#On-demand access

[maxlearnmicrolearningplatform]

How to Use an Easy-To-Use Format to Create a ‘Microlearning Map’

In the realm of modern education and training, the concept of microlearning has gained significant traction for its ability to deliver targeted knowledge in bite-sized chunks. However, effective implementation requires more than just breaking down content; it necessitates a strategic approach. One such approach involves creating a 'Microlearning Map,' a tool designed to streamline the process of structuring and delivering microlearning content in an easy-to-use format.

At its core, a Microlearning Map serves as a blueprint, guiding content creators through the development and organization of microlearning modules. By leveraging an easy-to-use format, creators can ensure that learners navigate through the material seamlessly, maximizing comprehension and retention.

To begin crafting a Microlearning Map, start by defining clear learning objectives. These objectives serve as the foundation upon which the microlearning modules will be built. By articulating what learners should know or be able to do after completing each module, creators can tailor content to meet specific learning outcomes.

Once learning objectives are established, the next step is to identify the key topics or concepts that align with each objective. Break down complex subjects into manageable units, ensuring that each module focuses on a single idea or skill. This segmentation is crucial for maintaining the microlearning format's effectiveness, as it allows learners to absorb information in digestible portions.

With topics identified, creators can then determine the most suitable delivery format for each module. While text-based content may suffice for some topics, others may benefit from multimedia elements such as videos, infographics, or interactive quizzes. By diversifying content formats, creators cater to different learning preferences and enhance engagement.

After selecting content formats, creators should outline the structure of each module. Start with a brief introduction to establish context and provide an overview of what learners can expect. Then, present the core content in a concise and structured manner, avoiding unnecessary detail or filler material. Finally, conclude each module with a summary or key takeaways to reinforce learning objectives.

As creators develop content for each module, it's essential to prioritize clarity and simplicity. Keep language straightforward and jargon-free, ensuring that learners can easily understand the material. Additionally, incorporate visual aids and examples to enhance comprehension and illustrate abstract concepts.

Once content creation is complete, creators can arrange modules into a cohesive Microlearning Map. Consider the logical flow of topics, arranging modules in a sequential order that facilitates progressive learning. Additionally, provide clear navigation options to allow learners to navigate between modules effortlessly.

As creators finalize the Microlearning Map, it's crucial to test its usability and effectiveness. Solicit feedback from learners or subject matter experts to identify any areas for improvement. Iteratively refine the map based on feedback, ensuring that it aligns with learners' needs and preferences.

With a well-crafted Microlearning Map in hand, creators can deploy microlearning modules with confidence, knowing that they provide a structured and effective learning experience. Whether used for employee training, educational courses, or skill development programs, the Microlearning Map serves as a versatile tool for delivering targeted knowledge in an easy-to-use format.

In conclusion, the adoption of microlearning methodologies continues to reshape the landscape of education and training. By embracing tools such as the Microlearning Map, creators can streamline the development and delivery of microlearning content, maximizing its impact and effectiveness. With its user-friendly format and structured approach, the Microlearning Map empowers creators to design engaging and impactful learning experiences for learners across diverse settings and industries.

[richardvarey]

My music listening - no longer for the record

… music as a discrete entity to be bought, sold, and possessed, has been displaced by something more fluid, seemingly more in line with music’s status as a paradigmatically temporal art form. Streaming Music, Streaming Capital – Eric Drott, 2024 Ownership of a distribution disc has been superceded by licensed access to a remote database of music recordings. We’ve never owned the…

[sergle]

I hope you tell them to kill themselves more

[soracities]

Hey! It has been on my mind lately and i just wanna ask..idk if it would make sense but i just noticed that nowadays ppl cant separate the authors and their books (ex. when author wrote a story about cheating and ppl starts bashing the author for romanticizing cheating and even to a point of cancelling the author for not setting a good/healthy example of a relationship) any thoughts about it?

I have many, many thoughts on this, so this may get a little unwieldy but I'll try to corall it together as best I can.

But honestly, I think sometimes being unable to separate the author from the work (which is interesting to me to see because some people are definitely not "separating" anything even though they think they are; they just erase the author entirely as an active agent, isolate the work, and call it "objectivity") has a lot to do with some people being unable to separate the things they read from themselves.

