zilongwang/ReadingBank huggingface dataset:
Phase 3: ANALYSE: students analyse evidence Students analyse evidence, using dialogue with each other and the teacher to support their developing understanding. Students analyse evidence and make conclusions regarding their own initiative. Help students interpret the potential implications of the evidence for the students’ own inquiry. creating and rehearsing the opera within the various arts disciplines (libretto, costumes, music, etc.) Phase 4: EXPLAIN: students formulate an explanation based on evidence Students use evidence they have generated and analysed to consider possibilities for explanations that are original to them. They use argumentation and dialogue to decide on the relative merits of the explanations they formulate, playing with ideas. Formulations of scientific explanations, and sharing ideas with GSO schools in other countries Guide students in their consideration of possibilities. Continued production of original material (music, etc.), and opera rehearsals, and expanding awareness of what other GSO students are developing. Phase 5: CONNECT: students connect explanations to scientific knowledge Students connect explanations with scientific knowledge, using different ways of thinking and knowing (‘knowing that’, ‘knowing how’, and ‘knowing this’) to relate their ideas to both disciplinary knowledge and to interdisciplinary knowledge to understand the origin of their ideas and reflect on the strength of their evidence and explanations in relation to the original question. Formulating ideas in relation to discipline knowledge in a larger context, including how scientific and artistic ideas may cross-fertilize each Ensure scientific quality with regard to explanations Continued rehearsals, costumes making. Rehearsals may take place with other countries at this stage.
other within the inquiry process. 6: COMMUNICATE: students communicate and justify explanation Communication of possibilities, ideas and justifications through dialogue with other students, with science educators, and with professional scientists offer students the chance to test their new thinking and experience and be immersed in a key part of the scientific process. Such communication is crucial to an ethical approach to working scientifically. Students communicate their knowledge and explore its ethical implications. Supports the communication process and the opera performance logistics Opera performance locally and online (streaming) Phase 7: REFLECT: students reflect on the inquiry process and their learning Individual, collaborative and community-based reflective activity for change both consolidates learning and enables students and teachers to balance educational tensions such as that between open-ended inquiry learning and the curriculum and assessment requirements of education. Reflection process regarding the scientific and artistic conclusions Discuss the implications of a global collaboration with students Reflection on the process, and collection of documentation of data from the GSO event to the extent possible / sharing experiences via social media.
TABLE OF CONTENTS 1. INTRODUCTION 2. SPECIFICATIONS AND TECHNICAL REQUIREMENTS 3. FORM AND CONTENT OF PROPOSALS 4. EVALUATION AND SELECTION 5. ADMINISTRATIVE INFORMATION 6. CONTRACTUAL AND CONDITIONS Attachment 1 – Certification Letter Attachment 2 – Authorization to Release Information Letter Attachment 3 – Cost Proposal
HOW WILL I BE GRADED? I will update grades weekly. Please do not be alarmed if you notice a blank entry. That means your work has yet to be evaluated and will be soon. School Binder & Participation-15% SYLLABUS/BEHAVIOR CONTRACT BELLRINGER NOTEBOOK CLASSWORK/HOMEWORK TESTS/QUIZZES TRACKING LOG (will be given in class) Quarterly major project: 40% Homework/Classwork: 20% Final essays (revisions and edits included): 25% NOTE: Rubrics or checklists will be provided before the due date. I will grade your work in a honest, fair and timely manner. I will provide you with feedback, not to be critical...but to help you see how you can grow. WHAT WILL I LEARN IN THIS CLASS? The goal of this course is to develop your writing abilities! In this class we will*: Taste, smell and touch food Paint, draw, and collage Make and send postcards Learn to write and tell your story Watch TED Talks and make our own Take pictures and make photo stories Read and rewrite a classic folk/fairytale using emojis Write a song/rap and make a music video on YouTube Write and perform 1 act plays (make costumes and props, too!) Play board games and watch clips from popular T.V. shows to write a class murder mystery Learn to write poetry from art and music Watch short films and produce our own! Write reviews like a real critic! Create a blog/ Buzzfeed posts Make a comic strip using animation apps Make a final portfolio to showcase your killer work and impress your friends and family! *This list is subject to change based on the instructor’s judgement of time constraints or other unavoidable criteria. Research- I am here to support and facilitate your learning. You are here because you are an independent learner and in charge of your future. Together, we will track your writing growth. I will have
ARTS COUNCIL OF NATIONAL LOTTERY FUNDING CREATIVE APPRENTICESHIPS AND INTERNSHIPS PROGRAMME 2014-2017 APPLICATION FORM Application round opens Deadline for Receipt of applications Decision by 19 May 2014 4pm, 12 June 2014 31 August 2014 Please read the Guidance Notes carefully before you complete the application form. If you need assistance to complete this application form please contact the Arts Council’s Arts Development Department on 028 9038 5200
Telephone no: Email address: Website (if appropriate): Information: Please highlight those that apply to the nominee. The nomination is for an individual The nomination is for a team. Please indicate how many people work in the team: ___ The nominee in an organisation with 10 or more people Please give your reasons for nominating this individual or team: Please highlight up to that apply to the nominee. Has promoted ways for young people to access employment in the creative industries Has promoted access to skills and knowledge which help train young people Has been involved in raising funds to facilitate training or employment opportunities in the creative sector Has ambition to continue to develop future pathways into long term career opportunities Has written public articles championing the creative sector Has identified and or delivered new ways of providing training to enhance opportunities of employment.
