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discovertemplate · 2 months

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Empowering Narratives: Celebrating Women's Achievements Through Free PowerPoint Templates

In an era where visual storytelling holds immense power, leveraging free slides templates for education becomes a dynamic tool to celebrate and amplify the achievements of women. These templates not only facilitate impactful presentations but also serve as a medium to advocate for gender equality and empower individuals. Let's delve into the world of empowering narratives and explore how free PowerPoint templates contribute to showcasing and promoting women's accomplishments across various fields.

1. The Visual Impact of Free Slides Templates for Education

Visuals are powerful communication tools, and when it comes to celebrating women's achievements, the right presentation can make a significant impact. Free slides templates for education provide a visually appealing canvas for narrating stories of women who have broken barriers, shattered stereotypes, and made significant contributions to society.

Consider utilizing templates that capture attention with vibrant colors, compelling imagery, and thoughtful design elements. These templates can be tailored to various educational settings, from primary schools to higher education institutions, making them versatile tools for educators, students, and advocates alike.

The visual impact extends beyond aesthetics; it plays a crucial role in engaging audiences and conveying powerful messages. Whether it's showcasing women scientists, leaders, artists, or activists, the right visual representation can spark conversations, challenge perceptions, and inspire action.

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One of the strengths of free slides templates for education lies in their ability to cater to diverse audiences and subjects. Google Slides themes free education, for instance, offer a range of templates that can be adapted to different educational contexts. From science and technology to literature and history, these themes provide an inclusive platform to celebrate women's achievements across various fields of study.

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Encourage students to explore and create their presentations using these templates, allowing them to research and present on influential women who have left an indelible mark on history. By actively involving students in the process, educators can foster a sense of empowerment, instilling the idea that everyone, regardless of gender, can contribute meaningfully to society. In conclusion, free slides templates for education, especially Google Slides themes free education, are invaluable tools for celebrating women's achievements and promoting gender equality. By harnessing the visual impact, diverse themes, real-life stories, and interactive learning potential of these templates, educators, advocates, and students can collectively contribute to building a more inclusive and empowered world. Let the narratives of inspiring women be amplified through the lens of creative and impactful presentations, creating a ripple effect that transcends the confines of the classroom.

#free templates #google slides templates #Free PowerPoint Templates

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hcafilm · 3 years

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SILVER ARTS AWARD

Silver Arts Award Unit 1 Part A: Identify and plan an arts challenge

What art forms are you interested in/do you like? I am in interested in both literature and the dramatic arts. I enjoy reading poetry, such as that of Wordsworth and Ovid. At an Oxford lecture, I was told that Wordsworth’s The Prelude can be regarded as antechamber and the rest of the work like a church. That amazed me, as I did not know beforehand that a poem could be as well structured as a play (e.g. Pirandello’s Six Characters in Search of an Author).

What arts/creative skills do you already have or feel confident in? I studied English literature at A-level and used to take acting classes at YATI. Thus, I feel most confident in acting and writing, rather than painting or sculpting. I have looked into pursuing an English Literature degree at a Russell Group university and the future and so something involved with writing or acting out a script might interest me best.

What arts/creative skills would you like to develop or try out? I would like to work on directing. While at YATI, I attended a film-making course, which I very much enjoyed. However, the course was only temporary and I was disappointed when it ended. I feel it would be beneficial for me to boost my leadership and teamwork qualities, so perhaps another acting or film-making course which involved me taking more of an active role now that I am older would be good.

Do you have any ideas for possible challenges you could set yourself? You could discuss this with your adviser and record notes here. I am very enthusiastic but I am not used to leadership experiences. I think it would be good for me have a go at giving whichever group I am working in some good ideas. It would also be useful for me to learn how to better deal with criticism. I feel I respond appropriately to criticism, but there is always room for improvement.

Your challenge

I will be extending an arts skill I already have (film-making).

