for - paraphrase - Buddhist framework - 4 turnings - 4 stages of initiation - John Churchill

paraphrase - Buddhist framework - 4 turnings - 4 stages of initiation - John Churchill - The fourth stage of "soul" - interdependent origination - systems thinking - can make use the knowledge of the third stage "mind" - which in turn uses the knowledge of the second stage "emotional body" - which uses the knowledge of the first stage "body"

With this game, you can take a relaxing break from the concerns of the outside world and play a game that has a peaceful rural setting.

Online game is a way that has been emerged very easily and effectively, people are able to escape the real world and it's challenges.

Stansfeld said , "If you’re asleep you may not wake up, but your body is still responding if you hear a high sound,”

often uses the silencing advantage to block out office chatter while she’s coding, but likes how she can still hear if someone talks to her, said by Jose Livingston , a developer at a technology startup in London.

This term comes from Ramon Llull's definition of a man in the Ars Brevis (1303)-the humanifying animal. "Homificans is produced through the realization of the three main activities of the human soul, which for Llull are knowing, remembering, and loving, which correspond to the three superior faculties of the soul: understanding, memory, and will." https://plato.stanford.edu/entries/llull/). An interesting thought exercise that sums up other semi-nebulous terms like "actualized" and "sapient".

Boozary says."The air you respire the function you have, the revenue and social communication you have, are a much larger driver of health outcomes than how many basic care visits or surgeries you get access to as sufferer ,"

Iif one plan doesn't work for you, try one more. And, recollect : "sleep is greatly personal," says Dr. Dasguptao.

To smach the cycle of bedtime temporization and recover some of those valuable hours of sleep, here are some plans.

Our reality is so intermingled with technics that, in the aftermath, we must remember to be the medium ourselves or create space for both the technics and our own relationality.

We as humans are the reason that the virus is able to spread and impact as hard as it does. But, without us there is no "us" to impact. We are encouraging a virus through our daily lives that also potentially has the power to stop our daily lives.

Media has developed to the point in which the way we represent reality has nearly become reality itself.

Our overuse of technology has gotten to a point that our personal technological items have become directly apart of us and our identities.

In Covid, the embodied relationality between humans was substituted by sociotechnical networks (i.e. common beliefs or definitions of media as being a medium separated from physical human networks) cause a hybrid post-media life in which media interacts with the individual and the collective in the process of distinguishing between communications (medical from political media).

This claim of human being mediators of the collective affectivity is relevant to how representation and reality in media are intertwined making humans the medium through which humans must continue to create an increasingly integrative mediality.

The goal of the project is not simply to prevent or avoid these events but to gain a deeper understanding in how responses to future events can be revised or enhanced.

This claim of the sensors data and monitoring of the common planet creates a sense-able Earth digital planet which requires a review of how environmental data and monitoring might arrive and exhibit different planetary inhabitations and relations. Thus these sensors express how observation practices are both experiences of the Earth and expressions of how to collectively inhabit Earth. This kinda of relates to Imbler's idea of collectively actively inhabiting the Earth through anthropomorphism.

Every life form is connected in a way that we can learn from one another. There is something to offer from each living thing and if we cannot see it immediately, dig deeper. Empathy for others is key.

The concept of intimacy here provides an alternative response to our "instinct" or tendency to distance ourselves from the things we find strange. Rather than fleeing from the strange thing, one makes intentional, deep contact with it.

The idea of "radical empathy" suggests a disposition that is not only open but marked by a certain humility or vulnerability.

We are still rapidly discovering new species and beings that we did not know to exist before on our planet. Their evolutionary trajectory may have split but they are ultimately tied to us by ancestry. However, we often look at creatures, especially new ones, and label them as alien, unsightly, repulsive, gross, creepy, etc. This destructive rhetoric leads to an irreverence toward their being. We do not know what the blob may feel, think, or do so why do we create this disconnect between them and ourselves? Respect can still be present without a connection but may take more effort. We must put in this effort, however, as they are ultimately our neighbors (evolutionarily and physically).

This claim of the art capturing the temporal unfolding of a visual awareness that unites us with the cosmos in the very moment and divides us from ourselves furthers his later statements on the art both opening the visual field that (in the instance of the stars in the painting) gives the atmosphere of the sky as long as it merges with the field of the viewer or artists attention connecting ourselves with the cosmos.

