❤️ Concept map 🐶

"An example of a concept map about electricity A concept map or conceptual diagram is a diagram that depicts suggested relationships between concepts.Peter J. Hager, Nancy C. Corbin. Designing & Delivering: Scientific, Technical, and Managerial Presentations, 1997, . 163. Concept maps may be used by instructional designers, engineers, technical writers, and others to organize and structure knowledge. A concept map typically represents ideas and information as boxes or circles, which it connects with labeled arrows, often in a downward-branching hierarchical structure. The relationship between concepts can be articulated in linking phrases such as "causes", "requires", "such as" or "contributes to".Joseph D. Novak & Alberto J. Cañas (2006). Theory Underlying Concept Maps and How To Construct and Use Them", Institute for Human and Machine Cognition. Accessed 24 Nov 2008. The technique for visualizing these relationships among different concepts is called concept mapping. Concept maps have been used to define the ontology of computer systems, for example with the object-role modeling or Unified Modeling Language formalism. Overview A concept map is a way of representing relationships between ideas, images, or words in the same way that a sentence diagram represents the grammar of a sentence, a road map represents the locations of highways and towns, and a circuit diagram represents the workings of an electrical appliance. In a concept map, each word or phrase connects to another, and links back to the original idea, word, or phrase. Concept maps are a way to develop logical thinking and study skills by revealing connections and helping students see how individual ideas form a larger whole. An example of the use of concept maps is provided in the context of learning about types of fuel.CONCEPT MAPPING FUELS . Accessed 24 Nov 2008. Concept maps were developed to enhance meaningful learning in the sciences. A well-made concept map grows within a context frame defined by an explicit "focus question", while a mind map often has only branches radiating out from a central picture. Some research evidence suggests that the brain stores knowledge as productions (situation-response conditionals) that act on declarative memory content, which is also referred to as chunks or propositions.Anderson, J. R., & Lebiere, C. (1998). The atomic components of thought. Mahwah, NJ: Erlbaum.Anderson, J. R., Byrne, M. D., Douglass, S., Lebiere, C., & Qin, Y. (2004). An Integrated Theory of the Mind. Psychological Review, 111(4), 1036-1050. Because concept maps are constructed to reflect organization of the declarative memory system, they facilitate sense-making and meaningful learning on the part of individuals who make concept maps and those who use them. Differences from other visualizations * Topic maps: Concept maps are rather similar to topic maps in that both allow to connect concepts or topics via graphs. Among the various schema and techniques for visualizing ideas, processes, and organizations, concept mapping, as developed by Joseph Novak is unique in its philosophical basis, which "makes concepts, and propositions composed of concepts, the central elements in the structure of knowledge and construction of meaning."Novak, J.D. & Gowin, D.B. (1996). Learning How To Learn, Cambridge University Press: New York, p. 7. * Mind maps: Both concept maps and topic maps can be contrasted with mind mapping, which is often restricted to radial hierarchies and tree structures. Another contrast between concept mapping and mind mapping is the speed and spontaneity when a mind map is created. A mind map reflects what you think about a single topic, which can focus group brainstorming. A concept map can be a map, a system view, of a real (abstract) system or set of concepts. Concept maps are more free form, as multiple hubs and clusters can be created, unlike mind maps, which typically emerge from a single center. History Concept mapping was developed by Joseph D. Novak and his research team at Cornell University in the 1970s as a means of representing the emerging science knowledge of students. It has subsequently been used as a way to increase meaningful learning in the sciences and other subjects as well as to represent the expert knowledge of individuals and teams in education, government and business. Concept maps have their origin in the learning movement called constructivism. In particular, constructivists hold that learners actively construct knowledge. Novak's work is based on the cognitive theories of David Ausubel, who stressed the importance of prior knowledge in being able to learn (or assimilate) new