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intrinsic within the values inquiry approach, that the procedures and ndings of values inquiry should explicitly be reported. When these aspects of the evaluation planning process are reported, any potential bias affecting the subsequent selection of evaluation questions should be more apparent. Moreover, the process underlying the selection of the driving questions in an evaluation can be debated, and the result of this process can be challenged with the same level of rigor as for other aspects of research. Without the transparency advocated by values inquiry, the evaluator in a sense can wrap him- or herself in the cloak of stakeholder participation, with no external accountability for how well stakeholder inquiry was conducted or translated into evaluation questions. By increasing the degree of rigor in the stakeholder input processes and by providing transparent reporting of stakeholder procedures and ndings, the values inquiry approach holds some promise of improving the way that the driving questions for an evaluation are selected. In short, although it will still be important to think about program goals, client needs, and program theory, several different methods for values inquiry can be used to help guide the questions asked in an evaluation, including the question of which outcome variables should be measured. The argument for the use of systematic values inquiry is probably strongest for evaluations of publicly funded programs. Of course, evaluation also takes place in the private sector, as in the fairly widespread evaluation of training programs for employees. An argument can be made that values inquiry still ts well, at least for those private-sector rms that subscribe to contemporary business philosophy. Recent schools of thought in business management often include efforts to reduce hierarchical structure in organizations, initiatives to empower frontline employees as participants in decision making, reconceptualizations of consumers and the public as stakeholders, and efforts to realize values other than the bottom line. Businesses that take such an approach may be responsive to systematic values inquiry. Indeed, some experience suggests that systematic inquiry into different stakeholder groups perspectives is worthwhile even in the case of training evaluation in the private sector (Michalski & Cousins, 2001). On the other hand, in principle private-sector owners and managers can choose to ignore some stakeholders with impunity. In at least some instances, evaluators may work more ef ciently by focusing on Patton s (1997) notion of intended use by intended users, rather than on systematic values inquiry involving a range of stakeholders. Indeed, in some private-sector contexts the process of identifying key evaluation questions may actually simplify to the use of formal program goals or judged needs as a guide to evaluation.
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Source: A. E. Kazdin, The Clinical Psychology Handbook, second edition. Published by Allyn and Bacon, Boston, MA. Copyright 1991 by Pearson Education. Adapted by permission of the publisher.
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10. One of the most powerful features of Quartz Composer is its ability to create compositions that don t just sit there they live, breathe, and move. To move your cube, you must change some of its settings repeatedly over time. In particular, if you change the rotation settings, the cube changes its orientation, and you see different parts of it. By changing the rotation values over and over, the cube spins. Quartz Composer includes a patch called an Interpolation that supplies an ever-changing stream of values. Find Interpolation in the patch library and double-click to add one to the composition. 11. Click the interpolation patch to select it, and then click Inspector to see its values. You want the cube to rotate by varying its orientation between 0 and 360 degrees, so ask the interpolation to supply values that go from 0 to 360. In the Inspector, click the pop-up menu and choose Input Parameters. Leave Start Value at 0 and change End Value to 360. The Duration value determines how many seconds it takes to complete the interpolation. Set that value to 20. Leave the other values as they are. 12. Now that you have a source of values from 0 to 360, you need to supply those values to the cube for its rotation. Drag from the Result port of the Interpolation to the X Rotation port of the cube. Take a look at the viewer window. The cube is in motion! You should see the cube tumbling endlessly forward, all faces white except for the front, which still has an image on it. That s pretty neat, but you re just getting started. 13. Because the cube is only changing its x-rotation, you never see its left and right sides. To fix that, you can spin the cube on its y-axis at the same time, and offset the z-rotation a bit (but not change it continuously). In the editor, drag another connection from the Results port, this time hooking it to the cube s Y Rotation. Click the Cube patch, and then click the Inspector button. Go to the Input Parameters panel. In the Z Rotation field, type 90, and then close the Inspector. Now the cube is tumbling, and all six faces eventually come into view. 14. Quartz Composer is drawing the cube over and over again, but something is missing: You see only one frame of the cube animation at a time. What s happening to the previous frames As a development and debugging aid, Quartz Composer automatically erases the viewer before every redraw. This automatic erasing won t happen when you use the composition outside Quartz Composer. To see what that will look like, choose Viewer Disable Background Erasing and take a look at the viewer. You soon get a big smear of cubes everywhere it s been drawn (Figure 14-13). That s not what you want. To prevent this from happening, you need a patch that erases each old frame of the cube before drawing a new one. Find the Clear patch in the Patch Library and double-click to create one. 15. You ve added the Clear patch, and now the viewer window is . . . completely black! Nice job, Picasso! What s gone wrong Take a look at the yellow numbers in the upper-right corner of the Cube and Clear patches. The number for Cube is 1, and Clear is 2. These numbers represent the rendering layer for each patch. Because the Clear patch was just added, it got rendering layer 2, the last layer in this composition. Compositions are processed in order of their rendering layers. So each time through the composition, the cube is drawn, and then cleared to black! That s why you re seeing only a black screen in the viewer. To fix this problem, you need to reverse the order. Clear the screen first, and then draw the cube. Control-click the title of the Clear patch and choose Rendering Layer. Now pick Layer 1. Note that the Rotating Cube s layer automatically changes to 2; and in the viewer window, your cube is back with the background now cleared to black.
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In DHTML, the instructions for all of these features become a part of your Web page. All of the instructions are executed without the page being reloaded from a server. They go a long way toward converting a Web page into a true application. However, none of the exciting things you can do with your page can be done without learning a scripting language. Because JavaScript is the most widely implemented and the most widely used, this book uses JavaScript for its examples. JavaScript is covered in more detail in the next chapter, although you ll begin to see how it looks in this chapter.
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