Monday, November 22, 2010
Friday, November 19, 2010
MULTIMEDIA EDUCATION WORK WORK...IF ONLY WE COULD GET THE S**T TO WORK!
Ok I've had it....but just for the moment. I've had it with putting tons of work, effort, time, and creativity into a project and at the last minute it goes to hell.
Case in point I've had two presentations in this class. BOTH TIMES at the time for the big show BAM technical difficulties. I know I'm a Mac man & YEARS ago that would've reaked havoc on me doing a project for a PowerPoint presentation in many an arena. It's 2010 & guess what Houston we still have a problem. No music, no slideshow, no extravaganza and butt naked debauchery...ok nix the butt naked debauchery...for now. I'm just really over working really hard and having technical difficulties come in the way, & the fruits of my labor not squirting it juice in the faces of all my classmates. I degress.
Yes the ideas were there and the ideas were expressed, but not to complete fruition. The point of this blog is I don't ever to be the technical difficulty 2 my students & I want to be fully versed and prepared in all aspects that will benefit them for those moment when things don't go as planned.
I feel sorry for teachers and others when things fall apart. Sometimes greatness happens at the spur of the moment when your plan has a hitch. I just wish that I didn't have the late nights, bagged & ragged eyes, and not have the creative afterglow.
Case in point I've had two presentations in this class. BOTH TIMES at the time for the big show BAM technical difficulties. I know I'm a Mac man & YEARS ago that would've reaked havoc on me doing a project for a PowerPoint presentation in many an arena. It's 2010 & guess what Houston we still have a problem. No music, no slideshow, no extravaganza and butt naked debauchery...ok nix the butt naked debauchery...for now. I'm just really over working really hard and having technical difficulties come in the way, & the fruits of my labor not squirting it juice in the faces of all my classmates. I degress.
Yes the ideas were there and the ideas were expressed, but not to complete fruition. The point of this blog is I don't ever to be the technical difficulty 2 my students & I want to be fully versed and prepared in all aspects that will benefit them for those moment when things don't go as planned.
I feel sorry for teachers and others when things fall apart. Sometimes greatness happens at the spur of the moment when your plan has a hitch. I just wish that I didn't have the late nights, bagged & ragged eyes, and not have the creative afterglow.
Thursday, November 4, 2010
POSTMODERNISM A DEFINITION
THIS WAS HELPFUL IN MY SEARCH FOR CLARITY IN POST MODERNISM.
That postmodernism is indefinable is a truism. However, it can be described as a set of critical, strategic and rhetorical practices employing concepts such as difference, repetition, the trace, the simulacrum, and hyperreality to destabilize other concepts such as presence, identity, historical progress, epistemic certainty, and the univocity of meaning.
The term “postmodernism” first entered the philosophical lexicon in 1979, with the publication of The Postmodern Condition by Jean-François Lyotard. I therefore give Lyotard pride of place in the sections that follow. An economy of selection dictated the choice of other figures for this entry. I have selected only those most commonly cited in discussions of philosophical postmodernism, five French and two Italian, although individually they may resist common affiliation. Ordering them by nationality might duplicate a modernist schema they would question, but there are strong differences among them, and these tend to divide along linguistic and cultural lines. The French, for example, work with concepts developed during the structuralist revolution in Paris in the 1950s and early 1960s, including structuralist readings of Marx and Freud. For this reason they are often called “poststructuralists.” They also cite the events of May 1968 as a watershed moment for modern thought and its institutions, especially the universities. The Italians, by contrast, draw upon a tradition of aesthetics and rhetoric including figures such as Giambattista Vico and Benedetto Croce. Their emphasis is strongly historical, and they exhibit no fascination with a revolutionary moment. Instead, they emphasize continuity, narrative, and difference within continuity, rather than counter-strategies and discursive gaps. Neither side, however, suggests that postmodernism is an attack upon modernity or a complete departure from it. Rather, its differences lie within modernity itself, and postmodernism is a continuation of modern thinking in another mode.
