Welcome to TiddlyWiki created by Jeremy Ruston, Copyright © 2007 UnaMesa Association
<<<
Last year at Southern Illinois University I gave a workshop in what the basic skills of a good life are as I understand them. Toward the end of it a young man rose in back and shouted at me: “I'm 25 years old, I've lived a quarter of a century, and I don't know how to do anything except pass tests. If the fan belt on my car broke on a lonely road in a snowstorm I'd freeze to death. Why have you done this to me?”
He was right. I was the one who did it just as much as any other teacher who takes up the time young people need to find out what really matters. I did it innocently and desperately, trying to make a living and keep my dignity, but nevertheless I did it by being an agent of a system whose purpose has little to do with what kids need to grow up right. My critic had two college degrees it turned out, and his two degrees were shrieking at me that going to school doesn't matter very much even if it gets you a good job.
People who do very well in schools as we've conceived them have much more than their share of suicides, bad marriages, family problems, unstable friendships, feelings of meaninglessness, addictions, failures, heart by-passes that don't work and general bad health. These things are very well documented but most of us can intuit them without any need for verification. If school is something that hurts you, what on earth are we allowing it for?
Does going to school matter if it uses up all the time you need to learn to build a house? If a 15-year-old kid was allowed to go to the Shelter Institute in Bath, Maine, he would be taught to build a beautiful post-and-beam Cape Cod home in three weeks, with all the math and calculations that entails; and if he stayed another three weeks he'd learn how to install a sewer system, water, heat and electric. If any American dream is universal, owning a home is it – but few government schools bother teaching you how to build one. Why is that? Everyone thinks a home matters.
Does going to school matter if it uses up the time you need to start a business, to learn to grow vegetables, to explore the world or make a dress? Or if it takes away time to love your family? What matters in a good life?
<<<
Source: [[Natural Life Magazine #40 - What Really Matters by John Taylor Gatto|http://www.life.ca/nl/40/gatto.html]]
I came across the following article and thought about our work at Phillis Wheatley:
*http://www.tolerance.org/teach/printar.jsp?p=0&ar=777&pi=ttm
What kinds of questions can we ask ourselves and the work we are doing at the school in reference to this article. What connections can we make with Ivan Illich's observation in [["To Hell with Good Intentions"|http://www.augustana.ab.ca/rdx/eng/activism_illich.htm]]?
The student will demonstrate an understanding of the writing process by:
*Choosing and limiting a subject that can be sufficiently developed within a given time, for a specific purpose, for a specific purpose and audience.
*Developing and refining pre-writing and planning skills.
*Formulating the main point to reflect the subject and purpose of the writing.
*Supporting the main point with specific details and arranging them logically.
*Writing an effective conclusion.
The student will demonstrate proficiency in writing a unified and coherent essay using methods of development suited to the topic by:
*Writing an introductory paragraph.
*Constructing a thesis statement.
**Developing the thesis by:
***Providing adequate support that reflects the ability to distinguish between generalized and concrete evidence.
***Arranging the ideas and supporting details in a logical pattern appropriate to the purpose and focus. These may include descriptive, narrative, evaluative writing, process analysis, comparisons and contrast, cause and effect, and exemplification, and others.
***Writing unified prose in which all supporting material is relevant to the thesis.
***Writing coherent prose providing effective transitional devices. Writing a concluding paragraph.
The student will demonstrate the ability to proofread, edit, and revise by:
*Recognizing and correcting errors in clarity.
*Recognizing and correcting errors in unity and coherence.
*Using conventional sentence structure and correcting sentence errors such as fragments, run-ons, comma splices, misplaced modifiers and faulty parallelism.
*Recognizing and correcting errors in utilizing the conventions of Standard American English including:
**Using standard verb forms and consistent tense. Maintaining agreement between subject and verb, pronoun and antecedent. Using proper case forms -- consistent point of view.
**Using standard spelling, punctuation, and capitalization.
**Selecting vocabulary appropriate to audience, purpose, and occasion.
The student will demonstrate an understanding of various reading selections by:
*Identifying main ideas, purpose, overall organizational patterns, supporting details, and elements of coherence in assigned readings.
*Distinguishing fact from opinion.
*Summarizing and/or paraphrasing passages.
The student will integrate research materials into a piece of writing by:
*Assembling research sources on a designated subject.
*Taking effective notes from research sources.
*Recognizing when and how to document sources.
[[Competency #1]]
[[Competency #2]]
[[Competency #3]]
[[Competency #4]]
[[Competency #5]]
ENC 1101 is the first required general course in college-level writing. You will compose essays and other works using various methods of development. This course fulfills 8,000 words of the Gordon Rule requirement and must be completed with a grade of "C" or better. We will write and hopefully learn something new and find pleasure in the process.
This course is intimately tied to the I Have A Dream Program at Phillis Wheatley Elementary in Overtown. The program adopted a cohort of students in the first grade, promising to support them through enrichment activities, tutoring and mentorship all the way through their high school graduation. Dreamers who graduate receive a full academic scholarship for college. Basically, the program creates what is almost a family for these students. At MDC, we have participated in the nurturing, learning and growth of these students for three years. Now, as the Dreamers start fifth grade, you have a chance to join the family.
For much of the semester (after taking the first month to lay a foundation), we will move our class to the elementary school and devote one of our meetings to passing along the literacy skills we're working on in our composition course to the Dreamers. You will work with the Dreamers on reading and writing as well as design structured activities for them. You will have an opportunity to serve as a positive role model who will encourage them to pursue college. You will also have a chance to work on an organic garden we've been maintaining on school grounds.
Keep in mind that this experience is not only about giving something to the Dreamers. You are in a position to gain a great deal. In essence, the school and the children become our main "text." We will read, interpret and write about the experience. The interactions you have, for example, will give you a powerful context for understanding the psychology of children, basic educational principles, and social problems like poverty and racism. And perhaps most importantly, in getting to know these children, you have an opportunity to form bonds that will last for many years. This course, we hope, gives you a taste of what it truly means to serve.
<<<
Schools are designed on the assumption that there is a secret to everything in life; that the quality of life depends on knowing that secret; that secrets can be known only in orderly successions; and that only teachers can properly reveal these secrets. An individual with a schooled mind conceives of the world as a pyramid of classified packages accessible only to those who carry the proper tags. New educational institutions would break apart this pyramid. Their purpose must be to facilitate access for the learner: to allow him to look into the windows of the control room or the parliament, if he cannot get in by the door. Moreover, such new institutions should be channels to which the learner would have access without credentials or pedigree -- public spaces in which peers and elders outside his immediate horizon would become available.
I believe that no more than four -- possibly even three -- distinct "channels" or learning exchanges could contain all the resources needed for real learning. The child grows up in a world of things, surrounded by people who serve as models for skills and values. He finds peers who challenge him to argue, to compete, to cooperate, and to understand; and if the child is lucky, he is exposed to confrontation or criticism by an experienced elder who really cares. Things, models, peers, and elders are four resources each of which requires a different type of arrangement to ensure that everybody has ample access to it.
<<<
Source: [[Ivan Illich|http://www.preservenet.com/theory/Illich/Deschooling/chap6.html]]
<<<
The struggle against domination by the world market and big-power politics might be beyond some poor communities or countries, but this weakness is an added reason for emphasizing the importance of liberating each society through a reversal of its educational structure, a change which is not beyond any society's means.
<<<
Source: [[Ivan Illich|http://www.preservenet.com/theory/Illich/Deschooling/chap6.html]]
The labor movement has a long history. In South Florida, many forget or ignore the local struggles. Take some time to explore one such example. This one has to do with the food we eat and how it is [[harvested|http://www.ciw-online.org/images/Page1.html]]. If you are interested in supporting the Coalition of Immokalee Workers, plan to participate in their [[August 31 action|http://www.sfalliance.org/2007BKsummer.html]].
|!Format|!It will look like this...|!...if you format it like this...|
|Bold-faced type|''text''|{{{''text''}}}|
|Italic text|//text//|{{{//text//}}}|
|Underlined text|__text__|{{{__text__}}}|
|Strike-through text|--text--|{{{--text--}}}|
|Links with wikiwords|EnchiLada (inactive link - no tiddler yet)<br>WikiWord (active link to tiddler)|{{{EnchiLada}}}<br>{{{WikiWord}}}|
|~De-Wikify a ~WikiWord|~WikiWord, ~EnchiLada|{{{~WikiWord, ~EnchiLada}}}|
|Links with brackets|[[How to add background images]]|{{{[[How to add background images]]}}}|
|Pretty links|[[display text|ColorSchemes]] - links to the tiddler of color schemes|{{{[[display text|ColorSchemes]]}}}|
|External links work the same way:|http://groups.google.com/group/TiddlyWiki <br><br>[[TiddlyWiki Google group|http://groups.google.com/group/TiddlyWiki]]|{{{http://groups.google.com/group/TiddlyWiki}}} <br><br> {{{[[TiddlyWiki Google group|http://groups.google.com/group/TiddlyWiki]]}}}|
|Links to local files|To a file on a CD in your D drive: <br><br>To a file on your USB stick on your e drive: <br><br>To a file in your hard drive:|{{{file:///D:/filename.doc/}}}<br><br>{{{file:///E:/filename.doc/}}}<br><br>{{{file:///C:/filepath/filename.doc/}}}|
|Colored text|@@color(green):green colored@@|{{{@@color(green):green colored@@}}}|
|Text with colored background|@@bgcolor(#ff0000):color(#ffffff):red colored@@|{{{@@bgcolor(#ff0000):color(#ffffff):red colored@@}}}|
|Highlighting|@@text@@|{{{@@text@@}}}|
|Superscript|2^^3^^=8|{{{2^^3^^=8}}}|
|Subscript|a~~ij~~ = -a~~ji~~|{{{a~~ij~~ = -a~~ji~~}}}|
''Simple indenting:''
{{{ {{indent{text }}} produces:
{{indent{text
''Numbered lists:''
{{{#item one }}}
{{{##Item 1a}}}
{{{###Item 1ai}}}
produces:
#item one
##Item 1a
###Item 1ai
''Bulleted lists:''
{{{*Bullet one}}}
{{{**Bullet two}}}
{{{***Bullet three}}}
produces:
*Bullet one
**Bullet two
***Bullet level three
''Headlines''
{{{!Text}}} produces:
!Text
{{{!!Text}}} produces:
!!Text
{{{!!!Text}}} produces:
!!!Text
and so on.
''Tables:''
This is the formatting:
{{{|!Table header|!Column Two|}}}
{{{|>| colspan |}}}
{{{| rowspan |left aligned|}}}
{{{|~| right aligned|}}}
{{{|bgcolor(#DC1A1A):colored| centered |}}}
{{{||*lists<br>*within<br>*tables<br><br>and double-spaced too|}}}
{{{|caption|c}}}
This is the result:
|!Table header|!Column Two|
|>| colspan |
| rowspan |left aligned|
|~| right aligned|
|bgcolor(#DC1A1A):colored| centered |
||*lists<br>*within<br>*tables<br><br>and double-spaced too|
|caption|c
To align a cell so that its text displays at the top rather than the center, add {{{vertical-align:top;}}} at the beginning of the cell.
