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Redefining steam to steam ∀h (steam for all humanity) in higher education.
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1. Introduction
1.1. towards humanity-centred design, 1.2. the exploria project: previous works.
- Great Books
- Introduction to Christianity
- Keys to Contemporary History
- The Churchâs social doctrine
- World and modern man
- Anthropology
- History and Society
- Person and Modern World
- History of Culture (Western)
- The Churchâs Social Doctrine
![](http://blog10.website/777/templates/cheerup2/res/banner1.gif)
2. Purpose of This Article
3. steam âh (for all humanity) definition, 3.1. definition of the original steam model.
- Science (S) : It deals with everything that exists naturally and how it is studied. In this way, physics, biology, chemistry, biochemistry, Earth and space sciences and others close to technology, such as biotechnology or biomedicine, are considered areas of scientific education [ 30 ].
- Technology (T) : This is responsible for studying everything that has been created and manufactured by humans [ 30 ]. As a school discipline, technology was the last to reach the educational plans and since it did the connections with mathematics and sciences became evident as they were existing disciplines that supported their appearance, technology being the most transversal subject of all the established disciplines [ 31 ].
- Engineering (E) : According to [ 30 ] Engineering is understood as the âuse of creativity and logic, based on mathematics and science which uses technology as an agent to create contributions to the worldâ. That is, engineering is the use of science and maths for designing new technology [ 32 ].
- Mathematics (M) : Mathematics is the discipline that studies numbers and their operations, the handling of algebraic expressions, analytical geometry, the handling of measurements, data analysis, probability, problem solving, logical reasoning and their communication [ 30 ]. The essence of mathematics is problem solving and this subject is necessary to define, analyse and solve all kinds of real life problems. From an interdisciplinary perspective, mathematics in the STEM field is revealed as the common language to the rest of the fields, the language through which all communications are regulated, defined and understood [ 30 ].
- Art (A) : According to cite Yakman08, this discipline can be divided into several types: language arts, fine arts or plastic arts, physical arts, manual arts, and liberal arts that encompass the social sciences. Several of these arts have been considered independent disciplines in educational systems, such as language arts, social sciences, plastic or physical arts through physical education [ 30 ]. From this point of view, the presence of âartâ in the educational world is broad and would not be limited to the plastic and manual arts.
3.2. Redefining the Original STEAM Model in STEAM âH, (âH, for All Humanity)
- Fine arts : Everything regarding topics traditionally covered in âartâ classes, such as painting, sculpture, colour theory, and tangible creative expressions.
- Physical arts : Those topics that include personal or collective movement, sports, dance and performance.
- Manual arts : Topics related to particular physical or technical skills needed to manipulate objects.
- Liberal arts : This is the broadest category since it included the social sciences such as sociology, philosophy, psychology, theology, history, civics, politics and where the field of education itself is also included. Ref. [ 5 ] literally defines Liberal arts as Liberal arts (Social): Including Education, History, Phylosophy, Politics, Psychology, Sociology, Theology, Science Technology Society (STS) and more .
3.3. Definition of the STEAM âH Model
- Liberal arts : This category includes the social sciences such as sociology, philosophy, psychology, theology, history, civics, politics and where the field of education itself is also included.
4. STEAM âH in EXPLORIA
4.1. exploria project in the degree of engineering in industrial design and product development.
- Act I: Shape
- Act II: Volume
- Act III: Colour
- Act IV: Space
- Act V: Structure
- Act VI: Project
4.2. Catholic Social Teaching (CST)
4.3. activities and sessions carried out during module ii.
- Session (mathematics). Maths session in which symmetry and proportions are discussed. In this session, students study the concept of symmetry and proportion in a theoretical way and subsequently by using the application exercises, they motivate the formal study on some artistic representations. These are related to the iconological content of it. The works of study are from the Muslim, Christian, Egyptian and contemporary periods. The study of rotational symmetries from the iconographic sense is very important, using the concept of vanishing point and repetition of motifs, in order to build the group of isometries, as well as to investigate in the iconological understanding of the work.
- Session (shape representation). Dedicated to discovering the proportions behind the human body, golden number, to draw it beautifully proportioned.