Annex A: Creative Occupations Occupations used in this report are 4 digit Standard Occupational Classification 2010 (SOC) codes. Table 9 below list of contains a list of Creative Occupations. Table 9: Creative Occupations Creative Occupations Group SOC (2010) Description Advertising and marketing 1132 Marketing and sales directors 1134 Advertising and public relations directors 2472 Public relations professionals 2473 Advertising accounts managers and creative directors 3543 Marketing associate professionals Architecture 2431 Architects 2432 Town planning officers 2435 Chartered architectural technologists 3121 Architectural and town planning technicians Crafts 5211 Smiths and forge workers 5411 Weavers and knitters 5441 Glass and ceramics makers, decorators and finishers 5442 Furniture makers and other craft woodworkers 5449 Other skilled trades not elsewhere classified Design: product, graphic and fashion design 3421 Graphic designers 3422 Product, clothing and related designers Film, TV, radio and photography 3416 Arts officers, producers and directors 3417 Photographers, audio-visual and broadcasting equipment operators IT, software and computer services 1136 Information technology and telecommunications directors 2135 IT business analysts, architects and systems designers 2136 Programmers and software development professionals 2137 Web design and development professionals Publishing 2471 Journalists, newspaper and periodical editors 3412 Authors, writers and translators Museums, galleries and libraries 2451 Librarians 2452 Archivists and curators Music, performing and visual arts 3411 Artists 3413 Actors, entertainers and presenters 3414 Dancers and choreographers 3415 Musicians Following consultation, five additional SOC codes have been included to represent occupations in the crafts sector. Further information on occupation proposed and the rationale for inclusion can be found in the consultation paper and in Bakhshi, Freeman and Higgs (2013)
Table 4: Employment in the Creative Economy (2011 – 2013) *Changes in bold indicate a statistically significant change between 2011 and 2013. Employment in the Creative Economy 2011 Employment in the Creative Economy 2012 Employment in the Creative Economy 2013 Difference (2011-2013) Percentage Difference (2011-2013) Advertising and marketing 468,000 465,000 482,000 15,000 3.2% Architecture 121,000 120,000 136,000 15,000 12.3% Crafts 104,000 102,000 96,000 -9,000 -8.5% Design: product, graphic and fashion design 151,000 166,000 177,000 27,000 17.7% Film, TV, video, radio and photography 232,000 266,000 259,000 27,000 11.8% IT, software and computer services 709,000 791,000 825,000 117,000 16.4% Publishing 236,000 255,000 231,000 -5,000 -2.1% Museums, galleries and libraries 113,000 108,000 110,000 -3,000 -2.5% Music, performing and visual arts 274,000 277,000 300,000 25,000 9.2% Total Creative 2,407,000 2,550,000 2,616,000 209,000 8.7% UK Total Employment 29,935,000 30,150,000 30,643,000 708,000 2.4% Percentage Share of UK Total 8.0% 8.5% 8.5% - - Notes 1. Source, ONS Annual Population Survey (2011, 2012 & 2013) 2. Figures have been rounded to the nearest thousand, and therefore estimates may not sum across rows or columns to totals The increase in employment in the Creative Economy between 2011 and 2013 was driven by increases in the: ‘IT, software and computer services’; ‘Design and designer fashion’; and ‘Film, TV, video, radio and photography’ groups. Figure 2: Employment in the Creative Economy (2011 – 2013) Notes: 1. Source, ONS Annual Population Survey (2011, 2012 & 2013)
Please note you may attach a more detailed budget as one of your supplementary materials. Income Expenditure Earned Income (e.g. Sales, Box Office) Salaries/fees/allowances Grants (other the dlr Arts) Rent Sponsorship Marketing Support in Kind Adminstration Other income (please specify) Other expenditure (please specify) Other income (please specify) Other expenditure (please specify) Other income (please specify) Other expenditure (please specify) Creative Ireland Bursary Total Income Total Expenditure State what additional funds (if any) have been secured and from whom: _________________________________________________________________ _________________________________________________________________ State what other funding applications (if any) have been made and when you expect to receive notification of the outcome of these applications: Referees: Please supply contact details for 2 referees: Name: Organisation/Position: Address: Phone Number: E-mail Address: Name: Organisation/Position: Address:
energy passion and creativity makes Palmerston North a more interesting place to live.” “We know the arts make our communities more attractive places to live, work and We applaud PNCC’s initiative and vision in making the arts a focus for the city’s development. It will pay dividends for residents and businesses,” said Creative New Zealand’s senior manager for planning, performance and stakeholder relations, David Pannett. The successful applicants represent a wide range of creative and cultural projects, events or activities which continue to reflect the city’s diversity and strength of commitment to the arts. A detailed list of the successful applications and their projects are summarised below: Creative Communities Scheme 2016-17 Round 2 Total requested: $125,239.86 Total allocated: $30,973.38 Autalavou EFKS Youth Group – Making of traditional Samoan art works and a performance to showcase these Aziza Bellydance – A performing arts showcase for women only entitled “Women of Africa” Connected Charitable Trust – Free one-day filmmaking workshop for young people Hipnotize Halfa Committee – A weekend dance festival consisting of workshops and performance opportunities Craig Bradley Johnston – Recording a music album inspired by Irish music and its links with NZ culture Legacy Centre – Performing arts workshops for young people MaLGRA (Manawatu Lesbian and Gay Rights Association) – Drag workshops and a show Manawatu Supporting Families in Mental Illness – An art exhibition based on the work of people with mental illness
