The Rule of Three for learning establishes the requirement that students be given the opportunity to learn something at least three times before they are expected to know it and apply it.
Students engage in a particular learning topic for the first time. The key is that the student must be engaged; an introductory lecture or a movie clip don’t count because the students are learning passively — just listening or observing. So after the introduction and modeling by the teacher, step one of the Rule of Three could be a vocabulary development exercise, a history inquiry activity about primary and secondary sources, or a mathematical patterns discovery excursion. The important thing is that students have their first roll-up-the-sleeves-and-get-messy experience with the content they are supposed to acquire. Much of what the students learn in this step will still be in the knowledge and comprehension level.
In this step, students have their second opportunity to practice what they learned in step one. Since students have some basic knowledge of what the topic is, this is a wonderful time to use collaborative-learning strategies. Students can analyze the word compositions by categorizing them according to similarities. Students can assess the validity of the data acquired from primary sources versus secondary sources using tertiary sources. Students would be able to expand their knowledge, for example, of mathematical patterns by creating unique formulas that create visual patterns when graphed.
While three steps are the minimum, sometimes students require more than three opportunities to learn. This step should not be viewed as the final step. In step three, students get to do the really fun stuff through project-based learning, product-based learning — with a lot of hands-on learning. All of these learning activities require problem-solving (analysis), critical thinking (evaluation), and creative thinking (synthesis).
Ask sculptors to nominate the single greatest work of Australian sculpture and most will opt for The Sacrifice (1934), the centrepiece of the Anzac Memorial in Sydney’s Hyde Park. It is the work of Rayner Hoff (1894-1937), an exceptional artist and inspirational teacher.
Portrait of sculptor Rayner Hoff in his studio with The Sacrifice. Photo: Harold Cazneaux
Hoff was born on the Isle of Man, the son of a stone mason. The family moved to Nottingham while he was still a child. Hoff would study at the Nottingham School of Art until interrupted by the outbreak of the First World War. In the army his drawing skills got him assigned to a Field Survey Company, where he was given the task of preparing detailed maps of the battlefields.
After the war Hoff transferred to the Royal College of Art, London, and became a star pupil. He had graduated and visited Rome, when he was invited to apply for a post as a teacher of antique drawing and sculpture at Sydney Technical College.
After migrating to Sydney in 1923, he became an acclaimed artist and teacher. His war memorial sculptures in Australia have come to represent the spirit of ANZAC in his adopted country.
Prince Harry, and his wife Meghan, the Duchess of Sussex, laid a wreath at the official opening of the Centenary Extension of the Anzac Memorial at Hyde Park.
The royal couple arrived at the south end of the memorial on Liverpool Street about 10am, walking past new water cascades conceived in the original design but never completed, because of the financial hardships of the Great Depression.
For Prince Harry, being able to visit and officially open the newly renovated sections represented a royal step back in time; his great-great uncle and namesake, Prince Henry, Duke of Gloucester – who later went on to become Australia’s 11th Governor-General – originally opened the building in 1934.
ANZAC Memorials of Rayner Hoff
To mark the centenary of the end of The Great War, this set of six stamps celebrating the work of Rayner Hoff feature ANZAC war memorials in Sydney and Adelaide.
These stamps were designed by Australian designer Louise Cornwall in association with author Deborah Beck who recently collaborated on Rayner Hoff – The Life of A Sculptor, which tells the story of Hoff’s life and work for the first time, and how he spearheaded an Australian sculpture renaissance and left a mark that is still keenly felt today.
Rayner Hoff created a sculpture that depicts the weight of the dead young warrior carried on his shield by his mother, sister and wife nursing infant child. The Sacrifice uses the analogy of the Spartan warrior being returned to his loved ones dead on his shield to evoke the emotion experienced by the families of the young men who died in the Great War 1914-18.
Spartan men were raised as warriors from boyhood and, when marching to war, were told to come home with their shield or on it – a warning to be victorious or die in the attempt.
“Another woman handed her son his shield, and exhorted him: ‘Son, either with this or on this.’”
