This article brings attention to the rarefied world of elite boarding schools. Despite their reputation for excellence, these unique educational institutions remain largely outside the gaze of educational researchers and the scope of public debates about education. One reason for this absence is a lack of knowledge about what exactly defines an elite boarding school and the characteristics that stand them apart from other schools in significant ways. Drawing on a review of the relevant literature, the article outlines five criteria by which elite boarding schools can be identified: typologically elite, scholastically elite, historically elite, geographically elite, and demographically elite. Although the “elite” status of any given school in any of these criteria may be open to debate, it is the particular combination of these five dimensions that defines an elite boarding school. After a discussion of these five characteristics, the article outlines some implications for future research that considers elite boarding schools as an integral part of the educational system in the United States and presents some of the challenges facing the study of privilege.

In this essay Rubén A. Gaztambide-Fernández uses a discursive approach to argue that mainstream arts in education scholarship and advocacy construes "the arts" as a definable naturalistic phenomenon that exists in the world and is available to be observed and measured. In the course of his analysis, he examines how this construction is employed through what he calls the rhetoric of effects as part of the mainstream discourses used in arts in education research today. He describes how this positivistic rhetoric masks the complexity of those practices and processes associated with the arts, limiting the possibilities for productively employing such practices in education. In addition, he explores how discourses of the arts both arise out of and continually reify hierarchical conceptions of artistic practices in education and broader society. He concludes by proposing an alternative rhetoric of cultural production, arguing that moving toward this new way of understanding practices and processes of symbolic creativity is critical for expanding our vision for the arts in education. And Mr. Karp turns to me and he says, "Okay, Morales. What did you feel?" And I said. .. "Nothing I'm feeling nothing." And he says, "Nothing Could get a girl transferred." They all felt something, but I felt nothing. Except the feeling that this bullshit was absurd!-Diana Morales, from A Chorus Line

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Abstract-Experiments have been at the heart of scientific development and education for centuries. From the outburst of Information and Communication Technologies, virtual and remote labs have added to hands-on labs a new conception of practical experience, especially in Science, Technology, Engineering and Mathematics education. This paper aims at describing the features of a remote lab named Virtual Instruments System in Reality, embedded in a community of practice and forming the spearhead of a federation of remote labs. More particularly, it discusses the advantages and disadvantages of remote labs over virtual labs as regards to scalability constraints and development and maintenance costs. Finally, it describes an actual implementation in an international community of practice of engineering schools forming the embryo of a first world wide federation of Virtual Instruments System in Reality nodes, under the framework of a project funded by the Erasmus+ Program.

Disparate and contradicting assumptions about culture play a significant role in how the artist is constructed in the public imagination. These assumptions have important implications for how young artists should be educated and for the curriculum of artistic education. In this article, I theorize three conceptions of the role of the artist in society and the challenge they present for artistic education.

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In this article, we use our experiences to demonstrate the limits of the "studying up" metaphor to capture the complexity of the dynamics involved in doing research on groups that occupy positions of power within social hierarchies. The article focuses on different facets of the research process, alternating between our individual narratives and a shared discussion of the significance of our experience for thinking about and doing research within the particular context of elite schools. [elite schools, ethnography, subjectivity, ethical issues].[It] is essential that researchers go beyond the dissemination of their findings and relate their experience of dealing with the powerful. It is only with such knowledge that others can extend our understanding of the exercise of power.