Q51. Place the following Assets in groups giving justification for your choice – Website – Digital Certificates – SOP – KYC guidelines – Portable storage devices

Q51. Place the following Assets in groups giving justification for your choice – Website – Digital Certificates – SOP – KYC guidelines – Portable storage devices

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Read this article and answer this question in 2 pages : Answers should be from the below article only. What is the difference between “standards-based” and “standards-embedded” curriculum? what are the curricular implications of this difference? Article: In 2007, at the dawn of 21st century in education, it is impossible to talk about teaching, curriculum, schools, or education without discussing standards . standards-based v. standards-embedded curriculum We are in an age of accountability where our success as educators is determined by individual and group mastery of specific standards dem- onstrated by standardized test per- formance. Even before No Child Left Behind (NCLB), standards and measures were used to determine if schools and students were success- ful (McClure, 2005). But, NCLB has increased the pace, intensity, and high stakes of this trend. Gifted and talented students and their teach- ers are significantly impacted by these local or state proficiency stan- dards and grade-level assessments (VanTassel-Baska & Stambaugh, 2006). This article explores how to use these standards in the develop- ment of high-quality curriculum for gifted students. NCLB, High-Stakes State Testing, and Standards- Based Instruction There are a few potentially positive outcomes of this evolution to public accountability. All stakeholders have had to ask themselves, “Are students learning? If so, what are they learning and how do we know?” In cases where we have been allowed to thoughtfully evaluate curriculum and instruction, we have also asked, “What’s worth learning?” “When’s the best time to learn it?” and “Who needs to learn it?” Even though state achievement tests are only a single measure, citizens are now offered a yardstick, albeit a nar- row one, for comparing communities, schools, and in some cases, teachers. Some testing reports allow teachers to identify for parents what their chil- dren can do and what they can not do. Testing also has focused attention on the not-so-new observations that pov- erty, discrimination and prejudices, and language proficiency impacts learning. With enough ceiling (e.g., above-grade-level assessments), even gifted students’ actual achievement and readiness levels can be identi- fied and provide a starting point for appropriately differentiated instruc- tion (Tomlinson, 2001). Unfortunately, as a veteran teacher for more than three decades and as a teacher-educator, my recent observa- tions of and conversations with class- room and gifted teachers have usually revealed negative outcomes. For gifted children, their actual achievement level is often unrecognized by teachers because both the tests and the reporting of the results rarely reach above the student’s grade-level placement. Assessments also focus on a huge number of state stan- dards for a given school year that cre- ate “overload” (Tomlinson & McTighe, 2006) and have a devastating impact on the development and implementation of rich and relevant curriculum and instruction. In too many scenarios, I see teachers teach- ing directly to the test. And, in the worst cases, some teachers actually teach The Test. In those cases, The Test itself becomes the curriculum. Consistently I hear, “Oh, I used to teach a great unit on ________ but I can’t do it any- more because I have to teach the standards.” Or, “I have to teach my favorite units in April and May after testing.” If the outcomes can’t be boiled down to simple “I can . . .” state- ments that can be posted on a school’s walls, then teachers seem to omit poten- tially meaningful learning opportunities from the school year. In many cases, real education and learning are being trivial- ized. We seem to have lost sight of the more significant purpose of teaching and learning: individual growth and develop- ment. We also have surrendered much of the joy of learning, as the incidentals, the tangents, the “bird walks” are cut short or elimi- nated because teachers hear the con- stant ticking clock of the countdown to the state test and feel the pressure of the way-too-many standards that have to be covered in a mere 180 school days. The accountability movement has pushed us away from seeing the whole child: “Students are not machines, as the standards movement suggests; they are volatile, complicated, and paradoxical” (Cookson, 2001, p. 42). How does this impact gifted chil- dren? In many heterogeneous class- rooms, teachers have retreated to traditional subject delineations and traditional instruction in an effort to ensure direct standards-based instruc- tion even though “no solid basis exists in the research literature for the ways we currently develop, place, and align educational standards in school cur- ricula” (Zenger & Zenger, 2002, p. 212). Grade-level standards are often particularly inappropriate for the gifted and talented whose pace of learning, achievement levels, and depth of knowledge are significantly beyond their chronological peers. A broad-based, thematically rich, and challenging curriculum is the heart of education for the gifted. Virgil Ward, one of the earliest voices for a differen- tial education for the gifted, said, “It is insufficient to consider the curriculum for the gifted in terms of traditional subjects and instructional processes” (Ward, 1980, p. 5). VanTassel-Baska Standards-Based v. Standards-Embedded Curriculum gifted child today 45 Standards-Based v. Standards-Embedded Curriculum and Stambaugh (2006) described three dimensions of successful curriculum for gifted students: content mastery, pro- cess and product, and epistemological concept, “understanding and appre- ciating systems of knowledge rather than individual elements of those systems” (p. 9). Overemphasis on testing and grade-level standards limits all three and therefore limits learning for gifted students. Hirsch (2001) concluded that “broad gen- eral knowledge is the best entrée to deep knowledge” (p. 23) and that it is highly correlated with general ability to learn. He continued, “the best way to learn a subject is to learn its gen- eral principles and to study an ample number of diverse examples that illustrate those principles” (Hirsch, 2001, p. 23). Principle-based learn- ing applies to both gifted and general education children. In order to meet the needs of gifted and general education students, cur- riculum should be differentiated in ways that are relevant and engaging. Curriculum content, processes, and products should provide challenge, depth, and complexity, offering multiple opportunities for problem solving, creativity, and exploration. In specific content areas, the cur- riculum should reflect the elegance and sophistication unique to the discipline. Even with this expanded view of curriculum in mind, we still must find ways to address the current reality of state standards and assess- ments. Standards-Embedded Curriculum How can educators address this chal- lenge? As in most things, a change of perspective can be helpful. Standards- based curriculum as described above should be replaced with standards- embedded curriculum. Standards- embedded curriculum begins with broad questions and topics, either discipline specific or interdisciplinary. Once teachers have given thoughtful consideration to relevant, engaging, and important content and the con- nections that support meaning-making (Jensen, 1998), they next select stan- dards that are relevant to this content and to summative assessments. This process is supported by the backward planning advocated in Understanding by Design by Wiggins and McTighe (2005) and its predecessors, as well as current thinkers in other fields, such as Covey (Tomlinson & McTighe, 2006). It is a critical component of differenti- ating instruction for advanced learners (Tomlinson, 2001) and a significant factor in the Core Parallel in the Parallel Curriculum Model (Tomlinson et al., 2002). Teachers choose from standards in multiple disciplines at both above and below grade level depending on the needs of the students and the classroom or program structure. Preassessment data and the results of prior instruc- tion also inform this process of embed- ding appropriate standards. For gifted students, this formative assessment will result in “more advanced curricula available at younger ages, ensuring that all levels of the standards are traversed in the process” (VanTassel-Baska & Little, 2003, p. 3). Once the essential questions, key content, and relevant standards are selected and sequenced, they are embedded into a coherent unit design and instructional decisions (grouping, pacing, instructional methodology) can be made. For gifted students, this includes the identification of appropri- ate resources, often including advanced texts, mentors, and independent research, as appropriate to the child’s developmental level and interest. Applying Standards- Embedded Curriculum What does this look like in practice? In reading the possible class- room applications below, consider these three Ohio Academic Content Standards for third grade: 1. Math: “Read thermometers in both Fahrenheit and Celsius scales” (“Academic Content Standards: K–12 Mathematics,” n.d., p. 71). 2. Social Studies: “Compare some of the cultural practices and products of various groups of people who have lived in the local community including artistic expression, religion, language, and food. Compare the cultural practices and products of the local community with those of other communities in Ohio, the United States, and countries of the world” (Academic Content Standards: K–12 Social Studies, n.d., p. 122). 