Podcasts about critical writing

Caleb Nichols is a poet and singer/songwriter from San Luis Obispo, CA. He has written, toured and recorded with Churches, Port O'Brian and many solo endeavors. Caleb is a PhD candidate in Creative and Critical Writing at Bangor University in Wales where he's writing about queer ecopoetics in contemporary poetry, films, and media. His poetry and prose have been published worldwide. His newest record Lets Looks Back, is out on October 13th via Kill Rock Stars. In this episode Caleb tell us why he stopped playing music for nearly eight years, what took its place and why a special opportunity lured him back in. He shares his writing process for Let's Look Back and why and a team effort turned him into a fan of his own record. Caleb and Joe bust out a few shared tour stories, they coin the term "dog poverty" and we hear how Caleb balances, separates and combines his two practices, poetry and music. We get an update on the UK DIY touring scene and we hear a couple tunes from Lets Look Back. Caleb Nichols Kill Rock Stars Episode supported by Distrokid Episode supported by Izotope

Welcome to The House of Mario! The South Australian Nintendo podcast that is backed by a 120 Power Star Rating!Good friend of The House of Mario, Paul James, joins me (Drew) to discuss writing about video games and to have an overdue catch up!The doors are open!SUPPORT PAUL'S WORKLinktree

In today's show, we'll discuss a few of our favorite writing tools that can help new and experienced writers. Touring The World Resource Guides Check out our country resource guides to help you with your around the world journey: https://gumroad.com/homeschooltogether Consider Leaving Us A Review If you have a quick moment please consider leaving a review on iTunes - https://podcasts.apple.com/us/podcast/homeschool-together-podcast/id1526685583 Show Notes Microsoft Word - https://www.office.com/ Google Docs - https://docs.google.com/ Reedsy Editor - https://reedsy.com/write-a-book Scrivener - https://www.literatureandlatte.com/ Grammarly - https://www.grammarly.com/ Pro Writing Aid - https://prowritingaid.com/ Hemingway App - https://hemingwayapp.com/ Writers Inc - https://amzn.to/3OE2kMJ Connect with us Website: http://www.homeschool-together.com/ Store: https://gumroad.com/homeschooltogether Youtube: https://www.youtube.com/c/homeschooltogether Facebook: www.facebook.com/groups/homeschooltogetherpodcast/ Instagram: www.instagram.com/homeschooltogetherpodcast Twitter: https://twitter.com/hs_together The Gameschool Co-Op: https://www.facebook.com/groups/gameschoolcoop/ Email: homeschooltogetherpodcast@gmail.com

An instant bestseller in 1774, The Sorrows of Young Werther was carried by Napoleon on his campaign in Egypt, it led to spin offs in fashion, porcelain and perfume and created Werther fever. A work of his Sturm und Drang years, Goethe's epistolary novel was published anonymously when he was aged 24. The story captures the intensity of unrequited love, frustrated ambition and mental suffering. It is also a novel that keys into the big philosophical arguments of its age and has given rise to a wide range of artistic responses in the two centuries since. With the Royal Opera House staging Massenet's operatic adaptation of the story, Anne McElvoy explores the ideas that fed into it. Professor Sarah Hibberd is Stanley Hugh Badock Chair of Music at the University of Bristol. Her research focuses on nineteenth century opera and music theatre in Paris and London. Dr Sean Williams is a BBC Radio 3 AHRC New Generation Thinker and Senior Lecturer in German and European Cultural History in the School of Languages and Cultures at the University of Sheffield and is a BBC Radio 3 AHRC New Generation Thinker. Dr Andrew Cooper is Assistant Professor of Philosophy at the University of Warwick and is a BBC Radio 3 AHRC New Generation Thinker. Dr Sabina Dosani is a doctoral researcher in Creative and Critical Writing at the University of East Anglia. She is a consultant psychiatrist and a BBC Radio 3 AHRC New Generation Thinker. Producer: Ruth Watts Werther: Antonio Pappano conducts Massenet's opera with a cast including Jonas Kaufmann and Aigul Akhmetshina. Performances at the Royal Opera House are from June 20th - July 4th You can find other discussions about artworks, literature, film and TV which are Landmarks of culture gathered into a collection on the Free Thinking programme website. They include episodes about Gunter Grass, ETA Hoffmann, Hannah Arendt, and Thomas Mann https://www.bbc.co.uk/programmes/p01jwn44

We interview Caleb Nichols about his experience growing up with many adverse childhood experiences (ACEs) and how he has turned those experiences into art through his writing and music.Caleb Nichols is a queer poet and musician from California. His chapbook of poems "TEEMS///RECEDES" was called "a gorgeous abundance" by Chen Chen, and his music has been featured and shared by places like Paste and Out Magazine. Caleb is a PhD candidate in Creative and Critical Writing at Bangor University in Wales where he's writing about queer ecopoetics in contemporary poetry, films, and media. Follow us on Instagram.Check out our bonus YouTube content.Latchkey Urchins & Friends website.Audio mastering by Josh Collins.Song "One Cloud is Lonely" by Próxima Parada.Cover art by Claire Dierksen.

Lieutenant Colonel Phil Halton is a Canadian Armed Forces veteran who has served in Bosnia, Ethiopia, Denmark, Norway and Spain. He holds an honours degree in military and strategic studies from the College Militaire Royal de St-Jean; a Masters degree in Defence Studies from the Royal Military College and a Master of Arts in Creative and Critical Writing from the University of Gloucestershire.  He has worked as a contract writer, screenwriter, novelist and has authored several books including “This Shall Be a House of Peace,” published in 2019, “Every Arm Outstretched,” published in 2020 and his first non-fiction work, “Blood Washing Blood: Afghanistan's Hundred Year War” published to critical acclaim in 2021. He was the co-founding editor of Blood & Bourbon, a Toronto-based literary journal, and is the founding publisher of Double Dagger Books, Canada's only military and security-focused publisher.On this episode, Phil joins us to discuss Canada's longest war, including what we missed and why we failed, and his journey from armour, to author and artist.    Thank you for listening! For more Team Ten Eight content, follow us on Facebook, Twitter, Instagram and LinkedIn!

Adrian Martin was film reviewer for The Age between 1995 and 2006. For his numerous books, essays and public lectures he has won the Byron Kennedy Award (Australian Film Institute) and the Pascall Prize for Critical Writing, and his PhD on film style won the Mollie Holman Award. He is the author of ten books and hundreds of essays on film, art, television, literature, music, popular and avant-garde culture. His site can be reached here. Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

Mark E. Leib is, among other things, a playwright that has been producing plays that have been on stages throughout the nation since the 1980. Leib's plays and adaptations have been produced at the Players Theatre in Greenwich Village (Art People), the Manhattan Punch Line (Terry by Terry), the American Repertory Theatre (Terry by Terry and adaptations of The Marriage of Figaro, and Platonov) and at the Edinburgh and Singapore Theatre Festivals. His play The Return to Zion was chosen for a staged reading at the Southern New Plays Festival at New Orleans' Southern Rep, and his play Tongue was a winner in the short play festival at Florida Studio Theatre. Leib was the first playwriting lecturer at the Institute for Advanced Theatre Study at Harvard University, and taught playwriting and various drama survey courses for Harvard Extension School from 1981-1990. He received his BA in Government magna cum laude from Harvard College, where he was president and poetry editor of the literary magazine The Harvard Advocate, and his MFA in Playwriting from the Yale School of Drama, where he won the CBS Foundation Prize in Playwriting. He now teaches playwriting, screenwriting, and fiction at the University of South Florida. Mark also worked as a theater critic for Creative Loafing in Tampa Bay and Sarasota for more than a decade beginning in 1998. His criticism won six awards from the Society of Professional Journalists, including two first-place statewide Sunshine State Awards for Critical Writing. This year Mark has a new play and a novel both coming out. Jon and Mark discuss both the play and the novel, among so many other fascinating topics in this conversation. Please enjoy! --- Send in a voice message: https://anchor.fm/theworkethic/message Support this podcast: https://anchor.fm/theworkethic/support

