30 Nov. Final Portfolio W/S 2

Part I: Assessing Artifact Reflection

CommonFeedbackChart

WCP Programmatic Rubric with Added Process

Part II: Drafting Artifact Reflection

  • 1. Choose one of the artifacts and process documents you “brought” with you to class today
  • 2. “Articulate your process in composing” the artifact, and answer: “How does your writing process effect your intellectual process?
  • 3. Be prepared to work through prompt a-e as a class

RQ: WOVENText & Nixon (263-73)

Directions

Keep the following questions in mind as you read WOVENText (146-7 & 151-60). The questions are designed to guide your reading practices and our class discussions. You are not required to provide formal answers in class or online.

WOVEN Rubric, or what we are calling in the class “The Common Feedback Chart.”

1.How will the WOVEN Rubric, i.e. “The Common Feedback Chart,” be applied to your projects?

2.How will the WOVEN Rubric provide Macro and Micro views of your performances? (147)

Building the Final Communication Portfolio (151-60)

1. What’s a reflective Portfolio? How does it differ from other types of portfolios you will likely make over the course of your career?

2. Why write “self assessments,” i.e. reflective short essays about your project and process?

3.How does “reflective assessment” help you to transfer knowledge/skills from one course to another (152)?

4. What is the Final Portfolio?

5. What is Mahara?

Rob Nixon’s “Scenes from the Seabed: The Future of Dissent,” 263-273.

1.What does the epigraph mean? What’s the relationship between the epithet and the rest of the essay?

2. Why does Nixon invoke Atlantas in the first sentence, “The island of Atlantis, according to Plato, vanished into the ocean ‘in a single night and day of misfortune'” (263)? Is his opening effective, why or why not?

3. What does Nixon mean by “slow violence”? Why is the process of “slow violence” so difficult for writers to communicate?

4. Spend a minute looking at the photo of the underwater cabinet meeting, how does Nixon “read the scene” (264)? How does the president of the Maldives, Mohamad Nasheen, communicate the slow changes from climate change that his country faces? What does he want to accomplish through his “underwater cabinet meeting”? Is President Nasheen successful, why/why not?

5. What does the planting of a flag traditionally symbolize? How do the planted flags that Nixon discusses challenge older notions of the symbolic gesture (266-7)?

6. What some of intersections between human rights and environmental rights that Nixon highlights through his reading of the two “seabed scenes” in the first section of the chapter?

7. BP brands itself as “Beyond Petroleum” (268). What does BP intend for that slogan to mean? What does Nixon suggest it means?

8. What does Nixon mean by the phrase “technological sublime” (268)? What sorts of imaginative tools do people have to counter the “technological sublime”?

9. Why is it useful or important to frame the conversation about climate change as a contest over the symbols we use to represent what is happening to the world?