''Images:''
{{{[img[http://farm1.static.flickr.com/39/122259544_6913ca58f3_m.jpg]]}}} is the formatting for:
[img[http://farm1.static.flickr.com/39/122259544_6913ca58f3_m.jpg]]
''Dotted horizontal lines:''
{{{----}}} produces:
----
''Line-by-line blockquotes:''
{{{>level 1}}}
{{{>level 1}}}
{{{>>level 2}}}
{{{>>level 2}}}
{{{>>>level 3}}}
{{{>>>level 3}}}
{{{>>level 2}}}
{{{>level 1}}}
produces:
>level 1
>level 1
>>level 2
>>level 2
>>>level 3
>>>level 3
>>level 2
>level 1
''Extended blockquotes:''
{{{<<<}}}
{{{Extended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotes}}}
{{{<<<}}}
produces:
<<<
Extended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotesExtended blockquotes
<<<
[img[http://farm1.static.flickr.com/83/232714400_cbcbac93c5_t.jpg]]
[[Welcome]]
[[Syllabus]]
[[Portoblogs]]
+++[Office Hours]
We will post these shortly.
===
[[Bomer|http://www.utexas.edu/opa/experts/profile.php?id=775]] argues for the importance of memoir writing, especially with adolescent writers. He points to the significance of memory in creating/crafting a self. "Making Something of Our Lives: Reading and Writing Memoir" is an excellent resource for students writing memoir. His weaving of different sources in reference to memory is powerful.
Over the past couple of months I've been in a memoir binge of sorts. I have not been able to say why I've been so moved or intrigued by the genre until just now after reading the following:
<<<
In the film //The Ploughman's Lunch//, one fo the characters comments, "Milan Kundera has one of his characters say that struggle of freedom against tyranny is the struggle of memory against forgetting...If we leave the remembering to historians, the struggle's already lost. Everyone must have a memory. Everyone needs to be a historian. In this country, for example, we are endangered of losing hard-won freedoms by dozing off into a perpetual present. (158)
<<<
The link between the struggle of memory, of freedom, and //Ishmael's// leaver and taker retelling and re-membering is clear. To keep preoccupied with the very moment, the latest news or fad or emerging is to lose a hold on the strands of our lives that make for a bigger and wider narrative than what the tyranny of commercial corporatist interests can control and manipulate through marketing strategies.
<<closeAll>><<permaview>><<newTiddler>><<newJournal 'DD MMM YYYY'>><<saveChanges>><<slider chkSliderOptionsPanel OptionsPanel 'options »' 'Change TiddlyWiki advanced options'>>
/***
|Name|NestedSlidersPlugin|
|Source|http://www.TiddlyTools.com/#NestedSlidersPlugin|
|Version|2.3.1|
|Author|Eric Shulman - ELS Design Studios|
|License|http://www.TiddlyTools.com/#LegalStatements <<br>>and [[Creative Commons Attribution-ShareAlike 2.5 License|http://creativecommons.org/licenses/by-sa/2.5/]]|
|~CoreVersion|2.1|
|Type|plugin|
|Requires||
|Overrides|Slider.prototype.stop|
|Description|show content in nest-able 'slider' or 'floating' panels, without needing to create separate tiddlers for each panel|
!!!!!Configuration
<<<
Enable animation for slider panels
<<option chkFloatingSlidersAnimate>> allow sliders to animate when opening/closing
>(note: This setting is in //addition// to the general option for enabling/disabling animation effects:
><<option chkAnimate>> enable animations (entire document)
>For slider animation to occur, you must also allow animation in general.
Debugging messages for 'lazy sliders' deferred rendering:
<<option chkDebugLazySliderDefer>> show debugging alert when deferring slider rendering
<<option chkDebugLazySliderRender>> show debugging alert when deferred slider is actually rendered
<<<
!!!!!Usage
<<<
When installed, this plugin adds new wiki syntax for embedding 'slider' panels directly into tiddler content. Use {{{+++}}} and {{{===}}} to delimit the slider content. You can also 'nest' these sliders as deep as you like (see complex nesting example below), so that expandable 'tree-like' hierarchical displays can be created. This is most useful when converting existing in-line text content to create in-line annotations, footnotes, context-sensitive help, or other subordinate information displays.
Additional optional syntax elements let you specify
*default to open
*cookiename
*heading level
*floater (with optional CSS width value)
*transient display (clicking elsewhere closes panel)
*custom class/label/tooltip/accesskey
*alternate label/tooltip (displayed when panel is open)
*panelID (for later use with {{{<<DOM>>}}} macro. See [[DOMTweaksPlugin]])
*automatic blockquote style on panel
*deferred rendering of panel content
The complete syntax, using all options, is:
//{{{
++++(cookiename)!!!!!^width^*{{class{[label=key|tooltip][altlabel|alttooltip]}}}#panelID:>...
content goes here
===
//}}}
where:
* {{{+++}}} (or {{{++++}}}) and {{{===}}}<br>marks the start and end of the slider definition, respectively. When the extra {{{+}}} is used, the slider will be open when initially displayed.
* {{{(cookiename)}}}<br>saves the slider opened/closed state, and restores this state whenever the slider is re-rendered.
* {{{!}}} through {{{!!!!!}}}<br>displays the slider label using a formatted headline (Hn) style instead of a button/link style
* {{{^width^}}} (or just {{{^}}})<br>makes the slider 'float' on top of other content rather than shifting that content downward. 'width' must be a valid CSS value (e.g., "30em", "180px", "50%", etc.). If omitted, the default width is "auto" (i.e., fit to content)
* {{{"*"}}} //(without the quotes)//<br>denotes "transient display": when a click occurs elsewhere in the document, the slider/floating panel will be automatically closed. This is useful for creating 'pulldown menus' that automatically go away after they are used.
* """{{class{[label=key|tooltip][altlabel|alttooltip]}}}"""<br>uses label/tooltip/accesskey. """{{class{...}}}""", """=key""", """|tooltip""" and """[altlabel|alttooltip]""" are optional. 'class' is any valid CSS class name, used to style the slider label text. 'key' must be a ''single letter only''. altlabel/alttooltip specifiy alternative label/tooltip for use when slider/floating panel is displayed.
* {{{#panelID:}}}<br>defines a unique DOM element ID that is assigned to the panel element used to display the slider content. This ID can then be used later to reposition the panel using the {{{<<DOM move id>>}}} macro (see [[DOMTweaksPlugin]]), or to access/modify the panel element through use of {{{document.getElementById(...)}}}) javascript code in a plugin or inline script.
* {{{">"}}} //(without the quotes)//<br>automatically adds blockquote formatting to slider content
* {{{"..."}}} //(without the quotes)//<br>defers rendering of closed sliders until the first time they are opened. //Note: deferred rendering may produce unexpected results in some cases. Use with care.//
//Note: to make slider definitions easier to read and recognize when editing a tiddler, newlines immediately following the {{{+++}}} 'start slider' or preceding the {{{===}}} 'end slider' sequence are automatically supressed so that excess whitespace is eliminated from the output.//
<<<
!!!!!Examples
<<<
simple in-line slider:
{{{
+++
content
===
}}}
+++
content
===
----
use a custom label and tooltip:
{{{
+++[label|tooltip]
content
===
}}}
+++[label|tooltip]
content
===
----
content automatically blockquoted:
{{{
+++>
content
===
}}}
+++>
content
===
----
all options combined //(default open, cookie, heading, sized floater, transient, class, label/tooltip/key, blockquoted, deferred)//
{{{
++++(testcookie)!!!^30em^*{{big{[label=Z|click or press Alt-Z to open]}}}>...
content
===
}}}
++++(testcookie)!!!^30em^*{{big{[label=Z|click or press Alt-Z to open]}}}>...
content
===
----
complex nesting example:
{{{
+++[get info...=I|click for information or press Alt-I]
put some general information here,
plus a floating panel with more specific info:
+++^10em^[view details...|click for details]
put some detail here, which could in turn contain a transient panel,
perhaps with a +++^25em^*[glossary definition]explaining technical terms===
===
===
}}}
+++[get info...=I|click for information or press Alt-I]
put some general information here,
plus a floating panel with more specific info:
+++^10em^[view details...|click for details]
put some detail here, which could in turn contain a transient panel,
perhaps with a +++^25em^*[glossary definition]explaining technical terms===
===
===
<<<
!!!!!Installation
<<<
import (or copy/paste) the following tiddlers into your document:
''NestedSlidersPlugin'' (tagged with <<tag systemConfig>>)
<<<
!!!!!Revision History
<<<
''2007.07.26 - 2.3.1'' in document.onclick(), propagate return value from hijacked core click handler to consume OR bubble up click as needed. Fixes "IE click disease", whereby nearly every mouse click causes a page transition.
''2007.07.20 - 2.3.0'' added syntax for setting panel ID (#panelID:). This allows individual slider panels to be repositioned within tiddler content simply by giving them a unique ID and then moving them to the desired location using the {{{<<DOM move id>>}}} macro.
''2007.07.19 - 2.2.0'' added syntax for alttext and alttip (button label and tooltip to be displayed when panel is open)
''2007.07.14 - 2.1.2'' corrected use of 'transient' attribute in IE to prevent (non-recursive) infinite loop
''2007.07.12 - 2.1.0'' replaced use of "*" for 'open/close on rollover' (which didn't work too well). "*" now indicates 'transient' panels that are automatically closed if a click occurs somewhere else in the document. This permits use of nested sliders to create nested "pulldown menus" that automatically disappear after interaction with them has been completed. Also, in onClickNestedSlider(), use "theTarget.sliderCookie", instead of "this.sliderCookie" to correct cookie state tracking when automatically dismissing transient panels.
''2007.06.10 - 2.0.5'' add check to ensure that window.adjustSliderPanel() is defined before calling it (prevents error on shutdown when mouse event handlers are still defined)
''2007.05.31 - 2.0.4'' add handling to invoke adjustSliderPanel() for onmouseover events on slider button and panel. This allows the panel position to be re-synced when the button position shifts due to changes in unrelated content above it on the page. (thanks to Harsha for bug report)
''2007.03.30 - 2.0.3'' added chkFloatingSlidersAnimate (default to FALSE), so that slider animation can be disabled independent of the overall document animation setting (avoids strange rendering and focus problems in floating panels)
''2007.03.01 - 2.0.2'' for TW2.2+, hijack Morpher.prototype.stop so that "overflow:hidden" can be reset to "overflow:visible" after animation ends
''2007.03.01 - 2.0.1'' in hijack for Slider.prototype.stop, use apply() to pass params to core function
|please see [[NestedSlidersPluginHistory]] for additional revision details|
''2005.11.03 - 1.0.0'' initial public release
<<<
!!!!!Credits
<<<
This feature was implemented by EricShulman from [[ELS Design Studios|http:/www.elsdesign.com]] with initial research and suggestions from RodneyGomes, GeoffSlocock, and PaulPetterson.