Describe your arts challenge here: It is a film-making project with the Holborn Community Association (HCA) and it involves a group of young people making a film about transportation in London. The project is done in association with the London Transport Museum and will get the opportunity to visit their depot in Acton, which is normally open to the public only three times a year. Once complete, we will have the opportunity to screen our film at a local festival.

Why have you chosen this as your arts challenge? I am already familiar with the HCA, as my mother works there and I know one of the people who is running this course (Chloe). As well as developing my film-making further, I also want to make new friends, who may have similar interests to me, as they will likely also have ‘creative’ personalities.

What will the outcome of your challenge be? (E.g. an end product, a performance, a demonstration?) The outcome of my challenge will be a finished product which has been edited and made ready to present to an audience. Our on-screen performances will be shown to an audience. A previous film this group did in 2019 was a protest piece in support of Black Lives Matter. Perhaps our piece will incorporate similar themes but explore them in relation to public transport.

Arts challenge plan

What steps will you have to take to achieve your challenge? I am planning to document my progress using an online blog and I am planning to do extensive related to transport in London. I also plan to visit other relevant locations and to try and include some form of transport memorabilia in our film. I will also research other things that will help our group, such as relevant music and how transport relates to the lives of Cockneys or other old-fashioned Londoners, something I take interest in.

Who or what will you need to help you? (E.g. other people, materials, resources) I will need a film camera, editing software, a large sheet of A4 on which to plan with my group and a Google Docs document with which we can keep a diary of all our ideas and chart our progress for our Arts Award. I will need the help of the transport museum organiser who is helping us, as well as Jack (a filmmaker) and Chloe (HCA) who are involved in our project. In terms of resources, I will need to look up relevant online information. I will also need to take accounts given to be me by older members of my community in the Clerkenwell area, as well as those in adjacent working-class areas like Shoreditch, Southwark and King’s Cross.

How will you arrange this? I will write an action plan which has mini-goals for my own personal research for the project, as well as goals relevant to the overall group project and also an overall target. I will also include a schedule for each day, although that will be subject to change based on the wishes of the group. I will write a schedule for myself in my own time to make sure I meet all the requirements of my Arts Award and keep track of my development as it progresses.

What targets will you set to achieve throughout your challenge and how will you show you are working towards them? Firstly, I will aim to have a movie idea which is ready to put into action and which our whole group likes and agrees upon. I will write a brief summary of this idea in this Silver Arts Award Booklet. Then I will aim with my group to put this idea into practise immediately. I will document the early stages of our filmmaking process to show this and I will write a list of the various film techniques (whether related to camerawork, plot, structuring, style, script or acting) and provide links or footnotes to the websites or books in which we found them. I will continue to chart the filmmaking process in my booklet and how our ideas changed along the way. I also aim to have a finished film, which I will show in my booklet and I aim to show this cohesive, well-structured film to an audience and will document this by writing a brief summary/memo/’manifesto’ of what the film will entail and why (and if there is a political message behind or not, and if not, the reasons why). Essentially I will detail the reasons for everything in the book and I will collect audience feedback to put on the blog I have created. The blog will be updated weekly, as well as at the end. I will make important signposts in the blog (at the beginning, halfway through and end of the project) so that a clear structure can be seen and my progress can be noted. I will use relevant images, as well as reels/clips from the film which show my developing film knowledge and teamwork.

How will you collect feedback about your arts challenge? I will collect feedback by asking the mentors and those associated with TFL what they think of our project and if it relates directly to the theme of transport. This is necessary to ensure I do not go on a tangent, as before starting this project, I was unfamiliar with the ins-and-outs of the London transport service. I will also talk to people who work for TFL to see what they think of the direction I am going in and see if they think I am being faithful to the work they do and their daily lives. Also, I am going to collect audience feedback after the screening of the film. I hope to have the opportunity to screen the early drafts of the film prior to the private screening we do for our parents, as I want to see what people and think and how I can improve. I will take notes and then write a new plan using these notes of what to do to improve my film in all aspects (e.g. camerawork, acting, dialogue, editing, scenery, colours). I will ask for specific subject-related/arts-related feedback (e.g. symbolism).

