Encuentra tu elemento by Ken Robinson

By Ken Robinson

El objetivo del libro es ay uda r al lector en l. a. búsqueda de su Elemento. Al finalizar l. a. lectura de El Elemento, muchas personas se formulaban preguntas acerca de los angeles búsqueda práctica de El Elemento: ¿qué sucede si no soy bueno en aquello que apasiona?, ¿soy demasiado mayor o demasiado joven para encontrar mi Elemento? O, ¿puede El Elemento ser diferente en las diferentes etapas de los angeles vida? Ken Robinson traza un recorrido en el que propone herramientas para reconocer cuatro ingredientes fundamentales en esta búsqueda: las aptitudes, las pasiones, las actitudes y los angeles creación de oportunidades. Mediante ejercicios prácticos e historias de personas que han encontrado su Elemento, Ken Robinson ofrece las pautas imprescindibles para que el lector reconozco y avance hacia su propio Elemento.

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Darwin in 42 THE MIND'S BEST WORK 1838 had been convinced for some time that evolution occurred, but he had no explanation. What was it that caused animals and plants to evolve? Darwin puzzled over this problem for months, a course of thought I will return to later. His creative moment finally came with a prompt from a seemingly unrelated source. As Darwin recorded in his notebooks, he happened to be reading Malthus' An Essay on the Principle 0/ Population, which discussed human population pressures and the struggle for exIstence.

Karpf found no differences In the success of groups thinking aloud and silently. Objective comparison 0/ process: Sometimes overt symptoms of a process can be used to compare people introspecting and not. A very simple symptom is time spent. An investigation of mental arithmetic revealed that those thinking aloud arrived at solutions just as qUickly as those working silently. Scratchwork is another source of information. Newell and Simon studied students who instructed an experimenter what written manipulations to tryon a blackboard in a formal task.

The first concerns Picasso's, critical judgments. Arnheim offers us his analysis of why the folded bull makes sense, and Arnheim's conclusions sound reasonable to me. But he does not presume to tell us what: Picasso had in mind at the time in keeping the folded bull. And what did he have in mind - all of these reasons, some of them, something else entirely? As Arnheim acknowledges in Chapter 2 of his book, hard evidence forces conjecture, which may miss the maker's actual reasons entirely. It requires the interpreter to, model the maker's judgments upon his or her own, a risky enterprise (though one for which I would sooner trust Rudolf Arnheim than most people).

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