Schedule | Spring 2012 
January |
| Homework | Topics | |
| WEEK 1 W 1/18 |
Introduce "New Media Writing" and "The Social-Creativity Project" * "New Media" * "Writing" * "Reading" Active Reading The first assignment: The Social-Creativity Project (due 2/14)  "In this sense, writing is the practice of putting one word after another for effect so that the choice of words, their order, their connotations and implications, their verbal rhythms and structures all convey meanings quite beyond the information they contain." |
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| F 1/20 | Printout, read, mark, and bring in Sven Birkerts, Introduction and Chapter 1: "MahVuhHuhPuh," both available as PDFs via the course Moodle site. Follow the "Forums" link in the menu above, and then open the PDF files under the section heading "Readings"). As you read these assignments, try practicing the techniques of Active Reading as you look for responses to the following questions. Be sure to mark your printouts to show where and how Birkerts speaks to these issues: 1. In what particular ways does Birkerts define writing and reading? 2. How do these styles of writing and reading represent not just literary practices but social and personal values and ways of living? 3. How does "New Media" threaten these ways of writing, reading, and living? Do not come to class without these printouts! You can printout a PDF with two pages per sheet if you wish. Note that the first paragraph of Chapter 1 is something of a false start: dense and vague. Don't let it put you off. Start with the second paragraph if necessary. |
Meet in EduE 20 Writing, Reading, Thinking, Living Discussion of Sven Birkerts and his relationships to the The Social-Creativity Project. |
| WEEK 2 M 1/23 |
Printout, read, mark, and bring in Janet Murray's Chapter 3, "From Additive to Expressive Forms" available as a PDF via the course Moodle site 1. Come in having memorized Murray's Four Principles of New Media, which you can remember by the acronym "PEPS." 2. Using the techniques of Active Reading, identify passages that you think might speak to some of the concerns and issues from Birkerts, either agreeing or disagreeing with him. |
Meet in EduE 20 Principles of New Media Discussion of Janet Murray's Four Principles of New Media (PEPS) and The Social-Creativity Project. Dialogue of Birkerts and Murray about Traditional and New Media. |
| W 1/25 | Read the beginning of McFarland's Chapter 1" Dreamweaver CS3 Guided Tour," pages 19-38. Mark passages and details you don't understand and would like to discuss. 2. On your USB drive, create the following set of nested folders: nmw www 4250 exercises social assets was assets |
Meet Back in MonH 209 Dreamweaver Introduction Missing CD Review The Social-Creativity Project (Implementation and Murray's Four Principles of New Media) Set Up for McFarland's Chapter 1 "Test Drive" Tutorial (pages 38 - 63, due next time) Together in class, we will create a web page. |
| F 1/27 | Complete McFarland's Chapter 1: Dreamweaver Test Drive tutorial, pages 38-63. You will need to complete this chapter sitting at a computer with Photoshop installed. See - Computer Labs ("Full Service" including Dreamweaver and Photoshop) - Computer Lab Schedules (UMD) - Abobe Dreamweaver Trial Version of CS5! (30 days only) |
Sites, Files, Folders, McFarland C1 Setting up and exporting/importing a "www" site, uploading files/folders using Dreamweaver, See the page "Setting up Your www Site" Post McFarland's Chapter 1 to the web and send a clickable URL to the Moodle forum "McFarland Chapter 1" Another example of a Social-Creativity Project: In Search of Oldton |
| WEEK 3 M 1/30 |
Read Chapters 2, 3 and 4 of McFarland, and complete the tutorial in Chapter 4 "Introducing Cascading Style Sheets" |
Cascading Style Sheet Introduction McFarland C4 Tutorial Not Objects, But Rules... Looking at one of the examples of Social-Creativity on the assignment page, how would you answer the questions on the Social-Creativity Project Prospectus Form for that example? You will answer these questions about your own project as homework for our next meeting. Resources: CSS Zen Garden as example of the procedural nature of New Media New York Times article about Twitter in the Primaries |
February
| Homework | Topics | |
