Social Media Produces Anxiety And Stress Because It Creates

Social media produces anxiety and stress because it creates pressure to maintain an identity and live up to certain standards. However, social media is not recognized as a real issue in young people because of the lack of attention from medical professionals. In this paper, I will analyze and gather research from multiple scholarly articles that give their opinion on social media and anxiety. Firstly, I will look at social media and anxiety from a medical point of view I will then collect information that suggests that social media is causing multiple feelings of stress, low self-esteem, and the faà §ade or fake lifestyle which will put pressure on young people today. Social media and anxiety are extremely relevant to today’s society. It is†¦show more content†¦Davey’s research supports a medical article by psychologist Kerkar Pramod. Pramod explores that Social Media Anxiety Disorder is an actual, very real diagnosis for which we can receive treatment and eve n recovery tips. He asserts that this disorder contributes to other serious mental illnesses such as depression (Pramod). Acknowledging the disorder is helping many understand it as a vital factor of their stress, loneliness, and anxiety. Pramod and Davey both show the severity of what this addiction can do in their articles. Davey examines the effects of social media and anxiety and explains the loneliness aspect of it (Davey). Yet, Pramod has identified the causes and symptoms which suggest several professionals, including psychologists are aware of the illness (Pramod). However, whilst few acknowledge the disorder, there does seem to be an overall lack of attention from most medical professionals. For example, the â€Å"Diagnostic and Statistical Manual of Mental Disorders† written by the American Psychiatric Association is the complete categorization and analysis of every mental disorder (Oquendo, et al). The DSM neglects to present a particular disorder known as the â€Å"Internet addiction disorder†. Because there is no category in their latest manual of DSM-5, 2013, which is the most commonly used sources for psychiatrists, the disorderShow MoreRelatedThe Rise of Anxiety Disorder Essay1049 Words à ‚  |  5 Pagescurrent population is anxiety disorders. It is evident that there is a rise of anxiety disorder among the Western World. There are three main factors that contribute to this, they include our education system, technology and media, and the treatment and decreasing criticism anxiety patients receive. In recent years, it has become a well noted fact that the education system has become in many ways tougher, for better or for worse. 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Teachers of Today †Who They Are and What They Need to Know Free Essays

Assignment 2 – Paper – Teachers of Today – who they are and what they need to know Word count (2,382): Final Word count (2,264): INTRODUCTION Exciting, and rewarding are just some characteristics that explain teaching. Overcoming anxiety and nerves in the first year is our greatest challenge. Moving into the classroom for the first time can be a daunting and challenging experience for everyone. We will write a custom essay sample on Teachers of Today – Who They Are and What They Need to Know or any similar topic only for you Order Now You are required to immediately equip four years of knowledge into your teaching and classroom management. While this may seem to be a difficult time, it will only get easier. There are many rewards with being a teacher, however it is important to note that it is not a role to be taken lightly – it is a difficult role to fill. As teachers, we need to understand that every child will learn differently. No matter their culture, gender or socioeconomic status, so as teachers you have to encourage and have a level field in your classrooms. You have to know how to reach each student. As teachers you need to let the students know that they don’t have to follow the stereotyped roles of society. The teachers of 2010 and beyond will face many challenges that we are currently unaware of. What we can do to prepare for those challenges is look at where things may be headed in terms of technology and population and cultural diversity. PROFESSIONALISM TECHNOLOGY â€Å"A professional doesn’t view his or her profession as a just a job, but rather sees it as a calling that is all about caring for children† – Kramer, 2003, p. 23 As an independent Australian Comics publisher (and short film producer), professionalism is what helps us stand out from the crowd. Look and presentation is vital,  we have to stick to various guidelines depending on your audience and where we are showcasing,  all this requires some serious  decision making and – when dealing with multiple artists – juggling some serious egos! Developing and maintaining relationships with other artists is imperative for us to continue to grow, and is just  as important to the relationship of student and teacher. We need to keep up to date with market, media  and consumer trends  just as both students and teachers must with  syllabus and curriculum†¦ nd indeed those same market, media and consumer trends. Change and adaption is incredibly  important as well, because without  it  you can’t  move forward or stay fresh. To be a professional teacher you can’t be a dictator,  but  more of great  artist  whose success is  drawn from the love of the craft,  nurturing the medium and understanding