1. Narrate, describe, tell the story of how your paper developed. Your “story” should proceed through the following: Did you start by responding to the prompt? Did you start with a key chunk of text you wanted to write about? What sorts of invention writing did you do? What classroom activities/discussions developed/changed your thinking? What sort of feedback did you receive? What changed draft to draft?
2. Draw the “story” of your Essay writing process on the board
Student Teaching Groups
Zeyu, Enerelt, Jialou, Firaas
Dov, Omar, Dustin, Giancarlo
Thomas, Kenny, Michael Chen, Kiet
Scene Analysis: An Inconvenient Truth
As we watch the clip from Gore’s movie/slide share talk, please keep the following in mind:
1. Context: What “happens” in the selected sequence on the level of plot? What is the function of this sequence within the larger narrative action (foreshadowing, climax, transition, exposition, etc,)? What is the overall goal of the clip?
Describe the Frame is it open form: frame is de-emphasized, has a “snapshot” quality? Is it closed form: frame is composed and self-contained, the frame acts as a boundary and a limit?. How does the frame help communicate the goal of the documentary to the audience?
3. Describe the Set. Is it in a studio or a location? What props are used? Are they used symbolically? How do the sets help Gore convey his message?
4. Describe the Design (symmetrical or asymmetrical; balanced or unbalanced; stylized or natural; does it belong to a certain period or artistic style). How does design help Gore communicate his goal?
Take five minutes and respond to the following. Be prepared to share your answers in discussion:
1. According to your First Week Videos, what WOVEN mode did you anticipate offering the most challenges? How did you address challenges you perceive in the mode you discussed through any portion of the Poster assignment?
Take five minutes and respond to the prompts below in a Word or Google Doc. Since you will be required to include reflections in your Final Portfolio, please file this reflection with your other process documents.
2. Given the opportunity to revise, what is one thing you would change in the Video and why?
Herring, “Pathological Collecting”
Either on your own or in groups of 2, let’s respond to the following:
1. According to Herring why did the cookie jars in Andy Warhol’s effects cause a “minor object panic” (51) (at Sotheby’s, in the art world, for the general public)?
2. What is “normal collecting” according to Herring’s various source material? What is “pathological collecting” or hoarding? How can we tell the difference between the two practices? Who decides?
3. Spend a minute looking at Figure 2.1. (54-5): what sorts of objects are foregrounded? What sorts of objects recede into the background? What do you notice about the ways in which the objects in the picture are arranged? What are some points of contrast/compliment? Who’s the audience for this photo: academics, collectors, people who work at that warehouse? Compare Figure 1.1. to Figure 2.2. (59).
4. When did garage and yard sales become a fixture of US suburban life? What other changes were going in post WWII US that effected the ways that people thought about what can and should count as collectable?
5. What are the Warhol Time Capsules (TC’s)? How do the TC’s “augment the anxieties that attached to Warhol’s effects during Sotheby’s estate sale?
6. What does good and bad collectors/collections have to do with the environment?
Frederick Charles, Warhol’s Hoard in Sotheby’s Warehouse, 1988. Published in John Taylor, “Andy’s Empire,” New York 21.2 (1988): 39.