**Who You will Hear**Guest: Esther Allen (Writer, translator. Professor at City University of New York)Co-host: Luna Tang (Cloud Service Delivery Manager at Klopotek)Co-host: Dwayne Parris (Senior Consultant at Klopotek) Translation has long been an indispensable part of the world of publishing and literature.In this episode, we are joined by Esther Allen, writer, translator, and a professor at City University of New York.The conversation begins with Esther recounting how she crossed her line with Spanish and French in her early childhood and youthful years. She then explains to us, from the perspective of a literary scholar, the linguistic landscape in the context of globalization, the dynamics of English and other dominant languages, and the importance of language legacy and linguistic diversity. Many interesting topics are sprinkled throughout: the difficulty of transplanting humor to another language, the “terminal speakers” of an endangered language, how a language becomes an “invasive species,” and why and how to attribute value to a language we don't speak, etc. For more information about Esther and her translation work, please visit her website. If you'd like to go further into the world of translation, check out the 24 programs available through the online conference Translating the Future, which Esther co-curated with Allison Markin Powell at the Center for the Humanities at the City University of New York Graduate Center. And to enjoy a cornucopia of translated writing from across the globe, you're warmly invited to visit Words Without Borders.Tell us what is going on with your publishing projects or business on Twitter (@Klopotek_AG), LinkedIn, or email us at podcast@klopotek.com.  For more information about the Klopotek software solution, please write to info@klopotek.com, or register to receive emails from us on technology innovations & events from Klopotek.* The views, information, or opinions expressed in the program are solely those of the individuals involved and do not necessarily represent those of Klopotek and its employees. It is the goal of Klopotek Publishing Radio to support cultural diversity, the exchange of opinions, and to create an environment where the conversation of a global publishing industry can thrive.

Claire Fuller is the author of four novels: her latest, Unsettled Ground, winner of the Costa Novel Award 2021, and shortlisted for the Women's Prize for Fiction; Our Endless Numbered Days, which won the 2015 Desmond Elliott prize; Swimming Lessons, shortlisted for the Encore Prize; and Bitter Orange longlisted for the International Dublin Literary Award. She was a sculptor and director of a marketing agency, before writing fiction at the age of 40. She has a Masters (distinction) in Creative and Critical Writing from The University of Winchester. She lives in Winchester, England with her husband and a cat called Alan, and she has two grown-up children.Books chosen by Claire:Stig of the Dump by Clive KingFluke by James Herbert We Have Always Lived in the Castle by Shirley JacksonThe Road by Cormac McCarthyThe Iceberg by Marion CouttsOther books discussed:Where the Crawdads Sing by Delia OwensKlara and the Sun by Kazuo IshiguroOther podcast mentioned:Between Lewis and Lovecraft (looks at authors' lives)You can buy books mentioned in this episode on our Bookshop.org Affiliate page. (UK Only). By purchasing here, you support both small bookshops AND our podcast. Twitter: @twolitchicksInstagram: @two_lit_chicksTikTok: @two_lit_chicksEmail: hello@twolitchicks.orgWe love our listeners, and we want to hear from you. Please leave a review on one of our podcast platforms and chat with us on social media.If you do one thing today, sign up to our newsletter so we can keep you updated with all our news.Thank you so much for listening. Listeners, we love you. Two Lit Chicks Podcast is recorded and produced by Your Voice Here.Support the show

Welcome to The Philosophy of Sex. Today we're talking about consent. The idea of affirmative consent first attracted attention in the early 1990s. Since then, consent laws have been passed in a number of countries. Alongside legislation, women are often told to know what they want and know how to communicate this to their partners. While women asserting their pleasure sounds positive, it assumes communication guarantees safety and that a satisfying experience will follow. But might the pressure to give a fully formed and enthusiastic ‘yes', be at odds with the ability to take risks and explore sexually? If we look at the dominant culture around sex, in recent years, two requirements have emerged for good sex: consent and self-knowledge. This seems like progress. It takes women at their word and defuses the potential for sexual violence. But does conceit of absolute clarity place the burden of good sexual interaction on women's behaviour?In this episode, Caroline speaks with Katherine Angel to unpack the shortcomings of affirmative consent, Katherine is a writer and academic. She directs the MA in Creative and Critical Writing at Birkbeck University of London, where she teaches fiction, non-fiction, and critical work relating to sexuality, feminism, gender, and psychoanalysis. Katherine has a PhD in the history of psychiatry and sexuality from the University of Cambridge. She's held multiple fellowships at academic institutions in Europe, the US and the UK, including Harvard and the University of London's Centre for the History of Emotions. Her research into 'female sexual dysfunction', American psychiatry, sexology, and feminism has been published in journals including the History of the Human Sciences, Studies in Gender and Sexuality and Current Opinion in Psychiatry. From ‘No means No' to #MeToo, Katherine shares her thoughts on consent and the complexities of female desire. A heads up that sexual violence, rape and assault are discussed during the episode, but no specific details are included. Resources:Check out Katherine's work here.Connect with us:@becuming.meBecuming takes the frustration out of finding the perfect sex toy by sending you personalised recommendations. Check it out at www.becuming.me. Hosted on Acast. See acast.com/privacy for more information.

In this shortie episode, I am talking about the main differences between descriptive and critical or analytical writing. I give prompts, which will help you realise where you need to improve your writing and also or most importantly, I share a step-by-step process for structuring a strong paragraph, including a critical analysis of external sources.

Debra Herrick, co-founder and editor-in-chief of Lum Art Magazine; artist Nathan Hayden; and  James Glisson, Curator of Contemporary Art at Santa Barbara Museum of Art discuss critical writing about art. The post Critical Writing About Art appeared first on Elizabeth Appraisals.

In this episode, Hannah is joined by Katherine Angel, who is the author of Tomorrow Sex Will Be Good Again: Women and Desire in the Age of Consent. Katherine discusses consent culture and the pressure we put on women to know what we want sexually as a way of protecting us from sexual violence. She and Hannah talk about why bad sex happens and quickly dip into their thoughts on pickup artists. Finally, Hannah and Katherine discuss the social and political landscape of sex and the big V word: vulnerability.CW: Sexual assault, sexual violence, and a short discussion about the murder of Sarah Everard✨MORE ABOUT KATHERINE ANGEL✨Katherine Angel is the author of Tomorrow Sex Will Be Good Again, Daddy Issues, and Unmastered: A Book on Desire, Most Difficult to Tell. She directs the MA in Creative and Critical Writing at Birkbeck, University of London, and her writing has appeared in the Guardian, Granta, The White Review, and Los Angeles Review of Books amongst other places.- Twitter: https://twitter.com/KayEngels/- Tomorrow Sex Will Be Good Again: Women and Desire in the Age of Consent*: https://uk.bookshop.org/a/689/9781788739160 (aff link)

