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Contents

Jacobs, Robert H. Berrett-Koehler Publishers ePub
Medium 9781567261844

9: Opportunity and Risk Management in the Defense Industry—Processes and Tools (Gregory A. Garrett)

Garrett, Gregory A. Berrett-Koehler Publishers ePub

By Gregory A. Garrett

Managing a commercial project within an organization is a challenge. Managing a complex U.S. military major weapon system program involving a military customer, a principal supplier (prime contractor), and numerous supply-chain partners (subcontractors) with a combination of high-technology products and services is a much greater challenge (see Figure 9-1). Many books have been written about managing projects within a single organization; however, few authors have tackled the subject of how to make complex U.S. military programs succeed in an outsourcing business environment. Historically, DoD and its related defense industry have been viewed as highly risk averse, often taking years to test, analyze, and debate the use of certain products or technologies via an incredibly complex and time-consuming acquisition process, especially the source selection process. Numerous recent reports by DoD and the Government Accountability Office (GAO) have stated that DoD and the defense industry need to reduce acquisition lead time and be willing to take appropriate risks to deploy new programs more rapidly and cost effectively. This chapter provides a summary of the opportunity and risk management process and tools that should be considered when managing such U.S. military programs involving multiple parties and multiple functions.

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Chapter 4 Challenge Bell-Shaped Grade Distributions

Thomas R. Guskey Solution Tree Press ePub

CHAPTER 4

Challenge Bell-Shaped Grade Distributions

Many of us can remember being in classrooms where our performance was judged against that of our peers. A grade of C did not mean you had reached step 3 in a five-step process to mastery or proficiency. It meant “average” or “in the middle of the class.” Similarly, a high grade did not necessarily represent excellent learning. It simply meant that you did better than most of the other students in your class (Guskey, 2011). The goodness of your performance was not determined by specific criteria that were made explicit by your teacher. Instead, it was based on how your performance stacked up against the performance of your classmates. This process of assigning grades based on a student’s relative standing among classmates is referred to as normative-based grading, or more familiarly as grading on the curve.

Curving Grades

Most teachers, students, and parents have a general understanding of what grading on the curve means. But in practice, this phrase can have a variety of meanings depending on the context (Wall, 1987).

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Medium 9781576756270

Chapter 13 Chunking the Code

Hartmann, Thom Berrett-Koehler Publishers ePub

Did you, too, O friend, suppose democracy was only for elections,
for politics, and for a party name? I say democracy is only
of use there that it may pass on and
come to its flower and fruit in manners, in the highest forms of interaction between
[people], and their beliefs—in religion, literature, colleges
and schools—democracy in all public and private life….

— WALT WHITMAN

Even many Americans who are stockholders in the oil, gas, and coal industries have figured out that fossil fuels are overheating our planet. And most of us would like to do something about it. Almost everyone in the country is onboard with this idea, except for a small group of conservatives who still believe that dominating the Earth is what’s best for them today and who don’t worry about the legacy we will leave our children.

The main problem liberals have faced in talking about global warming has been creating a persuasive argument about what we all can do right now. Everyone sees the big picture, but we haven’t been able to figure out how to talk about the small picture.

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Medium 9780253010223

Portuguese

Maurice Hinson Indiana University Press ePub

Chinese Contemporary Piano Pieces (Karlsen Publishers, Hong Kong 1979). Vol.I, 88pp. Ah Ping: The Moon Mirrored in the Pool. Wang Chien Chung: Plum Blossom Melody; Sakura. Yip Wai Hong: Memories of Childhood (6 miniatures). Kwo Chi Hung: 2 Yi Li Folk Songs. Chu Wang Hua: Sinkiang Capriccio. Lui Shi Kuen and Kuo Chi Hung: Battling the Typhoon. Post-Romantic pianistic figurations, much pentatonic usage, some charming and interesting moments. This collection is a good example of the type of piano writing going on in this area of the world today. Int. to M-D.

Chinese Piano Music for Children (N. Liao—Schott 7652 1990) 55pp. Written between 1973 and 1986 when Chinese music “increasingly absorbed the influences and ideas current in the new music of the West, without sacrificing its own tradition and national style” (from the score). Luting He (1903–1999): The Young Shepherd with his little Flute 1934; tender, artistic simplicity, national style. Shande Ding (1911–1995): Suite for Children (five pieces) 1953: folk-like but no folk songs are quoted. Tong Shang (1923– ): Seven Little Pieces after Folk Songs from Inner Mongolia 1953: a charming suite of folk song arrangements. Lisan Wang (1953– ): Sonatine 1957: three titled movements, cheerful, displays spirited humor. Int. to M-D.

