zilongwang/ReadingBank huggingface dataset:
Australian Politics Unit 4 Outcome Statements Current Study Outcome Statements Consultation Draft Outcome Statements Marks allocated Assessment tasks Outcome 1 Explain how Australian federal domestic public policy is formulated and implemented, analyse the factors which affect these processes, and critically evaluate a selected contemporary domestic policy issue. Outcome 2 Describe, analyse and discuss the nature, objectives and instruments of contemporary Australian foreign policy, and the challenges facing Australian foreign policy. Outcome 1 Explain how Australian federal domestic public policy is formulated and implemented, analyse the factors which affect these processes, and critically evaluate a selected contemporary domestic policy issue. Outcome 2 Analyse the nature, objectives and instruments of contemporary Australian foreign policy, and evaluate challenges facing Australian foreign policy. 50 50 For each outcome, select one or more of the following: A multimedia presentation A case study An essay A report answer questions An extended response. Total marks 100 *School-assessed Coursework for Unit 4 contributes 25 per cent. Global Politics Unit 3 Outcome Statements Current Outcome Statements Consultation Outcome Statements Marks allocated Assessment tasks Outcome 1 Evaluate the power of key global actors in the twenty-first century and assess the extent to which they achieve their aims. Outcome 2 Analyse and evaluate types of power as used by a specific Asia-Pacific state in the region in pursuit of its national interests. Outcome 1 Evaluate the relative power of key global actors in the century and assess the extent to which they achieve their aims and are able to challenge state sovereignty. Outcome 2 Analyse and evaluate the effectiveness of the use of various of power by a specific Asia-Pacific state in pursuit of its national interests. 50 50 For each outcome, select one or more of the following: a multimedia presentation a case study an essay a report short-answer questions an extended response. Total marks 100 *School-assessed Coursework for Unit 3 contributes 25 per cent. Global Politics Unit 4 Outcome Statements
Current Outcome Statements Consultation Draft Outcome Statements allocated Assessment tasks Outcome 1 Evaluate two global ethical issues from a range of perspectives, and analyse the effectiveness of global actors’ responses to these issues. Outcome 2 Explain two contemporary global crises and evaluate the effectiveness of responses to these. Outcome 1 Analyse the ethical debates relating to two global ethical issues, and evaluate the effectiveness of global actors’ responses to these issues. Outcome 2 Analyse two contemporary global crises and evaluate the effectiveness of global actors' responses to these. 50 50 For each outcome, select one or more of the following: a multimedia presentation a case study an essay a report short-answer questions an extended response. Total marks 100 *School-assessed Coursework for Unit 4 contributes 25 per cent.
Kent, Hannah, Burial (A) (4) Le Guin, Ursula, The Left Hand of Darkness (2) London, Joan, The Golden Age (A) (2) Piper, Christine, After Darkness (A) (1) Shelley, Mary, Frankenstein (3) Witting, Amy, I for Isobel (A) (4) Short stories Kennedy, Cate, Like a House on Fire (A) (1) Stories for study: ‘Flexion’, ‘Ashes’, ‘Laminex and Mirrors’, ‘Tender’, ‘Like a House on Fire’, Family’, ‘Cross-country’, ‘Sleepers’, ‘Whirlpool’, ‘Cake’, ‘White Spirit’, ‘Little Plastic Shipwreck’, ‘Waiting’, ‘Static’, ‘Seventy-Two Derwents’. MacLeod, Alistair, Island: Collected Stories (3) Stories for study: ‘The Boat’, ‘The Vastness of the Dark’, ‘The Golden Gift of Grey’, ‘The Return’, ‘The Lost Salt Gift of Blood’, ‘The Road to Rankin’s Point’, ‘The Closing Down of Summer’, ‘To Every Thing There Is a Season’, ‘Second Spring’, ‘Winter Dog’, ‘The Tuning of Perfection’, ‘Vision’, ‘Island’. Plays Euripides, ‘Medea’, in Medea and Other Plays (4) Rayson, Hannie, ‘Extinction’ in Endangered: Three Plays, Currency Press, 2016 (A) (2) Shakespeare, William, Measure for Measure (3) Poetry/Songs Donne, John, Selected Poems (3) Skrzynecki, Peter, Old/New World: New & Selected Poems (A) (2) Multimodal texts Films Hitchcock, Alfred (director), Rear Window (1) Polley, (director), Stories We Tell (1) Satrapi, Marjane, Persepolis: The of a Childhood, Jonathan Cape, 2003 (2)
VCE: English: Units 1 & 2 Overview Topics Studied Learning Activities Assessment In 1 & 2 English students read a range of texts with comprehension, enjoyment and discernment, developing confidence and competence in responding and writing about what they read and view (including sustained and timed responses). Students will: develop their understanding of oral language in different contexts discuss and analyse the themes, ideas and issues in a range of texts and construct different responses Study a Context Area: 'Encountering Conflict' and 'Identity and Belonging' and write creatively in response to this, taking into account audience, purpose and context. There are no re-requisites for entry into VCE English Units 1&2 as outlined by the VCAA. Prescribed texts: UNIT ONE Minimum of Two (short stories) - Tim Winton The Crucible (play) - Arthur Miller UNIT TWO Night (novel) - Eli Weisel Look Both Ways (film text) Reading and responding to texts Close analysis of literary features of texts Creative writing linked to the Contexts of study Issues analysis and oral point of view Examination techniques and essay writing Unit 1 Outcome 1 - Text response Outcome 2 - Context Area: creative writing Outcome 3 -Issues Analysis - oral presentations/written responses Coursework: a range of class and homework tasks Semester Examination Unit 2 Outcome 1 - Text response essay Outcome 2 - Comparative Text Response Outcome 3 - Analysis Coursework: a of class and homework tasks Semester examination VCAA Study Design English English Pre-requisites/Pathways Link to VTAC Courselink Return to Subject List Course Outline
