Well, I have not used a ning before....so I shall put it off for a little bit longer before I navigate my way through there. As for the reading queries/comments: I started off with Pratt. "I quote these words as an example of a conquered subject using the conquerors' language to construct a parodic, oppositional representation of the conquerors' own speech" (pg 2). It brought some conversations back to mind between me and resistant English-learning students in Korea. They didn't want to study English anymore - why couldn't they study Spanish, Japanese, or something else that they wanted. And part of my empathized with them. I wish that they could study which ever language they wanted to in school. Many of them would not have to use English in their jobs, but it was seen as one of those necessary boxes that had to be checked. I tried to encourage my students that even if something directly relating to English such as becoming an interpreter was not their goal, that being able to communicate with others was always an advantage. This skill will only give you more options.
As for Gaughen's writing, I came out of it with lots of ideas. Two things that I want to try implementing was having draft deadlines. I know from my own experience that I usually write a paper in one sitting - even though I know that ones done ahead of time allowing time for revision will most likely be better. That would be a positive step to try and integrate in some of the class writing assignments.
And the third thing was how he talked about mimicking voices on pg 23. After reading The Catcher in the Rye, he let his students try their hand and mimicking the writing style. This is a nice way to give the students a model and then to ask them to go from there. What are some other authors/titles that you would suggest for such an activity?
Monday, February 16, 2009
2/17
Watch out kids, we're entering the Contact Zone!
1. At the end of chapter 2, Gaughan says he doesn't know how else to help students learn the power of language than testing it out with peers in the classroom. Are there other appropriate places for that sort of experiential learning?
2. Sometimes I feel like English teachers are asked to do everything. We should teach reading, writing, media literacy, oral language...the list grows while reading this book. What sort of accountability are other teachers writing on? Are there "Reinventing Biology/Social Studies/History: Teaching in the Contact Zone" versions? Do you think all teachers are taking an even responsibility to create "thoughtful, committed citizens" and address social problems in the classroom?
3. What do you think is the best preparation for teaching texts from cultures you are unfamiliar with?
1. At the end of chapter 2, Gaughan says he doesn't know how else to help students learn the power of language than testing it out with peers in the classroom. Are there other appropriate places for that sort of experiential learning?
2. Sometimes I feel like English teachers are asked to do everything. We should teach reading, writing, media literacy, oral language...the list grows while reading this book. What sort of accountability are other teachers writing on? Are there "Reinventing Biology/Social Studies/History: Teaching in the Contact Zone" versions? Do you think all teachers are taking an even responsibility to create "thoughtful, committed citizens" and address social problems in the classroom?
3. What do you think is the best preparation for teaching texts from cultures you are unfamiliar with?
Moving to the ning...
Hi all. We now have a ning! It's a social networking site and has the useful forum tool that allows threaded discussions. I know Prof. Bruce has posted a question related to contact zones so feel free to join in the conversation there. Each of you should have received an invitation to join via e-mail. You can keep posting on this blog for Gaughan and Pratt, but for Thursday, let's aim for our ning.
The Contact Zone: February 17
First: I am glad to know that I am not the only person who had a difficult time connecting the first example in Pratt's article to working in the contact zone. By the end of the article I was confused so it was nice when I moved into Reinventing English which was much more straight forward.
I could spend the entire posting explaining why I enjoy this book and why I think Gaughan is brilliant but that might be boring. Instead, I made a few observations while reading:
1. John Gaughan must have created an open and honest classroom environment for students to be able to express their prejudices so openly. That sort of classroom environment is invaluable. Students seemed perfectly comfortable discussing topics and issues that don't usually appear in a classroom setting. Gaughan gave every student the opportunity to share their ideas and thoughts, no matter how objectionable they may be. He knew how to deal with those students who had a strong prejudice that might offend other students without oppressing their viewpoints.
2. Teaching in the contact zone is a very upfront approach. Would anyone be uncomfortable using it? I do think that it is something that must develop over time. I can't image that there are too many first year teachers who can go in and do what Gaughan does.
3. "Whether we like it or not, schools must address societal problems"
I had many teachers who would disagree with this statement. I was often told to leave my problems at the door before I entered a classroom. What an unrealistic expectation my teachers had of their students. Student's enter the classroom with preformed ideas, thoughts and prejudices. They don't exactly enter as blank slates. Their outside lives affect their experience in the classroom. It's nice to know that the next generation of teachers (us) will have a better understanding of students and what they bring to the classroom.
I could spend the entire posting explaining why I enjoy this book and why I think Gaughan is brilliant but that might be boring. Instead, I made a few observations while reading:
1. John Gaughan must have created an open and honest classroom environment for students to be able to express their prejudices so openly. That sort of classroom environment is invaluable. Students seemed perfectly comfortable discussing topics and issues that don't usually appear in a classroom setting. Gaughan gave every student the opportunity to share their ideas and thoughts, no matter how objectionable they may be. He knew how to deal with those students who had a strong prejudice that might offend other students without oppressing their viewpoints.
2. Teaching in the contact zone is a very upfront approach. Would anyone be uncomfortable using it? I do think that it is something that must develop over time. I can't image that there are too many first year teachers who can go in and do what Gaughan does.
3. "Whether we like it or not, schools must address societal problems"
I had many teachers who would disagree with this statement. I was often told to leave my problems at the door before I entered a classroom. What an unrealistic expectation my teachers had of their students. Student's enter the classroom with preformed ideas, thoughts and prejudices. They don't exactly enter as blank slates. Their outside lives affect their experience in the classroom. It's nice to know that the next generation of teachers (us) will have a better understanding of students and what they bring to the classroom.
