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James Baldwin & Nikki Giovanni, a conversation [FULL]

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The True True Truth - Trying to talk with someone who believes a conspiracy theory? Send them a video from someone they might listen to!

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https://youarenotsosmart.com/2011/06/10/the-backfire-effect/

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We don't treat all of our beliefs the same.

If you learn that the Great Wall of China isn't the only man-made object visible from space, and that, in fact, it's actually very difficult to see the Wall compared to other landmarks, you update your model of reality without much fuss. Some misconceptions we give up readily, replacing them with better information when alerted to our ignorance.

For others constructs though, for your most cherished beliefs about things like climate change or vaccines or Republicans, instead of changing your mind in the face of challenging evidence or compelling counterarguments, you resist. Not only do you fight belief change for some things and not others, but if you successfully deflect such attacks, your challenged beliefs then grow stronger.

The research shows that when a strong-yet-erroneous belief is challenged, yes, you might experience some temporary weakening of your convictions, some softening of your certainty, but most people rebound and not only reassert their original belief at its original strength, but go beyond that and dig in their heels, deepening their resolve over the long run.

Psychologists call this the backfire effect, and this episode is the first of three shows exploring this well-documented and much-studied psychological phenomenon, one that you've likely encountered quite a bit lately.

In this episode, we explore its neurological underpinning as two neuroscientists at the University of Southern California's Brain and Creativity Institute explain how their latest research sheds new light on how the brain reacts when its deepest beliefs are challenged.

By placing subjects in an MRI machine and then asking them to consider counterarguments to their strongly held political beliefs, Jonas Kaplan's and Sarah Gimbel's research, conducted along with neuroscientist Sam Harris, revealed that when people were presented with evidence that alerted them to the possibility that their political beliefs might be incorrect, they reacted with the same brain regions that would come online if they were responding to a physical threat.

"The response in the brain that we see is very similar to what would happen if, say, you were walking through the forest and came across a bear," explains Gimbel in the episode. "Your brain would have this automatic fight-or-flight [response]...and your body prepares to protect itself."

According to the researchers, some values are apparently so crucial to your identity, that the brain treats a threat to those ideas as if they were a threat to your very existence.

"Remember that the brain's first and primary job is to protect ourselves," explains Kaplan in the show. "The brain is basically a big, complicated, sophisticated machine for self-protection, and that extends beyond our physical self, to our psychological self. Once these things become part of our psychological self, I think they are then afforded all the same protections that the brain gives to the body."

How does the brain take something that is previously neutral and transmutate it into a value that it then protects as if it were flesh and bone? How do neutral, empirical facts about temperature and carbon emissions become politicized? How does an ideological stance on immigration reform become blended with personal identity? We explore those questions and more on this episode of the You Are Not So Smart Podcast.

This episode's cookie is Sugar Mint Cookies sent in by Haley Martin.

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This episode is also sponsored by Casper Mattresses. Buying a Casper mattress is completely risk free. Casper offers free delivery and free returns with a 100-night home trial. If you don't love it, they'll pick it up and refund you everything. Casper understands the importance of truly sleeping on a mattress before you commit, especially considering you're going to spend a third of your life on it. Get $50 toward any mattress purchase by visiting www.casper.com/sosmart and using offer code "sosmart." Terms and Conditions Apply.
Support the show directly by becoming a patron! Get episodes one-day-early and ad-free. Head over to the YANSS Patreon Page for more details. This episode is sponsored by The Great Courses Plus. Get unlimited access to a huge library of The Great Courses lecture series on many fascinating subjects. Start FOR FREE with Your Deceptive Mind taught by neurologist Steven Novella. Learn about how your mind makes sense of the world by lying to itself and others. Click here for a FREE TRIAL. Links and Sources Previous Episodes Boing Boing Podcasts Cookie Recipes The Brain and Creativity Institute Neural correlates of maintaining one's political beliefs in the face of counterevidence. Wikipedia's list of common misconceptions The Backfire Effect

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YANSS 093 - The neuroscience of changing your mind

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We don't treat all of our beliefs the same. If you learn that the Great Wall of China isn't the only man-made object visible from space, and that, in fact, it's actually very difficult to see the Wall compared to other landmarks, you update your model of reality without much fuss.