<<<
!!!!!Code
***/
//{{{
version.extensions.nestedSliders = {major: 2, minor: 3, revision: 1, date: new Date(2007,7,26)};
//}}}
//{{{
// options for deferred rendering of sliders that are not initially displayed
if (config.options.chkDebugLazySliderDefer==undefined) config.options.chkDebugLazySliderDefer=false;
if (config.options.chkDebugLazySliderRender==undefined) config.options.chkDebugLazySliderRender=false;
if (config.options.chkFloatingSlidersAnimate==undefined) config.options.chkFloatingSlidersAnimate=false;
// default styles for 'floating' class
setStylesheet(".floatingPanel { position:absolute; z-index:10; padding:0.5em; margin:0em; \
background-color:#eee; color:#000; border:1px solid #000; text-align:left; }","floatingPanelStylesheet");
//}}}
//{{{
config.formatters.push( {
name: "nestedSliders",
match: "\\n?\\+{3}",
terminator: "\\s*\\={3}\\n?",
lookahead: "\\n?\\+{3}(\\+)?(\\([^\\)]*\\))?(\\!*)?(\\^(?:[^\\^\\*\\[\\>]*\\^)?)?(\\*)?(?:\\{\\{([\\w]+[\\s\\w]*)\\{)?(\\[[^\\]]*\\])?(\\[[^\\]]*\\])?(?:\\}{3})?(\\#[^:]*\\:)?(\\>)?(\\.\\.\\.)?\\s*",
handler: function(w)
{
lookaheadRegExp = new RegExp(this.lookahead,"mg");
lookaheadRegExp.lastIndex = w.matchStart;
var lookaheadMatch = lookaheadRegExp.exec(w.source)
if(lookaheadMatch && lookaheadMatch.index == w.matchStart)
{
// var defopen=lookaheadMatch[1]
// var cookiename=lookaheadMatch[2]
// var header=lookaheadMatch[3]
// var panelwidth=lookaheadMatch[4]
// var transient=lookaheadMatch[5]
// var class=lookaheadMatch[6]
// var label=lookaheadMatch[7]
// var openlabel=lookaheadMatch[8]
// var panelID=lookaheadMatch[9]
// var blockquote=lookaheadMatch[10]
// var deferred=lookaheadMatch[11]
// location for rendering button and panel
var place=w.output;
// default to closed, no cookie, no accesskey, no alternate text/tip
var show="none"; var cookie=""; var key="";
var closedtext=">"; var closedtip="";
var openedtext="<"; var openedtip="";
// extra "+", default to open
if (lookaheadMatch[1]) show="block";
// cookie, use saved open/closed state
if (lookaheadMatch[2]) {
cookie=lookaheadMatch[2].trim().slice(1,-1);
cookie="chkSlider"+cookie;
if (config.options[cookie]==undefined)
{ config.options[cookie] = (show=="block") }
show=config.options[cookie]?"block":"none";
}
// parse label/tooltip/accesskey: [label=X|tooltip]
if (lookaheadMatch[7]) {
var parts=lookaheadMatch[7].trim().slice(1,-1).split("|");
closedtext=parts.shift();
if (closedtext.substr(closedtext.length-2,1)=="=")
{ key=closedtext.substr(closedtext.length-1,1); closedtext=closedtext.slice(0,-2); }
openedtext=closedtext;
if (parts.length) closedtip=openedtip=parts.join("|");
else { closedtip="show "+closedtext; openedtip="hide "+closedtext; }
}
// parse alternate label/tooltip: [label|tooltip]
if (lookaheadMatch[8]) {
var parts=lookaheadMatch[8].trim().slice(1,-1).split("|");
openedtext=parts.shift();
if (parts.length) openedtip=parts.join("|");
else openedtip="hide "+openedtext;
}
var title=show=='block'?openedtext:closedtext;
var tooltip=show=='block'?openedtip:closedtip;
// create the button
if (lookaheadMatch[3]) { // use "Hn" header format instead of button/link
var lvl=(lookaheadMatch[3].length>6)?6:lookaheadMatch[3].length;
var btn = createTiddlyElement(createTiddlyElement(place,"h"+lvl,null,null,null),"a",null,lookaheadMatch[6],title);
btn.onclick=onClickNestedSlider;
btn.setAttribute("href","javascript:;");
btn.setAttribute("title",tooltip);
}
else
var btn = createTiddlyButton(place,title,tooltip,onClickNestedSlider,lookaheadMatch[6]);
btn.innerHTML=title; // enables use of HTML entities in label
// set extra button attributes
btn.setAttribute("closedtext",closedtext);
btn.setAttribute("closedtip",closedtip);
btn.setAttribute("openedtext",openedtext);
btn.setAttribute("openedtip",openedtip);
btn.sliderCookie = cookie; // save the cookiename (if any) in the button object
btn.defOpen=lookaheadMatch[1]!=null; // save default open/closed state (boolean)
btn.keyparam=key; // save the access key letter ("" if none)
if (key.length) {
btn.setAttribute("accessKey",key); // init access key
btn.onfocus=function(){this.setAttribute("accessKey",this.keyparam);}; // **reclaim** access key on focus
}
btn.onmouseover=function(event) // mouseover on button aligns floater position with button
{ if (window.adjustSliderPos) window.adjustSliderPos(this.parentNode,this,this.sliderPanel,this.sliderPanel.className); }
// create slider panel
var panelClass=lookaheadMatch[4]?"floatingPanel":"sliderPanel";
var panelID=lookaheadMatch[9]; if (panelID) panelID=panelID.slice(1,-1); // trim off delimiters
var panel=createTiddlyElement(place,"div",panelID,panelClass,null);
panel.button = btn; // so the slider panel know which button it belongs to
btn.sliderPanel=panel; // so the button knows which slider panel it belongs to
panel.defaultPanelWidth=(lookaheadMatch[4] && lookaheadMatch[4].length>2)?lookaheadMatch[4].slice(1,-1):"";
panel.setAttribute("transient",lookaheadMatch[5]=="*"?"true":"false");
panel.style.display = show;
panel.style.width=panel.defaultPanelWidth;
panel.onmouseover=function(event) // mouseover on panel aligns floater position with button
{ if (window.adjustSliderPos) window.adjustSliderPos(this.parentNode,this.button,this,this.className); }
// render slider (or defer until shown)
w.nextMatch = lookaheadMatch.index + lookaheadMatch[0].length;
if ((show=="block")||!lookaheadMatch[11]) {
// render now if panel is supposed to be shown or NOT deferred rendering
w.subWikify(lookaheadMatch[10]?createTiddlyElement(panel,"blockquote"):panel,this.terminator);
// align floater position with button
if (window.adjustSliderPos) window.adjustSliderPos(place,btn,panel,panelClass);
}
else {
var src = w.source.substr(w.nextMatch);
var endpos=findMatchingDelimiter(src,"+++","===");
panel.setAttribute("raw",src.substr(0,endpos));
panel.setAttribute("blockquote",lookaheadMatch[10]?"true":"false");
panel.setAttribute("rendered","false");
w.nextMatch += endpos+3;
if (w.source.substr(w.nextMatch,1)=="\n") w.nextMatch++;
if (config.options.chkDebugLazySliderDefer) alert("deferred '"+title+"':\n\n"+panel.getAttribute("raw"));
}
}
}
}
)
// TBD: ignore 'quoted' delimiters (e.g., "{{{+++foo===}}}" isn't really a slider)
function findMatchingDelimiter(src,starttext,endtext) {
var startpos = 0;
var endpos = src.indexOf(endtext);
// check for nested delimiters
while (src.substring(startpos,endpos-1).indexOf(starttext)!=-1) {
// count number of nested 'starts'
var startcount=0;
var temp = src.substring(startpos,endpos-1);
var pos=temp.indexOf(starttext);
while (pos!=-1) { startcount++; pos=temp.indexOf(starttext,pos+starttext.length); }
// set up to check for additional 'starts' after adjusting endpos
startpos=endpos+endtext.length;
// find endpos for corresponding number of matching 'ends'
while (startcount && endpos!=-1) {
endpos = src.indexOf(endtext,endpos+endtext.length);
startcount--;
}
}
return (endpos==-1)?src.length:endpos;
}
//}}}
//{{{
window.onClickNestedSlider=function(e)
{
if (!e) var e = window.event;
var theTarget = resolveTarget(e);
var theLabel = theTarget.firstChild.data;
var theSlider = theTarget.sliderPanel
var isOpen = theSlider.style.display!="none";
// toggle label
theTarget.innerHTML=isOpen?theTarget.getAttribute("closedText"):theTarget.getAttribute("openedText");
// toggle tooltip
theTarget.setAttribute("title",isOpen?theTarget.getAttribute("closedTip"):theTarget.getAttribute("openedTip"));
// deferred rendering (if needed)
if (theSlider.getAttribute("rendered")=="false") {
if (config.options.chkDebugLazySliderRender)
alert("rendering '"+theLabel+"':\n\n"+theSlider.getAttribute("raw"));
var place=theSlider;
if (theSlider.getAttribute("blockquote")=="true")
place=createTiddlyElement(place,"blockquote");
wikify(theSlider.getAttribute("raw"),place);
theSlider.setAttribute("rendered","true");
}
// show/hide the slider
if(config.options.chkAnimate && (theSlider.className!='floatingPanel' || config.options.chkFloatingSlidersAnimate))
anim.startAnimating(new Slider(theSlider,!isOpen,e.shiftKey || e.altKey,"none"));
else
theSlider.style.display = isOpen ? "none" : "block";
// reset to default width (might have been changed via plugin code)
theSlider.style.width=theSlider.defaultPanelWidth;
// align floater panel position with target button
if (!isOpen && window.adjustSliderPos) window.adjustSliderPos(theSlider.parentNode,theTarget,theSlider,theSlider.className);
// if showing panel, set focus to first 'focus-able' element in panel
if (theSlider.style.display!="none") {
var ctrls=theSlider.getElementsByTagName("*");
for (var c=0; c<ctrls.length; c++) {
var t=ctrls[c].tagName.toLowerCase();
if ((t=="input" && ctrls[c].type!="hidden") || t=="textarea" || t=="select")
{ ctrls[c].focus(); break; }
}
}
var cookie=theTarget.sliderCookie;
if (cookie && cookie.length) {
config.options[cookie]=!isOpen;
if (config.options[cookie]!=theTarget.defOpen)
saveOptionCookie(cookie);
else { // remove cookie if slider is in default display state
var ex=new Date(); ex.setTime(ex.getTime()-1000);
document.cookie = cookie+"=novalue; path=/; expires="+ex.toGMTString();
}
}
return false;
}
//}}}
//{{{
// click in document background closes transient panels
document.nestedSliders_savedOnClick=document.onclick;
document.onclick=function(ev) { if (!ev) var ev=window.event; var target=resolveTarget(ev);
// call original click handler
if (document.nestedSliders_savedOnClick)
var retval=document.nestedSliders_savedOnClick.apply(this,arguments);
// if click was inside transient panel (or something contained by a transient panel)... leave it alone
var p=target;
while (p)
if ((p.className=="floatingPanel"||p.className=="sliderPanel")&&p.getAttribute("transient")=="true") break;
else p=p.parentNode;
if (p) return retval;
// otherwise, find and close all transient panels...