Contact Zone Discussion Questions
1. Summarize the aspects of the contact zone that Pratt reveals in her article, and explain how Guaman's text is a product of that zone.
2. In Pratt's article, she introduces Benedict Anderson's theory that "the nation-community is embodied metonymically in the finite, sovereign, fraternal figure of the citizen-soldier." Explain this concept, and argue for or against it.
3. Why do you think we focus teacher-pupil language almost entirely on the point of view of the teacher and teaching? Is this good? What would it look like for the focus to be reversed? What would the benefits be of describing teacher-pupil language from the point of view of pupils and pupiling?
4. What are your thoughts concerning the university course called "Culture, Ideas, and Values" presented at the end of Pratt's article? Do you think it is worthwhile to put students in a position where their culture is discussed and objectified in ways that might be offensive? What re the benefits? How might a class like this be most successful?
2. In Pratt's article, she introduces Benedict Anderson's theory that "the nation-community is embodied metonymically in the finite, sovereign, fraternal figure of the citizen-soldier." Explain this concept, and argue for or against it.
3. Why do you think we focus teacher-pupil language almost entirely on the point of view of the teacher and teaching? Is this good? What would it look like for the focus to be reversed? What would the benefits be of describing teacher-pupil language from the point of view of pupils and pupiling?
4. What are your thoughts concerning the university course called "Culture, Ideas, and Values" presented at the end of Pratt's article? Do you think it is worthwhile to put students in a position where their culture is discussed and objectified in ways that might be offensive? What re the benefits? How might a class like this be most successful?
Sunday, February 15, 2009
Teaching in the Contact Zone: Feb 17
When I signed up for my classes, I bought my books online from the UM bookstore and had them shipped to me. I anxiously awaited the total to see what the impact on my VISA card would be. Upon impact, I thought "What the hell costs so much?". The answer was the required reading for this class. What was once my chagrin has changed to my delight. I face the REAL world obstacle of obtaining a teaching job upon completion of my degree. No better money could be spent than on this book. John Gaughan is a real teacher, with real insight to the workings of a classroom. He is not content with teaching inside "the box" but instead teaches in "the contact zone." He does not shy away from controversial issues, but instead confronts them head on. Unlike any techinal textbook that I have read, he does not talk in theories or talk much of his classroom as a whole. Instead, he decribes and names students individually, states their positions (although distasteful at times), and gives us ways to deal with diverse opinions. He includes formats and lesson plans that help each student critically analyze their own opinions as well as their classmates'. What was the most important information you gleaned from the first four chapters? Describe how Gaughan cleverly gets students to acheive a fully thoughtful opinion about controversial issues without telling them what to think but rather teaching them how to think?
Post for Tuesday 17: The Contact Zone
1. "... the job of high school English teachers, especially considering that preparing students to read and write at the college level was a primary goal. Today, I think that goal is secondary. I still believe teachers should prepare students for postsecondary education, but we should prepare them first for life." (p. 9) How do we, in more than a psychological way, prepare students for life? For many high school students, college is not in their future. What specific skills would these students need to function well within their lives once they graduate?
2. "How do [teachers] affirm these voices while at the same time questioning and challenging the racist...assumptions which inform them?" (p. 28). I hadn't thought about this question before, because I forgot that students who held racist opinions would exhibit these in their writing. Gaughan talks about the difficult with having a student improve her writing by adding more specific examples of her racist beliefs. How do we improve the writing when the subject matter is difficult to digest?
3. "What happens, though, when the values constructed by the teachers' and students' assumptions conflict? Do I have the right to pry them out of their comfortable shoes? Can I offer alternatives without selling a prepackaged set of different beliefs?" (p.32-33)
How do we as teachers remain open towards our students' beliefs, even when the contradict sharply with our own? Do we let students explore within their current set of beliefs and hope that by providing them with enough alternate voices, their opinions may start to change? How do we keep assuming that our opinions are right in the first place?
2. "How do [teachers] affirm these voices while at the same time questioning and challenging the racist...assumptions which inform them?" (p. 28). I hadn't thought about this question before, because I forgot that students who held racist opinions would exhibit these in their writing. Gaughan talks about the difficult with having a student improve her writing by adding more specific examples of her racist beliefs. How do we improve the writing when the subject matter is difficult to digest?
3. "What happens, though, when the values constructed by the teachers' and students' assumptions conflict? Do I have the right to pry them out of their comfortable shoes? Can I offer alternatives without selling a prepackaged set of different beliefs?" (p.32-33)
How do we as teachers remain open towards our students' beliefs, even when the contradict sharply with our own? Do we let students explore within their current set of beliefs and hope that by providing them with enough alternate voices, their opinions may start to change? How do we keep assuming that our opinions are right in the first place?
Teaching in the Contact Zone
I wish every teacher would think and teach like John Gaughan. His idealistic approach to teaching is great and, in my opinion, absolutely necessary.
Even though I admire him I am not quite sure if I always agree with him.
His ideas stem in the thought that only by embracing different views and lifestyles we will eventually be teaching non-racist openminded views and humanistic values. He points out how important it is to keep students an active part of conversations about race, sexuality, gender, violence, and identy. He also suggests helpful activities to do so. However, imagining myself being confronted with a racist student like Billy in chapter 2 I probably would have a really hard time to critically aknowledge his view rather than to tell him how stupid I think his opinions are. What about you?
