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Understanding the Value of Arts & Culture | the AHRC Cultural Value
Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8. -
The Arts & Letters of Rocky Neck in the 1950S
GLOUCESTER, MASSACHUSETTS TheArts & Letters of Rocky Neck in the 1950s by Martha Oaks have received the attention they deserve. Four Winds: The Arts & Letters of Rocky With this exhibition, Four Winds, the Cape Neck in the 1950s is on view through Sep- ocky Neck holds the distinction as Ann Museum casts the spotlight on one of tember 29, 2013, at the Cape Ann Mu- R one of the most important places in those interludes: the decade and a half fol- seum, 27 Pleasant Street, Gloucester, American art history. Since the mid-nine- lowing the Second World War. Not so far Massachusetts, 01930, 978-283-0455, teeth century, its name has been associated in the past that it cannot be recollected by www.capeannmuseum.org. A 52-page soft with many of this country’s best known many, yet just far enough that it is apt to cover catalogue accompanies the exhibition. artists: Winslow Homer, Frank Duveneck, be lost, the late 1940s and 1950s found a All illustrated works are from the Cape Theresa Bernstein, Jane Peterson and Ed- young and vibrant group of artists working Ann Museum unless otherwise noted. ward Hopper. From the mid-1800s on the Neck. through the first quarter of the twentieth Although it is one of Cape Ann’s painter William Morris Hunt and his pro- century, the heyday of the art colony on longest-lived and best known art colonies, tégé, Helen Mary Knowlton. Hunt was Rocky Neck, the neighborhood was awash Rocky Neck was not the first. One of the one of the first art teachers to welcome with artists. -
Days & Hours for Social Distance Walking Visitor Guidelines Lynden
53 22 D 4 21 8 48 9 38 NORTH 41 3 C 33 34 E 32 46 47 24 45 26 28 14 52 37 12 25 11 19 7 36 20 10 35 2 PARKING 40 39 50 6 5 51 15 17 27 1 44 13 30 18 G 29 16 43 23 PARKING F GARDEN 31 EXIT ENTRANCE BROWN DEER ROAD Lynden Sculpture Garden Visitor Guidelines NO CLIMBING ON SCULPTURE 2145 W. Brown Deer Rd. Do not climb on the sculptures. They are works of art, just as you would find in an indoor art Milwaukee, WI 53217 museum, and are subject to the same issues of deterioration – and they endure the vagaries of our harsh climate. Many of the works have already spent nearly half a century outdoors 414-446-8794 and are quite fragile. Please be gentle with our art. LAKES & POND There is no wading, swimming or fishing allowed in the lakes or pond. Please do not throw For virtual tours of the anything into these bodies of water. VEGETATION & WILDLIFE sculpture collection and Please do not pick our flowers, fruits, or grasses, or climb the trees. We want every visitor to be able to enjoy the same views you have experienced. Protect our wildlife: do not feed, temporary installations, chase or touch fish, ducks, geese, frogs, turtles or other wildlife. visit: lynden.tours WEATHER All visitors must come inside immediately if there is any sign of lightning. PETS Pets are not allowed in the Lynden Sculpture Garden except on designated dog days. -
STAAR® State of Texas Assessments of Academic Readiness
STAAR® State of Texas Assessments of Academic Readiness GRADE 6 Reading May 2019 RELEASED Copyright © 2019, Texas Education Agency. All rights reserved. Reproduction of all or portions of this work is prohibited without express written permission from the Texas Education Agency. STAAR Reading 10/02/2019 G6RSP19R_rev00 STAAR Reading 10/02/2019 G6RSP19R_rev00 READING Reading Page 3 STAAR Reading 10/02/2019 G6RSP19R_rev00 Read the selection and choose the best answer to each question. Then fill in the answer on your answer document. A Picture of Peace 1 When she was just seven years old, Michelle knew with certainty that she wanted to be a photographer when she grew up. That year she received her first camera, a small disposable one to use on the family vacation. At first she randomly clicked the button, not giving much thought to what she was doing. When her father examined her blurred images and aimless shots, he advised Michelle to look through the lens and think about what the resulting picture would look like. The next day Michelle saw a family of ducks, and remembering what her father had said, she lay down on the ground and waited for a duckling to waddle near her. That picture still hangs on her bedroom wall. 2 Now, six years later, Michelle was attempting to capture a sunset for a local photography contest. She groaned as storm clouds rolled in before the sun had a chance to cast its vibrant colors across the sky. 3 “Mom, I don’t think I’m ever going to get this shot!” Michelle complained, putting her camera equipment on the kitchen table and sighing with exasperation. -