| W 2/1 | 1. Read McFarland's Chapter 5 and complete the Links Tutorial at the end 2. By the beginning of class today, complete and submit a Social-Creativity Project Prospectus Form. |
Links Social-Creativity Prospectus (Chapter 5) Help Session "Creativity" Resource: Bill Keaggy's 50 Sad Chairs |
| F 2/3 | Read McFarland's Chapter 6, "Images," and complete the tutorial. |
Images, Layouts Help Session: (Chapter 6) Help Session Commeny: Contributions as Genres of Creativity emphasis on form, how it's done not reinventing social media: Flickr, YouTube, etc.); Importance of Titles. See the Social-Creativity Project. How To: Your own pages from DW's "CSS Layouts" (see McFarland 324). |
| WEEK 4 M 2/6 |
Read McFarland, Chapter 9 "Page Layout." and complete the tutorial "CSS Page Design" | Page Layout with CSS (C9) Photoshop (Banners) Comment: Prospectus Issues (People of Walmart) Help Session: McFarland Chapter 9 "Page Layout"  Exercise: Beginning Banner Techniques (Photoshop). - Save the working .psd file to your "webdesign" folder - Save the finished product (.jpg file) to a folder called "www/4230/exercises/banner" - send the URL to the Moodle forum "Banners" |
| W 2/8 | Work on your Social Creativity Project, and bring in one good question to ask or answer. | Photoshop (Banners Continued) Comment: Home Pages in New Media Home pages need to * immediately make clear what the project is * demonstrate what a contribution does * inspire potential contributors * make explict just how a contributor participates Comment: Creativity Resourses: Mario Manningham Super Bowl catch Form as World View (Mikhail Bahktin) Exercise: Complete "Beginnng" and " Intermediate Banner Technqiues" (URL to forum "Banners") |
| F 2/10 |
Work on your Social Creativity Project, bring in all materials | Techniques for Social Creativity Project Getting Ready: In Photoshop, open your banner techniques file "richlighthouse.psd." Co mment: The New-Media Idiom of Web Design and how it can serve the purposes of your home page. Resources: People of Walmart How to insert fake form fields (including Insert > Form > File Field). [Note: you are not expected to create working forms for this assignment. If you're interested, however, you can find steps for a working file field here.] Exercise:Complete "Beginnng" and " Intermediate Banner Technqiues." We will save the final .jpg file into the "images" folder inside of the "Chapter05" folder. Then in Dreamweaver, open up "confessions.html" from "Chapter05" and try replacing McFarland's banner with your own banner. You may need to adjust the page's width to match your banner's width. Upload the page, visit it with your browser, and copy the URL as a clickable link into a message in the forum "Banners" |
| WEEK 5 M 2/13 |
Bring in all materials to work on your Social Creativity Project in class. |
Studio Session |
| T 2/14 |
Before Tuesday at noon, post your Social Creativity project to the web at www/4250/social and send the URL to the forum "Social-Creativity Project URLs" |
Social-Creativity Site due |
| W 2/15 | We will meet in EduE 20 for the next few weeks. |
Manovich's "Vertov's Dataset," and "How New Media Became New" Turn in: Commentary Comment: How Manovich is looking both forwards and backwards. Comment: Manovich's work is to new media what the periodic table is to chemistry Discuss: Manovich's "How Media Became New" Discuss: Manovich's "Prologue" (database imagination) as a model of what we're doing for homework. |
| F 2/17 | Read: Manovich: Principles of New Media 27-48; "What New Media is Not" 49-61. Follow the procedures on "Active Reading." Write: Follow the same process we did in class by 1. choosing one of the pages from Manovich's "Prologue," 2. reading the context for the quotation in the body of the book, and 3. in a Moodle a Moodle forum "Manovich's Prologue," type in the quotation from the prologue (with the page number) and then a paragraph explaining you came to understand about the quotation--a key word, an argument, the significance or consequence, the reasons for the choices of pictures--by reading the quotation in context. Be sure to include the page numbers from both the prologue and from the body of the text. |
Manovich's "5 Principles of New Media" Comment: Why "New Media's Always Very Tricky." Discuss: 5 Principles Resources: - Dynamic Auto-Painter - Zen Garden: Home Page, HTML Page, CSS Page - Sistine Chapel |
