E. Stevenson High School - 774 Words

Adlai E. Stevenson High School is a public high school located in Lincolnshire in Illinois which belongs to district 125 and servers the communities of Lincolnshire, Prairie View, Long Grove, and some parts of Vernon Hills, Lake Forest, Lake Zurich, Buffalo Grove, Deerfield, Wheeling, Mundelein, Indian Cree, Riverwoods, Kildeer, Palatine and Mettawa. Students who live in district 125 can be enrolled at Stevenson High School. Stevenson offers its service, in 2015/2016 school year, to 3,906 students. The student body is approximately, White 66.2%, Asian 21.9%, Hispanic 7.1%, Two or More Races 2.7%, Black 1.8%, American Indian 0.2%, Pacific Islander 0.1%. 6.2% of the students are with some disabilities. 0.1% students come from low-income†¦show more content†¦The average score achieved by the students in the four subject areas plus a composite score in 2015 reflects teachers’ and students’ commitment to the school mission: Composite: 27, English: 27, Mathematics: 2 7, Reading: 26, and Science: 26. Stevenson offers a lot of areas for students to receive academic assistance and encouragement in many subjects: 9th hour, peer tutoring, targeted tutoring, and homework center. To support Adlai E. Stevenson High School’s efforts for the continued pursuit of Success for Every Student, Stevenson have developed the Faculty Evaluation Plan that is based on Danielson Framework for Teaching. Stevenson believes that this plan will serve as a valuable tool in the district to maintain high standards for professionalism, practice, and collaboration resulting in improved professional practice and students learning. One of the strengths of using the Danielson’s Framework at Stevenson is to improve student learning through a variety of feedback process. Danielson’s Framework promotes reflection on practice, defines clear criteria for evaluation of current practice, provides feedback on curriculum, instructional, and assessment practices, supports fostering a culture of professional learning and collaboration, and ensures faculty continue to grow professionally. In the evaluation process the feedback plays an important role. The Danielson Framework explains and defines the importance of collaboration.

The Two Main Levels Of Diversity - 1021 Words

Describe the two main levels of diversity. Give and example of each. The two main levels of diversity is surface level diversity and deep level diversity. Surface level diversity is the what you can tell about person when you first meet them. It is your demographic differences. Surface level diversity can range from some skin color, age, gender, to the amount of education. While deep level diversity is the how people think feel and what they believe in. Is the most important thing to know about a person. Deep level diversity for example is how someone feels about there family, how they interact with other(introvert or extrovert), and how they solve problems. What is the role of stereotypes in organization? Stereotypes don’t play a†¦show more content†¦Intellectual ability are the abilities needed to perform mental activities- thinking, reasoning, and problem solving. Which is made up of seven dimensions are number aptitude, verbal comprehension, perceptual speed, inductive reasoning, deductive reasoning, spatial visualization, and memory. Knowing someones intellectual ability is relevant OB, because it allows you but them in position where they will succeed and make your organization more efficient. Also allows for you to help choose the rights candidate for manager and promoting people from with in the company. 5. Compare and contrast intellectual and physical ability. Both of these abilities are based on how well you can do something. The difference between the two is the that intellectual is how smart you are and physical is your ability to do physical work. For example intellectual ability is the ability to think, reasoning, and problems. How well some can solve a math problem is intellectual. While physical is how much someone can lift or how long they can run for is physical ability. They are very different in the respect that one has to do with your mental capabilities, while the other has to do with raw strength. How ever they are are similar in respect that they measure how well you can do something or complete a task. This can be helpful to manager when figuring where to position people in the most effective manner. 6.How can organizations effectively manage diversity? ThisShow MoreRelatedDiversity And Cultural Diversity1198 Words   |  5 Pagesacknowledges, integrates and incorporates the relevance of culture, evaluation of cross-cultural relations, , and adaptation of services to meet culturally unique needs(pg.294). Diversity and cultural competence are two main concepts that are essential to address and take action to incorporate minorities with the main goal to have citizen engagement. 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Refraction free essay sample

