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Research community correction programs and parole/probation in your state.

Create an 8- to 10-slide Microsoft® PowerPoint® presentation in which you:

Define community corrections.

Identify at least two community corrections programs available in your state.

Compare the need each program is meant to address, as well as the population each is meant to serve.

Explain how each program works.

Describe the requirements to enter and remain in each program.

Explain which program you feel is most effective, and why. Provide support for your argument.

Sample Solution

and temporal dimension behavior. The article the built environment and spatial form point out that the built environment is an abstract concept employed here and in some of the literature to describe the products of human building activity. It refers, in the broadest sense, to any physical alteration of the natural environment, from hearths to cities, through construction by humans. For example, homes, temples and conference rooms are used for shelter and defined as places of protection and activity. However, the constructed form also includes defined spaces that are bounded, but not necessarily closed, such as uncovered areas, squares or streets. It can also refer to specific elements of a building such as doors, windows, roofs, walls, floors, and chimneys. For example, the Japanese designer Takaharu Tezuka’s kindergarten project, which uses a circular, unconstrained building as a kindergarten area, aims to provide children with a more communicative and open environment to nurture children’s learning and entertainment habits. Throughout most of the modern movement, designers have seen the desire to create works of art and design based on objectivity and rationality, the scientific values. The desire for a new form is more intense than before and the objectivity and rationality of the primary design process (and the product be designed). A desire to “scientise” design can be traced back to ideas in the twentieth-century modern movement of design (Cross, 2001). For example, in the early 1920s, the De Stijl protagonist, Theo van Doesburg, expressed his perception of a new spirit in art and design: “Our epoch is hostile to every subjective speculation in art, science, technology, etc. The new spirit, which already governs almost all modern life, as opposed to animal spontaneity, to nature’s domination, to artistic flummery. In order to construct a new object, we need a method, that is to say, an objective system.” Under the guidance of the new art and design new spiritual theory, designers design works that better meet the needs of customers and society. At the same time, they can better use social theory to display their desi

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