Kelsey's blog

To be entirely honest, before we arrived and started working with the 5th grade students, I wasn't looking forward to this trip.  Because I was exhausted from the past few weeks and had little experience with teaching, I was very nervous, both about messing up the lesson and about being too tired to connect as much as possible with the students.  When we were told that we'd be working individually with students in the greenhouse, I grew even more anxious, worried that I wouldn't be a good teacher or learning partner to whomever I was paired with.  But, once we started our introduction activity and I saw the students' enthusiam, and their awesome dance moves, my worries dissipated and I felt better than I had for days.  Their energy and enthusiam was infectious, and I found myself increasingly engaged in everything we were doing.  It turned out that my worries about working one-on-one with a student in the greenhouse were unfounded- I really enjoyed working with and talking to the student I was paired with, and I loved hearing about how she likes gardening and math (it always makes me so happy to hear that students like math, since too many educational systems are far too good at teaching students to hate it).  One of the most powerful moments for me was when I was standing with the student I was paired with and another student and, when they asked if I made rubber band bracelets and I said I wasn't sure what they meant, the other student showed me the one she was wearing and said I could have it.

http://parkeharrison.com/

Artist Statement: "We create works in response to the ever-bleakening relationship linking humans, technology, and nature. These works feature an ambiguous narrative that offers insight into the dilemma posed by science and technology's failed promise to fix our problems, provide explanations, and furnish certainty pertaining to the human condition.  Strange scenes of hybridizing forces, swarming elements, and bleeding overabundance portray Nature unleashed by technology and the human hand." 

            The Giver, a children’s novel by Lois Lowry, was first published in 1993.  It tells the story of Jonas, who lives in a society that has converted to Sameness—everything is strictly controlled, there are no animals or colors, there is no war or fear or pain or choices.  When Jonas turns twelve, he is selected to the next Receiver of Memory, the one person in the community whose job it is to store all of the memories from before Sameness—memories of both joy and pain— and occasionally provide the Elders with advice based on those memories.  As the Giver, as the old Receiver of Memory tells Jonas to call him, transfers the memories to Jonas, Jonas comes to question whether Sameness is really as good as he’s been brought up to believe.  Eventually, when Jonas learns that Gabe, a baby his family has been caring for, is going to be released—which he discovers during his training is a euphemism for lethal injection—he runs away with Gabe, and the memories that he received from the Giver are released back into the community.  The book ends when Jonas and Gabe, near death from cold and starvation, find a sled and ride it down a snowy hill, toward a house filled with colors and love and music.  “Behind him, across vast distances of space and time, from the place he had left, he thought he heard music too.  But perhaps it was only an echo.”

I loved all of the works in Shonibare's exhibit, but I was especially captivated by his series of works, "The Sleep of Reason Produces Monsters".  Based on a 1797-98 print of the same title by Spanish artist Francisco Goya, which was part of a series critiquing the Spanish society in which Goya lived, Shonibare's series features 5 photographs, identical to Goya's print except for the sleeping figure and the phrase written on the desk.  Shonibare's photographs are each focused on a continent- one each for Europe, Australia, Asia, Africa, and the Americas.  In each photograph, he features a person whose apparent race contradicts the expected race for someone from the continent being portrayed, and, while the words on the desk in Goya's print translate to "The sleep of reason produces monsters," the words in Shonibare's photos ask, for example, "Does the sleep of reason produce monsters in the Americas?"  The animals in Goya's print- owls, bats, and a large cat that I can't exactly identify- are reproduced exactly in each of Shonibare's photos, symbolizing the monsters that the human figure's sleep of reason is seen to produce.

I like and agree with much of what Timothy Morton wrote in the excerpt of "The Ecological Thought" that we read, but I can't completely agree with his statement that "Fixation on place impedes a truly ecological view."  I can easily agree with one possible meaning of his argument, that we need to stop focusing just on the areas that we consider home, that we must be concerned with the world beyond ourselves.  However, when Morton writes that ecology has to do "with race, class, and gender... with sexuality...", acknowledging both the importance of people in ecological thought and the importance of acknowledging systems of oppression, I don't think that place can be separated from that.  Place plays an integral role in affecting privilege and marginalization, in determining who experiences the effects of environmental degredation and who doesn't (as Eli Clare and bell hooks made quite clear in their writings).  Growing up in a surburban, white, upper middle class neighborhood, I have been continually privileged and shielded from the effects of global climate change and other ecological threats.  For me, because of the place I come from, environmental justice has always been abstract- not a matter of life or death.  Therefore, when Morton lists the identities and marginalizations that matter to ecology, when he says that ecology has to do with "ideas of self", I don't know how he cannot include place in that list.

            To begin, a quote from the ecology of imagination in childhood by Edith Cobb: “The child’s ecological sense of continuity with nature is not what is generally known as mystical.  It is, I believe, basically aesthetic and infused with joy in the power to know and to be.  These equal, for the child, a sense of the power to make...”

When deciding upon a username to use for this site, I decided that I wanted to fall somewhere between anonymity and publicly claiming my identity.  I have been taught my entire life to keep my identity private online and, to me, anonymity often feels like safety.  But I also believe that we are all responsible for what we say, online or not, and by using my name on my posts I feel like I am publicly claiming responsibility for what I say.  So I decided to fall somewhere in the middle and use only my first name- generic enough that people outside of this course will probably not know who I am, but specific enough that I feel ownership over what I am posting here.  

My thought process for picking an avatar went along similar lines- I immediately rejected using a picture of myself, because it feels more identifying than I am comfortable with.  I also wanted to use a photo I have taken, because I often take pictures of things that interest me and I feel more connected to them than to other people's photos.