The works of Garnner, uncovered the basis of a child’s learning that centred around the form of multiple intelligence. This was a process where it was believed that a child has the ability to learn through 1 of 8 modalities. Each with a creative element. This giving the knowledge base for a greater understanding of how your child learns, and what can be planned in a Centre Environment. To work alongside this Model, we have based our program on the teachings of VYgotsy. To which intentional teaching opportunities are put in place to further add and extend your child’s development.
With this philosophy we have a planned a program that we feel will give both you and your child an opportunity to learn more about this Model of Teachings. We hope to provide you with a framework that centres around your child’s creative experiences, to enable each child to develop at his or her own pace, within a context of a rich and stimulating environment.
Here at the Centre, we believe that the importance of creativity is fundamental to enriching a child’s life through artistic mediums. We endeavour to provide a range of experiences throughout the program, that work in with the families and child’s interests. Together we will create an environment that can be freely explored, and involve the children being active participants in their own learning.
Creativity is both important at extending a child's development, as it is putting the building blocks down for future learning. When children are given a rich and creative environment, this enables them to develop a strong sense of well being. Children can develop trust and confidence, allowing for them to master new challenges and celebrate their own efforts and achievements. They are able to assert their capabilities, and grow towards a strong sense of independence.
Establishing a creative environment that enables the child to become a confident and involved learner. Having a disposition to learning through curiosity, confidence, enthusiasm and imagination. Through creative mediums, the child uses creativity to investigate, imagine and explore new ideas and concepts. Developing a wide range of skills, such as problem solving, experimentation, researching of new ideas and investigation.
Throughout the course of the month, we have shared many wonderful moments of creativity at our Centre. In the Caterpillar Room, there has been some lovely art work that reflects the changing season. Children worked together to bring to life the nature of the changing leaves. Many displays of art work were produced, from leaf prints to colourful pastel prints. Educators worked alongside the children, to scaffold and extend on the experience. By asking the children what they had created. These words were then put into informative text, to accompany their displays of art work.
This above experience Alliterates the practice of incorporating creativity into the developmental Model. Both Child and Educator work alongside each other, to actively collaborate together, engaging in the learning process.
We began at the Centre by planning experiences daily to reflect this creative Model. Throughout the year, we have all been amazed at the fantastic input from both staff, families and local communities. We were delighted to have had the opportunity to have a trip to the local Art Gallery. To which the children and educators gained insight into both art and music. The topic of cultural diversity was explored with the art works of aboriginal people, tribal music and dance. Through this experience, the children created both works of art to reflect aboriginal paintings and engaged in dramatic dance expression. Many parents came to watch this production, to which I hope both you delighted and shared in your child’s achievements.
The "recycle for life" program has also started this month. This has given the children a chance to decorate our new recycle bins and discuss the project. With many beautiful displays of art work we have seen gracing our recycle bins. It has also been a great opportunity for the children to partake in the program, as well as exploring more ideas through creativity. We have had many a proposal for worm farms and chickens to take up residence in our garden. Each which will be expected to arrive in the next coming months, to add to our sustainable living philosophy, we practice at our Centre.
We look forward to ideas from families on incorporating creative Mediums into the Centre.
Well Done.
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Beatrix - How to Embalm a Body
ReplyDeleteby Nicole Pasulka
Those who can’t do, learn. In this 2008 installment of our series in which the clueless apprentice with the experts, we visited a funeral home in New Jersey to learn, hands-on, how to prepare someone for an eternal rest.
Credit: Paul Castle
The first dead body I saw was my grandfather’s, at his funeral. More recently, I attended the funeral of a friend who’d died in a car accident. I forced myself to the dais to say goodbye. Looking over at him—he was striking in his beard and suit, clutching a leather-bound book—I thought he didn’t seem quite like himself: I’d never seen him with such cleanly cut hair. Likewise, my grandfather didn’t seem like himself, either: He was waxy, glowing, with makeup on his collar.
Though not entirely lifelike, their embalmed bodies were at least similar to how they appeared in life—similar enough that their casketed images surface alongside my memories of their smiles, movements, and voices. For many of us, death is a grim prospect—facing it or dealing with it—but for embalmers, it’s in the job description. By learning how to embalm, I hoped to learn how these final portraits are constructed, and how those in the business view death and grieving.
Though thin and energetic, Carla, a funeral director in New Jersey, manages to project calm and control. Over dinner, as she shared stories of picking up bodies for a medical examiner’s office, it wasn’t difficult to imagine her methodically removing maggots from the body of young man who’d died days before from a drug overdose, or suturing the top of someone’s head back on after an autopsy. Well, it was hard to imagine, but only because it’s completely disgusting—not for any lack of projected composure on Carla’s part.
I happened to head for the bathroom after a particularly morbid account of a man who had died in the woods and had his face eaten off by bees.
“You didn’t just vomit, did you?” Carla asked with genuine concern.
“No, no,” I assured her, “but now that you mention it, maybe I should.” Despite the jokes, I was determined to see the embalming through. Demanding to tag along while someone negotiates the cheerless gray area between life and death is asking a lot, but I wasn’t about to force Carla to hold my hand—or hair—at the same time.
