A Comparison of Student Achievement in Florida Charter Schools with For-Profit and Not-For-Profit Management Models

In this study, the researcher compared student achievement in Florida charter schools by investigating differences in those managed by for profit and not-for-profit entities in all 530 charter schools that reported results on the 2016 Florida Standards Assessments in Grades 4, 8, and 10 in English Language Arts (ELA) and mathematics. Using a two-way analysis of covariance, this investigation found statistically significant achievement differences only in 10th-grade ELA when using poverty as a moderator variable and eighth-grade mathematics using both school cohort size and poverty as moderator variables. Also, the covariates of percentage of minority students, percentage of disabled students, and percentage of English language learners accounted for some of the variance in achievement results. These findings are similar to the extant literature where prior similar studies found mixed results between traditional public schools and charter schools and between not-for-profit and for-profit charter schools. Questions are raised by this research regarding the public funding of for-profit or proprietary charter schools if they do not routinely achieve superior results to traditional public schools. Implications for future research both building on this study and investigating other aspects of charter school performance include conducting similar studies on a recurring basis to better evaluate charter school performance, closer study on the role the covariates (minority status, disability status, and English language learner status) has on charter school student achievement, and a comparison of Florida\u27s charter schools with Florida\u27s traditional public schools

Some Recent Happenings

14, [2] pages . A Great Bear Pamphlet ; no. 7. Cover title. Four characteristic scenarios by the inventor of the Happening Concept. --page [4] of cover. CONTENTS: Birds -- Household -- Soap -- Raining. Stapled binding. 2nd copy gift of Estera Milman, RISD Class of 1970. Estera Milman (RISD BFA Painting/Printmaking and Film, 1970) scholar of post-World War II avant-garde art. Founded Alternative Traditions in Contemporary Art (ATCA) at the University of Iowa, 1982, and served as its director until 2000. She is the author of many books, articles, interviews, and exhibition catalogs on Fluxus and No!art. In December 2018 she donated a selection of books from her library to the Fleet Library at RISD. Curated title for Fleet Library Special Collections exhibition By Hand: Women & Books Exhibit fall, 2021.https://digitalcommons.risd.edu/specialcollections_artistsbooks/1268/thumbnail.jp

Sucessos e fracassos quando a arte muda

Ao relatar, quase três décadas depois, algumas das experiências ocorridas no “Projeto Outros Caminhos”, realizado em escolas públicas da Califórnia, no final da década de 1960, o autor avalia a mudança das fronteiras da arte com a vida cotidiana, colocando em discussão os limites entre arte e educação

Complexity as Process: Complexity Inspired Approaches to Composition

This article examines the use of Complexity Theory as an inspiration for the creation of new musical works, and highlights problems and possible solutions associated with its application as a compositional tool. In particular it explores how the philosophy behind Complexity Theory affects notions of process-based composition, indeterminacy in music and the performer/listener/environment relationship, culminating in providing a basis for the understanding of music creation as an active process within a context. The author presents one of his own sound installations, Cross-Pollination, as an example of a composition inspired and best understood from the philosophical position as described in Complexity Theory

Laruelle, Immanenz und Performanz: Was tut die Non-Philosophie?

François Laruelles „non-philosophische“ Praxis ist eng verbunden mit seiner performativen Sprache, beispielsweise wenn die Non-Philosophie die Frage „Was bedeutet Denken?“ damit beantwortet, dass zu denken nicht „Denken“ bedeutet, sondern Aufführen. Laruelle beschreibt die Non-Philosophie in gleicher Weise als eine „transzendentale Praxis“, als „immanente Pragmatik“ oder als „universale Pragmatik“, die sowohl „für die Sprache im Allgemeinen als auch für die Philosophie von Wert“ ist: Er besteht darauf, dass wir immer darauf schauen, „was-ich-beim-sprechen-tue und nicht nur auf das, was ich sage“ – denn Letzteres ist lediglich das was geschieht, wenn „die Philosophie wieder vom [Denken] Besitz ergreift“. Indem sie sich diesem Zugriff entzieht, liefert die Non-Philosophie Neu-Beschreibungen der Philosophie, welche wiederum die Art und Weise beeinflussen, in der philosophische Texte gesehen werden. In gleicher Weise ist es wert festgehalten zu werden, dass Laruelle sich gegen die Konzentration auf die Aktivität innerhalb des Konzeptes des Sprechakts ausspricht und stattdessen die „deskriptive Passivität“ betont, der eine immanente   Pragmatik verpflichtet ist; Aussagen, die „durch ihre schiere Existenz“ das manifestieren, „was sie letztendlich beschreiben müssen – Aussagen, die gleichermaßen deskriptive und performativ sind.“ Was Laruelle als „Aufgeführt-ohne-Aufführung“ bezeichnet, wäre eine Aktion des Realen oder des „in-Einem“ – philosophische Sprache gesehen als etwas Aufgeführtes, ohne dass wir diese oder irgendeine andere Sprache verwenden. Im vorliegenden Aufsatz wird dieser komplexe Gedanke mit bestimmten Konzepten und Praktiken der Performance verglichen, die nicht explizit von der Philosophie kommen (Allan Kaprow, Richard Schechner und besonders Michael Kirby), aber sehr wohl einen Schlüssel zum Verständnis dieser passiven Aktion des Realen liefern können

