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Submission + - Introducing Artifacts To Students (artifactsteach.com)

mattarleth writes: Artifacts represent particular aspects of culture and history. They’re tools for teaching that provide visual clues into the past. Think of using 3D artifacts in the classroom in a theatric sense – as teaching props. They grab students’ attention with strange objects they’ve never seen, and show them the difficulty of understanding anything outside of context. These resources for teachers spark students’ imaginations and encourage engagement. After observing and analyzing 3D artifacts in the classroom, the teacher can then help students connect them to the culture being studied. Teaching with artifacts helps students think about the nature of context and how important it is to understanding.

Comment Re:some data (Score 4, Informative) 668

That's strange. If the coverage level is the same, why would there be 2-3x fewer cases in 2004-2008 when compared to 1990?

There's a transient effect of the current infection rate on future rates. If you have the same immunization coverage, but fewer people are infected, the likelihood of a non-immunized person coming in contact with a carrier is lower, thus the present infection rate will be lower.

Submission + - Computer Glitch Creates Voting Precinct With No Residents (startribune.com)

phishead writes: "Barry Clegg, who chairs the line-drawing Charter Commission elaborated that the software "could not draw the line around the edge of the lake without putting a census block in the wrong ward; it would just connect along the shortest distance between two points, which meant a line across the lake.""

Submission + - Why dissonant music sounds 'wrong' (nature.com) 1

ananyo writes: "Many people dislike the clashing dissonances of modernist composers such as Arnold Schoenberg. But what’s our problem with dissonance?
There has long been thought to be a physiological reason why at least some kinds of dissonance sound jarring. Two tones close in frequency interfere to produce 'beating': what we hear is just a single tone rising and falling in loudness. If the difference in frequency is within a certain range, rapid beats create a rattling sound called roughness. An aversion to roughness has seemed consistent with the common dislike of intervals such as minor seconds.
Yet when cognitive neuroscientist Marion Cousineau of the University of Montreal in Quebec and her colleagues asked amusic subjects (who cannot distinguish between different musical tones). to rate the pleasantness of a whole series of intervals, they showed no distinctions between any of the intervals but disliked beating as much as people with normal hearing.
Instead the researchers propose that harmonicity is the key. Notes contain many overtones — frequencies that are whole-number multiples of the basic frequency in the note. For consonant 'pleasant sounding' intervals the overtones of the two notes tend to coincide as whole-number multiples, whereas for dissonant intervals this is no longer the case.
The work suggests that harmonicity is more important than beating for dissonance aversion in normal hearers (abstract)."

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