Read interviews with the author Juxtapose two characters that reveal different values Overall world view - graphic organiser task and use graphic organisers 5C Reviewing the text and SAC preparation Quiz on the text and short writing response assessment Dualities in the text - functions and examples Short writing response Feedback given in individual conferences 6A SAC preparation - shared anlysis of essay question Planning task Assessment criteria analysis Planning task 6B Introductions - what makes a good intro Analysis Peer feedback on intros Go over TEEL structure Peer feedback on introductions 7A Peer assessments of TEEL example Conclusions Peer assessments - TEEL samples
Annotations - show example Scrapbooks handed out/evernote workshops 10A Matching task - terms to definitions Shared analysis of article Two articles - one against and one for - identify the main arguments as annotation task SACS returned and individual conferences 10B Structuring Oral Responses Structure of a debate/oral presentation Watch Comedy Debate egs and feedback/assess presenters 10C One minute speech task - record and place onto shared online space Revision of persuasive techniques Time to gather own articles on of choice One minute speech - assessment rubric and anecdotal records
independent actual existence; it is an intrinsically [an sich] universal that takes itself to be actual in another consciousness...[349] As constituted by its own and others recognitions, the individual is said to be in itself and for itself universal. What are these essentially social universals in terms of which we must understand individuals and in terms of which they ideally understand themselves and each other? The passage continues: This ethical [sittliche] Substance, taken in its abstract universality, is only law in the form of thought; but it is no less immediately actual self-consciousness, or it is custom [Sitte]. [349] The universals in question are norms, which can be expressed explicitly in laws (the form of thought being conceptual and propositional), at the cost of abstractness, or may remain implicit in customs or social practices, which have the benefit of concreteness. Norms in the form of communal practice are norms actualized by individual self-consciousnesses. This unity of being-for-another or making oneself a Thing, and of being-for-self, this universal Substance, speaks its universal language [redet ihre allgemeine Sprache] in the customs and laws of its nation. [351] The determinately contentful norms that are the universal element both found and made by the activity of recognitively self-conscious individuals are articulated in both the implicit immediate form of practices and the explicit mediated form of laws. The social nature of this universal element is not restricted to its normative form: ...in the universal Substance, the individual has this form of subsistence [in the universal medium] not only for his activity as such, but no less also for the content of that activity; what he does is the and customary practice of all. [351] 5. What is potentially misleading about this introductory discussion is the way in which it anticipates the fuller discussion in the chapter on Spirit. There we will encounter, officially for the first time, the three stage structural development of Spirit, from immediate implicit Sittlichkeit, in the first stage, through the middle stage in which that Sittlichkeit is shattered by the eruption of individual self-consciousnesses whose consciousness
VANDERBILT MEDICAL CENTER Medical Information Services Updated: 5/3/13 Note: THIS LIST SHOULD BE REFERENCED BEFORE SCANNING Most Common Forms To Be Scanned MC# VCH Advance Directive Assessment 4137 Agreement to Pay 2821 Declaration of Race and Ethnicity 2231 Consent (Immunization) 0509 Consent to Treat 2803 Consents Surgical/Procedure ALL Consent (Bean Sprouts) 3642 Controlled Drug Record 2087 Delivery Attendance Note 2806 Drawing/Diagraphs (Bhutani 7452 Falls Risk Assessment 6746 Handwritten Physician Sheets ALL Hearing and Screening Report No MC# History and Physical (Physician’s Evaluation Form) 4280 Laboratory Pregnancy) 4746 MAR (tpn) 5085 Newborn Identification No MC# Newborn Safety Information Form 2984 NICU History No MC# Notice of Privacy Practices 2832 Patient Teaching Record and Assessment 3898 Post-Anesthesia Discharge Instructions 6437 Pre-Procedure Checklist 0013 Respiratory Ventilation Record 3873 SBAR Patient Transfer Summary 6334 State Newborn Screen 2653 Transfusion Administration Record No MC#
PLEASE COMPLETE WITH THE CLIENT Client Comments How I would like to benefit from this stay: This is important to me: I am good at: These are people who are important to me: Where I would like to live when I leave here: I would like the following people involved in this next move: Other things I would like you to know about me: I have a wellness plan which outlines how I would like to be supported when I am not well Yes No Attached PLEASE HAVE THE FAMILY OR SUPPORT PERSON COMPLETE
Register Puppet Master Puppet Master instance needs to be registered with vCloud Automation Center before it can be used. Multiple Puppet Masters, one under each Deployment Environment, can be registered with vCloud Automation Center. The Puppet Master instance used is the one registered under the deployment environment that is the target of an application deployment. Following screenshot shows the registration process Navigate to the Deployment Environment page and on ‘Register’ button under ‘Solution Instances’ tab. Enter details of Puppet Master instance in the registration page Click on Save. It’s recommended to also verify the connection by clicking on ‘Validate Connection’ button.