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Adam Grant: Are you a giver or a taker? | TED Talk

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In every workplace, there are three basic kinds of people: givers, takers and matchers. Organizational psychologist Adam Grant breaks down these personalities and offers simple strategies to promote a culture of generosity and keep self-serving employees from taking more than their share.

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In every workplace, there are three basic kinds of people: givers, takers and matchers. Organizational psychologist Adam Grant breaks down these personalities and offers simple strategies to promote a culture of generosity and keep self-serving employees from taking more than their share.

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Lily Percy, host: Hello, movie fans. I'm Lily Percy, and I'll be your guide this week as I talk with Monica Castillo about the movie that changed her life, Coco. Don't worry if you haven't seen it - we're gonna give you all the details you need to follow along.

[ music: "Remember Me (Ernesto de la Cruz)" by Benjamin Bratt]

When I first learned about the Mexican holiday, El Día de los Muertos, the Day of the Dead, I was so envious that Mexicans had this tradition of remembrance - of remembering their ancestors and the family members who have long died and who still live on in their memories. And yet the Day of the Dead was something that I never really understood until I saw Coco, and saw the joy and celebration and the very lack of death in it.

[ excerpt: Coco]

[ music: "Shrine and Dash" by Michael Giacchino]

Coco tells the story of a young Mexican boy named Miguel who loves music. And yet music is the one thing that his family has forbidden him from doing. From his great-great-grandmother to his great-grandmother to his grandmother to his mother, they've all told him "no, no, no Miguel, you cannot sing, you cannot play music. Music will not be heard in this house." And it's because his great-great-grandfather was a musician who left the family, and his name can't even be spoken. No one talks about him, and so Miguel grows up with this feeling of loss.

[ excerpt: Coco]

[ music: "Jálale (Instrumental)" by Mexican Institute of Sound]

Miguel secretly plays music and his family doesn't know, so when he first learns about a contest that's happening in his town around the Día de los Muertos celebrations, he decides he wants to enter it. And he tells his family and of course, they react negatively and forbid him from doing it. They even destroy his guitar, but he decides to perform anyway. So he steals one from the legendary musician, his hero, Ernesto De La Cruz, which hangs over Ernesto's grave. What Miguel doesn't know, though, is that by using this guitar, he's going to be transported to a different realm, the Land of the Dead. And this is where his adventure begins.

[ excerpt: Coco]

[ music: "Crossing the Marigold Bridge" by Michael Giacchino]

In order to get back to the land of the living, Miguel needs a blessing from his great-great-grandmother, Mama Imelda. And this blessing is hard to come by as she knows that the moment he goes back, he's gonna want to play music again. The family has to learn how to accept Miguel, and in turn, Miguel has to learn how to forgive his family, even when it feels unfair.

[ excerpt: Coco]

[ music: "Proud Corazón" by Anthony Gonzalez]

Holding onto grudges and family pain is something that I'm very familiar with and I think a lot of Latin Americans are as well. And that's something that resonated with Monica Castillo. I think we all have family members that we don't talk to - the aunt who doesn't talk to the other aunt because she once said something 15 years ago - and we all carry those within our families. Monica really related to watching that in Coco: this idea that we must forgive - otherwise, we pass that along to future generations, and it affects the people we become.

Ms. Percy: Well, I'd love to take you back in time for a minute by asking you to close your eyes for about ten seconds, and I'll just prompt you when it's time to come back from this time travel, to think about the first time you saw Coco.

Monica Castillo: Oh, boy. This is real far back. [ laughs]

Ms. Percy: I'd love for you to just close your eyes, think about where you were, who you were with, and how it made you feel. And I'll just chime in when the ten seconds are up.

So what memories came up for you?

Ms. Castillo: It's funny. When I was re-watching it, I also got a flashback to the first time I saw it. I saw it at a press screening, as many critics and reporters will do. A friend of mine brought me as her plus-one. And I remember my eyes welling up, actually, when the mariachi version of the Disney theme started.