Concluding claim that in fusion the atmosphere is with you and in fission you are with them while your body has become a ghost.

This isn't the first time Minneapolis has seen rocked over police violence and the deaths of black people.

Many demonstrators and reporters, have recorded police aiming guns at them and firing rubber bullets and tear gas.

Over the last 50 years, racism has developed, and our shared understanding of what it means to be just, how discrimination works, and how to effectively combat it has to be updated as well.

We need to be able to do three things to accomplish racial justice.

Again, the idea that language is part of your identity and how important it is is always interesting to me

This grammatical rule is very interesting how been is used in AAVE, especially with the different ways to stress is to create different meanings and uses

It's interesting how there is also differences in AAVE depending on where you are, I never really thought about that before.

I thought that this idea was interesting, along with the rest of the paragraph that discussed how when analyzing Black Language, more than just the grammar that is used should be taken into account

In other words, Bitzer's view is h̶o̶r̶s̶e̶s̶h̶i̶t̶ rhetoric is a tool

Sounds as though Bitzer is getting at rhetoric being any domain in which someone puts a spin on a situation.

Another interesting topic that the author brought up is that the idea of "standard" english is truly a good model and framework for the other languages that exist in the country.

Again, it is very upsetting to see how racism is a part of almost every faculty of life for people of color.

This helps me out because I'm aware that there is no true standard english but I wasn't sure what to refer to it as. Although I believe that there are multiple names for it, similar to AAVE

Gives kids the idea of if someone doesn't speak like this, then they're less intelligent than you.

I thought this was a very sad statement that can often be applied to many other areas of life. I was also thinking that I am very privileged and lucky to not be looked down upon due to any of my traits or characteristics that I have developed due to my culture.

I thought it was somewhat interesting to read about other forms of discrimination based on linguistics, as the only one I have put research into is it based off of AAVE

I thought that it was interesting to see how there are still multiple definitions of "standard english", although still are both somewhat faulty

Children who are from lower-income homes are not going to get the same opportunities for developing their linguistic skills. Is that because of their parents? Or do more socio-economic factors come into play here?

A discourse is how we act and speak in a social setting.

The process of ubuntu draws out one's qualities to support and supply the greater common good as opposed to their own personal needs, which avoids selfish decisions and pride. There is a struggle that comes with avoiding being selfish, and debating this within yourself is a difficult process.

The hidden transcript is reminiscent of the the "hidden curriculum" that Jessica McCrory Calarco aims to shed light on in her A Field Guide to Grad School. Although McCrory Calarco's binary is more about those with access to knowledge of the ins and outs of academia vs those who don't, the dynamic for Scott is similar in its separating those for whom the system works and those for whom it outwardly seems an obstacle to education.

To recap, Friere revisits the professor whose process has been streamlined by the university bureaucracy, and whose value and legitimacy has been questioned by those outside of the academy, and re-voices the profession's worth.

Here, Miller says that it is wrong to suggest that successful students have internalized the oppressive structure of academia. In other words, just because they follow it, does not mean that they mindlessly believe and adhere to it. Rather, Miller suggests that they follow it because they have no other choice. They lack the means needed "to change the system" so they are forced to adhere to it.

Boyle is introducing the issue of the educational paradigm of reading instruction, which insinuates a moralistic trauma. The trauma then informs the way in which students are taught how to read and how further instruction in reading defers back to this one point of how one was taught to read. Boyle does this to set up her proposal for a resolution of this issue in pedagogy.

Boyle is creating a distinction between ethics and morality in which he rejects the binary of good versus bad in favor of a process-based approach that prioritizes the results of reading as opposed to the act of finishing.

Emphasis on the right for clean air, and that whether or not a family can afford an air purifier impacts their health.

The impact of of air pollution based on who it may impact the most

The United Nations Environment Program emphasizes the main point that air pollution being linked to Ella's death would be the first of its kind.

Pollution related deaths come from more than people with asthma, but also strokes, heart disease, lung cancer, and chronic respiratory disease.