How do you see Mary Louise Pratt's personal account about her son and his affection to baseball in the first part of her speech related to the concept of the "contact zone"?
Even though I admire him I am not quite sure if I always agree with him.
His ideas stem in the thought that only by embracing different views and lifestyles we will eventually be teaching non-racist openminded views and humanistic values. He points out how important it is to keep students an active part of conversations about race, sexuality, gender, violence, and identy. He also suggests helpful activities to do so. However, imagining myself being confronted with a racist student like Billy in chapter 2 I probably would have a really hard time to critically aknowledge his view rather than to tell him how stupid I think his opinions are. What about you?
How do you see Mary Louise Pratt's personal account about her son and his affection to baseball in the first part of her speech related to the concept of the "contact zone"?
Monday, February 9, 2009
Quesions/Comments
Questions/Comments
1. In the beginning of the chapter the writer calls attention to decorum in visual arguments. It is interesting to pay attention to different levels of "style" in the arguments that we observe in daily life. Billboards, commercials, and magazine ads are all targeted at a specific audience and use different levels of decorum. What level do you notice most often- the grand, middle, or plain style?
2. Although it seems to be a simple concept the section on captions is very interesting. How much thought do you put into the titles for your essays much less the captions to your photos. Are you trying to communicate anything when you label your facebook pictures? When you read the newspaper does the caption help you to decode the image more than the image itself?
3. How do you feel about supplementing formal essay with images? How does this help the argument? If you assigned a research paper to your students would you ask them to use images to convey elements of their argument? How would this detract from the writing in any way?
1. In the beginning of the chapter the writer calls attention to decorum in visual arguments. It is interesting to pay attention to different levels of "style" in the arguments that we observe in daily life. Billboards, commercials, and magazine ads are all targeted at a specific audience and use different levels of decorum. What level do you notice most often- the grand, middle, or plain style?
2. Although it seems to be a simple concept the section on captions is very interesting. How much thought do you put into the titles for your essays much less the captions to your photos. Are you trying to communicate anything when you label your facebook pictures? When you read the newspaper does the caption help you to decode the image more than the image itself?
3. How do you feel about supplementing formal essay with images? How does this help the argument? If you assigned a research paper to your students would you ask them to use images to convey elements of their argument? How would this detract from the writing in any way?
Ch. 7: Designing Arguments Feb. 10
1. I like the idea of using images in an argument. Photos can influence the viewer/reader's reaction to a piece. My opinion is often swayed by images rather than words.
2. I liked that in "Understanding Academic Writing Conventions" explained the why of academic writing conventions. I realized that I never had anyone explain why a paper should be double-spaced and have 1" margins. I think that understanding these conventions can help students understand what they are doing. Did anyone have a teacher at any point explain the why of academic writing conventions?
3. I have only ever used images in science or history related papers. In my English classes, I never felt that images would be well received. When is the best time to use images in an academic paper? Does anyone have an example? Do images have a place in "grand" styled essays?
2. I liked that in "Understanding Academic Writing Conventions" explained the why of academic writing conventions. I realized that I never had anyone explain why a paper should be double-spaced and have 1" margins. I think that understanding these conventions can help students understand what they are doing. Did anyone have a teacher at any point explain the why of academic writing conventions?
3. I have only ever used images in science or history related papers. In my English classes, I never felt that images would be well received. When is the best time to use images in an academic paper? Does anyone have an example? Do images have a place in "grand" styled essays?
Envision. Vision.
1. I liked how many different options were given for including text with a formal document. If I had ever included a picture or graph I had it as an appendix. And once again, depending on the field, that may have been appropriate. But I think that I may have missed out on times when it would have been a more compelling argument had I strategically placed an image within the text.
2. One visual aid in this article that stuck with me was on pg 232 referencing what percentage of your audience will read/look at which parts. I found myself only wanting to look at the pictures as well and skipping to the next page (I guess I'm not the only one). But that impressed upon me even more the importance of the picture/visual selected. A follow-up query: If you don't have a strong visual image to accompany your story (in reference to the page format on pg 232), is it better just to go with text?
3. Towards the latter part of the article, the topic of designing a web page came up. I have never done that before. For any of you out there who have done so, what sort of time commitment are we looking at? Is it something feasible to have as a class project?
2. One visual aid in this article that stuck with me was on pg 232 referencing what percentage of your audience will read/look at which parts. I found myself only wanting to look at the pictures as well and skipping to the next page (I guess I'm not the only one). But that impressed upon me even more the importance of the picture/visual selected. A follow-up query: If you don't have a strong visual image to accompany your story (in reference to the page format on pg 232), is it better just to go with text?
3. Towards the latter part of the article, the topic of designing a web page came up. I have never done that before. For any of you out there who have done so, what sort of time commitment are we looking at? Is it something feasible to have as a class project?
Response for Feb. 10: Envision
1. In a history paper I wrote at UM about the change in women's clothing from 1944 to 1947 (war to post-war) I incorporated several images into my text. It was very easy to find appropriate places to include images since the paper discussed clothing, something that is physical and can be visually analyzed. When I began thinking about the papers I am writing now, papers that deal with linguistics or methodology research, I am unsure how to include images into these non visual topics. I don't want to include images for the sake of including images. Any ideas?
