Picturing the Personal Essay: A Visual Guide | Creative Nonfiction A design professor from Denmark once drew for me a picture of the creative process, which had been the subject of his doctoral dissertation. “Here,” he said. “This is what it looks like”: Aha, I thought, as we discussed parallels in the writing process. Nothing is wasted though, said the design professor, because every bend in the process is helping you to arrive at your necessary structure. The remarkable thing about personal essays, which openly mimic this exploratory process, is that they can be so quirky in their “shape.” Narrative with a lift Narrative is the natural starting place since narrative is a natural structure for telling others about personal events. Take, for example, Jo Ann Beard’s essay “The Fourth State of Matter.” Narrative essays keep us engaged because we want answers to such questions. One interesting side note: trauma, which is a common source for personal essays, can easily cause an author to get stuck on the sort of plateau Kittredge described.
Falling Men: On Don DeLillo and Terror, Chris Cumming New York Police officers are seen under a news ticker in Times Square in New York, April 16, 2013. (REUTERS/Brendan McDermid) Some terrorist attacks become cultural obsessions, while others are forgotten completely. There were three bombings in New York City in 1975, none of which I’ve ever heard talked about, each of which would probably shut down the city if it happened now. These were underground disturbances, moments of disorder that helped warp the culture, even if they weren’t absorbed or even remembered. DeLillo’s fictional treatments of terrorism and mass shootings are extensive. When Falling Man came out, reviewers noted that DeLillo’s earlier books had seemed to anticipate the events of September 11, as well as the aura of dread and unreality that followed. No matter how common they’ve become, terrorist attacks and gun massacres always seem unprecedented. Texas again. Last week’s events in Boston conform to this pattern. Dzhokhar is the other side of Oswald.
Using Mind Maps For Creating Novels | No Wasted Ink Take a word. Place that word in the center of a sheet of paper and circle it. Let the word tease your brain. Allow related ideas, words or concepts to be inspired by this word. Write down those new ideas around the word. Draw lines to connect them. When I’m first beginning a novel’s outline, I like to use mind maps to help generate characters and plot points. Overall Plot Mind Map Start with a central Node, the title of your book. Next I generate mind maps for each of the points that I come up with in the hubs. Character Generation Mind Map Write the name of your character in the center of a sheet of paper. Plot Generation Mind Map Think of an moment in time that will happen in your novel. I am a paper person and write my mind maps in a composition notebook with my fountain pens. I have included a review of five of the the mind mapping software programs below. Freemind This was the first mind map program that I used when I started creating the maps. Xmind MindMeister TheBrain Prezi Like this:
The Joke’s on You | Steve Almond Steve Almond [from The Baffler No. 20, 2012] Among the hacks who staff our factories of conventional wisdom, evidence abounds that we are living in a golden age of political comedy. The New York Times nominates Jon Stewart, beloved host of Comedy Central’s Daily Show, as the “most trusted man in America.” But their sanctification is not evidence of a world gone mad so much as an audience gone to lard morally, ignorant of the comic impulse’s more radical virtues. Our lazy embrace of Stewart and Colbert is a testament to our own impoverished comic standards. Fans will find this assessment offensive. We have come to accept coy mockery as genuine subversion and snarky mimesis as originality. Michiko Kakutani of the New York Times offered a summation of the majority opinion in a 2008 profile of Stewart that doubled as his highbrow coronation. The most famous example is Colbert’s turn as the featured speaker at the 2006 White House Correspondents’ Association Dinner. You got that?
Interactive Learning Sites for Education - Home American Anthropological Association: English As She Is Spoke Written by Rosina Lippi Green In discussions about language, prescriptive types generally scorn academic linguists; they see us as language anarchists who reject the very idea of rules. In fact, any linguist will tell you that all human language is structured and rule governed. What linguists and anthropologists object to are pronouncements about good and bad language which are founded in aesthetics, fashion, or prejudice, but served up as objective truths with a side order of superiority. Less important (but still irritating) is the way many prescriptivists get wound up in inane controversies about punctuation, which has nothing to do with spoken language, but still will be filed under "proper grammar." Prescriptivists can be purposefully obtuse and more than bellicose when arguing a position. Sociocultural linguists are actually interested in prescriptivism. 1. 2. 3.