3. Life Science: “Observe and explore how fossils provide evidence about animals that lived long ago and the nature of the environment at that time” (Academic Content Standards: K–12 Science, n.d., p. 57). When students are fortunate to have a teacher who is dedicated to helping all of them make good use of their time, the gifted may have a preassessment opportunity where they can demonstrate their familiarity with the content and potential mastery of a standard at their grade level. Students who pass may get to read by them- selves for the brief period while the rest of the class works on the single outcome. Sometimes more experienced teachers will create opportunities for gifted and advanced students Standards-Based v. Standards-Embedded Curriculum to work on a standard in the same domain or strand at the next higher grade level (i.e., accelerate through the standards). For example, a stu- dent might be able to work on a Life Science standard for fourth grade that progresses to other communities such as ecosystems. These above-grade-level standards can provide rich material for differentiation, advanced problem solving, and more in-depth curriculum integration. In another classroom scenario, a teacher may focus on the math stan- dard above, identifying the standard number on his lesson plan. He creates or collects paper thermometers, some showing measurement in Celsius and some in Fahrenheit. He also has some real thermometers. He demonstrates thermometer use with boiling water and with freezing water and reads the different temperatures. Students complete a worksheet that has them read thermometers in Celsius and Fahrenheit. The more advanced students may learn how to convert between the two scales. Students then practice with several questions on the topic that are similar in structure and content to those that have been on past proficiency tests. They are coached in how to answer them so that the stan- dard, instruction, formative assess- ment, and summative assessment are all aligned. Then, each student writes a statement that says, “I can read a thermometer using either Celsius or Fahrenheit scales.” Both of these examples describe a standards-based environment, where the starting point is the standard. Direct instruction to that standard is followed by an observable student behavior that demonstrates specific mastery of that single standard. The standard becomes both the start- ing point and the ending point of the curriculum. Education, rather than opening up a student’s mind, becomes a series of closed links in a chain. Whereas the above lessons may be differentiated to some extent, they have no context; they may relate only to the next standard on the list, such as, “Telling time to the nearest minute and finding elapsed time using a cal- endar or a clock.” How would a “standards-embed- ded” model of curriculum design be different? It would begin with the development of an essential ques- tion such as, “Who or what lived here before me? How were they different from me? How were they the same? How do we know?” These questions might be more relevant to our con- temporary highly mobile students. It would involve place and time. Using this intriguing line of inquiry, students might work on the social studies stan- dard as part of the study of their home- town, their school, or even their house or apartment. Because where people live and what they do is influenced by the weather, students could look into weather patterns of their area and learn how to measure temperature using a Fahrenheit scale so they could see if it is similar now to what it was a century ago. Skipping ahead to consideration of the social studies standard, students could then choose another country, preferably one that uses Celsius, and do the same investigation of fossils, communities, and the like. Students could complete a weather comparison, looking at the temperature in Celsius as people in other parts of the world, such as those in Canada, do. Thus, learning is contextualized and connected, dem- onstrating both depth and complexity. This approach takes a lot more work and time. It is a sophisticated integrated view of curriculum devel- opment and involves in-depth knowl- edge of the content areas, as well as an understanding of the scope and sequence of the standards in each dis- cipline. Teachers who develop vital single-discipline units, as well as inter- disciplinary teaching units, begin with a central topic surrounded by subtopics and connections to other areas. Then they connect important terms, facts, or concepts to the subtopics. Next, the skilled teacher/curriculum devel- oper embeds relevant, multileveled standards and objectives appropriate to a given student or group of stu- dents into the unit. Finally, teachers select the instructional strategies and develop student assessments. These assessments include, but are not lim- ited to, the types of questions asked on standardized and state assessments. Comparing Standards- Based and Standards- Embedded Curriculum Design Following is an articulation of the differences between standards-based and standards-embedded curriculum design. (See Figure 1.) 1. The starting point. Standards- based curriculum begins with the grade-level standard and the underlying assumption that every student needs to master that stan- dard at that moment in time. In standards-embedded curriculum, the multifaceted essential ques- tion and students’ needs are the starting points. 2. Preassessment. In standards- based curriculum and teaching, if a preassessment is provided, it cov- ers a single standard or two. In a standards-embedded curriculum, preassessment includes a broader range of grade-level and advanced standards, as well as students’ knowledge of surrounding content such as background experiences with the subject, relevant skills (such as reading and writing), and continued on page ?? even learning style or interests. gifted child today 47 Standards-Based v. Standards-Embedded Curriculum Standards Based Standards Embedded Starting Points The grade-level standard. Whole class’ general skill level Essential questions and content relevant to individual students and groups. Preassessment Targeted to a single grade-level standard. Short-cycle assessments. Background knowledge. Multiple grade-level standards from multiple areas connected by the theme of the unit. Includes annual learning style and interest inventories. Acceleration/ Enrichment To next grade-level standard in the same strand. To above-grade-level standards, as well as into broader thematically connected content. Language Arts Divided into individual skills. Reading and writing skills often separated from real-world relevant contexts. The language arts are embedded in all units and themes and connected to differentiated processes and products across all content areas. Instruction Lesson planning begins with the standard as the objective. Sequential direct instruction progresses through the standards in each content area separately. Strategies are selected to introduce, practice, and demonstrate mastery of all grade-level standards in all content areas in one school year. Lesson planning begins with essential questions, topics, and significant themes. Integrated instruction is designed around connections among content areas and embeds all relevant standards. Assessment Format modeled after the state test. Variety of assessments including questions similar to the state test format. Teacher Role Monitor of standards mastery. Time manager. Facilitator of instructional design and student engagement with learning, as well as assessor of achievement. Student Self- Esteem “I can . . .” statements. Star Charts. Passing “the test.” Completed projects/products. Making personal connections to learning and the theme/topic. Figure 1. Standards based v. standards-embedded instruction and gifted students. and the potential political outcry of “stepping on the toes” of the next grade’s teacher. Few classroom teachers have been provided with the in-depth professional develop- ment and understanding of curric- ulum compacting that would allow them to implement this effectively. In standards-embedded curricu- lum, enrichment and extensions of learning are more possible and more interesting because ideas, top- ics, and questions lend themselves more easily to depth and complex- ity than isolated skills. 4. Language arts. In standards- based classrooms, the language arts have been redivided into sepa- rate skills, with reading separated from writing, and writing sepa- rated from grammar. To many concrete thinkers, whole-language approaches seem antithetical to teaching “to the standards.” In a standards-embedded classroom, integrated language arts skills (reading, writing, listening, speak- ing, presenting, and even pho- nics) are embedded into the study of every unit. Especially for the gifted, the communication and language arts are essential, regard- less of domain-specific talents (Ward, 1980) and should be com- ponents of all curriculum because they are the underpinnings of scholarship in all areas. 5. Instruction. A standards-based classroom lends itself to direct instruction and sequential pro- gression from one standard to the next. A standards-embedded class- room requires a variety of more open-ended instructional strate- gies and materials that extend and diversify learning rather than focus it narrowly. Creativity and differ- entiation in instruction and stu- dent performance are supported more effectively in a standards- embedded approach. 6. Assessment. A standards-based classroom uses targeted assess- ments focused on the structure and content of questions on the externally imposed standardized test (i.e., proficiency tests). A stan- dards-embedded classroom lends itself to greater use of authentic assessment and differentiated 3. Acceleration/Enrichment. In a standards-based curriculum, the narrow definition of the learning outcome (a test item) often makes acceleration or curriculum compact- ing the only path for differentiating instruction for gifted, talented, and/ or advanced learners. This rarely happens, however, because of lack of materials, knowledge, o

