Monday, February 26, 2007

Nerd? Who?

Neal Gabler’s “Inside Every Superhero Lurks a Nerd” makes an interesting argument, declaring Spider-Man fundamentally appeals to American society, resulting in its highly successful deployment as a moviegoing experience and its vigorous receipt by the target audience. If American society was not so moved by both adolescence and moviegoing, Spider-Man likely would not have been so well received, but I say the “nerd” in us may not cease after High School.

Gabler suggests “most adults have experienced adolescent powerlessness,” establishing the common ground on which moviegoers are able to relate themselves to Spider-Man, or more specifically Peter Parker, and allow the viewer to live vicariously thru Peter’s empowering emergence as Spider-Man (562). In the awkward developments of our adolescent years, it is quite probable to endure moments of weakness and confusion. Gabler expounds further to establish adolescent powerlessness and an obtainable empowerment create “two powerful elements: a primary source of moviegoing pleasure with a primary means of audience identification (562).” I am compelled to support Neal Gabler in his explanation as to why Spider-Man reeled-in such an impressive fan base. Gravitating to what we identify with and relate to is a natural instinct we have as humans. By such gravitation, we find ourselves plopped in a cushy-red chair with an overflowing bag of shirt-staining popcorn in one hand and a barely palm-able soda in the other, anticipating the final preview.

Neal Gabler defines Adolescence as “the period where one must move from youth to maturity, which means adjusting individual needs and desires to the larger world (562).” The typical teenager develops individualism, learns responsibility, and finds his or her place among society to play a part of something larger than the individual. Peter Parker endures High School chasms, develops superpowers, struggles to find his new position in humanity as a superhero and eventually “deploys his individualism for the larger good (562).” Gabler exclaims Peter’s symbolic individualism is cornerstone to Hollywood movies by stating, “Hollywood movies invariably celebrate individualism (562).”

Spider-Man does not necessarily only relate itself to an American teenage demographic. While it is reasonable to place substantial weight in the part of teenagers embracing the movie, adults must have played an equally significant role. In the fact teenagers are teenagers; they still require parental influence and guidance. Even if the young adults make up the mass majority of the Spider-Man audience, they do not fulfill the role independently. To further discuss the relational ability of adults to endear Peter Parker in his High School struggles may stretch the “adolescent” theme presented by Gabler to a broader scope. Why does the ability to offer sympathy for Peter Parker require a bridge to the adolescent stage? Is it not common for adults to experience similar times of feeling powerless? Is it not equally plausible adults are able to identify with the superhero side of Peter Parker, having endured and overcome times of powerlessness? Adults can be “nerds” just the same as teenagers and adults may be able to relate to the "Spider-Man" side of Peter Parker on a more personal level than teenagers.

Wednesday, February 21, 2007

Iconic Irony

Icons surround us and bombard us daily with little hidden messages. Taking place in such a variety of forms and locations, today, icons are used to project non-textual meaning in milliseconds. The human brain is an amazing interpreter of our environment with lightening fast sensory. A half-glance is all we require to recognize commonly encountered images. In a split second, we are capable of noticing and understanding entire messages embedded behind little images put before us. We, as people, often use little icons to express ourselves and let the world know something we stand for, believe in, or somehow connect with.

When you are forced to slam on your brakes as the driver of the car in front of you has incomprehensibly applied their brakes and you suddenly visualize your hood crumpling into the rear end of that “idiot,” rage and fear consume you. Oops, now that your car has stopped just short of crumpling, a metallic image pops out at you in the shape of a stick fish. The little stick fish on the back of that “idiot’s” car tells you something quite quickly. Now, the “idiot” begins to mean something new to you, as you understand their involvement with the Christian faith. Granted, a little stick fish, Ichthys, doesn’t tell you the depth of your “idiot’s” religious commitments, but you may be more understanding of their almost cause for a wreck. Maybe you begin trying to rationalize the situation, rather than persecute their actions. Then again, depending on your own thoughts about Christianity, the little gleaming fish image could enrage you even more. Either way, the posted icon on your “idiot’s” car has almost instantly given you more understanding about the driver in front of you.



Sitting, once again relaxed in your car, shift gears. Think about Albert Einstein and what his name brings to mind. Albert Einstein is a stand alone icon, rightfully earned. Ms. Cooper has posted the following image for discussion.



