Discussion 1: Scenarios For Change

Consider the need for educational change facing the Grand City community and how members of the task force have begun working toward meeting that need. You have reviewed the data reflecting demographics for the community and reflected on how the data should inform decisions regarding changes to your specialization. While changes may be welcomed by some members in the community, as a leader of change, you must also take into account why some members resist change. Perhaps the issues facing Grand City are similar or reflective of the needs of your own community. How might you support your community in a change process? How might you encourage change-resistant community members to work toward necessary change?

For this Discussion, you will use data to develop a specialization-specific scenario representing a need for change in your educational or community setting.

Note: You will develop the scenario in this Discussion for your colleagues to respond to and address the scenario from your perspective in Module 4 Discussion 2.

To prepare:

  • Review the assigned Fullan (2016) chapters for this module. Consider the processes and concepts regarding change and how educational leaders can support both.
  • In the City Hall location in Grand City, revisit the media of the task force’s opening meeting. Think about the issues addressed by the members represented and how communities strive to meet the educational requirements of their children/students and the needs of their members. Think about how the issues raised in the video and those by your colleagues thus far in the course resonate with your specialization in your own educational or community setting.
  • Select an issue that represents a need for change in your educational or community setting and involves, or has the potential to involve, your specialization area. Locate and review the existing data      related to this issue. What is the data telling you about the issue and potential educational and/or community changes?

Note: If you are unable to determine an issue from your own educational setting or find data related to your issue, you can select an issue and review the data provided in Grand City.

  • Based on the data, develop a more detailed scenario of the issue for your Walden colleagues to respond to with evidence-based strategies for leading the change process.

Note: You may wish to base your scenario on a personal experience or on the information provided in Grand City.

A scenario description that explains:

  • The details of the issue, including the history of the problem, who is involved, and why the problem has occurred. Be sure to include specific reference to data to support your explanation.
  • How the issue presents a need for change within your specialization in your educational or community setting.

For this Discussion, and all scholarly writing in this course and throughout your program, you will be required to use APA style and provide reference citations.

Learning Resources

Note: To access this module’s required library resources, please click on the link to the Course Readings List, found in the Course Materials section of your Syllabus.

Required Readings

Fullan, M. (2016). The new meaning of educational change (5th ed.). New York, NY: Teachers College Press.

· Chapter 3, “Insights into the Change Process” (pp. 39–53)

· Chapter 5, “Planning, Doing, and Coping with Change” (pp. 82–96)

Giancola, S. (2014). Evaluation matters: Getting the information you need from your evaluation. U.S. Department of Education. Retrieved from https://www2.ed.gov/about/offices/list/oese/sst/evaluationmatters.pdf

Jayaratne, K. S. U. (2016). Tools for formative evaluation: Gathering the information necessary for program improvement. Journal of Extension, 54(1), 28. Retrieved from https://www.joe.org/joe/2016february/tt2.php

Henson, H. (2016). Data quality evaluation for program evaluators. Canadian Journal of Program Evaluation, 21(1), 99-108. doi:10.3138/cjpe.261

Document: Action Plan Template 1 (Word document)

Document: Action Plan Template 2 (Word document)

Required Media

Grand City Community

Go to the Grand City Community and click into City Hall to review the following for this module:

Laureate Education (Producer). (2017a). Grand City opening task force meeting [Video file]. Baltimore, MD: Author.

Laureate Education (Producer). (2016b). Grand City education and demographic data files [PDF]. Baltimore, MD: Author.

Differentiating Math Activities

Lesson planning is not just about planning what you want your students to know, but also planning for possible situations that might arise and solutions that can be used. Using academic and behavioral data, a teacher must plan for what each child is going to need to help them access the curriculum as well as any individual accommodations that will be needed. The time spent on planning helps to ensure successful delivery of the lesson.

Select a 3-5 grade level and a corresponding Arizona or other state standard based on the Number and Operations-Fractions domain.

