Cumputer Aided Instruction

INTRODUCTION Computer-Aided Instruction (CAI), diverse and rapidly expanding spectrum of computer technologies that assist the teaching and learning process. CAI is also known as computer-assisted instruction. Examples of CAI applications include guided drill and practice exercises, computer visualization of complex objects, and computer-facilitated communication between students and teachers. The number of computers in American schools has risen from one for every 125 students in 1981 to one for every nine students in 1996. While the United States leads the world in the number of computers per school student, Western European and Japanese schools are also highly computerized.

TYPES OF CAI
Information that helps teach or encourages interaction can be presented on computers in the form of text or in multimedia formats, which include photographs, videos, animation, speech, and music. The guided drill is a computer program that poses questions to students, returns feedback, and selects additional questions based on the students' responses. Recent guided drill systems incorporate the principles of education in addition to subject matter knowledge into the computer program.

Computers also can help students visualize objects that are difficult or impossible to view. For example, computers can be used to display human anatomy, molecular structures, or complex geometrical objects. Exploration and manipulation of simulated environments can be accomplished with CAI—ranging from virtual laboratory experiments that may be too difficult, expensive, or dangerous to perform in a school environment to complex virtual worlds like those used in airplane flight simulators.

CAI tools, such as word processors, spreadsheets, and databases, collect, organize, analyze, and transmit information. They also facilitate communication among students, between students and instructors, and beyond the classroom to distant students, instructors, and experts.

CAI systems can be categorized based on who controls the progression of the lesson. Early systems were linear presentations of information and guided drill, and control was directed by the author of the software. In modern systems, and especially with visualization systems and simulated environments, control often rests with the student or with the instructor. This permits information to be reviewed or examined out of sequence. Related material also may be explored. In some group instructional activities, the lesson can progress according to the dynamics of the group.

ADVANTAGES AND DISADVANTAGES
CAI can dramatically increase a student's access to information. The program can adapt to the abilities and preferences of the individual student and increase the amount of personalized instruction a student receives. Many students benefit from the immediate responsiveness of computer interactions and appreciate the self-paced and private learning environment. Moreover, computer-learning experiences often engage the interest of students, motivating them to learn and increasing independence and personal responsibility for education.

Although it is difficult to assess the effectiveness of any educational system, numerous studies have reported that CAI is successful in raising examination scores, improving student attitudes, and lowering the amount of time required to master certain material. While study results vary greatly, there is substantial evidence that CAI can enhance learning at all educational levels.

In some applications, especially those involving abstract reasoning and problem-solving processes, CAI has not been very effective. Critics claim that poorly designed CAI systems can dehumanize or regiment the educational experience and thereby diminish student interest and motivation. Other disadvantages of CAI stem from the difficulty and expense of implementing and maintaining the necessary computer systems. Some student failures can be traced to inadequate teacher training in CAI systems. Student training in the computer technology may be required as well, and this process can distract from the core educational process. Although much effort has been directed at developing CAI systems that are easy to use and incorporate expert knowledge of teaching and learning, such systems are still far from achieving their full potential.

HISTORY In the mid-1950s and early 1960s a collaboration between educators at Stanford University in California and International Business Machines Corporation (IBM) introduced CAI into select elementary schools. Initially, CAI programs were a linear presentation of information with drill and practice sessions. These early CAI systems were limited by the expense and the difficulty of obtaining, maintaining, and using the computers that were available at that time.

Programmed Logic for Automatic Teaching Operations (PLATO) system, another early CAI system initiated at the University of Illinois in the early 1960s and developed by Control Data Corporation, was used for higher learning. It consisted of a mainframe computer that supported up to 1000 terminals for use by individual students. By 1985 over 100 PLATO systems were operating in the United States. From 1978 to 1985 users logged 40 million hours on PLATO systems. PLATO also introduced a communication system between students that was a forerunner of modern electronic mail (messages electronically passed from computer to computer). The Time-shared Interactive Computer-Controlled Information Television (TICCIT) system was a CAI project developed by Mitre Corporation and Brigham Young University in Utah. Based on personal computer and television technology, TICCIT was used in the early 1970s to teach freshman-level mathematics and English courses.

With the advent of cheaper and more powerful personal computers in the 1980s, use of CAI increased dramatically. In 1980 only 5 percent of elementary schools and 20 percent of secondary schools in the United States had computers for assisting instruction. Three years later, both numbers had roughly quadrupled, and by the end of the decade nearly all schools in the United States, and in most industrialized countries, were equipped with teaching computers.

A recent development with far ranging implications for CAI is the vast expansion of the Internet, a consortium of interlinked computers. By connecting millions of computers worldwide, these networks enable students to access huge stores of information, which greatly enhances their research capabilities.