Part C. Works Cited and written communication Proofread your work! Check spelling, punctuation, capitalization, word choice, sentence structure, missing words, no text short forms, title to your work, proper paragraphs, etc . . . Works Cited page - on a separate page create a proper Works Cited page using MLA format. Check the anchor charts posted on the board to be sure you are using the proper format. Category Level 4 Level 3 Level 2 Level 1 Below Level PSV.02B PSV.04B Knowledge and completion Excellent explanations Charts thoroughly completed Adequate explanations Charts adequately completed Some attempt at explanations Charts some what completed Very limited explanations Limited information on charts No explanation Charts not completed PFV.01B PFV.03B Part B and Thinking Brilliant analysis of the sacrament Excellent symbols created Relevance thoroughly explained Good analysis of the sacrament Good symbols created Relevance adequately explained Some analysis of the sacrament Symbols somewhat created Some relevance explained Very limited analysis of the sacrament Symbols created are limited Relevance is confusing No analysis of the sacrament No symbols Created No Relevance RIV.01 RIV.02 Presentation Grammar Spelling Your name No spelling or grammar errors Proper structure of assignment Work is extremely neat Your name is on everything Only a few spelling or grammar errors Proper structure of assignment Work is neat Your name is on most parts Many grammatical and spelling errors Structure is incomplete in some portions Work somewhat neat Name on few parts Numerous spelling and grammatical errors Structure missing Messy work Name on one part Work not completed No structure No name Works Cited Thorough works cited page All information included and in correct format Adequate works cited page Most information included; format not correct Works cited page included Some information included Format not correct Limited works cited page Information missing Format not correct No works cited Process work Excellent use of class time Always on task Adequate use of class time Usually on task Some use of class time Sometimes on Poor use of class time Rarely on task No works completed
Context Melbourne – a city that can’t stand still Every month thousands of people arrive in Melbourne to forge new lives for themselves. They come from all over Australia and all over the world, drawn by the city’s reputation as a great place to live. Melbourne strives to be bold, inspirational and sustainable. It values knowledge, innovation and good design. It builds public places with the people of Melbourne in mind. And Melbourne is a highly creative city. It overflows with live music, performances, public talks, festivals and events. People show up rain, hail or shine. Threaten the future of live music, for instance, and people will rally in their tens of thousands to defend it. Walk down any main road or laneway day or night and creativity is out and proud in the clothes people wear, the galleries, bars, cafes and shops, architecture, street design and street life.
Melbourne’s Creative Strategy on a page Melbourne is internationally renowned as a creative city – but so are many cities. And snapping at their heels are scores of others, each recognising the power of creativity to express a city’s identity, draw people in, create a sense of connection and belonging and transform the economy. These days, creativity in its broadest sense is a highly sought after commodity and the cities with creativity at their core are the ones that prosper. To harness its full potential, creativity needs to be integrated into the very fabric of the city and its long-term vision – not as an add-on but right at the start, when contemplating the changes and challenges ahead of us. We have an extraordinary creative community with a critical role to play in creating a great city for everybody. In thinking about our own creative approach, the City of Melbourne has arrived not at a ‘vision statement’ but a provocation that is grounded in principles understood by Indigenous and ancient civilisations whereby art is not a product or a service but, rather, it informs how the world is and how to be in it. We will engage creative practitioners of all kinds to work with subject experts on compelling city opportunities and challenges that relate to the nine goals Melburnians have set for their city. The Provocation We will ask: If Melbourne were the world’s most creative city, what approach would we take to this challenge? would we start? What would we do differently? How would we behave? How can creative thinking deliver extraordinary results? What processes would we follow? What we produce? What would we measure? Creating new connections At the heart of this is the idea of creating new connections: Across everything the city does Between disciplines Between public and private organisations Between the city and its communities Between experiences Between creative practice and civic scale Between aspirations and reality art at the start