Silver Arts Award Unit 1 Part B: deliver your arts challenge

Write your arts challenge here: My arts challenge is to make a well-edited, finalised and polished film related to the theme of Transport to be screened in front of an audience of people. I need to make this film with a group of other young people and respect their ideas. I am doing it for the Holborn Community Association (HCA) in conjunction with TFL.

SIlver Arts Award Unit 1 Part C: review arts events

Where did you go? I went to two places. The first place I went to was the London transport museum in Covent Garden. Here I went on a tour of the museum in which I learnt about its history. I also went to the London Transport Museum’s Depot in Acton, which expanded on what we learnt in the Covent Garden Museum in terms of the different vehicles and designs present in its history and the characters who drove these buses, but also gave us new insight into what goes on with the Museum behind the scenes.

What did you see/do? At both events I saw old London buses, as well as trains, trams and even carriages (horse-drawn and electric) from times gone by. I asked questions about interesting people such as Isambard Kingdom Brunel and collated information on him from the LTN. In Acton, we learnt about the first black female bus driver and how groundbreaking this was. We also learnt that women could not drive underground trains until 1973, which shocked female members of our group.

When did you/go? I went in late June to both places and am continuing to visit them for filming work throughout early July. I went on a Saturday several times and will continue to do so until shooting stage in Holborn House later in July, which will be during the week.

What happened at the arts event? We made films using the vehicles. We filmed in train carriages and made use of the sliding door of the carriage, as that created a spooky transition between shots which looked villainous and ominous in the dark carriage and was inspired by the short horror films Jack and Chloe showed us. We also planned our films around transport and we came up with a movie based on a time-travelling train.

Describe which art forms were involved Film-making was involved and we were artistically inspired by the way museum was laid out, as it felt like the interesting objects were each leading on to the next one, thus pulling us through the chronologically ordered museum. We used film-making and saw the design art form used in curating the museum, as well as the Moquette of TFL (textile design). We also saw the graphic design on old TFL maps, which inspired us in making our movie poster.

Have you seen or done something like this before? What was similar to things you’ve seen or done in the past? I have previously been on a filmmaking course and this was similar, as we took inspiration from short films and learnt about plot and different types of shot. We also went on a tour of the museum of london transport, which is like the museum of london (which I have been to) in the sense that it uses the ordinary people of London to evoke a strong, living sense of London history.

Was there anything unexpected about what you saw/experienced? Yes, I was surprised by how beautiful the designs of the various TFL signs (and map booklets) were and how much thought, creativity and love went into making them. I was also surprised by the various types of seats used in the trains, as not only would they be aesthetically pleasing for a film shot, but they were also designed to look beautiful and to provide comfort for passengers, perfected over decades (their design changed very music).

What did you think was good and why? I think the tour by TFL was good, as it let me understand the design aspects better and how they related to the history of London and TFL, which I would not have been able to work out on my own, as previously I had no idea about design or how something could connect so deeply to the people of London and they transport they used. The tour of both places was interesting and brought the old vehicles to life and made me imagine the sort of people who went on them.

Is there anything about the arts event you didn’t like ? Why? I did not like that we did not get to link the design of the TFL logo, seats etc. more to how our films looked, as the design of these logos and vehicles was and is so beautiful that it would be a shame not to include these obvious sources of inspiration in our film-making process.

What have you learnt from this arts event? I have learnt that one must not forget the role of transport in making a city work. Transport functions beneath the surface (sometimes quite literally) and so those who use it can take it and maybe even its staff for granted, when in fact it has played a vital role in expanding London and creating the modern culture of our city.