I'm absolutely not saying it's right, but it's an impulse I do understand. If you read a book and love it, if it transforms your life, or defines a particular period of your life, and then you find out that the author has said or done something awful--where does that leave you? Someone awful made something beautiful, something you loved: and now that this point of communion exists between you and someone whose views you'd never agree with, what does that mean for who you are? That this came from the mind of a person capable of something awful and spoke to your mind--does that mean you're like them? Could be like them?

Those are very uncomfortable questions and I think if you have a tendency to look at art or literature this way, you will inevitable fall into the mindset where only "Good" stories can be accepted because there's no distinction between where the story ends and you begin. As I said, I can see where it comes from but I also find it profoundly troubling because i think one of the worst things you can do to literature is approach it with the expectation of moral validation--this idea that everything you consume, everything you like and engage with is some fundamental insight into your very character as opposed to just a means of looking at or questioning something for its own sake is not just narrow-minded but dangerous.

Art isn't obliged to be anything--not moral, not even beautiful. And while I expend very little (and I mean very little) energy engaging with or even looking at internet / twitter discourse for obvious reasons, I do find it interesting that people (online anyway) will make the entire axis of their critique on something hinge on the fact that its bad representation or justifying / romanticizing something less than ideal, proceeding to treat art as some sort of conduit for moral guidance when it absolutely isn't. And they will also hold that this critique comes from a necessarily good and just place (positive representation, and I don't know, maybe in their minds it does) while at the same time setting themselves apart from radical conservatives who do the exact same thing, only they're doing it from the other side.

To make it abundantly clear, I'm absolutely not saying you should tolerate bigots decrying that books about the Holocaust, race, homophobia, or lgbt experiences should be banned--what I am saying, is that people who protest that a book like Maus or Persepolis is going to "corrupt children", and people who think a book exploring the emotional landscape of a deeply flawed character, who just happens to be from a traditionally marginalised group or is written by someone who is, is bad representation and therefore damaging to that community as a whole are arguments that stem from the exact same place: it's a fundamental inability, or outright refusal, to accept the interiority and alterity of other people, and the inherent validity of the experiences that follow. It's the same maniacal, consumptive, belief that there can be one view and one view only: the correct view, which is your view--your thoughts, your feelings.

There is also dangerous element of control in this. Someone with racist views does not want their child to hear anti-racist views because as far as they are concerned, this child is not a being with agency, but a direct extension of them and their legacy. That this child may disagree is a profound rupture and a threat to the cohesion of this person's entire worldview. Nothing exists in and of and for itself here: rather the multiplicity of the world and people's experiences within it are reduced to shadowy agents that are either for us or against us. It's not about protecting children's "innocence" ("think of the children", in these contexts, often just means "think of the status quo"), as much as it is about protecting yourself and the threat to your perceived place in the world.

And in all honestt I think the same holds true for the other side--if you cannot trust yourself to engage with works of art that come from a different standpoint to yours, or whose subject matter you dislike, without believing the mere fact of these works' existence will threaten something within you or society in general (which is hysterical because believe me, society is NOT that flimsy), then that is not an issue with the work itself--it's a personal issue and you need to ask yourself if it would actually be so unthinkable if your belief about something isn't as solid as you think it is, and, crucially, why you have such little faith in your own critical capacity that the only response these works ilicit from you is that no one should be able to engage with them. That's not awareness to me--it's veering very close to sticking your head in the sand, while insisting you actually aren't.

Arbitrarily adding a moral element to something that does not exist as an agent of moral rectitude but rather as an exploration of deeply human impulses, and doing so simply to justify your stance or your discomfort is not only a profoundly inadequate, but also a deeply insidious, way of papering over your insecurities and your own ignorance (i mean this in the literal sense of the word), of creating a false and dishonest certainty where certainty does not exist and then presenting this as a fact that cannot and should not be challenged and those who do are somehow perverse or should have their characters called into question for it. It's reductive and infantilising in so many ways and it also actively absolves you of any responsibility as a reader--it absolves you of taking responsibility for your own interpretation of the work in question, it absolves you of responsibility for your own feelings (and, potentially, your own biases or preconceptions), it absolves you of actual, proper, thought and engagement by laying the blame entirely on a rogue piece of literature (as if prose is something sentient) instead of acknowledging that any instance of reading is a two-way street: instead of asking why do I feel this way? what has this text rubbed up against? the assumption is that the book has imposed these feelings on you, rather than potentially illuminated what was already there.