- Session (basic design): Here we will understand, analyse, apply and create the shape in two dimensions according to its size, proportion, visual weight, and how to compose on basic reticles and relate to others through various interrelationsâintersection, overlapping, penetration, etc.âaiming to obtain a balanced and aesthetic result; for which the isometric transformations linked to mathematical calculations will be used in subsequent sessions.
- Session (physics). Physics session in which measurement units and errors are discussed. An experiment is performed to measure the golden number or divine proportion by measuring the proportions of the phalanges of the fingers and arm. The results obtained are pooled and the measurement and error of the whole class experiment is obtained.
- Session (shape representation). The human face, beautiful and well structured, is governed by a series of parameters, proportions and relationships, including the golden number, among the various elements that compose it. In this kind of drawing task they are discovered and applied.
- Session (basic design + shape representation). The link between identity and shape is transmitted. Whenever a two-dimensional form must convey a message, contain a meaning/s or represent a brand or person, its utility and aesthetic result -beauty- will lie in the simplicity and ease in which it integrates different concepts, characteristics or qualities. In this session the students analyse themselves to create a personal brand, a logo that identifies them, a shape justified with their personality and essence. In subsequent sessions and other subjects, the student will discover the style and characteristics of the person and work of Antonio GaudĂ, and identity with shape will be linked again. The students will have to recognize the organic and geometric shapes that identify this author and they must also try to understand the balance, proportion and beauty resulting from the inspiration of the author in nature.
- Session (CST and basic design). After the initial learning about the elements that define a space, their organization and relationship, as well as the application of them in various practical exercises; in this two-day joint session (8 h in total), the student is shown the concept of universal accessibility (which includes physical and cognitive accessibility), as well as being shown the reality of diversity in society and vulnerabilities in youth to, from all this information, analyse the space of our school (The ESET Technical School of Engineering) and propose, through the design, improvements that allow the Universal Accessibility of our school for all users and visitors.
- Session (mathematics). Mathematics session in which we talk about GaudĂ and the Holy Family where we can observe different geometries introduced by him.
- Session (history of art): The divine proportion in Art. In this session, one of the main questions of aesthetics is worked through case studies: what is beauty and what are its qualities and essence? The observation and imitation of nature has been essential in most of history of art. In addition, since classical Greece, an idea has been maintained regarding beauty, showing that it is intimately linked to proportion. If this is so, and that proportion has been observed in nature, then a suggestive question may arise in the classroom: Do you think that God, through the use of a relationship of proportions in nature itself, is giving an answer as a mathematical formula to the crucial question on beauty that philosophers and artists have been raising for centuries? [ 34 ]. Through the proposed cases, works by artists such as M.C. Escher, Salvador DalĂ or photographs by Henri Cartier-Bresson, students reflect on the concept of beauty and its observation in nature and its rules.
- Session (shape representation). Drawing as a tool for understanding Nature. In the first session of Act II: Volume, we analyse the conical perspective as the most realistic and natural technique for drawing what the human eye can see; this technique, far from the artifices of isometric perspectives and, above all, knightly.
- Session (shape representation). The leitmotiv of this session is the understanding of the behaviour of light in Nature, to then apply it in our drawings until achieving the feeling of volume in the elements represented.
- Session (CST). CST session in which we talk about GaudĂ and the Holy Family.
- Session 4. Physics session in which we talk about GaudĂ and the Holy Family. We talk about the importance of the shape of the arches, their height versus the lateral reinforcements, the friction columns and the double helix columns that GaudĂ introduced. We will also study fractal structures and their physical properties. Much emphasis is placed on what was GaudĂâs main source of inspiration, nature. Famous is his phrase, âoriginality consists in the return to the origin; so, original is all that returns to the simplicity of the first solutionsâ.
- Session (descriptive geometry). In the descriptive geometry session we explain the warped ruled surfaces, including the hyperbolic paraboloid, its mathematical and physical properties. This session connects to The Pringles equilibrium challenge activity from our previous work [ 27 ].
- Session (physics). A master class in physics explaining Newtonâs 3 Laws. Upon completion of the master lesson, students go out to the streets and select 4 applications of Newtonâs laws in architecture, take a photo, and explain how laws work in that particular situation.