Robinson is drawing a comparison between the idea of "flattening the curve" and charismatic megafauna. People concerned with wildlife conservation use lovable animals like pandas, elephants, etc. as a "poster child" for their cause. It's just a given for many people that they should be protected, thus spurring action from people who may not be as interested in the nitty-gritty scientific details. I think the idea of flattening the curve definitely has a similar effect.

May pertain to the fact that the grandmother believes in horoscopes or zodiac signs that may be the reason for her sadness.

Some things in the world are meant to be lost, were created for that purpose, or they just innately want to be lost. So when you lose something, it's really not that big of a deal and you shouldn't cry over it because the thing was going to get lost in the first place.

She seems to affirm that loss is part of the human condition: we lose both significant and insignificant things constantly and should thus accept this as a natural part of life, and even master this practice so as to remove any sensation of disaster we may take from it. These two points will be repeated throughout the poem so as to emphasise them.

In this stanza, the poet is almost treating losing something as a sort of skill or talent. Lose more of the association and background of that thing, and do it in a short amount of time.She's saying do it deliberately now, this time with things which aren't concrete, which is easier to lose farther and faster. We have moved on to the next level, losing something from the mind. It's an art that you've got to hone it until you are essentially you become someone with Alzheimer's. But do not worry (none of these will bring disaster) we can manage the loss just fine.

Ideas are getting more and more abstract. These mentions of place are perhaps symbolic of the memories she had of them, or of the relationships she once had there.

She misses them but it she is still okay and everything is fine.

Elizabeth BishopOne Art by Elizabeth Bishop

Elizabeth Bishop’s One Art is a poem whose apparent detached simplicity is undermined by its rigid villanelle structure and mounting emotional tension. Perhaps her most well-known poem, it centres around the theme of loss and the way in which the speaker – and, by extension, the reader – deals with it. Here, Bishop converts losing into an art form and explores how, by potentially mastering this skill, we may distance ourselves from the pain of loss. At eight months old, Elizabeth Bishop lost her father, her mother then succumbed to mental illness and she later lost her lover to suicide. Therefore, we may see this poem as in part autobiographical. In it, the poet presents a list of things we may lose in life, increasing in importance, until the final culmination in the loss of a loved one.

One Art Analysis

The title should not be overlooked. With these two small words, Elizabeth Bishop encompasses the poem’s entire purpose: to remove the pain of loss by first levelling out everything that we lose; from door keys to houses to people (One), and second by mastering the fact of losing through practise (Art).

The art of losing isn’t hard to master; so many things seem filled with the intent to be lost that their loss is no disaster. In the first stanza, Bishop sets out her intentions. She seems to affirm that loss is part of the human condition: we lose both significant and insignificant things constantly and should thus accept this as a natural part of life, and even master this practice so as to remove any sensation of disaster we may take from it. These two points will be repeated throughout the poem so as to emphasise them.

Lose something every day.

In the second stanza, she invites the reader in by naming two extremely common things to lose: keys and time. The enjambment between the first and second lines causes us to pause and contemplate how ridiculous is this ‘fluster’ that occurs when we lose our keys. She eases us slowly into her idea: the universality of these two occurrences allows us to relate and thus agree that indeed, this is not too hard to master and is certainly not a disaster.

Then practice losing farther, losing faster: places, and names, and where it was you meant to travel. The emotional tension begins to subtly build in the third stanza as Bishop incites us to further our practise, broadening the scope of our loss. Here, the things we lose are more related to thought and memory: people, places and plans that, with time, naturally escape our head and no longer form part of our lives. This is harder for the reader to accept and the familiar affirmation that this will not bring disaster becomes less comforting. House keys and an hour here and there seem commonplace and natural and to consciously lose these things to aid our mastering of losing does not seem too difficult. Places, names and plans require a larger effort and a degree of emotional distancing that the second stanza did not call for.

