Monday’s Guest Speaker

On Monday the 7th at 11AM we will have a guest speaker from Harmony House. If you think of some questions you would like to ask her, please write them down so you don’t forget them. It would also be great if we could have our donations box almost full by then, considering the deadline is the following Wednesday (friendly reminder that I will bring brownies only if everyone donates at least one item, and yes I will be keeping track).

~Rhiannon

Mini Workshop #5 from “Habits of the Creative Mind” subtopic “Exploring”: On Going Down the Rabbit Hole

*This Practice Session is Required – 5 Steps*  Each person will present a summary of their research to the class on Monday the 7th.

To read the preface before doing this work go here: Workshop # 5

This is the practice session assignment:

Researching

1. Type the words Ellen Dissanayake into the Google search engine. Press return.

Everyone who does this at the same time will get the same results. We can call this “ordinary research.” If you click on the Wikipedia entry for Dissanayake, you’ll find yourself on a page that provides a thumbnail sketch of the author and her work. Again, in gaining this foothold on Dissanayake’s work, you’ll be doing what any ordinary researcher starting out would do.

2. It’s what you do next that matters. Choose one of Dissanayake’s works that you find online and read it.

3. Your next task is to make your research into this researcher of the extraordinary. (We composed that last sentence with Alice’s Adventures in Wonderland in mind.) Set aside at least an hour for exploratory research. Begin by choosing a phrase, a quotation, a reference, or a footnote from the Dissanayake work you read and doing another Google search. Read two or more of the recommended links. Then choose a phrase, a quotation, a reference, or a footnote from the second set of works and do another Google search. Repeat. Repeat. And repeat again, until you’ve burrowed down to an insight or a question that you yourself find extraordinary.

Reflecting

4. We call the process outlined above, where you move from one linked source to the next, “drilling down.” Spend at least 30 minutes reflecting on this process. As you drilled down in your research, beginning with your first search about Dissanayake and ending with an extraordinary insight or question, how did you distinguish between ordinary and extraordinary moments of discovery? What choices yielded genuine surprises? Begin a list of useful strategies to include in your repertoire as a curious researcher, a list you can add to as you continue to practice drilling down.

Researching

5. Write an essay about your research into the extraordinary that presents a special or artful idea, insight, or question. Don’t write a schoolish “report” about your research. Instead, make something special with your words; write something that rewards repeated acts of attention.

Miller, Richard. Habits of the Creative Mind (Page 78). Bedford/St. Martin’s. Kindle Edition.

 

Mini Workshop #4 from “Habits of the Creative Mind”

To Read: Curiosity at Work: David Simon Pays Attention to the Disenfranchised

David Simon has excelled as a writer in many different roles: police reporter in Baltimore; author of two award-winning books, Homicide: A Year on the Killing Streets and The Corner: A Year in the Life of an InnerCity Neighborhood; screenwriter for Homicide, a television series based on his book of the same title; head writer for the HBO series The Wire; and cocreator and coproducer of the HBO series Treme. In 2010, he was awarded a no-strings-attached $625,000 MacArthur “Genius” Fellowship, which the MacArthur Foundation says “is not a reward for past accomplishment, but rather an investment in a person’s originality, insight, and potential.” Not bad for a guy who graduated from the University of Maryland with a C average.

What made it possible for Simon to move from cub reporter to chronicler of the collapse of American cities? The decades Simon spent on the beat in Baltimore made him comfortable with not knowing in advance what he was going to see or hear or report: “To be a decent city reporter, I had to listen to people who were different from me. I had to not be uncomfortable asking stupid questions or being on the outside. I found I had a knack for walking into situations where I didn’t know anything, and just waiting.” Simon learned to listen closely to the people of Baltimore and to pay attention to their multiple points of view. Because of the way he listened, he fell in love with the crimeridden, impoverished city.

Why has Baltimore gone from being a major US port to a city with one of the highest murder rates in the country? This is a problem that can’t be answered in a sound bite. It takes Simon five seasons of storytelling in The Wire to bring to light the multiple variables that work together in postindustrial capitalism to create the toxic conditions in which humans are worth less and less with every passing moment, while glistening new buildings rise on Baltimore’s Inner Harbor. These rapacious economic and social forces can’t be understood in isolation; they have to be seen in action, degrading the value of the lives of gang members as well as those who work in the police force, the failing shipping industry, the city government, the public school system, and the local newspapers. Like a contemporary Charles Dickens, Simon employs a large canvas, multiple intersecting plotlines, and memorable hard-luck characters to voice his critique of the widening gap between the haves and the have-nots. In the four seasons of Treme, Simon continues exploring the fate of American cities, this time focusing on New Orleans after Hurricane Katrina. Looking beyond the image of New Orleans as the Big Easy, a place where the good times always roll, Simon tells stories about the city’s recovery from the hurricane through the eyes of local musicians, a neighborhood bar owner, a “Big Chief” in the Mardi Gras parades, a civil rights attorney, and a jazz musician who has made good in New York. Why does he use storytelling and not journalism or the documentary form to do this work? Simon explains: “By referencing what is real, or historical, a fictional narrative can speak in a powerful, full-throated way to the problems and issues of our time. And a wholly imagined tale, set amid the intricate and accurate details of a real place and time, can resonate with readers in profound ways. In short, drama is its own argument.” Note: The first Simon quote is from Margaret Talbot’s New Yorker article, “Stealing Life”; the second quote is from “HBO’s ‘Treme’ Creator

In the four seasons of Treme, Simon continues exploring the fate of American cities, this time focusing on New Orleans after Hurricane Katrina. Looking beyond the image of New Orleans as the Big Easy, a place where the good times always roll, Simon tells stories about the city’s recovery from the hurricane through the eyes of local musicians, a neighborhood bar owner, a “Big Chief” in the Mardi Gras parades, a civil rights attorney, and a jazz musician who has made good in New York. Why does he use storytelling and not journalism or the documentary form to do this work? Simon explains: “By referencing what is real, or historical, a fictional narrative can speak in a powerful, full-throated way to the problems and issues of our time. And a wholly imagined tale, set amid the intricate and accurate details of a real place and time, can resonate with readers in profound ways. In short, drama is its own argument.” Note: The first Simon quote is from Margaret Talbot’s New Yorker article, “Stealing Life”; the second quote is from “HBO’s ‘Treme’ Creator

Note: The first Simon quote is from Margaret Talbot’s New Yorker article, “Stealing Life”; the second quote is from “HBO’s ‘Treme’ Creator

Miller, Richard. Habits of the Creative Mind (Page 52). Bedford/St. Martin’s. Kindle Edition.

Essay to read and practice questions to answer: “Asking Questions”

Go to this link in Google Docs to finish #4

https://docs.google.com/document/d/1DoviJ2f-G6uUQBfKMKKpgbc5lBG76mssrWbSueRk6CI/edit

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