- Session (basic design). The concept of structure as an integral part of the project. Structure and design. In this session the student is given the definition and basic behaviour of the structure, as well as the possibilities in terms of its typology. According to its origin, we make a difference between technical structure (the one built by man) and natural structure (the one that comes from nature itself); being aware that for techniques, man is completely inspired by the natural world, both in the physical and aesthetic sphere. Science and technology arise from the exploration of nature. In it there are perfect structures like those of the radiolar ones, which are marine protozoa endowed with an internal skeleton with a very elaborate structure and of great beauty. We observe and analyse works by various designers who have been inspired by this type of natural structures.
- Session (physics). A master class in physics that explains the concepts of a free-body diagram and the equilibrium equations for a rigid body. After the conclusion, the students go out to the street and select 4 applications of the equilibrium equations in design products. They take a photo, draw the free-body diagram, and calculate the equilibrium equations in that particular application. This session is connected to The Pringles equilibrium challenge activity from our previous work [ 27 ].
- Session (CST). Master class on the existence of God from the Catholic point of view. We will talk about St. Thomas Aquinasâ 5 ways to defend the existence of God. Of the five ways, we will use the one that connects with the physics part. The First Way is deduced from the movement of objects. Thomas explains through the distinction of act and power, that the same entity cannot move and be moved at the moment, then everything that moves is done by virtue of another element. A series of movers is therefore initiated, and this series cannot be taken to infinity, because there would be no first mover, nor second (i.e., there would be no transmission of movement) therefore there must be a First Unmoved Mover that is identified with God, the beginning of everything. In addition, the thoughts of several scientists who have expressed the relationship between science and religion such as G. Mendel, Einstein, Newton, Faraday, Pasteur, Copernicus, Ada Lovelace or Florence Nightingale, among others, are studied.
- Session (physics). Theoretical session in which a review is made of the relationship between physicists and God throughout history and how physicists have tried to decipher âWho is Godâ . The session takes a historical journey from Aristotle to the most modern theories of quantum physics, the theory of everything, string theory, etc. Throughout the journey, there are several key moments that connect with learnings from other sessions, these are: - Aristotle: The first thing we talk about is the First Unmoved Mover . The first person to speak of the First Unmoved Mover was Aristotle, not Thomas Aquinas. The unmoved mover is a metaphysical concept described by Aristotle as the first cause of all motion in the universe, and which is therefore not moved by anything else. Aristotle speaks in his eighth book of Physics of an immaterial entity that is the physical principle of the world, and in Metaphysics, he referred to it as God. - Newton: Newton and his 3 fundamental laws are then discussed. Newtonâs first law is directly related to the First Unmoved Mover since the first law dictates that: âevery object will remain at rest or in uniform motion in a straight line unless compelled to change its state by the action of an external forceâ . This first law is strictly necessary for Newtonâs second and third Law to be fulfilled. In other words, Newtonâs laws can be applied except at the origin of the universe as there had to be a first mover on which these rules were not applied. Newton spent much of his life seeking the answer to this question in religion, as he was an Arianist. - Einstein : In other part we talk about Einstein and who was God for him . Einstein was asked many times if he believed in God but he never used to answer that question. The few times he did answer by saying âI believe in Spinozaâs God that reveals himself in the regulated harmony of all that exists, but not in a God that is concerned with the destiny and acts of humanityâ . Spinoza was a Dutch philosopher considered one of the three great rationalists of seventeenth-century philosophy. He is considered an absolute rationalist because of his conception of the principle of sufficient reason: âfor everything there is a cause, both for its existence, if it exists, and for its non-existence, if it does not existâ . As far as Einstein was concerned, Godâs âruled harmonyâ is established through the cosmos by strict adherence to the physical principles of cause and effect. Therefore, there is no room in Einsteinâs philosophy for free will: âEverything is determined, the beginning as much as the end, by forces over which we have no control⊠we all dance a mysterious tune, intoned in a distance by an invisible musicianâ . Everything is governed by the rules of physics and there can be no higher entity that can bypass them. - Born and Einstein : Next we talk about Max Born. He was a German physicist and mathematician who played a decisive role in the development of quantum mechanics. On 4 December 1926, Einstein wrote in a letter to Born: âQuantum mechanics is certainly imposing. But an inner voice tells me that this is not yet the real thing. âThe theory produces a good deal but hardly brings us closer to the secret of The Old Oneâ, I, in any case, am convinced that âGodâ does not play dice.