concepts: "The most important single factor influencing learning is what the learner already knows. Ascertain this and teach accordingly."Ausubel, D. (1968) Educational Psychology: A Cognitive View. Holt, Rinehart & Winston, New York. Novak taught students as young as six years old to make concept maps to represent their response to focus questions such as "What is water?" "What causes the seasons?" In his book Learning How to Learn, Novak states that a "meaningful learning involves the assimilation of new concepts and propositions into existing cognitive structures." Various attempts have been made to conceptualize the process of creating concept maps. Ray McAleese, in a series of articles, has suggested that mapping is a process of off-loading. In this 1998 paper, McAleese draws on the work of SowaSowa, J.F., 1983. Conceptual structures: information processing in mind and machine, Addison-Wesley. and a paper by Sweller & Chandler.Sweller, J. & Chandler, P., 1991. Evidence for Cognitive Load Theory. Cognition and Instruction, 8(4), p.351-362. In essence, McAleese suggests that the process of making knowledge explicit, using nodes and relationships, allows the individual to become aware of what they know and as a result to be able to modify what they know.McAleese, R. (1998) The Knowledge Arena as an Extension to the Concept Map: Reflection in Action, Interactive Learning Environments, 6(3), p.251–272. Maria Birbili applies that same idea to helping young children learn to think about what they know.Birbili, M. (2006) "Mapping Knowledge: Concept Maps in Early Childhood Education" , Early Childhood Research & Practice, 8(2), Fall 2006 The concept of the knowledge arena is suggestive of a virtual space where learners may explore what they know and what they do not know. Use Example concept map created using the IHMC CmapTools computer program. Concept maps are used to stimulate the generation of ideas, and are believed to aid creativity. Concept mapping is also sometimes used for brain-storming. Although they are often personalized and idiosyncratic, concept maps can be used to communicate complex ideas. Formalized concept maps are used in software design, where a common usage is Unified Modeling Language diagramming amongst similar conventions and development methodologies. Concept mapping can also be seen as a first step in ontology-building, and can also be used flexibly to represent formal argument -- similar to argument maps. Concept maps are widely used in education and business. Uses include: *Note taking and summarizing gleaning key concepts, their relationships and hierarchy from documents and source materials *New knowledge creation: e.g., transforming tacit knowledge into an organizational resource, mapping team knowledge *Institutional knowledge preservation (retention), e.g., eliciting and mapping expert knowledge of employees prior to retirement *Collaborative knowledge modeling and the transfer of expert knowledge *Facilitating the creation of shared vision and shared understanding within a team or organization *Instructional design: concept maps used as Ausubelian "advance organizers" that provide an initial conceptual frame for subsequent information and learning. *Training: concept maps used as Ausubelian "advanced organizers" to represent the training context and its relationship to their jobs, to the organization's strategic objectives, to training goals. *Communicating complex ideas and arguments *Examining the symmetry of complex ideas and arguments and associated terminology *Detailing the entire structure of an idea, train of thought, or line of argument (with the specific goal of exposing faults, errors, or gaps in one's own reasoning) for the scrutiny of others. *Enhancing metacognition (learning to learn, and thinking about knowledge) *Improving language ability *Assessing learner understanding of learning objectives, concepts, and the relationship among those concepts *Lexicon development See also List of concept- and mind-mapping software References Further reading External links * Example of a concept map from 1957 by Walt Disney. Concepts Constructivism (psychological school) Diagrams Educational technology Graph drawing Knowledge representation Note-taking Visual thinking "

❤️ Midori (violinist) 🐶