| WEEK 6 M 2/20 |
1. Read: Manovich: The Operations, pages 117-145 (Selection and Compositing). Follow the procedures on "Active Reading" using the reading questions from "Guided Reading: Manovich's Chapter 3, Part 1" 2. Upload: A. Create an HTML version of your Social-Creativity Project Commentary using these online directions. B. Save the page as "commentary.html" in your "action" folder, and upload page to the web. C. Post the URL as a clickable link in a reply to your own message in the Moodle forum "Social Creativity Project URLs." |
Manovich's Selection and Compositing Resources: - Sistine Chapel - "Touched by His Noodly Appendage" - Stephen Colbert Christmas Card |
| W 2/26 | Manovich: The Operations continued, pages 145-175 (Selection, Compositing, and Teleaction) Follow the procedures on "Active Reading." Before 9 a.m., post a message to the Moodle forum,"Manovich C3.2 which includes": - a quotation from the readings highlighting an important idea concerning selection, compositing, and teleaction - visible image of a screen shot from an example of new media which serves as a visual illustration of that idea. - a URL to the original source of the image (if applicable) or a resource about the source. Be prepared to explain your visual example and its relevance to the quotation and the operation(s) of new media. |
Manovich: Selection, Compositing, and Teleaction Comment/Discussion: Teleaction Resource: from PBS' Frontline's Digital Nation: "War by Day; Home for Dinner" |
| F 2/24 | 1. Read Manovich: "The Forms," pages 213-243. 2. Come in with three quotations marked that help answer the question: What is the relationship of narrative and database in new media? What are the problems in this relationship? 3. On a piece of paper, represent each quotation with a brief verbal tag and a page number, and try mapping or charting the relationships of the three quotations to each other in whatever terms or scales seem appropriate. (Examples of such terms or scales: from simple to complex, from optimistic to critical, from past to present/future, from computer to culture, etc.) |
Database and Narrative Resources: Synchronic and Diachronic from PBS' Frontline's Digital Nation: "War by Day; Home for Dinner" "Man with a Movie Camera"(excerpts), full-length version at Google Videos. |
| WEEK 7 M 2/27 |
Read Manovich: "The Forms" continued, pages 244-285 On a separate piece of paper, map or chart six quotations each represented with a verbal tag and page number: the three you already chose for Friday, and then three more from our readings for today. As before, arrange them visually on the page to suggest their relationships according to terms or scales of your choosing. These do not need to be the same terms or scales you used for last Friday's assignment. |
Navigable Space How does Navigable Space combine or reconcile the cultural logics of database and narrative? Resources Synchronic and Diachronic Myst Speed Run |
| W 2/29 | Tom Bissell's Extra Lives, pages xi-xiv, 1-65 Pay attention to two aspects and be prepared to discuss them with two specific quotations/page numbers: 1. While Manovich takes a distanced, scholarly persepctive on new media, Bissell reports from inside the individual experience of new media. What connections can we make between what Bissell describes and thinks about, and what Manovich analyzes? 2. Bissell is, by profession, a writer--a writer who is immersed in digital video games. What signs of tension, contradiction, or conflict do you see between Bissell's analogue, print self and his digital, "database" self? |
Why Video Games Matter Resources: a "Critical Memoir" Lester Bang's article "A Program of Mass Liberation in the Form of a Stooges Review. Or Who's the Fool? Fallout 3 (Trailer) Fallout 3 (game play) |
| Homework | Topics | |
| F 3/2 | (see homework from the snow-day on Wednesday) | Why Video Games Matter Resources: a "Critical Memoir" Lester Bang's article "A Program of Mass Liberation in the Form of a Stooges Review. Or Who's the Fool? Fallout 3 (Trailer) Fallout 3 (game play) |
| WEEK 8 M 3/5 |
Read Extra Lives, page 66-127. Come in with two quotations identified that help to characterize Bissel's response to/definition of each of the following themes: innocence, game play, stupidity/intelligence, manipulation/surrender, framed narrative/ludonarrative. |