what the final masterpiece is meant to convey. In 2010 and beyond, our classrooms will transform into more of a technological teaching and learning environment. There are many new ways students can research information they need through resources such as the Internet. Teaching has also been altered, with the use of interactive whiteboards. To fulfil a professional role as a teacher, there are many different aspects to consider and behaviours to demonstrate. As role-models, these will pave the way for the students to become more professional themselves. It is important for a teacher to relate to each student in a professional manner. There are many ways to tutor students through advancements in technology such as the Internet, thus expanding the opportunities to be passed on to a new generation. Teachers should always teach with passion and a burning desire to touch hearts and change lives. Remember: it’s not just a job – it’s an honour. MOTIVATION and TEACHING STRATEGIES The description of motivation and the descriptions of the many various differing theoretical explanations for them are as follows†¦ The process of motivation itself is – simply put – starting towards a goal and keeping on the path until you achieve the goal. (Eggen and Kauchak 2010). An individual may well have different ideas in mind when achieving heir goals – whether they are moved by an extrinsic motivation (ie: the need to get there simply as a means to an end) or intrinsic motivation (doing it for the love of the subject) – the results are the same and both methods are valid. Admittedly, if you enjoy a subject it will give you more value as it will your teacher/s, but striving for that end result regardless will be an achievement. There are various theories of motivation, which shall be dealt with below. Through various cognitive theories, we know people really need to understand the world and their experiences to make sense of them and their place in that world. They can be as follows: Need for Self-Determination: this is where an individual feels the need to act on and control their environment to understand it – to have choices and to decide what they want to do. Praise, offers of help and other emotional factors can also be a part of self-determination. Need for Autonomy: here the individual feels the need to not only act on their environment, but to alter it to their way of thinking so that they can relate to it and learn more effectively. Need for Relatedness: this is where an individual feels the need for social connection and approval to facilitate their learning. Indeed, this factor is quite important as it fulfils the desire for approval and positive judging. Need to Preserve Self-Worth: simply put – this is the need to feel important – whether this is in a family group, friends, employment or any other social aspect – if we feel intelligent and important then our ability to learn likewise grows. Belief about future outcomes: This is a very personal part of learning and unique to each individual. The ability to guesstimate what the outcome of a project will be based upon your own knowledge of your capabilities will greatly influence your learning skills – the more you think you can, you will (Little Engine That Could – Watty Piper – 1930) Beliefs about Intelligence: the belief that you can or can NOT do a task will have a huge psychological impact upon your learning abilities. This can also be influenced by outside positive and negative feedback from others. Unless you are rock-solid positive you can do something despite negative criticism, that very criticism can undermine your belief in your own intelligence. The challenge is to find motivators for each and every student and use these to engage them in their education and learning. In terms of teaching and learning, motivation is the engagement that students have in their studies, and the efforts that they make to achieve their goals. Motivation can be split into two types, refer to Table 1. 1. Understanding student motivation is vital to the development of effective teaching strategies and necessary to discover different approaches to motivation and how these impact classroom decisions. pic] (Eggen and Kauchak, 2010) Table 1. 1 – Types of Motivation The behaviourist approach suggests that a student will gain a reward, either extrinsic or intrinsic, then the individual will be motivated to complete the task so as to receive it. From this we can determine that reward systems within the classroom can be used to increase student motivation, however Eggen and Kauchak (2010) stress that extrinsic rewards should be used to increase intri nsic motivation so as to promote learner independence. As teaching moves forward into 2010 and beyond, behaviourism is amongst the many learning theories in practice that is essential to good teaching. With diverse backgrounds and environmental factors, watching for the appropriate and inappropriate key behaviours in students is a complicated process in assuring desired behaviour is maintained. The cognitive approach suggests teachers should model how to claim responsibility for their success and failures, and should acknowledge that with additional effort past failures can be used as a learning tool. The Individuals’ Memory Stores play an important role, which contains the sensory memory to capture stimuli, working memory, phonological loop for words and sounds, and our visual-spatial sketch pad for our visual and spatial surroundings. All these various processes are active when we learn, and are fascinating examples of how the human mind operates. The humanist approach to motivation is dominated by the belief that all individuals have a number of needs that must be fulfilled (Eggen and Kauchak, 2010). These needs are categorised in Maslow’s Hierarchy of Needs outlined in figure 2. . The hierarchy suggests that if any of the lower level needs are not met then it is not possible for higher order ones to be fulfilled. Teachers must understand that these needs will not always be fulfilled within the home environment and various programs can be established to aid students when the home environment fails. [pic] (Eggen and Kauchak, 2010) Figure 2. 