The Einstein button above sends a number of messages to us. Initially, and most commonly, the word or idea of “genius” comes to mind. Einstein’s face, given his genius status, stirs thoughts of intellectual greatness. What are the lines and dots bounced about his head? The loose representation of the Bohr model represents, in its entirety, the basic nucleus structure and orbital electrons making up a generic atom. Einstein’s face has been placed at the center of the Bohr model, possibly signifying Einstein’s central importance to science. After all, Einstein did receive recognition as “Person of the Century.” Let us twist some perspective for a moment, and with no disrespect to the great Albert Einstein. Consider Einstein’s fifteen year strife with fully understanding the laws of gravity and how Newtonian Physics hit a brick wall when an attempt is made to pass from the sciences of “macro-atomic”, or Classical Newtonian Physics to the sub-atomic world. The realm of Quantum Physics quite possibly presented Einstein with his most challenging endeavor. Now, for the twist… The picture of Einstein’s weathered face, as the nucleus of the atomic structure, could also indicate a different proposal than “scientific genius.” Could the button represent the genius’ time-restrained limits to peeking deeper into the sciences of Quantum Mechanics?

Understanding Context

“Ways of Seeing” by John Berger, and “Show and Tell” (Chapter Six) by Scott McCloud
· Discuss the relationship between languages and images.
· How does this relate to the ways in which society produces and/or uses icons?

Language is a broad topic. It is defined with verbiage explaining communication via words among a common people based on sequences of audible sounds of speech. Language also includes communication thru the use of symbols or images, such as letters in string for words and hieroglyphs and the complicated eastern writings, which rely heavily on symbols. Ultimately, the true meaning of specific language, symbols and images are strongly influenced by their context. What is context? Without context surrounding a communicable language, the communication breaks down. The complexity of specific context also lends itself to shifts in interpretations of the real meaning within the communication. Context evolves and changes as time continues to come and go. Take a particular book or painting and make every possible attempt to place either one in exactly the same context as its master originally saw it, and you will fail. At best, we can only hope to see and understand the meat of the piece as we read or view it from our own context. So, again, what is context? You are, right this very moment, in a context. Your mood, your life experiences, your understanding of the world around you, how you feel, the lighting around you, the objects surrounding you, the people surrounding you (or lack thereof), all are in some way makeup of your context. Now begin to read a book or admire a painting in front of you. The object has now been removed from its original context and placed within your realm of context. What we can do, is hope. Hope our context has not so removed a piece from its original context to the point we are simply incapable of seeing or understanding the piece’s real meaning. We can hope we are still able to find some substance in the words or in the brush strokes and possibly gain something in return. “The relation between what we see and what we know is never settled. The way we see things is affected by what we know or what we believe”(681). Understanding your own context and attempting to imagine or understand a sources’ original context is your first challenge as a beholder.

When someone sets out to communicate a message to someone else, a few things are predetermined before communication begins. The language that can be understood by both parties is identified. For the sake of discussion, assume language to include forms other than simple words of the English language strung together in sentence structure. The compilation of media utilized by the communicator is likely to be chosen with a basis of how he or she is most proficient and likely to effectively convey the intended message within the situation of the moment. Sign language would not be an effective communication medium for interacting with a blind man. A whisper would be lost in a noisy construction zone. A novel would be inappropriate as a stop sign.

Everyday, as we communicate with those around us, choices in medium are instantly made without conscious thought. The verbal language we use, the words we speak and our body language flow from us in a hope we will be understood by someone else. Even our attire communicates and is part of our personal context.

Scott McCloud discusses his ideas about a new understanding of effective communication thru the combined use of both words and images situated in a balanced composition. His “Show and Tell” comic-essay demonstrates the scale of balancing images with words. In my own attempt to not remove McCloud’s work from context, I choose not to quote him directly, but I will do my best here to explain his ideas in my own words, as well as, try my hand at a similar demonstration. McCloud uses four main approaches to illustrating his ideas: the evolvement of books from childhood to adulthood (where images are progressively replaced with more text), the transitions from “cave-man” drawings to hieroglyphs to letter-based writing, the growth in pictures and seven identified image-writing combinations commonly seen in comic books. There is definitely a power to combining words and images. Images alone are able to “say” a great deal, without the support of text. When words are provided along with an image, the image can say even more. Words can contextualize an image and an image can contextualize words.


STOP, and take a moment to think about the places you have seen this image before reading further.

Now, look at the following words and recognize where you have seen them, just as you did with the image.