Read this article and answer this question in 2 pages : Answers should be from the below article only. What is the difference between “standards-based” and “standards-embedded” curriculum? what are the curricular implications of this difference? Article: In 2007, at the dawn of 21st century in education, it is impossible to talk about teaching, curriculum, schools, or education without discussing standards . standards-based v. standards-embedded curriculum We are in an age of accountability where our success as educators is determined by individual and group mastery of specific standards dem- onstrated by standardized test per- formance. Even before No Child Left Behind (NCLB), standards and measures were used to determine if schools and students were success- ful (McClure, 2005). But, NCLB has increased the pace, intensity, and high stakes of this trend. Gifted and talented students and their teach- ers are significantly impacted by these local or state proficiency stan- dards and grade-level assessments (VanTassel-Baska & Stambaugh, 2006). This article explores how to use these standards in the develop- ment of high-quality curriculum for gifted students. NCLB, High-Stakes State Testing, and Standards- Based Instruction There are a few potentially positive outcomes of this evolution to public accountability. All stakeholders have had to ask themselves, “Are students learning? If so, what are they learning and how do we know?” In cases where we have been allowed to thoughtfully evaluate curriculum and instruction, we have also asked, “What’s worth learning?” “When’s the best time to learn it?” and “Who needs to learn it?” Even though state achievement tests are only a single measure, citizens are now offered a yardstick, albeit a nar- row one, for comparing communities, schools, and in some cases, teachers. Some testing reports allow teachers to identify for parents what their chil- dren can do and what they can not do. Testing also has focused attention on the not-so-new observations that pov- erty, discrimination and prejudices, and language proficiency impacts learning. With enough ceiling (e.g., above-grade-level assessments), even gifted students’ actual achievement and readiness levels can be identi- fied and provide a starting point for appropriately differentiated instruc- tion (Tomlinson, 2001). Unfortunately, as a veteran teacher for more than three decades and as a teacher-educator, my recent observa- tions of and conversations with class- room and gifted teachers have usually revealed negative outcomes. For gifted children, their actual achievement level is often unrecognized by teachers because both the tests and the reporting of the results rarely reach above the student’s grade-level placement. Assessments also focus on a huge number of state stan- dards for a given school year that cre- ate “overload” (Tomlinson & McTighe, 2006) and have a devastating impact on the development and implementation of rich and relevant curriculum and instruction. In too many scenarios, I see teachers teach- ing directly to the test. And, in the worst cases, some teachers actually teach The Test. In those cases, The Test itself becomes the curriculum. Consistently I hear, “Oh, I used to teach a great unit on ________ but I can’t do it any- more because I have to teach the standards.” Or, “I have to teach my favorite units in April and May after testing.” If the outcomes can’t be boiled down to simple “I can . . .” state- ments that can be posted on a school’s walls, then teachers seem to omit poten- tially meaningful learning opportunities from the school year. In many cases, real education and learning are being trivial- ized. We seem to have lost sight of the more significant purpose of teaching and learning: individual growth and develop- ment. We also have surrendered much of the joy of learning, as the incidentals, the tangents, the “bird walks” are cut short or elimi- nated because teachers hear the con- stant ticking clock of the countdown to the state test and feel the pressure of the way-too-many standards that have to be covered in a mere 180 school days. The accountability movement has pushed us away from seeing the whole child: “Students are not machines, as the standards movement suggests; they are volatile, complicated, and paradoxical” (Cookson, 2001, p. 42). How does this impact gifted chil- dren? In many heterogeneous class- rooms, teachers have retreated to traditional subject delineations and traditional instruction in an effort to ensure direct standards-based instruc- tion even though “no solid basis exists in the research literature for the ways we currently develop, place, and align educational standards in school cur- ricula” (Zenger & Zenger, 2002, p. 212). Grade-level standards are often particularly inappropriate for the gifted and talented whose pace of learning, achievement levels, and depth of knowledge are significantly beyond their chronological peers. A broad-based, thematically rich, and challenging curriculum is the heart of education for the gifted. Virgil Ward, one of the earliest voices for a differen- tial education for the gifted, said, “It is insufficient to consider the curriculum for the gifted in terms of traditional subjects and instructional processes” (Ward, 1980, p. 5). VanTassel-Baska Standards-Based v. Standards-Embedded Curriculum gifted child today 45 Standards-Based v. Standards-Embedded Curriculum and Stambaugh (2006) described three dimensions of successful curriculum for gifted students: content mastery, pro- cess and product, and epistemological concept, “understanding and appre- ciating systems of knowledge rather than individual elements of those systems” (p. 9). Overemphasis on testing and grade-level standards limits all three and therefore limits learning for gifted students. Hirsch (2001) concluded that “broad gen- eral knowledge is the best entrée to deep knowledge” (p. 23) and that it is highly correlated with general ability to learn. He continued, “the best way to learn a subject is to learn its gen- eral principles and to study an ample number of diverse examples that illustrate those principles” (Hirsch, 2001, p. 23). Principle-based learn- ing applies to both gifted and general education children. In order to meet the needs of gifted and general education students, cur- riculum should be differentiated in ways that are relevant and engaging. Curriculum content, processes, and products should provide challenge, depth, and complexity, offering multiple opportunities for problem solving, creativity, and exploration. In specific content areas, the cur- riculum should reflect the elegance and sophistication unique to the discipline. Even with this expanded view of curriculum in mind, we still must find ways to address the current reality of state standards and assess- ments. Standards-Embedded Curriculum How can educators address this chal- lenge? As in most things, a change of perspective can be helpful. Standards- based curriculum as described above should be replaced with standards- embedded curriculum. Standards- embedded curriculum begins with broad questions and topics, either discipline specific or interdisciplinary. Once teachers have given thoughtful consideration to relevant, engaging, and important content and the con- nections that support meaning-making (Jensen, 1998), they next select stan- dards that are relevant to this content and to summative assessments. This process is supported by the backward planning advocated in Understanding by Design by Wiggins and McTighe (2005) and its predecessors, as well as current thinkers in other fields, such as Covey (Tomlinson & McTighe, 2006). It is a critical component of differenti- ating instruction for advanced learners (Tomlinson, 2001) and a significant factor in the Core Parallel in the Parallel Curriculum Model (Tomlinson et al., 2002). Teachers choose from standards in multiple disciplines at both above and below grade level depending on the needs of the students and the classroom or program structure. Preassessment data and the results of prior instruc- tion also inform this process of embed- ding appropriate standards. For gifted students, this formative assessment will result in “more advanced curricula available at younger ages, ensuring that all levels of the standards are traversed in the process” (VanTassel-Baska & Little, 2003, p. 3). Once the essential questions, key content, and relevant standards are selected and sequenced, they are embedded into a coherent unit design and instructional decisions (grouping, pacing, instructional methodology) can be made. For gifted students, this includes the identification of appropri- ate resources, often including advanced texts, mentors, and independent research, as appropriate to the child’s developmental level and interest. Applying Standards- Embedded Curriculum What does this look like in practice? In reading the possible class- room applications below, consider these three Ohio Academic Content Standards for third grade: 1. Math: “Read thermometers in both Fahrenheit and Celsius scales” (“Academic Content Standards: K–12 Mathematics,” n.d., p. 71). 2. Social Studies: “Compare some of the cultural practices and products of various groups of people who have lived in the local community including artistic expression, religion, language, and food. Compare the cultural practices and products of the local community with those of other communities in Ohio, the United States, and countries of the world” (Academic Content Standards: K–12 Social Studies, n.d., p. 122). 