Trip to Quiapo

Book analysis of Trip to Quiapo

Free ride—

In a busy and crowded place, like Quiapo, one can take many ways of getting there. And Ricky Lee in his book Trip to Quiapo, did not only revealed one method, but opened variety of ways.

Going to Quiapo has never been a favored ventured for a common person, so as scriptwriting. Oftentimes we are told that writing is a gift that not everyone receives. Yes, everyone can write but only few can stick to it and make it their passion. But how can one become a true scriptwriter?

Like taking a jeepney in going to Quiapo, Ricky Lee, differentiates three writers, one is the conservative type, who follows whichever path former writers used. Second, is the adventurous one, who takes time and travel to different routes before reaching Quiapo. Lastly, the crazy one, who does not only, takes different routes, but also find him self creating a Quiapo of his own.

Outside looking In

Scriptwriting is where imaginations run free, where there are no exits and entrances that you have to pass through, each time you release an idea in your mind. It’s a work of art that ought to flow continuously to be able to produce the hidden ideas behind every erasure or edited word in your work. It’s the countless times, that you want your real self to speak in every work that you do that makes it a script worth not only publishing but putting into a real vision.

Lee emphasizes the “little people” inside of us, those of which can only come out if we look beyond what we literally see, and just let our emotions and hidden ideas soar. It’s the unpredictability and uniqueness of our little selves that enables a person to write. Not sticking to traditional ways, rather, realizing the importance of the abject of the other that makes every detail, every emotion, timeless in a scriptwriter’s work.

Using the abject of what is there and what is not opens new horizons to a writer on how he could come out of the box he is given, and take an extra mile in his creative visions that is far from the passé.

The right transportation

Here in the Philippines, we Filipinos are used to riding the jeepneys, it’s not only just a mode of transportation for us, it is a way of life already. Jeepneys are convenient for a traveler who seeks not only to arrive at his/her destination, but also amuse oneself while traveling. He sees vivid and clear pictures of his surroundings, every person he/she sits beside with, tells him a story or even a snapshot of the day the person had. The commuter also, feels different emotions while riding the jeep, he sometimes feel so relaxed while he travels on a long highway with no traffic, or he sometimes feel anxious, in a heavy traffic where he could smell the fumes of the vehicles around the jeep he is riding. Riding the jeepney, takes the commuter into different places, makes him feel different emotions that makes his ride unpredictable by its nature. But no matter how unpredictable the commuter’s ride might be, one thing is sure, he will soon be arriving there at Quiapo, where he is supposed to be.

Just like scriptwriting, besides that it will definitely take so many routes, so many editing and so many changes, once the work is done, the best vehicle/instrument to put the script into a vision is thru making it as a film.

Yes, into a movie, which no doubt we all know and fond of doing, watching a movie. I personally admit that, I am a movie addict, as much I could, I would take time to watch a movie, especially if I have watched the trailer and it amused me. I rarely thought of how complicated it must have been in making a movie, and actually it’s not all that of the Hollywood making of a movie, that makes it complicated, it’s the pre-making of that, the scriptwriting period.

The writer does not only need to produce a material that is unique and of good material especially if its put into a movie, the agony of the script does not stop there, nor I may also add the agony of the scriptwriter stops there. Once the script becomes a movie piece, the idea marked on it, becomes not only the sole idea of the writer, but also the visions of the director comes in.

In Lee’s book, he narrates there, that a director becomes the writer’s editor, who also combines/removes parts of the script that may according to the director does not suit either the scenes or the characters. Usually in cases like that, conflicts between the writer’s ideas against the director come in. But as what Ricky Lee explained, being a scriptwriter may indeed give you the credit that it is your ideas, talents and pains that is put in your work, but when it is captured in the film, it already becomes part not only of yourself but part of the whole movie people, especially of your director.

For a writer like Lee, he admitted that at times, he felt betrayed when parts of his script are trashed or molded in some other ways, but he later on realizes that the changes made were for the betterment of the movie and more often than not to establish more emotions especially on the scenes that will be portrayed. But he also stressed the importance of how the director and the writer should collaborate closely and work as a team, combining both visions to produce a clear reflection of the script.

Being one’s own devil’s advocate in criticizing ones own work is also a trait a scriptwriter must have, he/she should be willing to take critical blows on his/her work and should also at the same time stand up for what he/she thinks is irreplaceable in his work. Countless editing and changing is one of the hardships as per Lee a scriptwriter must endure, besides his work and his pride is at stake, his ideas and visions are put to the test. One should never deter in trying and moving beyond what is expected, no matter how painful rejection may be.

Black and White

More on films did Lee, actually explore on how scriptwriters revolve in. Its through film their work is abused to, through film where their story concepts are put into test. It’s on the elements of the script and how the writer had put his concepts and story structure comes to test.