Finally, I have included a summary of Habermas's critique of postmodernism, representing the main lines of discussion on both sides of the Atlantic. Habermas argues that postmodernism contradicts itself through self-reference, and notes that postmodernists presuppose concepts they otherwise seek to undermine, e.g., freedom, subjectivity, or creativity. He sees in this a rhetorical application of strategies employed by the artistic avant-garde of the nineteenth and twentieth centuries, an avant-garde that is possible only because modernity separates artistic values from science and politics in the first place. On his view, postmodernism is an illicit aestheticization of knowledge and public discourse. Against this, Habermas seeks to rehabilitate modern reason as a system of procedural rules for achieving consensus and agreement among communicating subjects. Insofar as postmodernism introduces aesthetic playfulness and subversion into science and politics, he resists it in the name of a modernity moving toward completion rather than self-transformation.
DENSE HUH? HOT!!!!!!!!!!!!!!
That postmodernism is indefinable is a truism. However, it can be described as a set of critical, strategic and rhetorical practices employing concepts such as difference, repetition, the trace, the simulacrum, and hyperreality to destabilize other concepts such as presence, identity, historical progress, epistemic certainty, and the univocity of meaning.
The term “postmodernism” first entered the philosophical lexicon in 1979, with the publication of The Postmodern Condition by Jean-François Lyotard. I therefore give Lyotard pride of place in the sections that follow. An economy of selection dictated the choice of other figures for this entry. I have selected only those most commonly cited in discussions of philosophical postmodernism, five French and two Italian, although individually they may resist common affiliation. Ordering them by nationality might duplicate a modernist schema they would question, but there are strong differences among them, and these tend to divide along linguistic and cultural lines. The French, for example, work with concepts developed during the structuralist revolution in Paris in the 1950s and early 1960s, including structuralist readings of Marx and Freud. For this reason they are often called “poststructuralists.” They also cite the events of May 1968 as a watershed moment for modern thought and its institutions, especially the universities. The Italians, by contrast, draw upon a tradition of aesthetics and rhetoric including figures such as Giambattista Vico and Benedetto Croce. Their emphasis is strongly historical, and they exhibit no fascination with a revolutionary moment. Instead, they emphasize continuity, narrative, and difference within continuity, rather than counter-strategies and discursive gaps. Neither side, however, suggests that postmodernism is an attack upon modernity or a complete departure from it. Rather, its differences lie within modernity itself, and postmodernism is a continuation of modern thinking in another mode.
Finally, I have included a summary of Habermas's critique of postmodernism, representing the main lines of discussion on both sides of the Atlantic. Habermas argues that postmodernism contradicts itself through self-reference, and notes that postmodernists presuppose concepts they otherwise seek to undermine, e.g., freedom, subjectivity, or creativity. He sees in this a rhetorical application of strategies employed by the artistic avant-garde of the nineteenth and twentieth centuries, an avant-garde that is possible only because modernity separates artistic values from science and politics in the first place. On his view, postmodernism is an illicit aestheticization of knowledge and public discourse. Against this, Habermas seeks to rehabilitate modern reason as a system of procedural rules for achieving consensus and agreement among communicating subjects. Insofar as postmodernism introduces aesthetic playfulness and subversion into science and politics, he resists it in the name of a modernity moving toward completion rather than self-transformation.
DENSE HUH? HOT!!!!!!!!!!!!!!
Wednesday, November 3, 2010
Monday, November 1, 2010
FEMALE DIVINE: part 1 Reflection on me and the initial idea of the case for the goddess!
So with me being a minority within my group I really had better be prepared to get in touch with my feminine divine self.
You know truth be told I'm a complete product of the male chauvinistic and dominant beliefs of a "god" image. I wouldn't have believed this without the reading of chapter 3 and realizing my behaviors and reactions to the concept of goddesses.
The belief or idea of Zeus, Hades, or for that matter the Christian God have a more settled place in my mind and practice. I tend to find myself being respectful or politely reverent of the Goddess Imagery all in the vein of being a politcally correct or evolved. Though not entirely sincere this recognition of my behavior is a step in the right direction for really discovering intriguing information on goddesses.
With the feisty group of ladies I'm working with I'm going to need to be honest and in check before I get checked for being out of line and touch.
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