- 1. Be prepared to share how you composed a final draft of a page or two of your portfolio for next Tuesday (10 pts.)
- 2. Sign up for and attend the SLS Student Showcase. (10 pts.)
The SLS Student showcase will be held December 4, 4-5:30pm, Klaus Atrium.
The showcase will feature projects that engage:
- the SLS theme of creating sustainable communities
- the Event Series theme of “Thinking Global, Acting Local”
- one or more of the U.N. Sustainable Development Goals
SLS seeks a diversity of projects (posters, videos, prototypes, etc.), and 1st, 2nd, and 3rd place prizes will be awarded in the form of gift cards.
The following is the checklist of requirements you need to fulfill for full credit on the Reflective Introduction Essay to be included in the Final Portfolio. Take a minute or Two and read through the checklist.
- 1. Develop an argument about your intellectual growth as a communicator through the close analysis of artifacts in the portfolio. Make sure your Reflective Introduction is an essay and not a list in paragraph format.
- 2. Show and tell readers how you met or attempted to meet the course outcomes/instructor’s goals as articulated on the syllabus and throughout the course.
- 3. Reflect on your strength and weaknesses relative to the course goals/outcomes
- 4. Describe the methods and modes that were the focus of your communicative work this semester.
- 5. Articulate areas and strategies you would like to focus on for continued improvement.
Group Analysis: Reflective Introduction
- 1. Group One: What is the topic or unifying idea of the Introduction? What claims or sets of claims does the author make about that topic/unifying idea? What are some rhetorical gestures employed by the author?
- 2. Group Two: Describe how the author has organized her paragraphs. Are some parts of the essay more successful than others, why or why not?
- 3. Group Three: Describe the evidence and analysis in the essay. Does the evidence and analysis fully support and develop the claim, why or why not?
- 4. Group Four: Describe the design/layout of the first page of this Portfolio. Does the author make efficient or innovative use of the affordances of the genre/tool. What’s your assessment of the page layout? For instance, what’s your assessment of the relationship between the written and visual text? What’s your assessment of paragraph structure?
Reflective Essay Freewrite
- 1. Rhetorical Awareness/Stance: From the beginning of the semester to this moment, why have you “grown as a communicator”?
Your response to the question will form the topic and generate the claim of your reflection. To answer this question, think about the five major communicative modes in WOVEN–have you developed in any one of those areas more than others? Also, think about the artifacts you have produced this semester, what assignments or specific modes within assignments can you point to to show “development” over time? You may also want to frame your claim and subsequent essay in terms of one or more areas featured on the Common Feedback Chart.
- 2. Draft an outline of the 4-6 paragraphs you imagine will follow from the claim you just generated.
Organization: While the artifacts in the portfolio serve as evidence, remember, just like in the Literary Analysis Essay, you never want to lead with the evidence. Instead, you want to lead with claim and move from paragraph to paragraph in service of that claim.
- 3. What artifacts do you plan to analyze to develop & support the claim you generated? (i.e. what final assignments best show your growth as a communicator?)
Development of Ideas: How can you describe and analyze your own work the way we have described and analyzed images, poetry, essays, and film this semester? What key terms can you borrow from our analysis of design, rhetoric, fiction, and/or film to apply to your own artifacts?
Mahara ‘How-To’ Video
Mahara Gathering Pages and Generating a Collection SlideSHow
- 1. Double check your Group Video Workshop date/time. Be in the Google Doc a few minutes before your scheduled meeting and be sure to request access to the Doc well in advance of your schedule meeting!
- 2. Remember we will not be meeting face to face till November 27. You need to bring a draft of your video for workshop, 3-4 minutes to share
- 3. With the exception of today’s groups, you all need to have your Student Teaching Materials submitted by 11/10 at 11:59 PM for full credit.