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Medium 9780253006424

20. Gendered Bodies in Contemporary Chinese Art

PEG Z BRAND Indiana University Press ePub

MARY BITTNER WISEMAN

The idea of beauty in the West has often been connected with the idea of woman, whose beauty has been celebrated in sculptures of the nude since classical Greece and in paintings since the sixteenth century. The nude is not a genre in either traditional or contemporary Chinese art, however, and although there has been nakedness in the representations of the body in the contemporary art of China, its presence is marked by two characteristics that distance the Chinese naked body from the Western nude. One is that gender boundaries are not drawn in the same way in China as they are in the West. In China they are not based on oppositions: to be a woman is not, for example, simply to lack the traits that make someone a man. Gender difference does not, therefore, make so deep a cut in the conceptual schemes in Chinese thought as it does in those in the West.

The other is that the female body is identified or valued not as an object of male desire but as the site and possibility of its flowering, while the male body is typically presented as marked in some unusual way or performing some unusual action. Neither is identified as an object worthy of respect or interest for its own sake. Nor does the idea of beauty take refuge elsewhere in Chinese art. Beauty was not a value articulated or striven for by the artists of China, governed as they were by the six principles of painting articulated by Hsieth Ho in the late fifth century. In his book Criticism of Painting, he listed six technical factors of painting and said that few artists mastered them all. “The first is: Spirit Resonance (or Vibration of Vitality) and Life Movement. The second is: Bone Manner (structural) Use of the Brush. The third is: Conform with the Objects (to obtain) Likeness. The fourth is: Apply the Colors according to the Characteristics. The fifth is: Plan and Design, Place and Position (i.e. composition). The sixth is: To Transmit Models by Drawing,” that is, to copy the master. He then ranked twenty-seven artists into six grades, depending on which of these techniques they had mastered and how well.1

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Chapter 23 - Dispassion

Management Concepts Press, Berrett-Koehler Publishers ePub

Dispassion is a state or quality of being unemotional or emotionally uninvolved. In projects, dispassion manifests itself as a lack of caring about the overall process, documentation, team facilitation, and leadership.

A project manager or team member without passion fosters apathy, low team morale, and poor project performance. Fortunately, dispassion is becoming less of an issue as project management is increasingly seen as a distinct career path that requires a particular, unique set of skills.

Dispassion in projects is typically exhibited by “accidental” project managers—team members promoted into project management without the requisite skill set to be successful. This leads to frustration for the project manager and, eventually, to detachment and dispassion.

Especially in technical realms, project management is a logical career progression milestone. Unfortunately, simply being a good performer and great coder, engineer, or tester does not necessarily translate into being a good (or even adequate) project manager.

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Medium 9781855757585

CHAPTER ONE: Introduction

Bogart, Greg Karnac Books ePub

Dreams are healing symbols of the unconscious. They make emotionally charged material accessible to consciousness quickly and safely, give focus to inner work and the therapeutic process, and provide clues about the origins of symptoms and core life issues. Dreams activate our capacity for intrapsychic and behavioural change. They have a unique capacity to promote healing from within.

Dreams are like icebergs rising out of the deep waters of the unconscious. Some are icebergs of the past, helping us understand early traumas and undigested memories, and thus are retrospective. Dreams are integrative when they enable us to perceive and reconcile our many conflicting feelings and subpersonalities. Dreams can also be prospective or anticipatory, harbingers of the future, depicting what is emerging, and what we have the potential to become. Looking backward and forward simultaneously, the dream's function is to expand the aperture of consciousness, the circumference of perception, the sphere of identity. The often humorous and paradoxical messages revealed by dreams jog loose new perceptions. Received reverently, each dream becomes a pearl from the depths of the ocean of the unconscious. Reflection on the dream's mystery oftenevokes a feeling approaching religious awe; we become filled with amazement at the psyche's capacity to portray its own condition.

