2,356 research outputs found
SAFE SPACES AND ARTISTIC RESPONSIBILITY
Theatres and other artistic venues have often been referred to as a safe space. Based on a survey of adults between the ages of 18 and 67, of all genders, and 40% coming from non-arts-related careers, it was determined that 70% of people believed that an artistic space should be required to be a safe space. Survey participants demonstrated that a safe space meant a judgement free zone, a space of mutual respect and collaboration. This contradicts the official definition, which requires a safe space to be free of bias, conflict, criticism, or potentially threatening actions, ideas, or conversations. With this dissonance between the official definition and the public\u27s views on safe spaces, the arts have been misbranded as a \u27safe space.\u27 The misbranding of theatre has become a toxic characteristic that promotes censorship of threatening or challenging work. In this two-part study, public opinions on safe spaces are presented and a conversation between theatre artists on the basis of threatening work is analyzed. Jackie Sibblies Drury\u27s play We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German SĂŒdwestafrika, Between the Years 1884-1915 and Bruce Norris\u27s Downstate are analyzed for their threatening content and challenging benefits to audiences. Although the theatre cannot be defined as a safe space because of its innate characteristic to challenge artists and audience members, it can provide a supportive and equitable environment. This branding provides the audience experiences they desire while not inhibiting work that is presented onstage. By supporting the theatre as an equitable space, artists have the opportunity to present challenging work that provokes an open dialogue
Creating unity within an album for compositions defined as jazz style
Unity is an important factor when I compose music as it creates a sense of logic elements upon which the language of music can be communicated to the listeners. By the term âlistenerâ I am referring to anyone, novice or educated, who listens to my music. Without the logic of unity, communication breaks down and the language of music consisting of both emotional and structural elements is no longer experienced by the listener. As part of my compositional approach, I have developed a set of rules that would allow unity to be created throughout the pieces to be recorded on the album. During the compositional process, it occurred to me that the largest unifying factor between all my compositions is that they were all written in âjazz fusion styleâ. If I was to consider style as a unifying feature, I needed to come up with a definition for what I believe qualifies my compositions as having been stylistically composed and performed as jazz, a major part of which, is the process of interplay and interaction between members of the ensemble. All the compositions on the album were recorded live with no multi-tracking or overdubbing. Using a live recording creates the maximum amount of interaction and interplay amongst the ensemble members necessary for my definition of jazz style in my compositions. It is my aim that the listener should be able to experience unifying factors between my compositions in some form while listening to the recording provided. They should also be able to recognize elements of interaction and interplay between ensemble members creating a sense of jazz style throughout my compositions
La Politique énergétique du Québec 2030 : rencontrer les cibles fixées
RĂ©digĂ© en rĂ©ponse Ă lâinauguration de la nouvelle Politique Ă©nergĂ©tique 2030 du QuĂ©bec, lâobjectif de cet essai est de dĂ©terminer quelles mesures concrĂštes doivent ĂȘtre mises en place par le gouvernement du QuĂ©bec pour rencontrer les cibles Ă©mises dans le document. Cet objectif gĂ©nĂ©ral est accompagnĂ© de trois objectifs spĂ©cifiques, soit de poser un diagnostic de la situation actuelle de lâĂ©nergie au QuĂ©bec, de rĂ©aliser une analyse critique de la Politique Ă©nergĂ©tique du QuĂ©bec 2030, ainsi que dâĂ©mettre des recommandations quant Ă sa bonne implantation.
Lâanalyse de la Politique Ă©nergĂ©tique 2030 dĂ©montre que le gouvernement sâest dotĂ© de cibles ambitieuses pour faire face aux enjeux Ă©nergĂ©tiques de la province. En effet, les cibles visant Ă amorcer une vĂ©ritable transition Ă©nergĂ©tique, Ă diminuer la dĂ©pendance du QuĂ©bec envers lâimportation de produits pĂ©troliers ainsi que la promotion des Ă©nergies renouvelables, entre autres, permettent de rapprocher le QuĂ©bec dâun
futur faible en carbone. Malheureusement, le manque dâactions concrĂštes complĂ©mentĂ©es dâĂ©chĂ©anciers rĂ©alistes, de prĂ©visions budgĂ©taires ainsi que dâautoritĂ©s responsables affaiblit la crĂ©dibilitĂ© gĂ©nĂ©rale de la nouvelle politique Ă©nergĂ©tique. De plus, lâinsuccĂšs du gouvernement dâassurer un financement et un support administratif convenable Ă Transition Ă©nergĂ©tique QuĂ©bec, de mettre davantage de lâavant le dĂ©veloppement des transports collectifs, de faire face Ă long terme aux surplus Ă©nergĂ©tiques de la province et de dĂ©velopper une vision cohĂ©rente en matiĂšre dâexploitation des Ă©nergies fossiles sonne lâalarme au sein de la population quĂ©bĂ©coise.
Dans ce sens, les principales recommandations de lâauteur incluent lâutilisation du gaz naturel et du biomĂ©thane pour lâalimentation des transports de marchandises, lâaugmentation du financement des rĂ©seaux de transports collectifs, la promotion du dĂ©veloppement dâune expertise quĂ©bĂ©coise en matiĂšre de production et vente de vĂ©hicules Ă©lectriques, ainsi que la remise en question du dĂ©veloppement de nouvelles infrastructures hydroĂ©lectriques et Ă©oliennes. De mĂȘme, lâĂ©valuation de la complĂ©mentaritĂ© entre lâexploitation des gisements fossiles au QuĂ©bec et la possibilitĂ© de ce dernier Ă atteindre ses objectifs de rĂ©duction des gaz Ă effet de serre pour les annĂ©es 2020 et 2030 doit aussi ĂȘtre mis de lâavant par le gouvernement pour respecter ses engagements en matiĂšre de protection de lâenvironnement
Supporting Pre-service Elementary Teachers Early Algebraic Thinking with Technology Through Lesson Planning and TPACK
Algebraic thinking is an essential component of the K-12 mathematics curriculum. Early algebra focuses on the overall numeric structure (Kaput, 2008 ; Kieran,2018; Kieran et al., 2016) which focuses on the noticing of arithmetic patterns leading to generalizations supported by justification, reasoning and justifications (Blanton, 2008; Blanton et al., 2018; Kieran, 2018; Kieran et al., 2016; Kieran et al., 2017; Kieran, 2018). This study focuses on investigating the conceptualization pre-service teachers develop as they participate in an elementary mathematics methods course with an intentional focus on algebraic reasoning, lesson planning, and use of technology. An additional component of supporting student algebraic thinking through the use of technology and the use of the Technological, Pedagogical, and Content Knowledge (TPACK) (Mishra & Koehler, 2006) was used to document shifts in pre-service teachersâ developing knowledge. Through mixed methods analysis, this study provides insight into the course development and sequencing of mathematics content, pedagogy, and technology to support pre-service teachersâ learning of algebraic thinking and lesson planning. Practical implementations for algebraic thinking and teaching of elementary mathematics methods courses are discussed, as well as the theoretical implications for the TPACK framework
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