There is a subtle change from the third to the fourth stanza, a perfect split in keeping with the poem’s rigid structure. Almost imperceptibly, the speaker switches from addressing the reader to drawing on her own experience. It is here that Bishop begins to undermine her meticulous structural details and carefully impassive tone. “I lost my mother’s watch”, she states, an admission that seems to come from nowhere. However, the casual tone is disappearing; the inexplicable mention of this personal aspect of the speaker’s life has upped the emotional stakes. As the stanza continues, it becomes clear that this is a further attempt to demonstrate the universality of loss. The picture becomes bigger and the distance larger. The exclamation: “And look!” betrays yet more emotion, despite it’s apparent offhand tone. Now Bishop tells us to look at our losses on a bigger scale: the houses we lived in – not so disastrous except for the use of the word “loved” here. Indeed, these were just places we lived in, but we nonetheless also loved in them.

The first person speaker continues in the fifth stanza as the poet attempts to further distance herself from loss. She is stepping further and further back and the picture she is painting reaches a higher geographical level: to cities and continents. Nevertheless, this is undermined by a wistful tone: the cities she lost were “lovely ones” and, although she maintains that their loss was not a disaster, she does admit that she misses them. Faced with this unusual outlook, the reader is forced to ask at this point: if the loss of a continent is no disaster, what would thus constitute one?

Bishop is also a traveller and called a lot of places home

he fifth stanza leads us to a brief look at the structure of the poem. The villanelle allows for a break in its pattern of tercets and tight rhyme, giving away to one quatrain with a repeated rhyme. Just as the structure cracks, as does the poetic voice. The final stanza opens with a dash, which could perhaps be seen as an attempt at a casual tone but in fact serves to slow the poem down here, allowing for yet more emotion to permeate the final words. The reader is forced to consider this “you”, and we see how the poem has taken a journey: starting with the little objects, going through thought and memory, to houses, places and continents forming one huge picture until at the end, zooming in on and pinpointing this “you”. A “you” with, as we infer from the parentheses, a personality, a memorable tone of voice and gestures. A person lost; an irreplaceable entity, in fact.

This stanza is somewhat urging you to just lose things on a daily basis, because why not? Just accept that emotion, how flustered you get from first realizing that you lost something and then that unsettling feeling of not finding it yet, whether it be keys or time you decided to use unwisely.

The speaker assumes that the British royalty in the paintings have invited Arthur to become a page at court. This is a comforting thought but then she questions how he could possibly go if his eyes shut tight and the roads deep in snow.

The fifth stanza describes Arthur's body. He is described as a doll that hasn't been painted yet by Jack Frost except for his hair.

The mother calls the child to say goodbye to Arthur. The child understands that Arthur is departing for somewhere but I din't think she fully understood the concept of death and how he was dead. He/she gives Arthur lilies. Then describes his coffin as well as the loon eyeing it

In the second stanza, the child refers and focuses on the stuffed loon. The speaker, being a child, animates the loon, hoping that it had something to say. But it doesn't so he tells himself that he is merely keeping his thoughts to himself. The child likens the marble topped table to its original environment. Then talks about the features of the stuffed animal. It's breast being cold and caressable referring the fact that it's stuffed. Cold because it was lifeless but still caressable because the body is still there, almost frozen in time.

She also mentions that its red glass eye is much to be desired. I'm not sure what this means but with reference to Arthur's dead body and the last line in the poem as well as both the picture of the royalty and the loon having open eyes - what's desirable is the despite not being there at all, these things seem immortalized because their eyes are open while Arthur had his eyes closed clearly signifying the harsh reality that he is dead.

Paraphrase

Arthur has recently passed away. In the opening scene, we see him being laid out by the speaker's mother in the parlor under what are essentially pictures or photographic prints of British royalty. And then under those pictures is a stuffed loon (aquatic bird). Bishop then follows this with the detail of the loon being shot and stuffed with the dead boy's dad of the same name - Arthur.

I find it interesting that the speaker would notice that he is placed under static objects which don't even embody life. The prints of royalty and the loon - including Arthur, all of them seem so still and dead. Like mere shells left behind of what they once were.

So, the mapping of knowledge in which she engages helps serve the purpose of identifying topics to study and discuss.

keepitsimplestupid

The author basically says the weed workers are more useful than some of today's workers. The way they think and act are smarter than others

The author speaks about how people sell weed illegally for a reason. If weed became legal, they still wouldn't be able to sell it or they would have to sell it for a low price.

the author speaks about how the system works doesn't actually help people at all, just makes things worse.

The author is speaking about how somebody's credit or record doesn't actually define who they truly are. The author says how the buyers actually get to know the seller and the type of person they really are.