Duration: Type of Equipment to be connected to: Polycom Tandberg Other: Type of Connectivity: ISDN Lines TCP/IP Networking Either Location to connect to: San Francisco San Jose Oakland Eureka Other relevant info: For more information, or if you have questions, please contact or 866-638-7829 (9-4, M-F).
Phil Mason explained that since the last forum the Vision Partnership hasn’t met. They are meeting on the 27th September and will report at the next Forum on the 16th November. 6. Any Other Business: None 7. Date of next meeting: Wednesday 16th November 2016 / 12noon – 2:30pm Attendees: Linda Crook – Network Circle for Deafness (NCFD) Sylvia Dobinson – Network Circle for Deafness (NCFD) Pauline – Farnworth Baptist Church Christine Hodkinson – Fortalice Nick Russell – Halliwell Organic Growers Abubaker Bulcenya – Birtenshaw Susan Whittle – Hall’ith Wood Community and Environment Group Kirsten. M. Middleton – BCTFS Stuart Greaves – Carers Trust Fisher – Comco Training Centre Sherrington – Healthwatch May-Blossom – Herbs and Healing London Barlow - St Peters Church Tailor – Caribbean Elder Association Gordon Wray – Caribbean Elders Assoication Hunt – Barclays Young – Caribbean Elders Association Boydell – Harbour Project Heywood – Bolton Adult Autism Support Bikzadeh-Oskoei – Khidma Group Boydell – Deane Scouts & Guides Association Liddell – BAND Fleming – Melborne Road Drop In Mohammed Akuji – Bolton Council of Mosques Bradley – Mhist
Bolus – Bolton CVS Tomlinson – Bolton CVS Knight – Bolton CVS Mason – Bolton Wanderers Community Trust (BWCT) Apologies: Margaret Willcock – Maltby Residents Association Mrs O. Holgate Mrs J Millward Roselle Gorman – Bolton Adult Asperger Support Cheryl Brinklow – Hoot Credit Union Eileen Prestwich – The friends of Turton Tower Anita Ball – Bolton Toy Library Chan Parmer – Bolton Interfaith Council Shabeen Rehman – Asian Elders Resource Centre Mr Armstone – Bolton Town Chaplain Woods
event will engage with young people and will include a bike ride and races. There will be 2 races for families to get involved, especially those looking to become more active. Sue will circulate contact details and they will be setting up weekly groups in Breightmet and Westhoughton. They are looking for 5 families that are looking to become more active and would like the families to represent different communities across Bolton. BYPHS and Bolton Adult Autism groups expressed an interest in getting involved 6. Update from The Vision Partnership Dave Bagley provided an update, 2 early adopter sites have been chosen in Johnson Fold and Halliwell. Aim will be to build on community assets and in the 2 areas a model will be developed before delivering services. The Vision Partnership will tie into Devolution Manchester. Key areas of work will involve getting people into employment. A Vision Conference will take place in January 2017 at the refurbished Albert Halls. Other themes going forward will include Active 2017, something the Vision Partnership will contribute to as well as themes around Starting Well, Living Well and Ageing Well 7. Any Other Business Date of next forum – Tuesday 7th Feb 12.00 – 14.30pm Attendees: Roselle Gorman – Bolton Adult Autism Support Graham Heywood - Bolton Adult Autism Support Samsara Brooks – Bolton Adult Autism Support Nick Russell – Halliwell Organic Growers Jim Boydel – Deane Scouts / Guides Tracy Hindley – The Box TV Francesca – The Box TV Phil Newsham – Amnesty International Dave Bagley – Urban Outreach Bolton Whittle – HIW Community & Environment Group Harold Kershner – Healthwatch Bolton Jen Carney – Bolton Lads and Girls Club Zoe Hill – Bolton Carers Support Ann Bellamy – Church Bolton
First Annual U.Va. Venture U.Va. Technology Thought Leaders Andrew Grimshaw Topic……. Steve Rich Topic…….. Joe Campbell Topic……… Brent Gunnoe Topic………. Venture Panel Discussion “How is the Venture Capitalist evolving to adapt to the global market?” Jim Blair Domain Associates: Partner Christopher Brightman UVIMCO: Chief Executive Officer Ed Glassmeyer Oak Investment Partners: Managing Partner Ashton Newhall Montagu Newhall Associates: General Partner Chuck Newhall NEA: General Partner Agenda 8:30 – 8:40 Welcome by Tom Skalak, Vice President for Research 8:45 – 9:05 Andrew Grimshaw 9:10 – 9:30 Steve Rich 9:35 – 10:05 Joe Campbell 10:05 – 10:15 Break 10:15 – 10:35 Brent Gunnoe 10:40 – 11:25 Venture Panel Discussion 11:25 – 11:30 Closing Remarks University of Virginia Thought-Leaders Biosketches
Linda Hyde Donaghcloney Needs Kelly-Anne Dance Resource Base Michael Bonner Moving on Music Marianne Boom Collective Niamh Flanagan Theatre NI Farah Chowdhury Wheelworks Josephine McCormick Cre8NI Karen McFarlane Partisan Productions Grainne Woods Kids in Control Keith Hamilton Belfast Circus Tony Kennedy John Hewitt Society Gordon Hewitt Community Arts Partnership Carole Kane Community Arts Partnership Rob Hilken Visual Artists Ireland Anne McReynolds The MAC Conor Shields CAP Gordon Hewitt CAP Paula McFetridge Kabosh
