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Matthieu Cisel , Utilisations des MOOC : éléments de typologie. Thèse de doctorat en Sciences de l'éducation Résumé Nous cherchons dans ce travail à qualifier et quantifier les différentes formes d’attrition prévalant dans les MOOC.

Matthieu Cisel , Utilisations des MOOC : éléments de typologie

En sus du retrait volontaire, dont nous détaillons les différentes formes, l’attrition est dominée avant tout par différentes formes de non-participation : la majorité des inscrits ne se connectent jamais à la formation, ou n’y réalisent qu’un nombre minimal d’actions, sans intention de s’y investir. La prépondérance de cette forme d’attrition s’explique en partie par l’existence sur les plates-formes d’hébergement d’une offre abondante, qui incite les utilisateurs à s’inscrire à plus de cours qu’ils n’ont la possibilité de suivre.

Un certain nombre de participants s’investissent dans la formation jusqu’à son terme bien qu’ils n’obtiennent pas le certificat. Ils représentent néanmoins une forme d’attrition marginale. The poet Philip Larkin famously proclaimed that sex began in 1963.

He was inaccurate by 800 million years. Moreover, what began in the 1960s was instead a campaign to oust sex—in particular, sex differences—in favor of gender. Why? Because biological differences were thought to spell genetic determinism, immutability, anti-feminism and, most egregiously, women's oppression. Gender, however, was the realm of societal forces; "male" and "female" were social constructs, the stuff of political struggle; so gender was safe sex.

The campaign triumphed. And, most profoundly, gender has distorted social policy. Consider that 50:50 gender-equal workplace. What's more, the most dangerous and dirty occupations are currently almost entirely 100% male—at least half a million jobs. And perhaps gender-balanced pigs could fly? And the confusions ramify. Well, it shouldn’t be suspect. So we need to talk about sex.

Here's why the sexes differ. And here's some intriguing evidence. L'expression de soi et la communication. The neuroscience of imagination - Andrey Vyshedskiy. Studying imagination used to belong to the realm of philosophy and psychology.

The neuroscience of imagination - Andrey Vyshedskiy

Now, neurobiology provides insights into this holy grail of natural philosophy. One of the first insights into the science of imagination was that imagination includes not one, but a variety of processes. The neurobiology of recalling an object from memory is different from dreaming, and is different from purposeful conscious imagining a novel object (example: a pineapple on top of a dolphin).

The latter process is referred to as mental synthesis to distinguish it from the simple recall and dreaming. Mental synthesis is controlled by and completely dependent on the intact lateral prefrontal cortex. You can read the complete Mental Synthesis theory at the publisher’s website. To correctly place a bowl behind or in front of a cup, one first needs to mentally synthesize the novel image of a bowl behind or in front of a cup.

Your elusive creative genius - Elizabeth Gilbert. Eat, Pray, Love is about one woman's search for everything across Italy, India and Indonesia is a 2006 memoir by American author Elizabeth Gilbert.Ruth Stone was an American poet, author, and teacher and wrote in relative obscurity until receiving the National Book Award at the age of 87 for her collection “In the Next Galaxy.”In this New York Times article, "Ruth Stone, a Poet Celebrated Late in Life, Dies at 96", Ruth Stone shares that she once called her poetry “emotional opinion.”

Your elusive creative genius - Elizabeth Gilbert

It coursed through her life like a constant verbal stream heard above the thrum and buzz of everyday existence.Top artists reveal how to find creative inspiration in this article in the Guardian from January 2, 2012. Making a TED-Ed Lesson: Visualizing complex ideas. Is there a difference between art and craft? - Laura Morelli. Is it a Pot or a Picasso?

Is there a difference between art and craft? - Laura Morelli

Examine the museum floor plans of the Metropolitan Museum in New York, the Museum of Fine Arts, Boston, or the Art Institute of Chicago. How are the collections organized? Does the organization of objects in these museums reflect a division between art and craft? How does the physical organization of objects impact our understanding and interpretation of the collections?