If you want to get a jump on the weekend reading, head to Jonathan Lethem's article at Harper's.com. We'll discuss it Monday, pulling from The Pirate's Dilemma and your own experiences in writing/creating art/stealing music/plagiarism.
P.S. Be sure to check out his "Works Cited" at the bottom.
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As we've been reading Into the Wild, we have returned to one question again and again:
Now, I turn this question to you. Your first writing assignment of this session is an explanation/exploration of your own life. Chris McCandless realized that there was something amiss in his world, and he attempted to fix it. Whether he found his answers is not something we can ever know, but we can take the lens we're using to study him and turn it on ourselves.
I ask that you write a piece on your own life. It may take the form of an analysis, a narrative, a treatise, even an anthem. Do some freewriting, look over your journals, create an outline of ideas (we'll talk about this tomorrow), then decide which form would be best. I'll talk with each of you individually about your outlines on Friday (13), so have a solid start by then.
Here are some questions you might consider (add more to the "Comments" section if you think of others more pertinent):
This is not a simple assignment, nor is it a chance for you to rant against the wrongs done to you, but an exploration of your aspirations and current situation. Remember, if we've learned anything so far,it's this: When you're heading into the wild, better have a map...
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Lack London's short story "To Light a Fire" can be found here
Here's your reading schedule for Into the Wild. Read through the chapter number given before the date given:
Friday (06): Ch 2
Monday (09): Ch 5
Tuesday (10): Ch 7
Wednesday (11): Ch 8
Thursday (12): Ch 10
Friday (13): Ch 12
Finish book before Monday (23).
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English classes are interesting. We teachers often push aside works of nonfiction in favor of fiction's many incarnations while asking you to produce short works of nonfiction in response (think essay, book report, research paper...). Think about it: if all that you consume is fiction, what do you predict your writing will look like? Exactly.
Please to not misinterpret me: Fiction is vitally important to our understanding of the world. (Remember our discussions on the magnifying glass, the different lenses, and the fact that most communication is metaphorical.) That said, my goal with this section is to remove the pressure of fictional analysis while focusing on three vital skills: communication, collaboration, and connection. You will communicate your ideas and knowledge; collaborate with your peers; and make connections between what you know, what others know, your books, and the outside world.
Each of you has chosen a work of nonfiction from this list (if you don't have your copy yet, email me now. I'll buy it for you and meet you at Starbucks if I have to.):
These books cover a wide range of topics (group intelligence over singular genius, the impact of complex pop culture, the resilience of non-hierarchical organizations, how ideas/products become popular, and the impact of relationships and the media on young women), but they all share one thing on common: how we are impacted by the world/people around us.
Each day you may be asked to teach the class about what you've read so far. Others who are reading the same work may add to your lecture if they want to. This will be uncomfortable for you at first, but remember, we all want to learn about each of the books, but can't read them all. Use your reading journal or notes to help you keep track of your thoughts if you'd like.
If you are not teaching your book, take notes in your journal. Write down any lightbulb connections you make between the book and yours, any questions you have, or anything you might want to study further. This will allow you to make sure you understand what is being presented and solidify the connections you make between your book and others'.
After a book has been taught, I will ask the other readers of the book about their thoughts on it so far, and any connections they've come across. Before the break, I asked each of you to bring one connection between your book and the outside world to class on Monday. If you've found one, keep looking! We can never make too many connections, and I'll be asking for them often.
We will then open the floor to those who have not read the book but have questions or connections to contribute to the class's understanding.
This is not a series of presentations. This is not a book report. I will not ask you to stand in front of the class. This is a discussion amongst peers about how parts of the world works. The steps above will only be in place for the first few days. After that, we should be in the habit of explaining what we've read, sharing ideas and connections, and building on one another's ideas. The length of this assignment is dependent upon how deep we want to delve into the topics. We begin work on the final project on day one, so please come prepared. What form the final project takes is dependent upon where our discussions take us.
Grades. Because I have to. Best advice: have fun, talk to others about what they're reading, share what you know, make connections beyond the classroom.
If you're keeping track, here's the breakdown:
You met in groups last week, wrote reading schedules, and planned responsibilities for Monday. If you aren't sure what your part is for Monday, email your group or post a comment below.
If you have any questions about your position (or your grade, or any makeup work...), send me an email.