What thoughts or ideas will you take away with you? I will take away with me the thought that transport can serve my local area and various modes of transport in all forms are highly beneficial to London. I will think of how hard the TFL staff work, as well those creative figures who worked on making the logos which are almost equally important in the transport service.

How will you share your review with other people, and how will you evidence this? I will include photos of the transport which I have taken and I will get feedback from other members of my group, as well as our advisors and the museum staff and I will upload all I have written, filmed and photographed etc. online on a blog run by the HCA and used by our group.

SIlver Arts Award Unit 2 Part A: your project & leadership role

What qualities do you think a good leader needs to have? A good leader needs to be able to direct the group they are working in. Such a leader needs to able to be confident and bold at decision-making, but also should not speak over others constantly, as other members of the group may have valuable ideas. A good leader should make all members feel included and everyone should feel listened, but a leader must also make sure that all members of a group know what their roles are and that they are doing what is required (and that they know what the task is).

What leadership skills would you like to develop in your arts leadership project? I would like to be more confident in interacting with others. I want to focus on making my group work as a cohesive team. I want the team members to have a supportive relationship and for us to benefit each other with the work we do. I want to ensure my group has an overall aim for the film once the conceptualisation stage is over, rather than us all having vastly different interests, which could lead to conflict. I want our group to function as one entity and I want to have a hands-on approach in ensuring this.

Describe your arts leadership project. What are you going to do? What will the overall aims and outcome be? My leadership project is social media and marketing. That category has been essentially split in two and another group member will focus more on the technical side of this category, whereas I will focus on the marketing aspect, although this still bears relevance to social media. We have set up our own film company for making this film and I will aim to promote our social media account. I have some past experience in marketing, as I previously had an Instagram, Twitter and Facebook account which I used to promote my rap music. In this, I paid attention to viewer analytics and made sure to target a specific demographic (18-25 year olds from the UK who were fans of Grime music) and I will use these skills in the future to try and get the right target audience. I will talk to people on the street (thus developing my people skills) and target a specifically young demographic, as they will not be that much older than us. My aim will be to get as wide an audience as possible when our film is screened at a festival and I hope the outcome will be that we receive the response that our film really connects with this audience and that they feel they can relate well to it.

What resources will you need? Are there any health & safety considerations? I will need access to social media and a large sheet of paper to do a mind map on marketing on. I will also need an Excel spreadsheet and Microsoft Word. I will need sufficient time, but not much else.

Health and safety considerations are that audience members must be covid-tested and also we must make space for wheelchair users. We must also accomodate people who require dogs, such as blind people or people who have anxiety dogs, as the animals would need enough space to sit down and have somewhere where they would not bark and interrupt our film.

What will your leadership role be? What will you be responsible for doing? My role will be to market our film. I will be responsible for ensuring our film is as popular as possible and that it appears professional, but not overproduced: I want to present our film in a way that will appeal to the audience (as emotional appeals are successful in marketing) and that it will appeal to as wide a range of people as possible.

How will this develop my leadership skills? It will give me a deeper level of understanding in a field where I would like to develop my skills further. Thus, I will be able to deal with potentially stressful situations and long working hours and I will be able to direct other members of my group and be able to contact them in a businesslike fashion about their ideas and how I can market them.

Will you be working with other people? What will they be doing? How does your role relate to the roles of others? I will be working with my teammates, who will be more focused on the actual concept of the film. I will get their feedback on how effective my marketing is and I will try and also get them to make their ideas as marketable as possible to an audience. I will also be working with someone on the social media aspect of the project and I will make sure my marketing of our film and company will be relevant to his social media account and what it reflects about our film.

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tcpontillas · 3 years

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Weekly Journal: Entry 8

Word Capture (NOVEMBER 9-13)

Overflow.

I am guilted beyond reason because I somehow feel like I manifested the flood brought by Typhoon Rolly and Ulysses with all my water-themed word captures for the past weeks.

I watched as the overflow of the waters began to creep in our house. I tried to keep my head above water despite the trauma from Ondoy seeping into my mind, and I could tell the same things were running through my family’s minds, too.