How is the creative strategy different to the expired arts strategy? Strategies look at where we’ve been, where we are now and where we could and should be. Our draft creative strategy could not exist in its current form without the strong foundations built as a result of the 2014–17 Arts Strategy: Australia’s first cultural infrastructure plan, robust funding mechanisms for creative people and organisations, programs that value and interpret cultural heritage and more. These are enshrined now in the way we operate. However there were two points from the old strategy we believe were realised at only a fraction of their true potential: recognising and valuing the contribution creative people make to our city and forging connections between creatives and others. We believe it is these two elements that have the transformative ability to take Melbourne to a new place in relation to creativity, for the benefit of all who live, visit and work here, including creative practitioners themselves. What research took place to underpin the strategy? There are a plethora of recent studies that look deeply at the demographic and economic context of Melbourne, including those commissioned recently by Creative Victoria. The City of Melbourne commissions its own research, including for the development of the latest 10-year Future Melbourne Community Plan, four-year Council Plan and a review of its many expiring strategies and plans. We revisited all of them in depth, including the 400-odd pieces of feedback that contributed to our Creative City goal. We collected and read creative strategies from New York, London, Berlin, Adelaide, Sydney, Boston, Portland, Singapore, Tokyo, Paris, Montreal and many more. We also took another close look at our expired Art Strategy. We found most cities aspired to similar things: a more equitable city, greater diversity, an expression of their city’s unique identity, provision of infrastructure and funding. What we realised was that these aspirations were either already outlined in depth in Future Melbourne and our Council Plan, along with clear objectives, priorities and measures, or they were part of our business as usual – developing and managing creative spaces, funding creative people and projects and so on. We had a choice. We could add to the already significant body of research available, repeat ourselves and cherry pick from what the community has already told us, discarding bits along the way. Alternatively we could forge a bold new path, integrating creative practice into everything our community holds dear, creating dynamic new connections and expanding our ambitions for creativity so that it applied to a much bigger canvas.
Creative Writing Prompts “Don’t eat yellow snow.” Write a story about someone learning this lesson. “You don’t have to attend argument you’re invited to.” Respond to this using a personal story or moral. “It was the worst Phys. Ed. class imaginable…” Finish this story. “Silence is…”
cab drivers, pedestrians, no stop lights, and terrified pets off leash. The length of the paper is less than 400 words of 28 point font writing (don't even go there) or less than 400 words of 12 point font writing. (50% maximum score) The length of the paper is around 500 words of spell-checked, grammar-checked 12 point font writing. (75% maximum score) The length of the paper is just under 600 words but over 550 of grammar-checked 12 point font writing. (85% max score) The length of the paper is over 600 words, & 12 point font writing.
Creativity Assignment Names: Grade Level: STEM Content(s): What STEM content could be addressed in your activity/design? Assessment: What evidence will be used to determine whether students have learned? Prior Knowledge/Experiences: What prior content knowledge and skills will the students need? Challenge: What will the students be required to do? Result: What will students know, value, and be able to do as a result of this lesson? What's the big idea? Summary/Connections: How will this design brief connect with future learning, other disciplines, work world, etc.? Creativity Bag Demonstrations Bag 1 Topic: Sound Waves With the given materials demonstrate how you can show understanding of vibration in sound.
Creativity Rubric – from Susan Brookhart Very Creative Creative Ordinary/Routine Imitative Variety of ideas and contexts Ideas represent a startling variety of important concepts from different contexts or disciplines. Ideas represent important concepts from different contexts or disciplines. Ideas represent important concepts from the same or similar contexts or disciplines. Ideas do not represent important concepts. Variety of sources Created product draws on a wide variety of sources, including different texts, media, resource persons, or personal experiences. Created product draws on a variety of sources, including different texts, media, resource persons, or personal experiences. Created product on a limited set of sources and media. Created product draws on only one source or on sources that are not trustworthy or appropriate. Combining ideas Ideas are combined in original and surprising ways to solve a problem, address an issue, or make something new. Ideas are combined in original ways to solve a problem, address an issue, or make something new. Ideas are combined in ways that are derived from the thinking of others (for example, of the authors in sources consulted). Ideas are copied or restated from the sources consulted. Communicating something new Created product is interesting, new, or helpful, making an original Created product is interesting, new, or helpful, making an original Created product serves its intended purpose (for example, solving a problem or addressing an issue). Created product does not serve its intended purpose (for example,
contribution that includes identifying a previously unknown problem, issue, or purpose. contribution for its intended purpose (for example, solving a problem or addressing an issue). solving a problem or addressing an issue). Source: From (p. 54), by , 2013, Alexandria, VA: ASCD. Copyright 2013 by ASCD.