3. Life Science: “Observe and explore how fossils provide evidence about animals that lived long ago and the nature of the environment at that time” (Academic Content Standards: K–12 Science, n.d., p. 57). When students are fortunate to have a teacher who is dedicated to helping all of them make good use of their time, the gifted may have a preassessment opportunity where they can demonstrate their familiarity with the content and potential mastery of a standard at their grade level. Students who pass may get to read by them- selves for the brief period while the rest of the class works on the single outcome. Sometimes more experienced teachers will create opportunities for gifted and advanced students Standards-Based v. Standards-Embedded Curriculum to work on a standard in the same domain or strand at the next higher grade level (i.e., accelerate through the standards). For example, a stu- dent might be able to work on a Life Science standard for fourth grade that progresses to other communities such as ecosystems. These above-grade-level standards can provide rich material for differentiation, advanced problem solving, and more in-depth curriculum integration. In another classroom scenario, a teacher may focus on the math stan- dard above, identifying the standard number on his lesson plan. He creates or collects paper thermometers, some showing measurement in Celsius and some in Fahrenheit. He also has some real thermometers. He demonstrates thermometer use with boiling water and with freezing water and reads the different temperatures. Students complete a worksheet that has them read thermometers in Celsius and Fahrenheit. The more advanced students may learn how to convert between the two scales. Students then practice with several questions on the topic that are similar in structure and content to those that have been on past proficiency tests. They are coached in how to answer them so that the stan- dard, instruction, formative assess- ment, and summative assessment are all aligned. Then, each student writes a statement that says, “I can read a thermometer using either Celsius or Fahrenheit scales.” Both of these examples describe a standards-based environment, where the starting point is the standard. Direct instruction to that standard is followed by an observable student behavior that demonstrates specific mastery of that single standard. The standard becomes both the start- ing point and the ending point of the curriculum. Education, rather than opening up a student’s mind, becomes a series of closed links in a chain. Whereas the above lessons may be differentiated to some extent, they have no context; they may relate only to the next standard on the list, such as, “Telling time to the nearest minute and finding elapsed time using a cal- endar or a clock.” How would a “standards-embed- ded” model of curriculum design be different? It would begin with the development of an essential ques- tion such as, “Who or what lived here before me? How were they different from me? How were they the same? How do we know?” These questions might be more relevant to our con- temporary highly mobile students. It would involve place and time. Using this intriguing line of inquiry, students might work on the social studies stan- dard as part of the study of their home- town, their school, or even their house or apartment. Because where people live and what they do is influenced by the weather, students could look into weather patterns of their area and learn how to measure temperature using a Fahrenheit scale so they could see if it is similar now to what it was a century ago. Skipping ahead to consideration of the social studies standard, students could then choose another country, preferably one that uses Celsius, and do the same investigation of fossils, communities, and the like. Students could complete a weather comparison, looking at the temperature in Celsius as people in other parts of the world, such as those in Canada, do. Thus, learning is contextualized and connected, dem- onstrating both depth and complexity. This approach takes a lot more work and time. It is a sophisticated integrated view of curriculum devel- opment and involves in-depth knowl- edge of the content areas, as well as an understanding of the scope and sequence of the standards in each dis- cipline. Teachers who develop vital single-discipline units, as well as inter- disciplinary teaching units, begin with a central topic surrounded by subtopics and connections to other areas. Then they connect important terms, facts, or concepts to the subtopics. Next, the skilled teacher/curriculum devel- oper embeds relevant, multileveled standards and objectives appropriate to a given student or group of stu- dents into the unit. Finally, teachers select the instructional strategies and develop student assessments. These assessments include, but are not lim- ited to, the types of questions asked on standardized and state assessments. Comparing Standards- Based and Standards- Embedded Curriculum Design Following is an articulation of the differences between standards-based and standards-embedded curriculum design. (See Figure 1.) 1. The starting point. Standards- based curriculum begins with the grade-level standard and the underlying assumption that every student needs to master that stan- dard at that moment in time. In standards-embedded curriculum, the multifaceted essential ques- tion and students’ needs are the starting points. 2. Preassessment. In standards- based curriculum and teaching, if a preassessment is provided, it cov- ers a single standard or two. In a standards-embedded curriculum, preassessment includes a broader range of grade-level and advanced standards, as well as students’ knowledge of surrounding content such as background experiences with the subject, relevant skills (such as reading and writing), and continued on page ?? even learning style or interests. gifted child today 47 Standards-Based v. Standards-Embedded Curriculum Standards Based Standards Embedded Starting Points The grade-level standard. Whole class’ general skill level Essential questions and content relevant to individual students and groups. Preassessment Targeted to a single grade-level standard. Short-cycle assessments. Background knowledge. Multiple grade-level standards from multiple areas connected by the theme of the unit. Includes annual learning style and interest inventories. Acceleration/ Enrichment To next grade-level standard in the same strand. To above-grade-level standards, as well as into broader thematically connected content. Language Arts Divided into individual skills. Reading and writing skills often separated from real-world relevant contexts. The language arts are embedded in all units and themes and connected to differentiated processes and products across all content areas. Instruction Lesson planning begins with the standard as the objective. Sequential direct instruction progresses through the standards in each content area separately. Strategies are selected to introduce, practice, and demonstrate mastery of all grade-level standards in all content areas in one school year. Lesson planning begins with essential questions, topics, and significant themes. Integrated instruction is designed around connections among content areas and embeds all relevant standards. Assessment Format modeled after the state test. Variety of assessments including questions similar to the state test format. Teacher Role Monitor of standards mastery. Time manager. Facilitator of instructional design and student engagement with learning, as well as assessor of achievement. Student Self- Esteem “I can . . .” statements. Star Charts. Passing “the test.” Completed projects/products. Making personal connections to learning and the theme/topic. Figure 1. Standards based v. standards-embedded instruction and gifted students. and the potential political outcry of “stepping on the toes” of the next grade’s teacher. Few classroom teachers have been provided with the in-depth professional develop- ment and understanding of curric- ulum compacting that would allow them to implement this effectively. In standards-embedded curricu- lum, enrichment and extensions of learning are more possible and more interesting because ideas, top- ics, and questions lend themselves more easily to depth and complex- ity than isolated skills. 4. Language arts. In standards- based classrooms, the language arts have been redivided into sepa- rate skills, with reading separated from writing, and writing sepa- rated from grammar. To many concrete thinkers, whole-language approaches seem antithetical to teaching “to the standards.” In a standards-embedded classroom, integrated language arts skills (reading, writing, listening, speak- ing, presenting, and even pho- nics) are embedded into the study of every unit. Especially for the gifted, the communication and language arts are essential, regard- less of domain-specific talents (Ward, 1980) and should be com- ponents of all curriculum because they are the underpinnings of scholarship in all areas. 5. Instruction. A standards-based classroom lends itself to direct instruction and sequential pro- gression from one standard to the next. A standards-embedded class- room requires a variety of more open-ended instructional strate- gies and materials that extend and diversify learning rather than focus it narrowly. Creativity and differ- entiation in instruction and stu- dent performance are supported more effectively in a standards- embedded approach. 6. Assessment. A standards-based classroom uses targeted assess- ments focused on the structure and content of questions on the externally imposed standardized test (i.e., proficiency tests). A stan- dards-embedded classroom lends itself to greater use of authentic assessment and differentiated 3. Acceleration/Enrichment. In a standards-based curriculum, the narrow definition of the learning outcome (a test item) often makes acceleration or curriculum compact- ing the only path for differentiating instruction for gifted, talented, and/ or advanced learners. This rarely happens, however, because of lack of materials, knowledge, o