The author talks about how pot workers benefit us and how they help other people.

The author explains how it is the government who makes us go through these tough situations, just to obtain food, or a job. to get money, work experience, and other things we need to live in the country.

The author explains that the cartels doesn't just make by weed, they make money by doing all these other illegal things.

The author is trying to say that we shouldn't be surprised by some of the government actions because they are hypocrites.

The author talks about taking credit for things. Some people take other people's ideas or work, give it another name and call it their own but that's not how it works.

At this point in the poem, More has begun to cry. John Donne is trying to comfort More by telling her not to cry or sigh because it would "cause" floods and storms that would only make his journey more difficult. This is showing the idea of a Petrarchan woman. A Petrarchan women is a lady who is able to control the power of her lover through her emotions. He is saying that More's love for him is so powerful that it can actually cause physical disasters , so if she begins to grieve his death it will actually cause his death. This is also an example of a hyperbole.

One of John Donne conventions is using conceits, or extended metaphors in his writing. In this case he is comparing his and More's for love for each other to a compass. This is a very unique conceit and is very well known due to its uniqueness. Donne claims that Anne More is the foot on the compass that remains still and unchanging and he is the foot that moves (his travelling). He then goes on to say that while he moves away from More, as the feet on the compass do, he will always find his way back to her.

Student: "I can't focus with a text book, it is easier if I read it on my phone, or computer" Me: "You will get distracted if you read it on your phone or computer" Student: " you just dont understand, that is how we learn" Me: "ok, go ahead, but your being quized over this" student: (trys reading on phone or computer, doesnt focus, plays games, texts) student: "I got a 40 on the quiz?? Thats not fair, you cant quiz us on just the reading, I don't understand it" me: (facepalm)

We need to understand the influence of language and matter together in order to more properly understand the world around us as well as fully understand the history of matter's influence on the development of culture and society.

Technology threatens our ability to see the bigger picture (in Heidegger's view).

Rough paraphrase: “Get this through your heads! An idiot, male or female, is the hardest thing to convince to change their mind. It is better to have someone that completely surprises you now and again with his or her ideas, instead of someone who remains so stubbornly close-minded they cannot feel good or bad about it.”

This is the closing “emotional punch” required to grab a reader, perhaps even agitate them. as long as it draws attention, it can be an effective tactic to illustrate the point the author wishes to make. With an approach that is both emotional and even mildly condescending, this is the form of editorial form Fern is talking about women needing to apply themselves to throughout the body of her own editorial.

Booth disagrees with the Enlightenment ideas of rhetoric, reflected by rhetoricians such as Astell and Hume, that the goal of rhetoric is to be as logical and rational as possible and disregard the importance of emotion, which he defines here as scientism.

Lovely thought in itself. It's seems to be that it is being stated that, a;though discourse can mold an idea and present in a manner that is approachable and interesting, it does not create the idea. The idea is originated in the mind and simply spread through successful discourse.

The idea that in order to reinvent something, you must take it back to its basic form. Once it is in its basic form, you can better understand it; once you have an understanding of it, only then can you transform it into something else.

Gestures (which is another form of symbolism) give weight to words that may otherwise go unnoticed in a purely written sense. Words, by themselves, carry significantly less rhetorical weight.

Nice alliteration. On another note, she's making reference to how female writing seems to only prop up every few centuries. There were various reasons for this, but oppression and silence of opinion were major components. But a renaissance of female fiction helped kick this trend into the dust.

People spend their money on frivolous things, such as stories, yet she's also the one who just bought a Persian cat. Humans will tend to financially support the superficial, but these things can also have unseen deeper meanings, such as the companionship a cat provides or the rhetorical experience a novel brings.

It feels like this is a distinction between Nietzsche's social lies and anti-social lies. If I'm glossing this correctly, bona fide communications are those social lies which we have all agreed upon to enable communication. "Misdirection" is the anti-social lie for the purpose of trickery.

Willard is saying that women are necessary to discover truth, and that a reason that truth has not been realized so far is because women have been excluded from interpreting the bible in their own way and instead are told what is said in the bible by men. Reflects her earlier statement, which states that men generally interpret the bible in their self-interest and to ensure they maintain power and minimize competition (1124).