Unsatisfactory devices: legacy and the undocumentable in art.

Regarding perception of ephemeral artwork when lost to the fractures of time Peggy Phelan states “you have to be there.” For Phelan ephemera, specifically performance “become[s] itself through disappearance,” which draws empathy with Walter Benjamin’s notion of the “aura of the original.” In practice this a less than pragmatic account of the reality of experiencing such artworks, for how can they exist beyond the moment of making if not recorded, in order to map their histories? This essay interrogates the critical, sensitive and individualized distance necessary to archive transient artworks. Moving beyond the disciplinary ghettos of event and documentation, it interrogates how divergent and sympathetic modes of practice allow for a greater level of sustainable critique. This complex and problematic terrain is analysed in response to The Alternative Document, an exhibition I curated on the subject in 2016, and suggests archival possibilities beyond formal academic, artistic and museological conventions.University of Derb

Alternative organizing in times of crisis : resistance assemblages and socio-spatial solidarity

This paper draws on research conducted in Greece, where, during the last seven years, an acute socio-economic crisis has led to the emergence of a number of alternative organizational forms. By foregrounding the term drasis, the unexpected unfolding of an event in a specific space and time, we discuss how these alternative forms assemble differential capacities in order to resist the neoliberal ordering of socio-spatial and economic relations. In particular, we focus on two self-organized spaces, namely, a social centre and a squatted public garden and discuss two concrete instances of drasis. We propose that drasis instigates the establishment and evolution of transformative, prefigurative organizing through three interrelated processes, namely, the formation of resistance assemblages, social learning and socio-spatial solidarity. The paper offers three propositions, suggesting that drasis provides the socio-material conditions through which new resistance formations challenge the established productive forces of society and co-produce alternative forms of civic life.© 2017 published by SAGE. This is an author produced version of a paper published in European Urban and Regional Studies, uploaded in accordance with the publisher’s self- archiving policy. The final published version (version of record) is available online at http://journals.sagepub.com/doi/10.1177/0969776416683001. Some minor differences between this version and the final published version may remain. We suggest you refer to the final published version should you wish to cite from it

New Sites/Sights: Exploring the White Spaces of Organization

Contemporary organization is increasingly understood as contingent and improvisational - and immersed in complex and shadowy realities where customary assumptions about the space and time of organization no longer hold. This Special Issue invites organization studies into an ambivalent space of sites/sights in organization, the double-play of this modest conceptual proposal necessary in order to open up the complex folding of the epistemological and the ontological in organization today. In this introduction we seek to establish and position a distinctive approach to what we claim to be ‘white spaces’ in organization. We show that any adequate treatment of these white spaces compels a significant breaching of the disciplinary norms of organization studies. Our argument derives from a consideration of a range of recently emerging concepts and analyses in the study of organization, all of which are suggestive of crisis and of emerging (anti-)forms of organization. This edition of Organization Studies publishes six papers and three originally commissioned book reviews that help advance this emerging problematic in organization, and which in their various ways extend our understanding of possible organizing futures. </jats:p

Conceptual Art

Providing a re-examination of what Osborne identifies as a major turning point in contemporary art, this monograph takes a chronological and stylistic look at conceptual art from its “pre-history” (1950-1960) to contemporary practices that use conceptual strategies. Osborne surveys the development of the movement in relation to the social, cultural and political contexts within which it evolved. With extended captions, key works are compiled according to ten themes that also serve to present a collection of critical texts, artists’ statements, interviews and commentaries. Includes biographical notes on artists (6 p.) and authors (2 p.), a bibliography (2 p.) and an onomastic index (4 p.) Circa 150 bibl. ref