var all=document.all?document.all:document.getElementsByTagName("DIV");
for (var i=0; i<all.length; i++) {
// if it is not a transient panel, or the click was on the button that opened this panel, don't close it.
if (all[i].getAttribute("transient")!="true" || all[i].button==target) continue;
// otherwise, if the panel is currently visible, close it by clicking it's button
if (all[i].style.display!="none") window.onClickNestedSlider({target:all[i].button})
}
return retval;
};
//}}}
//{{{
// adjust floating panel position based on button position
if (window.adjustSliderPos==undefined) window.adjustSliderPos=function(place,btn,panel,panelClass) {
if (panelClass=="floatingPanel") {
var left=0;
var top=btn.offsetHeight;
if (place.style.position!="relative") {
var left=findPosX(btn);
var top=findPosY(btn)+btn.offsetHeight;
var p=place; while (p && p.className!='floatingPanel') p=p.parentNode;
if (p) { left-=findPosX(p); top-=findPosY(p); }
}
if (findPosX(btn)+panel.offsetWidth > getWindowWidth()) // adjust position to stay inside right window edge
left-=findPosX(btn)+panel.offsetWidth-getWindowWidth()+15; // add extra 15px 'fudge factor'
panel.style.left=left+"px"; panel.style.top=top+"px";
}
}
function getWindowWidth() {
if(document.width!=undefined)
return document.width; // moz (FF)
if(document.documentElement && ( document.documentElement.clientWidth || document.documentElement.clientHeight ) )
return document.documentElement.clientWidth; // IE6
if(document.body && ( document.body.clientWidth || document.body.clientHeight ) )
return document.body.clientWidth; // IE4
if(window.innerWidth!=undefined)
return window.innerWidth; // IE - general
return 0; // unknown
}
//}}}
//{{{
// TW2.1 and earlier:
// hijack Slider animation handler 'stop' handler so overflow is visible after animation has completed
Slider.prototype.coreStop = Slider.prototype.stop;
Slider.prototype.stop = function()
{ this.coreStop.apply(this,arguments); this.element.style.overflow = "visible"; }
// TW2.2+
// hijack Morpher animation handler 'stop' handler so overflow is visible after animation has completed
if (version.major+.1*version.minor+.01*version.revision>=2.2) {
Morpher.prototype.coreStop = Morpher.prototype.stop;
Morpher.prototype.stop = function()
{ this.coreStop.apply(this,arguments); this.element.style.overflow = "visible"; }
}
//}}}
*Memories
*Reflections
*Self-definitions
*Questions
*Lists
*Experiments with language
*Discovered words
*Snippets of language heard
*Insightful quotations
*Plans for the future
*Writing again about something from an old entry
*Overheard conversations
*Interviews
*Notes
*Free association
Source: Bomer, Randy. //Time for Meaning: Crafting Literate Lives in Middle and High School//. Portsmouth: Heinemann, 1995.
Last Updated: <<today>>
Copyright ©
Carlos Morales Gonzalez
and Alex Salinas
Post a reasonable schedule for both the PW and non PW classes.
<!--{{{-->
<div id='header' class='header'>
<div class='headerShadow'>
<span class='searchBar' macro='search'></span>
<span class='siteTitle' refresh='content' tiddler='SiteTitle'></span>
<span class='siteSubtitle' refresh='content' tiddler='SiteSubtitle'></span>
</div>
</div>
<div id='mainMenu'>
<span refresh='content' tiddler='MainMenu'></span>
<span id='noticeBoard' refresh='content' tiddler='NoticeBoard'></span>
</div>
<div id='sidebar'>
<div id='sidebarOptions' refresh='content' tiddler='MochaSideBarOptions'></div>
<div id='sidebarTabs' refresh='content' force='true' tiddler='SideBarTabs'></div>
</div>
<div id='displayArea'>
<div id='messageArea'></div>
<div id='tiddlerDisplay'></div>
</div>
<div id='contentFooter' refresh='content' tiddler='contentFooter'></div>
<!--}}}-->
<<<
Even the piecemeal creation of new educational agencies which were the inverse of school would be an attack on the most sensitive link of a pervasive phenomenon, which is organized by the state in all countries. A political program which does not explicitly recognize the need for deschooling is not revolutionary; it is demagoguery calling for more of the same. Any major political program of the seventies should be evaluated by this measure: How clearly does it state the need for deschooling -- and how clearly does it provide guidelines for the educational quality of the society for which it aims?
<<<
Source: [[Ivan Illich|http://www.preservenet.com/theory/Illich/Deschooling/chap6.html]]
''Attendance'': Showing up is the most important. Don't plan on missing class. Missing more than two classes will jeapordize your grade. Late work is not acceptable.
''Participation'':
''Disabled Students'':
If you are a disabled student requesting reasonable accommodation, please inform me of your needs at the beginning of the course so that we can discuss and plan any necessary arrangements. If you choose not to disclose your disability, I will presume that you need no such accommodations.
''Plagiarized Papers'': Plagiarism means producing a work that is fully or partly someone else's and claiming it as your own. Plagiarized work will receive an "F." This is a very important issue given the nature of on-line work. Creating and maintaining trust is essential.
''Final Grade Criteria'': Your final grade will be determined by the numerical average of all your assignments, your course participation, and my discretion.
''Drops'': If you are unable to continue in the course, you must fill out an official withdrawal form with the registrar's office. If he does not officially withdraw, he may receive an F in the course.
As part of this semester and the next, we would like for you to create a blog which documents your effort and best work. We suggest a service like Wordpress or Blogger. It will be up to you to decide the design and content of the site. Make sure that it represents who you are and provides an audience of readers with samples of your writing process along with finished products. If you need help creating your blog, make sure to contact us right away.
''Recommended Blog Services''
*http://wordpress.com
*http://www.blogger.com
Scholastic Assessment Test (SAT) score of 440 or more on the verbal subtest; American College Testing (ACT) score of 17 or more on the English subtest; Computerized Placement Test (CPT) score of 83 or more on the English subtest; or ENC 0021 with a grade of "S."
<<<
1. Instructional purpose (What is essential for students to know?)
2. What two places may cause students difficulty?
3. What will you model that will help students negotiate the different parts?
4. What do they need to do with the information they are reading?
5. How will they hold their readings while they read?
<<<
Source: Tovani, Chris. //Do I Really Have to Teach Reading?// Ontario: Stenhouse Publishers, 2004.
A spirited, grounded life involves creative uncertainty
/*{{{*/
/*Mocha TiddlyWiki Theme*/
/*Version 1.0*/
/*Design and CSS originally by Anthonyy, ported to TiddlyWiki by Saq Imtiaz.*/
/*}}}*/
/*{{{*/
#contentWrapper{
margin: 0 3.4em;
font-family: Lucida Grande, Tahoma, Arial, Helvetica, sans-serif; /* Lucida Grande for the Macs, Tahoma for the PCs */
font-size: 11px;
line-height: 1.6em;
color: #666;
}
.header {
background: #fff;
padding-top: 10px;
clear: both;
border-bottom: 4px solid #948979;
}
.headerShadow { padding: 2.6em 0em 0.5em 0em; }
.siteTitle {
font-family: 'Trebuchet MS' sans-serif;
font-weight: bold;
font-size: 32px;
color: #CC6633;
margin-bottom: 30px;
background-color: #FFF;
}
.siteTitle a{color:#CC6633; border-bottom:1px dotted #cc6633;}
.siteSubtitle {
font-size: 1.0em;
display: block;
margin: .5em 3em; color: #999999;
}
#mainMenu {
position:relative;
float:left;
margin-bottom:1em;
display:inline;
text-align:left;
padding: 2em 0.5em 0.5em 0em;
width:13em;
font-size:1em;
}
#sidebar{
position:relative;
float:right;
margin-bottom:1em;
padding-top:2em;
display:inline;
}
#displayArea {
margin: 0em 17em 0em 15em;
}
.tagClear {clear:none;}
#contentFooter {background:#575352; color:#BFB6B3; clear: both; padding: 0.5em 1em;}
#contentFooter a {
color: #BFB6B3;
border-bottom: 1px dotted #BFB6B3;
}
#contentFooter a:hover {
color: #FFFFFF;
background-color:#575352;
}
a,#sidebarOptions .sliderPanel a{
color:#CC6714;
text-decoration: none;
}
a:hover,#sidebarOptions .sliderPanel a:hover {
color:#CC6714;
background-color: #F5F5F5;
}
.viewer .button, .editorFooter .button{
color: #666;
border: 1px solid #CC6714;
}
.viewer .button:hover,
.editorFooter .button:hover{
color: #fff;
background: #CC6714;
border-color: #CC6714;
}
.viewer .button:active, .viewer .highlight,.editorFooter .button:active, .editorFooter .highlight{color:#fff; background:#575352;border-color:#575352;}
#mainMenu a {
display: block;
padding: 5px;
border-bottom: 1px solid #CCC;
}
#mainMenu a:link, #navlist a:visited {
color:#CC6714;
text-decoration: none;
}
#mainMenu a:hover {
background: #000000 url(arrow.gif) 96% 50% no-repeat;
background-color: #F5F5F5;
color:#CC6714;
}
#mainMenu br {display:none;}
#sidebarOptions a {
color:#999;
text-decoration: none;
}
#sidebarOptions a:hover {
color:#4F4B45;
background-color: #F5F5F5;border:1px solid #fff;
}
#sidebarOptions {line-height:1.4em;}
.tiddler {
padding-bottom: 40px;
border-bottom: 1px solid #DDDDDD;
}
.title {color:#CC6633;}
.subtitle, .subtitle a { color: #999999; font-size: 1.0em;margin:0.2em;}
.shadow .title{color:#948979;}
.selected .toolbar a {color:#999999;}
.selected .toolbar a:hover {color:#4F4B45; background:transparent;border:1px solid #fff;}
.toolbar .button:hover, .toolbar .highlight, .toolbar .marked, .toolbar a.button:active{color:#4F4B45; background:transparent;border:1px solid #fff;}
.listLink,#sidebarTabs .tabContents {line-height:1.5em;}
.listTitle {color:#888;}
#sidebarTabs .tabContents {background:#fff;}
#sidebarTabs .tabContents .tiddlyLink, #sidebarTabs .tabContents .button{color:#999;}
#sidebarTabs .tabContents .tiddlyLink:hover,#sidebarTabs .tabContents .button:hover{color:#4F4B45;background:#fff}
#sidebarTabs .tabContents .button:hover, #sidebarTabs .tabContents .highlight, #sidebarTabs .tabContents .marked, #sidebarTabs .tabContents a.button:active{color:#4F4B45;background:#fff}