Ms. Percy: Yes.

Ms. Castillo: That's how - already - emotional I was. [ laughs]

Ms. Percy: Oh, yeah. That stands out to you from the beginning.

Ms. Castillo: From the very beginning.

Ms. Percy: You think, "This is not the typical" -

Ms. Castillo: One character hasn't even spoken yet, and just the sign of Disney with mariachi music ...

Ms. Percy: This is not your typical Disney movie.

Ms. Castillo: I'm like - I was taken. I was just so excited.

[ music: Disney mariachi theme]

I also knew how rare this was. I'm a big Disney buff, as well. I grew up outside of Disney World. There's no escaping Disney from central Florida. And I just knew that we didn't have a lot of - maybe I couldn't use the word "representation," and I didn't know how to exactly verbalize it, but I knew there was no one like my family in the Disney canon. And this one, it's just, here we are in Mexico. It's not an outsider's perspective looking in; it is the perspective.

Ms. Percy: And it's vibrant. It's alive, and it's joyous. I think that's one of the first things that strikes me - as you mentioned, from the opening credits - is, this is not a stereotype.

Ms. Castillo: Right. I don't feel, at any point, that we were the butt of the jokes, that this was also very welcoming, even though I'm not Mexican-American, and I'm not Mexican, but I could access and see commonalities. I could relate. The use of Spanglish in the movie feels very natural. It doesn't - and I don't know if you have this problem, but as someone who's bilingual, so many movies will have the word in Spanish and then will translate it in English immediately afterwards. And I'm like, "So you just repeated yourself. That's weird. That's not how we use that." [ laughs]

Ms. Percy: Exactly. Nope. [ laughs]

Ms. Castillo: So it was nice to see and watch a movie where they get that right. The characters are pronouncing things correctly. It doesn't feel forced.

Ms. Percy: Well, and also that they're casting actual Mexicans, [ laughs] which...

Ms. Castillo: That helped a lot.

Ms. Percy: So outside of seeing this representation for the first time in a Disney movie, what else stood out for you? Were there - I don't want to say "lessons," necessarily, but something that really spoke to you as you were watching it that first time?

Ms. Castillo: Oh, yeah. The whole concept of "family comes first" - that's not just a Mexican thing, and that's certainly not just a Latin American thing. I think that goes across so many other cultures and is why a lot of people have been able to access and really hold onto this and cherish this movie. I moved away from my family in order to work and have a career and things like that, so the whole keeping those ties together, and even - I'm making an effort on my own to connect with cousins in Cuba and to keep those connections alive and well and trying to remember parts of my family history, because our grandparents may not always be there to tell us those stories. And we risk losing them if we forget them. So the whole "Remember me" and the whole intergenerational concept of that shared emotional trauma that gets passed down from generation to generation, and then this young Miguel steps up and says, "Wait. I want to remember my great-great-grandfather," [ laughs] even though, supposedly, this terrible thing had happened and he had left the family. And he's like, "No, wait. All these other things have happened." And then he goes on this adventure to, then, the afterlife, that then reveals that it wasn't everything that he had been told. So also, not just holding onto the family that we have in the living, but also holding onto our ancestors and the sacrifices that they made to get us where we are today.

[ excerpt: Coco]

Ms. Percy: That really resonated with me, as well, the first time that I saw Coco, I went to see it with my friend Eddie, who's Mexican-American. And he's talked a lot about that, for him, the movie represents this idea that we need to be remembered in order to exist. And watching the movie, I started thinking about a lot of the things that you talked about just now, the grandparents that are in Colombia that I didn't really know, because they weren't in this country, and then the grandparents that I just didn't make as much of an effort as I could've, because the relationship was by phone, and all of these ancestors that make us who we are, who, if you don't remember, it's like they don't exist. It's such an impactful message that, when I think about it, it makes me feel very sad.

But what I love about Coco is that it turns it around to also make you remember that it's not too late. Right?