â Einstein was not a believer, but he used the metaphor of God to refer to the functioning of nature and its rules. - The Old One : At this point in the class two concepts are presented: * âThe Old Oneâ : As it was for Einstein, nature and its rules, and as these, the rules of nature have inspired works of art, architects as for example GaudĂ, or product design. Geometric shapes of nature such as spirals, fractal growth patterns such as those of trees, symmetries, proportions (golden number), the concept of beauty (symmetry + proportion), and finally, the very laws of physics applied to the design of products, such as forces, gravity, etc. * âPlaying the Old Oneâ : This concept refers to the work of a designer who must propose creative ideas, âplaying with the Old Oneâs rulesâ , that is, playing with the laws of physics and nature. Figure 3 shows a classic example in which the table on the left is a typical table with 4 legs while the other two tables are tables designed in which the designer has âplayed with the Old Manâs rulesâ to get an original table that complies with the rules of physics to ensure functionality. At the end of the class, students are presented with the work they must do on âWho is God?â . The work should contain the following points: - An introduction that includes a description explaining the Unmoved Mover theory, the five ways of St. Aquinas, Newtonâs Laws, and the theory of everything. - A historical/bibliographic review of different physicists/philosophers who throughout history have studied the origin, both from the physical and religious point of view. - Whoâs the Old One? It must include who âthe Old Oneâ is and the implications it has on product design based on examples of designers. - Who is God? Personal reflection on âWho is God?â from all points of view based on everything read/learned.
- Session (physics + basic design extension): In this combined session that had 3 sessions of 2 h between physics and basic design extension, the students were asked to select a famous designer and one of his/her products. After having begun to understand the concept of structure, as well as the basic elements of its behaviour, they investigated about different designers, studies and productsâin particular furniture, to, among all of them, select a piece of furniture and analyse it to identify which elements integrate it and how its shape and volume are structured. In this way the objective is to understand that each product conforms to the human scale and has an adequate and proportional size to the function for which it is designed; integrating a structure that supports and conforms it. Regarding the basic design part, they are asked, after the research, first to select a piece of furniture whose structure has been used as a functional, aesthetic or differentiating element. Later, the analysis of the piece will consist of inquiring about his/her designer, his/her product line, the brand that produces it, the city where and year when it was launched, as well as the description of the furniture itself: concept, use, shape, finish and materials that integrate it, sizeâtechnical drawings-, components/parts that integrate it; and a final essay on the role of the structure in that design and why it is relevant. Regarding physics, they are asked to make the diagram of free bodies of the design and analyse how the ârules of the Old Oneâ are applied and how the designer has âplayed to be the Old Oneâ , that is, how he/she has played with the rules of physics and nature to transform the initial concept of design into a final product and what things he/she has had to assume to achieve it. For example, in Figure 4 you can see a design of the Italian design studio based in Milan Studiopepe called Verre Particulier where from the original design formed by simple figures, cylinders, the designer has made the decision to cut the base of the cylinder in order to improve the stability of the table and avoid vibrations when the table is used; as well as integrate, with that brief gesture, aesthetics and proportion in the whole of the furniture.
- Phase 1âDefinition of the challenge. The teams, based on the proposed theme, must define the challenge they intend to solve. The purpose at this stage is to state what they want to solve, without having yet formalized a specific element or object.
- Phase 2âResearch. The teams investigate the challenge given looking for specific solutions, transferring the idea to a shaped solution, and sketching the solution to be proposed while working on its possibilities of volume, colour or structure.
- Phase 3âPerformance This phase begins with an Elevator Pitch in which the team members explain their challenge and proposed idea in 2 min. The team of teachers advise/guide them in the project. Then the teams continue to work on the challenge.
- Phase 4âDocumentation. In this phase the students document the project, prepare the model and presentation/defence for the next day.
- Phase 5âPresentation. The teams present their projects to the rest of the teams and teachers and are evaluated by both the teachers and the other teams.