Mayor's Office of Arts, Tourism and Special Events Boston Art
Mayor’s Office of Arts, Tourism and Special Events Boston Art Commission 100 Public Artworks: Back Bay, Beacon Hill, the Financial District and the North End 1. Lief Eriksson by Anne Whitney This life-size bronze statue memorializes Lief Eriksson, the Norse explorer believed to be the first European to set foot on North America. Originally sited to overlook the Charles River, Eriksson stands atop a boulder and shields his eyes as if surveying unfamiliar terrain. Two bronze plaques on the sculpture’s base show Eriksson and his crew landing on a rocky shore and, later, sharing the story of their discovery. When Boston philanthropist Eben N. Horsford commissioned the statue, some people believed that Eriksson and his crew landed on the shore of Massachusetts and founded their settlement, called Vinland, here. However, most scholars now consider Vinland to be located on the Canadian coast. This piece was created by a notable Boston sculptor, Anne Whitney. Several of her pieces can be found around the city. Whitney was a fascinating and rebellious figure for her time: not only did she excel in the typically ‘masculine’ medium of large-scale sculpture, she also never married and instead lived with a female partner. 2. Ayer Mansion Mosaics by Louis Comfort Tiffany At first glance, the Ayer Mansion seems to be a typical Back Bay residence. Look more closely, though, and you can see unique elements decorating the mansion’s façade. Both inside and outside, the Ayer Mansion is ornamented with colorful mosaics and windows created by the famed interior designer Louis Comfort Tiffany. -
DYNAMIC SOARING UAV GLIDERS by Jeffrey H. Koessler
Dynamic Soaring UAV Gliders Item Type text; Electronic Dissertation Authors Koessler, Jeffrey H. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 13:32:45 Link to Item http://hdl.handle.net/10150/627980 DYNAMIC SOARING UAV GLIDERS by Jeffrey H. Koessler __________________________ Copyright © Jeffrey H. Koessler 2018 A Dissertation Submitted to the Faculty of the DEPARTMENT OF AEROSPACE & MECHANICAL ENGINEERING In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN AEROSPACE ENGINEERING In the Graduate College THE UNIVERSITY OF ARIZONA 2018 THEUNIVERSITY OF ARIZONA GRADUATE COLLEGE Date: 01 May 2018 RIZONA 2 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Jeffrey H. Koessler 3 Acknowledgments This network of mentors, colleagues, friends, and family is simply amazing! Many thanks to... ...My advisor Prof. Fasel for enduring my arguments and crazy ideas about the dynamics of soaring. -
Sculptor Charles Adrian Pillars
CHARLES ADRIAN PILLARS (1870-1937), JACKSONVILLE‟S MOST NOTED SCULPTOR By DIANNE CRUM DAWOOD A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2011 1 © 2011 Dianne Crum Dawood 2 ACKNOWLEDGMENTS I would first like to acknowledge my thesis chair, Dr. Melissa Hyde, and committee members, Dr. Eric Segal and Dr. Victoria Rovine, for serving on this project for me. Their suggestions, insightful analysis, encouragement, and confidence in my candidacy for a master‟s in art history were important support. I also enjoyed their friendship and patience during this process. The wordsmithing and editing guidance of Mary McClurkin was a delightful collaboration that culminated in a timely finished paper and a treasured friendship. Assistance from Deanne and Ira in the search of microfilm and microfiche records turned a project of anticipated drudgery into a treasure hunt of exciting finds. I also appreciated the suggestions and continued interest of Dr. Wayne Wood, who assured me that Charles Adrian Pillars‟s story was worthy of serious research that culminated in learning details of his life and career heretofore unknown outside of Pillars‟s family. Interviews with Pillars‟s daughter, Ann Pillars Durham, were engaging time travels recalling her father and his celebrity and the family‟s economic and personal vicissitudes during the Great Depression. She also graciously allowed me to review her personal papers. Wells & Drew, the parent company of which was founded in Jacksonville in 1855, permitted my use of a color image, and The Florida Times-Union granted permission to use some of their photographs in this paper. -