Ms. Castillo: Right. Right. So at the end, when Miguel runs back from the afterlife and is trying to get Mama Coco to remember her dad, so he doesn't fade from memory - that's such a calling card for us, as the audience, as well, to reach out to those people, reach out to those relatives you may not have in a long time.

I definitely reached out to my mom afterwards and then, over the holidays, after the movie came out, I took my mom and my grandmother to go see Coco. And that was really interesting, because I - for whatever reason, I was a wreck throughout the whole thing. And then my mom is not a big movie-crier, and neither is my grandmother. So they were like, "Oh, yeah, this is cute." And they were really enjoying it. And then, at the very end - again, that Mama Coco scene, we were all crying. It was a shared, intergenerational cry. [ laughs]

[ excerpt: Coco]

Ms. Percy: Well, you've talked a lot about how one of the things - and you've written about this - that really stood out to you about Coco was the strength of the women in the movie.

Ms. Castillo: Oh, absolutely.

Ms. Percy: So I love the idea of you taking these strong women in your life to see this movie. Tell me a little bit about that. What is it about the women in this movie that really struck you?

Ms. Castillo: I think I really identified with Mama Imelda, who is the great-great-grandmother who, after her musician-husband "left" her, she then picks up her life and moves on and creates a life for her daughter. And then her daughter has children and continues her line and continues her family, even without a man. I'm sure a number of people whose families have dealt with divorce or have single parents, they can see that strength in that character.

And that reminded me of so many of the women in my family, as well, that it cannot possibly be easy to uproot and leave your country and have to start all over again. And even if your husband is there, that's still a lot. And then you also are dealing with children in the mix. Or even if - in my mom's case, she came to this country when she was a teenager. That is its own kind of trauma. And then growing up and figuring out enough to live life, enjoy it, and have her own family and continue on living - that's certainly a huge amount of strength.

Ms. Percy: You wrote about the fact that it's "a tribute to the strength of our mamís and nuestras abuelitas, the fierceness with which they want to protect us and the forgiveness" - I love that you talk about this - "the forgiveness to always put their love for us above our mistakes."

Ms. Castillo: I don't know what it is, but I've been writing about forgiveness quite a bit. I also recently jumped in on this for One Day at a Time. The last season also really deals with forgiveness. And I'm like, "Do we, as a culture, have to have a talk about this?" - because I know there are blood feuds and longstanding grudges. We almost pride ourselves, like, "Ah, that's the primo I haven't talked to in 26 years."

Ms. Percy: And the resentment is just gonna pass through generations ...

Ms. Castillo: And the resentment - "We will not forget that you wronged us." But maybe that's not right. Maybe that's not healthy. Maybe forgiveness is a way for us to move on, rather than to continue holding on. And in Coco, we really get to see forgiveness - it takes multiple generations to do that. But eventually, it comes around, and it's so cathartic. How wonderful is that feeling?

Ms. Percy: It really is. It was a very familiar thing, so I think you've struck upon something. I think all Latinos need to look at this movie and start having some conversations. [ laughs]

[ excerpt: Coco]

[ music: "A Family Dysfunction" by Michael Giacchino]

Ms. Percy: Even though This Movie Changed Me is a podcast, we love the worlds and images that movies create. Which is why for every episode of this season we commissioned original illustrations from artist Julia Kuo. We think you'll love them, too. Subscribe to our newsletter, and each week, you'll see one of Julia's beautiful new creations. Visit onbeing.org/tmcmletter and subscribe today.

[ music: "Much Needed Advice" by Benjamin Bratt & Antonio Sol]

Ms. Percy: Something that struck me, watching Coco this week, that I don't know if it's gonna resonate with you - but it was this scene early on with Miguel, where Miguel's watching Ernesto de la Cruz being interviewed. And you hear this little snippet in the scene of the interviewer ask, "Señor de la Cruz, what did it take for you to seize your moment?" And then Ernesto says, "I had to have faith in my dream. No one was going to hand it to me. It was up to me to reach for that dream, grab it tight, and make it come true."