Just Eat It: Student Teaching Groups
|Group Number||Student Names|
|G2||Brandon, Max, Hannah, Hui Min, Dorian|
|G8||Melissa, Samantha, Henrick, John|
|G14||Ben, Anna, Siddarth, Cecelia, Andrew|
Video Group Conferences
- Get into your groups, log-into your group Google Docs and work through the discussion questions listed there
Tuesday, Nov 13: Video Group Workshops
|Group Number||Student Names||Meeting Time|
|G4||Mark, Tejas, Jiale, Akhil||9:30-9:50|
|G5||Jarod, Elton, Esther, Sanyu||10:55-11:20|
|G6||Thiago, Danya, Akshay, Elias, Ashley||10:20-10:45|
|G10||Danny, Maya, Kyle, Rishi||12:00-12:25|
|G11||Henna, Lauren, Jeremy||12:30-12:50|
|G12||Shrya, Greyson, Alvin, Summahay||12:55-1:15|
|G16||Kevin, Jason, Brett, Wyatt||1:30-1:50|
|G17||Shakeeb, Mitchell, Michael Tang, Andy||1:55-2:20|
|G18||Thomas, Kenny, Michael Chen, Kiet||2:20-2:45|
Thursday, Nov 15: Video Group Workshops
|Group Number||Student Names||Meeting Time|
|G1||Zeyu, Enerelt, Jialou, Firaas||9:30-9:50|
|G2||Brandon, Max, Hannah, Hui Min, Dorian||10:55-11:20|
|G3||Jintong, Fei Pei, Hae Won, Eni||10:20-10:45|
|G7||Patrick, Margaret, Mathew, Mai||12:00-12:25|
|G8||Melissa, Samantha, Henrick, John||12:30-12:50|
|G9||Dov, Omar, Dustin, Giancarlo||12:55-1:15|
|G13||Brandon, Ravi, Andres, David||1:30-1:50|
|G14||Ben, Anna, Siddarth, Cecelia, Andrew||1:55-2:20|
|G15||Maya, Manisha, Avni, Jennifer||2:20-2:45|
Keep the following questions in mind as you watch Just Eat It. The questions are designed to guide your reading practices and our class discussions. You are not required to provide formal answers in class or online.
1.What challenge do the filmmakers set for themselves and why?
2. How long is the challenge? Why don’t they do it for longer? What does the length of the challenge say about the sustainability of their project?
3. What are some underlying causes of food waste in the US and Canada? How do your food waste habits contribute to the problem?
4. According to the documentary, how is food wasted at all stages from farm to table? Is one stage of the process more wasteful than others, why/why not?
5. What solutions does the film suggest will reduce food waste?
6. Why are the aesthetics of what we eat so important? Do you ever buy or eat fruit that is bruised or oddly shaped? What would it take to change the ways Americans value food?
7. Should supermarkets and food production/transportation facilities provide public access to food that would otherwise be thrown away, why/why not?
8. Why is food wasting acceptable where, say, littering is not? What would it take to make wasting food as taboo as littering or smoking?
9. How have cultural norms around food waste shifted over the last 100 years and why?
10. Why do we have expiration dates on our food? How do expiration dates contribute to waste?
11. What major visual and rhetorical choices do Grant Baldwin and Jen Rustemeyer use to communicate their goals? Which visual/rhetorical choices are most successful and why?
John Oliver, “Food Waste,” (2017)
Keep the following questions in mind as you watch Al Gore’s, An Inconvenient Truth. The questions are designed to guide your reading practices and our class discussions. You are not required to provide formal answers in class or online.
1. Why does the film open and close with serene images of nature: lush green leaves and a gently flowing river on a sunny day, followed by Al Gore’s voice-over about this peaceful place?
2. What is the intention of showing Gore delivering his slide show at town-hall-style meetings? How does Gore come across to the viewers as the camera follows him behind the scenes and on his tours?
3. What is the effect of Gore opening his presentation on a serious subject with self-irony: “I used to be the next president of the United States”? And after the audience laughs, Gore quips, “I don’t find that particularly funny.” Where else in this discussion of an environmental crisis do we see Gore’s humor?
4. In this film, Gore narrates a moment in 1989 when his six-year-old son dropped his father’s hand, ran into the street, and was severely injured. How does this personal story relate to Gore’s mission?
5. Gore also tells a story of his father’s tobacco farm and business and of his older sister Nancy who died of lung cancer. How is this personal history relevant to this film?
6. Because so much of the film consists of scientific facts and charts, you may have been challenged to record sufficient notes. Work with classmates to answer as many of the following questions as you can:
7. Why do we have global warming?
8. What is the relationship between carbon dioxide and temperature?
9. How does global warming (the increase in worldwide temperatures) contribute to an increase in the number and severity of storms, hurricanes, tornadoes, and typhoons?
10. How can global warming cause both violent precipitation as well as droughts?
11. Explain the significance of each of these references from the film: — the findings of core drills — the thawing of the permafrost, the splitting of the Ward Hunt ice shelf, and the disappearance of the Larson ice shelf? — the Arctic ice cap disappearing — the image of a canary in a coal mine — the image of the frog in the cooking pot
12. Cite five ecological consequences of global warming in the animal and plant communities.
13. Explain the three factors that are causing “a collision between our civilization and the earth.”
14. Gore includes several resonant quotations from important authors and creates his own memorable claims as well. How are each of these citations illustrated in the film: from Mark Twain: “What gets us into trouble is not what we don’t know; it’s what we know that just ain’t so.” — from Winston Churchill in 1936: “The era of procrastination, of half-measure, of soothing and baffling expedients, of delays is coming to its close. In its place, we are entering a period of consequences.” — from Upton Sinclair: “It is difficult to get a man to understand something when his salary depends upon his not understanding it.”