Engineering, Business, Art Resources: Fallout 3 (Trailer)Fallout 3 (game play) Red Dead Redemption Walkthrough |
| W 3/7 | Read Extra Lives, page 128-183 Choose three quotations from different parts of Bissell's book that compose one ongoing theme, concern, or problem about video games. On YouTube, look up a video review, trailer, etc. of a video game (mentioned by Bissell or not) that illustrates or exemplifies this theme or concern. Before 8 a.m. of our next class day, post a message to the Moodle forum, "Bissell," with the URL of that video along with a paragraph that uses (selectively) quotations from the three passages, cited with page numbers. This paragraph should explain how you see Bissell developing this idea in the book and how the video you've selected illustrates it. |
Dynamical Meaning Ludonarratve Dissonance Resources: See the video review of Grand Theft Auto IV "Man with a Movie Camera"(excerpts), full-length version at Google Videos. |
| F 3/9 | Download, printout, and read Alan Liu's The Laws of Cool (Introduction and Chapter 9), available as a PDFs from the Moodle forums under "Readings." Reading preparation: Copy the following five questions into a Word file and record page numbers and verbal tags for at least three quotations from Liu which help answer them. Print the document out and bring to class (handwritten answers okay if you prefer). 1. If "literature" is a stand-in for writing, what are the challenges fraced by writing in the age of "postindustrial knowledge work"? 2. What characterizes "postindustrial" society and why has it formed? 3. What characterizes "knowledge work" and "knowledge workers"? 4. What is "cool" (the "ethos of cool")? 5. What is "slack"? |
Alan Liu's The Laws of Cool Resource: Big Fat University (You Suck at Photoshop) |
M 3/12 |
SPRING BREAK | |
| W 3/14 | SPRING BREAK | |
| F 3/16 | SPRING BREAK | |
| WEEK 9 M 3/19 |
1. Download, print, and read "The Poetics of Augmented Space" (Manovich). Pages 1-15. The PDF is available from the course Moodle site under "Readings." |
Meet in EduE 20: Augmented Reality Complete: discussion of Liu, You Suck at Photoshop Resources Walk with Us (Cardiff/Burnes), Cardiff/Bures Miller Walks Introducing Layar, Discover Your City (Layar), Layar Prom (Impactful Augmented Reality) Tales of Things (Oxfam Charity Shop Project, Annie Lennox Dress Iowa 80 Walcott Tour (non-augmented space) Return Social-Creativity Projects (at the end) |
| W 3/21 | Bring all books and materials (except McFarland) | Review for Exam (EduE 20) Priorities in Exam 1. Transformative definitions 2. Who says what: sources, ultimate sources 3. Key ideas to explaining the relationships of literacy, technology, and society, and their consequences 4. Debates, Dialogues, Differences: this vs. that, this before that, this lead to that; 5. The Story of ideas over time Intellectual Postcards (visual): 1. Work (source) 2. Term or Phrase Defined 3. Relation to other terms and ideas 4. Specific or concrete example Before the end of the day, post your postcard description (with page numbers) to the forum "Midterm Exam Postcards." At the bottom of the message, be sure to identify everyone in your group. Resource Sample Exam Format |
| F 3/23 | Bring a blue or black pen you trust. | Midterm Exam (EduE 20) |
| WEEK 10 M 3/26 |
Bring Manovich's "Poetics of Augmented Space Read over the assignment for the project Writing in Augmented Space " Write a review of one of Janet Cardif's audio walks in the forum "Cardiff Reviews." Choose one of the walks at Cardiff/Bures Miller Walks, read the text, look at the slideshow, and listen to the audio excerpt. Include a clickable link to the walk in your posting.Answer the following questions: 1. What is the location and intended effect of the walk (as best you can tell from the description, the audio excerpt, and dialogue included, etc.) 2. How does the walk exploit differences between the location as the audience finds it, and the place as created by the audio/video. (This gap is the same as the discrepancy created by the video telescope in Cardiff and Miller's introductory video.) 3. What are some techniques that we might learn from this walk for creating effects in our own WAS Projects? 4. Include a clickable URL to the page of the walk. |