Gabriele Sassone"Uccidi l'unicorno"Epoca del lavoro culturale interioreIl Saggiatorehttps://www.ilsaggiatore.com/Un insegnante d'arte quasi quarantenne riceve una telefonata a tarda sera: l'ospite d'onore del convegno che ha organizzato il suo istituto ha perso il volo, e toccherà a lui sostituirlo la mattina dopo. Gli si spalanca un abisso di panico: come spiegare di fronte a tanti studiosi che cosa differenzia l'artista da una persona comune nell'epoca dei social media? E con così poco margine per preparare l'intervento? L'unica via è intraprendere un viaggio interiore attraverso le immagini, quelle private e quelle del contemporaneo, dalle sue stesse fotografie alle opere che ha più studiato e amato, da Van Gogh a Pollock, da Duchamp a Beuys, dalle pitture delle grotte di Lascaux alle illustrazioni dei libri di Jules Verne. Un percorso esistenziale che si trasforma in una riflessione sui lati oscuri del sistema dell'arte e del lavoro culturale.Romanzo di formazione, saggio sull'industria della cultura, meditazione estetica, memoir: con Uccidi l'unicorno Gabriele Sassone ci offre un travolgente esordio narrativo. Un racconto in prima persona sul potere delle immagini e sulla macchina infernale che le produce.Gabriele Sassone (1983) insegna Critical Writing alla Naba – Nuova Accademia di Belle Arti. Collabora con diverse riviste, tra cui Mousse Magazine, Camera Austria e Flash Art.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Let's face it, not every University program applies written assignments to the same degree...until the final thesis. One challenge students face is that their writing skills remain underdeveloped as they approach their final thesis, and even Ph.Ds can enter their program with limited experience with academic and scientific writing. Some programs do not require much, or any writing, leaving students to 'fend for themselves' by the time their thesis deadline approaches. On the other side, being a Professor isn't easy either. Developing writing skills takes time and effort, and Professors might be pressed for time, uncertain about how to improve student writing skills, or might simply think that it is the students' responsibility to learn how to write. At the NMBU Writing Centre, we are working to creating Writing Enriched Curriculum (WEC), to improve teaching and student development. This podcast explores some of the challenges student writing development faces, some of the disconnects between teaching methods and learning objectives, and simple tools and approaches that University Departments can apply to integrate WEC for student writing improvement. Resources Eveline Bailey's Levels of Critical Writing: https://embteach.com/2016/04/13/blooms-taxonomy-and-levels-of-critical-writing/ Want to learn more about WEC? https://wac.umn.edu/wec-program/wec-model

About Katherine Angel: Katherine Angel is the author of Unmastered, Most Difficult to Tell and Daddy Issues. She directs the MA in Creative and Critical Writing at Birkbeck, University of London, and has a PhD from the University of Cambridge. About Sex Will be Good Again Tomorrow: Women are in a bind. In the name of consent and empowerment, they must proclaim their desires clearly and confidently. Yet sex researchers suggest that women's desire is often slow to emerge. And men are keen to insist that they know what women—and their bodies—want. Meanwhile, sexual violence abounds. How can women, in this environment, possibly know what they want? And why do we expect them to? In this elegant, searching book—spanning science and popular culture; pornography and literature; debates on Me-Too, consent and feminism—Katherine Angel challenges our assumptions about women's desire. Why, she asks, should they be expected to know their desires? And how do we take sexual violence seriously, when not knowing what we want is key to both eroticism and personhood? In today's crucial moment of renewed attention to violence and power, Angel urges that we remake our thinking about sex, pleasure, and autonomy without any illusions about perfect self-knowledge. Only then will we fulfil Michel Foucault's teasing promise, in 1976, that “tomorrow sex will be good again.”

Welcome to episode 219 of the Sexology Podcast! Today I'm delighted to welcome Katherine Angel to the podcast. In this episode Katherine talks about her new book, Tomorrow Sex Will Be Good Again, what the inspiration was behind the book, looking at issues of consent and how you can empower your desires.     Katherine Angel is the author of Tomorrow Sex Will Be Good Again (Verso), Daddy Issues (Peninsula Press, Verso), and Unmastered: A Book on Desire: Most Difficult to Tell (Penguin, FSG). She runs the MA in Creative and Critical Writing at Birkbeck College, University of London, and has a PhD from Cambridge University.    In this episode, you will hear:     How Katherine began working on her new book   What is the most idealistic way to approach consent?  The lack of representation of consent within sex education   Why many women aren’t full connected with their sexual selves  Looking at why women are frightened to talk about sexual pleasure   How do different cultures around the world play into these issues?  Cultivating your sexuality and vulnerability   Overcoming sexual shame   How you can empower your desires        OMGyes   Thank you to our sponsor OMGyes! OMGyes.com is a website devoted to sexual pleasure for people with vulvas and their partners. OMGYES conducts and publishes the first-ever nationally representative large-scale studies about specific pleasure strategies, in partnership with Indiana University and Kinsey Institute researchers.    See for yourself and get a discount at - https://OMGyes.com/sexology      Find Katherine Angel Online  https://twitter.com/KayEngels     Find Dr. Moali online    http://www.sexologypodcast.com    Find me on social media  https://www.instagram.com/sexologypodcast  https://www.facebook.com/oasis2care      Sex Quiz for Women  https://oasis2care.com/sexquiz/     Be part of our sexual health research survey  Take this survey so we can find out what topics you’d like us to cover in the future:  https://www.surveymonkey.com/r/L993Z2M    If you are interested in booking a video counselling session with Dr. Moali  https://oasis2care.com/contact-nazanin-moali-psychologist      Podcast Produced by Pete Bailey - http://petebailey.net/audio  

GET THE BOOK: https://amzn.to/39jeB4qhttps://writetoinfluence.net/PATREON: https://www.patreon.com/minddogtvSponsors:https://mybookie.com Promo Code minddoghttps://record.webpartners.co/_6_DFqqtZcLQWqcfzuvZcQGNd7ZgqdRLk/1https://apply.fundwise.com/minddoghttps://myvitalc.com/minddog. promo code minddogtvhttps://skillbuilder.academy/dashboard?view_sequence=1601856764231x540742189759856640&promoCode=MINDDOG100OFFhttps://shareasale.com/r.cfm?b=599839&u=1659788&m=52971&urllink=&afftrack=https://enticeme.com/#minddog

#027 – Are you fed up with getting feedback on your essays that says, “your writing is too descriptive” or “not enough critical writing and analysis” or “you wasted too many words on describing”? Critical writing and thinking can be confusing, and writing in this style can feel completely alien. But staying safe with descriptive writing is holding you back and preventing you achieving those higher essay grades. Certain essay questions require critical thinking so if you’re not engaging in it you’re losing out on a lot of marks. In this episode, I demystify the process of critical writing. You’ll learn the differences between descriptive writing and critical writing and I’ll walk you through six example essay questions to help you understand HOW to be more critical in your essays. Your future grades will thank you for listening to this one.  To get the links and shownotes for this episode, head to: https://chloeburroughs.com/episode27. Don’t forget to download the mini-guide I’ve created for this episode. Click here to join my free Study Success Resource Library. Click here to find out more and enrol in Essays With Ease.

Ashley Hickson-Lovence: Writing Through Insecurities and Life | Ashley is a writer from Hackney, London. While working as a secondary school English teacher, he completed his MA in Creative Writing and Publishing from City, University of London part-time and is currently completing his PhD in Creative and Critical Writing at the University of East Anglia. We speak about insecurities as writers, his debut novel The 392 published by OWNIT London, and what he is currently working on for 2022 around the story of Black referee Uriah Rennie. This episode is supported by Pirate studios. For £10 off your booking across their global studios, use my referral code, Alex7135 over at pirate.com. Catch me on: Vero: Vero.co/alexreads Website: alexholmes.co Instagram: @byalexholmes Email: tttalkpod@gmail.com Newlsetter: alexholmes.co/newsletter Music: Ryan Nile Edited: Pure Creation Media/Ryan Nile Executive Produced: Alex Holmes --- Send in a voice message: https://anchor.fm/timetotalkwithalexholmes/message