Quote from Plutarch in Sayings of Spartan Women.
The Roman writer Plutarch was a Greek, born approximately 46 AD in the town of Chaeronea in the region of Boeotia. He is not a contemporary source of the saying, as the days of Spartan military glory had ended more than three centuries earlier.
Because of its size and sturdiness, a shield did make a good battlefield stretcher — and if the shield used for that purpose belonged to the stretchee, no one else needed to go unprotected. Carrying someone back on his shield served another purpose as well. A shield was one of the more complicated and valuable parts of a Greek hoplite’s armour. It and other items of equipment were traditionally passed down from father to son, brother to brother, or even uncles to cousins. Families of a warrior culture such as the Spartans depended on re-use of the family shield if possible.
The shield was made of multiple layers of metal (bronze, copper, or sometimes tin), wood, and tough linen, cloth, or leather, and could weigh as much as 15 to 20 pounds. In the Greek battle formation known as the phalanx, the shield protected not only the warrior holding it (while leaving his right arm free to wield a spear), but also the warrior on his left. A phalanx that stayed in tight formation was well protected by the interlocking shields.
‘At this age play is never trivial; it is serious and deeply significant.It needs to be cherished and encouraged by the parents for in his free choice of play a child reveals the future life of his mind to anyone who has insight into human nature’ Froebel in Lilley 1967:84
“Modern Affect theory begins with the work of Silvan Tomkins (1962, 1963). Observing the face of his newborn son, Tomkins saw what looked like “emotion” displayed on the face of an organism with none of the history, none of the life experience we have always considered necessary for the development of emotion. “Certainly the infant who emits his birth cry upon exit from the birth canal has not ‘appraised’ the new environment as a vale of tears before he cries” (Tomkins, 1982, p. 362). Nonetheless, the crying infant looks quite like a crying adult this cry of distress must have been available to the infant courtesy of some pre-existent mechanism triggered by some stimulus acceptable to that mechanism.”
For too long those who explain emotional discomfort on the basis of lived experience and those who blame chemistry have been at loggerheads.
As Dr. Nathanson shows, chemicals and illnesses can affect our mood just as surely as an uncomfortable memory or a stern rebuke.
Linking for the first time the affect theory of the pioneering researcher Silvan S. Thomkins with the entire world of biology, medicine, psychology, psychotherapy, religion, and the social sciences, Dr. Nathanson presents a completely new understanding of all emotion.
Drawing on every theme of the modern life sciences, Donald Nathanson shows how nine basic affects—interest-excitement, enjoyment-joy, surprise-startle, fear-terror, distress-anguish, anger-rage, dissmell, disgust, and shame-humiliation—not only determine how we feel but shape our very sense of self.
This is a revolutionary book about the nature of emotion, about the way emotions are triggered in our private moments, in our relations with others, and by our biology.
The Froebel Decade theme for 2019 will be dedicated to the impact Froebel’s philosophy had on art and architecture, especially his “gifts” and the mathematical aspects of his early childhood education concept.
The first building gift designed by Friedrich Froebel is eight cubes.
With the founding of a kindergarten teachers’ training school, Froebel was also seen as a supporter of women’s emancipation.
Andrea Borrell with the Temecula Play and Learn School has been selected in as first recipients of the North American Preschool Educator of the Year Award celebrating the 40th anniversary this year of Discovery Toys, a trusted learning through play brand.
“We want to bring attention and recognition to the countless preschool teachers across the US and Canada who resist the pressure to pump academic content into the minds of children at such a young age, and instead use play-based learning methods to develop executive-functioning skills and creative thinking. These are the skills that young children need to be successful learners and eventually successful workers.”
Discovery Toys CEO, Jerry Salerno
The award program recognizes those preschool teachers who effectively employ techniques to develop the traits that today’s young minds will need to become the lead contributors in tomorrow’s world. These traits include divergent thinking, creativity, inquisitiveness, initiative, resiliency, social confidence, empathy, and diplomacy.