A traditional writer, would only give us what we already know, facts, give us stories that we have thought about or worse heard about a couple of times. But a good scriptwriter builds his concepts through variety of ways, which we don’t normally see or hear. He/she may use a familiar problem, but would alter the solutions taken by the character, or he would create a new ending far fetched but related to the story at some point. The writer would also create characters whose stability in its description does not only reflect, a one mode behavior, rather even sub characters will take as much influence in the solution or even the ending of the story. The writer will put up, an environment where viewers will also be able to understand the visions of the director and the writer, but would also take their own visions into it, without actually jeopardizing the real essence of the film.

Yes, its no longer black and white, the writer no longer needs to lay down and follow the steps taken before him, rather his/her world is bigger, for her/him to the taking with enough confidence in his/her self.

When you finally arrive

By common sense, all you need to do is say “para po sa tabi” when you already see the corner from where you are about to step the solid ground of Quiapo. In contrast to the writer, who fought so many demons and angels in finishing his work, arriving to Quiapo is but a task far from reality yet.

Far from reality, because scriptwriting is a never ending process of retracing and rebuilding one’s steps in going and actually arriving at Quiapo. It’s a task so tedious yet, when one is really passionate and confident on one’s work, it becomes a burden sweetly hauled over ones delicate shoulders.

Perfection- seems a rare word to use in arriving to Quiapo, for no one can seemingly arrive perfectly, but only contentedly, with a smile on ones face for it has justified the efforts that were so selflessly given to justify the vision that it ought to carry out to its viewers.

Why Quiapo? Defeating my thoughts about the book..

Quiapo, of all the places ricky lee chose Quiapo. I wonder why did he? I was puzzled for a very long time, not only when I have fully understand in my own little self, did I realized why he chose this place.

Pacing my own steps, for me its probably because Quiapo, a place where besides being known for the church, the countless people who goes there to pay tribute to the Nazarene, while some just passes by to have their fortune told, some to buy herbal medicines, and those of which just pass by out of curiosity (if the place is truly dangerous or not) Quiapo is a very complex place. Complex in a sense that it is free moving, dynamic and always busy with noises, that a minute without the people, the bystanders, the barkers and the traffic, Quiapo will lose its glory and beauty.

Ricky lee, made me see somehow, that the real beauty of Quiapo is not seen on its external edifice or what we dreamed of seeing. But rather it’s what we cannot see, what we ignore that has a lot of sense and essence of how Quiapo has came to be. It’s the mystery not seen, but the courage to draw away one’s limits and take a stand in discovering ones limits and moving beyond it that makes a person lured to Quiapo. This is also the same for those who want to be a scriptwriter. It is taking the step outside the comfort zones and being able to stand up for what you want to show the world that most cannot see.

It rests entirely on courage, confidence and passion to undertake anything, that like the third writer Ricky lee mentioned in the beginning of his book, the writer himself can actually create a Quiapo of his own and make you believe that it is actually.

Film and Video Tools and Production

PRODUCTION MANAGER
Organizes, budgets, schedules and prepares the entire film production for the film crew. Main responsibility is to blueprint the entire shoot by breaking down the shooting schedule, while coordinating the budget so that the goals of the Producer and Director fit within their means. Duty is to finish the production ‘on time’ and ‘on budget.’

PRODUCTION COORDINATOR/PRODUCTION SECRETARY
Assists the Production Manager in the organizational tasks of the production office. Facilitates the flow of production documents to the appropriate production teams. Main liaison for the entire film crew.

FIRST AND SECOND ASSISTANT DIRECTORS (1st AD, 2nd AD)
In pre-production, the 1st AD assists the PM in organizing film crew, breaking down the script, and preparing the production board and shooting schedules. In production, the 1st AD assists the Director with on-set production details and coordinates and supervises activities of cast and crew. 1st ADs also run the Production Meetings.

The 2nd AD serves as helper to the 1st AD. They are in charge of preparing daily call sheets, handling extras requisitions and other required documents. They also prepare the daily production report at the end of each shooting day, distributing scripts and changes to cast and crew, distributing extras’ vouchers, communicating advance scheduling to cast and crew, aiding in scouting and managing locations, and facilitating transportation of equipment and personnel. They always coordinate with the production staff so that everyone, including cast and crew, are ready at the beginning of the day.

SCRIPT SUPERVISOR

A Script Supervisor (or continuity person) is the Editor's representative on set. Films are shot out of sequence, and one of the Script Supervisor's primary functions is to ensure that visual (and audio) continuity is maintained. This means advising the Director and key crew on everything from the props to wardrobe to dialogue to eyelines, and any of the other factors that will affect an edit. In pre-production they coordinate with all concerned departments in advance to plan for any potential continuity issues, and they work after wrap to create a detailed as-read lined script with notes for the editor. Their primary function in the larger sense is to save the production money and time through communication, organization and troubleshooting.