Standard based Curriculum In standard based curriculum, the initial point … Read More...
How do differences of culture between countries or within a country affect the operations of your chosen organization or of firms in your chosen industry sector? (10 marks) UNIT 5.The Socio-Cultural Environment Elements of culture: language, religion, values, customs, education, diversity.cultural changesBusiness ethics and the concept of corporate social responsibility.Aging or age distribution, population size changes, demographic changes, ethical argument in favour of CSR

How do differences of culture between countries or within a country affect the operations of your chosen organization or of firms in your chosen industry sector? (10 marks) UNIT 5.The Socio-Cultural Environment Elements of culture: language, religion, values, customs, education, diversity.cultural changesBusiness ethics and the concept of corporate social responsibility.Aging or age distribution, population size changes, demographic changes, ethical argument in favour of CSR

The number of companies functioning globally is mounting continually. The … Read More...
Question 1 1. When the rules of perspective are applied in order to represent unusual points of view, we call this ________. a. foreshortening b. chiaroscuro c. convergence d. highlight e. overlapping 10 points Question 2 1. A flat work of art has two dimensions: ________ and width. a. breadth b. depth c. size d. mass e. height 10 points Question 3 1. Méret Oppenheim was part of an art movement that rejected rational, conscious thought. Her fur-lined teacup and saucer, Object, conjures an unexpected and illogical sensation for the viewer by using ________ texture. a. smooth b. familiar c. expected d. subversive e. silky 10 points Question 4 1. In James Allen’s etching The Connectors, an image of workers erecting the Empire State Building, the artist created a feeling of great height by using ________ line to lead the viewer’s eye diagonally downward. a. horizontal b. communicative c. regular d. directional e. implied 10 points Question 5 1. Because it is three-dimensional, a form has these three spatial measurements: height, width, and ________. a. mass b. length c. size d. depth e. strength 10 points Question 6 1. The ancient Egyptian depiction of the journey of the Sun god Re (0.1) was painted on ________. a. stone b. a coffin c. the wall of a tomb d. copper e. a vase 10 points Question 7 1. The area covered by a pattern is called the ________. a. field b. motif c. background d. size e. foreground 10 points Question 8 1. ________ balance is achieved when two halves of a composition are not mirror images of each other. a. unified b. radial c. varied d. asymmetrical e. symmetrical 10 points Question 9 1. In Audrey Flack’s Marilyn Monroe, the burning candle, the flower, and the hourglass are typical of a kind of symbolism in art that reminds us of death. This kind of symbolism is known as ________. a. vanitas b. feminism c. abstract d. eternal e. none of the other answers 10 points Question 10 1. Tibetan Buddhist monks create colored sand images with a radial design. This representation of the universe is called a ________. a. prayer wheel b. rotunda c. mandala d. prayer flag e. lotus 10 points Question 11 1. In The School of Athens, Raphael focused our attention on two Greek philosophers positioned in the center of the work. They are ________ and ________. a. Plato . . . Aristotle b. Aristotle . . . Socrates c. Diogenes . . . Socrates d. Diogenes . . . Aristotle e. Socrates . . . Plato 10 points Question 12 1. In his Obey campaign poster Shepard Fairey used a striking contrast between positive and ________ shapes to attract the attention of the public. a. figure–ground reversal b. implied c. geometric d. organic e. negative 10 points Question 13 1. The Italian architect Andrea Palladio created a radial design in his plan for the Villa Capra. This building is also called the ________. a. Colosseum b. Pantheon c. Villa Rotonda d. Villa Caprese e. Parthenon 10 points Question 14 1. The French artist Georges Seurat employed a new technique to create a jewel-like diffusion of light and vibration of color in his work The Circus. This type of painting, made up of small dots of color, is known as ________. a. Fauvism b. Luminism c. pointillism d. Pop art e. Impressionism 10 points Question 15 1. The rarity of an artwork, and its value, are often closely related. True False 10 points Question 16 1. By orienting lines so that they attract attention to a specific area of a work of art the artist is using ________. a. actual line b. implied line c. directional line d. measured line e. chaotic line 10 points Question 17 1. Kindred Spirits by Asher Brown Durand uses the effects of ________ to give a sense of the vastness of the American landscape. a. pencil drawing b. geometry c. atmospheric perspective d. foreshortening e. color 10 points Question 18 1. The opposite of emphasis is ________. a. subordination b. tone c. focal point d. color e. proportion 10 points Question 19 1. Gustav Klimt’s portrait of Adele Bloch-Bauer was typical of his portraits of the wives and sisters of ________. a. foreign tourists b. Nazi rulers c. German scientists d. Austrian businessmen e. important politicians 10 points Question 20 1. The combination of jarring vertical and diagonal lines in Vincent van Gogh’s The Bedroom creates an atmosphere of ________. a. happiness b. rest c. anxiety d. expectation e. calm 10 points Question 21 1. If the clothing of the saint was the only light area in The Funeral of St. Bonaventure, the viewer’s eye would not be easily drawn to any other areas of the composition. True False 10 points Question 22 1. Miriam Schapiro’s collage Baby Blocks combines two different kinds of shape. ________ is the term used to describe a shape that suggests the natural world, while the term geometric suggests mathematical regularity. a. conceptual b. implied c. organic d. regular e. artificial 10 points Question 23 1. Any of the ________ of art can help focus our interest on specific areas of a work of art. a. styles b. elements c. periods d. tones e. themes 10 points Question 24 1. An artwork can be described as non-objective if its subject matter is ________. a. three-dimensional b. difficult c. unrecognizable d. recognizable e. animals 10 points Question 25 1. Match the methodological approach with its definition: biographical analysis feminist analysis formal analysis contextual analysis 2. iconographical analysis a. analyzes the use of formal elements in a work. b. considers the role of women in an artwork c. interprets objects and figures in the artwork as symbols d. considers the artist’s personal experiences e. considers the religious, political, and social environment in which the artwork was made and viewed 10 points Question 26 1. Alexander Calder invented the ________, a type of suspended, balanced sculpture that uses air currents to power its movement. a. mime b. relief c. mobile d. stabile e. zoetrope 10 points Question 27 1. Louise Nevelson’s work White Vertical Water is a realistic depiction of fish in a river. True False 10 points Question 28 1. William G. Wall’s Fort Edward was published as a ________. a. print b. watercolor c. photograph d. oil painting e. newspaper article 10 points Question 29 1. Artemisia Gentileschi worked during this stylistic and historical period. a. Surrealism b. Impressionism c. Baroque d. Renaissance e. Pop art 10 points Question 30 1. The process of using a series of parallel lines set close to one another to differentiate planes of value in a work of art is called ________. a. highlight b. core shadow c. perspective d. hatching e. palette 10 points Question 31 1. The artist Canaletto, in his drawing of the Ducal Palace in Venice, created an impression of three dimensions by using line to show the division between ________. a. planes b. two figures c. colors d. time periods e. mountains 10 points Question 32 1. Marisol’s work Father Damien was created to memorialize the heroism of a priest who lost his life helping the victims of leprosy. This sculpture stands in front of the State Capitol Building in the U.S. State of ________. a. Arizona b. Pennsylvania c. Utah d. Tennessee e. Hawaii 10 points Question 33 1. The medium of Marc Quinn’s Self is: a. clay b. the artist’s toenail clippings c. wood d. real human hair e. the artist’s own blood 10 points Question 34 1. The work now known as the Watts Towers was in fact given a different title by its creator. That title was ________. a. Nuestro Pueblo b. LA Towers c. Found Objects d. it had no title originally e. Skyscrapers 1 and 2 10 points Question 35 1. Why do we presume that the head of a woman from Benin (0.18) was made for someone wealthy? a. because it was made to be shown in a museum b. because it strongly resembles the Queen c. because it has a price carved on the back d. because it was made from rare ivory e. it was definitely not made for anyone wealthy 10 points Question 36 1. Shahzia Sikander’s art is best described as Abstract Expressionism Naturalist sculpture Pop Art Miniature Painting 10 points Question 37 1. A sunset is a work of art. True False 10 points Question 38 1. A mens’ urinal became a well known artwork in the 20th century. True False 10 points Question 39 1. Which artist has torn out people’s lawns to design and build edible gardens across the country? Andrea Zittel Fritz Haeg Ruben Ortiz Torres Mark Newport