(Meet in MonH 209 Introduce next Project: Writing in Augmented Space Receive the handout "Juggling" Discuss Cardiff audio walk reviews Resources: Fortworthology (Epsiode 56: Google Street View Tour of Paris) Iowa 80 Walcott Tour Kroll and John Mulaney - Walking Tour of NYC, Cardiff/Bures Miller Walks |
| W 3/28 | Read the handout "Juggling" and try writing a paragraph that practices this technique. Post these experiments in the Moodle forum "Here Now/Not Here Now." Be ready to discuss: How do Cardiff's techniques for what Stern calls "sliding" from the Here/Now to the Not Here/Now differ from Stern's? |
Juggling: Here/Now vs. Not Here/Not Now Questions about the Writing in Augmented Space Project? Discuss "Juggling" (handout), from Jerome Stern's Making Shapely Fiction Discuss: Public and Personal Writing Resource: "Rental Property" |
| F 3/30 | Reread "Juggling" and make notes on the handout about how juggling differs in the WAS assignment (location-based writing rather than paper-based writing, etc.). Read the short newspaper-coumn piece "It's My Hometown." Then look at the Windover location via the Google Street View on the assignment page. Try rewriting a brief passage of that article that juggles between "here/now" and "not here/now" in a style that is more suited to the WAS project. Post your brief writing in the Moodle forum "Here Now/Not Here Now" as a reply to your own previous message. |
Interweaving and Interactive Maps/Street Views Exercise: Imperative Voice, Second Person, Tense, Exercise: Interactive Google Maps/Street Views in your own web page. We will complete this exercise in a new folder, "www/4250/exercises/here_now" Resource: The Oxford Poetry Walks |
April
| Homework | Topics | |
| WEEK 11 M 4/2 |
For the view or map that you inserted into your exercise page from class, write a piece of audio script that juggles from some visible detail in the here and now to a topic or line of thought from the "not here and now" Post a clickable URL to the page in the forum "Google Street View Here/Now and Not" |
Writing for Augmented Space, Editing Sounds with Audacity Comment: "Social-Media Blasphemy" "Chasing the Ghosts of Poet's Past" (NYT) Exercise: I will give you a copy of the handout "Audacity for Sound Recording and Editing" Exercise: Also the handout "Embedding Sound Files in a Web Page" Resources: Crickets (sound file also available in Moodle "Resources") Freesound.org Media College Free Sound Effects Free SFX (hit the "Music" tab for royalty-free music) GR Sites Sound Effects Audacity Manual and Tutorials |
| W 4/4 | Come in with a prospectus of your WAS project which answers the following quesitons. Please write your responses in a digital format which you save locally, and then copy and paste into this Prospectus Form: 1. a title 2. a brief description of the place as well as a list of any possible locations, views, or gazes within that place. 3. a brief explanation of why this place might be significant or representative. 4. a list of "not here/now" topics: flashbacks, ideas, facts, images, etc. that might compose elements of the augmented-space layer 5. a description of the old-media genre that you're emulating: poem, memoir, fiction, feature article, argumentative analysis (as in Kunstler's analytical argument for "New Urbanism" via a Paris Street View Tour). If you have a particular example in mind, describe it as weil: a specific Stephen King short story, a particular New York Times article, n specific Daily Show segment, etc. 6. a sentence speculating on the project's primary meaning or effect as best you understand it now. 7. A short paragraph distinguishing the personal significance of the project from the possible public meanings 8. a sample paragraph of script which uses "juggling" to interweave the here/now and not here/now |
Format of the Project Comment: form of the WAS Project Exercises (all using the page from the exercise saved in "www/4250/exercises/here_now": Complete Embedding Sounds in a Web Page Invisible Tables Download Cell Phone Image Image Maps Resources Sample home page of a WAS Project Sample inner page of a WAS Project |