It really resonated for me, as someone who's part of an immigrant family, a Colombian immigrant family who really - they don't understand, at all, my dreams, [ laughs] my desire to do what I do; they may have made fun of me for it. And I just was so curious, because you've chosen - as you said, your mom - your family seems like they wanted you to be a doctor; that was the path, and then you chose this entirely different dream.

Ms. Castillo: Oh, I one hundred percent related to that. [ laughs] How do you explain to your family that you want to become a writer? Because there's no one in your family that does that, who's artistic in that way or makes a living. So the only understanding of that is, "Oh, you're going to willingly go to college, do all these things; we've given you and sacrificed so much for you, and then you're going to willingly throw that away." That's how that news was received.

Ms. Percy: That must've been so hard for you.

Ms. Castillo: Yeah, because I'm not used to disappointing my parents. I was very much the proud A student, the kid who not only was doing after school sports, but also was doing community college in the evenings in high school ...

Ms. Percy: The oldest, so you have a lot of expectations.

Ms. Castillo: ... the oldest, so I had a lot of expectations running on that, and then I went to a really fancy private university that I will still be paying student loans for, for a while. So there was a lot of pride associated with that, because a lot of people in my family didn't get the chance to go to college. They came to this country, and they couldn't afford it. Or they didn't know that there were scholarships out there. So many things I had to learn on my own - even just dealing with FAFSA, neither of my parents had ever dealt with that before.

Ms. Percy: Same.

Ms. Castillo: I had to tell them, "OK, you need to do this, because I need this." And jumping on the phone to talk on behalf of my mother, in order to figure out what I needed to do for student loans, and things like that, just to be able - for me to go to college. So when I switched course, it was a big deal. And I switched in the middle of college. So that was hard for them to really come around to. And interestingly enough, it was my dad who finally accepted that I was gonna be a writer, that this wasn't a phase, that I wasn't just bumming around in my 20s or something, and saw that I was serious about it. And eventually, my mom came around to it. And I think the moment that really helped was actually when I gave them a tour of The New York Times, because I worked there for about a year and a half. And during that time, I got to show them around, and she saw that other people were doing what I was doing and was like, "Oh, OK. I understand now. This is your job. This is your profession."

Ms. Percy: This is not just a dream; it's also a job that you can make possible.

Ms. Castillo: Right. [ laughs] If you say that I'm going to go review movies for a living, a lot of people might look at you like, "How do you even - how does that work?" Because for my mom, the only person that she had that really came to mind for her, was Roger Ebert. And she's like, "Who do you think you are? Roger Ebert?" [ laughs]

Ms. Percy: [ laughs] I was just thinking about mine: "¿Quién crees que eres?" [ laughs]

Ms. Castillo: Oh, absolutely.

[ excerpt: Coco]

Ms. Percy: So since you've seen this movie so many times, and you've actually joked about the fact that you could write a book about it -

Ms. Castillo: Oh, I want to.

Ms. Percy: You want to write a book about it.

Ms. Castillo: I really want to, yes. [ laughs]

Ms. Percy: I will support you in this. You just tell me how to send you money. I'm just curious how it continues to change and grow with you, as you keep watching it. We've talked a little bit about how every time, a different kind of theme or scene or character resonates. And I just wonder, now, where you're at in your life, what resonates with you.

Ms. Castillo: I think, had I been younger - because this wasn't so long ago. [ laughs]

Ms. Percy: That's true. This is not a very old movie.

Ms. Castillo: This is not an old movie at all, no. And I think the older I get, the more I'll relate to the different women in the movie. Even Mama Elena, Miguel's grandmother, she's very protective, to the point where she can be threatening to some people. When she comes out, wielding the chancleta, we know she means business. So I think, had I been younger, watching this, I obviously would've so been on the side of Miguel and like, "Ugh, parents just don't understand. Grandma doesn't understand. Abuela doesn't understand." And then now I'm like, "But wait. There's a reason. There's a heartbreak behind all of their actions."

Ms. Percy: There's a struggle that they've all gone through.

Ms. Castillo: Oh, yeah.

[ excerpt: Coco]

[ music: "A Family Dysfunction" by Michael Giacchino]

Ms. Percy: Well, is there anything else that you want to say about Coco that I didn't ask you?