Compose an aligning learning objective and design appropriate activities for a selected group of 3-4 students, of varying academic levels, from the “Class Profile.”

Using the “COE Lesson Plan Template,” complete the lesson plan through the Multiple Means of Engagement section, making sure the activities are supported by the recommendations found in the topic materials.

For your differentiated activities, specifically address:

  • Fraction tasks, including area, length, and set/quantity models; or
  • Equivalent fractions. In the Multiple Means of Engagement section, draft five questions you could ask students during the lesson that promote conceptual understanding related to fractions.
  • In the Multiple Means of Representation section, describe five potential issues and/or roadblocks that might happen while delivering the lesson, based on the needs of the selected group of students. Provide possible solutions to each potential issue.

Describe 2-3 strategies that promote successful transitions for students with disabilities.

All special educators who teach secondary students will be required to create transition plans that are meaningful and appropriate for the student. Transition plans go one step further than the IEP by adding specific goals and services that will help the student be successful after graduation in future education and training, in the community, and/or in the work force. Being able to write an effective transition plan is a legal requirement for high school special education teachers.

Create a 10-15 slide digital presentation for school faculty and staff that explains the components and legal requirements of transition planning under ID

Case Scenario: Alex

 

Alex is a 17-year-old student with autism. He receives special education services in a self-contained classroom in an urban high school. Alex receives instruction both in the classroom and in the community to improve his vocational, academic, and social skills. He is currently participating in community-based training in an office setting completing tasks such as data entry and spreadsheet development. He is diligent and methodical in completing the varied tasks assigned to him. Alex reads grade level texts independently; however, he demonstrates deficits in reading comprehension and oral expression. In elementary and middle school, he participated in a general education math course and maintained a B average. In high school, he received two years of Teach Math, opting out of standard courses of Algebra I, II, and Geometry.

After school, Alex works part-time at a local office supply store entering numerical data to keep track of stock and services rendered by store staff. His behavior is appropriate at work and he has expressed that he likes working. He is punctual each day, and he is willing to stay late when needed. He really enjoys getting a paycheck and he usually spends his money on fast food and movies from the local video rental shop. Alex is detail-oriented and reviews each column of numbers several times before moving on to type another column. This results in slower production rates in comparison to other workers who complete similar tasks.

Alex is intimidated by his boss because he knows that the boss has the ability to fire him, a fact that his teachers at school presented during a unit about behavior in the workplace. Alex has perseverated on this fact, making him afraid to talk to his boss. Also, Alex knows that at times his speech is not understood by people he does not know, so sometimes he avoids talking to people he does not know well. As a result, instead of speaking to his boss, Alex usually tells problems or concerns to his school job coach who visits Alex at the job site each week. The job coach is concerned that Alex will not ask for help if an emergency occurs, and that a certain level of communication between Alex and his boss is necessary to develop a good working relationship. The boss views Alex as a valuable employee and is willing to provide opportunities for Alex to develop appropriate communication skills. The boss has also expressed an interest in employing Alex for more hours per week after graduation, if he continues to develop his business skills.

Alex’s mother has expressed that she will support her son in his job at the office supply store by helping him work on skills that are needed for the job, but she believes that he will need support to be successful in this employment setting, especially when new tasks are assigned. She knows that after Alex graduates, his school job coach will stop visiting him at work so she cannot depend on his continued help. Currently, Alex has no services from the local vocational rehabilitation agency, although his mother voiced an interest in this at his last IEP meeting.

 

Scenario used with permission from the National Secondary Transition Technical Assistance Center.

 

 

© 2015. Grand Canyon University. All Rights Reserved.

EA.

Address the following within your presentation:

  • Describe each of the required components of a transition plan according to IDEA.
  • Complete a transition plan for Alex using the data provided in the “Case Scenario: Alex,” sharing each transition plan component as an example.
  • Describe 2-3 strategies that promote successful transitions for students with disabilities.
  • Identify 2-3 collaboration strategies that are useful when working with students, families, and IEP teams to create transition plans for students with disabilities.
  • Include a title slide, reference slide, and presenter notes.

