The pressing of steel; with especial reference to economy in transportation     

Henrik V. Loss 《Journal of The Franklin Institute》1899,148(6):461-473

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瑞典远程教育的发展与模式   总被引：3，自引：0，他引：3  

享利克·哈桑  卡尔·霍姆伯格 《中国远程教育(综合版)》2005,(3):49-59

本文描述瑞典远程教育的背景与环境.随着整个世界的变革,远程教育的目标、策略及学生来源在一百多年的实践过程中也发生了根本性的变革,新的政策、理论和技术为远程教育增添了新的机遇和新的参与者.今天,利用数字化信息的学习者可以在任何地方,通过移动电话和计算机连接到互联网获取信息,这就给教育机构提出了新的要求:灵活、更新、适合、快速并且兼备愉悦性以吸引学生.同时,教育机构的另一挑战是如何利用新技术的优势,发展新型的教学论,鼓励创造力、批判性思维,同时学会抵制和对抗欺骗性学习行为.关于教育与学习,具有时代特征的是文本、图片、声音、照片及电影等普遍的"复制粘贴"技术,这些技术一方面可以以建设性的和发展性的方式被利用,同时也可能用于违法、欺骗和毁灭性的使用.本文将以自上而下和由内及外的方式,来讨论远程教育在瑞典的发展与瑞典政治目标与政策的关系.由于教育逐渐全球化而且受国家政策以外其他力量的影响,因此也用自下而上和由内及外的方法讨论一些新的概念.文章的第二部分讨论远程教育的多种概念和方法,即什么是数码世界的远程教育和可替代的新概念.其中的一个结论是:虽然在国家的层面上已设定了宏大目标,但教育组织机构的变化非常缓慢.而在数字传媒文化里长大的年轻学子却有着特定的能力,他们能在多种的教育途径中作出自己的抉择.瑞典的教育机构面临着很大的压力,因为教育经费在持续递减,教师与学生的比例也越来越小.文章最后的总结评论部分比较了瑞典远程教育的初始阶段和现状的特征,并探讨了远程教育中主要领域的发展前景.  相似文献   

A Critical Mapping of Practice‐Based Research as Evidenced by Swedish Architectural Theses     

Daniela Büchler  Michael A.R. Biggs  Lars‐Henrik Ståhl 《The International Journal of Art & Design Education》2011,30(2):318-327

This article presents an investigation that was funded by the Swedish Institute into the role of creative practice in architectural research as evidenced in Swedish doctoral theses. The sample was mapped and analysed in terms of clusters of interest, approaches, cultures of knowledge and uses of creative practice. This allowed the identification of the ontological, epistemological and methodological attitudes of the researchers, and hence a glimpse of their implicit worldview. The authors claim that the relationship between worldview and research actions in emerging areas of research such as architecture is often under‐scrutinised, resulting in a disjunction between aims and strategies for action. Architectural research in which creative practices make an essential contribution to the aims, might represent something new in academic research. The investigators therefore focused on identifying cases in which creative practice was – or was claimed to be – integrated in an essential way into the research process. There were two principal conclusions. The first was that the mere presence of practice was not necessarily an indicator of so‐called arts‐based research. The second was that cases of arts‐based research that could be regarded as a new paradigm – as opposed to a variant of existing paradigms – are less common than is claimed by the researchers themselves. As a result, this article makes a contribution to the debate on whether so‐called practice‐based research should be regarded as a distinct new paradigm.  相似文献