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Medium 9780253012821

3 Exorbitant Points

John Sallis Indiana University Press ePub

 

Near Patras

Peloponnisos

May

Though broader than a great river, the Bay of Corinth flows gently, as if it were a vast lake with no opening onto the sea. It sets the Peloponnisos apart from the rest of Greece. Indeed, together with the Saronic Bay, it divides the entire country into two parts, bridged only by the isthmus running from Corinth across into Attica. Bordered on the east by the isthmus and the city of Corinth, it extends westward and slightly to the north until, as it approaches Patras, it reaches its narrowest point. This is the point where today an ultramodern bridge has been erected across the bay, a technical counterpart to the natural bridge at the other end of the bay. As Athenian hoplites once marched to battle across the isthmus, now on the other bridge automobiles cross swiftly from one side to the other. As the bay extends on past Patras, it broadens out again and soon heads for the open sea that separates the Peloponnisos from the islands of Kephalonia and Ithaca. Beyond the islands lies the Ionian Sea.

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Medium 9781936764914

Chapter 6: Shared Productive Culture

National Council of Supervisors of Mathe Solution Tree Press ePub

 

Finally, we must acknowledge one critical precursor at the heart of raising achievement in mathematics for every student and effectively implementing the CCSSM in every classroom: the development of a productive, inclusive, cohesive, and positive school culture. A shared productive culture is necessary to successfully carry out the overarching themes, supportive conditions, and imperatives to effectively implement the CCSSM and raise student achievement.

Culture is an ongoing, shifting, dynamic process. It is the responsibility of leaders and teams of leaders to nurture and intentionally shape the culture in every school setting.

The shared beliefs, purpose, core values, and priorities that drive the thinking and actions of people within a school community comprise the school culture. Culture is an ongoing, shifting, dynamic process. It is the responsibility of leaders and teams of leaders to nurture and intentionally shape the culture in every school setting.

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Medium 9780253011046

12 The Music of Landscape: Eisenstein, Prokofiev, and the Uses of Music in Ivan the Terrible

Edited by Lilya Kaganovsky and Masha Sal Indiana University Press ePub

Joan Neuberger

SERGEI EISENSTEIN WROTE repeatedly about sound and music in cinema, from his contribution to the collective “Statement on Sound,” co-authored with Vsevolod Pudovkin and Grigori Alexandrov in 1928, through his discussion of audiovisual cinema and “vertical montage” in the montage essays of 1938 to 1940, to his late-1940s articles on Sergei Prokofiev, and color and sound.1 Each of these built on the earlier work and confirmed his original commitment to sound as an active element in film art rather than a naturalistic underpinning for realism or affect. From his initial insistence on sound “as a new element of montage,” Eisenstein developed increasingly complex multimedia, multisensory ideas about the ways sound contributed to producing meaning and experience for film viewers.

In this regard, it is surprising that more attention has not been paid to his eponymous chapter in Nonindifferent Nature, subtitled “The Music of Landscape and the Fate of Montage Counterpoint at a New Stage.”2 In that chapter, music is less a subject for analysis than it is the reigning metaphor for his current understanding of the structures of artistic composition. Written in 1944 and 1945, while editing part 1 of Ivan Groznyi (Ivan the Terrible, part 1, 1944; part 2, 1958] and finishing part 2, Eisenstein developed his earlier thoughts on montage and the “montage image,” incorporating many of the insights he gained through work on the film.3 The subject matter expanded far beyond the role of film sound and montage counterpoint, however, to explore the structures of artistic composition that make it possible to communicate thought and feeling in art and elicit responses from the audience. In short, Eisenstein argued that for a work of art to achieve universality and immortality, its composition must, first of all, correspond to our physical and psychological structures of feeling and cognition.4 The artist must be able to break down a subject or idea into constitutive parts that are resonant with one another in multiple ways that then allow the viewer to reconstitute the parts into a new, higher, unified emotional and intellectual experience. That synthetic unity, which he called the “montage image,” contained an abstract understanding of the subject at hand that derives from the process of joining disparate elements:

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Medium 9781605098869

5 Avoid Victimitis

Muchnick, Mark Berrett-Koehler Publishers ePub

WHEN I WAS in eighth grade I joined a youth group, and at our first event we had a speaker who introduced us to the PLUM game. PLUM stood for “Poor Little Unfortunate Me,” and the speaker’s contention was that most of us knew how to play this game all too well, especially when we were faced with tough challenges or if things didn’t go our way. He explained that when people play the PLUM game, they take little or no responsibility for their own situation. Instead they pretend to be victims when actually they’re just whining about their regrets—for example, how they don’t get what they rightfully deserve, how things never go their way, how they always get the short end of the stick, and all the other ways that life has somehow cheated them.