My emotions did not want to be outdone and so they also had an overflow of their own. Even after the flood, I found myself to be immovable, unable to work. Although I knew I eventually had to get up, I let myself get carried away by the current. Even for just a while, this was a necessary step to move on.

Reflection: Peer Observation (DECEMBER 1)

For the first required Peer Observation, I observed my co-English major T. Humi, who was assigned to Grade 8.

As expected, the high school classroom is very different from the grade school classroom I am currently trying to be familiar with. Like Sir Bam’s class, T. Humi and her students kept their cameras off for most of the session, only unmuting when necessary.

T. Humi opens with an icebreaker activity on Padlet, and students respond well. After discussing their answers, T. Humi proceeds with asking questions that are more related to the story of the lesson. The students responded to the first question, however, there were no responses for the second as it seemed to involve deeper thinking. T. Humi answers this herself and moves on.

For the main activity, T. Humi uses slides to show multiple choice questions about the story’s important points. Because responses were to be sent in chat, students were more responsive to this particular one. Much like high school and college literature classes, the assumption that everyone has read the story before coming to class was present as T. Humi went ahead and presented the assessment/discussion activity without any review of the story. While the slides were also simple and not distracting, my only comment would be to include at least some instructions on screen for those students who might not have heard it before the activity started.

Lastly, a group activity concludes the session. It is conducted on Google Slides and is mostly collaborative in nature because each group will have to unify an answer amongst themselves, instead of simply compiling individual contributions. The questions asked, I would consider, are enough to qualify for the higher levels of comprehension, although I think it could be further improved upon to really get the students to create more. The class then comes back to the Zoom classroom and they briefly discuss each group’s answer. T. Humi asks follow-up questions, and the group representatives were able to answer it as well. After some closing remarks by T. Humi and her CT, the class is dismissed.

As someone who is supposed to be teaching high school classes for practicum, I could not help but imagine myself in the same situation. Compared to the grade school sessions I’ve observed so far, I am a bit disappointed to say that high school classes somehow pale in color and excitement, although I do think that T. Humi did a great job and had a great composure all throughout the class.

What I have observed is beyond what my co-ST could have done and maybe even her CT, and it is that the exhaustion of the students from online classes was almost tangible. Classroom management was simple because there was just no noise at all. Students and teachers both struggle to engage with each other, and I notice that it gets more and more difficult as the students get older. There is no one to blame because keeping cameras and minimizing audio helps those with poor Internet connection, because we are all adjusting to a set up no traditional teacher was ever really prepared for.

I have no idea how much longer online classes will prevail in our country, but at this rate, I’m afraid we all cannot keep it up as long as we would hope to. Yes, we are all doing our best–teachers and students alike–but sooner or later we will run out of fuel. What then? Who suffers?

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zipgrowth · 7 years

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How One Master Educator Uses Visuals and Tech to Make Dracula a Must-Take Course

When Stanley Stepanic was growing up in Latrobe, Pennsylvania, he lived in a house built in 1823. “Back then,” he says, “it was always cool to say, ‘I live in a haunted house. There’s a ghost here, and she committed suicide during the Civil War.’”

“I was obsessed with ghosts and skeletons,” he says, “and Halloween was always my favorite holiday.”

When he was five or six years old, Stepanic told his mother he wanted a Halloween-themed birthday party. “I had a cake with a skeleton,” he says, “and I dressed as Dracula.”

It was destiny.

You have to envision yourself as basically an entertainer.

Decades later, Stepanic teaches a standing-room-only class at the University of Virginia entitled—cue up the spooky organ music—Dracula. The course is one of the school’s most popular, with a waitlist that once swelled to 1600; it was included in a roundup of “Top 10 Must Take Classes at UVA.”

