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Learning about each other, our multiple worlds, feelings about writing, the words and texts that we care about, our goals/hopes and dreams for the weeks.

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Akeelah & the Bee - reading "Our Deepest Fear"

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Akeelah & the Bee - reading "Our Deepest Fear"

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Akeelah and the Bee movie clips: http://j.mp/1uwhabk BUY THE MOVIE: http://j.mp/KQelJI Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr CLIP DESCRIPTION: Dr. Larabee (Laurence Fishburne) inspires Akeelah (Keke Palmer) to follow her passion and believe in herself. FILM DESCRIPTION: A young girl learns to believe in herself and value her intelligence in this critically-acclaimed, family-friendly drama. Akeelah Anderson (Keke Palmer) is an 11-year-old being raised by her mother, Tanya (Angela Bassett), who was left on her own after the death of her husband. While Akeelah is a very bright girl, she's hardly a star student and seems afraid of acting like a bookworm around her friends and classmates. However, Akeelah's teacher sees genuine potential in her student and encourages her to enter the school's spelling bee, convinced Akeelah has the brains and the talent to win. Akeelah applies herself and emerges victorious in the local competition, but discovers the going gets tougher when she goes to a statewide bee, studying for the regionals under the aegis of strict English teacher Dr. Larabee (Laurence Fishburne), who consents to act as her coach A college professor who was a spelling-bee champ as a child, Larabee is a stubborn taskmaster who questions Akeelah's ability and commitment, but in time he develops a respect for his pupil and helps her prove her talent as she climbs the ladder to the National Spelling Bee. Meanwhile, Tanya feels intimidated when she finds the contests are dominated by children from wealthy families and privileged backgrounds, and argues that the competition may not be in Akeelah's best interest, believing instead that homework should be the one and only priority in Akeelah's life. It soon becomes apparent that if Akeelah has any intention of entering the national spelling bee championships in Washington, D.C., she will not do so with Tanya's permission or blessing. This marks the first onscreen reunion of Bassett and Fishburne since their Academy Award-nommed performances as Ike Turner and Tina Turner in Brian Gibson's 1993 biopic, What's Love Got to Do with It. CREDITS: TM & © Lionsgate (2006) Cast: Laurence Fishburne, Keke Palmer Director: Doug Atchison Producers: Jaki Brown, Michael Burns, Marc Butan, Mark Cuban, Laurence Fishburne, Sidney Ganis, Nancy Hult, Michael Johnson, Kent Kubena, Danny Llewelyn, Tom Ortenberg, Michael Paseornek, Dalia Phillips, Michael Romersa, Helen Sugland, Mike Upton, Todd Wagner Screenwriter: Doug Atchison WHO ARE WE? The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans. SUBSCRIBE TO OUR MOVIE CHANNELS: MOVIECLIPS: http://bit.ly/1u2yaWd ComingSoon: http://bit.ly/1DVpgtR Indie & Film Festivals: http://bit.ly/1wbkfYg Hero Central: http://bit.ly/1AMUZwv Extras: http://bit.ly/1u431fr Classic Trailers: http://bit.ly/1u43jDe Pop-Up Trailers: http://bit.ly/1z7EtZR Movie News: http://bit.ly/1C3Ncd2 Movie Games: http://bit.ly/1ygDV13 Fandango: http://bit.ly/1Bl79ye Fandango FrontRunners: http://bit.ly/1CggQfC HIT US UP: Facebook: http://on.fb.me/1y8M8ax Twitter: http://bit.ly/1ghOWmt Pinterest: http://bit.ly/14wL9De Tumblr: http://bit.ly/1vUwhH7

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Akeelah and the Bee (3/9) Movie CLIP - Our Deepest Fear (2006) HD

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I have done this activity many times and I frame it as an activity talking about adapting to change and how something so simple can be complex, but even though it is difficult at first we slowly get better as we go. For advanced groups I add Jump and Spin to the other 4.
Great activity.. THanks Mark

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Walk & Stop - Hilarious Large Group Energiser To Inspire Good Listening

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I have done this activity many times and I frame it as an activity talking about adapting to change and how something so simple can be complex, but even though it is difficult at first we slowly get better as we go. For advanced groups I add Jump and Spin to the other 4.