He called this pattern of behavior “victimitis” and was quick to make the distinction between it and being a true victim: “People with this condition actually have the ability to change their circumstances,” he said, “but somehow they convince themselves that they can’t.” Next he had us practice whining “Poor little unfortunate me!” in our most nasal voice possible. This way he could be certain we understood just how annoying people with this disease sounded. Then he gave some examples of the regrets that adolescents with victimitis whine about, most of which rang true for our group: “I got a bad grade on the test …” “I didn’t make the team …” “I didn’t get the part I wanted in the play …” “I’m not popular …” “My parents are on my case …” “I’m grounded for a week …” After each example we had to shout “Poor little unfortunate me!” The exercise was both invigorating and revealing, and it still sticks with me today.

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Medium 9781855757172

CHAPTER TWO: The therapeutic frame: “Good fences make good neighbours” (Robert Frost)

Kearns, Anne Karnac Books ePub

CHAPTER TWO

The therapeutic frame: Good fences make good neighbours (Robert Frost)

Anne Kearns

As a supervisor of humanistic and integrative practitioners I have often struggled in helping them to move from what appears to be a more social relationship to a professional and therapeutic way of relating that includes a deeper understanding of the unspoken dynamics of the therapeutic relationship that can easily get played out in the transference/countertransference relationship. I have been concerned for some time that what I believe to be the myths of mutuality and horizontality and the emphasis of process-oriented therapies on congruence (Rogers, 1951) or on presence and open and clear communication (Hycner & Jacobs, 1995) has taken humanistic practitioners away from a clinical focus the very real difference between client and therapist.

In my experience true mutuality is not possible in any relationship where one party has ultimate responsibility for another. When that is so it is not possible to give the experience of each party equal weight. As much as the therapist must bring humanity and humility to the encounter we must be vigilant not to let the common ground that we share with our clients lead us to lose sight of the fact that we have responsibilities in the relationship that are different from the clients responsibilities. The therapist needs to attend to her experience in the room, moment by moment, but also needs to bracket all sorts of thoughts and feelings and impulses. The client has no obligation to do this. In fact we actively encourage our clients to bring us their deepest thoughts and feelings. We also insist on some level that they control their impulses when in the room with us. It would not, for example, be acceptable for a client to hit their therapist or to damage his property. We control the boundaries of time and payment.

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Medium 9781780648583

PART VII: TRANSFORMATION

Butler, C.D. CABI PDF

29 

Health Activism and the Challenge of Climate Change

Colin D. Butler1 and Sue Wareham2

Faculty of Health, The University of Canberra, Australia,

National Centre for Epidemiology and Population Health,

The Australian National University, Canberra, Australia, and

Benevolent Organisation for Development, Health & Insight

(BODHI); 2Medical Association for Prevention of War (Australia)

1

The improvement of medicine will eventually prolong human life, but the improvement of social conditions can achieve this result more rapidly and more successfully.

(Rudolf Virchow, 1879)

29.1 Introduction

The direct relationship between patient and doctor or other health-care professional has traditionally been the essence of clinical prac­ tice. It is what most health-care practitioners train to do and how they spend most of their working lives. However, it is a role that is increas­ ingly recognized as having limits, for it can often be one of patching up or simply reacting to the damage wrought by a host of factors that affect human health, be they social, economic or environmental. Recently, health activism has been introduced as a subject in some health courses. Many important advances in human health and welfare have occurred through bet­ ter understanding of and education about the links between our health and external factors.

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Medium 9780983351238

Chapter 6 Observing and Discussing Teaching

Robert J. Marzano Marzano Research ePub

The final element important to the development of teaching expertise is observing and discussing teaching. By definition, such activities require interaction with other teachers. In this chapter, we briefly discuss three ways that teachers might interact: (1) videos of other teachers, (2) coaching colleagues, and (3) instructional rounds. Two or more teachers can fairly easily set up the first two techniques. The third technique requires administrative support.

In chapter 5, we discussed how teachers might examine videos of their own teaching as a form of personal feedback. In this section, we consider how teachers might examine videos of other teachers and discuss the effectiveness of the strategies they observe. This simply requires two or more teachers who agree to meet and discuss instructional strategies and behaviors.

There are a number of sources that can be used for this type of professional interaction. Table 6.1 lists videos from YouTube that might be used to observe and discuss other teachers. These are free to all users of the Internet. When using videos from YouTube, it is important to remember that they are raw footage of classroom activities, and there is no guarantee that they exhibit effective teaching. Visit marzanoresearch.com/classroomstrategies for live versions of all links mentioned in the text.

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