Traces, Patterns, Texture: In Search of Aesthetic Teaching/Learning Encounters

This inquiry reveals the crucial guidance of teachers toward surveying the capacity and needs of students, the formation of ideas, acting upon ideas, fostering connections, seeing potential, making judgments, and arranging conditions. Each aesthetic trace causes me to wonder how teachers learn to create experiences that foster student participation in the world aesthetically. The following considerations surface: • Given the emphasis in schools on outcomes and results, how do we encourage teachers to focus on acts of mind instead of end products in their work with students? • Given the orientations toward technical rationality, to fixed sequence, how do we help teachers experience fluid, purposeful learning adventures with students in which the imagi¬nation is given room to play? • Given the tendency to conceive of planning in teaching as the deciding of everything in advance, how do we help teachers and students become attuned to making good judgments derived from within learning experiences? • How do we help teachers build dialogical multivoiced conversations instead of monolithic curriculum? • What do we do to recover the pleasure dwelling in subject matter? How do we get teachers and students to engage thoughtfully in meaningful learning as opposed to covering curriculum7 • A capacity to attend sensitively, to perceive the complexity of relationships coming together in any teaching/learning experience seems critical. How do we help teachers and students attend to the unity of a learning experience and the play of meanings that arises from such undergoing and doing? The traces, patterns, and texture evidenced locate tremendous hope and wondrous possibilities alive within aesthetic teaching/learning encounters. It is such aliveness I encountered in the grade 4 art classroom that opened this account and continues to compel my attention. Possibilities for teaching, learning, and teacher education emerge. I am convinced they are most worthy of continued pursuit.

THE ROLE OF INDUSTRY IN DEVELOPING NEW MATERIALS FOR VERTEBRATE PEST CONTROL

In the first paper presented to you today by Dr. Spencer, an expert in the Animal Biology field and an official authority at the same time, you heard about the requirements imposed on a chemical in order to pass the different official hurdles before it ever will be accepted as a proven tool in wildlife management. Many characteristics have to be known and highly sophisticated tests have to be run. In many instances the governmental agency maintains its own screening, testing or analytical programs according to standard procedures. It would be impossible, however, for economic and time reasons to work out all the data necessary for themselves. They, therefore, depend largely on the information furnished by the individual industry which naturally has to be established as conscientiously as possible. This, among other things, Dr. Spencer has made very clear; and this is also what makes quite a few headaches for the individual industry, but I am certainly not speaking only for myself in saying that Industry fully realizes this important role in developing materials for vertebrate control and the responsibilities lying in this. This type of work - better to say cooperative work with the official institutions - is, however, only one part and for the most of it, the smallest part of work which Industry pays to the development of compounds for pest control. It actually refers only to those very few compounds which are known to be effective. But how to get to know about their properties in the first place? How does Industry make the selection from the many thousands of compounds synthesized each year? This, by far, creates the biggest problems, at least from the scientific and technical standpoint. Let us rest here for a short while and think about the possible ways of screening and selecting effective compounds. Basically there are two different ways. One is the empirical way of screening as big a number of compounds as possible under the supposition that with the number of incidences the chances for a "hit" increase, too. You can also call this type of approach the statistical or the analytical one, the mass screening of new, mostly unknown candidate materials. This type of testing can only be performed by a producer of many new materials,that means by big industries. It requires a tremendous investment in personnel, time and equipment and is based on highly simplified but indicative test methods, the results of which would have to be reliable and representative for practical purposes. The other extreme is the intellectual way of theorizing effective chemical configurations. Defenders of this method claim to now or later be able to predict biological effectiveness on the basis of the chemical structure or certain groups in it. Certain pre-experience should be necessary, that means knowledge of the importance of certain molecular requirements, then the detection of new and effective complete molecules is a matter of coordination to be performed by smart people or computers. You can also call this method the synthetical or coordinative method.

EC28-234 Nebraska System for Tattooing Hogs for Identification after Slaughter

A plan to identify the individual farm upon which hogs reaching markets are produced has been developed in connection with the efforts toward eradicating tuberculosis among farm animals. While primarily intended as a means of tracing back to determine sources of disease infection, the system of tattooing which is being developed has other significant possibilities. With the growing emphasis on quality products in the market, it is only fair that the producers of high quality commodities receive the premiums paid by processors and consumers. Health of farm animals is a quality factor. The producer of healthy hogs should be rewarded. Likewise, the producer of diseased hogs profits from knowledge that his animals are infected and can institute efforts to control that source fo loss. This 1928 extension circular covers what each letter of a tattoo stands for, where it is to be placed on an animal, and material used in tattooing.