Question 1 1. When the rules of perspective are applied in order to represent unusual points of view, we call this ________. a. foreshortening b. chiaroscuro c. convergence d. highlight e. overlapping 10 points Question 2 1. A flat work of art has two dimensions: ________ and width. a. breadth b. depth c. size d. mass e. height 10 points Question 3 1. Méret Oppenheim was part of an art movement that rejected rational, conscious thought. Her fur-lined teacup and saucer, Object, conjures an unexpected and illogical sensation for the viewer by using ________ texture. a. smooth b. familiar c. expected d. subversive e. silky 10 points Question 4 1. In James Allen’s etching The Connectors, an image of workers erecting the Empire State Building, the artist created a feeling of great height by using ________ line to lead the viewer’s eye diagonally downward. a. horizontal b. communicative c. regular d. directional e. implied 10 points Question 5 1. Because it is three-dimensional, a form has these three spatial measurements: height, width, and ________. a. mass b. length c. size d. depth e. strength 10 points Question 6 1. The ancient Egyptian depiction of the journey of the Sun god Re (0.1) was painted on ________. a. stone b. a coffin c. the wall of a tomb d. copper e. a vase 10 points Question 7 1. The area covered by a pattern is called the ________. a. field b. motif c. background d. size e. foreground 10 points Question 8 1. ________ balance is achieved when two halves of a composition are not mirror images of each other. a. unified b. radial c. varied d. asymmetrical e. symmetrical 10 points Question 9 1. In Audrey Flack’s Marilyn Monroe, the burning candle, the flower, and the hourglass are typical of a kind of symbolism in art that reminds us of death. This kind of symbolism is known as ________. a. vanitas b. feminism c. abstract d. eternal e. none of the other answers 10 points Question 10 1. Tibetan Buddhist monks create colored sand images with a radial design. This representation of the universe is called a ________. a. prayer wheel b. rotunda c. mandala d. prayer flag e. lotus 10 points Question 11 1. In The School of Athens, Raphael focused our attention on two Greek philosophers positioned in the center of the work. They are ________ and ________. a. Plato . . . Aristotle b. Aristotle . . . Socrates c. Diogenes . . . Socrates d. Diogenes . . . Aristotle e. Socrates . . . Plato 10 points Question 12 1. In his Obey campaign poster Shepard Fairey used a striking contrast between positive and ________ shapes to attract the attention of the public. a. figure–ground reversal b. implied c. geometric d. organic e. negative 10 points Question 13 1. The Italian architect Andrea Palladio created a radial design in his plan for the Villa Capra. This building is also called the ________. a. Colosseum b. Pantheon c. Villa Rotonda d. Villa Caprese e. Parthenon 10 points Question 14 1. The French artist Georges Seurat employed a new technique to create a jewel-like diffusion of light and vibration of color in his work The Circus. This type of painting, made up of small dots of color, is known as ________. a. Fauvism b. Luminism c. pointillism d. Pop art e. Impressionism 10 points Question 15 1. The rarity of an artwork, and its value, are often closely related. True False 10 points Question 16 1. By orienting lines so that they attract attention to a specific area of a work of art the artist is using ________. a. actual line b. implied line c. directional line d. measured line e. chaotic line 10 points Question 17 1. Kindred Spirits by Asher Brown Durand uses the effects of ________ to give a sense of the vastness of the American landscape. a. pencil drawing b. geometry c. atmospheric perspective d. foreshortening e. color 10 points Question 18 1. The opposite of emphasis is ________. a. subordination b. tone c. focal point d. color e. proportion 10 points Question 19 1. Gustav Klimt’s portrait of Adele Bloch-Bauer was typical of his portraits of the wives and sisters of ________. a. foreign tourists b. Nazi rulers c. German scientists d. Austrian businessmen e. important politicians 10 points Question 20 1. The combination of jarring vertical and diagonal lines in Vincent van Gogh’s The Bedroom creates an atmosphere of ________. a. happiness b. rest c. anxiety d. expectation e. calm 10 points Question 21 1. If the clothing of the saint was the only light area in The Funeral of St. Bonaventure, the viewer’s eye would not be easily drawn to any other areas of the composition. True False 10 points Question 22 1. Miriam Schapiro’s collage Baby Blocks combines two different kinds of shape. ________ is the term used to describe a shape that suggests the natural world, while the term geometric suggests mathematical regularity. a. conceptual b. implied c. organic d. regular e. artificial 10 points Question 23 1. Any of the ________ of art can help focus our interest on specific areas of a work of art. a. styles b. elements c. periods d. tones e. themes 10 points Question 24 1. An artwork can be described as non-objective if its subject matter is ________. a. three-dimensional b. difficult c. unrecognizable d. recognizable e. animals 10 points Question 25 1. Match the methodological approach with its definition: biographical analysis feminist analysis formal analysis contextual analysis 2. iconographical analysis a. analyzes the use of formal elements in a work. b. considers the role of women in an artwork c. interprets objects and figures in the artwork as symbols d. considers the artist’s personal experiences e. considers the religious, political, and social environment in which the artwork was made and viewed 10 points Question 26 1. Alexander Calder invented the ________, a type of suspended, balanced sculpture that uses air currents to power its movement. a. mime b. relief c. mobile d. stabile e. zoetrope 10 points Question 27 1. Louise Nevelson’s work White Vertical Water is a realistic depiction of fish in a river. True False 10 points Question 28 1. William G. Wall’s Fort Edward was published as a ________. a. print b. watercolor c. photograph d. oil painting e. newspaper article 10 points Question 29 1. Artemisia Gentileschi worked during this stylistic and historical period. a. Surrealism b. Impressionism c. Baroque d. Renaissance e. Pop art 10 points Question 30 1. The process of using a series of parallel lines set close to one another to differentiate planes of value in a work of art is called ________. a. highlight b. core shadow c. perspective d. hatching e. palette 10 points Question 31 1. The artist Canaletto, in his drawing of the Ducal Palace in Venice, created an impression of three dimensions by using line to show the division between ________. a. planes b. two figures c. colors d. time periods e. mountains 10 points Question 32 1. Marisol’s work Father Damien was created to memorialize the heroism of a priest who lost his life helping the victims of leprosy. This sculpture stands in front of the State Capitol Building in the U.S. State of ________. a. Arizona b. Pennsylvania c. Utah d. Tennessee e. Hawaii 10 points Question 33 1. The medium of Marc Quinn’s Self is: a. clay b. the artist’s toenail clippings c. wood d. real human hair e. the artist’s own blood 10 points Question 34 1. The work now known as the Watts Towers was in fact given a different title by its creator. That title was ________. a. Nuestro Pueblo b. LA Towers c. Found Objects d. it had no title originally e. Skyscrapers 1 and 2 10 points Question 35 1. Why do we presume that the head of a woman from Benin (0.18) was made for someone wealthy? a. because it was made to be shown in a museum b. because it strongly resembles the Queen c. because it has a price carved on the back d. because it was made from rare ivory e. it was definitely not made for anyone wealthy 10 points Question 36 1. Shahzia Sikander’s art is best described as Abstract Expressionism Naturalist sculpture Pop Art Miniature Painting 10 points Question 37 1. A sunset is a work of art. True False 10 points Question 38 1. A mens’ urinal became a well known artwork in the 20th century. True False 10 points Question 39 1. Which artist has torn out people’s lawns to design and build edible gardens across the country? Andrea Zittel Fritz Haeg Ruben Ortiz Torres Mark Newport

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Explain the term “Stress Relaxation” and discuss its significance in the design of polymer components.

Explain the term “Stress Relaxation” and discuss its significance in the design of polymer components.

