The necessity of each phase of the learning cycle in teaching high school physics

The learning cycle is a method of teaching—it is also a curriculum organization principle and is derived directly from the mental functioning model invented by Piaget. Although Jean Piaget contributed to the formation of the learning cycle (Piaget, 1973), its present structure has to be attributed to Dr. Robert Karplus and the persons who developed the materials of the Science Curriculum Improvement Study (SCIS). It was through the SCIS activities that many of us learned how to develop curricula and teach with the learning cycle. The learning cycle is built upon the premise that three distinct phases are necessary in developing understanding of a concept, that those phases have a definite sequence, and each phase has a definite structure or form. The research done in testing the form variable has already been reported in this journal (Renner, Abraham, & Birnie, 1985). This report explores whether or not each learning-cycle phase is necessary in learning a concept.     

Primary Children and Computer-Based Artwork: Their Learning Environment and Strategies

This article summarises a research project with a group of twenty Singapore primary students who were introduced to computer graphics in an eight-week programme. Their actions and artwork were closely monitored by participant observers to see how they interacted with the computers and with each other as they learned how to use the tools and exercise judgement and control. Three aspects of behaviour which seemed to be particularly significant were: watching and internalising, providing a running commentary and pointing. The children's artwork showed that they could use the computer as a tool to create artwork and engage in high-level symbol-weaving.     

Time motion analysis of 2001 and 2002 super 12 rugby

The aim of this study was to quantify movements of Super 12 rugby players in competition because information on elite rugby players' movements is unavailable. Players were categorized into forwards [front (n = 16) and back row (n = 15)] and backs [inside (n = 9) and outside backs (n = 7)] and their movements analysed by video-based time motion analysis. Movements were classified as rest (standing, walking and jogging) and work (striding, sprinting, static exertion, jumping, lifting or tackling). The total time, number and duration of individual activities were assessed, with differences between groups evaluated using independent sample t-tests (unequal variances), while differences between halves were assessed with paired sample t-tests. Forwards had 7:47 min:s (95% confidence limits: 6:39 to 8:55 min:s, P<0.01) more time in static exertion than backs, but backs spent 0:52 (0:34 to 1:09, P = 0.01) min:s more time sprinting than forwards, and had a 0.7 (0.3 to 1.2, P = 0.01) s longer duration of each sprint. Forwards spent 7:31 (5:55 to 9:08) min:s more time in work activities (P = 0.01) and had 2.1 (1.3 to 2.8) s longer work durations (P<0.01) than backs. The results indicate frequent short duration (<4 s) work efforts followed by moderate duration (<20 s) rest for forwards, and extended (>100 s) rest duration for backs. High-intensity efforts involved static exertion for forwards (mean +/- standard deviation frequency = 80 +/- 17) and sprinting for backs (27 +/- 9). In conclusion, after nearly a decade since becoming professional, elite rugby union is still characterized by highly intense, intermittent movement patterns and marked differences in the competition demands of forwards and backs.     

Time motion analysis of 2001 and 2002 super 12 rugby

The aim of this study was to quantify movements of Super 12 rugby players in competition because information on elite rugby players' movements is unavailable. Players were categorized into forwards [front (n = 16) and back row (n = 15)] and backs [inside (n = 9) and outside backs (n = 7)] and their movements analysed by video-based time motion analysis. Movements were classified as rest (standing, walking and jogging) and work (striding, sprinting, static exertion, jumping, lifting or tackling). The total time, number and duration of individual activities were assessed, with differences between groups evaluated using independent sample t-tests (unequal variances), while differences between halves were assessed with paired sample t-tests. Forwards had 7:47?min:s (95% confidence limits: 6:39 to 8:55?min:s, P<0.01) more time in static exertion than backs, but backs spent 0:52 (0:34 to 1:09, P = 0.01) min:s more time sprinting than forwards, and had a 0.7 (0.3 to 1.2, P = 0.01) s longer duration of each sprint. Forwards spent 7:31 (5:55 to 9:08) min:s more time in work activities (P = 0.01) and had 2.1 (1.3 to 2.8) s longer work durations (P<0.01) than backs. The results indicate frequent short duration (<4?s) work efforts followed by moderate duration (<20?s) rest for forwards, and extended (>100?s) rest duration for backs. High-intensity efforts involved static exertion for forwards (mean?±?standard deviation frequency = 80?±?17) and sprinting for backs (27?±?9). In conclusion, after nearly a decade since becoming professional, elite rugby union is still characterized by highly intense, intermittent movement patterns and marked differences in the competition demands of forwards and backs.     

The Saturday Morning Art Classes for Primary Level Children: A Differentiated Programme

In this paper we examine the purposes and background of the Saturday Morning Art (S.M.ART) Programme for Primary Level children which was developed in the Art Education Unit at the National Institute of Education, Singapore. It is a differentiated programme and we discuss the issues of selection for the programme, testing for artistic talent as well as the rationale, content and background of the project.

Within this context, the value of the programme for our students, the children and ourselves are discussed. Additionally, a theoretical basis which is supported by our practice within the S.M.ART project, is provided for art educators considering alternatives to testing for artistic ability.     

Peak movement and collision demands of professional rugby league competition

ABSTRACT

To quantify the peak movement and contact demands of National Rugby League (NRL) and European Super League (ESL) competition players were tracked during 10 NRL (166 files) and 10 ESL (143 files) matches using microtechnology devices. The peak 1- to 5-min periods were then calculated for average match speed (m·min^?1), and acceleration (m·s^?2) when 0, 1, 2, and ≥3 collisions per min occurred. Linear mixed effect models and Cohen’s effect size statistic (± 90%CI) were used to determine the differences in movement profiles when collisions occurred. Compared to no collision periods, as frequency of collisions per minute increased, there were progressive reductions in running speed for most positional groups. The addition of 1 or more collisions per min resulted in average effect size reductions in match speed of ?0.14 for NRL forwards, ?0.89 for NRL backs, ?0.48 for ESL forwards, and ?2.41 for ESL backs. ESL forwards had the highest frequency of peak periods involving 3 or more collisions per min, 22% of all periods, followed by NRL forwards (14%), NRL backs (10%) and ESL backs (8%). This study highlights the peak movement and collision demands of professional rugby league competition and allows practitioners to develop training drills that reflect worst case scenarios.     

The Teacher as Researcher: Developing the Skills with Pre-Service Art Specialist Students

This paper details a project which involved a group of art specialist Diploma in Education students, two lecturing staff plus a group of primary school children in a series of planned art activities for two terms. The Saturday Morning Art programme (S.M.ART) was developed to enable the students to systematically focus on art learning in these classes by using largely qualitative research processes within a case study framework. By introducing these pre-service trainee art teachers to research techniques which they can then use, we believe we are preparing them to be self-evaluative and reflective practitioners in the classroom.