In 1995, the late author Nigel Watts published his highly acclaimed fictional book, Twenty Twenty, that foretold the events the world is experiencing today in the year 2020. Twenty Twenty was published in 1995 by Hodder and Stoughton and received rave reviews from The Times, Time Out, Sunday Times and more. After nearly 30 years, Twenty-Twenty was relaunched by Nigel’s widow, former BBC broadcaster, Sahera Chohan. Sahera said, “when COVID-19 was at its peak earlier this year, I reread Twenty Twenty and saw how Nigel had eeringly predicted the events of this year.” Sahera immediately knew she had to relaunch the powerful novel and bring it to a new audience. Twenty Twenty is a blueprint for today’s world because it eerily and accurately predicts a global pandemic that occurs in the year 2020. The futuristic novel predicts how the world will communicate largely through virtual technology, with people wearing masks, a drastic reduction of air travel leading to ‘virtual tourism’, and nature fighting back for its survival due to mankind’s destruction of our planet. Sahera Chohan joins World Footprints to share Nigel Watts’s words as he saw the year 2020 from the lens of 1995. Sahera shows us how her late husband secured Twenty Twenty as a futuristic treasure and a book that is relevant beyond our time. ABOUT THE AUTHOR: Nigel Watts was born in Winchester in 1957. He spent two years in Japan, where he wrote his first novel, The Life Game, which won the Betty Trask Award for best first novel in 1989. His second novel, Billy Bayswater, was shortlisted for the John Llewellyn Rhys Prize and broadcast on BBC Radio 4. We All Live In A House Called Innocence, his third novel, was followed by Twenty Twenty, written as part of his Ph.D. in Creative and Critical Writing from the University of East Anglia. In 1999, he received the British Library/Penguin Writers Fellowship grant to write his fifth and final novel, The Way of Love, the first novel to tell the story of the Sufi poet, Rumi. He also wrote the best-selling Write A Novel And Get It Published, part of the Teach Yourself Series.

We jump on the piece of furniture that gives the podcast its name this week. From couch potato to couch surfer we look at how a large, soft object for the home has impacted our culture. Guests:Mario Bellini, architect @mariobelliniarchitectsRosa Park, Editor of Cereal Magazine @cerealmag Elizabeth Glickfeld, Design critic and founder of Dirty Furniture @dirtyfurnituremag Rosa Park, Editor of Cereal MagazineAs the editor and co-founder of Cereal—an independent biannual magazine celebrated for its distinct take on travel and style—Rosa Park has an eye for good design and quality craftsmanship, a well-tuned ear for strong cultural narratives.Park has lived a peripatetic existence, zigzagging her way across the globe from Seoul to Vancouver to Boston followed by a stint in New York where she cut her teeth working in fashion and beauty marketing for five years, before moving to Bristol to start fresh on a new career path that eventually led her to Bath where she launched Cereal alongside partner Rich Stapleton. When work brings her to New York, Park bases herself downtown. Elizabeth Glickfeld, Design critic and founder of Dirty Furniture Elizabeth Glickfeld is a design writer based in London. Writing across two- and three-dimensional design and visual culture, she writes for various publications including Eye, Disegno, Design Issues, Domus and Frieze magazine. She is co-author of the book 100 ideas that changed design (to be published by Laurence-King in 2015), co-founder and -editor of the independent design magazine Dirty Furniture and a lecturer in design history at Kingston University. She holds a masters degree from the Royal College of Art in Critical Writing in Art and Design and was a lecturer and tutor in design theory and history at Swinburne University in Melbourne, Australia. She has also trained and worked internationally as a graphic designer.

Tomorrow Sex Will Be Good Again: Women and Desire in the Age of Consent is Katherine Angel's third book, and is coming out in February 2021, published by Verso. Her first book, Unmastered: A Book on Desire, Most Difficult to Tell was published by Penguin, and her second, Daddy Issues: An Essay on Fathers and Feminism, by Peninsula Press. Katherine is a Lecturer in Creative Writing at Birkbeck and runs the MA in Creative and Critical Writing. Read an extract of the chapter: https://www.versobooks.com/blogs/4573-sex-and-self-knowledge-beyond-consent Use promotional code 'BBK' to buy the e-book of Daddy Issues half price: The ebook can be found here: https://peninsulapress.co.uk/product/daddy-issues?attribute_book-type=e-book

Mark Blacklock reads from his latest novel, Hinton (Granta, April 2020) which explores the strange worlds of pioneer of the fourth dimension, Howard Hinton. Mark Blacklock is a novelist and cultural historian and teaches on Birkbeck's MA Creative and Critical Writing. He is the author of I'm Jack (London: Granta, 2015) and The Emergence of the Fourth Dimension (Oxford: Oxford University Press, 2018). Hinton is his second novel. Mark is currently working on a new edition of the non-fiction of the British author J.G. Ballard and writing his third novel.

In academic writing you will develop an argument or point of view. This will be supported by concrete evidence, in other words reasons, examples, and information from sources. The writing you produce in this way will need to be 'critical writing'. This podcasts considers what critical writing means, first by giving a simple definition of critical writing, then by contrasting descriptive writing with critical writing.