Reduction in stress in a material subjected to continued constant … Read More...
MCE 260 Fall 2015 Homework 4, due September 22, 2015. PRESENT CLEARLY HOW YOU DEVELOPED THE SOLUTION TO THE PROBLEMS Each problem is worth up to 5 points. Points are given as follows: 5 points: Work was complete and presented clearly, the answer is correct 4 points: Work was complete, but not clearly presented or some errors in calculation 3 points: Some errors or omissions in methods or presentation 2 points: Major errors or omissions in methods or presentation 1 point: Problem was understood but incorrect approach was used DO SOMETHING WITH LINKAGES 1. (5 points) Fig 4-16b shows a Stephenson 6-bar linkage. Assume that the linkage is driven by a constant speed motor on the fixed pivot of link 7. Draw this linkage schematically (dimensions are not important). The link numbering and vector loops are already defined in Fig 4-16b. Add symbols for the angles θ2… θ8 and the lengths L2… L8 to the Figure. 2. (5 points) There are two vector loops (1-2-3-4, and 4-5-6-7-8). Write the vector loop equations as separate X and Y equations for each loop. 3. (5 points) Identify the unknowns that must be solved for doing position analysis. Make sure that the number of unknowns is the same as the number of equations. Hint: “links” 3 and 5 are both on the (rigid) coupler, so there is a simple relationship between the two angles. 4. (5 points) Write the vector loop equations for the inverted crank-slider (Fig. 4-13). Identify the two unknowns that must be solved when it is driven by the slider joint, which means that length b is a known input (as in the hydraulic excavator). Write expressions for the elements of the 2×2 Jacobian matrix. 5. (5 points) Modify the Matlab code fbpos1vec.m to solve the position analysis problem for this system. You may choose the dimensions and the input (probably best to make this similar to Fig 4-13). Show the lines of Matlab code that you changed (and no other lines) and show the values for the two unknowns that you solved. Page 1 of 1

MCE 260 Fall 2015 Homework 4, due September 22, 2015. PRESENT CLEARLY HOW YOU DEVELOPED THE SOLUTION TO THE PROBLEMS Each problem is worth up to 5 points. Points are given as follows: 5 points: Work was complete and presented clearly, the answer is correct 4 points: Work was complete, but not clearly presented or some errors in calculation 3 points: Some errors or omissions in methods or presentation 2 points: Major errors or omissions in methods or presentation 1 point: Problem was understood but incorrect approach was used DO SOMETHING WITH LINKAGES 1. (5 points) Fig 4-16b shows a Stephenson 6-bar linkage. Assume that the linkage is driven by a constant speed motor on the fixed pivot of link 7. Draw this linkage schematically (dimensions are not important). The link numbering and vector loops are already defined in Fig 4-16b. Add symbols for the angles θ2… θ8 and the lengths L2… L8 to the Figure. 2. (5 points) There are two vector loops (1-2-3-4, and 4-5-6-7-8). Write the vector loop equations as separate X and Y equations for each loop. 3. (5 points) Identify the unknowns that must be solved for doing position analysis. Make sure that the number of unknowns is the same as the number of equations. Hint: “links” 3 and 5 are both on the (rigid) coupler, so there is a simple relationship between the two angles. 4. (5 points) Write the vector loop equations for the inverted crank-slider (Fig. 4-13). Identify the two unknowns that must be solved when it is driven by the slider joint, which means that length b is a known input (as in the hydraulic excavator). Write expressions for the elements of the 2×2 Jacobian matrix. 5. (5 points) Modify the Matlab code fbpos1vec.m to solve the position analysis problem for this system. You may choose the dimensions and the input (probably best to make this similar to Fig 4-13). Show the lines of Matlab code that you changed (and no other lines) and show the values for the two unknowns that you solved. Page 1 of 1

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Name: Lab Time: BIO 218 Experiment Paper Rubric (20 points) General Formatting: (2 pts.) • Margins should be 1 inch top, bottom, left, and right. • Font should be 12 point Times New Roman or similar font. • Double-spaced. • Pages numbered. Title page is unnumbered. Next page is numbered at the bottom right corner with a 2 followed by pages 3, 4, and 5. • All sections must be included: Abstract, Introduction, Methods, Results, Discussion, and Literature Cited. • At least 3 pages (double spaced) but no more than five pages long. • All scientific names should be formatted correctly by italicizing and capitalizing the genus name and having the species name in lowercase (Bufo americanus). • Title page should have a specific title, student name, course, lab section time, and date. Project elements (18 pts. Total) • Abstract (2 points) o Summarize most important points using past tense. Use present tense to suggest a general conclusion which supports or refutes the hypothesis. • Introduction (3 points) o General background on topic and species (state scientific name!) o Discuss the possible tests of the hypothesis. o Reads from general to specific. o States hypothesis/hypotheses to be addressed. May discuss null and all alternative hypotheses. • Methods (2 points) o Reports how experiment was conducted and all materials used. Use enough detail so others could repeat the study. o Discuss the type(s) of data collected. o Discuss how data was to be analyzed/compared/used to test hypothesis. • Results (3 points) o Reports what happened in the experiment. o If comparisons made, discuss how they were made. o Report statistical and other data. Use “significant” only for statistical significance. o NO interpretation of data (no data analysis). o At least one original figure present and formatted correctly. Figures such as pictures and graphs are numbered and have captions underneath. o At least one table present and formatted correctly. Tables such as charts are numbered and have captions above them. • Discussion: (3 points) o Discusses the results of the experiment and ties in how the results fit with the literature. o Use past tense to discuss your results and shift to present tense to discuss previously published information. o States how results supported or refuted the original hypothesis. Hypotheses are never proven! o Ties in results with big picture within topic of biology. • Literature Cited: (2 points: .5 per citation) o At least 2 peer-reviewed journal articles (provided) + 2 peer-reviewed journal articles (found on your own). o References used in text properly. o References all listed in this section are alphabetized by author’s last name and formatted correctly. o All references listed in the Literature Cited section are cited in text. Writing Elements (3 pts.) • Grammar or spelling is error-free and excellent print quality. (1 pt) • Writing is clear and flows logically throughout paper. (1 pt) • Appropriate content in each section? (1 pt) Additional Comments:

Name: Lab Time: BIO 218 Experiment Paper Rubric (20 points) General Formatting: (2 pts.) • Margins should be 1 inch top, bottom, left, and right. • Font should be 12 point Times New Roman or similar font. • Double-spaced. • Pages numbered. Title page is unnumbered. Next page is numbered at the bottom right corner with a 2 followed by pages 3, 4, and 5. • All sections must be included: Abstract, Introduction, Methods, Results, Discussion, and Literature Cited. • At least 3 pages (double spaced) but no more than five pages long. • All scientific names should be formatted correctly by italicizing and capitalizing the genus name and having the species name in lowercase (Bufo americanus). • Title page should have a specific title, student name, course, lab section time, and date. Project elements (18 pts. Total) • Abstract (2 points) o Summarize most important points using past tense. Use present tense to suggest a general conclusion which supports or refutes the hypothesis. • Introduction (3 points) o General background on topic and species (state scientific name!) o Discuss the possible tests of the hypothesis. o Reads from general to specific. o States hypothesis/hypotheses to be addressed. May discuss null and all alternative hypotheses. • Methods (2 points) o Reports how experiment was conducted and all materials used. Use enough detail so others could repeat the study. o Discuss the type(s) of data collected. o Discuss how data was to be analyzed/compared/used to test hypothesis. • Results (3 points) o Reports what happened in the experiment. o If comparisons made, discuss how they were made. o Report statistical and other data. Use “significant” only for statistical significance. o NO interpretation of data (no data analysis). o At least one original figure present and formatted correctly. Figures such as pictures and graphs are numbered and have captions underneath. o At least one table present and formatted correctly. Tables such as charts are numbered and have captions above them. • Discussion: (3 points) o Discusses the results of the experiment and ties in how the results fit with the literature. o Use past tense to discuss your results and shift to present tense to discuss previously published information. o States how results supported or refuted the original hypothesis. Hypotheses are never proven! o Ties in results with big picture within topic of biology. • Literature Cited: (2 points: .5 per citation) o At least 2 peer-reviewed journal articles (provided) + 2 peer-reviewed journal articles (found on your own). o References used in text properly. o References all listed in this section are alphabetized by author’s last name and formatted correctly. o All references listed in the Literature Cited section are cited in text. Writing Elements (3 pts.) • Grammar or spelling is error-free and excellent print quality. (1 pt) • Writing is clear and flows logically throughout paper. (1 pt) • Appropriate content in each section? (1 pt) Additional Comments:

