The paper considers the technique of modeling and formation educational components of the planned training of CDIO Syllabus, realized in the form of the educational adaptive environment of engineering education. The following key concepts of the methodology have been accepted: competence models of the stages of the CDIO initiative, the method of project training, syntax for describing the concepts of the domain, models for mapping support concepts in the form of expressions of knowledge and ontological engineering.
The authors show how to strengthen the educational power of the museum. Emphasize the historical and contextual variability of the main functions performed by museum, indicate that the location of the museum in the community of the city and broaden the scope of its activities to different communities. Characterized by contemporary models of museum education, along with the arguments for taming the different models of learning both by visitors and museum’s staff. & e article presents two practices, which, in the opinion of the authors are conducive to learning in/and by the museum.
The profile of the Polish foundry engineer in the Industry 4.0 age is presented in the present paper. The presented results were obtained by means of three research methods consisting of: analyses of professional expertise documents, questionnaires filled-up by the executive staff of foundry enterprises and analyses of work offers for the foundry engineer position. The investigations indicated the key competences of the foundry engineer, demanded currently by employers and meeting the requirements of the Polish foundry sector. The obtained results were discussed in relation to the fourth industrial revolution and its requirements with regard to the engineering staff. This concept is based on information technology and robotizing, which means the total automation of industrial production processes as well as the widespread access to data and machines. Such an approach requires changes in applied machines, technologies and employees’ competencies. The competences of employees constitute the element deciding on the company success, aimed at obtaining a competitive advantage. Therefore adjusting the employees’ competencies to continuously changing reality is so essential.
Personality, demographics and art experience proved to play an important role in reactions to visual art. Nevertheless, research attempts that take into account all those factors when determining predictors of aesthetic responses to different artistic styles are quite rare. The study presented here investigates predictors of aesthetic experience across figurative, abstract and contemporary paintings in individuals with varying expertise. Students enrolled in Sport, Humanities and the Arts programmes (N = 181) declared their art exposure and filled out personality measures (Big Five, alexithymia, need for closure). Next participants evaluated three paintings using a tool constructed by the authors to track various dimensions of aesthetic reactions (i.e. negative/positive affective responses, self-references, explicit knowledge and perceived mastery of the artwork). Reactions to figurative painting depended mostly on formal knowledge about arts, not personality traits. Aesthetic perception of abstract art rely not only on art exposure, but also on some individual characteristics (openness to experience, tolerance of ambiguity and ability to identify one’s own emotions and track their source). Reception of contemporary art was predicted mostly by art exposure variables and in the case of negative emotionality by ability to identify one’s own emotions and track their source. Both formal art education and art experience were stronger predictors of aesthetic responses than personality traits, for all art styles and dimensions of aesthetic experience. Personality predictors were significant mostly for abstract art. Personal interest in the arts seems to be as good predictor of aesthetic reactions as formal expertise.
To gather reproducible measurement results, metrologists need a variety of competences. Yet, also other groups of staff in a manufacturing enterprise need competences in metrology in order to assure the appropriate specification of tolerances or sufficient consideration of inspectional requirements in production processes. Therefore, the strict focus of metrological qualification on staff preparing or performing the actual measurements is insufficient for the efficient assurance of conformity. Additionally, on the one hand a demand-oriented qualification concept is needed to impart required fundamental knowledge on manufacturing metrology according to the specific needs of each user group. On the other hand, appropriate measures of knowledge management have to be applied in order to assure a proper application of the gathered knowledge and enhance mutual understanding for the requirements of other involved user groups. Thus, as amendment for user-specific measures of formal qualification, a concept has been developed to enable knowledge transfer among different groups and departments in an enterprise. By this holistic approach, the impact of measures of qualification can be increased and high product quality can be achieved as a common aim of all related groups of staff.
The article focuses on the term “train situation” created by Vyacheslav Kuricin, which is considered a metaphor of the work of the contemporary Russian writer Elena Dolgopyat. The proper analysis of Dolgopyat’s works is preceded by an introduction in which the definition of magical realism and its history in Russia is briefl y presented. The attitude of the Russian literary scholars to this phenomenon is presented as well. Next, the meanings of the figure of train in the writer’s stories are discussed. It is noteworthy that the features of magical realism (specific space-time construction, polyphonic narrative, fantastic elements perceived as something natural) are realized in her texts often through the image of a train. In works in which this picture does not exist, we deal with the „train situation”, which boils down to the combination in the presented world of various aspects of reality, unlimited by matter. The heroes live between different dimensions of reality, and combining into one cohesive whole of various space-times, ways of existence, realistic and fantastic elements allows to see the term of Kuricin also as a metaphor of all magical realism.