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in our notebooks, what is one thing that stood out, good bad, ugly for this day....

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what do you keep sacred about Juneteenth?

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what do you keep sacred about Juneteenth?

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many ideas and resources

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"JUNETEENTH!"

Flyers shout this word along the streets of Tulsa, Oklahoma.

It's 2018. I have just moved to Tulsa from New York City, and I have never heard of Juneteenth. When I crossed the Mason-Dixon line, I found myself in another world.

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"JUNETEENTH!" Flyers shout this word along the streets of Tulsa, Oklahoma. It's 2018. I have just moved to Tulsa from New York City, and I have never heard of Juneteenth. When I crossed the Mason-Dixon line, I found myself in another world.

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My parents never told me that they had changed my name from Tiffi to Lauren when I was 6 months old. Would I have been a different person as Tiffi?

Credit... Lucy Jones

Lauren is my name, and always has been - or so I thought until one afternoon just before I turned 30. Over turkey sandwiches, my oldest sister, Missy, and I discussed what our names might have been. "Mom was going to name you Amy Beth," I said. Missy nodded.

"And how crazy is it that you were actually Tiffany Leigh?" she said.

"What?" I spewed, my mouth full of bread. Missy clenched a smile.

"Oh, God. I didn't mean to tell you that. But I guess it's time you know. Mom changed your name to Lauren six months after you were born." She patted my arm. "Until then, we called you Tiffi."

I was dying to know more about who I was and who I might have been - about both Lauren and Tiffi. I went right to the source.

In the tradition of the radical feminist Kathie Sarachild, who named herself after her mother and coined the phrase "Sisterhood is powerful," my mother, Catherine Gracechild, identifies nominally as the child of her mother, Mary Grace.

My mother is a rule defier, a pantsuit wearer, a reiki master and a tarot card reader. She taught high school English for three decades - and found teachable reasons to transform her classroom into a dance party.

When I was a teenager, and my father joined us shirtless at the dinner table during a heat wave, my mother removed her top, too, revealing a polka dot bra. "If he can, I can," she said. My mother is eccentric, and in ways I admire and often emulate. The Tiffi story should not have shocked me.

When I asked my mother what happened on the night of my birth, I expected to hear her speak about Tiffany with fondness, as if she were her secret daughter who had lived for a time, but had died young. The fact that Tiffi existed at all meant she deserved to be remembered, or so I thought. But my mother didn't agree.

When she told me the story, she was careful to correct me when I called myself Tiffi: "Lauren, you're Lauren."

As Catherine Gracechild tells it, on the autumn night she went into labor with me, my birth accelerated so fast, her mind could not process the whirlwind of my arrival. So she delegated the task of naming me to my middle sister, Shayna, who was 10 years old.

She chose Tiffany, and my parents presumably liked it at first. Why did they have second thoughts?

"I changed your name because the other teachers where I taught thought Tiffi sounded like a stripper," my mother finally said.

"And you listened to them?"

"It's silly, I know."

"So what if I were a stripper, or more sexually free for that matter?" I asked.

The Tiffi my mother's co-workers envisioned could have been vastly different from Lauren the insufferable, who did not drink or have sex until she was 20. Lauren's name was not said in ecstasy; it was announced by nuns in monophonic tones in the context of winning good girl awards. Lauren was called onstage on high school graduation day to receive the plaque for the student who best exemplifies Christian values. Lauren was president of the National Honor Society and student of the month.

But what about Tiffany? I needed to know how it felt to be her.

I was faced with two roads, which did not stretch before me, but appeared behind me, leading to the Lauren I'd become. Tiffany would have walked that first path, had she lived on, while Lauren definitively took the other. The first was indeterminate, but the second was crystallized. I tried to envision Tiffi's potential trajectory. But I couldn't do it by myself - not as Lauren.

I changed my name, not legally, but on Facebook and on my iPhone. I told my friends and family I would answer only to Tiffi for three weeks.

The more people referred to me as Tiffi, the more I started to feel like her. To feel like her was to assume a rebelliousness - to become unshackled by the conventions I had allowed to dictate my days. Two of my girlfriends took me out and dressed me as the stereotype of what I imagined a Tiffi would be. Instead of wearing yoga clothes and sweats, I wore short skirts and form-fitting tops. I wobbled in high heels. I stopped straightening my hair. I let my curls - the conflicting mixture of ringlets and limp wisps I was born with - be their wild selves.

