LEADER 09908nam 22007214a 450 001 9911089621103321 005 20251117115307.0 010 $a1-282-37470-2 010 $a9786612374708 010 $a1-4106-0897-2 010 $a9781410608970 024 7 $a10.4324/9781410608970 035 $a(CKB)111087027890078 035 $a(EBL)370937 035 $a(OCoLC)437239193 035 $a(SSID)ssj0000106659 035 $a(PQKBManifestationID)11133404 035 $a(PQKBTitleCode)TC0000106659 035 $a(PQKBWorkID)10131951 035 $a(PQKB)10478184 035 $a(MiAaPQ)EBC370937 035 $a(Au-PeEL)EBL370937 035 $a(CaPaEBR)ebr10258440 035 $a(CaONFJC)MIL588685 035 $a(OCoLC)53721993 035 $a(FlBoTFG)9781410608970 035 $a(EXLCZ)99111087027890078 100 $a20021009d2004 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdamedia 200 10$aAssessing expressive learning $ea practical guide for teacher-directed, authentic assessment in K-12 visual arts education /$fCharles Dorn, Stanley Madeja, F. Robert Sabol 205 $a1st ed. 210 $aMahwah, N.J. $cLawrence Erlbaum Associates$d2004 215 $a1 online resource (214 p.) 300 $aDescription based upon print version of record. 311 08$a0-8058-4524-0 311 08$a0-8058-4523-2 320 $aIncludes bibliographical references and indexes. 327 $aCover -- Half Title -- Title -- Copyright -- Dedication -- TABLE OF CONTENTS -- PREFACE -- INTRODUCTION -- The Project -- The Florida Project -- The Illinois Project -- The Indiana Project -- Project's Rationale -- Organization of the Book -- CHAPTER 1 THE ASSESSMENT CONTEXT -- The National Assessment Context -- Impact of the Standards Movement on Assessment -- Enter the National Assessment of Educational Progress -- The Role of the Art Teacher in the Assessment Context -- Large-Scale Studies of Assessment in the Art Classroom -- Why Do Art teachers Assess? -- What Types of Assessments Do Art Teachers Use? -- What Assessment Training Have Art Teachers Had? -- What Attitudes Do Art Teachers Hold About Assessment? -- Attitudes about Purposes of Assessment -- Attitudes about Implementing Assessments -- Attitudes about Assessment Training -- General Attitudes about Assessment in Art Education -- Negative and Positive Effects of Assessment in Art Education -- The Art Classroom Assessment Context -- Selecting Criteria for Evaluating Works of Art -- What Factors Contribute to Such Changes and Why? -- Examining Criteria Used to Evaluate Works of Art -- A Study of Art Teachers in the ATI Project and Assessment -- How Art Teachers Select Evaluation Criteria for Studio Work -- Criteria Art Teachers Use to Evaluate Students' Artwork -- Criteria Art Teachers Use to Evaluate Students' Performance -- How Criteria Used to Evaluate Student Artwork Changed Over Time -- Asking Students About Assessment in Art Education -- Criteria Students Use to Evaluate Artwork at School -- Students' Art Making at Home -- Criteria Students Use to Evaluate Artwork Made at Home -- Looking at Artists and Assessment -- Criteria Artists Use to Evaluate Their Work -- Criteria Artists Use to Evaluate Other Artists' Work. 327 $aComparing Criteria Used by Art Teachers, Art Students, and Artists to Evaluate Works of Art -- Considering the Nature of Evaluation Criteria Identified in Sets -- Identifying Similarities and Differences Among Evaluation Criteria Sets -- Reflections about Assessing Studio Production in Art Education -- Study Questions -- References -- CHAPTER 2 ALTERNATIVE ASSESSMENT STRATEGIES FOR SCHOOLS -- The Politics of the Assessment Process -- The Competition to Perform -- Relationship Between Evaluation, Assessment, and the Curriculum -- Does Assessment Drive the Curriculum? -- State-Wide Testing Programs and Their Effects on the Curriculum -- The Negative and Positive Effects of the Top-Down Evaluation Model -- The Need for Alternate Models for School-Based Assessment -- Alternative Models for Assessment of Expressive Learning in the Visual Arts -- Quantifying Art Products in the Art Classroom -- The Portfolio as an Alternative Assessment Instrument -- Journal Portfolio -- A teacher's Portfolio or Log -- Controlled Task Portfolio -- International Baccalaureate Schools Portfolio -- The Advanced Placement Portfolio in the Visual Arts -- Electronic Portfolio Assessment Design -- Assumptions About the Process of Visual Modeling -- The Process of Visual Modeling of Information -- The Acquisition of Knowledge Stream -- Reaction Stream -- Interpretation and Analysis Zone -- Visual Modeling -- Sample Electronic Portfolio Based on the MVMIS -- Study Questions -- References -- CHAPTER 3 THE CHARACTER OF EXPRESSIVE LEARNING AND ITS ASSESSMENT -- The Pressures for Reform -- The Art Teacher's Role in Reform -- What We Need to Assess -- Art Learning as Part of the Total Curriculum -- Combining Critical and Creative Modes of Thought -- Creative Thinking and Creative Performing -- Discovering Alternative Modes of Thought -- The Quantification of Qualitative Learning. 