An associate professor in UVA’s Department of Slavic Languages and Literatures, Stepanic earned the Graduate School of Arts and Sciences Teacher of the Year Award in 2012. He has also been selected as a Master Educator by the education technology company Course Hero, which produced a ten-minute film that features Stepanic and his crowd-pleasing class.

With Halloween upon us, we chatted with Stepanic about what his course addresses, how it became so popular, and why Bram Stoker’s Dracula is not a required read.

EdSurge: Can you give us a little background on the history of the Dracula course?

Stanley Stepanic: When I first came to UVA in 2005 to study for my master’s and my PhD, I was a teaching assistant to the course and was mentored by Professor Jan Perkowski. He had originally taught the class under the title of Vampires of the Slavs. He later changed the name of the course to Dracula. When I came here in 2005, the course had been taught for at least two decades.

When Perkowski retired, the department wanted to keep the course because it was their biggest in terms of enrollment. Since I was the last person who had taught it and knew anything about the subject at all, they asked if I wanted to do the course myself.

So I said, “Sure, but I’m going to do it entirely different. I am going to rework the course from the ground up. It’s going to be nothing like how it originally was, other than that title. I’ll keep the title.”

Master Educator Stanley Stepanic discusses his course, Dracula; video source: Course Hero

Professor Stanley Stepanic

What do you cover in your course?

The title, Dracula, is actually just symbolic. Basically, I track the development of human experience and human history, using the vampire as the frame to make it fun. We talk about anthropology. We talk about diseases, issues of racial identity, homosexuality—things you wouldn’t expect. Students usually are amazed when they take it.

We talk about the prehistory, the Slavs, Eastern Europe, then we go all the way to the modern day. Then we see what is a vampire, in the original folklore what does it mean, and then from there we see how that thing was adapted and assimilated and appropriated by Western culture and gets into literature. And then we go from literature to theater and then films and then pop culture in general.

The big takeaway is that the vampire is an expression of the human species itself. It has over time become a mirror for what we are, or for things we strive to be and haven’t achieved.

How do you teach a class called Dracula and not require students to read Stoker?

I used to have Dracula as one of the core texts. But students didn’t like it; they hated the book. Typical complaints are that it’s too confusing at some points; there are plot holes in it; and the characters are fake, I can’t connect with them. I don’t like the book personally. So I just took it out.

It’s really interesting to me that most people actually have not read the book. But they know that name and they think it’s the most famous work in horror literature ever written.

. . . you just can’t keep teaching the same notes with coffee stains from the 1950s on them.

How do you keep your students engaged?

This is one of the big changes I implemented. If you’re not entertaining students enough, they’re not going to pay attention to you. Professors will often ask me, “Why are you so good? What do you do that’s different?” I always say the same thing: You have to envision yourself as basically an entertainer.

Even though you’re teaching them, you have to entertain them at the same time. Otherwise 1) they’re not going to pay attention, and 2) they’re not going to learn. If you entertain them while they learn, they’re going to learn a lot more. I’ve always loved public speaking, so that was easy. But I realized early on, students are more and more visually oriented. So, if I’m talking about a film, I’ll show some of the original film posters or perhaps a clip or a trailer. It gives you a visual perspective of that time period.

How do you leverage technology in your course?

I’ve automated the grading for my essay test, which I was finally able to do with the help of a friend who programmed me a special little system this past year that I call Alucarda. [Editor’s note: What is alucarda spelled backward?] That’s made grading a lot faster and easier. I can do 30 exams in 15 minutes, which used to take me three days.

There’s one other thing I should mention about why the class has become so popular. I’ve always tried to keep up-to-date with the way the technology is advancing. So now I’ll use Google maps, archive.org, YouTube, the Internet and other sources students use.