DIRECTOR OF PHOTOGRAPHY
Creates the visual mood of the film. They are in charge of the camera department and give instructions to the grip and gaffer. In pre-production will break down the script with the Director and design individual scenes, including set-ups, lighting and camera requirements at the set or on location.

FOCUS PULLER (also known as 1st Assistant Camera)
Responsible for keeping the camera’s focus during a shoot. Measures the distance between the camera and the main object and dissects the proper stops that require focus. Perhaps one of the most important positions on set because this extremely difficult job needs to be done precisely or else the film will be out of focus.

ASSISTANT CAMERA OPERATOR
Responsible for handling all camera equipment and the camera van, properly storing film, loading film into magazines and the camera, making sure the camera is in perfect working condition, filling out the slate with the correct information and transporting exposed film safely to the lab.


GRIP PERSONNEL
They work under the instructions of the Director of Photography, and under the supervision of the Key Grip. Responsible for the rigging, mounting and construction of all camera and lighting support equipment, including stands, boxes and flags. The Dolly Grip is in charge of the tracks, dolly and supporting equipment.

GAFFER AND ELECTRICIANS
In charge of all electrical equipment, the lights and the generator, as per the gaffer instructions of the Director of Photography. Once the scene is blocked, the Director of Photography instructs the Grip and Gaffer on how to set up their equipment to achieve the appropriate mood.

SOUND CREW
Two on-set positions, the Sound Mixer/Recordist and the Boom Operator, are responsible for grabbing the on-set location sound for editing, including the surrounding area sounds and the actors' dialogue. Of a on-set film crew of many, only 2 positions center on the art of sound.

PRODUCTION DESIGNER (ART DIRECTOR)
Responsible for the overall look of the film, in collaboration with the director. Creates the environment of the film. Works with the props, set builders, Location Manager, costume, makeup and hair stylists to make that happen.

PROPERTY MASTER
In charge of all props needed during each scene of production.

SET DRESSER
Responsible for renting or purchasing all materials needed to dress a set or location to give it the required look.

WARDROBE
Besides designing and sewing the wardrobe for cast members, the Wardrobe Person is in charge of all wardrobe rentals and purchases. Collaborates with the Production Designer on the overall costume design for each cast member.

PRODUCTION ACCOUNTANT
All funds needed for rentals or purchases, once approved by the Production Manager, are processed by the Production Accountant, who is authorized to release funds or issue checks. Examines all expenses and evaluates their appropriateness. Is in charge of issuing the crew’s, and perhaps the actors', paychecks. Each department is responsible for wrapping and properly returning rented equipment, props and wardrobe after production. The accountant pays outstanding balances, which are invoiced after completion of principal photography.

Pinsan ni mas edited, crush nya kac, selos c genzen haha

Pinsan ni mas yan wahaha

Good Morning ^_^

tanomi mo shinai no ni asa wa yatte kuru mado o
akete chotto fukaku shinkokyuu
fukuretTSURA no kimi omoi dashite warau
KENKA shita yokujitsu wa rusuden ni shippanashi daro
waraiau KOTO nanigenai kaiwa
mainichi no kurashi no naka de dou datte ii koto
nani mo kangaezuni ukande kuru kotoba "FU" to shita
shunkan ga taisetsu datte
kimi ni "ohayou" tte itte MESSEEJI o nokoshite
boku no ichinichi hajime ni dekakenakya marude nani
mo nakatta mitai ni
denwa shite kuru kimi no koe ga suki nandabukiyou ni natte ita nani ga jama shite
atarimae na koto ga futoumei ni natte
boku yori mo boku no KOTO o umaku aiseru no wa
kimi shika inain datte wakatte kuyashikattan dake do
sennyuukan tte jibun ni mo aru ne douse DAME sa nante
jibaku mo sezuni
furidashi ni tatte tohou ni kurete mo hajime no ippo
sukuwarete miru* kimi to kata o kunde kimi to te o tsunaide
koibito dattari tomodachi de itai kara
"ohayou" tte itte mata yume o misete
shizen na sono ikikata de ii kara saminarete ita kimi no hen na ji mo daiji na KOTOBA
kaku to shinsen ni mieru
sunao ni narenai sunao sa nanka ja kimi ni nanni mo
tsutawaranai
mata "ohayou" tte itte mata yume o misete
kyou mo genki de sugosetara II yo ne
konna ni tanjun de atarimae na koto ga hontou wa
ichiban miushinaigachi dakara neme o aketa mama miru yume shiranai ashita e hakobu
Merry-go-round goesRepeat *