Children’s Rural Education Centre NEWS & EVENTS 2014 School Visits & Forest School Educational Farm Visits 2014 – All year round Literacy Learning Visits on the Farm or in the Woods Lambing Visits from 10th March – 4th April 2014 Forest School programmes 6-10 weeks Forest Explorer days Holiday Clubs: Farm Club, Forest Explorer, Forest Schools Contact: Deborah Brickell 01273 892096 Forest School Introductory Seminar 2014 Introduction for Teachers, TA’s, Governors, Farmers & Outdoor Educators. Monday 3rd March – 9.30am-3pm (Fully Booked) Monday 28th April – 9.30am-3pm Contact: Lynn Clark 01273 892096 Forest Explorer – Holiday Clubs 2014 February Half Term – 1 Day – Tuesday 18th February (fully booked) Easter Holidays -3 Day Holiday Club – 8th,9th & 10th April May Half Term - 1 Day – Tuesday 27th May Contact: Lynn 01273 892096 NEW FARM HOLIDAY CLUB – 1 day – Thursday 20th February 2014 Contact: Deborah Brickell – 01273 892096 Primary Food & Farming Awareness CPD Workshop Wednesday 23rd April 2014 For Teachers and TA’s to explore the value of farming and growing in the curriculum, providing ideas and inspiration to link your classroom teaching with farm-based visits and your own school grounds. Contact: Deborah Brickell 01273 892096 Plumpton College Open Day - Saturday 10th May 2014 – 892096
Program Revision History 1.0 6/5/12 Initial Program Refinement 1.1 4/3/13 Program Refinement 2.0 11/12/13 Addition of Veteran and Job Funnel Goals. 3.0 3/10/15 Changes to Construction Manager Requirements and Set-Aside Bond Requirements.
Military Deaths % of Troops: 28.1% (Rank = 3 / 16) Civilian Deaths: 4,200,000 (Rank = 1 / 16) Civilian Deaths % of pop.: 19.7% (Rank = 1 / 16) "Effect of World War I on Each Country." Effect of World War I on Each Country. N.p., n.d. Web. 20 Oct. 2014. <http://www.worldology.com/Europe/world_war_1_effect.htm>. Option A Calculate the total number of people living in the Ottoman Empire based on the casualty information provided. Show all work. Write step-by-step instructions for someone else to be able to recreate that same equation. a 5 sentence explanation of how World War I impacted the Ottoman Empire. Option B Create a pie graph that illustrates the difference in the number of civilian and military deaths Include a key that has definitions of civilian and military Write 5 sentences in which you infer why there was such a great distinction between the two sets of numbers 6: Mandate System in Arab States In 1920, the Ottoman Arab provinces were divided between Britain and France along the lines of the Agreement, with borders drawn up entirely by the colonial powers. Mandates from the League of Nations gave France control of Syria and Lebanon. Britain held most mandates over Palestine, Iraq, and the newly created Transjordan. To calm the frustrated Arabs, the British made the sons of the Sharif of Mecca rulers of these 2 new states: Faisal was made king of Iraq and Abdullah was made king of Transjordan, now known as Jordan. Some groups had their hopes for a nation-state crushed. The Kurds were briefly promised an independent state by the Allied powers in 1920, but in the end other interests triumphed: the areas of Kurdish settlement were divided among Turkey, Syria, and Iran. Option A Research the Sykes-Picot Agreement and create a perspective table Write a 5 sentence summary of the Sykes-Picot agreement Create a table with 3 columns: British reactions to the Sykes-Picot Agreement, French reactions to the Sykes-Picot Agreement, and Ottoman reactions to the Sykes-Picot Agreement Option B Research the mandate system and create a poster Create your poster from either the Ottoman or European perspective that shows that side’s feeling on the mandate system Include a 1-3 sentence explanation of the mandate system
Analysis of insurable turnover Country Client’s trade sector Number of clients Turnover Year -1 Credit duration granted Actual payment (DSO) Expected turnover Payment terms (O.A., ILC,…) Claims Enumeration of claims6 (only for countries to be covered)
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Marketing Sample List of Existing Credentials (Includes licenses, education and industry certificates, and postsecondary degree options) Updated: September 19, 2014 NCTEF/NASDCTEc does not endorse any of the listed licenses, certificates or degrees. Education and Industry Licenses Title/Type/Descriptor of Licensing Program Licensing Organization Source for Contact Information Cashiers and Checkers States, Commonwealths, and Territories, Government Agencies Click Career Tools and search under Licensed Occupations by specific Marketing occupations, by state, or by agency Demonstrators and Product Promoters Interior Designers Public Relations Specialists Real Estate Appraisers, Assessors, Brokers and Agents Rental and Counter Clerks Retail Salesperson and Associates Representatives Telemarketers Traffic, Shipping, and Receiving Clerks Education and Industry Certificates
E-Commerce Marketing Specialists/Workers E-Commerce Implementation Certification e-Biz+ Certified E-Commerce Consultant, Certified Administrator and Analyst, Certified Internet Commerce Consultant, Certified Web Page Manager and Analyst Certified Web Professional – Specialist, Certified Web Professional – Site Designer, Master Certified Web Professional – Designer E-Commerce Certified Professional, Windows 2000 E-Commerce Certified Professional NACSE Certified Specialist, NACSE Certified Technician iGeneration Internet Business Strategist, iGeneration Visual Designer Brainbench Computing Technology Industry Association Institute of Certified E-Commerce Consultants International Webmasters Association Learning Tree International National Association of Communication Systems Engineers iGeneration