The digital presentation should include graphics that are relevant to the content, visually appealing, and use space appropriately.

Support your findings with 3-5 scholarly resources.

Art/Discussion2

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3Significance of Materials Used in ArtRita Tekippe and Pamela J. Sachant 3.1 LEARNING OUTCOMES

After completing this chapter, you should be able to: • Describe the differences among valuation of art materials, especially with regard to

intrinsic qualities of raw material versus produced objects • Discuss the differences between monetary and cultural values for works of art • Discuss the idea of “borrowed” significance that comes with the re-use of components

from previous artworks • Describe the significance of value added to objects by complex artistic processes or by

changing tastes in different eras

3.2 INTRODUCTION Among the aspects of an artwork that evoke

response, aid understanding, and contribute meaning will be the material(s) used in its cre- ation. These materials might make it more or less important, more or less valuable, or might bring a variety of associations that are not in- herent in the essential form. For example, you might recognize a vase not merely as a vase, but as a Louis Comfort Tiffany (1848-1933, USA) Favrile glass vase. (Figure 3.1) Knowing the cre- ator, material, and special processes involved in the artwork’s creation would add to and might change your perception and appreciation in sev- eral important respects. For example, you could

Figure 3.1 | Bowl Artist: Louis Comfort Tiffany Source: Met Museum License: Public Domain

 

 

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INTRODUCTION TO ART

link it to an important artist, an innovative artistic technique, a significant period in American dé- cor and manufacturing and marketing, a valuation based on its collectability, and numerous other interesting details about its creation and use.

The most apparent choices in this regard are for three-dimensional forms such as sculpture and architecture, where it is more likely that costly and precious materials such as gold, silver, gems, marble, or bronze are used in its creation. The distinction among material choices for draw- ing and paintings will also have certain effects for their meanings. For example, if a painter applied gold leaf, 22K gold pounded into extremely thin sheets, to a painting’s surface, the monetary and cultural value of the work increases. (Figure 3.2) The monetary value refers to the amount a buyer is willing to pay, which in this case includes the cost of the materials the artist factors into the price of the artwork. The cultural value is the perceived quality or merit of the work: what it is worth according to that culture’s standards of ar- tistic importance or excellence. If a work of art has high monetary or cultural value, the owner’s reputation and status are, in turn, elevated.

Without considering each and every possibil- ity in this regard, we should look at a few pointed examples that will help us know what to consid- er when we examine artworks with a view to the choices of materials that the artist (or patron) must have made. The techniques for many of these is discussed in greater detail in other parts of the text, so our primary focus here will be on the intrinsic materials, although the ways they are worked, used, and combined are inextricably sig- nificant in some of these cases.

3.3 UTILITY AND VALUE OF MATERIALS The earliest drawings, paintings, vessels, and sculptures were made with whatever the artists

could find and turn to their use for creating images and objects; such readily-available material includes mud, clay, twigs, straw, minerals, and plants that they could use directly or with slight alteration, such as grinding and mixing minerals with water to apply to cave walls. (Figure 3.3) Experimentation was surely part of the process and, just as surely, much of it is lost to us now, although we have some examples of works, materials, and tools to give us insight into the artistic processes and material choices.

Figure 3.2 | Annunciation to the Shepherds, illumination from the Book of Pericopes (Lectionary) of Henry II, fol. 8v, 1002-1012 CE. Source: Artstor.org License: Public Domain

 

http://Artstor.org

 

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INTRODUCTION TO ART CHAPTER THREE: SIGNIFICANCE OF MATERIALS USED IN ART

For example, in works such as this earthenware, or baked clay, vessel, the artist had ex- plored sufficiently to discover that mixing a certain type of earth in certain proportions with water would yield a flexible substance. The resulting clay could be handbuilt, generally by wrapping and smoothing coils, into a vessel shaped with a conical bottom that would sit nicely in a coal fire for heating its contents. (Figure 3.4) A twig or string might be used to incise marks in the surface, not only to decorate it, but also to make it easier to hold onto than if it were completely smooth. Dating to c. 3,500 BCE, pots such as this from the late Neolithic era in Korea are known as Jeul- mun pottery, meaning “comb-patterned.” The clay could be found in different colors, textures, density, potential for adherence, etc. It could be manipulated by hand to make containers to store, transport, cook, or serve all sorts of goods.

