteatea, 1st, Haka, 1st Whakawātea, 1st Female Leader, 1st Male Leader, 1st Waiata Tira, 1st Te Reo, 1st Original Composition, 1st Costume, 2nd Waiata a Ringa, 2nd, Poi, 2nd Whakaeke.

text: Ōpōtiki Mai Tawhiti Ōpōtiki Mai Tawhiti competed at the Mātaatua Regional Kapa Haka Competition 2014 to qualify for the Te Matatini World Championship Kapa Haka Competition 2015, Christchurch. Ōpōtiki Mai Tawhiti placed first overall, 1st mōteatea, 1st, Haka, 1st Whakawātea, 1st Female Leader, 1st Male Leader, 1st Waiata Tira, 1st Te Reo, 1st Original Composition, 1st Costume, 2nd Waiata a Ringa, 2nd, Poi, 2nd Whakaeke.

year: 2014-02-22