- Milestone V. Community of Alfara The CEU Cardenal Herrera University and in particular the Technical School of Engineering (ESET) are located in a Valencian town called Alfara del Patriarca. It is a small town, the town size is 2 km 2 and is located in the area Huerta de Valencia, it has 3301 inhabitants (2021). The local economy has traditionally depended on agriculture with 100% of irrigated crops. The majority of its inhabitants are elderly people who live with students of the University. During Phase 1 of the Landmark, the students undertook a guided tour of the town to see first-hand how it is and the possible needs the community of Alfara may have. After that visit, the teams started developing their proposals. Figure 5 shows one of the projects presented in which a space was proposed where both elderly and young people, basically from the university, shared a space and conversations.
- Milestone VI. SDG Project (Sustainable Development Goal) The second value-related milestone was number VI. In this case, the students had to develop solutions that would improve some of the sustainable development goals. In this case, the project was carried out individually and had a duration of two weeks. At the end of the two weeks, a public presentation was held in which the students presented a panel and the model of their product, see Figure 6 . The presentation was open to the general public and they could vote which of the products presented seemed best to them. In Figure 7 you can see the project that gathered the most votes, Depoocar , a system to transport water in the third world where, by using the physics present in the cars pulled by mules, large radius wheels full of water that are very easy to transport are designed.
5. Materials and Methods
5.1. participants, 5.2. scope of application.
- 85% of students agree or strongly agree that the EXPLORIA methodology has allowed them to connect mathematics knowledge with product design and development.
- Regarding physics, 86% of the students agreed or strongly agreed that the EXPLORIA methodology had allowed them to connect with product design.
- As for the Church Social Doctrine, 67% of the students agreed or strongly agreed that EXPLORIA had helped them connect with product design while 28% remained in a neutral position. Only 16% of the students disagreed and thought that EXPLORIA had not been able to connect CST with product design.
- For drawing, 80% of them agreed or strongly agreed on the usefulness of EXPLORIA to connect with the design.
- Regarding the Milestones, 93% of the students showed that they agreed or strongly agreed on their usefulness in connecting the subjects with the design of products.
- For the metaphors of âthe rules of the Old Oneâ or âplaying at being the Old Oneâ , 76% of students agree or strongly agree that it has helped them to value the technical part in the design and development of products. 18% are neutral while 6% disagree and cannot find it useful.
- As for whether the metaphors have been useful to assess the importance of nature as a source of inspiration, 77% agree or strongly agree, 21% are indifferent while only 2% cannot find it useful.
- Regarding question 9, if the lessons of the different subjects that have followed the EXPLORIA methodology have allowed me to understand the basic concepts that the design and development of products must contain, (aesthetics, technique, values); practically all the students agree or strongly agree, only one student has shown indifference and nobody has shown disagreement.
7. Discussion
8. conclusions and further developments, author contributions, institutional review board statement, informed consent statement, data availability statement, acknowledgments, conflicts of interest, abbreviations.