Refraction BY gupta979 Refraction refers to the bending of the transmitted light at the interface between two transparent materials. The angle of refraction depends on the angle of incidence and the relative speeds of the light in the two different media and can be found from the relationship [pic] From this equation we see that the direction in which the light is bent depends on whether it is going from a slower to a faster medium or vice versa. Index of refraction The index of refraction of a medium is defined as the ratio of the speed of light in vacuum to the speed of light in the medium. By definition, n = 1 in vacuum. In all materials n 1. The frequency of light does not change as it goes from one a medium of one index of refraction to another. This means that the wavelength changes with the speed. Thus, the wavelength is smaller in a medium than in vacuum. We will write a custom essay sample on Refraction or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page From the definition of the index of refraction, we can rewrite the relationship etween the incident and refracted angles as or This equation is known as Snells law of refraction. Example The index of refraction of a glass is n = 1. 6. A ray of light is incident upon the glass surface at an angle of 300. What is the angle of refraction into the glass? Solution: approximately n If the wavelength of the light in air is 520 nm (green), what is its wavelength in the glass? What is the frequency of the light? (2 slow fast incident reflected refracted

Modernism Vs. Postmodernism Essays - Art Movements, Modern Painters

Modernism Vs. Postmodernism This question highlights one of the themes central to the account of modem art offered in this course: the tension between the theoretical perspectives of, on the one hand, Modernist criticism and, on the other, an approach focused on the relationship of the art of any given period to its social, political and historical context. The two quotations given above may be interpreted as representing these polarities. It would be an oversimplification to suggest that to accept a Modernist account of modem art must imply rejection of a socio-historical view, or vice-versa (the discussion between TJ Clark and Michael Fried about Pollock (TV21) suggests that there is room for negotiation, if not for compromise). It is, however, arguable that a definition of postmodernism should take into consideration both the close interrelationship between Modernist criticism and mid-twentieth century abstract art, which together constituted the dominant hegemony in art from the late 1940s to the early 1960 s (and hence the artistic context against which postmodernism in the visual arts evolved), and the social, historical and political context within which art characterised as postmodern has developed. It seems reasonable, therefore, to start by attempting to clarify the critical positions represented by Greenberg and Burgin. Greenberg, in 'Modernist Painting' (1961) and other writings, sets the development of modem art, specifically painting, in the context of the ideas of the Enlightenment philosopher Kant, who 'used logic to establish the limits of logic' (Art in Theory p.755.) Kant thereby established a precedent for using the techniques of a particular medium to define and refine that medium, a process referred to by Greenberg as 'self-criticism'. This implies that painting, rather than 'using art to conceal art' (ibid) by creating illusionistic space and depth, should rather use art 'to call attention to art' (ibid), that is, to emphasise the unique characteristics of the medium; 'the flat surface, the shape of the support, the properties of pigment' (ibid). Greenberg states that such a process would render art 'pure', that is, autonomous, free of any extraneous elements deri ving from other arts, such as theatricality or narrative. The impact of a painting should thus derive from those technical aspects characteristic of painting, such as colour, form and composition. An example of the sort of painting Greenberg was advocating at the time may clarify this. Morris Louis's painting Alpha-Phi (pl.D10) is exactly contemporary with the publication of 'Modernist Painting'. It consists of bold, ragged, diagonal streaks of pure colour against an off-white ground; Louis's use of acrylic paints, which soak into the canvas, means that the colours appear integrated with the ground and hence do not disrupt the flatness of the picture plane. Its effect depends upon the arrangement of colours and the large scale of the painting which makes it occupy 'so much of one's visual field that it loses its character as a discrete tactile object and thereby become that much more purely a picture, a strictly visual entity' (Greenberg, 'Louis and Noland', p.28). It is apparently devoid of references to anything other than the intrinsic qualities of forms and colours. Louis's painting, and the contemporary work of Kenneth Noland (e.g. Bloom, pl 141) and Jules Olitski (e.g. (Twice) Disarmed pl.D11) were seen by Greenberg as being how paintings should look if they are to continue 'the intelligible continuity of taste and tradition' (Art in Theory p.760) and offer the viewer 'a sufficient degree of aesthetic power' (Modernism in Dispute p. 173) in the 1960s. Burgin, however, sees Greenberg's approach and hence, by implication, paintings such as Alpha-Phi, as 'the terminal point of [an] historical trajectory'. It is arguable that paintings such as those of Louis represent a point beyond which art could not be further refined, and must therefore be reassessed or stagnate. Furthermore, in the context of the major social and political upheavals of the late 1960s and thereafter, such work might appear increasingly irrelevant. From Burgin's viewpoint, Greenberg's privileging of aesthetic and technical issues marginalises those types of art which can be validated by reference to their relationship with their historical context, to the way in which they represent their times. Thus Dada would be of little importance in a Greenbergian art history, but significant in