The invention of the potter’s wheel allowed artists to “throw” the clay on a rotating platform the artist operated by hand or powered with a kicking motion. When and where the potter’s wheel first appeared is much debated, but it was widely used in Mesopotamia, Egypt, and Southeast Asia before 3,000 BCE. Using a potter’s wheel allowed the artist to turn vessels with thinner walls, a greater variety of and more uniform shapes and sizes, and a larger array of painted and incised decorative elements for additional aesthetic appeal. They could, as well, make molds for serial production of commonly used types of pots.

By the time of the Ming Dynasty in China (1368-1644), vases such as this from the Xuande period (1426-1435) painted in imperial (cobalt) blue and white display both the technical inno- vations and the remarkable degree of refinement achieved. (Figure 3.5) The development of such

Figure 3.3 | Reproduction of a bison of the cave of Altamira Author: User “Rameessos” Source: Wikimedia Commons License: Public Domain

Figure 3.4 | Korean neolithic pot, found in Busan Author: User “Good friend100” Source: Wikimedia Commons License: Public Domain

 

 

CHAPTER THREE: SIGNIFICANCE OF MATERIALS USED IN ART

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INTRODUCTION TO ART

mineral resources as kaolin and petuntse allowed ceramicists to create porcelain, one of the most refined and hardest types of pottery, which became known as “china” because of the origins of the materials and processes; chinaware was soon emulated the world over for its beauty and utility as tableware and décor.

Traders from Portugal returned from China with chinaware (porcelain vessels) in the sixteenth century. The semi-translu- cent material, elegant shapes, and glass-like, intricately dec- orated surfaces of the pots were unlike anything produced in Europe at that time. The demand for such wares quickly spread throughout Europe, and ceramicists on that continent spent the next two centuries trying to unlock the secret of how to create such smooth, white, and hard pottery. Ehrenfried Walther von Tschirnhaus and Johann Friedrich Böttger, both employed for that purpose by Augustus II the Strong, Elector of Saxony (to- day Germany) and King of Poland (r. 1694-1733), are credited with producing the first European porcelain in 1708. It would become known as Meissen ware because it was produced at the factory set up in the town by Augustus II for that purpose to safeguard the formula and maintain his exclusive control over the creation and sale of European porcelain. (Figure 3.6)

The monopoly held by Augustus II was short-lived, howev- er, as the secret was sold and a competing factory opened in

Figure 3.5 | A Ming dynasty Xuande mark and period (1426-1435) imperial blue and white vase Author: User “Meliere” Source: Wikimedia Commons License: CC BY-SA 4.0

Figure 3.6 | Teapot Artist: Königliche Porzellan Manufaktur Author: Walters Art Museum Source: Wikimedia Commons License: CC BY-SA 3.0

Figure 3.7 | Pitcher Artist: American Porcelain Manufacturing Company Source: Met Museum License: OASC

 

 

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INTRODUCTION TO ART CHAPTER THREE: SIGNIFICANCE OF MATERIALS USED IN ART

Vienna, Austria, by 1717. From there, variations of the formula and the production of porcelain spread throughout Europe as demand increased from the privilege of royalty, to the rich and titled, and eventually to all who could afford the status-giving ware. For example, this nineteenth-cen- tury commemorative pitcher made by the American Porcelain Manufacturing Company would have been presented to specially mark an occasion. (Figure 3.7) Although it is a distant relative of Chinese imperial porcelain ware and the royal courts of Europe, the techniques and materi- als used in its creation were still associated with tradition, wealth, and high social standing, elevating the cultural val- ue of this mass-produced vessel to the level of a keepsake or even a family heirloom. Objects such as this are valued beyond their monetary worth or utilitarian purposes, both due to the tactile and aesthetic qualities that come from the physical substance and techniques used and to histori- cal and social associations they hold.