"who performs under the mononym Midori, is a Japanese-born American violinist. She made her debut with the New York Philharmonic at age 11 as a surprise guest soloist at the New Year's Eve Gala in 1982. In 1986 her performance at the Tanglewood Music Festival with Leonard Bernstein conducting his own composition made the front-page headlines in The New York Times. Midori became a celebrated child prodigy, and one of the world's preeminent violinists as an adult. Midori has been honored as an educator and for her community engagement endeavors. When she was 21, she established her foundation Midori and Friends to bring music education to young people in underserved communities in New York City and Japan, which has evolved into four distinct organizations with worldwide impact. In 2007, Midori was appointed as a UN Messenger of Peace. In 2018 she joined the violin faculty at the Curtis Institute while remaining on the USC Thornton School Of Music Violin faculty holding the Judge Widney Professor of Music Chair. She was elected to the American Academy of Arts and Sciences in 2012. Early life Midori was born Midori Goto in Osaka, Japan on October 25, 1971. She dropped her father's surname from her stage name after her parent's divorce in 1983, initially performing under the name Mi Dori, then deciding on the single word Midori. Her father was a successful engineer and her mother, Setsu Gotō, was a professional violinist. Setsu regularly took young Midori to her orchestra rehearsals where the toddler slept in the front row of the auditorium while her mother rehearsed. One day Setsu heard a two-year-old Midori humming a Bach concerto that had been rehearsed two days earlier. Subsequently, Midori often tried to touch her mother's violin, even climbing onto the bench of the family piano to try to reach the violin on top of the piano. On Midori's third birthday, Setsu gave her a 1/16 size violin and began giving her lessons. Career Midori gave her first public performance at the age of six, playing one of the 24 Caprices of Paganini in her native Osaka. In 1982 she and her mother moved to New York City, where Midori started violin studies with Dorothy DeLay at Pre-College Division of Juilliard School and the Aspen Music Festival and School. As her audition piece, Midori performed Bach's thirteen-minute-long Chaconne, generally considered one of the most difficult solo violin pieces. In the same year, she made her concert debut with the New York Philharmonic under Zubin Mehta, a conductor with whom she would later record on the Sony Classical label. In 1986 came her legendary performance of Leonard Bernstein's Serenade at Tanglewood, conducted by Bernstein. During the performance, she broke the E string on her violin, then again on the concertmaster's Stradivarius after she borrowed it. She finished the performance with the associate concertmaster's Guadagnini and received a standing ovation. The next day's The New York Times front page carried the headline, "Girl, 14, Conquers Tanglewood with 3 Violins". When Midori was 15, she left Juilliard Pre-College in 1987 after four years and became a full-time professional violinist. In October 1989, she celebrated her 18th birthday with her Carnegie Hall orchestral debut, playing Bartok's Violin Concerto No. 2. She made her Carnegie Hall recital debut in 1990 four days before her 19th birthday. Both performances were critically acclaimed. In 1990, she also graduated from the Professional Children's School which she attended for academic subjects. In 1992, she formed Midori and Friends, a non-profit organization that aims to bring music education to children in New York City and in Japan after learning of severe cutbacks to music education in U.S. schools. Her organization Music Sharing began as the Tokyo branch-office of Midori and Friends and was certified as an independent organization in 2002. Music Sharing focuses on education about Western classical music and traditional Japanese music for young people, including instrument instruction for the disabled. Its International Community Engagement Program is a training program for internationally chosen aspiring musicians that promotes cultural exchange and community engagement. In 2000, Midori graduated magna cum laude from the Gallatin School at New York University with a bachelor's degree in Psychology and Gender Studies, completing the degree in five years while also continuing to perform in concerts. She later earned a master's degree in psychology from NYU in 2005. Her master's thesis was about pain research. In 2001, Midori had returned to the stage and took a teaching position at the Manhattan School of Music. In 2001, with the money Midori received from winning the Avery Fisher Prize, she established the Partners in Performance program focusing on classical music organizations in smaller communities. In 2004, Midori launched the Orchestra Residencies program in the U.S. for youth orchestras, which was expanded to include collaborations with orchestras outside the