“Annuit coeptis: MDCCLXXVI Novus ordo seclorum”

The above image is an icon… It is believed to have originated from the Egyptians, and first appearing, as shown above, around the seventeenth century. In the course of centuries, since this image first developed, it has been adopted by different sects to represent something to be said or stated as an icon “they” identify with.

The following image is similar to the first, but in a different context. Note the removal of color and its pen and ink design. Also, notice the alteration in the form of the eye.


Next, the image is combined with the words.



Add more context to the image, and it begins to take on a more recognizable form.




Finally, here is the result of combining the words and the image in a common, everyday context.




There is still more to be understood about the combination of the all-seeing eye, or more precisely, the Eye of Providence, and the words “Annuit coeptis: MDCCLXXVI Novus ordo seclorum.” In order to grasp the full meat behind the combination placed upon the reverse side of our Great Seal found on the one-dollar bill, two things are required: knowing why our forefathers chose this imagery for the Great Seal and understanding what message was intended to be conveyed by its presence. Of course, the beholder’s challenge does not stop there. The words must be addressed. What does “Annuit coeptis:” mean. What language is it, and where did such a phrase originate from? “MDCCLXXVI”, which means seventeen hundred seventy-six, what is the significance of 1776? Why not simply write “1776” on the back of our dollar bill? “Novus ordo seclorum,” what do these three little words mean? An entire essay could be written to explain the entire meaning behind the reverse side of our country’s Great Seal, but by placing a little bit of imagery in composition with five little words and a roman numeral, our forefathers were able to powerfully convey a message to the onlookers of the Great Seal, a message that would require much more space and text than allotted on one side of the seal.

Monday, February 19, 2007

Britney Spears, the Bubbly Shark

Tom Perrotta poses a challenge to take a second look into the stardom of Britney Spears. Forget the glances in passing by and ask yourself who Britney is, could she possibly be the music icon, the American icon of our 90’s youth? Tom cleverly places Spears into the arenas of widely accepted and ground breaking artists, such as Elvis, Madonna and Kurt Cobain. Britney places balance in the scales with Madonna, as an opposition to Madonna’s sex-driven-for-religion success. Sitting face to face with Madonna, Britney carried her musical success in a loose, light grip on morality, religious founding and enshrined virginity. Why do I feel dirty mentioning her exposed bubbly flower-print panties? It does appear the unveiled undergarments brought her attention in the same manner Elvis was set before conservative inquiry regarding his attention-getting leg shake. Both, Elvis and Britney persevered to successful and arousing musical endeavors with an easy claim to innocence, to which I imagine the white-head protectors of good morals shaking their heads in disbelief, gauntlet cocked, but with no stiff leg to stand on. Britney Spears verse Kurt Cobain, from where did this comparison gurgle-up? In the early 90’s, Kurt Cobain marred the country with his catchy, prefect timing rip into the music scene. Kurt appealed to the hearts and souls of generations fighting their way thru recession and war. By the end of the 90’s, the pounding overseas and dip in the American pocketbook had subsided. Mark time for entrance, Britney Spears. Britney launched the fireworks for pop music lovers and all who craved departure from war and a return to profitable investments. The stage is fresh and colorful with an abundance of happy thoughts. Who cares what she is singing, it makes me feel good.