.tabSelected{color:#fff; background:#948979;}
.tabUnselected {
background: #ccc;
}
.tabSelected, .tabSelected:hover {
color: #fff;
background: #948979;
border: solid 1px #948979;
padding-bottom:1px;
}
.tabUnselected {
color: #999;
background: #eee;
border: solid 1px #ccc;
padding-bottom:1px;
}
#sidebarTabs .tabUnselected { border-bottom: none;padding-bottom:3px;}
#sidebarTabs .tabSelected{padding-bottom:3px;}
#sidebarTabs .tabUnselected:hover { border-bottom: none;padding-bottom:3px;color:#4F4B45}
#sidebarOptions .sliderPanel {
background: #fff; border:none;
font-size: .9em;
}
#sidebarOptions .sliderPanel a {font-weight:normal;}
#sidebarOptions .sliderPanel input {border:1px solid #999;}
.viewer blockquote {
border-left: 3px solid #948979;
}
.viewer table {
border: 2px solid [[ColorPalette::TertiaryDark]];
}
.viewer th, thead td {
background: #948979;
border: 1px solid #948979;
color: #fff;
}
.viewer pre {
border: 1px solid #948979;
background: #f5f5f5;
}
.viewer code {
color: #2F2A29;
}
.viewer hr {
border-top: dashed 1px #948979;
}
.editor input {
border: 1px solid #948979;
}
.editor textarea {
border: 1px solid #948979;
}
.popup {
background: #948979;
border: 1px solid #948979;
}
.popup li.disabled {
color: #000;
}
.popup li a, .popup li a:visited {
color: #eee;
border: none;
}
.popup li a:hover {
background: #575352;
color: #fff;
border: none;
}
.tagging, .tagged {
border: 1px solid #eee;
background-color: #F7F7F7;
}
.selected .tagging, .selected .tagged {
background-color: #eee;
border: 1px solid #BFBAB3;
}
.tagging .listTitle, .tagged .listTitle {
color: #bbb;
}
.selected .tagging .listTitle, .selected .tagged .listTitle {
color: #666;
}
.tagging .button, .tagged .button {
color:#aaa;
}
.selected .tagging .button, .selected .tagged .button {
color:#4F4B45;
}
.highlight, .marked {background:transparent; color:#111; border:none; text-decoration:underline;}
.tagging .button:hover, .tagged .button:hover, .tagging .button:active, .tagged .button:active {
border: none; background:transparent; text-decoration:underline; color:#000;
}
h1,h2,h3,h4,h5 { color: #666; background: transparent; padding-bottom:2px; font-family: Arial, Helvetica, sans-serif; }
h1 {font-size:18px;}
h2 {font-size:16px;}
h3 {font-size: 14px;}
#messageArea {
border: 4px solid #948979;
background: #f5f5f5;
color: #999;
font-size:90%;
}
#messageArea a:hover { background:#f5f5f5;}
#messageArea .button{
color: #666;
border: 1px solid #CC6714;
}
#messageArea .button:hover {
color: #fff;
background: #948979;
border-color: #948979;
}
* html .viewer pre {
margin-left: 0em;
}
* html .editor textarea, * html .editor input {
width: 98%;
}
.searchBar {float:right;font-size: 1.0em;}
.searchBar .button {color:#999;display:block;}
.searchBar .button:hover {border:1px solid #fff;color:#4F4B45;}
.searchBar input {
background-color: #FFF;
color: #999999;
border: 1px solid #CCC; margin-right:3px;
}
#sidebarOptions .button:active, #sidebarOptions .highlight {background:#F5F5F5;}
*html #contentFooter { padding:0.25em 1em 0.5em 1em;}
#noticeBoard {font-size: 0.9em; color:#999; position:relative;display:block;background:#fff; clear: both; margin-right:0.5em; margin-top:60px; padding:5px; border-bottom: 1px dotted #CCC; border-top: 1px dotted #CCC;}
#mainMenu #noticeBoard a,#mainMenu #noticeBoard .tiddlyLink {display:inline;border:none;padding:5px 2px;color:#DF9153 }
#noticeBoard a:hover {border:none;}
#noticeBoard br {display:inline;}
#mainMenu #noticeBoard .button{
color: #666;
border: 1px solid #DF9153;padding:2px;
}
#mainMenu #noticeBoard .button:hover{
color: #fff;
background: #DF9153;
border-color: #DF9153;
}
/*}}}*/
/***
|Name|StyleSheetPlugins|
|Source|http://www.TiddlyTools.com/#StyleSheetPlugins|
|Version||
|Author|Eric Shulman - ELS Design Studios|
|License|http://www.TiddlyTools.com/#LegalStatements <<br>>and [[Creative Commons Attribution-ShareAlike 2.5 License|http://creativecommons.org/licenses/by-sa/2.5/]]|
|~CoreVersion|2.1|
|Type|CSS|
|Requires||
|Overrides||
|Description|stylesheet overlay adjustments for plugin-specific ID's and classes|
The following CSS declarations modify default style classes defined by various plugins and scripts, and/or used in customized Page/View/Edit templates
These 'style tweaks' can be easily included in other stylesheet tiddler so they can share a baseline look-and-feel that can then be customized to create a wide variety of 'flavors'.
/***
!PageTemplate - siteMenu
***/
/*{{{*/
.siteMenu
{ background:transparent; padding:.5em; margin:0; }
.siteMenu a, .siteMenu .button, .siteMenu .tiddlyLinkExisting, .siteMenu .tiddlyLinkNonExisting
{ font-weight: normal; font-style: normal; }
/*** LEAVE THESE OUT FOR NOW
.siteMenu .button, .siteMenu a
{ border:1px solid transparent; background:transparent; margin:0px; padding:0px 1px; -moz-border-radius:.5em; }
.siteMenu .button:hover, .siteMenu a:hover
{ border:1px solid #69c; background:#006; color:#fff; }
***/
/*}}}*/
/***
!PageTemplate - storyMenu
***/
/*{{{*/
.storyMenu
{ display:block; margin:0em 1em .5em 1em; }
.storyMenu a, .storyMenu .button, .storyMenu .tiddlyLinkExisting, .storyMenu .tiddlyLinkNonExisting
{ font-weight: normal; font-style: normal; text-decoration:none; }
/*}}}*/
/***
!NestedSlidersPlugin
***/
/*{{{*/
.floatingPanel
{ padding:1em; margin:0em; border:1px solid; -moz-border-radius:1em; font-size:8pt; text-align:left; }
.floatingPanel hr
{ margin:2px 0 1px 0; padding:0; }
#sidebarOptions .sliderPanel
{ margin:0; padding:0; font-size:1em; background:transparent; }
#sidebarOptions .sliderPanel a
{ font-weight:normal; }
#sidebarOptions .sliderPanel blockquote
{ margin:0;padding:0;margin-left:1em; border-left:1px dotted; padding-left:1em }
.selected .floatingPanel .button,
.selected .floatingPanel a:link,
.selected .floatingPanel a:hover,
.selected .floatingPanel a:visited,
.floatingPanel .button,
.floatingPanel a:link,
.floatingPanel a:hover,
.floatingPanel a:visited
{ color:[[ColorPalette::PrimaryDark]] !important; }
/*}}}*/
/***
!CheckboxPlugin
***/
/*{{{*/
input[type="Checkbox"]
{ margin-top:2px;margin-bottom:2px; }
/*}}}*/
/***
!BreadcrumbsPlugin
***/
/*{{{*/
/* smaller size for bread crumbs (see BreadcrumbsPlugin) */
#breadCrumbs
{ display:none; margin:0em 1em; padding-bottom:.5em; font-size:7pt; } /* display:block is set by plugin when crumbs are in use */
/*}}}*/
/***
!TableOfContentsPlugin
***/
/*{{{*/
#sidebarTabs .tabContents *[class="TOCList"] /* MOZ ONLY */
{ background-color: transparent; border-color:transparent !important; }
/*}}}*/
/***
!AttachFilePlugin
***/
/*{{{*/
#sidebar .attachPanel
{ right:115%; top:3em; text-align:left; }
/*}}}*/
/***
!ImportTiddlersPlugin
***/
/*{{{*/
#sidebar #importPanel
{ right:115%; top:6em; text-align:left; }
/*}}}*/
/***
!ExportTiddlersPlugin
***/
/*{{{*/
#sidebar #exportPanel
{ right:115%; top:9em; text-align:left; }
/*}}}*/
/***
!QuoteOfTheDayPlugin
***/
/*{{{*/
.QOTD
{ color:inherit !important; background:inherit !important; }
/*}}}*/
[[Textbooks and Readings]]
[[Course Description]]
[[Prerequisites]]
[[Course Competencies]]
[[Policies]]
[[Weekly Activities for Classes Meeting at Phillis Wheatley]]
[[Weekly Activities for Classes Meeting on Campus]]
*Quinn, Daniel. //Ishmael: An Adventure of the Mind and Spirit.// New York: Bantam, 1992.
*Selected Readings
.
<<<
Without a fully active role in community life you cannot develop into a complete human being. Aristotle taught that. Surely he was right; look around you or look in the mirror: that is the demonstration.
"School" is an essential support system for a vision of social engineering that condemns most people to be subordinate stones in a pyramid that narrows to a control point as it ascends. "School" is an artifice which makes such a pyramidal social order seem inevitable (although such a premise is a fundamental betrayal of the American Revolution). In colonial days and through the period of the early Republic we had no schools to speak of. And yet the promise of democracy was beginning to be realized. We turned our backs on this promise by bringing to life the ancient dream of Egypt: compulsory training in subordination for everybody. Compulsory schooling was the secret Plato reluctantly transmitted in the Republic when he laid down the plans for total state control of human life.
The current debate about whether we should have a national curriculum is phony; we already have one, locked up in the six lessons I've told you about and a few more I've spared you. This curriculum produces moral and intellectual paralysis, and no curriculum of content will be sufficient to reverse its bad effects. What is under discussion is a great irrelevancy.
None of this is inevitable, you know. None of it is impregnable to change. We do have a choice in how we bring up young people; there is no right way. There is no "international competition" that compels our existence, difficult as it is to even think about in the face of a constant media barrage of myth to the contrary. In every important material respect our nation is self-sufficient. If we gained a non-material philosophy that found meaning where it is genuinely located -- in families, friends, the passage of seasons, in nature, in simple ceremonies and rituals, in curiosity, generosity, compassion, and service to others, in a decent independence and privacy -- then we would be truly self-sufficient.
How did these awful places, these "schools", come about? As we know them, they are a product of the two "Red Scares" of 1848 and 1919, when powerful interests feared a revolution among our industrial poor, and partly they are the result of the revulsion with which old-line families regarded the waves of Celtic, Slavic, and Latin immigration -- and the Catholic religion -- after 1845. And certainly a third contributing cause can be found in the revulsion with which these same families regarded the free movement of Africans through the society after the Civil War.
