Unit 4.3 - Future Timeline

The findings of the studies suggest that there is less learning activity (in terms of education, training or self‐development activities) being undertaken by these participants than may be expected. While participants generally believe that they should take charge of their own learning and career development, they are less sure what actions to take. Signals from the organization are still an important prompt for learning for those in employment; for those outside the lack of support and specific reasons to learn leads to a lack of formal or structured learning activity and a tendency to rely on previously learned skills.

There is evidence from a variety of sources that employees often do not feel comfortable speaking to their bosses about organizational problems or issues that concern them. We show that on the types of issues that employees are reluctant to raise, and identify why employees sometimes decide to remain silent rather than voice their concerns. We interviewed 40 employees and found that most had been in situations where they were concerned about an issue but did not raise it to a supervisor. Silence spanned a range of organizational issues, with several of our respondents indicating that they did not feel comfortable speaking to those above them about any issues or concerns. The most frequently mentioned reason for remaining silent was the fear of being viewed or labeled negatively, and as a consequence, damaging valued relationships. From our data, we develop a model of how the perceived consequences of voice contribute to silence, and a model of how the social and relational implications of speaking up can take away employees’ ability to have influence within an organizational setting.

The nature of your previous formal learning.

According to contemporary learning theories, the discrepancy, or error, between the actual and predicted reward determines whether learning occurs when a stimulus is paired with a reward. The role of prediction errors is directly demonstrated by the observation that learning is blocked when the stimulus is paired with a fully predicted reward. By using this blocking procedure, we show that the responses of dopamine neurons to conditioned stimuli was governed differentially by the occurrence of reward prediction errors rather than stimulus–reward associations alone, as was the learning of behavioural reactions. Both behavioural and neuronal learning occurred predominantly when dopamine neurons registered a reward prediction error at the time of the reward. Our data indicate that the use of analytical tests derived from formal behavioural learning theory provides a powerful approach for studying the role of single neurons in learning.

Ice breaker

Ice breaker

Unit 2.3 - Value Equation 

Ability

knowledge

skils

talents

behavior

effort

time

CERTIFICATES

Blog Submission

My name is Valentin Gabriel Cristea. I am a mathematics teacher at a High School of Targoviste . I am from Romania. I am interested in participatory art to improve my knowledge about poetry.

Sky

The sky is the place

where the words

become clouds

Participatory art is a term that describes a form of art that directly engages the audience in the creative process so that they become participants in the event. In this respect, the artist is seen as a collaborator and a co-producer of the situation (with the audience), and these situations can often have an unclear beginning or end.

Participatory art has its origins in the futurist and dada performances of the early twentieth century, which were designed to provoke, scandalise and agitate the public. In the late 1950s the artist Allan Kaprow devised performances called happenings, in which he would coerce the audience into participating in the experience. The French film-maker and writer Guy Debord, founder of situationism, also promoted a form of participatory art in that he wished to eliminate the spectator’s position by devising industrial paintings: paintings created en masse. The contemporary artist Marvin-Gaye Chetwynd relies entirely on willing participants to create her performances, as does the activist artist Tania Bruguera. In her work Surplus Value, participants were asked to wait in line and then randomly selected into those who could enter the work and others who were submitted to lie detector tests, in order to highlight the problems of immigration. Happenings were the forerunners of performance art and in turn emerged from the theatrical elements of dada and surrealism. The name was first used by the American artist Allan Kaprow in the title of his 1959 work 18 Happenings in 6 Parts which took place on six days, 4–10 October 1959 at the Reuben Gallery, New York.

Happenings typically took place in an environment or installation created within the gallery and involved light, sound, slide projections and an element of spectator participation. They proliferated through the 1960s but gave way to performance art in which the focus was increasingly on the actions of the artist. A detailed account of early happenings can be found in Michael Kirby’s 1965 book, Happenings.

Other notable creators of happenings were Claes Oldenburg, Jim Dine, Red Grooms and Robert Whitman. Jim Dine’s 1960 suite of prints The Crash relates to the drawings that were props for his 1960 happening, The Car Crash.

Diagram

Diagram