When you look at a bubble, noticing all the iridescent colors refracted from the sun and swirling in hippie fashion, do you wonder or even care what holds the spherical shape so perfectly? Most people would not have the slightest interest in a bubble past its trancing visual appeal. Tom Perrotta decided to step back and wonder for a moment. In his “The Cosmic Significance of Britney Spears,” Tom brings us some insight into the substance behind the shell of Britney Spear’s bubble as a late 90’s musical icon. “But there’s more to Britney than that, isn’t there? Isn’t there?” (568), if you are receptive to a head-bopping, people-pleasing blondie taking the stage as an American icon, consider Britney both a prodigy of her dear mother and Hollywood, as well as, modern America in iconical reflection. Britney successfully markets and sells her audience the imagery of the American Dream. She spreads testimonies of religious roots demanding she wait for her worthy husband, but in the meantime Britney casually delivers sensual teases, a bright smile and uplifting music. And certainly, her “most adorable abs in the universe” offer nice packaging for her image (568).
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In the “Taster’s Choice” moment from the movie, Good Will Hunting, Will (Matt Damon) is enlighteningly reprimanded for his presumptuous judgments founded mostly on book knowledge. Sean (Robin Williams), Will’s psychologist, declares Will “just a kid” and lacking substantial real-life experience. I declare Britney Spears’ iconic achievement to be apropos. Her climb in the charts of a highly competitive music market, at such a young age, must have started with her mother, Lynne. “The unintentionally revealing autobiography she cowrote with her mother” (570) - How much was written by Britney and are you curious as to what extent Lynne pressed influence into Britney’s words? Spears has presented a rehearsed image without too much detail, leaving the truth to be conjured by the presumptuous onlooker. Britney has the appeal and ability to captivate her audience and she played her role in simple form. “Like the rest of us, she makes do with simple pleasures… She’s just so pleasant and thoughtful; she wouldn’t want to do or say anything that might upset anyone” (570). All you have to do is like her, Britney tackles that challenge with continued success, and you get to imagine what great moral ground she stands on and how she is everything you always wanted to be, happy! Care-free, simple-minded and always able to enjoy the view, is how most Americans have viewed the young Britney Spears, and why not mention her having plenty of good life ahead?
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What is this seemingly perfect shell surrounding Britney Spears? Could it be the end result of a master-mind mother determined to provide her beloved daughter with as much opportunity as motherly possible? Consider the scenario, finding little Britney a phony and just as intellectually on her game as she is with her abs and fashion sense. Being someone overly concerned with your opinion of her and not able to pinpoint a specific movement she might represent, Britney could be outwitting us all. What a stealthy shark in the pond.


It seems Britney Spears could be a double American icon. She made the dreams of happy opportunity seem possible during a time America was returning to the notion of this being the land of opportunity. Britney just might be willing to do whatever it takes to keep her own dream alive and that is typical of great American success stories. Something tells me the school-girl image Britney’s early fame was hinged upon may not tell the whole story. In the end, whether Britney remains solely the 90’s icon of the time or she is able to break into a larger scale representation of American times, hangs in the balance, waiting for her next move.

Wednesday, January 31, 2007

Millhauser, Bryson, and Sagan

Take a peek thru the looking glass; whether it’s a magnifying glass, microscope or kaleidoscope. Step onto a new playing field of the same old game and see thru the eyes of enlightening and thought provoking writers, such as, Steven Millhauser, Bill Bryson and Carl Sagan. “The Fascination of the Miniature”, “From the Introduction to A Short History of Nearly Everything” and “Reflections on a Mote of Dust, May 11 1996” play part as refracting glassware envisioning the norm with abnormal perspective. “But what I have said is true of all forms of discrepancy, and not only the particular discrepancy that is the miniature.”(121, Seeing & Writing 3, Steven Millhauser) “Of the billions and billions of species of living things that have existed since the dawn of time, most – 99.99 percent – are no longer around. Life on Earth, you see, is not only brief but dismayingly tenuous. It is a curious feature of our existence that we come from a planet that is very good at promoting life but even better at extinguishing it.” (122, Seeing & Writing 3, Bill Bryson) “In our obscurity – in all this vastness – there is no hint that help will come from elsewhere to save us from ourselves.” (124, Seeing & Writing 3, Carl Sagan) Each writer demonstrates the power of newfound perspective as an
"author-itative" beholder, hoping to illustrate, convey and possibly persuade, even if only for a slivered moment of opportunity. Millhauser, Bryson, and Sagan share at minimum, this in common; they have dared to be different, stand out on the edge for a moment (possibly on their heads) and searched for something special in an object or way of life taken for granted by the masses. Discuss the phenomenal coincidences of atomic recipes actually forming living constructs or the humbling effects of astronomy, but challenge yourself to take vantage point to a personal interest and find new respect and admiration for something your fellows pass by everyday.

Saturday, January 27, 2007

"The Keys" by Justin Vandiver

You hear click, click, click… sounding off tumbler pins engaging and pressing into place as the jagged mountainous edges of your finger-pinched key slide into position. With turn of hand and a ratcheting twist of the dead bolt lock in your front door, you hear a young boy’s voice from the park across the street. Looking over your shoulder, you find an older gentleman and young boy resting on a slatted park-bench near the street-side. Judging by the tender care and patience the man uses with the boy and the boy’s uninhibited respect and admiration for the man, they are undoubtedly grandfather and grandson. “What’s making that noise in your pocket, grandpa, is it your spare change?” “No, son,” grandpa says with a chuckling grin. “I have keys in my pocket.” “Keys… why do you have keys in your pocket, grandpa, I wish they were coins?” You notice the ridged and sharply pointed bulges in grandpa’s front right pant pocket, indicating exiguous stowage space for his ample key collection.