My Favorite WSQ Please see the "revisited" version of this post, published in July of 2016, by clicking here.*Please read my WSQing page for more details, descriptions, and workflow* A "WSQ" (pronounced wisk) in my class is what we call "homework" in my flipped classroom. It stands for this: [read an update on the WSQ after using it for several weeks in my classroom here] W - Watch Students must watch the video for the assigned lesson and take notes in their SSS packets (this stands for "Student Success Sheets" and I have them for each unit/chapter) I have created for them. Some of my very high achieving students have asked "Do I have to watch the video" and under certain circumstances, I say "no", but you still have to complete the notes on the SSS packet. A few issues I am already noticing with this is that there are still important things that I say about the concepts that students miss if they don't watch the video. S - Summary Students have to write a summary of what they watched in the video.
Charles Eames on Design: Rare and Wonderful Q&A from 1972 by Maria Popova A lucid reflection on the role and culture of design by one of the most iconic and influential designers of all time. Legendary design duo Charles and Ray Eames shaped the mid-century modern aesthetic and influenced the voice of design for decades to come. They were also prolific filmmakers, perhaps best known for the iconic Powers of Ten film. In this fantastic Q&A from 1972, found on the excellent compilation The Films of Charles & Ray Eames and reproduced here in House Industries’ typography journal, Madame L’Amic of the Musee des Art s Decoratifs in Paris asks Charles Eames 29 questions about design, covering everything from the balance between form and function to the role of computers in creativity to the impact of influences. I’m particularly taken with this bit affirming remix culture and combinatorial creativity: [Is design] a creation of an individual? You can also listen to the full audio of the interview in this Japanese video of questionable legality:
46 Tools To Make Infographics In The Classroom Infographics are interesting–a mash of (hopefully) easily-consumed visuals (so, symbols, shapes, and images) and added relevant character-based data (so, numbers, words, and brief sentences). The learning application for them is clear, with many academic standards–including the Common Core standards–requiring teachers to use a variety of media forms, charts, and other data for both information reading as well as general fluency. It’s curious they haven’t really “caught on” in schools considering how well they bridge both the old-form textbook habit of cramming tons of information into a small space, while also neatly overlapping with the dynamic and digital world. So if you want to try to make infographics–or better yet have students make them–where do you start? The 46 tools below, curated by Faisal Khan, are a good place to start.
William Burroughs at 100: Thurston Moore on seeing him watch Patti Smith at CBGB, his response to Kurt Cobain’s suicide and ‘cut-up’ songwriting | The Collected Works of Kevin EG Perry “Panorama of the City of Interzone. Opening bars of East St. Louis Toodleoo … at times loud and clear then faint and intermittent like music down a windy street…. That was how William S Burroughs introduced the world to the ‘Interzone’ in his heroin-and-hashish-soaked 1959 novel ‘Naked Lunch’. Kurt Cobain was such a big fan that he played discordant guitar on a spoken-word performance called ‘The “Priest” They Called Him’. While Burroughs lived all over the world, including in London and in Tangier, in north Morocco, the city that inspired ‘Interzone’, he is perhaps most associated with the New York scene that he inhabited with fellow poets and writers like Allen Ginsberg and Jack Kerouac. Sonic Youth’s Thurston Moore moved to New York as a teenager to become a part of this scene. What was your first impression of Burroughs? I used to live near him in New York City. Was he going to the shows? There was another club downtown called The Mudd Club. Did you meet him?
Teacher to Teacher: Critical Thinking in the College Classroom This web site provides personal, practical, and published materials collected to help you cultivate critical thinking skills in your students, especially first-year students. How these materials are organized These materials are contained in 14 modules--ten focused on specific critical thinking skills, and four on specific teaching methods. a critical thinking attitude or habit of intellectual deliberation; individual intellectual skills like analysis and inference; the ability to use these skills in new contexts, and the ability to reflect upon and evaluate one's own thinking (metacognition). In each module, you will find: Teaching critical thinking means giving students intentional challenges and supportive practice overcoming those challenges using specific intellectual skills. Use the links at the top of the page to navigate and begin! Reference: Halpern, D.F. (2003).
Behavioral economics There are three prevalent themes in behavioral finances: Issues in behavioral economics Behavioral finance The central issue in behavioral finance is explaining why market participants make systematic errors contrary to assumption of rational market participants. Such errors affect prices and returns, creating market inefficiencies. It also investigates how other participants take advantage (arbitrage) of such market inefficiencies. Behavioral finance highlights inefficiencies such as under- or over-reactions to information as causes of market trends (and in extreme cases of bubbles and crashes). Other key observations include the asymmetry between decisions to acquire or keep resources, known as the "bird in the bush" paradox, and loss aversion, the unwillingness to let go of a valued possession. Quantitative behavioral finance Quantitative behavioral finance uses mathematical and statistical methodology to understand behavioral biases. Financial models