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Lab #03 Studying Beam Flexion Summary: Beams are fundamental structural elements used in a variety of engineering applications and have been studied for centuries. Beams can be assembled to create large structures that carry heavy loads, such as motor vehicle traffic. Beams are also used in micro- or nano-scale accelerometers to delicately measure and detect motions that trigger the deployment of an airbag. From a technical standpoint, a beam is a structure that supports transverse load. Transverse load is load that is perpendicular to the long axis of the beam. As a result, of transverse load, beams undergo bending, in which the beam develops a curvature. As the beam bends, material fibers along the beam’s long axis are forced to stretch or contract, which in turn causes a resistance to the bending. The fibers that are the farthest away from the center of the beam are forced to stretch or contract the most and thus, material at these extremities is the most important to resist bending and deflection. This topic is studied quantitatively in Strength of Materials (CE-303). Purpose: The purpose of this assignment is to accomplish the following goals: • Develop a simple experiment to achieve a goal. • Statistically and observationally analyze your data and interpret the results. • Summarize and present your data, results and interpretations. Procedure: 1. Working as a team, develop a procedure to carefully document the amount of bending a beam under-goes as loads are placed on it (this is your experimental protocol). You must select at least two different beam styles. 2. Collect the data points your experimental protocol calls for. You should conduct at least three trials and the order of data collection within those trials should be randomized. 3. Using the provided Excel deflection calculator, calculate the “predicted” deflection for each of the trials in your protocol. 4. Please observe the following MAXIMUM test torques to avoid damaging the beams. • Width Effect Beams: Small beam: 48 in-lbs, Medium beam: 80 in-lbs, Large beam: 120 in-lbs • Depth Effect Beams: Small beam: 8 in-lbs, Medium beam: 48 in-lbs, Large beam: 160 in-lbs Report and Presentation Requirements: 1. Title Page: Should include the title of the lab experiment, groups individual names (in alphabetical order by last name), data collection date, report due date, and course name and section. 2. Introduction: Briefly explain what you are trying to accomplish with this experiment. 3. Hypothesis Development: Should clearly state the three hypotheses, with respect to distance, beam size, and calculated versus actual deflection. Be sure to include logic to support your educated guess. 4. Method: Explain each activity performed during the data collection and analysis process. Provide a list of the equipment used and its purpose. 5. Analysis and Results: (1) Using the raw data, provide a table of descriptive statistics (mean, variance, and range) for each beam at each distance. (2) Provide a data table (average across 3 trials) showing the deflection for each beam at each distance. (3) Create one or more charts demonstrating the difference, if any, between the calculated and observed deflection for each beam. (4) Use the t-Test: Paired Two Sample for Means in Excel to determine if there is a statistically significant difference between predicted (calculated) deflection and actual (observed) deflection, assuming α = 0.05. Show the results for each beam. Note: To add in the Data Analysis package (under the data tab), go to Office Button -> Excel Options -> Add-Ins -> Manage Excel Add-Ins -> GO… -> check Analysis TookPak and click OK. For each table or chart, provide a description and explanation of what is being displayed. 6. Conclusions: Restate the hypotheses and explain whether or not the educated guess was correct. Include limitations of the experiment (in other words, describe other factors that would make the experiment better or possible errors associated with the experiment). Provide suggestions for future research. 7. Last Page: Include, at the end of the document, a summary of all the tasks required to complete the assignment, and which member or members of the group were principally responsible for completing those tasks. This should be in the form of a simple list. 8. Presentation: Summarize the report, excluding the last page. Due Date: This assignment is to be completed and turned in at the beginning of your laboratory meeting during the week of 11th March. Microsoft office package: Excel: Data tab functions, round, drag-drop, $-sign functions, Beginning of analysis toolpak-t-tests

Lab #03 Studying Beam Flexion Summary: Beams are fundamental structural elements used in a variety of engineering applications and have been studied for centuries. Beams can be assembled to create large structures that carry heavy loads, such as motor vehicle traffic. Beams are also used in micro- or nano-scale accelerometers to delicately measure and detect motions that trigger the deployment of an airbag. From a technical standpoint, a beam is a structure that supports transverse load. Transverse load is load that is perpendicular to the long axis of the beam. As a result, of transverse load, beams undergo bending, in which the beam develops a curvature. As the beam bends, material fibers along the beam’s long axis are forced to stretch or contract, which in turn causes a resistance to the bending. The fibers that are the farthest away from the center of the beam are forced to stretch or contract the most and thus, material at these extremities is the most important to resist bending and deflection. This topic is studied quantitatively in Strength of Materials (CE-303). Purpose: The purpose of this assignment is to accomplish the following goals: • Develop a simple experiment to achieve a goal. • Statistically and observationally analyze your data and interpret the results. • Summarize and present your data, results and interpretations. Procedure: 1. Working as a team, develop a procedure to carefully document the amount of bending a beam under-goes as loads are placed on it (this is your experimental protocol). You must select at least two different beam styles. 2. Collect the data points your experimental protocol calls for. You should conduct at least three trials and the order of data collection within those trials should be randomized. 3. Using the provided Excel deflection calculator, calculate the “predicted” deflection for each of the trials in your protocol. 4. Please observe the following MAXIMUM test torques to avoid damaging the beams. • Width Effect Beams: Small beam: 48 in-lbs, Medium beam: 80 in-lbs, Large beam: 120 in-lbs • Depth Effect Beams: Small beam: 8 in-lbs, Medium beam: 48 in-lbs, Large beam: 160 in-lbs Report and Presentation Requirements: 1. Title Page: Should include the title of the lab experiment, groups individual names (in alphabetical order by last name), data collection date, report due date, and course name and section. 2. Introduction: Briefly explain what you are trying to accomplish with this experiment. 3. Hypothesis Development: Should clearly state the three hypotheses, with respect to distance, beam size, and calculated versus actual deflection. Be sure to include logic to support your educated guess. 4. Method: Explain each activity performed during the data collection and analysis process. Provide a list of the equipment used and its purpose. 5. Analysis and Results: (1) Using the raw data, provide a table of descriptive statistics (mean, variance, and range) for each beam at each distance. (2) Provide a data table (average across 3 trials) showing the deflection for each beam at each distance. (3) Create one or more charts demonstrating the difference, if any, between the calculated and observed deflection for each beam. (4) Use the t-Test: Paired Two Sample for Means in Excel to determine if there is a statistically significant difference between predicted (calculated) deflection and actual (observed) deflection, assuming α = 0.05. Show the results for each beam. Note: To add in the Data Analysis package (under the data tab), go to Office Button -> Excel Options -> Add-Ins -> Manage Excel Add-Ins -> GO… -> check Analysis TookPak and click OK. For each table or chart, provide a description and explanation of what is being displayed. 6. Conclusions: Restate the hypotheses and explain whether or not the educated guess was correct. Include limitations of the experiment (in other words, describe other factors that would make the experiment better or possible errors associated with the experiment). Provide suggestions for future research. 7. Last Page: Include, at the end of the document, a summary of all the tasks required to complete the assignment, and which member or members of the group were principally responsible for completing those tasks. This should be in the form of a simple list. 8. Presentation: Summarize the report, excluding the last page. Due Date: This assignment is to be completed and turned in at the beginning of your laboratory meeting during the week of 11th March. Microsoft office package: Excel: Data tab functions, round, drag-drop, $-sign functions, Beginning of analysis toolpak-t-tests

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