“Look here, son.” Grandpa leans with a twist in his hip to allow his forced hand into his front right pocket, pulling a ring of keys up and into the palm of his hand. Turning, you now face the scene of the two sitting in the park. The young boy earnestly looks to the bundle of keys jingling like an open music box in his grandpa’s lap. He remains quiet and observant as Grandpa wrestles back to comfortable sitting in a manner appreciable by weathered men of similar distinction and age. By now, the boy has forgotten about the belly-ache collection of candy he might buy with the expected coins from his grandfather’s jingly pocket. “Son, take a look.” Sounds of key-note music chime again, as he searches for the right key, shaking his head and tilting with each sifting of the key ring. “Ah, here it is.” Sunshine lights up a magnificent piece of art. You believe it to be a key, as you also realize you have crossed the street, yet uncertain a key could be so interesting and elaborate. A red-ruby sparkles from the blunt end of Grandpa’s key, as he holds it up to better light. “Son, this is a skeleton key.” Grandpa begins to tell the boy about skeleton keys and waves at you to join their seating, having noticed your taken interest. You notice the worn, polished edgings of ornate décor in the handle and along the upper half of the sturdy key’s shaft, well-defined by the deep and dark tarnishing of time wedged between each line. Only by the brilliant golden shine in the polished metal can you recognize the key to be made of heavy brass, or could it be gold? “This key is over one-hundred years old.” At the aggressive end, are four blocky, squared teeth protruding from the length of the shaft, like keys of a grand piano. “My great-grandfather passed this very key down to his son, who gave it to his son and hopefully, some day I will give it to you.” “What’s it for, grandpa?” Grandpa’s face lights up like a Christmas tree. With squinting eyes, he says,” This unlocks a lost treasure chest, far beneath the ocean, where an old pirate ship was wrecked in a great big storm. Waves crashed over its decks like thunder, breaking its wooden planks apart.”

The keys begin to ring some more as grandpa passes the old skeleton key to his grandson’s tiny hands. The little guy realizes how heavy it is a little too late, almost dropping it. “Oh, careful, careful, they don’t make keys like that any more.” Now pinched between the old man’s thumb and finger, you see a peculiar key, different from the skeleton key in the boy’s lap. This key is a bit smaller, but still intricately decorated. “This one goes to my old wooden desk, but the lock doesn’t work anymore.” The teeth could be confused with a black metal clover-leaf jammed into the end of the key’s stemming. Dark finishing on the surfaces of the desk-key are well worn and rounded, discernibly from many years of use and rubbing against wood, pocket lint, dirt and calloused fingertips. “Well, I suppose I don’t have much use for it anymore, anyway.” A set of ten little fingers carefully take hold of grandpa’s desk-key, allowing the boy closer study of its design and his grandpa’s engraved initials on one side of the rounded tail-end.

Grandpa is carefully arranging a collection of five similar keys in his right hand, as if there is certain order to be made in their relation to one another. Not nearly as dated as the previous keys from the pile, this set has a satin machined finish, similar in color to the hazy stretch in the upper portion of a sunset glow on the horizon, where the sky reaches an almost yellow metallic-white before fading blue into midnight. Visible fine scratches spider-web the flat surfaces where they have marked upon one another from the banging of stowage in close proximity, and with lasting impression. “Lot’s of memories behind these things.” Where a pinch on the keys is well-suited, tiny stampings distinguish the five keys, not one the same. Labels reading “1” “2” “3” “4” and “M” are identifiably buffed to a slight depression. Numeric keys are aligned accordingly, left to right in the palm of grandpa’s hand, with the “M” key falling just short of tipping past the edges of his finger tips. The stamped keys are flat as sheet metal in form, appearing hard and as durable as a stainless steel hammer. Each key is thinly grooved thumb to tip and has the expected incongruent geometry defining the cut teeth, which are found to be thinned from the main stock. Miniscule ridges along the flats of the teeth are barely visible to the naked eye under proper direct lighting. The ridges were left behind by sharp cuts of a precision cutting instrument, found to be much harder in material than the softer metals of a freshly toothed key.