Look again at the six lessons of school. This is training for permanent underclasses, people who are to be deprived forever of finding the center of their own special genius. And it is training shaken loose from its original logic: to regulate the poor. Since the 1920s the growth of the well-articulated school bureaucracy, and the less visible growth of a horde of industries that profit from schooling exactly as it is, have enlarged schooling's original grasp to seize the sons and daughters of the middle class.
Is it any wonder Socrates was outraged at the accusation that he took money to teach? Even then, philosophers saw clearly the inevitable direction the professionalization of teaching would take, pre-empting the teaching function that belongs to all in a healthy community; belongs, indeed, most clearly to yourself, since nobody else cares as much about your destiny. Professional teaching tends to another serious error. It makes things that are inherently easy to learn, like reading, writing, and arithmetic, difficult -- by insisting they be taught by pedagogical procedures.
<<<
Source: [[The Six-Lesson Schoolteacher, by John Taylor Gatto|http://www.cantrip.org/gatto.html]]
This site is based on [[TiddlyWiki|http://www.osmosoft.com]], whose author, Jeremy Ruston, writes:
<<<
TiddlyWiki is like a blog because it's divided up into neat little chunks, but it encourages you to read it by hyperlinking rather than sequentially... TiddlyWiki represents a novel medium for writing, and will promote its own distinctive Writing Style.
''W:''
*Introductions
* Introduce [[Portoblog/Notebook|Portoblogs]]
*Sign up with [[Facebook|http://facebook.com]] and add the group: First Year at ~IAC-07-08 (http://mdc.facebook.com/group.php?gid=4209743061)
*Writing and Language: a Dialogue
''HW:''
*Continue reading dialogue
*"Shitty First Drafts" by +++[Anne Lamott]
From Bird by Bird: Some Instructions on Writing and Life
“Shitty First Drafts”
<<<
Now, practically even better news than that of short assignments is the idea of shitty first drafts. All good writers write them. This is how they end up with good second drafts and terrific third drafts. People tend to look at successful writers, writers who are getting their books published and maybe even doing well financially, and think that they sit down at their desks every morning feeling like a million dollars, feeling great about who they are and how much talent they have and what a great story they have to tell; that they take in a few deep breaths, push back their sleeves, roll their necks a few times to get all the cricks out, and dive in, typing fully formed passages as fast as a court reporter. But this is just the fantasy of the uninitiated. I know some very great writers, writers you love who write beautifully and have made a great deal of money, and not one of them sits down routinely feeling wildly enthusiastic and confident. Not one of them writes elegant first drafts. All right, one of them does, but we do not like her very much. We do not think that she has a rich inner life or that God likes her or can even stand her. (Although when I mentioned this to my priest friend Tom, he said you can safely assume you've created God in your own image when it turns out that God hates all the same people you do.)
Very few writers really know what they arc doing until they've done it. Nor do they go about their business feeling dewy and thrilled. They do not type a few stiff warm-up sentences and then find themselves bounding along like huskies across the snow. One writer I know tells me that he sits down every morning and says to himself nicely, "It's not like you don't have a choice, because you do -- you can either type or kill yourself." We all often feel like we are pulling teeth, even those writers whose prose ends up being the most natural and fluid. The right words and sentences just do not come pouring out like ticker tape most of the time. Now, Muriel Spark is said to have felt that she was taking dictation from God every morning—sitting there, one supposes, plugged into a Dictaphone, typing away, humming. But this is a very hostile and aggressive position. One might hope for bad things to rain down on a person like this.
For me and most of the other writers I know, writing is not rapturous. In fact, the only way I can get anything written at all is to write really, really shitty first drafts.
The first draft is the child's draft, where you let it all pour out and then let it romp all over the place, knowing that no one is going to see it and that you can shape it later. You just let this childlike part of you channel whatever voices and visions come through and onto the page. If one of the characters wants to say, "Well, so what, Mr. Poopy Pants?," you let her. No one is going to see it. If the kid wants to get into really sentimental, weepy, emotional territory, you let him. Just get it all down on paper, because there may be some thing great in those six crazy pages that you would never have gotten to by more rational, grown-up means. There may be something in the very last line of the very last paragraph on page six that you just love, that is so beautiful or wild that you now know what you're supposed to be writing about, more or less, or in what direction you might go -- but there was no way to get to this without first getting through the first five and a half pages.
I used to write food reviews for California magazine before it folded.
(My writing food reviews had nothing to do with the magazine folding, although every single review did cause a couple of canceled subscriptions. Some readers took umbrage at my comparing mounds of vegetable puree with various ex-presidents' brains.) These reviews always took two days to write. First I'd go to a restaurant several times with a few opinionated, articulate friends in tow. I'd sit there writing down everything anyone said that was at all interesting or funny. Then on the following Monday I'd sit down at my desk with my notes, and try to write the review. Even after I'd been doing this for years, panic would set in. I'd try to write a lead, but instead I'd write a couple of dreadful sentences, xx them out, try again, xx everything out, and then feel despair and worry settle on my chest like an x-ray apron. It's over, I'd think, calmly. I'm not going to be able to get the magic to work this time. I'm ruined. I'm through. I'm toast. Maybe, I'd think, I can get my old job back as a clerk-typist. But probably not. I'd get up and study my teeth in the mirror for a while. Then I'd stop, remember to breathe, make a few phone calls, hit the kitchen and chow down. Eventually I'd go back and sit down at my desk, and sigh for the next ten minutes.
Finally I would pick up my one-inch picture frame, stare into it as if for the answer, and every time the answer would come: all I had to do was to write a really shitty first draft of, say, the opening paragraph. And no one was going to see it.
So I'd start writing without reining myself in. It was almost just typing, just making my fingers move. And the writing would be terrible. I'd write a lead paragraph that was a whole page, even though the entire review could only be three pages long, and then I'd start writing up descriptions of the food, one dish at a time, bird by bird, and the critics would be sitting on my shoulders, commenting like cartoon characters. They'd be pretending to snore, or rolling their eyes at my overwrought descriptions, no matter how hard I tried to tone those descriptions down, no matter how conscious I was of what a friend said to me gently in my early days of restaurant reviewing. "Annie," she said, "it is just a piece of chicken. It is just a bit of cake."
But because by then I had been writing for so long, I would eventually let myself trust the process -- sort of, more or less. I'd write a first draft that was maybe twice as long as it should be, with a self-indulgent and boring beginning, stupefying descriptions of the meal, lots of quotes from my black-humored friends that made them sound more like the Manson girls than food lovers, and no ending to speak of. The whole thing would be so long and incoherent and hideous that for the rest of the day I'd obsess about getting creamed by a car before I could write a decent second draft. I'd worry that people would read what I'd written and believe that the accident had really been a suicide, that I had panicked because my talent was waning and my mind was shot.
The next day, though, I'd sit down, go through it all with a colored pen, take out everything I possibly could, find a new lead somewhere on the second page, figure out a kicky place to end it, and then write a second draft. It always turned out fine, sometimes even funny and weird and helpful. I'd go over it one more time and mail it in.
Then, a month later, when it was time for another review, the whole process would start again, complete with the fears that people would find my first draft before I could rewrite it.
Almost all good writing begins with terrible first efforts. You need to start somewhere. Start by getting something -- anything -- down on paper. A friend of mine says that the first draft is the down draft -- you just get it down. The second draft is the up draft -- you fix it up. You try to say what you have to say more accurately. And the third draft is the dental draft, where you check every tooth, to see if it's loose or cramped or decayed, or even, God help us, healthy.
What I've learned to do when I sit down to work on a shitty first draft is to quiet the voices in my head. First there's the vinegar-lipped Reader Lady, who says primly, "Well, that's not very interesting, is it?" And there's the emaciated German male who writes these Orwellian memos detailing your thought crimes. And there are your parents, agonizing over your lack of loyalty and discretion; and there's William Burroughs, dozing off or shooting up because he finds you as bold and articulate as a houseplant; and so on. And there are also the dogs: let's not forget the dogs, the dogs in their pen who will surely hurtle and snarl their way out if you ever stop writing, because writing is, for some of us, the latch that keeps the door of the pen closed, keeps those crazy ravenous dogs contained.
Quieting these voices is at least half the battle I fight daily. But this is better than it used to be. It used to be 87 percent. Left to its own devices, my mind spends much of its time having conversations with people who aren't there. I walk along defending myself to people, or exchanging repartee with them, or rationalizing my behavior, or seducing them with gossip, or pretending I'm on their TV talk show or whatever. I speed or run an aging yellow light or don't come to a full stop, and one nanosecond later am explaining to imaginary cops exactly why I had to do what I did, or insisting that I did not in fact do it.
I happened to mention this to a hypnotist I saw many years ago, and he looked at me very nicely. At first I thought he was feeling around on the floor for the silent alarm button, but then he gave me the following exercise, which I still use to this day.
Close your eyes and get quiet for a minute, until the chatter starts up. Then isolate one of the voices and imagine the person speaking as a mouse. Pick it up by the tail and drop it into a mason jar. Then isolate another voice, pick it up by the tail, drop it in the jar. And so on. Drop in any high-maintenance parental units, drop in any contractors, lawyers, colleagues, children, anyone who is whining in your head. Then put the lid on, and watch all these mouse people clawing at the glass, jabbering away, trying to make you feel like shit because you won't do what they want -- won't give them more money, won't be more successful, won't see them more often. Then imagine that there is a volume-control button on the bottle. Turn it all the way up for a minute, and listen to the stream of angry, neglected, guiltmongering voices. Then turn it all the way down and watch the frantic mice lunge at the glass, trying to get to you. Leave it down, and get back to your shitty first draft.
A writer friend of mine suggests opening the jar and shooting them all in the head. But I think he's a little angry, and I'm sure nothing like this would ever occur to you.
<<<
===
*Notebook
*If you have any questions, please feel free to post these in group's [[discussion board under "Questions"|http://mdc.facebook.com/topic.php?uid=4209743061&topic=3105]]; //reply to the post instead of creating a new topic//.
!!Wednesday
*Introductions
*Go over syllabus
* Introduce [[Portoblog/Notebook|Portoblogs]]
HW:
*"Shitty First Drafts" by +++[Anne Lamott]
From Bird by Bird: Some Instructions on Writing and Life
“Shitty First Drafts”
<<<
Now, practically even better news than that of short assignments is the idea of shitty first drafts. All good writers write them. This is how they end up with good second drafts and terrific third drafts. People tend to look at successful writers, writers who are getting their books published and maybe even doing well financially, and think that they sit down at their desks every morning feeling like a million dollars, feeling great about who they are and how much talent they have and what a great story they have to tell; that they take in a few deep breaths, push back their sleeves, roll their necks a few times to get all the cricks out, and dive in, typing fully formed passages as fast as a court reporter. But this is just the fantasy of the uninitiated. I know some very great writers, writers you love who write beautifully and have made a great deal of money, and not one of them sits down routinely feeling wildly enthusiastic and confident. Not one of them writes elegant first drafts. All right, one of them does, but we do not like her very much. We do not think that she has a rich inner life or that God likes her or can even stand her. (Although when I mentioned this to my priest friend Tom, he said you can safely assume you've created God in your own image when it turns out that God hates all the same people you do.)