When the preschoolers ask her questions, she does not immediately respond but instead asks them what they think. Teaching in a co-op setting, Ms. Borrell executes the extra task of guiding and training her parent assistants each day with a smile on her face.
Andrea Borrell is the director and lead teacher at the Temecula Play and Learn School (PALS), a member of the California Council of Parent Participation Nursery Preschools (CCPPNS). As a cooperative preschool, PALS is run by an Executive Board and a Parent Board, both consisting of co-op parents. The parents do the entire administration and day-to-day operation of the school. Ms. Borrell is the only paid employee.
The school’s goal is to provide a positive introductory learning experience for 3 and 4-year-old children in preparation for elementary education. This is achieved with a developmental philosophy in which a child is encouraged to grow at his or her own pace in an environment rich with child-centered and teacher-directed activities as well as field trip experiences. Each day, the children are immersed in an interactive world where they learn through play and discovery.
This collection documents the history of Bauhaus, one of the most influential schools of architecture, design, and art of the 20th century. The collection includes teaching materials, workshop models, architectural plans and models, photographs, documents and a library.
A building block game that conforms to the premises of the Bauhaus
An introduction to the world of shapes, colours and sounds.
Sounding Cubes designed by Barbara Seidler
A child from 1 year can use these cubes to make first experiences in stacking with a basic form. 12 cube blocks ring and rattle, with the same sound for each pair of the same colour. These 4cm cubes are stored in a soft cotton sack.
Strong rainbow colours from yellow to blue help with the assignment the same sound to each colour. The game is designed to give pleasure and fulfill a didactic purpose.
The characteristic silhouette of the shed roofs are the original 1964 design Walter Gropius .
The Bauhaus Archive was founded in Darmstadt in 1960. Walter Gropius and other members of the Bauhaus movement gave their support. The collection grew so quickly that a dedicated museum seemed attractive and Gropius was asked to design it. In 1964, he produced plans for a new museum in Darmstadt.
The Senate of Berlin was ready to supply both space and money for the project. In 1971 the Bauhaus Archive moved to temporary accommodation in Berlin. After modifying the plans for the location beside the Landwehrkanal, the foundation stone was laid in 1976 and the building was ready by 1979.
A portrait of Walter Gropius, founder of the Bauhaus school of architecture, by Louis Held probably in Weimar, just after foundation of Bauhaus.
Walter Adolph Georg Gropius (18 May 1883 – 5 July 1969) was a German architect and founder of the Bauhaus School. Along with Ludwig Mies van der Rohe, Le Corbusier and Frank Lloyd Wright, Walter Gropius is widely regarded as one of the pioneering masters of modernist architecture.
Featuring a long, slender bowl that gracefully tapers down to a footed base, pilsner glasses are specifically proportioned for showing a golden colored, classic pilsner.
Marquis by Waterford pilsner glasses made in Germany pair classic shapes with impeccable craftsmanship for a timelessly sophisticated look.
Each glass stands 9-1/4 inches tall and is capable of holding 20 ounces.
It is recommended to store crystal stemware upright to prevent chipping.
‘For me, colour is pure thought, and therefore completely inexpressible, every bit as abstract as a mathematical formula or a philosophical concept’ Daniel Buren
Like Child’s Play is inspired by German educational theorist Friedrich Wilhelm August Fröbels. Consisting of 100 blocks, arches, triangles and pediments, Buren plays with scale so that the objects, which, as children we towered over now dwarf us. Throughout his career, Buren has created artworks that complicate the relationship between art and the structures that frame it. His work questions how space can be used, appropriated, and revealed both physically and socially.
Daniel Buren is recognised as one of France’s foremost contemporary artists, he has exhibited at the Venice Biennale, winning the Golden Lion in 1986. His work has been the focus of exhibitions at the Centre Pompidou in Paris and the Solomon R Guggenheim Museum in New York. Buren’s career spans five decades of interventions, controversial critical texts, thought-provoking public art projects and engaging collaborations with artists from across generations.