Closing space for civil society. Lack of vision of political leadership. Post-conflict / divided society. Group ii) Absence of political will to drive voluntary sector agenda forward even under devolution (contrast relative dynamism in Scotland). Lack of interest in departments outside of DfC and division of responsibilities with social enterprise in DOE. Competition /audit-focused regime and procurement facing voluntary sector, suffocating creativity and innovation. Absence of core funding and associated lack of independence in the sector. Some tension between social enterprises specifically and trade unions, which should be natural sectoral allies, over union’s difficulty in thinking beyond conventional private-sector and public-sector organisations. Group iii) Data dissemination – to be unified (different departments using different data). Whose data (is acceptable). Can we generate our own data? Re. infrastructure – independence issues: why is infrastructure there and does it end up in effect gatekeeping – for e.g. in areas of leaning disabilities. Relationships – convenience not evidence-led but what needs done – generally about compliance – no challenge function. Strong narrative within sector that is self-gratifying, evidence is debatable. What is the public perception of voluntary sector? What is the impact of the voluntary sector and what difference does it make. Better story to tell - its not just about delivering a better service than the government – it has to be more than that – be a critical voice. Are we conforming?, are we losing our creativity? Innovation is vital. Identifying impact of volunteering activities on ground that function with little to no funding. Is size and complexity of the sector being recognised, especially smaller (community) groups. Why so little focus on Brexit? Outcomes focused Programme for Government. Group iv) Civil servants’ and politicians’ lack of understanding. Procurement processes, bureaucracy and grant provision – short term-ism. (Negative) impact of this on relationships. Whole Government collaboration – no mechanism for this… no statutory duty to cross departments. Community planning not seen as an issue.
VCTF 12/1/15 On call: Kevin Tim Byron Robert Russell - Walmart Steve – Cap Index Dan, steve – general growth Nolan - Publix Lou Hal friend - Walgreen Bob Hargart – target Luis – Tjmax Joe Holmes – best buy Mike aldriage Drugstore violent crime update We recoded the data from the three drugstore chains Looking to work with Walgreens and CVS for more offender characteristic analysis Hal Friend Going forward there is value in adding variable when collect robbery data, however, we want to choose the right one, because there are labor costs associated with it, and we wanted to narrow down the right appropriate variables to collect Bob Trying to access offender characteristics database Read The LPRC will be working on finding trend in all the robbery data sent to us
Pass forearm, palm down, over the net when there is an over-the-net fault. Indicate a line violation by extending arm and pointing toward the line with the index finger. On a re-serve, lift arms upward with fisted hands, thumbs up. 84) A player may: [Rule 9-5-7,8] Touch the floor across the center line with one or both feet/hands, provided a part of the foot or feet/hand(s) remains on or above the center line. Cross the extension of the center line outside the court at any time, provided he/she does not interfere with play by the opposing team. Play a ball, while standing across the center line extension outside the court, that has not completely crossed the vertical plane of the net extended. All of the above. (Correct) 85) Media time-outs are not allowed unless special permission is granted by the host school. [Rule 11-2-3 NOTE] True False (Correct) 86) A served ball that hits the top of the net, but continues over the net completely between the net antennas into the opponent's court is: [Rule 8-1-1] A service A re-serve. A legal serve. (Correct) Able to be blocked. 87) Which of the following is a correct procedure for use of electronic devices? [Rule 9-2-1, 11-3-2] Location and use of the device shall not be in a restricted area. The first referee may restrict use of electronic devices in certain locations if determined to interfere with the contest. Electronic devices shall not be used for any review of a referee's decision. All are correct. (Correct) 88) When used, the line judge flag is red and approximately 12" x 12" to 16" x 16". [Rule 5-9-4 NOTE 1] True (Correct) 89) Although not required, vertical tape markers may be used and, when used, the net antennas shall be affixed to the inside edge of the marker in line with the inside edge of the sideline. [Rule 3-1-5] True False (Correct) 90) A ball is out of bounds and becomes dead in all of the following except when it: [Rule 2-3-1e] Touches the floor completely outside the court's boundary lines. Touches a non-team member who is interfering with a player's legitimate effort to play the ball. (Correct)
notified June 2017. Closed. Successful applicants to be notified late May. State sporting associations, national sporting organisations, elite sporting team (2016-17) Round 1: Closed. Successful applicants notified December 2016 Round 2: Closed. Successful applicants to be notified May 2017 Local community sporting clubs (2017-18) Round 1: Opens August 2017. Successful applicants to be notified November 2017 Round 2: Opens February 2018. Successful applicants to be notified May 2018 Local community sporting clubs 2017 grant Open now and closes 1 May. Successful applicants to be notified 15 May 2017 Victorian councils