“The ‘one’ key.... This one goes to box number one.” The “1” key is held precisely, balanced on point of its toothed end, centering on grandpa’s thumb and steadied by his forefinger atop the upper edge of the broader portion, making the stamped “1” easily visible. “Does that one go to box number two?” The boy’s pointer finger shoots out toward the “2” key still in palm. “Why, yes, Mikey, it does.” Proud laughter bellows out thru the park, as grandpa pats and rubs his grandson’s head. “What’s the ‘M’ box for, grandpa?” More laughter fills the park. “I don’t have a box just for that key.” Exchanging the four keys into his left palm to hold the “M” key in place of the “1” key, and in much the same manner, grandpa explains, “This is a master key. It can unlock all four of the boxes, not just one of them.” The young lad wrinkles his nose in upward confusion. Grandpa further explains, with a quick glance in your direction, “The numbered keys are kept together and unlock their own box. The ‘M’ key is kept in a very safe place in case I lose one of the other four keys.” His right hand shakes, just enough to emphasize its importance.

“What’s in the first box, then?” Grandpa conducts the key ring into tiny, crisp musical notations, looking for his grandson’s answer, and locates a clock key. From a firm fist, the bulky post of the clock key jets upward from grandpa’s fist, held only at its end by his curled index finger. The handle portion is flat and free of decoration other than its form in two rounded shapes mocking Mickey Mouse ears with center-punched holes, presumably for grip and string. The shiny and slightly polished shaft is crafted from quality-grade brass stock, marked by black smudges detailing a couple of finger prints. “This key is for winding up the antique wooden wall-clock in the living room.”

While passing the wall-clock key to grandson, the elder slips a piece of paper out from his shirt pocket. The young one promptly states the obvious, as children easily do, and says, “That’s not a key.” Only to be rebutted with, “Ah, but it is actually several keys.” To avoid bombarding questions in argument, grandpa is quick to explain the piece of paper is a list of passwords. He continues on in layman’s terms to explain how passwords can be considered keys in a way Mikey could understand with such clarity, attempted translation would be foolish. In the process, grandpa tells the boy he has written the passwords on paper so he does not have to “cut the keys” from memory every time he uses one. More likely true, the passwords only slip the old man’s memory from time to time, if ever, but the list lays tightly secure behind lock and key of box number three, should it be needed.

“Okay, now for the last box, box number four. I hope I didn’t lose it.” Grandpa becomes slightly unsettled and restless as he continues to thoroughly separate the keys left on the key ring and seems to be looking about the park-bench. Still searching, grandpa starts in, “Well, if I can find the darned thing, I will show you something my Father gave to me just before your father was born. He told me as long as I didn’t lose this, I could never lose anything else.” Grandpa is digging at something between the slats of the park-bench, but seems to be having a difficult time manipulating his arthritis-ridden fingers into position. With one quick motion, Mikey slips his narrow youthful fingers into the seat of the bench, finding a blank key. “Hey, you got it. Now don’t lose it. That will be yours one day.” Grandpa pats him on the leg reassuringly as he pauses for a brief moment to gaze the early evening sky. Something in his gaze let’s you know his brief moment was quite personal, and far more than a possible stretching of the neck. Into grandpa’s elaboration, he describes and illustrates how all keys are cut from a blank key. Wrapping up his stories in keys, grandpa realizes, “Look at the time, it is almost time for dinner.” The two begin sorting the keys, returning them to rightful locations, when Mikey has his own realization and remembrance.

“Grandpa, grandpa, I have a key! I have a key!” Mikey reaches down into the front of his shirt collar and shows his grandpa a house key still attached to a cord around his neck. Excited, the young “man” begins to explain how he can lock the door behind him when he leaves, and unlock it when he gets home. Grandpa listens to youthful explanations with perfect attention, so not to miss a single word his grandson has to say. Watching the boy position his “latch-key” out in front of him, cord still fixed about his neck, you drift a moment in thought. Remembering your first house key, you almost feel the sense of responsibility rushing through your veins when you first felt the cold brass touching the palm of your hand. Starting to realize you have also forgotten the wide-open front door, you are startled by piercing yelps. “Grandpa, grandpa, what’s in box number two!?” His grandfather is impressed with the exhibited attentiveness and patience, as he looks down and gently, with a slight grin and soft eyes, to say, “Mikey, my son, some secrets need to be kept safe until the time is right.”