2. The articles talks a lot about decorum and matching the style, both verbally and visually, to the audience, topic, etc. of our research. How effective is going against the grain in regards to decorum? Presenting the opposite of people's expectations is an effective tool in certain areas, but would it work in presenting research?
3. Until reading this article, I hadn't thought much about how on-line writing differs from traditional writing. Do you think there will come a time in the near future where we teach on-line writing in the same way we teach research papers, op-ed essays? Or will it only be an adaptation of these standard formats?
2. The articles talks a lot about decorum and matching the style, both verbally and visually, to the audience, topic, etc. of our research. How effective is going against the grain in regards to decorum? Presenting the opposite of people's expectations is an effective tool in certain areas, but would it work in presenting research?
3. Until reading this article, I hadn't thought much about how on-line writing differs from traditional writing. Do you think there will come a time in the near future where we teach on-line writing in the same way we teach research papers, op-ed essays? Or will it only be an adaptation of these standard formats?
1. While I was reading our text, I was most intrigued by the section that discussed the benefits of adding visual elements to an argumentative paper. I hope I am not alone when I say that I always got the impression from my educators that pictures and fancy font were off limits for any paper that was supposed to be considered "formal." I remember learning a strict and sterile format in high school...no bells and whistles. But it seems that visual texts are no longer regarded as distractions, but enhancements. Do you agree or disagree with the direction visual texts are heading?
2. I found the end of Ch 7 to be very helpful in thinking about my memoir project. As of now, not every design element that exists in my film supports my argument or overall statement. The list of analysis questions off of which I can use to critique my project will help bring more cohesion to my piece.
3. If I had the choice between creating a photo essay and writing a dry, argumentative paper, I would pick the photo essay any day. Is this true for all students? Are projects that combine mediums "easier" and more fun than just writing a paper because I like being creative, or is our society just more comfortable and adjusted to multi-medium?
2. I found the end of Ch 7 to be very helpful in thinking about my memoir project. As of now, not every design element that exists in my film supports my argument or overall statement. The list of analysis questions off of which I can use to critique my project will help bring more cohesion to my piece.
3. If I had the choice between creating a photo essay and writing a dry, argumentative paper, I would pick the photo essay any day. Is this true for all students? Are projects that combine mediums "easier" and more fun than just writing a paper because I like being creative, or is our society just more comfortable and adjusted to multi-medium?
Envision- Thoughts and Questions
I love that when you focus on teaching your own level of understanding has to increase. Because I have a procrastinating nature from birth (I blame it on my mother who is the biggest procrastinator I know) a majority of the time I'm writing for a class I don't think a heap about decorum. On page 228 the author disucsses grand, middle, and plain styles of writing. When writing for academic purposes I follow all the common professional rules but I probably always use a more "plain" style of writing which is described as direct, clear, and accessible. When I feel pressure to use a "grand" approach" my writing seemed to be too fluffy and lacks clear voice.
1. How do you successfully use "complex academic terms and a sophisticated vocabulary." How is your writing changed when you are aware that you need to sound "sophisiticated." How do you think students are intimidated to write in grand style?
2. As secondary teachers one part of our job is to prepare students for college. Do you feel like there is a gap between what we've been discussing as far as teaching in the high school classroom and what students will face at a large university. How will a Freshman who has been use to using images and multimedia in their presentations, papers, small groups survive with 200 other students while the professor lectures for 50 minutes and then their expected to turn in a five page paper double spaced with no other additives?
3. I would love to use a visual argument as a cover to an essay. Do you think a majority of the professors in your literature/writing classes would appreciate a visual image or discourage them?
4. I changed some of the font and sizing in my first paragraph, do you feel that this focused your attention more?
1. How do you successfully use "complex academic terms and a sophisticated vocabulary." How is your writing changed when you are aware that you need to sound "sophisiticated." How do you think students are intimidated to write in grand style?
2. As secondary teachers one part of our job is to prepare students for college. Do you feel like there is a gap between what we've been discussing as far as teaching in the high school classroom and what students will face at a large university. How will a Freshman who has been use to using images and multimedia in their presentations, papers, small groups survive with 200 other students while the professor lectures for 50 minutes and then their expected to turn in a five page paper double spaced with no other additives?
3. I would love to use a visual argument as a cover to an essay. Do you think a majority of the professors in your literature/writing classes would appreciate a visual image or discourage them?
4. I changed some of the font and sizing in my first paragraph, do you feel that this focused your attention more?
Sunday, February 8, 2009
Designing Arguments
I found this text very helpful in generating ideas for assignments I may give my future student and also for ways I might more adequately and succesfully teach lessons. As I read through, I had a couple thoughts/questions for you guys to ponder. And I'm sure some of you thought the same things...
1. I thought the "Collaborative Challenge" box that described a situation where different readers read the same paragraph but in different fonts was very interesting. I have never considered the impact that font style and size might have on the interpretation of a text. I wonder why this is... Any ideas?
2. I completely agree with the fact that readers tend to focus on visual parts of a text long before they ever make it to the written argument or explanation. Why do you think this is?
3. Another comment on written versus visual text.... why might visual juxtaposition be more powerful than written juxtaposition? What is it about the way the human mind works that clicks with visual imagery more quickly and distinctively than with written word? With visual juxtaposition, do you think adding a written explanation would benefit or distract from the comparison?