VII. CONTRIBUTION TO RESEARCH a. Technologies / Methodologies / Models, etc., developed (with proof) S. No. Name Utility Year b. Research Guidance* S. No. Name of the Programme Awarded (Under progress not to be included) 1. Ph.D., 2. M.V.Sc., * (Attach details of Name of Research Scholar, Title of the Thesis, University, Year of Award of the Degree separately as Annexure) c. MoUs Signed (with proof) S. No. Details of collaborations Name(s) of the Departments/ Agencies involved Year of MoU d. Research Projects obtained by the Applicant as PI / Co-PI: * Completed (No.) Under Progress (No.) Amount Sanctioned (Rs. In Lakhs) National International Others * Attach details of Title of the Project, Funding Agency, Budget, and Duration of the Project separately as Annexure) e. Research Papers / Books published (i) Research papers published as First Author after acquiring Ph.D. degree (as prescribed in G.O.Ms.No.214 Animal Husbandry, Dairying and Fisheries (AH6) dated 6th November 2017)* S. No. Author(s) Title of the Paper Journal Name with Vol. & Year Referred Journal or not No. of citation (where ever possible) * Attach reprints
(ii) Research papers published as Co-author (furnish list only) S. No. Author(s) Title of the Paper Journal Name with Vol. & Year Referred Journal or Not No. of citation (where ever possible) Books authored (non edited) only (as prescribed in G.O.Ms.No.214 Animal Husbandry, Dairying and Fisheries (AH6) dated 6th November 2017) S. No. Author(s) of the Book Year of Publication ISBN Publishers f. Details of Research/Academic events conducted (i) National S. No. Title Date Organization and Place Role g. Conference/Seminar/Workshop/ Training Participated (i) International S. No. Title Date Place Organized by (ii) National S. No. Title Date Organized by
Differential backup is a backup of a set of specified files, often a disk's entire contents, that includes only those files modified since the last full backup. A restore operation would involve the full backup plus the differential backup. Incremental backup is a backup of a set of specified often a disk's entire contents, that incudes only those files modified since the last incremental backup. In the latter case a restore operation would involve the last full backup plus all the subsequent incremental backups. Full Backup We use acronis software to backup. Open acronis => select Backup Click Next to continue. Select file and folder => Next. Select folders to backup. Select file exclusion => Next. Choose location for file backup.
Select set the options manually => Next. Select => Next Set as bellow => next. Click Finish to add task. Click OK to finish after successful. Backup configuration file Backup configuration in Mail server machine Copy all configuration file to directory Backup Backup to Machine AD Backup to External (Hard Disk)
CURRICULUM AREA – The Arts/ Visual Arts Context: Students explore different sculpture and craft traditions from Asian countries such as Japan, China and India. They explore the symbolism in these traditions and the relationship of the natural world of plants and animals to the symbolism. They explore different artists and their practice focusing on contemporary sculptors such as Noriko Nakamura. The students complete some sketches of animals and plants and then transform their visualization drawings into the design for a three dimensional sculpture to be made from plaster or clay. The experiment with different carving techniques and then create a work from a plaster or clay block. They evaluate their work discussing the processes used to create the work and the relationship of their artwork to the natural form. Content Descriptions: Select and apply visual conventions, materials, techniques, technologies and processes specific to different art forms when making artworks Create and display art work considering how ideas can be expressed to an audience Visual Arts Levels 5 and 6 Achievement Standard Example of Indicative Progress toward Levels 7 and 8 Achievement Standard Visual Arts Levels 7 and 8 Achievement Standard By the end of Level 6: Students explain how ideas are expressed in artworks they make and view. They demonstrate the use of different techniques and processes in planning and making artworks. They use visual conventions and visual arts practices to express ideas, themes and concepts in their artworks. Students describe the influences of artworks and practices places on their art making. They describe how artworks that they make and view can be displayed to express and enhance meaning. Students describe and identify how ideas are expressed in artworks from different contemporary, historical and cultural contexts. In Visual Arts, indicative progression towards the levels 7 and 8 achievement standard may be when students: demonstrate a high level of skill and technique in making a three dimensional sculpture using carving use visual conventions innovatively in the design and creation of a three dimensional sculpture demonstrate a high level of skill and conceptualization in the planning and evaluation of the art process describe the presentation of their own artwork, explaining the expression of ideas to an audience By the end of Level 8:Students identify, analyse and evaluate how other artists use materials, techniques, technologies, processes and visual conventions to express ideas and convey meaning. Students plan and make their art works in response to exploration of techniques, technologies and processes used in the work of other artists. They demonstrate the use of materials, techniques, processes, visual conventions and technologies to express and convey meaning in their artworks. Students identify and describe artworks and exhibitions from different cultures, times and places and how ideas are interpreted by audiences.