STEM | Science Technology Engineering Maths |
STEAM | Science Technology Engineering Art Maths |
STREAM | Science Technology Religion Engineering Art Maths |
STEAMS | Science Technology Engineering Art Maths Society |
ESET | Technical School of Engineering |
OSD | Objectives for Sustainable Development |
CST | Catholic Social Teaching |
SDG | Sustainable Developed Goals |
STEAM+S | Science Technology Engineering Maths Society |
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Click here to enlarge figure
Semester 1 | Semester 2 |
---|---|
Physics | Physics Extension course |
Maths | Maths Extension course |
Art History | Catholic Social Teaching |
Basic design | Design Extension course |
Shape representation | Descriptive geometry |
ID | Question |
---|---|
1 | With the EXPLORIA methodology it has been easier for me to connect the knowledge of mathematics with the design and development of products. |
2 | With the EXPLORIA methodology it has been easier for me to connect my knowledge of physics with the design and development of products. |
3 | With the EXPLORIA methodology it has been easier for me to connect the knowledge of the Social Doctrine of the Church with the design and development of products. |
4 | With the EXPLORIA methodology it has been easier for me to connect my knowledge of technical drawing with the design and development of products. |
5 | The milestones have allowed me to assess the importance of each of the subjects in the design and development of products. |
6 | The milestones, which has been related to Alfara del Patriarca and the SDG, allowed me to understand the importance of Society in the design and development of products. |
7 | The metaphor of âthe rules of the Old Oneâ and âplaying at being the Old Oneâ has allowed me to appreciate the importance of the technical part in the design and development of products. |
8 | The metaphor of âthe rules of the Old Oneâ and âplaying at being the Old Oneâ has allowed me to appreciate the importance of nature as a source of inspiration for the design and development of products. |
9 | The lessons of the different subjects that have followed the EXPLORIA methodology have allowed me to understand the basic concepts that the design and development of products must contain (aesthetics, technique, values). |
Question | SA | A | N | D | SD |
---|---|---|---|---|---|
1 | 27 | 33 | 7 | 3 | 1 |
2 | 32 | 29 | 8 | 1 | 1 |
3 | 24 | 24 | 20 | 2 | 1 |
4 | 35 | 22 | 12 | 2 | 0 |
5 | 45 | 21 | 4 | 1 | 0 |
6 | 21 | 33 | 13 | 4 | 0 |
7 | 28 | 27 | 15 | 1 | 0 |
8 | 40 | 27 | 4 | 0 | 0 |
9 | 18 | 40 | 40 | 20 | 3 |
The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of MDPI and/or the editor(s). MDPI and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content. |
Share and Cite
MontĂ©s, N.; Barquero, S.; MartĂnez-Carbonell, A.; Aloy, P.; Ferrer, T.; Romero, P.D.; Millan, M.; Salazar, A.d.S. Redefining STEAM to STEAM ∀H (STEAM for All Humanity) in Higher Education. Educ. Sci. 2024 , 14 , 888. https://doi.org/10.3390/educsci14080888
MontĂ©s N, Barquero S, MartĂnez-Carbonell A, Aloy P, Ferrer T, Romero PD, Millan M, Salazar AdS. Redefining STEAM to STEAM ∀H (STEAM for All Humanity) in Higher Education. Education Sciences . 2024; 14(8):888. https://doi.org/10.3390/educsci14080888
MontĂ©s, NicolĂĄs, Sara Barquero, Alfonso MartĂnez-Carbonell, Paula Aloy, Teresa Ferrer, PantaleĂłn David Romero, Manuel Millan, and Arturo del Saz Salazar. 2024. "Redefining STEAM to STEAM ∀H (STEAM for All Humanity) in Higher Education" Education Sciences 14, no. 8: 888. https://doi.org/10.3390/educsci14080888
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Hi Peeps! This video lesson covers the following topics:Week 5-6: Creative Representation of Literary TextsLesson 1: Multimedia Formats in Interpreting Liter...
traditions from across the globe. This module will provide you with the skills to produce a creative. representation of a literary text by applying multimedia skills. It will also. require a self- and/or peer-assessment of a literary text's creative adaptation. based on rationalized criteria prior to presentation.
Creative Representation of a Literary Text. 21 st Century Literature from the Philippines and the World Alternative Delivery Mode Quarter 1 - Module 4: Creative Representation of Literacy Text First Edition, 2020. ... For example, if a group of learners tell about their favorite pets, and one learner shares a story about how his dog cuddles ...
SHS 21st CENTURY LITERATUREEpisode 7: Creative Representation of a Literary TextTeacher: Ma'am Nova Dolore B. Pelayo
21st CENTURY LITERATURE_lesson 5 and 6 - Free download as Word Doc (.doc / .docx), PDF File (.pdf), Text File (.txt) or read online for free. The document provides guidance for students on adapting a literary text using multimedia. It defines literary adaptation and multimedia, discusses forms of multimedia like PowerPoint, video and animated video.
This document discusses creative representation of a literary text through multimedia skills. It provides examples of literary works adapted to different mediums like film. Specifically, it mentions the films "Bakit Hindi Ka Crush Ng Crush Mo?" and "Diary ng Panget" which were adapted from a self-help book and novel respectively. It also discusses the film "Ligo na U, Lapit Na Me" which ...
ating a mind map (Pasuello 2017).Mobile phone text t. la is a traditional Filipino poem. A particular example of this poem is a tanaga that consists of 4 lines with 7 syllables each with the. ame rhyme at the. nd of each line. (DepEd 2013, 8).Slideshow presentation is created wi.