Entrepreneurs IEA Certification Certified Entrepreneurship Instructor International Entrepreneur Association YoungBiz – A Kidsway Co. – EDGE University Consortium for Entrepreneurship Education Fashion Designers Certificate Pre-professional Certification in Fashion, Textiles, and Apparel Career Technical Schools American Association of Family and Consumer Sciences (AAFCS) Floral Designers AIFD Member Professional Floral Communicators International (PFCI), Member of the American Academy of Floriculture (AAF) American Institute of Floral Design The Society of American Florists Interior Designers NCIDQ Certification Associate Kitchen & Bath Designer, Certified Bath Designer, Certified Kitchen Designer, Certified Master Kitchen & Bath Designer National Council for Interior Design Qualification National Kitchen & Bath Association
Procurement Clerks, Order Clerks, Real Estate Clerks, Rental Clerks, Cashiers & Checkers, Adjustment Clerks, Counter Clerks, Stock Clerks, and Marking Clerks Certified Apartment Supplier, National Apartment Leasing Professional Certified Purchasing Professional National Apartment Association American Purchasing Society Public Relations Specialists/Writers Certified Professional Services Marketer Accredited Business Communicator Certified Business Communicator Accredited in Public Relations (APR) Society for Marketing Professional Services International Association of Business Communicators Business Marketing Association Public Relations Society of America
(CREDI) 0-5 MONTHS Date: _____________________________ Interviewee ID: _____________________ Child Date of Birth: __________________ Child Age (in Months): _______________ Assessor Instructions: Administer the set of items that corresponds with the child’s age band. Remember to show caregivers the corresponding full-page illustration for those items that include an image. Before administering SAY (to caregivers): Now I am going to ask you about the types of things your child is currently able to do. Please answer "yes" or "no" to these questions. If you are unsure, you can also answer by saying “don’t know.” Please keep in mind that children learn and grow at different rates, so it is fine if your child can't yet do these things. Some of these skills children only achieve at older ages. If there is any question you feel uncomfortable answering, please let me know and we can move to the next question. Item # Item Image Response A1 Does the smile when others smile at him/her? Yes No DK A2 Does the child grasp onto a small object (e.g., your finger, a spoon) when put in his/her hand? Yes No DK A3 Does the child recognize you or other family members (e.g., smile when they enter a room or move toward them)? Yes No DK A4 Does the child show interest in new objects by trying to put them in his/her mouth? Yes No DK A5 When on his/her stomach, can the child hold his/her head and chest off the ground using only his/her hands and arms for support? Yes No DK A6 Can the child pick up a small object (e.g., a small toy or small stone) using just one hand? Yes No DK A7 When lying on his/her back, does the child grab his/her feet? Yes No DK A8 Does the child look at an object when someone says "look!" and points to it? Yes No DK
Directly Below the Table Disclose the following directly below the table. Introductory If you disclose an introductory rate, you must disclose: The circumstances under which the introductory rate may be revoked. The rate that will after the introductory rate is revoked. Employee Preferential Rates If you disclose a preferential annual percentage rate for employees (or others with similar affiliation) you must briefly disclose: The circumstances under which such preferential rate may be revoked. The rate that will apply after such preferential rate is revoked. Balance Computation Method Disclose the name of the balance computation method that is used to determine the balance on which the finance charge is computed for each feature. Disclosure Methods Direct Mail and Electronic You must disclose all of the applicable disclosures on or with any application or solicitation that is mailed to members. These disclosures must be accurate as of the time of mailing except for the APR, which must be one that was in effect within 60 days before the date of mailing. Disclosures provided in electronic form must be accurate as of the time they are sent. Direct mail requirements only to mailings sent directly to individual members. Telephone Requirements apply to any credit union-initiated telephone contact during which you take application information or offer to open a credit card account without an application (a “preapproved” telephone solicitation). The credit union must disclose orally the same terms that must be in tabular form for direct mailings. Telephone Alternative An alternative is permitted if:
Note: Students are required to indicate the course level as prescribed in the syllabus of the respective major / minor declared in HKU Full course load per semester at host institution: Course Code Title Credits Course Code Title Credits Major/ Minor (e.g. Course level Approval Signature Yes/ No Yes/ No Yes/ No Yes/ No Yes/ No Yes/ No Yes/ No Total number of credits taken abroad Total number of HKU credits to be transferred No. of free elective course(s) to be awarded for making up the extra credits obtained during exchange Applicant Name: ____________________________ Date: ____________________________ Recommended by: Programme Director Signature: ____________________________ Date: ________________________________ Approved by: Chairman, Faculty Board Signature: ____________________________ Date: ________________________________
Please email to: support@manntravel.co.nz Ph: 099 731 940 I, (name) Company Name: Hereby authorize Mann Travel to charge: Accommodation Flight Ticket Package Insurance Re issuance fee Others (Please appropriate box/s) For the following guest/s to the below credit card details: Passenger Surname First Name Destination Departure Date Booking ID Booking Reference Credit Card Type : Visa MasterCard Diners Amex (Please appropriate box/s) Credit Card Number: ___________________________________________________________ CVV (Last 3 Digits on back of card): ____________Expiry Date: _______________ Name of Card Holder: _________________________________________________________ Please forward the receipt to: __________________________________________________ A