CURRICULUM AREA – The Arts/DANCE Context: Content Descriptions: Example of Indicative Progress toward Foundation Level Achievement Standard Dance Foundation Level Achievement Standard In Dance, indicative progression towards the Foundation Level achievement standard may be when students: By the end of Foundation Level: •Students make and perform dance sequences and demonstrate safe dance practice. •Students describe what happens in dance they make, perform and view. CURRICULUM AREA – The Arts/DANCE Context: Content Descriptions: Dance Foundation Level Achievement Standard Example of Indicative Progress toward 2 Achievement Standard Dance Level 2 Achievement Standard
By the end of Foundation Level: •Students make and perform dance sequences and demonstrate safe dance practice. •Students describe what happens in dance they make, perform and view. In Dance, indicative progression towards the Level 2 achievement standard may be when students: By the end of Level 2: •Students use the elements of dance and fundamental movement skills to make and perform safely, dance sequences that express ideas. •Students communicate about dances they make, perform and view, and discuss where and why people dance. CURRICULUM AREA – The Arts/DANCE Context: Content Descriptions: Dance Level 2 Achievement Standard Example of Indicative Progress toward Level 4 Achievement Standard Dance Level 4 Achievement Standard By the end of Level 2: •Students use the elements of dance and fundamental movement skills to make and perform safely, dance sequences that express ideas. •Students communicate about dances they make, perform and view, and discuss where and why people dance. In Dance, indicative progression towards the Level 4 achievement standard may be when students: By the end of Level 4: •Students structure movements into dance sequences and use the elements of dance and choreographic devices to communicate their ideas and intentions. •They make dances and perform safely with control, accuracy, projection and focus. •Students describe and discuss similarities and differences between dances they make, perform and view. •They discuss how they and others organise the elements of dance to communicate ideas and intentions.
By the end of Level 6: Students use the elements of drama to shape character, voice and movement in improvisation, play-building and performances of devised and scripted drama for audiences. Students explain how dramatic action and meaning is communicated in they make, perform and view. They explain how drama from different cultures, times and places influences their own drama making. In Drama, indicative progression towards the level 8 achievement standard may be when students: By the end of 8: Students devise, interpret and perform drama. They manipulate the elements of drama, narrative and structure to control and communicate meaning. They apply different performance styles and conventions to convey status, relationships and intentions. They use performance skills, stagecraft and design elements to shape and focus relationships with an audience.Students identify and analyse how the elements of drama are used, combined and manipulated in different styles, and apply this knowledge in drama they make and perform. They evaluate how they and drama practitioners from different cultures, times and locations communicate meaning and intent through drama.
Drama Level 8 Achievement Standard Example of Indicative Progress toward Level 8 Achievement Standard Drama Level 10 Achievement Standard By the end of Level 8: Students devise, interpret and perform drama. They manipulate the elements of drama, narrative and structure to control and communicate meaning. They apply different performance styles and conventions to convey status, relationships and intentions. They use performance skills, stagecraft and design elements to shape and focus relationships with an audience. Students identify and analyse how the elements of drama are used, combined and manipulated in different styles, and apply this knowledge in drama they make and perform. They evaluate how they and drama practitioners from different cultures, times and locations communicate meaning and intent through drama. In Drama, indicative progression towards the level 8 achievement standard may be when students: By the end of Level 10: Students develop and sustain different and characters to realise dramatic intentions and engage audiences. They perform devised and scripted drama in different forms, styles and performance spaces. They plan, direct, produce, rehearse and refine performances. They select and use the elements of drama, narrative and structure in directing and acting and apply stagecraft. They use performance and expressive skills to convey dramatic action and meaning. Students analyse the elements of drama, forms and performance styles and evaluate meaning and aesthetic effect in drama they devise, interpret, perform and view. They use experiences of drama practices from different cultures, places and times to evaluate drama.
CURRICULUM AREA – The Arts/Media Arts Context: Content Descriptions: Media Arts Level 6 Achievement Standard Example of Indicative Progress toward Level 8 Achievement Standard Media Arts Level 8 Achievement Standard By the end of Level 6: Students explain how viewpoints, ideas and stories are shaped and portrayed in media artworks they make, share and view. Students use materials and media technologies to make media artworks for specific audiences and purposes, using intent, structure, setting and characters to communicate viewpoints and genre conventions. They explain the purposes of media artworks made in different cultures, times and places for different audiences. In Media Arts, indicative progression towards the level 8 achievement standard may be when students: By the end of Level 8: Students identify and analyse how representations of social values and viewpoints are portrayed in the media artworks they make, distribute and view. Students use intent, structure, setting, characters and genre conventions to shape technical and symbolic elements for specific purposes and meanings. They evaluate how they and others use these genre conventions and elements to make meaning. They identify and analyse the social and ethical responsibilities of both makers and users of media artworks in social, cultural, historical and institutional contexts. Students produce representations of social values and viewpoints in media artworks for particular audiences. They use production processes, equipment and technologies to achieve intentions.