Ms. Castillo: Let me think. Oh, another scene that I also really, really enjoyed is that final one, where they bring everyone together - I know it's a very cheesy last moment, but it ...

Ms. Percy: Yes, but it's so beautiful.

Ms. Castillo: ... but it's such a beautiful - [ laughs] it's so beautiful. It works so well. And you see the multiple generations all together, in one place, in celebration. And it's like, that's what it takes. That's what it feels like.

Ms. Percy: And you see the forgiveness, because that's where you see the forgiveness come through at the end.

Ms. Castillo: Yes. Yes, and then the other kids have picked up musical instruments, as well. So you're like, this was meant to be; that this was always a part of us.

Ms. Percy: I love that. I love that.

[ excerpt: Coco]

[ music: "Remember Me (Dúo)" by Miguel, featuring Natalia Lafourcade]

Ms. Percy: Monica Castillo is a writer and film critic. She's also the President of The National Association For Hispanic Journalists' New York City chapter. You can find her work in The Washington Post, The New York Times, and Remezcla, and to make sure that you never miss her wonderful writing, sign up to her newsletter, Save Your Ticket Stub.

Walt Disney Pictures and Pixar Animation Studios produced Coco, and the clips you heard in this episode are credited entirely to them. Walt Disney Records released its soundtrack, and Michael Giacchino composed the music. And I just gotta say, "Un Poco Loco" is my absolute favorite.

Next time on This Movie Changed Me, we'll be talking with Slate's June Thomas about the movie that changed her life - the Ken Loach classic, Kes. You can currently find it streaming on Amazon Prime and iTunes, and I recommend you turn on the subtitles to fully take in these strong English accents.

The team behind This Movie Changed Me is: Maia Tarrell, Chris Heagle, Tony Liu, Kristin Lin, and Lilian Vo. This podcast is produced by On Being Studios, which is located on Dakota Land. We also produce other podcasts you might enjoy, like On Being with Krista Tippett and Becoming Wise - find those wherever you like to listen, or visit us at onbeing.org to find out more.

I'm Lily Percy, and let's celebrate our dreams, our struggles, and our disappointments - no matter how big or how small - because they make us who we are.

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Lily Percy, host: Hello, movie fans. I'm Lily Percy, and I'll be your guide this week as I talk with Monica Castillo about the movie that changed her life, Coco. Don't worry if you haven't seen it - we're gonna give you all the details you need to follow along.

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The English translation of "Scachs d'Amor".

The 15th century Catalan poem, "Scachs d'Amor," describes a game of chess played between Venus and Mars. The game which accompanies this text is believed to be the earliest recorded game under the modern rules of chess. The English translation of the poem below is available through the generosity of the late Dr. Josep Miquel Sobrer of Indiana University.

A poem called The Chess Game of Love [Scachs d'Amor], written by Don Francí de Castellví and Narcís Vinyoles and Mossèn [Bernat de] Fenollar, under the names of three planets: Mars, Venus, and Mercury, by conjunction and influence of which the work was devised.

Don Francí de Castellví carries the game of Mars and takes the name of Love; his standard is red [white pieces]; his King is reason, his Queen, will; his Rooks, desires; his Knights, praises; his Bishops, thoughts; his Pawns, services.

Narcís Vinyoles carries the game of Venus, and takes the name of Glory; his standard is green [black pieces]; his King is honor; his Queen, beauty; his Rooks, reserve; his Knights, disdains; his Bishops, sweet glances; his Pawns, courtesies.

Mossèn Fenollar speaks the effects of Mercury: first, he scans the board; he compares it to Time; he counts the number of houses, they are sixty-four; sixty-four stanzas answer to them; he proffers the laws and pacts that must be followed by the players.

The stanzas are in chain form [ABAB/BAB/CC], with nine lines each and in sequential order, that is, four, three, and two, and thus must they be written and read. In their inscriptions [ epitafi] you will see the sum of their literal sense, that is, the game of chess and the pacts to be obeyed.

