Principal selection: homosocialibility, the search for security and the production of normalized principal identities

Researchers investigating the decline of potential applicants for principalships have demonstrated that teachers perceive there to be a significant problem in current selection procedures. This article reports an investigation in two Australian states into principal selection. Drawing on a corpus of interviews, two case studies and administrative guidelines, we highlight five key problems in the interview process: (1) the dependence of selection panels on a written application; (2) the dilemma of experience versus potential; (3) the covert rule about the appointment of preferred applicants; (4) the quandary of panel competency; and (5) the evidence of inconsistency of decisions. We argue that the selection process amounts to a reproductive technology which, in the quest for certainty and safety, results in particular kinds of people being successful. This amounts we suggest, whether the selection process is managed by progressive or conservative personnel, to a form of homosociability the tendency to select people just like oneself.

Production system model of children's development of number concepts

The purpose of the present research study was to produce a global, cumulative model of number concept development for children between the ages of two and eight years old. The theoretical and methodological orientation of this study was greatly influenced by Richard Young's production system analysis of seriation by young children (Young, 1971, 1976) and by Newell's (1973) seminal paper, ‘You can't play twenty questions with nature and win’. The methodology used in this investigation thus was as follows. A series of complex number tasks encompassing many aspects of the concept of number were developed. Five children aged between three and seven years then were videotaped while performing some of these complex number tasks. From a detailed protocol analysis of the video-recordings, computer simulation models written in the production system language PSS3 (Ohlsson, 1979) were produced. Specific production system models were produced for each of following aspects of the children's number knowledge: (i) sharing of discrete quantities; (ii) comparison of shares; and (iii) conservation/addition/subtraction of number. These domain-specific models were based on the converging experimental evidence obtained from each of the children’s responses to variants of the complex number tasks. Each child thus received a different set of problems which were chosen systematically in order to clarify particular features of the child's abilities. After a production system model for each child had been produced within a domain, these models were compared and contrasted. From this analysis, developmental trends within the domain were identified and discussed. The research and educational implications of these developmental trends then were discussed. In the concluding parts of this study, the children's domain-specific production system models were cumulated into global, comprehensive models which accurately represented their behaviour in a variety of number tasks. These comprehensive models were compared and contrasted and general developmental trends in young children's number knowledge were identified and discussed.

‘Else-where’ : essays in art, architecture, and cultural production 2002-2011

“Else-where”: Essays in Art, Architecture, and Cultural Production 2002–2011 is a synoptic survey of the representational values given to art, architecture, and cultural production at the closing of the twentieth century and the opening of the twenty-first. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the Real (denoted over the course of the studies as the “Real-Irreal,” or “Else-where”). The essays collected in “Else-where” cross various disciplines (inclusive of landscape architecture, architecture, and visual art) to develop a nuanced critique of a renascent formal regard and elective exit from nihilism in art and architecture that is also an invocation of the highest coordinates given to the arts – that is, formal ontology as speculative intelligence itself, or the return of the universal as utopian thought “here-and-now.”