Our Discord channel - https://discord.gg/mDXz6H8.Conceptualization notes when I was designing America 3.0America 3.0 is a course in which students study the history of the United States from 1970 to the present. Game-based model of instruction and work. Nearly all work is self-directed, except in "Section J" - which is to say, the entire class working together as if it were one guild (the difference between 5 and 25 man content). Students must always choose what they're learning and how they're learning it. Students level as they quest to become "level 100." When students "do" they connect by means of tags to "knowing" "Scratch work" goes in the Schoology page "Finished work" goes to the Tumblr page Students are required to attain a minimum of 100 achievement points in each branch of the knowing and the doing trunk Every 100 achievement points = 1 level? So, the minimum work grants 12 levels BUT THEY ONLY EARN "GRADABLE" POINTS ON "DO" ACHIEVEMENTS / KNOWING EARNS NO POINTS, but are required to earn a particular grade. You can't achieve level 100 without getting a boss win on one branch of knowing and 2 branches of doing You can't "know" without a "do." Without a "do," there's no way for anyone to know what you "know." Quest lines form up into 2 main trunks: Knowing Doing The Knowing trunk asks students to demonstrate that they know X about Y. The Doing trunk asks students to demonstrate that they can acquire knowledge X in a particular way or transmit or pass on their X knowledge of Y in a particular way Z. KNOWING A3.0 is about the history of the United States after 1970, but America 2.0 remains a strong part of the course and the thinking about the time period. You must reach level 10 in every branch of knowing. You must reach level 20 in four of six branches. You must reach level 50 in two of six branches. You must reach level 100 in one of six branches. Levels 1-10 deal with America 2.0: background, status, circumstances, conditions, figures, realities. The Knowing trunk further subdivides into the following branches: Social Change and ReactionLevel 1: Gather 8 pieces of data that inform you about the state of Black America in America 2.0 and DO. Level 2: Gather 8 pieces of data that inform you about the state of women in America in America 2.0 and DO. Level 3: Gather 8 pieces of data that inform you about the conditions facing Native Americans in America 2.0 and DO. Level 4: Gather 8 pieces of data that inform you about the state of Mexican Americans (or another immigrant group) in America 2.0 and DO. Level 5: Gather 8 pieces of data that inform you about the conditions facing gay Americans in America 2.0 and DO. Level 6: Derive 3 common threads between the experiences of these groups. Level 7: Choose 3 from previous levels (Black America, Women, Native Americans, Mexican Americans, gay Americans). What were the triggering event or events that stimulated a new consciousness for these groups in America 2.0? Why these events and DO. Level 8: What, if anything, is common between these triggering events? Level 9: Gather 15 pieces of data that inform you about the state of "mainstream" America in America 2.0. What does "mainstream" mean in this case? Derive what is common between your data points and DO. Level 10 BOSS: What qualities of the mainstream were the disenfranchised entranced by or interested in attaining for themselves? How were the disenfranchised resisting the power of the mainstream? What about the mainstream were they reacting against? DO Level 11: Gather 8 pieces of data that inform you about the state of American military servicemen between 1970 and 1980. DO. Level 12: Gather 8 pieces of data that inform you about the state of American family life, marriage and childhood between 1970 and 1980. DO. Level 13: Gather 8 pieces of data that inform you about the state of American religious and spiritual life between 1970 and 1980. DO. Level 14: Derive 5 common threads between your data points. Level 15: Gather 4 pieces of data that inform you about the change in the state of Black America between 1970 and 1980. DO. Level 16: Gather 4 pieces of data that inform you about the change in the state of women in American between 1970 and 1980. DO. Level 17: Gather 4 pieces of data that inform you about the change in the state of Native Americans between 1970 and 1980. DO. Level 18: Gather 4 pieces of data that inform you about the change in relations between native-born Americans and immigrant Americans between 1970 and 1980 and DO. Level 19: Gather 4 pieces of data that inform you about the change in conditions for gay Americans between 1970 and 1980. DO. Level 20 BOSS: In the transition from America 2.0 to America 3.0 many norms were destabilized. What norms were being destabilized between 1970 and 1980? What was in transition? What was stable? Level 90 Question: Gay Marriage SCR BOSS WIN: Choose one of the following socially constructed concepts (parenting, family, gender, sexual orientation, adolescence, work) and trace all of the ways in what that concept has changed since America 2.0 began to give way to America 3.0. Trace the development of the change in your chosen concept through each of its major crisis points, how the American people have stimulated and resisted the change and speculate based on reason and sound evidence how you believe your chosen concept might continue to develop over the next ten years. CultureLevel 1: Gather 8 pieces of data that inform you about the state of American popular music in America 2.0 and DO. Level 2: Gather 8 pieces of data that inform you about the state of American film in America 2.0 and DO. Level 3: Gather 8 pieces of data that inform you about the state of American television in America 2.0 and DO. Level 4: Gather 8 pieces of data that inform you about the state of American fiction (novels, poetry) in America 2.0 and DO. Level 5: Gather 8 pieces of data that inform you about the state of American visual arts (painting, photography) in American 2.0 and DO. Level 6: Derive 3 common concerns/foci/approaches between these different cultural media. Level 7: Find and defend your choice of 2 cultural artifacts that were culturally transformative in each of the 5 modes and DO. Level 8: What, if anything, is common between these transformative cultural artifacts? Level 9: What was the reaction of mainstream culture to these transformative moments? Level 10 BOSS: Contrast the different concerns/foci/approaches/obsessions/anxieties expressed by transformative and mainstream culture. What is common between them? What's different? What is the transformative trying to transform? What is the mainstream trying to preserve? DO Level 11: Gather the 4 most influential musicians in America between 1970 and 1980. DO: What made them so? Were they Americans? Level 12: Gather the 4 most influential films released in America between 1970 and 1980. DO: What made them so? Level 13: Gather the 4 most influential television programs in America between 1970 and 1980. DO: What made them so? Level 14: Gather the 4 most influential pieces of American fiction between 1970 and 1980. DO: What made them so? Level 15: Gather the 4 most influential pieces of American non-fiction (documentary film, monographs) between 1970 and 1980. DO: What made them so? Level 16: Gather the 4 most influential pieces of American visual arts (painting, sculpture, video arts, photography) between 1970 and 1980. DO: What made them so? Level 17: Derive 5 common concerns/anxieties/foci between these different cultural media. Level 18: Whose stories are being told in the media you identified at level 17? DO. Level 19: Gather 8 examples of "fringe" cultural practices in America between 1970 and 1980. Level 20 BOSS - By 1980, significant cultural transformation was well underway, not just on the fringes but also in the mainstream. What were fringe movements protesting against in the cultural sphere? What were they angry about? What made their vision of the United States fringe, and how would they have transformed society had they won? Level 30 - public intellectuals Level 90 Question: Network Cultures (microcultures) Culture BOSS WIN: In the transition from America 1.0 to America 2.0, major disruptions in social relations and "social truth" led to the widespread adoption and embrace of fringe cultural practices. In many cases, these fringe practices died out (Fourierism), but in other cases, they survived into our own age (Christian Science). Trace the phenomenon of cultural resistance to the mainstream and/or the emergence of cultural anxiety in the transition from America 2.0 to America 3.0, and speculate based on reason and sound evidence about the likely survivability of at least three cultural expressions in 2100. Politics in the Age of ReaganLevel 1: Who were the presidents of the United States during the Democratic hegemony? Level 2: Gather 8 pieces of data that illustrate the policies advocated by only the Republican Party in America 2.0 (before 1964) and DO. Level 3: Gather 8 pieces of data that illustrate the policies advocated by only the Democratic Party in America 2.0 (before 1964) and DO. Level 4: Gather 8 pieces of data that illustrate policies advocated by both the Republican and Democratic parties in America 2.0 (before 1964) and DO. Level 5: During the period of Democratic hegemony (1933-1969), which states consistently voted for the Republican candidate? Which for the Democratic? Did these states consistently elect Senators and Governors who matched their preferences for President? DO. Level 6: What patterns do you discern in the data you gathered for level 5? Level 7: Gather 3 examples of Republican policies implemented under Democratic administrations and vice versa and DO. Level 8: Gather 6 examples of political forces advocating change that were brought to bear against the Truman, Eisenhower and Kennedy administrations and DO. Level 9: How successful were the political forces you identified in achieving their goals in a timely manner? Level 10 BOSS: Gather 6 planks of the Democratic and Republican campaigns for president in 1964. What makes Barry Goldwater's nomination to be the Republican candidate in 1964 a watershed event in American politics. Why? How was he different not only from the Democrats but from other Republicans? Level 11: Gather 3 examples of media use by the Democratic and Republican campaigns in 1964. Level 12: Gather 3 reasons why Lyndon Johnson's reelection campaign was doomed in 1968. DO. Level 13: Gather 3 ways in which the Eugene McCarthy campaign was in contrast to the 1964 Democratic platform. DO. Level 14: Gather 5 ways in which the Robert Kennedy campaign was in contrast to the 1964 Democratic platform. DO. Level 15: Contrast the Robert Kennedy who ran for president in 1968 with the Robert Kennedy appointed Attorney General in his brother's administration in 1960. DO. Level 16: Assess why the Democratic convention of 1968 transpired as it did. DO. Level 17: Gather 5 planks of the George Wallace campaign and DO. Level 18: Gather 6 decisions taken by Richard Nixon as President of the United States. DO: How many of your 6 decisions gathered were congruent with Johnson Administration policies? Level 19: Contrast the 1972 Democratic campaign of George McGovern with that of Lyndon Johnson in 1964. DO Level 20 BOSS: Assess the impact of the Watergate Break-in on your understanding of Richard Nixon as president and his administration's response to Watergate on Americans' relationship to politics and leadership. Level 90 Question: "Having Your Cake and Eating it Too" Politics BOSS WIN: You are the campaign manager either for the Obama re-election campaign or for the campaign of his Republican opponent (if you select this option, you must also select the candidate). Construct a winning campaign for your candidate. This must include issues, approaches to media, approaches to social media, opposition research, spending plans, fundraising plans, travel plans, electoral college projections, debate preparation, constituency management and outreach, contingency plans in the result of foreign crises (if you are the president) or selecting a vice presidential running mate (if you are the Republican). For purposes of this BOSS WIN, you must explain the historical reason for each of the decisions you make. Economics, Finance, Labor and IndustryLevel 1: What were the 10 largest US corporations (by gross revenue) in 1900? 