Context: Content Descriptions: Media Arts Level 8 Achievement Standard Example of Indicative Progress toward Level 8 Achievement Standard Media Arts Level 10 Achievement Standard By the end of Level 8: Students identify and analyse how representations of social values and viewpoints are portrayed in the media artworks they make, distribute and view. Students use intent, structure, setting, characters and conventions to shape technical and symbolic elements for specific purposes and meanings. They evaluate how they and others use these genre conventions and elements to make meaning. They identify and analyse the social and ethical responsibilities of both makers and users of media artworks in social, cultural, historical and institutional contexts. Students produce representations of social values and viewpoints in media artworks for particular audiences. They use production processes, equipment and technologies to achieve their intentions. In Media Arts, indicative progression towards the level 8 achievement standard may be when students: By the end of Level 10: Students analyse how values and alternative viewpoints are portrayed in the media artworks they make, interact with and distribute. Students use intent, structure, setting, characters and genre conventions to evaluate how technical and symbolic elements are manipulated to make representations and meaning. They evaluate how social, institutional and ethical issues influence the making and use of media artworks. Students communicate alternative viewpoints in media artworks for different community and institutional contexts. They design, production and distribution processes to the media artworks they make.
Content Descriptions: Music Level 8 Achievement Standard Example of Indicative Progress toward Level 10 Achievement Standard Level 10 Achievement Standard By the end of Level 8: Students manipulate the elements of music and stylistic conventions to improvise, compose and perform music. They use evidence from listening and analysis to interpret, rehearse and perform songs and instrumental pieces in unison and in parts, demonstrating technical and expressive skills. They use music terminology and symbols to recognise, describe and notate selected features of music. Students identify and analyse how the elements of music are used in different styles and apply this knowledge in their performances and compositions. They evaluate musical choices they and others have made to communicate ideas and intentions as performers and composers of music from different cultures, times and locations. In Music, indicative progression towards the Level 10 achievement standard may be when students: By the end of 10: Students interpret, rehearse and perform solo and ensemble repertoire in a range of forms and styles. They demonstrate a developing personal voice and technical control, expression and stylistic understanding. They use general listening and specific aural skills to enhance their performances and use knowledge of the elements of music, style and notation to compose, document and share their music. Students aurally and visually analyse works and performances of different styles. They evaluate the use of elements of music and defining characteristics from different musical styles. They use their understanding of music making in different cultures, times and places to inform and shape their interpretations, performances and compositions.
CURRICULUM AREA – The Arts/Visual Arts (This template is included for reference purposes) Context: Content Descriptions: Visual Arts Level 4 Achievement Standard Example of Indicative Progress toward Level 6 Achievement Standard Visual Arts 6 Achievement Standard By the end of Level 4: Students plan and make artworks that are inspired by artworks they experience. They use materials, visual conventions, techniques and processes to express their ideas in artworks. Students discuss how artists express ideas and use materials, techniques and visual conventions in artworks from a range of places, times and cultures. They discuss and evaluate the art making processes, materials and techniques they use to express their ideas. In Visual Arts, indicative progression towards the level 8 achievement standard may be when students: By the end of Level 6: Students explain how ideas are expressed in artworks they make and view. They demonstrate the use of different techniques and processes in planning and making artworks. They use visual conventions and visual arts practices to express ideas, themes and concepts in their artworks. Students describe the influences of artworks and practices places on art making. They describe how artworks that they make and view can be displayed to express and enhance meaning. Students describe and identify how ideas are expressed in artworks from different contemporary, historical and cultural contexts.
Visual Arts 8 Achievement Standard Example of Indicative Progress toward Level 8 Achievement Standard Visual Arts Level 10 Achievement Standard By the end of Level 8: Students identify, analyse and evaluate how artists use materials, techniques, technologies, processes and visual conventions to express ideas and convey meaning. Students plan and make their art works in response to exploration of techniques, technologies and processes used in the work of other artists. They demonstrate the use of materials, techniques, processes, visual conventions and technologies to express ideas and convey meaning in their artworks. Students identify and describe artworks and exhibitions from different cultures, times and places and how ideas are interpreted by audiences. In Visual Arts, indicative progression towards the Level 8 achievement standard may be when students: By the end of Level 10: Students analyse and evaluate how artists communicate ideas and convey meaning in artworks. Students identify the influences of other artists and analyse connections between techniques, processes and visual conventions in artworks to develop their own art practice. They select, and manipulate materials, techniques, processes, visual conventions and technologies to express ideas and viewpoints in their artworks. Students analyse and evaluate artworks and exhibitions from different cultures, times and places, and discuss how ideas and beliefs are interpreted by audiences.