| F 4/6 | Investigating your genre: Find two examples of the genre of writing which is the model for your WAS Project. Bring these texts to class either in physical form, in a digital file, or as a URL. The more similarity of subject matter between these examples and your WAS Project idea, the better. Before class, write answers to the following quesitons about the most relevant one of your examples: 1. How and why is that piece of writing meaningful to an audience (rather than just to the writer)? 2. Who is the audience? What are their expectations for this kind of writing? 3. What is this piece of writing "about." (That is, what is it ultimately concerned with--what does it lead us to think more about or feel more deeply?) 4. In what ways does the meaning and effect of the work come from how its written, rather than what it's about? 5. Find a helpful review or commentary (more if they're short) on that work online and bring in the URL. Write a short paragraph on what reading this review makes you realize about the particular work and the genre that you're translating for augmented space. Example: Mary Karr's Liar's Club for memoir. |
Writing in Augmented Space: Genres Discuss your writings on genre Exercise: Image Maps Resources Invisible Layout Tables Cell Phone Image Hope is a Thing with Feathers Space |
| WEEK 12 M 4/9 |
Write at least a third of your script, using the Juggling technique to juxtapose the "Here Now / Not Here Now" material. Remember that you are writing to someone walking or driving in the actual place, not someone looking at a computer screen. Revise and resend your prospectus for today in light of your realizations about genre and your work on the script. |
"Technique as Discovery" Comment: Zombie, Run! Discussion: What did you realize from writing the parts of your script? Writing: Finding your voice (Passing Stranger example) Exercises: - Image Maps A clickable URL to this exercise should be sent to the forum "Image Maps." - Cell Phone Image (Ginsberg)- Invisible Layout Table |
| W 4/11 | Work on your WAS project and bring in three quesitons to ask or problems to solve. Post them in a reply to the Moodle forum, "Writing in Augmented Space: Questions and Problems" by 8 a.m. today. |
Image Maps Complete Image Maps tutorial Editing and Resizing cell phone, picture of one of the poets: Alan Ginsberg Tables tutorial to put it together |
| F 4/13 | A. Work on your WAS Project. B. Download the MP3 and listen to at least 20 minutes of Passing Stranger: The East Village Poetry Walk (MP3 available via a link in the first paragraph). Note that the download may take a minute or two to start. In a reply to the Moodle forum, "Passing Stranger," 1. Note the time ranges (minutes and seconds) of the portions you listened to. It would be helpful if some of you didn't start at the beginning. You can also try skipping around among two or three portions. 2. type in the time increment/range for three instances where you notice a technique or effect that could be useful in our own projects. 3. For each of those instances, try to give the technique or effect a name. If you can use a term from class (e.g., "juggling," "voice"), do so, but you can also make up your own name for the technique or effect. If you simply like something, try to figure out what you're responding to and boil it down to a generalizable, replicable technique or effect 4. For one of those instances, write a paragraph of commentary on that technique or effect, explaining what we should learn from it and how we might imitate it with different material. How is this local, momentary technique/effect a universally applicable trick of the WAS trade? |
Writing in Augmented Space: Questions and Problems Visiting Day exercise |
| WEEK 13 M 4/16 |
Work on your WAS Project | Passing Stranger: WAS Techniques, and Effects; Purpose and Meaning Discussion: Techniques and Effects from "Passing Stranger" Resources: Kinneavy's Four Aims of Discourse Excerpt from Salman Rushdie's "Out of Kansas" (The Wizard of Oz) Exercise: Editing and Resizing cell phone using a picture of one of the poets from the tour: Alan Ginsberg Rubric for the WAS Project: |
| W 4/18 | 1. For each of the four discursive aims discussed last time (see Kinneavy's Four Aims of Discourse) try writing a sentence summarizing the purpose and meaning of your project. In other words, if your project were intended to fulfill each of the four aims, what would your project be saying and doing? 2. Work on your WAS Projects |
Aims of WAS Projects Comment: Sample location from WAS Project Discussion: Discursive Aims Writing and Discussion: Dialogical Meaning Resources: Fauley Park Cloquet, MN (sample location of project) |