Paragraphs need to create a plan and stick to it! No ramblin' men!

To paraphrase what is being said here. He believes that mastering the English major is something that must be done through a lifetime of usage, not something that can be crammed into a composition class.

Spencer states that the simple words we first learn as children are more efficient than the synonyms we learn later in life. There are less connections to be made with the original word that we use, and therefore using original language is more economic.

The "why," or the analysis, is important to emphasize because you will be more likely to persuade your audience. Is he saying that analysis is essential to successful rhetoric? As my AP English teacher always said, "Your analysis is where your paper "lives."

The longer it takes for the reader to decipher the sentence, the more time is taken away from the reader receiving the authors message.

This phrase is really quite interesting as it means that a zinger or witty statement is only witty if it is presented in a succinct manner.

She's ecstatic that women, like the slaves, will be able to fight for more rights and free themselves from oppression, even if that end result is still far down the road. At least people are starting to "wake up" to how subservient and lower class women are seen as in this time, even those most adamant on keeping those customs.

Grimke is saying that we will not live to our full potential, what God has destined for us, if we continue to live our lives in extreme separation between the sexes. Interesting point to suggest that society was living against what God manifested for humanity.

Grimke is (finally) moving away from the idea that women are "soft;" she states that men and women are equal in the eyes of the Lord in spreading His Word, thereby suggesting that women had the right to speak publicly on religious grounds.

I believe this to be a key phrase in the writing as she is pointing out the demeaning role that man has placed women as opposed to the dignity filled role that God meant for her.

Discussing prejudice ironically keeps it alive; it is only through action and relationships that prejudice can be phased out.

This sentiment is slightly concerning, though. If one never discusses how they may be prejudiced against, will they ever be able to recognize it and act appropriately? Can prejudice by solved through action and character alone?

It can generally be agreed that the composition of an argument also befalls under the general umbrella of rhetoric.

"Campbell makes a similar point about the dangers of paraphrase: Since we must be in doubt about the precise meaning of the original, any paraphrase must be consid· ered an interpretation."

These stages are not truly universal and vary according to many factors. (Are they still useful to educators/psychologists if not universal? If so, in what ways?)

It's unrealistic for individuals that posses money to be placed in the same category or respected in the same fashion as individuals that do not posses money.

The sentence highlights the social inconsistency within the age of the second industrial revolution. At this time, social inequality was due to political corruption and how wealth was distributed. Thus, the man with capital had more power and wealth than the man who does not have capital. Also, what I found distinct about this quote is that Sumner contrasted it with the idea of the first paragraph, in which he stated and acknowledges that equality was possible if everyone could "share" the wealth and power, then inequality would be solved. However, by stating the quote (highlighted), there would be no work and that it was necessary to have men with capital because they are the propellers of success in society.

Paraphrase: There is no coincidence that inequality is occurring in the world due to certain evils that are becoming more apparent as time passes and will lead to the end of progress.

Context: People are beginning to recognize and voice their opinions about social inequality during this time period, such as unequal distribution of wealth. When before only a few people spoke out about this injustice. The inequality that is occurring is not an accident that occurs as time moves forward, but is the direct result of the corrupt mindset of some individuals. This mindset will cause civilization to stop progressing.

Example: For example, some people still have the mindset that only prestigious citizens (meaning political figures or people whose family has had a legacy of being wealthy or well known) should be wealthy. This mindset hinders a community because everyone does not have equal access to resources and this inequality is the very thing that leads to poverty and an accumulation of poverty does not equal progress.

Following people and things (objects, cultural assumptions, etc) across different contexts to see "what takes hold"

Islands of expertise can be used as tools of analogy to learn and discuss other things/knowledge/topics outside of its sphere. Interesting

A long highlight, but I think important to framing how the author pulls out "resources" and frames the analysis to come. What seems to be the most important part of the concept of a "learning ecology" is that it is distributed over time as well as people, places and things. The aspect of time again brings me back to my earlier annotation about the dynamic aspect of participation and (as the author argues at the end of this quote) central to engaged participation.

Learning not as a set of objects ("knowledge") to be had but as a process or development and action of and by the learner towards a particular practice.