Supreme Court of the United States Petition for Writ of Certiorari
18--7897 TN THE SUPREME COURT OF THE UNITED STAIET FILED ' LARAEL OWENS., Larael K Owens 07 MARIA ZUCKER, MICHEL P MCDANIEL, POLK COUNTY DEPARTMENT OF REVENUE, MARK MCMANN, TAMESHA SADDLERS. RESPONDENT(S) Case No. 18-12480 Case No. 8:18-cv-00552-JSM-JSS THE UNITED STATES COURT OF APPEALS FOR THE ELEVENTH CIRCUIT PETITION FOR WRIT OF CERTIORARI Larael K Owens 2 Summer lake way Savannah GA 31407 (229)854-4989 RECE11VED 2019 I OFFICE OF THE CLERK I FLSUPREME COURT, U.sJ Z-L QUESTIONS PRESENTED 1.Does a State Judges have authority to preside over a case when He/She has a conflicts of interest Does absolute immunity apply when ajudge has acted criminally under color of law and without jurisdiction, as well as actions taken in an administrative capacity to influence cases? 2.Does Eleventh Amendment immunity apply when officers of the court have violated 31 U.S. Code § 3729 and the state has refused to provide any type of declaratory relief? 3.Does Title IV-D, Section 458 of the Social Security Act violate the United States Constitution due to the incentives it creates for the court to willfully violate civil rights of parties in child custody and support cases? 4.Has the United States Court of Appeals for the Third Circuit erred in basing its decision on the rulings of a Federal judge who has clearly and willfully violated 28 U.S. Code § 455. .Can a state force a bill of attainder on a natural person in force you into slavery 6.Can a judge have Immunity for their non judicial activities who knowingly violate civil rights 2. -
Indiana Magazine of History
INDIANA MAGAZINE OF HISTORY From Lycoming County, Pennsylvania, to Parke County, Indiana : Recollections of Andrew TenBrook, 1786-1823 Edited by Donald F. Camzony Contributed by Sam K. Swope* During the f inancially-disturbed years following the American Revolution, thousands of settlers left the populated counties of the eastern United States and migrated westward. Many of these immigrants poured through Pennsylvania to Kentucky and later to the Northwest Territory, but a sub- stantial number settled in the central and western sections of the Keystone State. Some of the new Pennsylvanians pur- chased farms vacated during the Revolution, when Indian raids had frightened earlier inhabitants back to the safer eastern communities; others chose virgin acreage. Whatever the choice, land in Pennsylvania was expensive; but the newly- created commonwealth had abolished quitrents, outlawed slavery, and removed Indian claims from its limits. As a result population in the central and western sections of the state increased approximately 85 percent in the two decades following the Revolution.' One participant in this mass exodus from the east was John TenBrook, or TenBroeck, of New Jersey, who, in 1786, moved from his farm near Trenton to a vacated tract of land in north central Pennsylvania, land which, in 1795, became a part of Lycoming C0unty.l The TenBrooks did well in the * Sam I(. Swope of Indianapolis is the great grandson of Andrew TenBrook. 1 Solon J. and Elizabeth H. Buck, The Planting of Civilization in Western Pennsylvania (Pittsburgh, 1939), 136-66. *Thomas F. Gordon, A Gazetteer of the State of Pennsylvania (Philadelphia, 1833), 269. 2 Indiana Magazine of History Keystone State, but the western fever grew stronger in the years immediately preceding the War of 1812. -
Coconino County Zoning Ordinance