1970? Level 2: What were the 5 largest unions in the US (by total membership) in 1900? 1970? Level 3: Derive 3 common threads that link the corporations and DO. Level 4: Derive 3 common threads that link the unions and DO. Level 5: Derive 3 common threads that link both the corporations and the unions and DO. Level 6: Using yearly data points, graph US exports and imports in whole dollars between 1945 and 1970. DO by drawing conclusions about US economic health and activity based on your graph. Level 7: Particularize your level 6 draft by separating out the top 10 countries to whom we exported and from whom we imported, draw conclusions about US economic and foreign relationships and DO. Level 8: Particularize your level 6 draft by separating out the top 10 goods and services we exported and imported, drawing conclusions about US economic health, productivity and consumer demand and DO. Level 9: Using yearly data points, derive an understanding of US public finances between 1945 and 1970. Public finances encompasses taxes raised (and from whom), public spending (on what) and public borrowing (how much and from whom?). Level 10 BOSS: What was the state of American capitalism in 1970? Level 11: Gather 8 pieces of data that inform you about the conditions of American agricultural and factory workers between 1970 and 1980. DO. Level 12: Gather 8 pieces of data that inform you about the conditions of American service sector workers between 1970 and 1980. DO. Level 13: Using yearly data points, graph the percentage of Americans working in manufacturing between 1970 and 1980 and DO. Level 14: Using yearly data points, graph the percentage of Americans working in the service sector between 1970 and 1980 and DO. Level 15: Using yearly data points, graph average salary, vacation time, health-care benefits and pension access in the manufacturing and service sectors of the economy between 1970 and 1980 and DO. Level 16: Gather 6 consequences of the 1973 Arab Oil Embargo and the 1979 energy crisis. Level 17: Assess the impact on the international financial system of the 1973 embargo and DO. Level 18: Assess the impact on American economic competitiveness of the 1973 embargo and 1979 energy crisis and DO. Level 19: Contrast the public finances of the Nixon, Ford and Carter administrations. DO. Level 20 BOSS: By 1979-1980, the US economy was in a disastrously weakened state. What made it so? What were the conditions that created "stagflation?" What decisions were responsible for it? What changes would you advice the incoming Reagan Administration to make to combat the problem? Level 90 Question: Legacy Systems EFLI BOSS WIN: Bring the federal budget into balance, explaining how you do so, who pays and why, the social consequences of your decisions and short, medium and long term EFLI consequences of your decisions. For purposes of this BOSS WIN, do not consider politics, but you must explain how and why the nation made the decisions you are now correcting. Foreign Policy (Facing Down The Soviets and then Facing Down Ourselves)Level 1: Gather 6 examples of US responses to the real or perceived threat posed to the US by the Soviet Union before 1970. DO. Level 2: Gather 4 examples of US interventions into the affairs of nations in Europe before 1970. DO. Level 3: Gather 4 examples of US interventions into the affairs of nations in Central/South America or the Caribbean before 1970. DO. Level 4: Gather 4 examples of US interventions into the affairs of nations in Asia before 1970. DO. Level 5: Gather 4 examples of US interventions into the affairs of nations in Africa before 1970. DO. Level 6: Derive 6 common principles that link these US interventions. Level 7: What did the US mean by the terms: domino theory and containment? Level 8: Gather 6 examples of US actions before 1970 that specifically illustrate the notions of the domino theory and containment and DO. Level 9: Gather 6 examples of US actions in South Vietnam before the Tet Offensive that illustrate the principle of containment. Level 10 BOSS: Support or deny: There was never any hope for a United States victory in the Vietnam War. Level 11: Gather the top 3 foreign policy initiatives of the Nixon, Ford and Carter Administrations. DO. Level 12: Derive common principles between the three administrations. DO. Level 13: Gather the top 3 opposing initiatives of America's adversaries in the Nixon, Ford and Carter administrations. DO. Level 14: Gather 6 examples of non-domestic terrorism in the Nixon, Ford and Carter Administrations. DO. Level 15: How was the concept of terrorism understood in the 1970s? Who experienced it? Level 16: Gather the top 3 foreign policy initiatives of the Reagan Administration. DO. Level 17: Gather the top 3 opposing initiatives of America's adversaries in the Reagan Administration. DO. Level 18: Contrast the foreign policy objectives of the Nixon, Ford, Carter and Reagan Administrations. DO. Level 19: Compare the foreign policy achievements of the Nixon, Ford, Carter and Reagan Administrations. DO. Level 20 BOSS: At the Reykjavik Summit, Soviet leader Gorbachev offered total nuclear disarmament to President Reagan. Reagan ultimately refused. Would any of Reagan's three predecessors have taken the deal? Make the case to President Reagan that he SHOULD take the deal and why he should do so. Level 90 Question: Al Qaeda FP BOSS WIN: Advise the president (in the mode of NSC-68) regarding the most serious foreign policy challenges facing the United States, in your judgement, between now and 2025 and what he/she should do to ready the nation for them. TechnologyLevel 1: Gather 10 examples of technology that defined the American experience of technology prior to 1970 and DO. Level 2: Derive 4 common threads between the 10 examples from level 1 and DO. Level 3: Assess 2 ways in which technology changed American society prior to 1970 and DO. Level 4: Assess 2 ways in which technology changed American culture prior to 1970 and DO. Level 5: Assess 2 ways in which technology changed American politics prior to 1970 and DO. Level 6: Assess 2 ways in which technology changed American labor/economics/work prior to 1970 and DO. Level 7: Assess 2 ways in which technology changed American foreign policy prior to 1970 and DO. Level 8: To what extent was technology a prime mover or change agent in American society between 1945 and 1970? Level 9: Which innovation had the greater influence - the ENIAC, the transistor or the space program? Level 10 BOSS: How much influence does technology that predates 1970 have in your daily life? Cite specific examples and demonstrate how your life would be diminished without these technologies. What technologies that predate 1970 no longer have a role in your daily life? Level 11: Gather 5 examples of large or "national-scale" technology in 1970 and DO. Level 12: Gather 5 examples of small scale or "personal" technology in 1970 and DO. Level 13: Gather the 5 biggest technology companies in 1975 and DO. Level 14: What were these technology companies doing? Level 15: Compare/contrast these companies' similarities and differences and DO. Level 16: Microsoft was founded in 1975. Gather 3 examples of how it was/is different from the examples you gathered in level 11 and level 12 and DO. Level 17: Apple was founded in 1976. Gather 3 examples of how it was/is different from the examples you gathered in level 11 and level 12 and DO. Level 18: To what extent do Bill Gates and Steve Jobs articulate a similar vision? DO. Level 19: To what extent do Bill Gates and Steve Jobs articulate a different vision? DO. Level 20 BOSS: Microsoft and Apple are radically different entities than any that had appeared previously in American technology life. Why? Level 90 Question: Technology and Flattening (Friedman, c1) Technology BOSS WIN: Technology is, arguably, the single biggest change agent in the last half-century, perhaps initiating the transformation of America 2.0 to America 3.0 by itself. Based on reason and sound evidence, how might technology transform American society, culture, politics, economics or foreign policy between now and 2025. Your answer must integrate technology and one other knowledge tree, and it must base its claims on the ways in which technology has already transformed that area. DOING The Doing trunk further subdivides into the following branches: Reading Critical Writing Critical Speaking Modeling Collaborating Integrating Reading - the foundation of all knowledge (that which is cited) Short, short reading - Twitter (140 characters) Short form - blog postings, news articles, infographics, 5 minute films (200-1000 words) Medium form - "the long blog," journal articles, 30 minute films (1000-5000 words) Monographs - books, generally, always longer than 5000 words, feature-length documentaries (60 minutes+) To earn achievement points in reading, you have to convince me through another "do" that you've read enough and well enough to understand whatever it is you were reading. If so, you earn: 5 points for 25 examples of short/short 15 points for 10 examples of short 30 points for 3 examples of medium 50 points for 1 example of a monograph Personal Reading Wins (last level = epic) Follow and cite 50 (100) (250) (500) Twitter feeds and/or Tumblr blogs (20/30/100/300) Follow and cite 20 (30) (40) (50) RSS blog feeds (50/100/300/500) Read and Cite 5 (10) (15) (25) longer blogs or journal articles (100/200/400/600) Read and Cite 2 (3) (4) (5) monographs (200/400/800/1000) Group Reading Achieves Read 10 journal articles in every "knowing" discipline (500) Read 2 monographs in every "knowing" discipline (1000) Critical Writing - one foundation of expression (where one cites) Short, short form - tweeting one very simple idea Short form - blog postings (200-500 words) - the 2 minute movie one simple idea, explicated Medium form - the short paper, the "long blog" (1000-2000 words), the 7 minute movie one complex idea, explicated with depth Long form - the long paper (2000+ words), the webpage, the 20 minute movie one highly complex idea, explicated along multiple arcs Achievement points in writing are earned in in clusters of 1000 points. 1000 points are earned for: 1 long form mode = 3 medium form modes = 10 short form modes = 100 short, short form modes Personal Writing Wins: 1 of each form = 500 points EPIC win = 5 long-form critical writes Group Achieves in writing: Post to a blog of your own creation for 30 consecutive school days (500) / 60 consecutive school days (750) / 90 consecutive school days (1000) Critical Speaking - the other foundation of expression (where one cites) Short, short form - answering one question (or asking one) Short form - speaking about a subject for 2 minutes without notes (or leading a conversation about a topic for 5 minutes) Medium form - speaking about a subject for 5 minutes without notes (or leading a conversation about a topic for 10 minutes) Long form - speaking about a subject for at least 10 minutes without notes (or leading a conversation about a topic for 20 minutes) Achievement points in speaking are also earned in clusters of 1000 points. 