Very few writers really know what they arc doing until they've done it. Nor do they go about their business feeling dewy and thrilled. They do not type a few stiff warm-up sentences and then find themselves bounding along like huskies across the snow. One writer I know tells me that he sits down every morning and says to himself nicely, "It's not like you don't have a choice, because you do -- you can either type or kill yourself." We all often feel like we are pulling teeth, even those writers whose prose ends up being the most natural and fluid. The right words and sentences just do not come pouring out like ticker tape most of the time. Now, Muriel Spark is said to have felt that she was taking dictation from God every morning—sitting there, one supposes, plugged into a Dictaphone, typing away, humming. But this is a very hostile and aggressive position. One might hope for bad things to rain down on a person like this.
For me and most of the other writers I know, writing is not rapturous. In fact, the only way I can get anything written at all is to write really, really shitty first drafts.
The first draft is the child's draft, where you let it all pour out and then let it romp all over the place, knowing that no one is going to see it and that you can shape it later. You just let this childlike part of you channel whatever voices and visions come through and onto the page. If one of the characters wants to say, "Well, so what, Mr. Poopy Pants?," you let her. No one is going to see it. If the kid wants to get into really sentimental, weepy, emotional territory, you let him. Just get it all down on paper, because there may be some thing great in those six crazy pages that you would never have gotten to by more rational, grown-up means. There may be something in the very last line of the very last paragraph on page six that you just love, that is so beautiful or wild that you now know what you're supposed to be writing about, more or less, or in what direction you might go -- but there was no way to get to this without first getting through the first five and a half pages.
I used to write food reviews for California magazine before it folded.
(My writing food reviews had nothing to do with the magazine folding, although every single review did cause a couple of canceled subscriptions. Some readers took umbrage at my comparing mounds of vegetable puree with various ex-presidents' brains.) These reviews always took two days to write. First I'd go to a restaurant several times with a few opinionated, articulate friends in tow. I'd sit there writing down everything anyone said that was at all interesting or funny. Then on the following Monday I'd sit down at my desk with my notes, and try to write the review. Even after I'd been doing this for years, panic would set in. I'd try to write a lead, but instead I'd write a couple of dreadful sentences, xx them out, try again, xx everything out, and then feel despair and worry settle on my chest like an x-ray apron. It's over, I'd think, calmly. I'm not going to be able to get the magic to work this time. I'm ruined. I'm through. I'm toast. Maybe, I'd think, I can get my old job back as a clerk-typist. But probably not. I'd get up and study my teeth in the mirror for a while. Then I'd stop, remember to breathe, make a few phone calls, hit the kitchen and chow down. Eventually I'd go back and sit down at my desk, and sigh for the next ten minutes.
Finally I would pick up my one-inch picture frame, stare into it as if for the answer, and every time the answer would come: all I had to do was to write a really shitty first draft of, say, the opening paragraph. And no one was going to see it.
So I'd start writing without reining myself in. It was almost just typing, just making my fingers move. And the writing would be terrible. I'd write a lead paragraph that was a whole page, even though the entire review could only be three pages long, and then I'd start writing up descriptions of the food, one dish at a time, bird by bird, and the critics would be sitting on my shoulders, commenting like cartoon characters. They'd be pretending to snore, or rolling their eyes at my overwrought descriptions, no matter how hard I tried to tone those descriptions down, no matter how conscious I was of what a friend said to me gently in my early days of restaurant reviewing. "Annie," she said, "it is just a piece of chicken. It is just a bit of cake."
But because by then I had been writing for so long, I would eventually let myself trust the process -- sort of, more or less. I'd write a first draft that was maybe twice as long as it should be, with a self-indulgent and boring beginning, stupefying descriptions of the meal, lots of quotes from my black-humored friends that made them sound more like the Manson girls than food lovers, and no ending to speak of. The whole thing would be so long and incoherent and hideous that for the rest of the day I'd obsess about getting creamed by a car before I could write a decent second draft. I'd worry that people would read what I'd written and believe that the accident had really been a suicide, that I had panicked because my talent was waning and my mind was shot.
The next day, though, I'd sit down, go through it all with a colored pen, take out everything I possibly could, find a new lead somewhere on the second page, figure out a kicky place to end it, and then write a second draft. It always turned out fine, sometimes even funny and weird and helpful. I'd go over it one more time and mail it in.
Then, a month later, when it was time for another review, the whole process would start again, complete with the fears that people would find my first draft before I could rewrite it.
Almost all good writing begins with terrible first efforts. You need to start somewhere. Start by getting something -- anything -- down on paper. A friend of mine says that the first draft is the down draft -- you just get it down. The second draft is the up draft -- you fix it up. You try to say what you have to say more accurately. And the third draft is the dental draft, where you check every tooth, to see if it's loose or cramped or decayed, or even, God help us, healthy.
What I've learned to do when I sit down to work on a shitty first draft is to quiet the voices in my head. First there's the vinegar-lipped Reader Lady, who says primly, "Well, that's not very interesting, is it?" And there's the emaciated German male who writes these Orwellian memos detailing your thought crimes. And there are your parents, agonizing over your lack of loyalty and discretion; and there's William Burroughs, dozing off or shooting up because he finds you as bold and articulate as a houseplant; and so on. And there are also the dogs: let's not forget the dogs, the dogs in their pen who will surely hurtle and snarl their way out if you ever stop writing, because writing is, for some of us, the latch that keeps the door of the pen closed, keeps those crazy ravenous dogs contained.
Quieting these voices is at least half the battle I fight daily. But this is better than it used to be. It used to be 87 percent. Left to its own devices, my mind spends much of its time having conversations with people who aren't there. I walk along defending myself to people, or exchanging repartee with them, or rationalizing my behavior, or seducing them with gossip, or pretending I'm on their TV talk show or whatever. I speed or run an aging yellow light or don't come to a full stop, and one nanosecond later am explaining to imaginary cops exactly why I had to do what I did, or insisting that I did not in fact do it.
I happened to mention this to a hypnotist I saw many years ago, and he looked at me very nicely. At first I thought he was feeling around on the floor for the silent alarm button, but then he gave me the following exercise, which I still use to this day.
Close your eyes and get quiet for a minute, until the chatter starts up. Then isolate one of the voices and imagine the person speaking as a mouse. Pick it up by the tail and drop it into a mason jar. Then isolate another voice, pick it up by the tail, drop it in the jar. And so on. Drop in any high-maintenance parental units, drop in any contractors, lawyers, colleagues, children, anyone who is whining in your head. Then put the lid on, and watch all these mouse people clawing at the glass, jabbering away, trying to make you feel like shit because you won't do what they want -- won't give them more money, won't be more successful, won't see them more often. Then imagine that there is a volume-control button on the bottle. Turn it all the way up for a minute, and listen to the stream of angry, neglected, guiltmongering voices. Then turn it all the way down and watch the frantic mice lunge at the glass, trying to get to you. Leave it down, and get back to your shitty first draft.
A writer friend of mine suggests opening the jar and shooting them all in the head. But I think he's a little angry, and I'm sure nothing like this would ever occur to you.
<<<
===
*Purchase notebook and sign up with [[Facebook|http://facebook.com]] and add the group: First Year at ~IAC-07-08 (http://mdc.facebook.com/group.php?gid=4209743061)
!!Friday
*Writing and Language: A Mango Dialogue
HW:
*Finish reading Mango dialogue and contribute to the conversation in Facebook by posting an entry.
''M:''
*Discuss fear, freedom & creative tension
*Share essay #2 in class (also post in Facebook)
*Poetry
*Discuss //Ishmael//
''HW:''
*Work on portoblog and group theater project
''W: Phillis Wheatley Connection''
*Reading & Writing
!!Monday
*Discuss fear, freedom & creative tension
*Poetry
*Notebook
HW:
*Work on portoblog
!!Wednesday
*Share draft of Essay #2 in class (also post in Facebook)
*Discuss //Ishmael//
*Notebook
!!Friday
*Reflection Day
''M:''
*Discuss progress with portoblog
*Share draft in writing circles +++[during office hours.]
Make sure to bring five copies of your text to share with the group.
===
''HW:''
Read //Ishmael// through Ch. 11
''W: Phillis Wheatley Connection''
*Treasure Hunt
!!Monday
*Portoblog
HW:
*Read //Ishmael// through Ch. 11
!!Wednesday
*Writing Circle Day
!!Friday
*~Service-Learning Day
''M:''
*Discuss //Ishmael//
*Share draft in writing circles during office hours for provisional grade
''HW:''
*Work on portoblog and theater project
*Update your catalogue page in your +++[notebook.] We are getting closer to the end of the semester. Once you update the catalogue, create a list of missing items in your notebook. What do you need to write to make this first semester a worthwhile learning experience?
===
''W: Phillis Wheatley Connection''
*Reading and Writing
!!Monday
*Discuss //Ishmael//
HW:
*Work on portoblog and theater project
*Make sure that you participate in a writing circle by the end of the week.
!!Wednesday
*Writing Circle Day
!!Friday:
*Deepening: Writing Circle Day
''M:''
*Discuss portoblog progress
*Notebook
''HW:''
*Read //Ishmael// through end
''W: Phillis Wheatley Connection''
*Student-designed academic challenge
!!Garden Club Day
*We focus on wind and water elements
!!Monday
*Portoblog Q & A
*Work on theater project (scripting)
HW:
*Read //Ishmael// through end
!!Wednesday
*Continue working on script for theater project
!!Friday
*Reflection Day
''M:''
*Discuss //Ishmael//
''HW:''
*Work on portoblog and theater project
''W: Phillis Wheatley Connection''
*Planning Final Theater Projects
!!Monday
*Discuss //Ishmael//
*Notebook
HW:
*Work on portoblog and theater project
!!Wednesday
*Deepening: Writing Circle Day
!!Friday
*Deepening: Writing Circle Day
''M:''
*Work on final Theater Project
*Finished +++[portoblog due]
We will need to schedule outside class time to confer with you regarding your final semester grade.
===
*Update your catalogue page in your +++[notebook for the last time this semester.] What does this list tell about you as a writer and a person? What have you accomplished? How will you want to proceed in the next semester?
===
''W: Phillis Wheatley Connection''
*Planning Final Theater Projects
!!Monday
*Work on final Theater Project
*Portoblog due
!!Wednesday
*Theater project performance workshop
!!Friday
*~Service-Learning Day
''M:''
*Work on final Theater Project
*Shared reflections
''W: Phillis Wheatley Connection''
*Performances
!!Monday
*Performances
!!Wednesday
*Performances
!!Friday
*Reflection Day
''M: Labor Day''
We invite you to explore the meaning of the holiday. Here are two sources:
*[[PBS|http://www.pbs.org/newshour/bb/business/september96/labor_day_9-2.html]]
*[[AFL-CIO Blog|http://blog.aflcio.org/2006/08/31/labor-day%E2%80%94a-poor-cousin-to-may-day/]]
*[[U.S. Department of Labor|http://www.dol.gov/opa/aboutdol/laborday.htm]]
We also invite you to consider the action of the local [[Farm Union]] and their continued effort to improve wages.