“The worst thing for me, the first time I saw Carla work on a body,” Carla’s girlfriend Mary confided, “was the smell. It’s not a dead body smell. It’s more the smell of embalming fluid that really gets in your clothes and hair.”
If the smell of embalming fluid is the worst thing about tonight, I’ll get in the coffin myself, I thought. We paid the bill and headed out to spend the rest of the evening with the corpse of a man Carla’s boss had picked up from a nursing home earlier that day.
ReplyDeleteIf the smell of embalming fluid is the worst thing about tonight, I’ll get in the coffin myself, I thought. We paid the bill and headed out to spend the rest of the evening with the corpse of a man Carla’s boss had picked up from a nursing home earlier that day.
Step 1: Clean the Body and Break Down Rigor Mortis
In the basement of the funeral home, fluorescent lights bounced off the tile that covered the floor and walls of the prep room, which was barely above 50 degrees.
Shivering, Carla turned up the thermostat and wrapped herself in a white paper gown. I’d taken less than three steps inside, noticed a covered, man-shaped lump on the porcelain embalming table at the center of the room and stopped, frozen in fear.
She casually tossed away the sheet to expose the body of a tall, elderly man. What struck me first was the stillness. His head was cocked back, open-mouthed. Purple and blue bruises were scattered across his arms and hands. There were yellowing folds of skin around the hips of what was otherwise the thin body of an average-looking old man. He looked more like a wax sculpture or mannequin than an actual person.
Carla grabbed a spray bottle and quickly spritzed his face. His eyes shot open and I jumped back.
“What did you just do?”
“Oh, I just disinfected his eyes, nose, and mouth. Those are the places were decay starts most easily and it’s important to keep them clean.”
She glanced down at his face. “Aw, man, the guy’s got a beard. Shaving him is going to be pain.”
Carla explained that they shave everybody’s face, male or female—otherwise the makeup won’t look as good if our natural facial hair isn’t removed. However, if the person had a beard during life, the hair stays.
Beatrix - What is Ebola To You?
ReplyDeleteEbola virus (formerly officially designated Zaire ebolavirus, or EBOV) is a virological taxon species included in the genus Ebolavirus, family Filoviridae, members are called Filovirus,[1] the order is Mononegavirales.[2] The Zaire ebolavirus is the most dangerous of the five species of Ebola viruses of the Ebolavirus genus which are the causative agents of Ebola virus disease.[2] The virus causes an extremely severe hemorrhagic fever in humans and other primates. EBOV is a select agent, World Health Organization Risk Group 4 Pathogen (requiring Biosafety Level 4-equivalent containment), a U.S. National Institutes of Health/National Institute of Allergy and Infectious Diseases Category A Priority Pathogen, U.S. CDC Centers for Disease Control and Prevention Category A Bioterrorism Agent, and listed as a Biological Agent for Export Control by the Australia Group.
The name Zaire ebolavirus is derived from Zaire, the country (now the Democratic Republic of Congo) in which the Ebola virus was first discovered, and the taxonomic suffix ebolavirus (which denotes an ebolavirus species).[2]
The EBOV genome is approximately 19 kb in length. It encodes seven structural proteins: nucleoprotein (NP), polymerase cofactor (VP35), (VP40), GP, transcription activator (VP30), VP24, and RNA polymerase (L).[3]
Contents
1 Structure
2 Genome
3 Entry
4 Replication
5 Types
6 History
6.1 Previous names
7 Species inclusion criteria
8 Epidemiology
9 See also
10 References
11 External links
Structure
EBOV carries a negative-sense RNA genome in virions that are cylindrical/tubular, and contain viral envelope, matrix, and nucleocapsid components. The overall cylinders are generally approx. 80 nm in diameter, and having a virally encoded glycoprotein (GP) projecting as 7-10 nm long spikes from its lipid bilayer surface.[4] The cylinders are of variable length, typically 800 nm, but sometimes up to 1000 nm long. The outer viral envelope of the virion is derived by budding from domains of host cell membrane into which the GP spikes have been inserted during their biosynthesis.[citation needed] Individual GP molecules appear with spacings of about 10 nm.[citation needed] Viral proteins VP40 and VP24 are located between the envelope and the nucleocapsid (see following), in the matrix space.[5] At the center of the virion structure is the nucleocapsid, which is composed of a series of viral proteins attached to a 18-19 kb linear, negative-sense RNA without 3′-polyadenylation or 5′-capping (see following);[citation needed] the RNA is helically wound and complexed with the NP, VP35, VP30, and L proteins;[6][better source needed] this helix has a diameter of 80 nm and contains a central channel of 20–30 nm in diameter.
The overall shape of the virions after purification and visualization (e.g., by ultracentrifugation and electron microscopy, respectively) varies considerably; simple cylinders are far less prevalent than structures showing reversed direction, branches, and loops (i.e., U-, shepherd's crook-, 9- or eye bolt-shapes, or other or circular/coiled appearances), the origin of which may be in the laboratory techniques applied.[7] The characteristic "threadlike" structure is, however, a more general morphologic characteristic of filoviruses (alongside their GP-decorated viral envelope, RNA nucleocapsid, etc.).[8]