Wednesday, January 24, 2007

"Illusion of Change" by Michael Parkes

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Inferences:

· The feline is leaping to capture one of the man’s golden balls, judging by the appearance of its forward attacking stance.
· The man will fall if the goose is unable to hold the rope in its beak.
· The man is juggling the three golden balls shown about his head.
· The golden ring held by the lady is on fire with a wisp of smoke trailing from the tip of a small flame straying from the ring’s top.
· The monkey is content to sit and possess its single golden ball, yet curiously interested in the lady as it holds its mask away from its eyes, so to see her better.
· The upward tilt of the man’s head indicates a proud confidence as he performs his should-be enticing talents.
· Looking into the man’s display of entertaining acts, he is desperately trying to gain the attention of the woman in the foreground by placing himself in harm’s way of a potential fall while demonstrating his ability to trust by relying on his own agility and the goose’s ability to prevent his certain doom.
· The lady appears disinterested in the man’s courageous acts by her focus toward the fiery ring she holds. She likely expects the man to leap thru her own chosen hoops of sacrifice before she is willing to redirect her attention upon him.
· Noticing the red outfit and sense of activity centered on the not-so tight rope balancing man gives impression Michael Parkes intends first glance attention to focus on the man. However, further study brings attention to the obviously more important lady in the foreground, framed in brighter light balanced to either side by the highlights on the pedestal and clouds.

Seeing & Writing 3 Introductory summary

This mentioning is summary to the agenda and challenges outlined in the introductory section of Seeing & Writing 3 written by Donald McQuade and his daughter Christine McQuade, entitled “Writing Matters.”

The minds behind Seeing & Writing 3 intend to open new visionary perspective to students toward current day information media flow by stringing imagery observation, brood literacy, instinctive inference and written thought into respectable literary structure. Developing an acute ability to absorb the world around us, process the information effectively and construct impacting and insightful written messages with a personal touch is the target Seeing & Writing 3 sets before us, the students.

This journey into the highlights of writing as an aspiring writer begins with understanding the importance of being receptive to our environment, allowing ourselves to take in information for processing. Though allowing instant response to information absorption may be difficult as clinging for control and analytical thinking instigate desire to withhold any temperable “hypothalamus” responses, the McQuades place this ability as important for establishing a starting point for writing. “The best writing advice I’ve ever received is: ‘Facts are eloquent.’” – Norrie Epstein(6) Wow, facts, quotes and hard fact reference material may feel confining and wake a watchful eye for the first opportune detour! However, sound reasoning founded on supported factual observation facilitates convincing inferences which supersede biased first-glance assumptions.

Seeing & Writing 3 presents a free-form approach to draft development and insinuates acceptance to any drafting vessel an aspiring writer utilizes to compose successful essays. Thru draft revision the writer is able to distance themselves and shed biases to acquire an objective eye for a tasteful final essay. Revision transforms its previous drafting toward an essay projecting confidence with a sense of control by presenting the intended reader with a composition based on concision, effective conveyance and clarity in logically organized format.

But, what building blocks formulate a written composition? The Purpose: The Structure: The Audience: The Point of View: The Tone: The Metaphor: The Context: Master these seven ingredients to a successful writing, throw in the spice of perception, a dash of strength and knead it to perfection and you just might have a loaf of bread worth enjoying.

"Literacy"

Possessing an ability to effectively communicate thru a chosen medium demonstrates literacy. This communication medium may be spoken language, written language, computer-programming language, photography, sculpture or one of many other medium options available to our discretion in today’s diverse world of information delivery.

Tuesday, January 23, 2007

Excremental Summary of Anne LaMott’s Bird by Bird excerpt

Anne LaMott personifies a writer’s strife by depicting a world of insecurity and self-defeat, ensuring her reader loses any potentially misconstrued and innocently ignorant fantasy about a writer’s artful flow. This is how she sets the tone to that of a rough draft only to lead into a winding road of decide to write, write, look for inspiration, write some more, slip a piece of yourself into your work, write some more, then refine your work. This is the writing process. And before ink is dry, Anne allows the Polaroid to show its true colors in the arena of awe inspiring glory as the final literary piece crosses the finish line.

Anne uses a creative thinking approach to explaining the writing process. So creative, in fact, she uses the evolving mood of her piece to demonstrate the refinement process. After reminiscing High School English, I recall the drab textbooks of grammar and my lack of eagerness towards the studied literature. I also remember writing the rough drafts, rewriting and rewriting once again, achieving the final draft to be stowed behind the crisp clear plastic. Anne LaMott has presented a new flavor in the writing process, perhaps a more enticing perspective with a carrot of inspiration dangling off the corner.