Utilize their suggestions to build up an eight count ping-pong body jive, e.g.: • shoulder to shoulder (1, 2) • head to foot (3, 4) • palm to elbow (5, 6) • knee to knee (7, 8). The children stand in their own spaces facing forward while you assist them in practising the body jive. • Guide the children through the sequence of movements by calling each body part in turn. • Now use the voice to accompany the action by simply calling out the count (1, 2, 3, 4 etc.). • Ask the children to perform the body jive to music, using your voice to help them keep to the beat of the music. • Now ask them to perform to the music without using your voice to call out the beat. Ensure that everyone starts the body jive together by giving the children a four-count introduction before they begin to move: Everyone ready to begin. I’ll count you in…5, 6, 7, 8 and –shoulder to shoulder …
There is no evidence to suggest that sentences imposed by Canadian Courts are insufficiently severe; There is no evidence to suggest that victims can or will benefit from the imposition of more severe sentences; There is evidence to suggest that “tough on crime”, which really means “tough on offenders”, results in more, not less, crime in our communities – in other words it’s outcome is “tough on communities”; and finally It is clear that adoption of this Bill will signal yet further curtailment of judicial discretion to “do justice” in all the circumstances before the Court in each individual case. Recommendations Do not introduce the proposed Bill or, if it has already been introduced, withdraw it at the earliest opportunity; Clearly identify what public policy/benefit it is intended to be achieved – reduction of overcrowding in remands, reduced crime, or “healing victims”; Use the available research to guide the development of the policies and legislation most likely to achieve the intended outcome and, where availability of data is lacking, undertake the research necessary to obtain that data. For example, if overcrowding is the issue, it would make sense to find out who is in remand, for how long, and most important the reason(s).
APPLICATION FOR CREDIT 638 Lancaster Ave, Malvern, PA 19355 Phone (215) 470-6059 Applicant: Date: Main Phone: Main Fax: Website Billing Address: Physical Street Address (No PO Boxes): Accts Payable Contact: Phone: A/P Email: Estimated monthly purchases $ Devault Salesperson Date Entity Established: State of Inc. Fed I.D. # Subsidiary of: Phone: (Name of Parent Co.) (City/State) Have you ever declared Bankruptcy? Are you tax exempt? YES State: Date: NO Tax Exempt no: **Must Attach Tax Exempt Certificate Bonding Company: (Name and Address) Telephone: Bank: Checking Acct # (Name / Address) Account Contact: Phone: Bank: Phone: (Name / Address) Savings Acct # Account Contact: (Name) (Phone) (Fax) (Name) (Phone) (Fax) (Name) (Phone) (Fax) (Name) (Phone) (Fax) Name: S.S.#: Home Addr: Home Name: S.S.#: Home Addr: Home Phone:
Please complete the application online then print for signatures. Please submit completed form to the Bursar via campus mail or electronically to . Application Type: Merchant Account Name (if existing) Name: Email Address: Department: Ext: Fax: Explain why your department wants to accept credit card payments. Frequency of Payments: Provide a list of the goods and/or services which you are requesting to add/modify. If this is a new source of revenue for your department, please contact the Office of the Controller for assistance. Attach Page 2 if you have additional revenue sources. Change Item to be purchased with card Account number including object code Will your department accept the following credit card methods for the goods and/or services listed above? If so, please indicate the estimated annual dollar volume and number of transactions for each credit card acceptance process: Type of Transaction Accepted Payment Method Annual Dollar Amount Number of Transactions In-person Internet/Online Primary Department Manager: Job Title: Ext: Secondary Department Manager: Job Title: Ext: This is an optional additional account manager. Please identify any additional staff who will be involved in processing credit card payments. Include name, job title, phone extension, and date that the cash handling training was completed. Attach Page 2 if you have additional employees. Change Employee Name Job Title Ext. Date of Cash Handling Training Will any departments, software packages or outside vendors be involved in the processing of credit card payments? If so, please identify all parties and describe their roles and responsibilities. Have you obtained copies or accessed the online version of the applicable Credit Card Acceptance and Security Policy for Accepting Credit Card and electronic payments? (If no, contact the Bursar’s by emailing ) Have all staff who will be involved in processing credit card payments been made aware of and had access to these documents? (If no, contact the Bursar’s by emailing ) By signing this form, the Department Head and Primary Contact acknowledge that they understand the TWU Credit Card Acceptance and Security Policy and the importance of their roles and responsibilities for maintaining compliance within their department. By signing this form, the Department Head approves of the business case presented for the department to accept credit card or electronic payments. Department Head Signature Department Head Printed Name Date Primary Contact Signature Primary Contact Printed Name Date
a. What is the of the monthly fixed payment on your auto loan? $161.34 b. How much will you pay in interest? $808 a. If you paid an additional $50 a month to your auto loan, how long would it take you to pay it off? 2 yrs 3 months b. How much will you pay in interest? $592 Why is it important to understand the underlying mathematics for computing credit card debt and installment Possible Extensions If you increased the additional amount you paid per month to $100, $125, etc…how would this affect the length of time it would take to pay off your credit card? If you increased the additional amount you paid per month to $100, $125, etc…how would this affect the length of time it would take to pay off your installment loan?