2 – Maslowsâ€⠄¢s Hierarch of Needs We must also remember that an integral aspect of motivation lies in aiming towards a particular achievement, or goal. A goal is an outcome that an individual is striving to achieve. Goals can be divided into four different types, see table 3. 3. [pic] (Eggen and Kauchak, 2010) Table 3. 3 – Types of Goals Classical conditioning is yet another form of learning that occurs when an individual produces an involuntary emotional or physiological response, similar to instinct or reflex (Pavlov, 1927). Figure 4. 4 (below) outlines the concepts in greater detail. [pic] (Eggen and Kauchak, 2010) Figure 4. 4 – Classical Conditioning Operant conditioning is where a response changes in frequency or duration as a result of a consequence (Skinner, 1953). This can be presented through either positive or negative reinforcement or through the presentation or removal of a punishment and shaping (Premack, 1965). Operant Conditioning can have a negative impact if used incorrectly, which can result in students not feeling safe, stressed and anxious about their environment. Constructivist Learning Theory is a theory that seems like common sense when you think about it, stating that learners create their own knowledge of topics they study as opposed to simply recording that information. Piaget 1952/ Vygotsky 1978). There are two primary perspectives for Constructivism: Cognitive Constructivism – focuses on internal construction of knowledge. Social Constructivism – focuses on constructing knowledge socially before internalising. Cognitive Apprenticeships is a process designed to places less able learners with more able ones to assist in developing their abilities. Peer-to-peer assistance provides many characteristics that assist learners through a new teaching experience. Some of these are modelling (watching demonstrations), scaffolding (being asked questions to prompt their learning), verbalisation (expressing their beliefs), increasing complexity (which does what the name implies) and exploration (finding new ways to use knowledge). This tool allows teachers to monitor other less able students, knowing that appropriate peer-to-peer learning is being undertaken with other less able students. The learning process of students will be influenced by many factors as you can see above. As they do, we need to keep a watchful eye on how they unfold. The challenge of teachers in 2010 and beyond is to find these motivators for each and every student and use them to engage them in education and learning. In the end, when teachers effectively motivate students their interest will increase along with their ability to learn. COMMITMENT and CLASSROOM ENVIRONMENT When committing to creating a productive learning environment, the developmental stage of students should be considered. High-school students have different capabilities of primary-school students, so their classroom activities need to be more challenging (Eggen and Kauchak, 2010). Younger students are more responsive to concrete examples, while older students are capable of understanding theories and complex situations. If computer software is to be used in the classroom, it should be tailored to those stages of development. Younger students would require simple interfaces, less challenging problems, frequent feedback and recognition of achievement. Classroom management will also determine how effective the teaching is. Part of effective management is setting rules and procedures, and following them throughout the entire study period. The selection of topics attracts several issues. For the most part, teachers will be following a curriculum, but will prefer to place emphasis on particular sections of this framework. Their own personal knowledge and commitment, as well as the information that they deem important and useful, contributes to the various topics. There is also a need to plan how these topics will be delivered. Traditional instruction using lectures provides little interaction and feedback, so other strategies need to be looked at and implemented. The author Tony Newton intends to try and maintain a level of control using humour in much the same way his own third grade teachers did when he was young. Keeping in mind all the various technologies and ground rules that have to be in place, as well as students’ abilities and social interaction, (Maximizing the Time and Opportunity for Learning – Eggen and Kauchak, 2010 – pg 355) a classroom MUST be organised, arranged appropriately and personal. For Mr. Newton’s own class, he also firmly believe if kids have fun, they will learn more. Then we have Ability Grouping, being the practice of sorting students into groups of similar intelligence/ learning capabilities. We need to remember that if we begin segregating students