U.S. in 2010. In 2004, Midori was named a professor at University of Southern California's Thornton School of Music where she is holder of the Jascha Heifetz Chair. She became a full-time resident of Los Angeles in 2006 after a period of bicoastal commuting and was promoted to the chair of the Strings Department in 2007. In 2012 she was named distinguished professor at USC, elected to the American Academy of Arts & Sciences, and was awarded an honorary doctorate in music by Yale University. Midori was Humanitas Visiting Professor in Classical Music and Music Education at Oxford University 2013–2014. Midori will join the violin faculty of Philadelphia's Curtis Institute in the 2018–2019 academic year while remaining on the University of Southern California Thornton School of Music's violin faculty as a Judge Widney Professor of Music.https://music.usc.edu/midori-goto/ Accolades In addition to being named Artist of the Year by the Japanese government (1988) and the recipient of the 25th Suntory Music Award (1993), Midori has won the Avery Fisher Prize (2001), Musical America’s Instrumentalist of the Year award (2002), the Deutscher Schallplattenpreis (2002, 2003), the Kennedy Center Gold Medal in the Arts (2010), the Mellon Mentoring Award (2012). In 2007 Midori was named a United Nations Messenger of Peace. In 2012, she received the prestigious Crystal Award by the World Economic Forum in Davos for "20-year devotion to community engagement work worldwide". Personal life In September 1994, Midori suddenly cancelled her concerts and withdrew from public view. She was hospitalised and given an official diagnosis of anorexia for the first time. In her twenties, Midori struggled with anorexia and depression, resulting in a number of hospital stays. She later wrote about these personal difficulties in her 2004 memoir Einfach Midori (Simply Midori), which has been published in German but not English. (It was updated and reissued in German-speaking countries in 2012.) After recovering, she continued to perform and also studied psychology and gender studies at New York University. For a while, she considered psychology as an alternative career, with a focus on working with children. Midori's half-brother Ryu and her stepfather Makoto Kaneshiro (a former violin assistant of Ryu's father, DeLay) are both violinists. Instrument Midori plays on the 1734 Guarneri "ex-Huberman" violin. Her bows are made by Dominique Peccatte (two) and François Peccatte (one). Discography *Bach/Vivaldi: Double Violin Concertos (Philips Records, 1986) – with Pinchas Zukerman (violin, conductor), St. Paul Chamber Orchestra. Bach's Concerto for Two Violins in D minor and Violin Concerto No. 2 in E major; Vivaldi's 12 Concertos, Op.3 - "L'estro armonico" / Concerto No. 8 In A Minor For 2 Violins *Paganini: 24 Caprices for Solo Violin, Op.1 (CBS Masterworks Records, 1989) *Dvořák: Violin Concerto, Romance and Carnival Overture (Sony Classical, 1989) – with New York Philharmonic Orchestra, Zubin Mehta (conductor). Concerto for Violin and Orchestra in A minor, Op. 53; Romance in F minor for Violin and Orchestra, Op. 11; and Carnival Overture, Op 92. *Bartok - Violin Concertos No.1 & No.2 (Sony Classical, 1991) – with Berlin Philharmonic Orchestra, Zubin Mehta (conductor) *Midori: Live At Carnegie Hall (Sony Classical, 1991) – with Robert McDonald (piano) *Encore! (Sony Classical, 1992) – with Robert McDonald (piano) *Sibelius: Violin Concerto / Bruch: Scottish Fantasy (Sony Classical, 1994) – with Israel Philharmonic Orchestra, Zubin Mehta (conductor). Sibelius's Concerto for Violin and Orchestra in D minor, Op. 47, and Bruch's Scottish Fantasy, Op. 46 *Tchaikovsky & Shostakovich: Violin Concertos (Sony Classical, 1994) – with Berlin Philharmonic Orchestra, Claudio Abbado (conductor); Tchaikovsky's Concerto for Violin and Orchestra in D Major and Shostakovich's Concerto for Violin and Orchestra No.1 in A minor'' *Franck: Elgar: Violin Sonata in E minor, Op. 82, Violin Sonata in A Major (Sony Classical, 1997) – with Robert McDonald (piano) *Mozart: Sinfonia Concertante in E-Flat Major & Concerto in D Major (Sony Classical, 2001) – with Nobuko Imai (viola), Christoph Eschenbach (conductor and piano), NDR Symphony Orchestra *Debussy, Poulenc & Saint-Saëns: Violin Sonatas (Sony Classical, 2002) – with Robert McDonald (piano). Poulenc's Sonata for Violin and Piano, Debussy's Sonata in G Minor for Violin and Piano, and Saint-Saëns's Sonata No.1 in D minor for Violin and Piano, Op. 75 *Midori – 20th Anniversary Album (Sony Classical, 2002) – with Leonard Slatkin (conductor), Saint Louis Symphony Orchestra, Robert McDonald (piano) *Mendelssohn & Bruch Violin Concertos (Sony Classical, 2002) – with Berlin Philharmonic Orchestra, Mariss Jansons (conductor). Mendelssohn's Concerto for Violin and Orchestra in E minor, Op. 64 and Bruch's Concerto No.1 for Violin and Orchestra in G Minor, Op. 26'' *Bach Sonata No. 2 in A minor, Bartók: Sonata No. 1 (Sony Classical, 2008) – with Robert McDonald (piano) *The Essential Midori (Sony Classical, 2008) *Violin Sonatas of Bloch, Janáček and Shostakovich (Sony Classical, 2013) – with Ozgür Aydin (piano) *Hindemith: Violin Concerto; Symphonic Metamorphosis; Konzertmusik (Ondine, 2013) – with NDR Symphony Orchestra, Christoph Eschenbach (conductor) *Bach: Sonatas & Partitas for Solo Violin (Onyx Classics, 2015) References External links Midori and Friends *The Nonprofit Organization Music Sharing Japanese classical violinists American classical violinists Aspen Music Festival and School alumni Child classical musicians American classical musicians of Japanese descent Manhattan School of Music faculty Juilliard School Pre- College Division alumni New York University Gallatin School of Individualized Study alumni United Nations Messengers of Peace Japanese emigrants to the United States Thornton School of Music faculty People from Hirakata 1971 births Living people Fellows of the American Academy of Arts and Sciences Japanese women violinists Japanese female musicians American women musicians of Japanese descent 21st-century American women musicians Women classical violinists Women music educators 21st-century classical violinists 20th- century American women musicians 20th-century classical violinists 21st-century American musicians 20th-century American musicians "

❤️ Power Macintosh 7100 🐶

"The Power Macintosh 7100 is a personal computer that was designed, manufactured and sold by Apple Computer Inc. from March 1994 to January 1996. It is the mid-range machine of the first generation of Power Macintosh line, between the Power Macintosh 6100 and the 8100. The 7100 re-used the Macintosh IIvx case with few changes. There were two versions of the 7100; the original version and an version that replaced it in January 1995. The 7100 was succeeded in August 1995 by two new models, the Power Macintosh 7200 and the Power Macintosh 7500, though sales of the 7100 continued into early 1996. Models The 7100AV variants include a 2 MB VRAM card with S-Video in/out. The non-AV 7100s have a video card containing 1 MB VRAM which was expandable to 2MB, and no S-Video in/out capability. Apple did not release a "DOS Compatible" card for the 7100 as they had for some contemporary Macintosh Quadra models, opting instead to offer the 7100 bundled with the SoftWindows emulator at a price of $385. With an optional 256KB L2 cache card installed, MacWorld Magazine determined that the performance is comparable to 25 MHz Intel 80486SX. Introduced March 14, 1994: * Power Macintosh 7100/66: No L2 cache. $2,650 USD. * Power Macintosh 7100/66AV: $3,450. Introduced January 3, 1995: * Power Macintosh 7100/80: 256KB L2 cache. * Power Macintosh 7100/80AV Codename lawsuits The Power Macintosh 7100's internal code name was "Carl Sagan, one of the three "fraud" code names (Pilt Down Man, Cold Fusion, and Carl Sagan) referring to the PowerPC processor pretending to be a 68000.An account of this lawsuit is given in Carl Sagan: A Life in the Cosmos, pages 363–364 and 374–375. Though the project name was internal, it was revealed to the public in a 1993 issue of MacWeek. Sagan, worried that the public might interpret this as an endorsement which sullied his name, reportedly contacted Apple and threatened to sue unless they could prove the codename did not officially link to his intellectual property and identity. After they reportedly refused, he wrote a letter to the editor that appeared in a 1994 issue of MacWeek, seeking to inform their readers of the situation. Following the letter, a rogue programmer at Apple renamed the project to "BHA (for Butt- Head Astronomer). Sagan then sued Apple for libel over the new name, but since the codename was internal he lost his case. Sagan continued pursuing lawsuits. When he sued Apple again, this time for the original use of his name, he lost this suit as well. Sagan and Apple, apparently not wishing to engage in a series of lawsuits over the issue, came to an out-of-court agreement in November 1995, leading to Apple making a statement of apology. The engineers on the project made a third and final name change from "BHA" to "LAW", short for "Lawyers are Wimps". References External links * apple-history.com :: Power Macintosh 7100 7100 7100 Macintosh desktops Computer-related introductions in 1994 "