Credit Application Form Cont’d Limited Company Registered Office Address …………………………………………………………………………………… ……………………………………………………………………………………………………………………………………………………………. Insurance Broker Details …………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………………………………………. Our terms of trading and payment are STRICTLY NETT MONTHLY All plant hire undertaken in accordance with CPA Model Conditions for the hiring of plant, copy attached. Signed ………………………………………………………………………. Position ……………………………………………………… Print Name ………………………………………………………………………………………………………………………………………… Date …………………………………………………………………………..
Change of Address Select Bankruptcy Select Limited Miscellaneous Events Type in case number Next Select Notice of Change of Address Click Next Click Next Select attorney filing pleading or leave as is and click Next Select party filing pleading or Add/Create New Party Click Next Next Is this notice filed in lieu of a transfer of claim pursuant to Bankruptcy Rule 3001(e)? Select Yes or No Next Attach PDF by clicking on the Browse button Locate pdf document and to open on Open button Click Next Enter name of party or parties whose address is changing Next Modify docket text, if appropriate. Click Next. Final Docket Text appears. Click Next ONLY if correct. If incorrect, click the Back button at the top of the browser screen to make the correction, or abort/restart the transaction by clicking on the Bankruptcy Events hyperlink. Notice of Electronic Filing screen will appear. Notice of Appearance and Request for Notice Select Bankruptcy Select Limited Miscellaneous Events Type in case number Click Next Select Notice of Appearance and Request for Notice Next Click Next Select attorney filing pleading or leave as is and click Next Select party filing pleading or Add/Create New Party
Sample Item The exuberant researcher from Harvard university proclaimed, "The funding to continue our project was funded by a generous philanthropist." type of mistake appears in the sentence above? A) spelling B) punctuation *C) capitalization D) sentence structure Reporting Category Language Standard Conventions of Standard English Benchmark Number LACC.910.L.1.2.a Benchmark Use a semicolon (and perhaps a conjunctive adverb) to link two or more closely related independent clauses. Also Assesses Item Types Multiple Choice; Extended Response Benchmark Clarification Student will demonstrate knowledge of how to use a semicolon and conjunctive adverb to combine closely related independent clauses Content Focus Conventions of standard English regarding grammar and punctuation Content Limits Text should be unbiased, and interesting for students. Text Attributes Text may be literary or informational (fiction or nonfiction). Distractor Attributes 1. Incorrect placement of 2. Comma splice. 3. Run-on. Sample Item I should be going if I want to make curfew. It's starting to rain. How could these two independent clauses be combined into one grammatically correct sentence? A) I should be going; if I want to make curfew and it's starting to rain. B) It's starting to rain so I have to go if I want to make curfew. * C) I should be going if I want to make curfew; besides, it's starting to rain. D) I should be going if I want to make curfew, also it's starting to rain.
the order “against the payment and delivery of the estate of the descendent to his legatees or distributees.” Va. Code Ann. §64.1-180 provides a form of notice for show cause. The order of show cause must be published once a week for two successive weeks in one or more newspapers as the court may direct. The court will then order the distribution with or without a refunding bond. The statute requires a refunding bond if the distribution is made before the expiration of a one-year period. Depending on the statute, beginning of the one-year period starts from: (1) the date of death (for the family allowance, exempt property and homestead allowance, (2) the date of the filing of the Will (for a newly discovered Will and its challenge), or (3) the date of the appointment of the personal representative (when no Will was probated). This one-year period corresponds to the right to challenge the Last Will and Testament probate. The statute provides that to be protected, the personal representative shall have contacted the surviving spouse to ascertain that the surviving spouse will not renounce the will and such intent shall be in writing. A contingent claim will not prevent from distributing the estate. The court will set aside enough reserve for such a claim. Please note that this procedure protects the personal representative against creditors but not against an improper distribution of the estate to legatees or distributes. H. Michael Deneka, Esq. in Winding Up and Settlement of an Estate addresses this and recommends that in order to be totally protected, the personal representative should seek an action for aid and direction. Actually, Va. Code Ann. provides that “every legatee or distributee …may, in a suit brought against [the personal representative] within five years afterward”. I also recommend that the personal representative obtain a letter from the IRS and a letter from the Virginia Department of Taxation stating that the decedent and the estate of the decedent do not owe any taxes.
School of Management Prof. White has made numerous contributions to the academic community publishing in both academic and practitioner journals. At the Rotman School he teaches in the MBA program, has served as the supervisor of the Finance Ph.D. program and is Finance Area Coordinator.