Similarly, drawing and painting, apparently first confined to the rock walls of nature, were areas of exploration for artists who later applied color to the built walls of architecture, and then to portable objects of various types. Ceramic ware was decorated with images from nature, pictorial and narrative motifs, and messages of myth, power, and even everyday life. The same is true of tomb walls of Egypt (Figure 3.8), palace walls in ancient Iraq, (Ashurnasirpal II with Attendants and Soldier: http://www.museumsyndicate. com/item.php?item=36470) and Greek vessels used for practical or ritual purposes (Figure 3.9).

Figure 3.8 | Egyptian tomb wall painting Author: British Library Source: Wikimedia Commons License: CC0 1.0

Figure 3.9 | Terracotta krater Source: Met Museum License: OASC

 

http://www.museumsyndicate.com/item.php?item=36470
http://www.museumsyndicate.com/item.php?item=36470

 

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Eventually such vessels, as well as books and other ob- jects, bore written information and pictorial explications of textual content: illustrations. Early textual works were often inscribed on stone tablets to ensure their durability or on relatively fragile materials like papyrus that required laborious preparation to make it suitable for conveying in- formation. In either case, the materials used added to the work’s significance. By the time of the development of the codex (probably in the Roman era), or manuscript with bound pages, the most common form of modern physical books, the choice material was animal skin, as seen in man- uscripts throughout Late Antiquity and the Middle Ages, roughly the beginning of the fourth to the fifteenth centu- ries, in the Western and the Middle Eastern regions of the world. (Figures 3.10 and 3.11) Sheepskin, or parchment, the most commonly used support for written works, was obtained by laborious preparation of the pelts, through scraping and buffing the surface to make it suitable for use

by scribes and il- lustrators who add- ed the words and pictures. The most refined book arts were often presented on vellum, or calfskin, prized for its smoother and finer surface. When used for especially im- portant works or those made for royal purposes, it was often dyed purple or dark blue, with script applied in gold or sil- ver ink and illustrations that included areas of gold or silver. (see Figure 3.2) These lustrous images were known as illu- minations, that is, given light. The viewer would at once recognize the special and distinctive treatment implied by the use of such precious materials and know that the patron had paid well for an elegant and important book.

3.4 PRECIOUS MATERIALS, SPOLIA, AND BORROWED GLORY

Objects made for sacred or royal use were often wrought of such lavish and treasured components as vellum, silk, lin- en, wool, ivory, gold, silver, gems, and rare stones and min- erals. Frequently crafted for further refinement, such works

Figure 3.10 | Historiated Letter L, with illustration of the Tree of Jesse, Capuchin’s Bible, f. 7v, c. 1180. BNF Author: User “Soefrm” Source: Wikimedia Commons License: Public Domain

Figure 3.11 | Kitab al-Bulhan: Middle Eastern House and Lifting Machine, Arab scientific manuscript leaf. 1. 14th century Author: User “Peacay” Source: Wikimedia Commons License: Public Domain

 

 

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show their precious properties to advantage. In ancient Rome/Byzantium, there were quarries for porphyry, a rich purple marble stone (the basis for the association of the color purple with royalty). Because it was restricted to royal purposes, its very appearance carried connotations of the imperial significance of any work made from it. It was often used for columns and other architectural components that thereby accentuated important structures or parts of them. Once the imperially controlled mines were abandoned in the fifth century CE, new items could not be made of porphyry, so older monuments were sometimes pillaged and re-used, with the royal sig- nificance transferred to the plunderers, implying not only the replacement of the old order by the new, but also the superiority of the conquerors.