early on, then those who are quicker cannot scaffold or mentor the slower ones up to speed. Social ramifications here are also dangerous where those smarter think they may be â€Å"better† than their less able peers†¦ and friendships can then also suffer. Tolerance and assistance must be cultivated to prevent these prejudices from booming out of proportion in later life. CONCLUSION The theories of learning and teaching covered above provide useful background information for new teachers entering the workforce. Situations that we encounter will be unique, though it is always beneficial to be prepared and plan for the journey ahead. Reviewing literature and applying some of these techniques can assist with understanding how people learn, different teaching methods, and the factors to consider when building a classroom. Moving forward into 2010, teachers are advised to consider these theories and incorporate many different levels of educational tools, through appropriate modes, that assist in developing the students’ learning construction. Although we do not know what classrooms will be like in the future, this is something that we actually determine ourselves. When we are first starting out, we will need to create our own style and approach, making up our own rules. Although teachers are expected to give instruction, it is still a learning experience. Thankfully there are a lot of resources at our disposal. Remember to keep improving our teaching craft, and we will be able to adapt to the demands of classrooms in 2010 and beyond. Reference List Bandura, A. (1986). Social Foundations on Thought and Action: A Social Cognitive Theory. Upper Saddle River, New Jersey: Prentice Hall. Bandura, A. (1997). Self-Efficacy: The exercise of control. New York: Freeman. Borko, H. , and Putnam R. (1996). Handbook of educational psychology. Macmillan; United States of America. Eggen, P. , and Kauchak, D. (2010). Educational Psychology: Windows On Classrooms (8th ed. ). In H. Gardner, and S. Moran, The Science of Multiple Intelligences Theory. United States of America: Pearson International. Mayer, R. , (2002). Teaching of subject matter. Annual review of psychology,55, 715-744. Pavlov,  I. P. (1927). Conditioned Reflexes translated by G V Anrep. Oxford University Press, London, England. Piaget, J. (1977). Problems in quilibration. In M. Appel, and L. Goldberg, Topics in cognitive development: Vol. 1. Equilibration: Theory, research, and application. New York: Plenum Press. Premack, D. 1965). Reinforcement theory. In D. Levine (Ed. ), Nebraska Symposium on Motivation (Vol. 13, pp. 3-41). Lincoln: University of Nebraska Press. Skinner, B. F. (1953). Science and Human Behavior. New York. Macmillan. Woolfolk, A. , and Margetts,K. (2007). Educational psychology. Sydney, Australia: Pearson Education Australia. Vinesh Chandra and Darrell L. Fisher (2009). Students’ Perceptions of a Blended Web-Based Learning. Environment. Learning Environ Res. Vygotsky, L. (1978). Thought and Language. Cambridge, MA: MIT Press. The Little Engine That Could – Watty Piper – 1930 How to cite Teachers of Today – Who They Are and What They Need to Know, Papers

Museum Of Fine Arts Boston Paper On Two Works Essay Example For Students

Museum Of Fine Arts Boston Paper On Two Works Essay The content of this work is as the title implies. This painting is of a storm in the mountains. It closely resembles a later work that is slightly more famous, by the same artist called Storm in the Rockies. Both works are done from similar perspective and are of the same set of mountains. For this reason believe this piece is a narrative work, it is the first painting of a pair that shows the progression of a storm through the Rocky Mountains. At the bottom in the foreground, tress and bushes are blowing in the wind from left to right. Beyond these trees a flat and mostly open field stretches into the distance. On either said of this field steep mountains and rock faces sprout form the ground and rise up to the edges of the picture plane. At the top left corner a dark cloud looks as though its moving across the sky. As it moves from left to right on the canvas it gets lighter and starts to move downward, and the white clouds engulf the top of the mountain on the right side of the picture plane. The lower portion of the mountain face on the right is drenched in a stream of yellow sunlight that is also traveling from left to right. Storm in the Mountains is a work of the fine arts as it is purely nonfunctional. I would certainly consider it to be a naturalistic work but there is also a feeling that it might be idealized or in other words shown slightly more beautiful than it actually appeared to the artist at the time of viewing. When and Where: Storm in the Mountains was painted in about 1870 in a New York art studio. Albert Bierstadt was born in Germany and at two years old his family immigrated to America and settles in New Bedford Massachusetts. Beginning in 1859 Albert made three trips to the west and made oil sketches along the way, once he returned to his New York studio he used these sketches to make panoramic views of the western world that he saw. Description of Historical Content: Alberts paintings emphasized the spectacular landscapes of the west, sometimes exaggerating what he had seen. This came at a time when the west was capturing Americans interest. When these painting were completed back in the east people saw them and they quickly found there way into public and private