15. Cite specific ways that this statement is illustrated throughout this film. — from Stephen Pacala and Robert Socolow in Science magazine: “Humanity already possesses the fundamental scientific, technical, and industrial know-how to solve the carbon and climate problems.” — from Al Gore: “We have everything we need save, perhaps, political will but in American, political will is a renewable resource.”
16. How does Gore counter the myth that scientists disagree with the fact that we are causing global warming and that it is a serious problem?
17. How does Gore expose the misconception that we have to choose between the economy and the environment?
18. What historical facts about the United States does Gore cite to oppose those who claim that global warming is too big of a problem to solve?
19. When Gore took his scientific evidence of global warming to Congress, he expected that this compelling information would “cause a real sea change” in the government. He saw global warming as a moral issue that needed to be acted on and not a political issue to be derided and dismissed. What specific evidence in the film demonstrates that special interests, political corruption, and denial have prevented some necessary reforms?
20. Explain the significance of the film’s title An Inconvenient Truth.
Set up by taping your posters to the white boards around the room.
As the presenters set up, we’ll go over a few ‘best practices’ for responding to presentations
Audience Best Practices
- 1. What sort of development project does the speaker present?
- 2. According to the presenter, what makes the project sustainable?
- 1.How the poster respond to the rhetorical situation, i.e. illustrate an issues related to sustainability trough a local/national development project?
- 2. How does the poster catch and sustain your attention via design choices: alignment, proximity, contrast, chunking, etc.?
- 1.Key terms: I like that you drew our attention to ________ project. I wonder if you could say more about how Caradonna, Morton, or Clark’s terms describe the project you illustrate.
- 2. Imagery/Design: You do a really nice job illustrating ___________ in___________ portion of your poster. What guided your design decisions?
- 3. Scaling up: I love that you chose to illustrate _______ as an example of ________. What does the development project you chose say about the context in which it was created? Does the issue you chose challenge assumptions about the defintion of sustainability?
|Tuesday, Sept 11||Group One: Hannah, Enioluwa, Enerelt, Fei, Thiago, Esther, Jintong, Brandon, Akhil, Jarod, and Hae Won|
|Thursday, Sept 13||Group Two: Akshay, Hui Min, Mark, Qichen, Dorein, Elton, Tejas, Firaas, Elias, Ashley, Zeyu, Sanyu, Max Jialuo, Danya, and Jiale|
ENGL 1101. N1
Both Poster Sessions will be held in Hall 102, the room across from our classroom.
|Tuesday, Sept 11||Group One: Samantha, Henrik, Lauren, Alvin, Dustin, Summayyah, Melissa, Omar, and Henna|
|Thursday, Sept 13||Group Two: Kyle, Rishi, Patrick, Danny, Margaret, Grayson, Giancarlo, Mai, Shreya, Jermey, Dov, John, Matthew|
ENGL 1101. D2
|Tuesday, Sept 11||Group One: Brandon, Michael Chen, Benjamin, Anna, Andrew, Andy, Kevin, Maya, Yeajin, Jing Xi, Jason, Wyatt|
|Thursday, Sept 13||Group Two: Kenny, Manisha, Yue, Shakeeb, Siddarth, Avni, Brett, Ravi, Kok Wei, Michael Tang, Mitchell, Andres, Kiet|
- 1. Give yourself enough time to print.
- 2.Printing at the Multimedia Studio can take up to 48 hours, and printing at Paper and Clay can take up to 72 hours
- 3. You DO NOT need to mount your posters to foam core
Poster Design Presentation & Workshop
- 1. Key elements of visual and oral rhetoric
- 2. Poster draft workshop
Poster Pitch Drafting Activity
- 1. Describe the collection you chose.
- 2. Describe how the collection you chose illustrates a key concept from the reading.
- 3. What new information does your Poster and Pitch contribute to either the conversation about the collection you illustrate OR the key concept you illustrate?
Poster Pitch Session Model
- 1. SLS Fall Events
- 2. Video submission are good! Thanks!
WOVENText & Visual Rhetoric
- According to WOVENText (113-18), or your own perception as consumers of media, how do designers produce visual texts that engage audience attention?
- 2. Define/describe five key design concepts: emphasis, organization, contrast, proximity, and alignment
Visual Rhetoric Analysis
Once I’ve sorted you into groups, analyze the image below according to the prompt assigned your group, and be prepared to discuss your response with the class.
What is the purpose of the poster below? Describe 2-3 ways the designer uses organization to achieve his/her purpose.
What is the purpose of the poster below? Describe 2-3 ways the designer uses contrast to achieve his/her purpose.
What is the purpose of the poster below?Describe 2-3 ways the designer uses proximity to achieve his/her purpose.
What is the purpose of the poster below?Describe 2-3 ways the designer uses alignment to achieve his/her purpose.