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Evaluation Plan for Secret Lives of Public Spaces

Evaluation Plan for Secret Lives of Public Spaces. Evaluators: Dorie Evensen and Wil Del Pilar September 21, 2011. Campus Context: State of the Performing Arts at PSU. Obtain data on ticket-buying SURVEY randomly selected student ticket-buyers Number of events attending

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Evaluation Plan for Secret Lives of Public Spaces

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  1. Evaluation Plan for Secret Lives of Public Spaces Evaluators: Dorie Evensen and Wil Del Pilar September 21, 2011

  2. Campus Context: State of the Performing Arts at PSU • Obtain data on ticket-buying • SURVEY randomly selected student ticket-buyers • Number of events attending • Class assigned vs. voluntary • Involvement in performing arts • Importance of performing arts (in own life) • Perception of importance of performing arts across campus • SURVEY Integrated Arts 5 Class • SURVEY ~500 randomly selected students

  3. INVENTORY OF INPUTS: What is investment? • Related to the Creative Campus Grant • Related to Penn State Contribution • Related to individual contributions

  4. OBSERVATION OF OUTPUTS: PROCESS ORIENTED Assumptions about learning • learning involves increased levels of participation within communities of practice • focus groups on HOW levels of participation change over course of project • learning involves changing identities • interviews on HOW boundaries are crossed among disciplinary actors

  5. Circles of Participation • Inner Circle: Dancers, Designers, Engineers • Middle Circle: Idea Lab • Outer Circle: Audiences • spontaneous • co-participants • crafted • invited • voluntary

  6. Evaluating Process • Ethnographic observations of/reflection on activities • Document analyses of publications (hard copy and electronic/text visual)

  7. ASSESSING CHANGE IN TERMS OF LEARNING: PRODUCT ORIENTED Short –term (individual) • Surveys of learning outcomes among participants Intermediate (collective) • Analysis of activities related to final production re • interdisciplinary teams • dance troupes • design teams • audience responses Long-term (institutional) • What are residual/continuing physical effects of project? • What are residual/continuing climate effects of project? • What are future plans for interdisciplinary collaborations? • What new social collectives have been formed? • What new investments in the performing arts are forthcoming? • What new position (if any) has the performing arts achieved on campus?

  8. What we need from you: • Rosters of participants (with contact info) • Schedule of events • Open lines of communication/access

  9. What you need from us?

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