The Chess Game of Love
Castellví
( His Queen takes the Knight's Pawn on the Lady's side)
Fenollar
( Speaks about mate)
Castellví
( Plays his Lady's Bishop to three houses from the King)

Good Value finds no discomfort
From Thought spent in such an article,
But, with an effort from Desire, it chooses and fights
Against Disdain, the support of Honesty;
And Disdain, raising its voice clearer than beryl,
It now frets and trebles
Seeing Pleasure within its own episticle.
Perfection takes form from its end;
And thus the love of good gains shape.
Links of Interest Scachs d'Amor in the original Catalan Castellvi vs Vinyoles, Valencia 1475 at chessgames.com Valencia Spain: The Cradle of European Chess by Dr. Ricardo Calvo Valencia and the Origin of Modern Chess A word on the origin of this site
For inquiries regarding this page, please contact

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The 15th century Catalan poem, "Scachs d'Amor," describes a game of chess played between Venus and Mars. The game which accompanies this text is believed to be the earliest recorded game under the modern rules of chess. The English translation of the poem below is available through the generosity of the late Dr. Josep Miquel Sobrer of Indiana University.

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Drew Dudley: Everyday leadership | TED Talk

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We have all changed someone’s life -- usually without even realizing it. In this funny talk, Drew Dudley calls on all of us to celebrate leadership as the everyday act of improving each other’s lives.

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The videos on this page show the following : the story of the goblet maker, poems about the river Lee, the story of source to sea, entomology, clean water, salmon passage, trout and eel, biodiversity in the river Lee catchment from Gougaunne Barra Valley to Cork Harbour.

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We have a global problem with one way plastics, single use water and soft-drinks bottles and of course, coffee cups! This culture of 'quick use' objects to satisfy our contemporary lifestyles has become a massive problem. The Source To Sea team have come up with the #withORwithout idea. Using your camera phone as you walk or cycle around our beautiful countrside, simply stop, take a foto WITH the piece of ugly rubbish, remove it, snap the same shot WITHOUT the enemy and dispose of the rubbish. You can post it to our media platforms or tweet or instagram it. We have plenty of fotos to follow right here on this page. Please share if you care.

We have also designed and constructed a very special mobile unit from recycled metal, wood and iron. The photos here document and introduce the Source To Sea, WANDERLEE. As we meander the Pure Drop downstream there are sections of the river that deny access due to difficult and dangerous topography. There are two dams on the Lee. There is the upper Gearagh which should not be disturbed by humans for the sake of exploration or pleasure. Its a very delicate inland river forest delta. And for all those that prefer to walk the Pure Drop down the Lee valley, enter the WANDERLEE.

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We have a global problem with one way plastics, single use water and soft-drinks bottles and of course, coffee cups! This culture of 'quick use' objects to satisfy our contemporary lifestyles has become a massive problem. The Source To Sea team have come up with the #withORwithout idea.

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Soul TV SHow

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ShoutFactoryTV : Watch full episodes of Soul!

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GO back into spring resources cull the best.

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GO back into spring resources cull the best.

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The Writing Center * University of North Carolina at Chapel Hill

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What this handout is about

This handout suggests reading, note-taking, and writing strategies for when you need to use reading assignments or sources as the springboard for writing a paper.

Reading strategies

Read (or at least skim) all parts of the reading. Sometimes the cover, title, preface, introduction, illustrations, appendices, epilogue, footnotes and "about the author" sections can provide you with valuable information.

Identify the genre of the reading. What kind of a reading is it? (Journal article? Mass media? Novel? Textbook?) Why was it written? Who does the author assume is going to read this work? (Books about politics written for an audience of political scientists, for example, might be very different from books about politics written for the general public, for historians, or for sociologists.)

Consider the author. What do you know or what can you learn about this person? Why did he or she write the book? What sources of information and/or methods did he or she use to gather the information presented in the book?

Guess why your instructor assigned the reading. How does it fit in with other readings, class discussions, major course themes, or the purpose of the class?