4. In the section on Composing a Website, the author explains the importance of visual organization. Why is this so important? Would websites be as impactful if they information was not organized from a visual standpoint?
1. I thought the "Collaborative Challenge" box that described a situation where different readers read the same paragraph but in different fonts was very interesting. I have never considered the impact that font style and size might have on the interpretation of a text. I wonder why this is... Any ideas?
2. I completely agree with the fact that readers tend to focus on visual parts of a text long before they ever make it to the written argument or explanation. Why do you think this is?
3. Another comment on written versus visual text.... why might visual juxtaposition be more powerful than written juxtaposition? What is it about the way the human mind works that clicks with visual imagery more quickly and distinctively than with written word? With visual juxtaposition, do you think adding a written explanation would benefit or distract from the comparison?
4. In the section on Composing a Website, the author explains the importance of visual organization. Why is this so important? Would websites be as impactful if they information was not organized from a visual standpoint?
Creating Visual Arguments
I found Alfano's and O'Brian's article on how to effectively design visual arguments very helpful.
The more I read about designing visual arguments and integrating technology while teaching the more I think that combining visual and verbal design element is the future and, therefore, not to be ignored.
Do you think the four ways of how to create visual arguments, described by Alfano and O'Brian, are applicable in the english class room?
Did some of you create visual arguments already? If yes, how did it work?
Do you think that designing visual argument will inevitable lead to a decline of the written word or even literature?
The more I read about designing visual arguments and integrating technology while teaching the more I think that combining visual and verbal design element is the future and, therefore, not to be ignored.
Do you think the four ways of how to create visual arguments, described by Alfano and O'Brian, are applicable in the english class room?
Did some of you create visual arguments already? If yes, how did it work?
Do you think that designing visual argument will inevitable lead to a decline of the written word or even literature?
Friday, February 6, 2009
Envision: for Feb 10
Ok... so i am the first to blog this week. Again. . . . It's nine-thirty at night on Friday-date night-for all you youngsters. Here i am on the computer. I just want you to know that I too, Miss 42, also had a date. The perfectionist in me, my biggest attribute and downfall, won't let me sleep until I've finished my stupid blogging, (no offense Heather or Merilynne.) So... I made a couple of comments and I"ll post a joke so we all don't get too serious and think we are smarter than we are. And i will say this about our reading assignment for the week: If you can actually read it (small print)-save it! It encompasses the deifinitions of every kind of assigment you may give a student or have to do yourself. It is dry. It is boring. But, it is valuable. Start with your 'decorum' ; how fancy do you need to be? And understand the types of conventions used for each type of decorum. ETC ETC. This article gives you a flowchart of designing every assigment with aspects to please the most formal works (right down to adding page numbers and names where and when) to photo essays, web designs and multimedia composites. Here are my questions and my answers. Is this helpful? (You'd have to be an idiot to say no. So don't.) Can you apply this to your everyday life? (I have a 30 page research paper due for Hist 300 and I learned how to incorperate photographs effectively. If it doesn't apply to you maybe you are in grade school or a football player-just kidding football players!) And finally, could you really make a flow chart outlining the different assignments (cause, really, I'd like to have one!)
Thursday, February 5, 2009
Envision (Alfano & O'Brien)
Hi ENT 442 bloggers. As discussed in class today, our blog is beginning to feel a bit unwieldy and some of us are having trouble effectively navigating through the various texts, questions, and responses posted. Our experiment is for all of us to post under the heading of a text--Envision in this case. Let's see how it goes and we can re-evaluate in a few days. At some point maybe we can move our conversations to a wiki...So, ENVISION, (photocopies handed out 2/3)--what does it have your agreeing/arguing/aspiring to? Comments, questions, connections--go!
Picturing Texts
I found some interesting information in the introduction. I wasn't sure how many people would read the introductions so I figured I should read it and report back. One question I had while reading the intro was how critical is it to consistently pair images with words. Can they no longer exist on their own? Later on in the introduction Faigley explains that writing today is more than just words. People have come to rely on words being accompanied by images. I thought about scientific reports or a business report that uses a graph. That graph is often times more informative than the entire report.
Scott McCloud's essay "Through the Door: Digital Production" made me think of my own experience with comic books and graphic novels. Graphic novels have become extremely popular in the past 5 or so years. I was required to read a graphic novel last semester in a class that I was taking. I had to make adjustments in my reading style because I would get lost in the pictures and forget about the words or i would skip important details that occurred in the pictures. Once I became more comfortable with them, I realized that graphic novels have much to offer. The pairing of images with words can be more powerful than just words or images alone.
Scott McCloud's essay "Through the Door: Digital Production" made me think of my own experience with comic books and graphic novels. Graphic novels have become extremely popular in the past 5 or so years. I was required to read a graphic novel last semester in a class that I was taking. I had to make adjustments in my reading style because I would get lost in the pictures and forget about the words or i would skip important details that occurred in the pictures. Once I became more comfortable with them, I realized that graphic novels have much to offer. The pairing of images with words can be more powerful than just words or images alone.
Wednesday, February 4, 2009
Virgin Blogger
I must confess that until this semester I had never blogged before! While reading through Learning with Blogs and Wikis I fully agreed that there is so much growth in blogging (is blogging an actual verb if you looked it up?). I have more motivation to read the materials assigned and think about everything I read with a more critical eye. Additionally I’ve loved looking at other people’s posts and responses. Ferriter mentions the benefits of feed reader as a learning tool. Does anyone know what feed reader is?