Coconino County Zoning Ordinance Effective Date: December 11, 2019 Page intentionally left blank. Coconino County Zoning Ordinance Adopted November 12, 2019 by Ordinance 2019-14 Acknowledgments Board of Supervisors Art Babbott – District 1 Liz Archuleta – District 2 Matt Ryan – District 3 Jim Park, Vice-Chair – District 4 Lena Fowler, Chair – District 5 Planning and Zoning Commission Sat Best Tyanna Burton Jim Clifford Ray Mayer Tammy Ontiveros, Chair John Ruggles Don Walters Mary C. Williams Community Development Advisory Group Sat Best Dirch Foreman Diana Kessler Norm Lowe John Ruggles Carl Taylor Don Woods Page intentionally left blank. TABLE OF CONTENTS CHAPTER 1: General Provisions .................................................................................... 3 1.1 Short Title and Authority .......................................................................................................... 3 1.2 Purpose, Intent, and Use .......................................................................................................... 3 1.3 Private Agreements .................................................................................................................. 4 1.4 Conflicting Regulations and Statutory Changes ........................................................................ 4 1.5 Establishment of Zones ............................................................................................................. 4 1.6 Applicability .............................................................................................................................. -
The Sculpture of Jacques Lipchitz
The sculpture of Jacques Lipchitz Author Hope, Henry R. (Henry Radford), 1905- 1989 Date 1954 Publisher The Museum of Modern Art: Distributed by Simon & Schuster Exhibition URL www.moma.org/calendar/exhibitions/2913 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art The Sculpture of Jacques Lipchitz 96 pages; 100 plates $3.00 The Sculpture of Jacques Lipchitz BY HENRY R. HOPE No other sculptor of Lipchitz' generation can show such multifarious variety of style or so great a range of feeling. His art matured under the stimulus, and within the discipline, of cubism whose sculptural potentialities he brilliantly ex plored for over ten years. Since the thirties, his work has shown a vigor and eloquence which allies him with the tradition of Bernini and Rodin. Central to Lipchitz' evolution as an artist is the transition from the impersonal collective style of cubism to an art more personal in accent and theme. This transition is studied in detail by Mr. Hope, who gives special attention to his transparents, the revolutionary, small, open- form bronzes, cast in the difficult "lost wax" technique which marked the turning point in his own art and were to have widespread influence. In this first monograph on the artist in English, one hundred plates illustrate all periods of his career, including each of his major large-scale sculptures. Related drawings supplement the sculpture, and many small terracotta sketches document the original inspiration for several master works. -
The Contemporary Art of Travel
©2008 Mary M. Tinti ALL RIGHTS RESERVED THE CONTEMPORARY ART OF TRAVEL: SITING PUBLIC SCULPTURE WITHIN THE CULTURE OF FLIGHT by MARY M. TINTI A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Art History written under the direction of Dr. Joan Marter and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey May, 2008 ABSTRACT OF THE DISSERTATION The Contemporary Art of Travel: Siting Public Sculpture within the Culture of Flight By MARY M. TINTI Dissertation Director: Dr. Joan Marter The Contemporary Art of Travel: Siting Public Sculpture within the Culture of Flight, situates the notable yet little known airport installations of Vito Acconci, Diller + Scofidio, Alice Aycock, and Keith Sonnier in their appropriate artistic, theoretical and social contexts. Provocative and cutting edge, these recent commissions are exemplary for the ways in which they explore the collisions and cross influences of fine art, architecture, technology, flight and travel with particular sensitivity to the qualities that make the airport a singular contemporary space. More than mere decoration or distraction, these site-responsive artworks are visual representations of exactly how this unique place (or non-place) and this unique culture might coincide in sculptural form. Teeming with turbulent paradoxes, airports are uncanny, impersonal, in-between spaces; spaces in which travelers are forced to relinquish control of their autonomy, privacy, safety, sense of time, connections to the ground and links to the world outside. Unafraid of such air travel truths, the artists profiled in this dissertation use them as a ii source of inspiration.