327 $aArt Learning -- Art Learning Standards -- Art Practice -- Students Needing to Know That and How to Do That -- Students Learning to Know What -- Students Learning to Know How -- Assessing Expressive Learning -- Setting Assessment Objectives -- Knowing What Performances to Assess -- Assessing Expressive Performances -- Assessing Program Knowledge and Skills -- Assessing Conceptual Development -- Making Assessment Manageable -- The Development of Test Instruments -- The Art Teacher's Involvement in Assessment -- Assessing What Art Teachers Teach -- The Art Learning Environment -- Learning Through Doing -- Summary -- Study Questions -- References -- CHAPTER 4 TEACHER TRAINING AND STUDENT PORTFOLIO ASSESSMENT -- Aims of the Project -- The Study Design and Methodology -- Procedure -- Teacher Training -- Project Assessment Goals and Standards -- State art content standards -- The Local School District Art Context Standards -- The Construction of the Assessment Instruments -- Converting Art Content and Achievement Standards to Assessment Practice -- Authentic Assessment -- Developing Authentic Performance Tasks -- Specifying Performances -- Using Rubrics in Assessment -- The Design of the Scoring Rubrics -- Teacher Training in the Use of Rubrics -- Deciding What Would Be Judged -- The Gestalt Method -- Score Spread -- Portfolio Assessment Plan -- Insuring score spread -- Interjudge Reliability -- Discrepancies -- Field Tests of the Project Instruments -- Method -- Results of the Field Test -- Conclusions of the Field Test -- Project Portfolio Goals -- Workshop Organization -- Curriculum Development -- Critiques -- Summary -- Study Questions -- References -- CHAPTER 5 ELECTRONIC PORTFOLIO STUDIES -- Elementary School Case Studies in Electronic Formats for Portfolio Design -- Case Study #1: Spring Brook Elementary Model -- Objectives for Student Learning. 327 $aBenefits of Electronic Portfolios in the Art Education Classroom -- Description of the District 204 Project -- Assessment Component -- Self-Assessment -- Standards and Goals -- Case Study #2: Forest Road Elementary Model -- Getting Started -- The Benefits of the Electronic Portfolio as an Assessment Tool -- The Importance of Visual Presentations and Electronic Formats -- Promoting the Art Program -- The Future, Next Steps -- Hardware and Environment Needs for Project -- High School Case Studies in Electronic Formats for Portfolio Design -- Case Study #3: The Mundelein High School Model -- University Case Studies in Electronic Formats for Portfolio Design -- Case Study #4: The Northern Illinois University Model -- Application of the Electronic Portfolio to Evaluation of Expressive Learning -- Study Questions -- CHAPTER 6 CONCLUSIONS AND RECOMMENDATIONS -- Results of the Student Portfolio Assessment -- The Study of Student, Teacher, and Artist Behavior -- The Electronic Portfolio Alternative -- Electronic Portfolio Conclusions -- Recommendation for Further Study -- References -- Appendix A: Art Teachers' Studio Product Evaluation Criteria -- Appendix B: Student Performance Criteria -- Appendix C: At-School-Students' Studio Product Evaluation Criteria -- Appendix D: At-Home-Students' Studio Product Evaluation Criteria -- Appendix E: Artists' Studio Product Evaluation Criteria -- Appendix F: Summary of Student Portfolio Findings (Tables F.1-F.6) -- Author Index -- Subject Index. 330 $aAssessing Expressive Learning is the only book in the art education field to date to propose and support a research-supported teacher-directed authentic assessment model for evaluating K-12 studio art, and to offer practical information on how to implement the model. This practical text for developing visual arts assessment for grades 1-12 is based on and supported by the results of a year-long research effort primarily sponsored by the National Endowment for the Arts, involving 70 art teachers and 1,500 students in 12 school districts in Florida, Indiana, and Illinois. 