By the end of Level 2: Students describe the purpose of familiar designed solutions and how they meet the needs of users and affect others and environments. They identify the features and uses of some technologies for each of the prescribed technologies contexts. With guidance, students create designed solutions for each of the prescribed technologies contexts. They describe given needs or opportunities. Students create and evaluate their ideas and designed solutions based on personal preferences. They communicate design ideas for their designed solutions, using modelling and simple drawings. Following sequenced steps, students demonstrate safe use of tools and equipment when producing designed solutions. In Design Technologies, indicative progression towards the Level 4 achievement standard may be when students: By the end of 4: Students explain how solutions are designed to best meet needs of the communities and their environments. They describe contributions of people in design and technologies occupations. Students describe how the features of technologies can be used to create designed solutions for each of the prescribed technologies contexts. Students create designed solutions for each of the prescribed technologies contexts. They explain or opportunities and evaluate ideas and designed solutions against identified criteria for success, including sustainability considerations. They develop and expand design ideas and communicate these using models and drawings including annotations and symbols. Students plan and sequence major steps in design and production. They identify appropriate technologies and techniques and demonstrate safe work practices when creating designed solutions. CURRICULUM AREA – Technologies/Design Technologies Context: Content Descriptions: Design Technologies Level 4 Achievement Standard Example of Indicative Progress toward 6 Achievement Standard Design Technologies 6 Achievement Standard By the end of Level 4: Students explain how solutions are designed to best meet needs of the communities and their environments. They describe contributions of people in design and technologies occupations. Students describe how the features of technologies can be used to create designed solutions for each of the prescribed technologies contexts. Students create designed solutions for each of the prescribed technologies contexts. They explain needs or opportunities and evaluate ideas and designed solutions against identified In Design Technologies, indicative progression towards the Level 6 achievement standard may be when students: By the end of Level 6: Students describe some competing considerations in the design of solutions taking into account sustainability. They describe how design and technologies contribute to meeting present and future needs. Students explain how the features of technologies impact on designed solutions for each of the prescribed technologies contexts. Students create designed solutions for each of the prescribed technologies contexts, suitable for identified needs or opportunities.
By the end of Level 6: Students distinguish between needs and wants and recognise that choices need to be made when allocating resources. They recognise that consumer choices and financial decisions are influenced by a range of factors and describe the effects of these choices and decisions on themselves, their family, others, the economy and the natural, economic and business environments. Students identify strategies that will assist in making informed consumer and financial decisions. They explain the purpose of business and recognise the different ways that businesses choose to provide goods and services. Students outline the many reasons why people work and describe the changing nature of work. They describe the nature of enterprising behaviours and capabilities and explain why these behaviours are important for individuals and businesses. Students outline the advantages and disadvantages of proposed actions in response to an economics and/or business or event and identify the possible effects of their decisions on themselves and others. In Economics and Business, indicative progression towards the 8 achievement standard may be when students: By the end of Level 8: Students describe the interdependence of consumers and producers in the market and explain how markets operate to set prices and why governments may influence the market’s operation. They explain the rights and responsibilities of consumers and businesses when making economics and business decisions. Students explain why and how individuals and businesses set, prioritise and plan for financial and organisational goals. They describe the characteristics of successful businesses, the way these businesses use enterprising behaviours and capabilities, and explain how entrepreneurial individuals can contribute to this success. Students discuss how work contributes to societal wellbeing and describe the influences on the work environment. They identify trends and relationships and propose alternative responses to an economics and/or business issue or event. They evaluate the and benefits of each alternative response and identify the effects and potential consequences of these actions.
They practice and apply an increased range of learning strategies, including visualisation, peer instruction and incubation. Students select and apply a range of strategies. They practice and learning strategies, including constructing analogies, visualising ideas, summarising and paraphrasing information. Students disaggregate ideas and problems into smaller elements or ideas, develop criteria to assess and test thinking, and identify and seek out new relevant information as required. CURRICULUM AREA – Critical and Creative Thinking Context: Content Descriptions: Critical and Creative Thinking Level 6 Achievement Standard Example of Indicative Progress toward Level 8 Achievement Standard Critical and Creative Thinking Level 8 Achievement Standard By the end of Level 6: Students apply questioning as a tool to focus or expand thinking. They use appropriate techniques to copy, borrow and compare aspects of existing solutions in order to identify relationships and apply these to new situations. Students distinguish between valid and sound arguments and between deductive and inductive reasoning. They explain how reasons and evidence can be evaluated. They explain and apply basic techniques to construct valid arguments and test the strength of arguments. Students represent thinking processes using visual models and language. They practice and apply learning strategies, including constructing analogies, visualising ideas, summarising and paraphrasing information. In Critical and Creative Thinking, indicative progression towards the Level 8 achievement standard may be when students: By the end of Level 8: Students prioritise the elements of a question and justify their selection. Students demonstrate flexibility in thinking by using a range of techniques in order to repurpose existing ideas or solutions to meet needs in new contexts. Students explain different ways to settle matters of fact and matters of value and issues concerned with these. They explain and apply a range of techniques to test the strength of arguments. Students use a range of strategies to represent ideas and explain and justify thinking processes to others. They evaluate the effectiveness of a range of learning strategies and select strategies that best meet the requirements of a task. Students independently segment problems into discrete stages, synthesise new knowledge at intermediate stages during problem-solving and develop and apply criteria to assess ideas, proposals and emerging thinking.