| F 4/20 | Turn in a printed copy of your script, double-spaced. Divide the script by location, view, or gaze, with each section clearly labeled to associate it with a particular online image, map, or view. The script should include explicit instructions for where to look and and how to move within the scene (street addresses, North/South, relative to landmarks, etc.) Indicate sound effects that are important to the meaning. |
Studio Session: Writing in Augmented Space Projects I will give you a copy of the WAS Criteria Checklist The online aspects of the WAS Project will be due by Monday at 9:30 a.m. |
| WEEK 14 M 4/23 |
By 9:30 a.m., send a clickalbe URL to home page of WAS Project to the forum "WAS URLs" |
Introduce the "Essay+" Assignment
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| W 4/25 | 1. The Commentary on the WAS project is due at the beginning of class. 2. Read the first five pages of "Solving the Crime of Modernity: Nancy Drew in 1930" |
New Media Translations; Critical Ideas: The Case of Nancy Drew Collect: WAS Project Commentaries Comment and Examples: homework for next time (exampes: "Migrant Mother," "The Fog of War") Define and Disucss: "New-Media Version, Old-Media Version." How do we tell the difference between a "new-media version" and an "old-media remake"? (Would a DVD version of Season 1 of 30 Rock be "new media"?) Discuss: Critical Ideas in an Essay+ Analysis (Nancy Drew). We'll take screen shots if there's time.... Resources: Solving the Crime of Modernity: Nancy Drew in 1930 Nancy Drew: The Mystery of Pirate's Cove (Part 4/5) Nancy Drew Game: Ransom of the Seven Ships Databases at the UMD Library
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| F 4/27 | Come in with: 1. A URL and commentary posted to the Moodle forum, "Non-FIction Trailers." See details below:From YouTube or some other online source, find a trailer or promo for a non-fiction TV show, a documentary movie, etc. Beneath the URL posted in the forum, write a short paragraph analyzing a. the trailer's basic argument about why we should watch the show or movie being promoted. b. What claim the traioer makes about its subject matter or the way the show or movie explores it c. How does the trailer elaborates, breaks down, or dramatizes this argument 2. three questions about the "Essay+" Assignment:
3. three possible topics:
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Particular Aspects, Critical Ideas: The Case of Nancy Drew Comment: Oxford Playhouse's The Story of the Four Minutes Mile Resources: Nancy Drew: The Mystery of Pirate's Cove (Part 4/5) Nancy Drew Game: Ransom of the Seven Ships Critical Ideas in Nancy Drew |
| WEEK 15 M 4/30 |
Work on your Essay+ Project (Writing) | iPhoto Slideshows with Audio; Non-Fiction Trailers I will give you a copy of the handout for this exercise. Download these images to a folder called "iphoto" in your "nmw" folder (or use screen shots from previous in-class activity). Copy the final .mov file into a new folder "www/4250/exercises/slideshow". Post that folder to the web, and send a clickable URL to the forum "Slideshows" |
| Homework | Topics | |
| W 5/2 | Work on your Essay+, and bring related materials to class. |
iPhoto Slideshow Videos (Completed) Course Evaluations Complete: iPhoto Slideshow Videos Discuss: Non-Fiction Trailer Schemes Resources:
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| F 5/4 | Bring all materials to work on your Essay+ Project in class | Last Day of Class Studio Day: Essay+ 1. Course Evaluations 2. Permission to Display your Projects in Future Classes Please complete the brief Permission Form. Students who agree to permit display of their projects in future classes become collaborative partners in the development of the course, the program, and UMD generally. Consider providing permission--with any restrictions you'd like to include--for future students to benefit from your work this semester. I will be emailing you a response to the Writing in Augmented Space Project |
| FINALS WEEK |
"Essay+" Assignment due by Thursday, May 10 at 8:00 a.m.: 1. hard copyof the essay turned in to my mailbox in Humanities 420 2. clickable URL to your promo (movie) file posted in a message to the forum "Essay+ Movies." (Be certain that the .mov or .mp4 file plays). |
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