This document discusses a lesson on creatively representing a literary text using multimedia skills. It defines literary adaptation as adapting a literary work like a novel or poem to another medium like a film. It also defines multimedia as integrating various media like text, graphics, audio and video that can be stored and processed digitally. It provides examples of literary works adapted ...
representation is entirely dependent on convention. Familiarity with these conventions is a necessary condition ofbeing able to determine what is represented. In general, audience members will also need to be familiarwiththe object orobjects represented, ifthey are to recognise that something is a representation. For example, an audience cannot
Competency 4: Produce a creative representation of a literary text by applying multimedia skills, EN12Lit-Ie-31- EN12Lit-Ie-31 (4 hours). At the end of the lesson, the learners are expected to: choose an appropriate multimedia format in interpreting a literary text; apply ICT skills in crafting an adaptation of a literary text; and
CREATIVE REPRESENTATION OF A LITERARY TEXT. Flashcards; Learn; Test; Match; ... computer-controlled integration of text, graphics, drawings, still and moving images (video), animation, audio, and any other media where every type of information can be represented, stored, transmitted and processed digitally. ... an example of text tula that ...
CREATIVE REPRESENTATION OF A LITERARY TEXT Based in General Santos City, Philippines, Kurt Comendador is a writer and a graduate of Mindanao State University-General Santos City. His writing career blossomed in 2018 where he received his first writing fellowship at the Davao Story
This document discusses creative representation of a literary text through multimedia skills. It defines literary adaptation as adapting a literary source to another genre or medium, such as a film or video game. Multimedia is defined as representing information through audio, video and animation in addition to traditional media. Examples of multimedia representation provided include ...
Multimedia Formats in Interpreting Literary Work. Click the card to flip đ. It provides opportunities for learners like you to construct and reconstruct your ideas in audio and visual formats. Through this, you can apply a wide range of strategies to understand, interpret and evaluate texts. Click the card to flip đ. 1 / 9.
21st Century Literature from the Philippines and the World Quarter 1 - Module 4: Creative Representation of a Literary Text. 21 st Century Literature from the Philippines and the World Alternative Delivery Mode Quarter 1 - Module 4: Creative Representation of Literacy Text First Edition, 2020. Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the ...
A. composition B. academic text C. essay D. epic 2. It is a short story designed to allegorically teach some religious principles, moral/ lessons, or general truths. A. fable B. parable C. narrative poem D. anecdote Most Essential Learning Competency: Produce a creative representation of literary text by applying multimedia and ICT
Creative Representation of Literary Text - Free download as Powerpoint Presentation (.ppt / .pptx), PDF File (.pdf), Text File (.txt) or view presentation slides online. This document discusses using multimedia formats and information communication technologies to interpret and represent literary texts. It includes lessons on representing literary works through multimedia formats and applying ...
Creative Representation of the Literary Text. defined multimedia as computer-controlled integration of text, graphics, drawings, still and moving images (video), animation, audio, and any other media where every type of information can be represented, stored, transmitted and processed digitally. Click the card to flip đ.
CREATIVE REPRESENTATION OF A LITERARY TEXT - Free download as Word Doc (.doc / .docx), PDF File (.pdf), Text File (.txt) or read online for free. This document provides information about a lesson on using multimedia and ICT skills to creatively interpret literary texts. It is divided into two lessons: 1) Multimedia Formats in Interpreting Literary Text, which discusses tools like blogs, mind ...
For example, the literature has proposed the STREAM model, where R is religion, or STEAM-ED, where -ED implies an approach based on the constructivist social theory. ... the "A" is treated fundamentally as that creative and artistic component transversal to the rest of the model, relegating humanistic and social learning to the background ...
The document discusses different multimedia formats that can be used to creatively represent and interpret literary texts, including blogs, mind maps, mobile phone text tula, slideshow presentations, tag clouds, and videos. It also explores purposes of using anecdotes, such as to bring cheer, reminisce, caution, and persuade or inspire. The performance tasks involve analyzing a video about ...