Get out a calendar and plan your reading. Get out a calendar and plan your reading. Plot the number of days or hours that it may take you to complete the reading. Be realistic. It may help to read one chapter of the reading and then revise your calendar-some readings take longer than others of a similar length. Make an appointment with an academic coach at the Learning Center if you'd like to learn more about scheduling your work or reading more quickly and effectively.

As you read, record your reactions and questions. Any reaction or question is valid, from the specific ("What's that word mean?") to the general ("What's her point?"). Write them down now so that you'll remember them later. These reactions and questions can serve as material for class discussion, or they can be the jumping off point for brainstorming a paper.

Read with a friend. Find someone else who is reading the same book. Set reading goals together and plan to share your reactions to sections of the reading before class, after class, over e-mail, and so on.

Visit your instructor during office hours to discuss the reading. Your instructor will set aside hours when he or she will be available to meet with students. This is a great time to talk about the reading, ask questions, share your reactions, and get to know your instructor. You can do this with a friend or in a small group as well.

Think about what is missing in the reading. Issues, events, or ideas that are missing, left out, avoided, or not discussed/addressed in the book might be important. Thinking about these omissions can give you a critical perspective on the reading by showing you what the author (consciously or unconsciously) doesn't want to deal with.

If you know you will have to answer a particular question in response to the reading, read with that question in mind. Sometimes faculty will give you essay questions in advance. As you read the text, refer back to those questions and think about your emerging answers to them.

Writing strategies

While reading

Write as you read. Record your reactions informally and briefly after you've read for a while. When you're done reading a section, write for five minutes to capture your personal thoughts, reactions, and questions as you go along.

Keep your notes with your book. Tuck a few sheets of paper or a notepad inside the book to record your ideas as you read.

Share your informal writing with a friend. Trade notes/questions/reactions to the book. Write five-minute responses to one another about the reading. This can be done by e-mail.

Draw while you read. Drawing pictures, maps or diagrams of relationships or important issues that you see emerging from the reading can help you understand them. Be willing to revise or redraw the map as you read.

After you read

React to the whole reading. Take twenty minutes to record your reactions to the reading as a whole. (Return to the reading strategies list to get you started if you need to.) Don't be afraid to guess, hypothesize, or follow a tangent.

Reread the writing assignment. The Writing Center has a useful handout on understanding assignments that may help.

Get out a calendar and schedule the time you will need to write your paper. Working backwards from the due date, plot a timeline for producing the paper. Include time for at least one rough draft and one chance to receive feedback from others (a friend, your teaching assistant, your professor, the Writing Center, etc.) before turning it in.

Plan your research and think about citation. If the assignment requires library research, decide upon a strategy for collecting and citing sources as you research and write. Be sure to cite any quoted information or information that was not generated by your own analysis. Your instructor can answer all of your questions about this important step.

Write a draft, preferably a few days before the paper is due. Instructors can usually tell the difference between papers that have been carefully drafted and revised and papers that have been hurriedly written the night before they are due. Papers written the night before often receive disappointing grades.

Get feedback from at least one person, and preferably several people, before you finalize your draft. When possible, give your readers a copy of the assignment, too. E-mail can make this process easier. See the Writing Center's handout on getting feedback.

Proofread your paper to catch errors before handing it in. Taking the time to spell-check and proofread will make your paper easier to read and show your reader that you cared about the assignment. The Writing Center's handout on editing and proofreading may help.

When you get your paper back

Read all of your instructor's comments. Assess your strengths and weaknesses in completing this reading/writing assignment. Plan what adjustments you'll make in the process for the next reading/writing assignment you will undertake. It may help to save all of your old papers so that you can refer back to them and look for patterns in your instructor's comments. You may also want to keep a small notebook for your own assessment-writing down that you didn't leave ample time for revision on one paper, for example, may help you remember to schedule your time more effectively for the next paper.

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 4.0 License.
You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill
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Reading to Write - The Writing Center * University of North Carolina at Chapel Hill

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What this handout is about This handout suggests reading, note-taking, and writing strategies for when you need to use reading assignments or sources as the springboard for writing a paper. Reading strategies Read (or at least skim) all parts of ... Continued

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