15 Matching Annotations
  1. Oct 2019
    1. Disposable Assignment

      Disposable assignments can often be mistaken for low stakes assessments and lower levels of Bloom's taxonomy. The key here may be how long the assignment takes the student to complete and does it have value in highlighting key points of a particular learning module. Low stakes assessments can be powerful so defining what disposable means could be tricky work but important.

  2. Nov 2017
  3. Jan 2017
  4. Oct 2016
    1. It’s useful to keep in mind that massive student debt is only a recent development, arising since the 1980s, and 10 years ago, the idea of abolishing it or enacting free public higher education were considered pie-in-the-sky proposals. But they’re on the agenda now, and we have to keep working to accrue the data, build the narratives and devise policies that aim toward more equality.

      Takeaway? If so, to what end? DISCUSS.

    2. The cultural divide has two daunting consequences.

      EFFECTS. (1) media careers come from college degrees; (2) political interns/congressional staffers come from college degrees. Discuss the implications here.

    1. Few sequences in contemporary cin-ema evoke the sense of isolation we get from the sequence where a panicked Jessie refuses to go back into “stor-age,

      A scene evokes powerful emotional fears of isolation and perhaps a fear of the unknown.

    2. Pixar’s stories are original (not recycled or reworked fairy tales) and its technological innovations intro-duce fresh phenomenologies in viewers, pleasurably alienating viewers from the adult subject matter so frequently cen-tralized in the cinema
    3. Sharing with Toy Story the trope of mounting an overwhelming set of ethi-cal tragedies and concerns beneath the veneer of fun, kinetically-driven enter-tainment, the first several minutes of WALL-E underscore the literal massive-ness of Earth’s problems

      Pixar films often mask serious issues beneath their fun, family friendly exteriors.

    4. resonant with the his-tory of slavery. Jessie tries to convince Woody that he is “valuable property” (a virtue we don’t know quite how to take) and that although he will be sold away from his “owner,” this is a good thing because he will be sold as “a set” with herself, Bullseye, and Pete—mak-ing him part of a new family with which he was always destined to belong. There is much anxiety about being sold away from the “set”—and about being left be-hind. In the same sequence, Stinky Pete even asks Buzz if Andy “broke” him, a double entendre that takes on a disci-plinary resonance within the surround-ing discourse on ownership, auctioning and captivity.

      Author makes note of the underlying issue of historical slavery hidden in "Toy Story 2", and issues of being human property (objectification).

    5. If identification with the object is ex-hilarating, it is also, at moments, fright-ening. The Toy Story films and WALL-Ealso generate important, though embed-ded, insights on both human and inani-mate objectification

      The author makes a connection to the audience identifying with an object, with human objectification and the fears associated with that issue.

    6. These films transform the interstitial space between man and his graven objects (robots and toys) into a virtue, exploiting its uncan-niness to provoke a distant kind of fear while maintaining an innocent and un-censorable narrative.

      Thought provoking (and thought extending) closing.

    7. Thus, these Pixar features exploit the tendency of the ratings system to judge the “adult-ness” of a film based on its sex and vio-lence quotient alone. They remind us of something that the rating system appar-ently doesn’t know: that sexual titilla-tion and violence are not the only wages of adulthood. They are only manifesta-tions of far deeper crises and struggles. The films revive a broad cinematic discourse open to child and adult alike about the strange, imaginary life of ob-jects and the complexity of the project of material being

      Compelling closing argument.

    8. For the adult spectator, facing their own crises and resultant revisionings of the mean-ings of love, obsolescence, childhood, aging, and life, these films both avoid and, oddly, abstractly materialize the real life and existential questions that adult viewers face. As such they provide a unique set of spectatorial experiences that while not strictly pleasurable pro-vide the relative pleasure of distanced contemplation while still insisting on confrontation of the very adult stuff R-rated films exploit by visualizing with an overt, superficial, and sometimes overwhelming directness.

      Food for thought.

    9. The encouragement these toys offer each other to stop struggling and accept death undermines the hope-fulness of previous Toy Story texts, be-cause it reminds us that these toys will ultimately become maimed, broken, and tortured “junk.” It reminds us of the du-bious status of the object—and of the objectified—in a culture built around commodity fetishism. It encourages a kind of revisionist mental return to the previous texts, revising their innocent themes and visual pleasures against the weight of so dreadful a demise. What is more, it places spectators in the position of identifying with the toys in their help-lessness and in their reversion to junk

      Powerful--and thought provoking--final claims.

    10. to raise a perhaps even more unsettling set of questions about being, existence and materiality

      Potential for stakes and takeaway here.