SQueeZInG the JuiCEs in a CLC
I really identified with the article, "Moving Beyond Talk." One of the questions that came up in a small group discussion in class was how to move the ideas we've been talking about in class to our actual classrooms. I fear that the fire to bring change to the classroom will easily be smothered by issues like standardized testing, expectations of principals and parents, etc etc etc. It think the igniting juices to bring forth change are squeezed (yes I really did just say SQUEEZED :) and nurtured within a collaborative learning community. As far as student teaching goes I hope there is a way to stay connected to other student teachers to get support and suggestions from someone who is in a like situation. Yes, we will mostly rely on our experienced teacher for support but sometimes you just need someone who can directly relate to the position you're in!
Circling back
I found the history Jessica Helfand presents in "Squaring the Circle" fascinating. The power of an image. The point I saw carrying over into the education and life application section in general was pg 87: "The process of mediating the tension between rational (square) and rotational (circle) - that of imposed order versus natural order - is hardly new." I saw a correlation of that image with much of the discussion we've been having in class thus far: this ambivalence between how we've been teaching in the English classroom with what we want to see happen in there.
(Insert image here)
1. Stevens does an excellent job outlining the differences between images and words in his essay. He recognizes each mediums strengths and weaknesses and makes it clear that the two mediums are not interchangeable. Then, as if he was taking a little dig on the power of words he states in his concluding remarks that "Certain pictures can put words to shame." This comment made me reflect on the powerful images I have seen, and if it were possible for words to explain the situation portrayed in the image any better? I think not. Stevens is right. If we are going for an emotion explosion, images can offer that much like an intellectual explosion can happen with words. The difference is that words can convey ideas better, while images convey an overall "feel." Can you feel me?
2. Alright, I loved the essay Grierson wrote comparing advertising techniques to a bunch of mental patients on acid with the message: "You're not worth anything," playing in the backround. Brilliant. It made me wonder what images go through my head everyday? It's scary to think about...
3. In the introductory essay to Chapter 3, Faigley talks about the depth and dynamics visual elements can add to the stories that make up our lives. My older brother, Dustin, went on a church mission for two years while I was still in high school. I could only write letters to him while he was away. This was challenging for me since I found it difficult to tell him stories without him being able to see my facial expressions, or here the influx in my voice. How was he to know when I was being sarcastic? I started doodling figures on the side of my letters...me pulling my hair out, me stabbing a profesor, or maybe just a giant question mark. I also started using different colors to reflect my mood. And I must say, that I felt much better about sending those letters off to him. I believed in the power of visual elements before I even knew what a visual element was...
2. Alright, I loved the essay Grierson wrote comparing advertising techniques to a bunch of mental patients on acid with the message: "You're not worth anything," playing in the backround. Brilliant. It made me wonder what images go through my head everyday? It's scary to think about...
3. In the introductory essay to Chapter 3, Faigley talks about the depth and dynamics visual elements can add to the stories that make up our lives. My older brother, Dustin, went on a church mission for two years while I was still in high school. I could only write letters to him while he was away. This was challenging for me since I found it difficult to tell him stories without him being able to see my facial expressions, or here the influx in my voice. How was he to know when I was being sarcastic? I started doodling figures on the side of my letters...me pulling my hair out, me stabbing a profesor, or maybe just a giant question mark. I also started using different colors to reflect my mood. And I must say, that I felt much better about sending those letters off to him. I believed in the power of visual elements before I even knew what a visual element was...
Still. Moving
Mitchell Stephens kept specifying that there were definite limits that the "still image" could not convey. I wonder if he had more hope for what a medium like film could convey? It wouldn't have to be as restricted as an image, but then there isn't that pressure of executing something with a single shot like a still image carries. Things to ponder.
February 5: "Seeing is Learned"
1. When is it better to use words vs visual images (or vice versa) to relay a concept to students? These days, visual images have become such a prominent element in everyday life, but many of the images have little or no meaning outside the context of coupled words. What might be the most successful way(s) to combine these two in instruction? How do we as teacher accommodate the learning needs of visual learners and those who learn best through written word?
2. What does Emberto Eco mean when he says, "The ability of a visual language to express more than one menaing at once is also its limitation"?
3. Do you think the face that pictures stimulate emotions more often than words help or hurt the learning process? Are these emotions a distraction or a beneficial element to learning? Because they evoke emotion, do visual texts help us describe ourselves and our thoughs better to an unknown audience? What are ways that written word might embellish our visual self expressions?
2. What does Emberto Eco mean when he says, "The ability of a visual language to express more than one menaing at once is also its limitation"?
3. Do you think the face that pictures stimulate emotions more often than words help or hurt the learning process? Are these emotions a distraction or a beneficial element to learning? Because they evoke emotion, do visual texts help us describe ourselves and our thoughs better to an unknown audience? What are ways that written word might embellish our visual self expressions?
I love Billy Collins.
From Sailing Alone Around the Room:
Schoolsville
Glancing over my shoulder at the past,
I realize the number of students I have taught
is enough to populate a small town.
I can see it nestled in a paper landscape,
chalk dust flurrying down in winter,
nights dark as a blackboard.
The population ages but never graduates.
On hot afternoons they sweat the final in the park
and when it's cold they shiver around stoves
reading disorganized essays out loud.
A bell rings on the hour and everybody zigzags
into the streets with their books.
I forgot all their last names first and their
first names last in alphabetical order.