''W:''
*Introduce Portoblog: Reflection on Personal vs. Public writing
*Dream Act & letter writing possibility
*Continue with dialogue on writing
*Go over +++[notebook diagram/process]
[img[http://farm2.static.flickr.com/1020/632376042_b7506f7abc_o.jpg]]
===
*Notebook
*Guest Presentation: Gilberto Simpson, Young People’s Project
''HW'':
Read "How to Tame a Wild Tongue" by +++[Gloria Anzaldua.]
To learn more about Anzaldua, visit the following sites:
*http://gloria.chicanas.com/index.html
*http://www.lib.utexas.edu/taro/utlac/00189/lac-00189p1.html#bioghist
!!Monday Labor Day
We invite you to explore the meaning of the holiday. Here are two sources:
*[[PBS|http://www.pbs.org/newshour/bb/business/september96/labor_day_9-2.html]]
*[[AFL-CIO Blog|http://blog.aflcio.org/2006/08/31/labor-day%E2%80%94a-poor-cousin-to-may-day/]]
*[[U.S. Department of Labor|http://www.dol.gov/opa/aboutdol/laborday.htm]]
We also invite you to consider the action of the local [[Farm Union]] and their continued effort to improve wages.
!!Wednesday
*Finish Mango Dialogue
*Guest Presentation: Gilberto Simpson, Young People’s Project
HW:
*Read "How to Tame a Wild Tongue" by +++[Gloria Anzaldua.]
To learn more about Anzaldua, visit the following sites:
*http://gloria.chicanas.com/index.html
*http://www.lib.utexas.edu/taro/utlac/00189/lac-00189p1.html#bioghist
===
!!Friday
*Introduce Portoblog: *Personal vs. Public writing (Dream Act & Letter Writing)
*Go over +++[notebook diagram/process]
[img[http://farm2.static.flickr.com/1020/632376042_b7506f7abc_o.jpg]]
===
*Notebook
HW:
*Post entry in Facebook regarding Dream Act.
''M'':
*Notebook
*Continue dialogue
*Discuss Anzaldua
*Comparing Spanish, Platform English, Ebonics & Other Languages
''HW:''
June Jordan Reading
½ Overtown Packet
Think about emerging topic from the notebook
''W:''
*Purpose of Story -- +++[Barry Lopez]
<<<
The stories people tell have a way of taking care of them. If stories come to you, care for them. And learn to give them away where they are needed. Sometimes a person needs a story more than food to stay alive. That is why we put these stories in each other’s memory. This is how people care for themselves. One day you will be good storytellers. Never forget these obligations.
<<<
-from //Crow and Weasel//, p.60
===
*Continue language dialogue
*Notebook time
*Overtown presentation
*Form teams
!!Monday
*Notebook
*Purpose of Story -- +++[Barry Lopez]
<<<
The stories people tell have a way of taking care of them. If stories come to you, care for them. And learn to give them away where they are needed. Sometimes a person needs a story more than food to stay alive. That is why we put these stories in each other’s memory. This is how people care for themselves. One day you will be good storytellers. Never forget these obligations.
<<<
-from //Crow and Weasel//, p.60
===
*Discuss Anzaldua
HW:
*Read June Jordan
!!Wednesday
*Comparing Spanish, Platform English, Ebonics & Other Languages
*Notebook
*Discuss June Jordan
HW:
*½ Overtown Packet
*Think about emerging topic from the notebook
!!Friday
*Overtown presentation
*Form project teams
*Notebook – work on emerging topic
HW:
*½ Overtown Packet
*Collect around emerging topic
*Gather Overtown stories in teams
*Post possible emerging topic in Facebook
''M:''
*Sharing topics: small & large groups
*Share Overtown Stories
*Questions and answers about kids: Catherine Houlihan presentation (protocols)
*Brainstorm I Have a Dream Social
*Sign up for Writing Circles Next Week
''HW:''
*Read “Engaged Pedagogy” by +++[bell hooks]
To learn more about hooks, visit the following sites:
*http://www.infed.org/thinkers/hooks.htm
*http://www.allaboutbell.com/
===
*Create a catalogue page in your +++[notebook.] Basically, look back at all of your entries and categorize them as you see fit. For instance, you may look at types of writing (analytical, reflective, descriptive, informative, persuasive, creative, etc.), themes (relationships, discoveries, stress, etc.), audiences (personal, public, friendly, antagonistic, etc) .
===
*Write first draft
''W: Phillis Wheatley Connection''
Introductions that aim to get to know one another, feeling comfortable sharing, a vision of the future.
*Introductions
*Social
*Conduct assessments
//Make sure to coordinate with library for following week//
!!Monday
*Sharing topics: small & large groups
*Questions and answers about kids: Catherine Houlihan presentation (protocols)
HW:
*Finish preparing for team community presentations
!!Wednesday
*Share community stories and research
HW:
*Read “Engaged Pedagogy” by +++[bell hooks]
To learn more about hooks, visit the following sites:
*http://www.infed.org/thinkers/hooks.htm
*http://www.allaboutbell.com/
===
*Write first draft, Essay #1
!!Friday
*Discuss bell hooks’ “Engaged Pedagogy”
*Notebook
HW:
*Continue working on first essay
*Create a catalogue page in your +++[notebook.] Basically, look back at all of your entries and categorize them as you see fit. For instance, you may look at types of writing (analytical, reflective, descriptive, informative, persuasive, creative, etc.), themes (relationships, discoveries, stress, etc.), audiences (personal, public, friendly, antagonistic, etc) .
===
*Post a rough draft of Essay #1 on Facebook
''M:''
*Discuss hooks: How does concept “engaged pedagogy” relate to working with kids? (45 minutes)
*Notebook
*What is a KAE?
*Sharing draft #1 in writing circles +++[''during office hours'']
//Please be prompt. Bring six copies of your paper to the writing circle.//
===
''HW:''
*Come up with eight qualities for a KAE. Post this to the class site.
*Read //Ishmael// through ch. 3
*Read "To Hell with Good Intentions" by +++[Ivan Illich's]
To learn more about Ivan Illich, visit the following sites:
*http://www.lewrockwell.com/wall/wall28.html
*http://www.nybooks.com/articles/10701
===
''W: Phillis Wheatley Connection''
*Introduce notebooks
*Go to Phillis Wheatley library with the children
*Choose books to read (at least 4)
*Read, write, personalize notebook
!First Garden Club Meeting After School
*Exume Candela Box
*Focus on fire element (energy)
!!Monday
*Notebook
*What is a KAE?
HW:
*Come up with eight qualities for a KAE. Post this to the class site.
!!Wednesday
*Team presentations on what is a KAE
HW:
*Read "To Hell with Good Intentions" by +++[Ivan Illich's]
To learn more about Ivan Illich, visit the following sites:
*http://www.lewrockwell.com/wall/wall28.html
*http://www.nybooks.com/articles/10701
===
!!Friday
*Deepening: [[Service-Learning|http://mdc.edu/cci/si.asp]] Orientation
*Discuss Ivan Illich
*Discuss Gandhi Day
*Notebook
HW:
*Read //Ishmael// through Ch. 3
''M:''
*What is a paragraph?
*Share first drafts in class (also post essay in Facebook; we will create a topic strand for the essays)
*Notebook
*Discuss //Ishmael//
HW: Read +++[“Letter from a Birmingham Jail”]
Take note of the following link and its approach to teaching about King's famous letter:
*http://www.stanford.edu/group/King/liberation_curriculum/birmingham/lesson2.htm
===
*Read //Ishmael// through Ch. 5
''W: Phillis Wheatley Connection''
*Reading and Writing
!!Monday
*What is a paragraph?
*Notebook
*Discuss Ishmael
!!Wednesday
*Read samples of Essay# 1 together
*Notebook
HW:
*Read Ishmael through Ch. 5
!!Friday
*Deepening: Writing Circle
HW:
*Read +++[“Letter from a Birmingham Jail”]
Take note of the following link and its approach to teaching about King's famous letter:
http://www.stanford.edu/group/King/liberation_curriculum/birmingham/lesson2.htm
===
''M:''
*Notebook
*Introduce Brown VS. Board: “Eyes on the Prize”
*Reading activity around [[Ruby Bridges|http://www.rubybridges.com/]]
*Introduce Reader’s Theater Ruby Bridges play
*Discuss Ishmael
*Share draft in writing circles +++[during office hours for provisional grade.] Make sure to bring five copies of your essay to share with the group. The provisional grade is meant to give you a sense of how you are performing. It is not, however, an adequate representation of your learning! Keep in mind that we will collect final work at the end of the semester, giving you ample time to improve your essay if you are not satisfied with the grade agreed upon in the writing circle session.
===
''HW:''
*Prepare Readers Theater with team members
*Read //Ishmael// through Ch. 7
*Identify possible topics for Essay #2
''W: Phillis Wheatley Connection''
*Carry out +++[student-designed activities] Note that you have a very useful set of readings in your packet. One of the texts we included, //Tapestries of Tales//, provides excellent suggestions.
===
{{indent{Guidelines:
**Fun
**Educational
**Active
!!Monday
*Notebook
*Introduce Brown VS. Board: “Eyes on the Prize”
*Discuss //Ishmael//
*Make sure you participate in a writing circle for a provisional grade by the end of the week.
HW:
*Identify possible topics for Essay #2 and post to Facebook
!!Wednesday
*Reading activity around [[Ruby Bridges|http://www.rubybridges.com/]]
*Introduce Reader’s Theater Ruby Bridges play
HW:
*Start brainstorming readers theater with team members
!!Friday
*~Service-Learning Day
HW:
*Read //Ishmael// through Ch. 7
''M:''
*Portoblog
*Doll Test & [[Modern example|http://www.youtube.com/watch?v=Wk_x7s3QiYk&eurl=http%3A%2F%2Fwww%2Ekiridavis%2Ecom%2Findex%2Ephp%3Foption%3Dcom%5Fcontent%26task%3Dview%26id%3D17%26Itemid%3D88888953]]
*Slavery, Segregation to Today: +++[an Overview]
Some links:
**http://www.slaveryinamerica.org/
**http://www.archives.gov/education/lessons/brown-v-board/timeline.html
**http://www.pbs.org/wnet/jimcrow/segregation.html
**http://www.loc.gov/exhibits/brown/brown-segregation.html
===
*Discuss //Ishmael//
''HW:''
*Read Kozol
*Read Jensen
*Collect around topic for Essay #2
*Update your catalogue page in your +++[notebook.] Note any patterns over the past couple of weeks. Aim for diversity of approaches to stretch yourself. Pay a