1000 points are earned for: 1 long form mode = 3 medium form modes = 10 short form modes = 100 short, short modes Group achieves in speaking are earned by putting together roundtables that are filmed and shared. A 15-minute roundtable discussion would earn 500 points. Personal Speaking Wins: Speak in public in front of more than 200 people or document more than 1000 unique downloads of a video you made EPIC win = speak in front of more than 1000 people or get more than 10,000 unique downloads Modeling - a non-written form of expression (where one cites) infographics, visual and/or performing arts, mind maps, photography, film Because modeling is idiosyncratic, modeling points are earned on a case-by-case basis after discussions with me where I approve the scope of the project and assign it points. Some examples of 500 point achievements in modeling are: 1. An infographic (see examples in the Schoology forum) on a complex idea, like use of technology by seniors. 2. A photo essay illuminating Jewish-African American relations in Los Angeles. 3. A curated (photos found, but not taken by you) photo essay on Native American resistance to cultural assimilation. 4. 5 minutes of a short, creative film about high school students responding to 9/11 on 9/11/01. 5. A 3-4 minute pop song, written and performed, which speaks to a social problem in the USA. Modeling projects can be done by ALTs as well - the complexity of the work proposed generates the achievements. Modeling Wins: Collaborating (all work is teamwork) Starting an ALT (Accountable Learning Team) and constructing a shared identity Conducting interviews to gather data Working together to acquire knowledge and solve increasingly complex problems Using social media to share and collaborate Teaching others what you know so that they know it Collaboration is at the heart of scholarship - what you learn builds upon the learning of others. Starting an ALT in class and agreeing to shared norms would earn 100 achievement points. Each time you work together in your ALT to achieve an objective, you'd earn another 100 points. Collaboration points are earned only when you are interacting with others. If you do not choose to join an ALT, that's fine, you can still earn collaboration points by doing interviews or by building an ALT that has members outside of class (you and some friends from other schools collaborate on a blog, for instance, or you make some movies together). Integrating (nothing is as simple as you'd like it to be) Increasingly complex ways of understanding. At its most basic, it draws connections between two different branches of the "knowing" tree (for example, Foreign Policy (War in Iraq) generating Culture (protest music by Eminem). Each new integrated branch adds a level of complexity. It could easily integrate across the "doing" tree as well - your ALT follows 50 Twitter feeds (short, short reading / use of social media) and each week, a member creates a Tumblr posting integrating learning across these feeds (medium form writing, working together, using social media). Integrating learning across disciplines is exciting, complex work. It is also the most essential thing you can do as a learner if you want to succeed in the 21st century. To that end, here are some examples of integrating that would earn 100 achievement points: 1. Combining 2 branches of the "knowing tree" (politics and culture, for example). 2. Combine 2 forms of social media (Google+ and YouTube, for example). An example of a 500 point achievement in integrating: 1. Preparing an essay and infographic on Jewish and African American economic success/challenges in LA to accompany your photo essay. POSTED TO SCHOOLOGY "DOING" While knowing is important, you don't earn any points by leveling. You only earn points by showing what you know by doing something with it. You can't execute any tasks in the Doing Tree without having leveled in the Knowing Tree. The Doing Tree subdivides into the following branches: Reading Critical Writing Critical Speaking Modeling Collaborating Integrating Reading - Critical reading is the foundation skill. In America 3.0, what one reads is multivalent. It could be nearly anything. Your responsibility is assessing the quality and validity of the source. If you stake your reputation on a bad source, you have to own it. You indicate to the community what you've read by citing it in a different "do." THAT WHICH IS CITED Short, short reading - Twitter (140 characters) Short form - blog postings, news articles, infographics, 5 minute films (200-1000 words) Medium form - "the long blog," journal articles, 30 minute films (1000-5000 words) Monographs - books, generally, always longer than 5000 words, feature-length documentaries (60 minutes+) To earn achievement points in reading, you have to convince me through another "do" that you've read enough and well enough to understand whatever it is you were reading. If so, you earn: 5 points for 25 examples of short/short 15 points for 10 examples of short 30 points for 3 examples of medium 50 points for 1 example of a monograph Writing - Critical writing is one way in which you might express your ideas. Writing is not just putting words to paper (digital or otherwise). Making a short film with a clear script is a form of writing, because it requires you to structure and articulate an idea and explicate it so that it can be understood by others. Critical writing, in this case, is explicitly not journal writing. WHERE ONE CITES Short, short form - tweeting (140 characters-100 words) one simple idea Short form - blog postings (200-500 words) - the 2 minute movie one simple idea, explicated Medium form - the short paper, the "long blog" (1000-2000 words), the 7 minute movie one complex idea, explicated with depth Long form - the long paper (2000+ words), the webpage, the 20 minute movie one highly complex idea, explicated along multiple arcs Achievement points in writing are earned in in clusters of 500 points. 500 points are earned for: 1 long form mode = 3 medium form modes = 25 short form modes = 250 short, short form modes Speaking - Speaking is the other foundation of critical expression. It has different rules and expectations from writing. It can be informal or formal, like critical writing. Speaking is a critical skill for success in all of your future plans. Like writing, speaking without citation (in other words, speaking without a strong foundation from reading) is almost always going to fail to advance knowledge. WHERE ONE CITES Short, short form - answering one question (or asking one) Short form - speaking about a subject for 2 minutes without notes (or leading a conversation about a topic for 5 minutes) Medium form - speaking about a subject for 5 minutes without notes (or leading a conversation about a topic for 10 minutes) Long form - speaking about a subject for at least 10 minutes without notes (or leading a conversation about a topic for 20 minutes) Achievement points in speaking are also earned in clusters of 500 points. 500 points are earned for: 1 long form mode = 3 medium form modes = 25 short form modes = 250 short, short modes Modeling - I define modeling as all non-written, non-speaking forms of expression that nevertheless are doing the same work as writing and speaking. They are still based on critical reading. They intend to convey understanding. They are forms where one cites. Some examples of modeling are: infographics, visual and/or performing arts, mind maps, photography and film. Because modeling is idiosyncratic, modeling points are earned on a case-by-case basis after discussions with me where I approve the scope of the project and assign it points. Some examples of 500 point achievements in modeling are: 1. An infographic (see examples in the Schoology forum) on a complex idea, like use of technology by seniors. 2. A photo essay illuminating Jewish-African American relations in Los Angeles. 3. A curated (photos found, but not taken by you) photo essay on Native American resistance to cultural assimilation. 4. 5 minutes of a short, creative film about high school students responding to 9/11 on 9/11/01. 5. A 3-4 minute pop song, written and performed, which speaks to a social problem in the USA. Collaborating - All work, on some level, is collaborative. This is why reading is such an integral skill. Think of it as a form of collaborating with scholars, thinkers, bloggers and others. Some examples of collaborative practice include: starting an ALT (Accountable Learning Team) and constructing a shared identity, conducting interviews to gather data, working together to acquire knowledge (level) and solve increasingly complex problems (defeat bosses), using social media to share and collaborate with people around the country and world who aren't in the class and teaching others what you know so that they know it. Collaboration is at the heart of scholarship - what you learn builds upon the learning of others. Starting an ALT in class and agreeing to shared norms would earn 500 achievement points. Each time you work together in your ALT to achieve a boss-level objective, you'd earn anywhere from 100-500 additional points. Collaboration points are earned only when you are interacting with others. If you do not choose to join an ALT, that's fine, you can still earn collaboration points by doing interviews or by building an ALT that has members outside of class (you and some friends from other schools collaborate on a blog, for instance, or you make some movies together). Integrating - By the end of this class, I hope that you'll realize that we live in a world of bewildering complexity and that the process of complexification is ongoing. Nothing is as simple as you'd like it to be and won't be. At its most basic, integration draws connections between two different branches of the "knowing" tree (for example, Foreign Policy (War in Iraq) generating Culture (protest music by Eminem). Each new integrated branch adds a level of complexity. It could easily integrate across the "doing" tree as well - your ALT follows 50 Twitter feeds (short, short reading / use of social media) and each week, a member creates a Tumblr posting integrating learning across these feeds (medium form writing, working together, using social media). Integrating learning across disciplines is exciting, complex work. It is also the most essential thing you can do as a learner if you want to succeed in the 21st century. To that end, here are some examples of integrating that would earn 100 achievement points: 1. Combining 2 branches of the "knowing tree" (politics and culture, for example). 2. Combine 2 forms of social media (Google+ and YouTube, for example). An example of a 500 point achievement in integrating: 1. Preparing an essay and infographic on Jewish and African American economic success/challenges in LA to accompany your photo essay. Class Achievements First to post a discussion topic First to level 1 First to level 1 in all 6 branches First to level 5 First to level 10 First to level 10 in all 6 branches ALT Achieves Start one Complete 5 projects Bring someone from outside into the ALT Create an ALT Tumblr Post 25 items to that Tumblr Earn 100 reblogs Personal Achievements Cover image: Dark Falz, the final boss in Phantasy Star (one of the first proper quest/adventure games).