collections. They captured peoples imaginations and interest in the expanding American west. The Medium: Storm in the Mountains is oil paint on stretched canvas. This painting is defiantly not painterly or imposto, all the brush strokes are short and thin and are hard to see on the canvas. The frame is wood and painted gold. It really helps the painting to jump off the canvas as the area right near the frame on the picture plane is very dark and the frame is a vibrant gold. Attraction to the work: What first attracted me to Storm in the Mountains is the explosive color that the sunlight brings to the painting. Most of the picture plane is dark and dull except the incredible yellows and greens that glow on the canvas as a stream on sunlight breaks through the clouds and onto the mountain side. These yellows and greens that truly seem to glow from the canvas are what first got my attention. Once I stood and observed the work for a while it almost seemed as though the clouds were moving and the tresss really blowing I could feel what the air must have felt like and could imagine how the sun felt breaking through the clouds. The painting gave me a mentally image of the scene in action. Personal meaning: There is a strong feeling that goes along with any work that has a light from above breaking through the darkness and clouds. To me it represents overcoming sadness and depression, or the old saying that every cloud has a silver lining. It says no matter whats wrong things will get better. Universal meaning: I would think the universal meaning in this work would be close to my personal meaning. A flowing stream of sunlight breaks through the dark clouds and bathes the once dull mountain side with beautiful sunshine. This image could represent god looking down from the heavens. It might say to people that god is looking down upon them. It may give hope to those that feel dull and drowned in darkness. Paul Cezanne Biography EssayThe Medium: Old Brooklyn Bridge was painted in oil based paint on stretched canvas. The frame that surrounds the painting matches it perfectly and almost seems as though it is part of the painting itself. It is silver in color and it appears to be metallic. The frame matches the cables the run along the painting from bottom to top and the side of the frame runs almost parallel to them. Attraction to the work: When I walked into the gallery that the Old Brooklyn Bridge was hanging in I first noticed its scale. Its a large scale piece at (76 1/4 x 68 1/4 in.) The second thing that really attracted me was the deep and bright colors. The deep blues of the night sky and the vibrant red of the street lights really give the painting a pop. There is also a lot of contrasting going on between blacks and whites in the painting. Personal meaning: Im not sure this painting expresses a deeper meaning to me. I choose it not because of its meaning but because I enjoyed looking at it. Its a painting Id like to have in my house and see everyday. I like that it has a modern feel even though it is more than 60 years old. Universal meaning: I believe the painting Old Brooklyn Bridge represented a change in American thinking, just as the bridge itself forged old and new technology together, so did the painting. The futuristic abstraction of the old bridge represented in the painting is a symbol of the old changing into the new. I believed people saw this work as uplifting. Design Elements, and Compositional Elements: This work is full of various types of lines. Just about ever object in the painting has contour lines surrounding them. There are also many cross contour lines, where the cables in the painting cross in many spots. Most of the lines in the painting are straight and meet at sharp points and right angles. There is a lot of shape repetition going on also; there are many rectangles and triangles through out the work. Color is a very important part of the painting. The flowing blue that is seen throughout gives off a soothing feeling. The red of the stop light at the lower middle of the painting draws your eyes in to the first focal point of many in the work. From there an implied line starting at the point of the red triangle of the stop light creates a visual pathway up to the second focal point, which is the gothic arches at the top center of the work. From there your eyes follow the cables back down to the bottom of the work. Joseph Stellas Old Brooklyn Bridge is a formally composed painting, it appears to be well though out and was probably sketched many times prior to being painted. The painting has a strong feeling of depth, this is due to cross hatching lines that the cables create as they run roughly parallel to each other and meet at a vanishing point at the top center on the picture plane. The painting also appears to have 3 dimensional qualities because the artist used linear perspective, everything that is supposed to be perceived as farther away from the viewer is smaller than the objects that are perceived to be close to the viewer. Joseph also uses a method called position; with this method Joseph positioned objects he wanted to be seen as close to the viewer, low on the picture plane and object that should appear further away from the viewer higher up on the picture plane. Joseph also uses approximate symmetry as both sides of the painting are very similar. Joseph used many of these techniques he used to paint Old Brooklyn Bridge throughout his carrier and had mastered them by this late point in his life.