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Today we went over the old TP-CASTT model for poetry/music analysis. Then we tore it apart. In doing so, we found the most appropriate method for us to use in analyzing any work, but shorter pieces in particular. Here is what we came up with:
Awesome. You all (inadvertently?) created a workable representation of the rhetorical triangle using the common sense you apply to describe the things you enjoy. This is going to be a good year.
The rhetorical triangle is used to describe the interaction of the reader, the writer, and the message itself. From what you have given me, it could be constructed this way: A writer 
presents some information (imagery, symbolism, or a straightforward statement to the audience. The reader then takes this structure and applies it to what he or she has read (looking for allusions) or experienced. This "reader history" is then applied to the message. If it fits, then you have a solid interpretation or analysis. If not, 'round we go again. (We'll discuss this "application of reader history" in more detail tomorrow.
We will continue looking at poetry on Friday, so if you have a song that you particularly enjoy, share it! Together we'll try to find a new way of interpreting it. The song's author does not necessarily have to be British, but that would be nice. Even better: Can you find a poem or song similar to Stevie Smith's "Not Waving but Drowning"?
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you noo-o-o. Not really.
Gladwell makes some interesting assertions in the second chapter, and today we focused on the effects of interpersonal communication. He cites a study by Syracuse University that explains the impact of newscasters and their expressions in Presidential races, and explains what makes Tom Gau so convincing. Derren Brown was brought up, and I promised videos. Here they are:
Watch Brown's movements as he talks to the man. He mirrors his movements, then takes a step back. The man follows.
This one is a bit off topic, but I think it effectively illustrates just how easily our creativity can be affected by our environment. As always, you are what you eat, even if you don't mean to consume it.
This one is similar. You think you aren't listening, but you are.
I'm trying to find video or an article explaining the microemotions explained in this chapter. If anyone finds something, post it below.
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This article from the NY Times describes the newfound importance of right-brained intelligence in the workforce. One more reason to get your M.F.A. NYT Story
Another update in the development of video games. Christopher Williams of Popmatters reviews NiGHTS. Popmatters story
We will be discussing The Tipping Point up to page 59 tomorrow. If you have not purchased the book from Border's Midtown, today is the last day to use my educator's discount on your purchase.
While reading (and journaling, marking, or post-iting), consider the "three agents of change" Gladwell describes on page 19: "the Law of the Few, the Stickiness Factor, and the Power of Context." He briefly describes them in the first chapter.
In Chapter Two, he explains "the Law of the Few" in more detail, labeling three types of people that generally make up "the Few": "Connectors, Mavens, and Salesmen" (Gladwell 30).
Talk to your parents and friends about this. See how well they do with the name test, or see what trends they remember—either national or local ones.
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After four years of researching, a Pentagon group has discovered that while the Iraqi regime has assisted and collaborated with (and even trained) terrorist groups, there is certainly no connection between Al Quaida and Iraq. NPR Story
Eyeteeth blog interview with Brian Ulrich, a photographer documenting America's consumer culture. Eyeteeth Story (w/ slideshow and links)
Second Life on college campuses. NYT Story
Review of My Kid Could Paint That, a documentary following the art of four-year-old Marla Olmstead. Popmatters Story
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will be fueled by our creations.
Today we discussed motivations, which led us to Freud's pleasure principle. Here's a clip from the board:
How's the search coming? If you have a video that you'd like to share, post it in the comments section below. Here's one from Gwyn that she posted under the previous header:
The video's from Ted.com are always amazing, and this is no exception. The speaker contends (among many other things) that adults have learned to be frightened of being "wrong." Has anyone seen Meet the Robinsons?
Our discussion tomorrow will be based on the articles and information we bring in. Remember, it is one thing to know something, but quite another to understand and use this understanding to create.
Here are a few more articles from you guys:
Here is the video that began our discussion this week:
We've discussed what it means to be a student, what a school should provide an how, but what should we as individuals do when faced with this information? Do we dismiss it as alarmist, or do we need to make some changes? What are these changes? Do we think this is this an inevitable change in society, or is there something we can do to stop it? As individuals? As a class? As a school? What is within our power to change? What do we need help with in order to facilitate these changes?
Oh, the quest(ions) continue....
Some things to read while thinking about this:
and to look at:
It's a kitten, in a bucket, surrounded by yarn! Clear your thoughts and imagine your future.
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