But the boy who always had his hand up
is an alderman and owns the haberdashery.
The girl who signed her papers in lipstick
leans against the drugstore, smoking,
brushing her hair like a machine.
Their grades are sewn into their clothes
like references to Hawthorne.
The A's stroll along with other A's.
The D's honk whenever they pass another D.
All the creative-writing students recline
on the courthouse lawn and play the lute.
Wherever they go, they form a big circle.
Needless to say, I am the mayor.
I live in the white colonial at Maple and Main.
I rarely leave the house. The car deflates
in the driveway. Vines twirl around the porch swing.
Once in a while a student knocks on the door
with a term paper fifteen years late
or a question about Yeats or double-spacing.
And sometimes one will appear in a windowpane
to watch me lecturing the wallpaper,
quizzing the chandelier, reprimanding the air.
Schoolsville
Glancing over my shoulder at the past,
I realize the number of students I have taught
is enough to populate a small town.
I can see it nestled in a paper landscape,
chalk dust flurrying down in winter,
nights dark as a blackboard.
The population ages but never graduates.
On hot afternoons they sweat the final in the park
and when it's cold they shiver around stoves
reading disorganized essays out loud.
A bell rings on the hour and everybody zigzags
into the streets with their books.
I forgot all their last names first and their
first names last in alphabetical order.
But the boy who always had his hand up
is an alderman and owns the haberdashery.
The girl who signed her papers in lipstick
leans against the drugstore, smoking,
brushing her hair like a machine.
Their grades are sewn into their clothes
like references to Hawthorne.
The A's stroll along with other A's.
The D's honk whenever they pass another D.
All the creative-writing students recline
on the courthouse lawn and play the lute.
Wherever they go, they form a big circle.
Needless to say, I am the mayor.
I live in the white colonial at Maple and Main.
I rarely leave the house. The car deflates
in the driveway. Vines twirl around the porch swing.
Once in a while a student knocks on the door
with a term paper fifteen years late
or a question about Yeats or double-spacing.
And sometimes one will appear in a windowpane
to watch me lecturing the wallpaper,
quizzing the chandelier, reprimanding the air.
Picturing Texts Comments, Questions, Critique
1. In chapter two we learn how to analyze a visual text! I am overwhelmed. Can visuals only be understood in terms of author, purpose, audience, composition, medium, genre, social, cultural, historical, and economic contexts? When we create visuals, do we have to consider all those features?
2. Is there such a thing as visual politics? If yes, how can we define it? How does Bell Hooks try to raise awareness of visual politics?
3. In his essay " Shock's Next Wave", Grierson argues that the "aims of advertisers haven't changed, but their tactics have had to adjust". Thus, in our society the tactics of advertisement become more and more shocking in order to reach the customer. This, however, is shocking to me. I wonder if our society becomes more and more hard-nosed what we observe in a few decades from now on TV?
4. Visuals are able to convey more than only one meaning. It is an advantage but I also see a problem with that. What if the author/designer doesn't want to convey multiple meanings?
2. Is there such a thing as visual politics? If yes, how can we define it? How does Bell Hooks try to raise awareness of visual politics?
3. In his essay " Shock's Next Wave", Grierson argues that the "aims of advertisers haven't changed, but their tactics have had to adjust". Thus, in our society the tactics of advertisement become more and more shocking in order to reach the customer. This, however, is shocking to me. I wonder if our society becomes more and more hard-nosed what we observe in a few decades from now on TV?
4. Visuals are able to convey more than only one meaning. It is an advantage but I also see a problem with that. What if the author/designer doesn't want to convey multiple meanings?
Reading Responses (Feb. 5th)
I absolutely agree that "seeing in learned" (pg. 53) - I may not be a studio artist and there are certainly days that I ask myself why I went to art school at all but the answer is always the same: Art school taught me how to see the world differently. I am frequently grateful for this. In addition to seeing, being formally trained in the arts has taught me how to process what it is that I'm seeing (or creating). What do you think I'm missing with my elitist art school point of view? (Sorry, I've been conditioned! haha.) Perhaps, the simplicity of images/beauty? I can't just look at something and say, "That's pretty." - I automatically analyze its composition, deeper meaning, process, material, and of course, the WHY?!?
With that said, it seems as though an English teacher is already starting behind the ball without any formal arts education. So much of what Faigley, et al is proposing requires an artful mind. Now, I realize our lot is not probably not the number crunching kind - but how many of us consider ourselves artistic? I see the logical connection between the questions you ask yourself about art and those same questions being asked about books/print literature. I guess I just really see a challenge for ELA teachers who are not comfortable in their artistic ability (in fact, they may not even think that way.) to incorporate seemingly advanced media technologies.
Some of the ads were exciting to look at, think about, etc. The "Red Cross ad" and the "Dr. Miller, Psychiatrist" are two that really stuck with me. Any of them stay with you? Why do you think they did?
With that said, it seems as though an English teacher is already starting behind the ball without any formal arts education. So much of what Faigley, et al is proposing requires an artful mind. Now, I realize our lot is not probably not the number crunching kind - but how many of us consider ourselves artistic? I see the logical connection between the questions you ask yourself about art and those same questions being asked about books/print literature. I guess I just really see a challenge for ELA teachers who are not comfortable in their artistic ability (in fact, they may not even think that way.) to incorporate seemingly advanced media technologies.