Resources to Inspire Your Course Design

Professor Stanley Stepanic’s Dracula course file, with links to notes, quizzes, and study guides

Bram Stoker’s Dracula comprehensive study guide, featuring character maps, plot summaries, helpful context, and more

Bram Stoker’s Dracula infographic, highlighting characters, themes, symbols, and biographical information about the author

“Why do we associate vampires with sex?” — Course Hero Master Class by Professor Stanley Stepanic

“How did Dracula become the world's most famous vampire?” — TEDEd Lesson by Professor Stanley Stepanic

How do you pump new blood into your course?

Every semester I’m like, “I don’t like this slide. I need a clearer picture of this. I don’t like the way the text appears.” Every once in awhile, I’ll come across something new like a video. “Ooh, I could use this for this lecture.” I download them to save for later. So there are always things that I’m changing. Every semester it’s going to be a different course. The other thing we’ve got going is, of course, the vampire’s not going anywhere. It’s going to be in the media probably until the human race is extinct. Because the vampire represents problems we have yet to solve, and until we solve those problems, it will be one of the methods we use to symbolize them in order to cope with our lack of understanding.

As a friend of mine once said, as a professor these days, you just can’t keep teaching the same notes with coffee stains from the 1950s on them. You’ve got to be updating. You’ve got to be looking at what students are doing. So who knows how lectures will be taught 20 years from now. Whatever it is, I’ll be teaching that way. Maybe we’ll have some new social media app and we’ll be plugged into computers in our brains and you can experience Dracula through your eyeballs.

Whatever is going to happen, I’m going to have to adapt to it. You have to make yourself as relevant as possible every single year.

The Good Words

Here are six of Professor Stepanic’s go-to books for research on vampires:

1. The New Annotated Dracula, by Bram Stoker and Leslie S. Klinger

2. Bram Stoker: A Biography of the Author of Dracula, by Barbara Belford

3. Vampires, Burial, and Death: Folklore and Reality, by Paul Barber

4. The Vampire Film: From Nosferatu to True Blood (Fourth Edition), by Alain Silver and James Ursini

5. Bram Stoker's Notes for Dracula, by Robert Eighteen-Bisang and Elizabeth Miller

6. Dracula (Norton Critical Edition), by Bram Stoker, edited by Nina Auerbach

Vamping for the Camera

The vampire has been a cinematic stock-in-trade since the French short "Le Manoir Du Diable" was released in 1896, a year before Stoker’s Dracula was published. Here are five vampire films and one anime series recommended by Professor Stepanic:

1. "Hellsing Ultimate" (2006–2008, 2012, 2014; created by Kohta Hirano)

2. "Blade" (1998; directed by Stephen Norrington)

3. "Bram Stoker's Dracula" (1992; directed by Francis Ford Coppola)

4. "Dead of Night" [aka, Deathdream] (1974; directed by Bob Clark)

5. "Dracula’s Daughter" (1936; directed by Lambert Hillyer)

6. "Interview with the Vampire: The Vampire Chronicles" (1994; directed by Neil Jordan)

How One Master Educator Uses Visuals and Tech to Make Dracula a Must-Take Course published first on http://ift.tt/2x05DG9

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premimtimes · 5 years

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EDITORIAL: Onnoghen: Time to halt Nigeria's slide to anarchy

EDITORIAL: Onnoghen: Time to halt Nigeria’s slide to anarchy

On Friday, President Muhammadu Buhari suspended the Chief Justice of Nigeria, Walter Onnoghen. He immediately swore in Justice Tanko Muhammad as his interim replacement in a development that had precedence in what happened over four decades ago under military rule.

The president said his action followed an order he obtained from the Code of Conduct Tribunal before which Mr Onnoghen is standing…

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#cjn #Muhammadu Buhari #Onnoghen #Tanko Muhammad #Walter Onnoghen

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phillipagrylls · 5 years

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Throw-back to a post I wrote about the collab lit project I ran this year >

Earth, Monstrous Body

Phillipa Grylls 24/10/2018

The Digital Writers’ Festival is focussed on bringing the digital literary medium to life for a community of writers and readers. But what is the “digital medium”? For many people, it represents a slide away from the natural, earthy pages of books into the cold, technological world of the screen. This opposition between “nature” and “technology” filters much into our everyday thinking – but our thoughts seem like they aren’t keeping up with the world we live in. The synthesis between nature and technology is growing ever greater in the 21st century, to the point that viewing the two as opposed may no longer be possible.