606 $aArt$xStudy and teaching (Elementary)$zUnited States 606 $aArt$xStudy and teaching (Secondary)$zUnited States 606 $aEducational evaluation$zUnited States 615 0$aArt$xStudy and teaching (Elementary) 615 0$aArt$xStudy and teaching (Secondary) 615 0$aEducational evaluation 676 $a707.1/273 700 $aDorn$b Charles M$01930355 701 $aMadeja$b Stanley S$01930356 701 $aSabol$b Frank Robert$f1949-$01930357 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9911089621103321 996 $aAssessing expressive learning$94679459 997 $aUNINA LEADER 05229nam 2200649Ia 450 001 9910969926103321 005 20251116174446.0 010 $a1-280-64312-9 010 $a9786610643127 010 $a0-08-045938-2 035 $a(CKB)1000000000336821 035 $a(EBL)270197 035 $a(OCoLC)469389149 035 $a(SSID)ssj0000225589 035 $a(PQKBManifestationID)11174428 035 $a(PQKBTitleCode)TC0000225589 035 $a(PQKBWorkID)10233108 035 $a(PQKB)11168512 035 $a(Au-PeEL)EBL270197 035 $a(CaPaEBR)ebr10139483 035 $a(CaONFJC)MIL64312 035 $a(MiAaPQ)EBC270197 035 $a(EXLCZ)991000000000336821 100 $a20050415d2006 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aPractical balancing of rotating machinery /$fDerek Norfield 205 $a1st ed. 210 $aAmsterdam ;$aBoston $cElsevier$d2006 215 $a1 online resource (228 p.) 300 $aIncludes index. 311 08$a1-85617-465-4 327 $afront cover; copyright; table of contents; front matter; About the author; Preface; body; 1 Introduction; The first machines a brief history; The need for balancing; The industrial revolution; The history of balancing; Why do we balance?; Balancing is not an additional expense!; Vibration, causes and effects; Simple vibration; Complex vibration; Damping; Why is vibration so bad?; What is the cause of vibration?; Misalignment; Damaged bearings; Bent shaft; Turbulence; Hydraulic (or aerodynamic) unbalance; Cavitation; Oil whirl; Looseness; Bearing lubrication; Worn or damaged gear; Unbalance 327 $a2 Eliminate unwanted motion!Introduction; How do we do that?; Balancing is Science, Technology and Art; What is the cost of balancing a rotor?; What are alternatives to balancing?; What is the benefit of proper balancing?; Unbalance is not good for my product!; How do we implement the program?; Mission possible; Sir Isaac Newton; Newton's first law; Newton's second law; Newton's third law; Energy balance; Baseball; Golf; Rotary motion; Know your forces; Inward or outward?; Flying free; Which direction?; Bearing load; Acceleration; Moment of a force; Moment is a vector quantity 327 $aRelation of force to balancingThe cost of increased performance; Balance tolerances and performance; Unbalance and speed; Centrifugal force; Unbalance and speed; Unbalance defined; Everything together; Correcting unbalance. How do we do that?; 3 The balancing process; Overview of real balancing tolerances; Summary; Rotor unbalance defined; Specific unbalance; Sources of unbalance; Force, unbalance and speed; How to balance?; What is balancing?; Rotor balancing; Rotor axes; Review definitions; Mass axis; What is a micron?; Balancing defined; Force/vibration; Rotor rigidity characteristics 327 $aStatic unbalanceCouple unbalance; Dynamic unbalance; Measurement and correction; Single unbalance - 1; Single unbalance - 2; Single unbalance - 1a; Single unbalance - 2a; Two unbalances; Vector addition; Unbalance in two planes; Unbalance outside the bearings; Getting to be too much?; Plane separation; Machine setup; Balancing machine basics; Measure, then correct unbalance; Correction; Correction, 3 ways; What are the limits?; Noise is the limit; Noise signature; The right tolerance; Standards again; ISO 1940; Example grades; Getting at the numbers; API 610; Fundamentals of balancing 327 $aThe importance of ANGLEPhase error; Phase shift; Correction efficiency; Unbalance vector; Angle error chart; Correction ratio; Why not 'zero'; Measuring errors; Correction error; Plane separation; Is the process in control?; Process parameters; Gage R&R; Cpk; Balancing efficiency; Balancing machine testing; How to be sure your machine does what you need; Balancer specifications; Test requirements and specifications; Balancing machine types; 1. Horizontal or vertical orientation of the rotor axis; 2. Soft bearing or hard bearing; 3. Single or two plane; 4. Single plane balancers 327 $aUnbalance correction 330 $aRotating machinery (eg pumps, motors, compressors) is normally manufactured to precise measurements but there comes a point when the costs of manufacture mean that further precision is not cost-effective and thus any slight imbalance inherent in the machine will need to be attended to after manufacture. When such machinery is in operation, often at very high speeds of thousands of revs per minute, any imbalance will set up vibration and often noise. In addition, such imbalance will cause extra wear and loss of efficiency in the machine. The answer is to balance the affected parts of the machi 606 $aBalancing of machinery 606 $aMachinery$xVibration 615 0$aBalancing of machinery. 615 0$aMachinery$xVibration. 676 $a621.811 676 $a621.816 676 $a621.811 700 $aNorfield$b Derek$0627478 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910969926103321 996 $aPractical balancing of rotating machinery$91212777 997 $aUNINA