Some of the ads were exciting to look at, think about, etc. The "Red Cross ad" and the "Dr. Miller, Psychiatrist" are two that really stuck with me. Any of them stay with you? Why do you think they did?
Comments/Questions for February 5
1. On p. 53 of Picturing Texts, the author writes that "seeing is learned." Is it possible that when we look at a picture their are things we physically don't see, because they are not in our concious thought? I don't know the science of it, but I think it's an interesting question. How do we know we are seeing all the possiblities so that we can teach our students to see them, too?
2. In reading the article by Michael Blanding on Facebook and Myspace, I instantly thought of the status bar used in facebook. For those of you unfamiliar, the status bar gives the writer an opportunity to fill in the statement, So and So is..., in my case Bridget is_______. People often use verbs (Bridget is blogging) and adjectives (Bridget is excited for the weekend) to describe their stauts, but I think that it could be a great place to work on metaphors. I like to think of creative statuses (most of which I don't post, I just like the mental challenge), and I think students might enjoy them too. For example, a possible status could be, "Bridget is a dustbunny hiding under the bed."
3. In the article on having a courtesty policy in school, my main question is what do we do about controlling the content of technology, if anything? I know schools that have had problems with kids text messaging inappropriate pictures, but there are even small things like the lyrics a student is listening to while working on a paper. Would it be our job as teachers then to talk about those lyrics, possibly bringing up issues of negative gender roles, etc? Is there a way to show that we accept the technology but not all of its content?
2. In reading the article by Michael Blanding on Facebook and Myspace, I instantly thought of the status bar used in facebook. For those of you unfamiliar, the status bar gives the writer an opportunity to fill in the statement, So and So is..., in my case Bridget is_______. People often use verbs (Bridget is blogging) and adjectives (Bridget is excited for the weekend) to describe their stauts, but I think that it could be a great place to work on metaphors. I like to think of creative statuses (most of which I don't post, I just like the mental challenge), and I think students might enjoy them too. For example, a possible status could be, "Bridget is a dustbunny hiding under the bed."
3. In the article on having a courtesty policy in school, my main question is what do we do about controlling the content of technology, if anything? I know schools that have had problems with kids text messaging inappropriate pictures, but there are even small things like the lyrics a student is listening to while working on a paper. Would it be our job as teachers then to talk about those lyrics, possibly bringing up issues of negative gender roles, etc? Is there a way to show that we accept the technology but not all of its content?
Picturing Texts
In the first chapter, the author states it is, "Not a matter of if but when we should use images." I would argue to further this a bit more. Over the past five years, since the book was written, media-rich materials have become even more popular. So let's flip this question, with our English classrooms in mind: In what instances should we not use images?
A section of the book is a comic about computer history and art. He talks about ( and shows) different reactions from artists in relation to computers (pg 71). Using his words, does technology today make you feel like a master or slave? How often do you "fling the door open" with new technology?
The author on page 62 argues that readers are not asked to see anymore, but instead interpret code. Do you think the multimodal explosion from the last 15 or so years is a rebellion movement against too much print? Could we looks at this as a "nature"-image/"nurture"-print pairing?
A section of the book is a comic about computer history and art. He talks about ( and shows) different reactions from artists in relation to computers (pg 71). Using his words, does technology today make you feel like a master or slave? How often do you "fling the door open" with new technology?
The author on page 62 argues that readers are not asked to see anymore, but instead interpret code. Do you think the multimodal explosion from the last 15 or so years is a rebellion movement against too much print? Could we looks at this as a "nature"-image/"nurture"-print pairing?
2/5 Post card: Houghton Michigan
The post card that Michigan Tech students created on page143. I have been past that particular road sign, which the locals left up, several times. What I find interesting is that the author correctly identifies that the picture is a parody of postcards. However, having been around the students at Michigan tech, the postcard and the road sign are also a statement of how isolated the campus is from the towns and cities that the students came from. Houghton Michigan has very little to offer the students beyond academics most of the school year other than cross country skiing. The campus is located in a very small old town. Unlike MSU or U of M, few students remain in the area after graduating to offer interesting local arts or music or cafés. This has as much to do with the inhospitable weather as with the lack of engineering jobs most students need upon graduation. Chapter two focuses on how the viewer’s perspective alters the meaning of the photo. For me, the photo brings up personal memories, the thirty degree temperature drop that brought in the largest thunder storm I’ve ever seen, and three days without my luggage which was lost at the airport. The day I first saw the sign, there was fog behind it, just like the postcard shows. Is some form of writing required to be sure an image is interpreted as intended require?
"Seeing" - Picturing Texts
“The word “seeing” brings to mind the way we use our eyes to perceive patterns of light and dark and shapes and such. But seeing is as much about memory and experience as it is about perception.”
“Seeing is learned. It is as much about making sense of what we see as it is about using our eyes to recognize patterns.” – page 53 of Picturing Texts
It’s amazing how many different interpretations can come from a single picture. Depending on the person they might focus in on different details and the emotional response might be affected by the person’s background. Doesn’t this apply to the written and spoken word as well? How can we encourage differences in what our students “see.”
“Seeing is learned. It is as much about making sense of what we see as it is about using our eyes to recognize patterns.” – page 53 of Picturing Texts
It’s amazing how many different interpretations can come from a single picture. Depending on the person they might focus in on different details and the emotional response might be affected by the person’s background. Doesn’t this apply to the written and spoken word as well? How can we encourage differences in what our students “see.”
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