It was from reflecting on this growing synthesis that the collaborative literature project ‘Earth, Monstrous Body’ came about for this year’s DWF2018. I started as a Creative Producer this year as part of an internship program, where I had free reign to create an event for the festival. I wondered, isn’t human existence always connected to animals, other humans, and “technology”? Donna Haraway says this interconnected condition makes up the very fabric of existence and calls it ‘cyborg’ existence.

I began to think: What if the Earth itself is a monstrous, cyborg body? We can no longer think of the Earth and the places on it as natural, and technology simply as a man-made add-on; “The earth has wire veins, satellite brains, and billions of human and technological micro-organisms.” And increasingly, when we humans navigate space, we do so virtually as well as in the real world. When we are discovering new places, most of us know the experience of spending half the time looking at Google maps! Inspired by creative uses of mapping, like Queering the Map and EJAtlas, I set about imaging a collaborative map to explore these ideas.

The platform of Earth, Monstrous Body attempts to reflect this meld of nature and technology, and the meld between virtual and actual space, by using Google maps to create a virtual future earth. Anyone, anywhere in the world, can drop a pin somewhere significant to them, and write about how they envision the future of that place; about a place they see as important for the future of the whole globe; or, about a completely new place which exists in a wild, imaginative future.

What will your home look like in 20 or 50 years? What about your local library, or a nearby farm? How will cities be affected by rising sea levels? What will power plants look like in 50 years? It might be easy to imagine a dystopian world, with crises like climate change and the bleak political and economic crises of today. But are there also visions of hope? Might technology help us as well as hinder us? A website called Future Timelinelays out some of the global changes that will take place over the next 50 years, to the next 1 million, and can provide some interesting springboards for the monstrous earth map! For example, it predicts that in 2050 “Hi-tech, intelligent buildings [will be] revolutionising the urban landscape” – how would we experience smart buildings and smart cities?

Four artists have been invited to start off the map, each contributing their unique visions of the future. In Sharon Lam’s speculative world, nostalgia has grown to the point where it is the centrepiece of culture. Postcards have become so retro cool that they are used to communicate anything and everything – including a breakup in a future primary school, a mysterious message between parents, and workplace communication at a new sort of aviary. Anupama Pilbrow and Zoe Kingsley collaborate on site-specific video poems based in the waterways of Narrm/Melbourne and Eora/Sydney. They explore environments as kinds of palimpsest, informed by inter-connected themes of dislocation, distortion, and interference, but also potential regeneration through technological and knowledge practices, solitary and social environmental connections. Dan Hogan imagines a post-modern SkyNet world, where the Terminator battles theoretically and literally about the grounding of cyborg subjectivity and non-binary gender. These unique visions will be live on the virtual earth at the start of the festival.

The ground of is also ripe for you to plant your own creative vision on the virtual earth – whether it’s one sentence or a whole poem, a piece of micro-fiction or an embedded drawing, drop a pin and help collaborate and create a virtual vision of the future earth, monstrous body.

Phillipa Grylls is a sapling of creative, critical, and cyborg energy growing in Melbourne, Australia. She makes poetry, critical and theoretical writings, and a capella electronic music. Current software updates include interests in digital literature and aesthetics, critical theories of democracy and technology, and space (cosmic, terrestrial, and literary). Phillipa is a Digital Writers’ Festival 2018 creative producer and programmed Earth, Monstrous Body – a collaborative literature project running for the course of DWF18. Add to the project from 30 Oct – 3 Nov

#my digital #my literature #melbourne #ewf #emerging writers festival #dwf2018 #digital writers festival #literature

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