Which brings me to something else which is that it is also, and I think this is equally dangerous, lending books and stories a mythical, almost supernatural, power that they absolutely do not have. Is story-telling one of the most human, most enduring, most important and life-altering traditions we have? Yes. But a story is also just a story. And to convince yourself that books have a dangerous transformative power above and beyond what they are actually capable of is, again, to completely erase people's agency as readers, writers' agency as writers and makers (the same as any other craft), and subsequently your own. And erasing agency is the very point of censors banning books en masse. It's not an act of stupidity or blind ignorance, but a conscious awareness of the fact that people will disagree with you, and for whatever reason you've decided that you are not going to let them.

Writers and poets are not separate entities to the rest of us: they aren't shamans or prophets, gifted and chosen beings who have some inner, profound, knowledge the rest of us aren't privy to (and should therefore know better or be better in some regard) because moral absolutism just does not exist. Every writer, no matter how affecting their work may be, is still Just Some Guy Who Made a Thing. Writing can be an incredibly intimate act, but it can also just be writing, in the same way that plumbing is plumbing and weeding is just weeding and not necessarily some transcendant cosmic endeavour in and of itself. Authors are no different, when you get down to it, from bakers or electricians; Nobel laureates are just as capable of coming out with distasteful comments about women as your annoying cousin is and the fact that they wrote a genre-defying work does not change that, or vice-versa. We imbue books with so much power and as conduits of the very best and most human traits we can imagine and hope for, but they aren't representations of the best of humanity--they're simply expressions of humanity, which includes the things we don't like.

There are some authors I love who have said and done things I completely disagree with or whose views I find abhorrent--but I'm not expecting that, just because they created something that changed my world, they are above and beyond the ordinarly, the petty, the spiteful, or cruel. That's not condoning what they have said and done in the least: but I trust myself to be able to read these works with awareness and attention, to pick out and examine and attempt to understand the things that I find questionable, to hold on to what has moved me, and to disregard what I just don't vibe with or disagree with. There are writers I've chosen not to engage with, for my own personal reasons: but I'm not going to enforce this onto someone else because I can see what others would love in them, even if what I love is not strong enough to make up for what I can't. Terrance Hayes put perfectly in my view, when he talks about this and being capable of "love without forgiveness". Writing is a profoundly human heritage and those who engage with it aren't separate from that heritage as human because they live in, and are made by, the exact same world as anyone else.

The measure of good writing for me has hardly anything to do with whatever "virtue" it's perceived to have and everything to do with sincerity. As far as I'm concerned, "positive representation" is not about 100% likeable characters who never do anything problematic or who are easily understood. Positive representation is about being afforded the full scope of human feelings, the good, the bad, and the ugly, and not having your humanity, your dignity, your right to exist in the world questioned because all of these can only be seen through the filter of race, or gender, religion, or ethicity and interpreted according to our (profoundly warped) perceptions of those categories and what they should or shouldn't represent. True recognition of someone's humanity does not lie in finding only what is held in common between you (and is therefore "acceptable", with whatever you put into that category), but in accepting everything that is radically different about them and not letting this colour the consideration you give.

Also, and it may sound harsh, but I think people forget that fictional characters are fictional. If I find a particularly fucked up relationship dynamic compelling (as I often do), or if I decide to write and explore that dynamic, that's not me saying two people who threaten to kill each other and constantly hurt each other is my ideal of romance and that this is exactly how I want to be treated: it's me trying to find out what is really happening below the surface when two people behave like this. It's me exploring something that would be traumatizing and deeply damaging in real life, in a safe and fictional setting so I can gain some kind of understanding about our darker and more destructive impulses without being literally destroyed by them, as would happen if all of this were real. But it isn't real. And this isn't a radical or complex thing to comprehend, but it becomes incomprehensible if your sole understanding of literature is that it exists to validate you or entertain you or cater to you, and if all of your interpretations of other people's intentions are laced with a persistent sense of bad faith. Just because you have not forged any identity outside of this fictional narrative doesn't mean it's the same for others.

