It would be a lot easier to answer the questions on the quiz if you’d taken the courses from which they came. Since time travel hasn’t been invented yet, let me offer a few backgrounders.
- On the first day of class in INTEG120, I wrote this on the board:
plays well with others
and said, “That’s the target. Let’s go!” Frankly, there aren’t many authentic ways to assess how well we collaborate and cooperate, but learning one another’s names is a civilized place to start. I gave them all tent cards with their names printed clearly front and back to use in class daily. I regularly called people by name, and asked them to correct my mispronunciations. I made them introduce themselves when they worked in breakout groups and I gave pop quizzes a couple of times, just on names. I know they developed and shared name-learning strategies of their own, but you might find this article from Forbes a good start. [Answer]
- Stan Prokopenko’s site provides an artist-friendly but anatomically-specific description of the bony landmarks of the body. His videos look good, too.
NSFW warning: There are pictures of naked people, which may be distracting or inappropriate in some settings and most workplaces, but the Proko covers up genitals and breasts with fig leaves or black patches. I find that much more distracting, but you should not automatically adopt the nudity tolerances of someone who teaches figure drawing for a living. [Answer]
- Correlation does not imply causation. Just because Thing B changes whenever Thing A changes, it doesn’t necessarily mean that Thing A caused the change in Thing B. I could take you through that logically, but perhaps a lot of obvious counter-examples would be more persuasive. [Answer]
- What does it mean to say that I “know” about colour theory? Bloom’s Taxonomy is a model of knowledge that suggests “knowing” means many different things. It could mean that I can recognize and recall keywords like primary and secondary, that I understand what it means to say two colours are complementary , that I can mix secondary colours from primary colours of paint, that I can analyze the the palette of a painting, that I can design a colourful tapestry, and that I can recommend the best colour scheme to create a sordid mood for the set of Richard III. [Answer]
- Read Darrell Huff’s lovely little classic, How to Lie with Statistics. [Answer]
- We have an ideal that intellectual property (IP), creations of the mind such as inventions and art, should be protected in order to encourage progress. In general, the tradeoff we’ve made is that society guarantees the creators some sort of time-limited monopoly on their IP–so they have incentive to make cool stuff–in exchange for making it available in some way–so society can enjoy it and other creators can build on it. Different types of IP are protected by different mechanisms, most famously patents, copyright and trademark. The laws, policies and institutions that protect IP form a tattered patchwork around the world and I can’t begin to list here all the things that are broken and why. Inevitably, when I teach or talk about IP, the phrase “come the revolution” creeps in somewhere. [Answer]
- Malcolm Gladwell’s 1999 New Yorker article, The Physical Genius, is a readable introduction to the underpinnings of expert performance.
Aside: Gladwell’s a writer, not an expertise researcher, so if you bump into me at a party, it’s probably a good idea not to attribute “the 10,000 hour thing” to Gladwell or you’re facing a thirty-minute tutorial about K. Anders Ericsson and deliberate practice. The phrase “necessary but not sufficient” will figure prominently. I am pleased to have that conversation but the historical record suggests my pleasure is one-sided. [Answer]
- Congenital achromatopsia is a hereditary inability to discriminate colours, the experience of seeing entirely in gray-scale, lifelong. This question demands that students reflect on the colour course and determine which activities and knowledge truly require typical colour vision to complete or understand them. Those activities included: mixing paint to produce shades of gray, secondary colours, and complementary colours; mixing paint to match arbitrary colour swatches; colour-matching a Crayola crayon to 50 or more items in the real world; recognizing styles in European art and identifying colour schemes in various paintings; studying the optics, physical properties of materials, anatomy of the eye and perceptual psychology that all contribute to our percepts of colour. [Answer]
- This is a real capstone of a question, an opportunity for students to extend everything they know about how perception works in modalities like vision, hearing and touch to an imaginary scenario. You would certainly need to bone up on psychophysical testing to answer the first part. The second part implies that age-o-trons are similar to mechanoreceptors, so it would also be good to review their properties. [Answer]