Theo Inglis is a freelance graphic designer and writer based in London. He is a recent graduate of the Critical Writing in Art and Design MA at The Royal College of Art and currently writes for Grafik and Monotype. In this episode, Theo and I talk about his recent MA thesis, An Absurd Machine: Branding, Design, and the City, how he got started writing while he was working as a designer, the types of design writing we want to see more of, and the differences between design criticism, theory, and journalism.

Joanna Walsh talked to us during the hustle and bustle of the Worlds Literature Festival about cyber feminism, post-humanism and exploring digital narratives. Joanna is the author of Hotel, Vertigo, Grow a Pair and Fractals. She's been published in Granta, multiple short fiction anthologies, The Stinging Fly, The Dublin Review and others, is a regular reviewer over at The New Statesman and The Guardian and is the editor of 3AM Magazine and Catapult. She's judged the Goldsmiths Prize and is currently studying a PhD in Creative and Critical Writing at the University of East Anglia. Find out more about Writers' Centre Norwich: http://writerscentrenorwich.org.uk/ More information about Worlds: http://www.writerscentrenorwich.org.uk/main-events/worlds/ Explore the International Literature Showcase: http://litshowcase.org

Dr Eleni Philippou, Leah Broad, Theophilus Kwek and James Watt in conversation. The Oxford Culture Review kicks off a new academic year with our Autumn event, Critical Writing! Good writing is ‘critical’ in both senses: as a vehicle of informed cultural opinion; and as a necessary response to fast-moving news cycles. An informal discussion on the question, ‘What makes good academic criticism?’ This journal’s largest section is dedicated to reviews, and in this talk we focus on how to apply academic expertise – and good, clear writing – to works of art, literature, music, theatre, and scholarship. We’ll also hear from practitioners (active across the fields of poetry, translation, music, drama, and criticism) about how best to frame a truly constructive review.

Originally published in 1967, Valerie Solanas' incendiary SCUM Manifesto called for a Society for Cutting Up Men and declared war on capitalism and patriarchy. Today, the controversial tract has a complex relationship with contemporary landscapes of feminism and gender politics. Juliet Jacques and Ray Filar join Sophie Mayer to discuss the treatise from critical and contemporary perspectives. Taking a historical view on its problematic elements, they discuss the violence and gender essentialism of the text, as well as Solanas' visions of work and automation and why the text still thrills today. Juliet Jacques is the author of Trans: A Memoir and a phd student in Creative and Critical Writing at University of Sussex. Ray Filar is a writer, editor and performance artist. They tweet @RayFilar. Sophie Mayer is author of Political Animals: The New Feminist Cinema, poet and a member of queer feminist curators Club des Femmes. She tweets @tr0ublemayer. SCUM Manifesto voice: Sam McBean, academic and feminist and queer critic. She tweets @s_mcbean

Welcome to Writing Week - my FREE 7-day nonfiction writing challenge. I know that self-doubt, fear, and self-sabatoge are some of the biggest obstacles we face as writers. We all struggle with this at times. That’s why I believe this day of the challenge is so crucial to your long term success. With the help of my husband CJ, we wrote 72 affirmations for writers. There are 45 general affirmations and 27 affirmations based on scripture. These PDF handouts are available for you to download in your resources section for today in the member’s area. Join us at: www.writingweek.com This episode is sponsored by www.WritingWeek.com. Learn to how to write faster and better during this 7-day challenge and how to personalize each step to what works best for YOU. Download your Writing Week Journal (excel, PDF or .doc), 30-day writing challenge calendar, affirmations, and more! Overcome the barriers that have been keeping you from making progress in your nonfiction writing.

Host: Chris Mooney From Birthers, to Truthers, to Deathers—to occasional Liars—America seems to be crawling right now with fevered conspiracy mongers. What's up with that? To find out, Point of Inquiry turns in this episode to Jonathan Kay, author of the new book Among the Truthers: A Journey into America's Growing Conspiracist Underground. In it, Kay provides a fascinating look at some of our indigenous kooks, and why they seem to be thriving right now. Jonathan Kay is the managing editor of Canada's National Post newspaper and a weekly columnist for its op-ed page. Kay's writing covers a diversity of subjects, and he's been published in a variety of outlets including Commentary, the New York Post, Reader's Digest, and the New Yorker. In 2002, he was awarded Canada's National Newspaper Award for Critical Writing, and in 2004 he won a National Newspaper Award for Editorial Writing.

ANDREW MILLER was born in Bristol…in 1960 (induced, according to the family legend, by his mother eating a large supper of fish and chips). At age eleven, having convincingly failed his Eleven Plus, he went to boarding school in Wiltshire…Master of Arts in Creative and Critical Writing from the University of East Anglia in 1991…PhD from Lancaster University…In February 1996, after six years of writing, ‘Ingenious Pain' his first novel, won the James Tait Black Memorial Prize, the Grinzane Cavour prize & the IMPAC Dublin Literary Award. Ingenious Pain & his second novel Casanova are being/have been adapted for Film. His novel, Oxygen, was shortlisted for the Booker Prize 2001. His third novel, Oxygen was shortlisted for the Booker. His books have been published in over twenty countries. He now lives in Brighton and believes that on clear days he can see the coast of France. We talk about his novel is THE OPTIMISTS, prizes, Shakespeare, Hardy, Lawrence, stylism, and his looks and wish to be a fat woman. Andrew Miller is as articulate verbally as he is on the page. Listen…don't just take my word for it…