Ursula K. le Guin made an extremely salient point about children and stories in that children know the stories you tell them--dragons, witches, ghouls, whatever--are not real, but they are true. And that sums it all up. There's a reason children learning to lie is an incredibly important developmental milestone, because it shows that they have achieved an incredibly complex, but vitally important, ability to hold two contradictory statements in their minds and still know which is true and which isn't. If you cannot delve into a work, on the terms it sets, as a fictional piece of literature, recognize its good points and note its bad points, assess what can have a real world impact or reflects a real world impact and what is just creative license, how do you possible expect to recognize when authority and propaganda lies to you? Because one thing propaganda has always utilised is a simplistic, black and white depiction of The Good (Us) and The Bad (Them). This moralistic stance regarding fiction does not make you more progressive or considerate; it simply makes it easier to manipulate your ideas and your feelings about those ideas because your assessments are entirely emotional and surface level and are fuelled by a refusal to engage with something beyond the knee-jerk reaction it causes you to have.

Books are profoundly, and I do mean profoundly, important to me-- and so much of who I am and the way I see things is probably down to the fact that stories have preoccupied me wherever I go. But I also don't see them as vital building blocks for some core facet or a pronouncement of Who I Am. They're not badges of honour or a cover letter I put out into the world for other people to judge and assess me by, and approve of me (and by extension, the things I say or feel). They're vehicles through which I explore and experience whatever it is that I'm most caught by: not a prophylactic, not a mode of virtue signalling, and certainly not a means of signalling a moral stance.

I think at the end of the day so much of this tendency to view books as an extension of yourself (and therefore of an author) is down to the whole notion of "art as a mirror", and I always come back to Fran Lebowitz saying that it "isn't a mirror, it's a door". And while I do think it's important to have that mirror (especially if you're part of a community that never sees itself represented, or represented poorly and offensively) I think some people have moved into the mindset of thinking that, in order for art to be good, it needs to be a mirror, it needs to cater to them and their experiences precisely--either that or that it can only exist as a mirror full stop, a reflection of and for the reader and the writer (which is just incredibly reductive and dismissive of both)--and if art can only exist as a mirror then anything negative that is reflected back at you must be a condemnation, not a call for exploration or an attempt at understanding.

As I said, a mirror is important but to insist on it above all else isn't always a positive thing: there are books I related to deeply because they allowed me to feel so seen (some by authors who looked nothing like me), but I have no interest in surrounding myself with those books all the time either--I know what goes on in my head which is precisely why I don't always want to live there. Being validated by a character who's "just like me" is amazing but I also want--I also need-- to know that lives and minds and events exist outside of the echo-chamber of my own mind. The mirror is comforting, yes, but if you spend too long with it, it also becomes isolating: you need doors because they lead you to ideas and views and characters you could never come up with on your own. A world made up of various Mes reflected back to me is not a world I want to be immersed in because it's a world with very little texture or discovery or room for growth and change. Your sense of self and your sense of other people cannot grow here; it just becomes mangled.

Art has always been about dialogue, always about a me and a you, a speaker and a listener, even when it is happening in the most internal of spaces: to insist that art only ever tells you what you want to hear, that it should only reflect what you know and accept is to undermine the very core of what it seeks to do in the first place, which is establish connection. Art is a lifeline, I'm not saying it isn't. But it's also not an instruction manual for how to behave in the world--it's an exploration of what being in the world looks like at all, and this is different for everyone. And you are treading into some very, very dangerous waters the moment you insist it must be otherwise.

Whatever it means to be in the world, it is anything but straightforward. In this world people cheat, people kill, they manipulate, they lie, they torture and steal--why? Sometimes we know why, but more often we don't--but we take all these questions and write (or read) our way through them hoping that, if we don't find an answer, we can at least find our way to a place where not knowing isn't as unbearable anymore (and sometimes it's not even about that; it's just about telling a story and wanting to make people laugh). It's an endless heritage of seeking with countless variations on the same statements which say over and over again I don't know what to make of this story, even as I tell it to you. So why am I telling it? Do I want to change it? Can I change it? Yes. No. Maybe. I have no certainty in any of this except that I can say it. All I can do is say it.

Writing, and art in general, are one of the very, very, few ways we can try and make sense of the apparently arbitrary chaos and absurdity of our lives--it's one of the only ways left to us by which we can impose some sense of structure or meaning, even if those things exists in the midst of forces that will constantly overwhelm those structures, and us. I write a poem to try and make sense of something (grief, love, a question about octopuses) or to just set down that I've experienced something (grief, love, an answer about octpuses). You write a poem to make sense of, resolve, register, or celebrate something else. They don't have to align. They don't have to agree. We don't even need to like each other much. But in both of these instances something is being said, some fragment of the world as its been perceived or experienced is being shared. They're separate truths that can exist at the same time. Acknowledging this is the only means we have of momentarily bridging the gaps that will always exist between ourselves and others, and it requires a profound amount of grace, consideration and forbearance. Otherwise, why are we bothering at all?

[badromancebullsquid]

Highly related to my last post: If I made a blog to advertise my subtitling services for hermitcraft/life series related videos, notably animations and animatics, etc. - would people be interested? The service would be me subtitling short-ish videos (around 5-10 minutes or less), provided free of charge, and the subtitles would be done to the client's requests. Yes I really do like subtitling that much :) I want to do this so much and it would be wonderful for more video fanworks on Youtube to be subtitled... Is anyone interested in this !!!

[repurposedmeatlocker]

This is going to sound really silly under the context that the art style of the show is rather crude, but have they ever released any art books, or proper character turnarounds for Beavis and Butt-Head (and other characters/assets from the series)?

[skunkes]

1 week until surgery...my brain keeps trying to talk me out of it bc i dont Need it and im scared of medical environments and Pain but i have to remember this is one of the only things that has ever made me consider wanting a tattoo and also the only thing that's made me Excited For and Wanting visible scars...

And also I've been making "i want sterilization and testosterone" meltdown tweets every other week for many many years so we're scratching one off the list LOL

[bumblebeeappletree]

This is your reminder to go email your local library head/director to give them a list of Solarpunk books, and ask to see if they’re able to get them in large print and Braille. And! If you have an absolutely favorite book and your library doesn’t have it, either in the mass produced print, large print, or in Braille, you should email the library head/director to see if they will be able to get it in! Accessibility is important, and reading is fun! Share the joy!

[angryisokay]

Abuse that people weirdly tolerate (happening to themselves or others):

A parent or spouse demanding full access to phones/computers.

A parent or spouse reading texts, emails, actual mail and deleting/throwing away anything they disapprove of or think is unimportant.

A parent or spouse listening in on every phone or video call

You’re not allowed to go anywhere a parent or spouse has not approved of, and if they can they must be with you at all times.

A parent or spouse insisting to answer them immediately whenever they call or text you no matter what.

Being interrogated about where you were and what you were doing if you’re ever late getting home and punished for getting home late.

Being yelled at, interrogated, accused of misdeeds and punished for talking to someone/going somewhere without your parent or spouse’s permission/knowledge.

This is a denial of autonomy, emotional abuse, and extremely controlling behavior. This is also an intense lack of trust. Like all abusive behavior, there’s dozens of shitty excuses an abuser will spew out to justify their actions.

[olliepurples]

in homosexual white collar news today, neal is handing over his wedding ring for peter :/

[beebfreeb]

Hi I am looking for options on actually selling stickers if you know about those tell me about it.

[retroautomaton]

✨New Commissions!⭐️🚙💎

A single full-color character with two props for $25!

✨Now on Ko-Fi!✨

[nerdjpg]

pls put your age in your bio 🙏🏻

Why

[chronicsymptomsyndrome]

Someday I’ll get over my weird panic thing about doctors and needles and get blood work done and a doctor will get my results back and be like “holy fuck you’ve been living with untreated _____ and ______ this whole time how are you just now getting diagnosed are you okay??” and I’ll be like noo lol and then everyone that’s ever called me lazy will be suddenly struck by an all-consuming wave of guilt and shame <3 yay

[noodlebutts]

Please forgive me if this is a question you're tired of hearing 😅 I am not much in the cat community so I don't know if this is an exhausted point. I was just wondering if the stereotype of Siamese cats being super vocal is true?

Yes. Live in fear. The first 18 months of Zuko's time with us was full of yells and suffering. You can hear it outside your house, they will outlast you, the only answer is to reach a compromise with a cat. If you are not prepared to be held hostage by a cat, DNI

[killezramiller]

Posting this for reference bc I found out recently that you can order abortion pills online if you can't access a clinic in America and I'm also linking directories to abortion providers in Canada (alt) and the US and because it's personally relevant, if you happen to be a Canadian who's been denied an abortion by a practitioner, here is a list of provincial medical colleges so you can report them.