I said yes more - to going out at night, to dating, and to doing things that were edgy for me (don't laugh), such as having more than one drink. I began posting street art in Philadelphia. One night when I stuck a poem to the concourse that leads to the Broad Street Line, a transit policeman hastened toward me. I felt my heart quicken and my cheeks warm. But instead of reprimanding me, he said: "You know you're not supposed to do that. I'll let it slide, though, because I like to tag, too." As we exchanged Instagram handles, all I could think was: Lauren would never do this.

When the three weeks were up, and I told my mother I wanted to start the paperwork to change my name, I could hear her choke up over the phone. She said:

"Lauren, I always saw you as seizing the meaning of your name. You are the laurel crowned."

That's when I first understood what Lauren really meant - not the etymological definition of it, but how I, alive, had fleshed the name out.

When someone calls your name, you hear them as they see you. You hear how they hold you (or don't) in their voicings of you.

The way my mother uttered my name got to me. I had heard her say it throughout the years, and in varying tones. I heard the phonemes, the music of her saying my name as a child, when I was beginning to forge who I was, in the stories we read before bed. I heard her scowl, justifiably, at me as a teenager. I heard her now, a voice I know, as someone who knows me.

I decided to keep my name because it was already mine.

When I heard my mother answer the phone on the first ring or my grandmother sing "Lauren" up the stairs of my childhood home on school mornings, I heard their love for me, which was not always perfect, but it had become something beautiful - a glittering constellation that I cannot hear in any other word. When I hear my fiancé pronounce "Loren," when I hear my stepson say "Lauren" in his treble lilt, when I hear my father say my name in his New Haven accent, I hear myself and I know myself.

My name has come to signify not only my identity, but also the love from those who said it during important moments in my life. I could not lose Lauren.

Tiffi is an arbitrary set of letters. She is also someone I never really was.

But her hair, her wild hair - I decided I had to keep it.
Lauren DePino writes about love and mortality and is working on a memoir.

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How I Came to Own My Name (Published 2019)

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My parents never told me that they had changed my name from Tiffi to Lauren when I was 6 months old. Would I have been a different person as Tiffi? Lauren is my name, and always has been - or so I thought until one afternoon just before I turned 30.

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What if we could make "this" our background?

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What if we could make "this" our background?

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maybe an image from the Ouisi would be something desired as a backgroudn.

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When you see Kehinde Wiley's Napoleon leading the Army over the Alps, it is reminiscent of Jacques-Louis David's 19 th century painting, Napoleon Crossing the Alps, in more than just its name. Wiley's 2005 reinterpretation of the 1801 painting takes the original and runs it through a process of modernization creating a vibrant 21 st century take on the portrait of the famed leader.

This autumn, the paintings will come together for the first time ever, to be hung alongside one another at the Château de Malmaison in Rueil-Malmaison. After making their debut together, the paintings will then head to the Brooklyn Museum in New York giving people around the world the chance to look at them side by side.

Commissioned in 1800 by the King of Spain, David's celebrated portrait of Napoleon was completed the following year and two subsequent copies were made in the years following 1801. The painting was the King of Spain's attempt to win favour with Napoleon but in the end, it didn't work and Napoleon replaced the king with his brother, Joseph, just eight years later. David's painting, though, has remained an impressive example of the style of portraiture associated with royalty and military prowess that wreaks of power.

If you're unfamiliar with the painting, David depicted the Napoleon atop a rearing horse as he led his troops through the Alps in Austria. Cloaked in a red swath of fabric, he stares out at the viewer as he points onward. Set against a naturalistic backdrop, the stones below him are etched with the names of other great leaders who traversed the mountains, including Hannibal and Karolus Magnus (Charlemagne), alongside his own name. The scene actually never happened, though, and Napoleon never even sat for the portrait. In reality, his troops marched through the alps and he followed days later riding a donkey. Thus, the painting is nothing more than propaganda to perpetuate the idea of Napoleon to those he conquered.

In 2005, the painting became the inspiration for Wiley, who recreated the scene but made some changes that directly comment on authority and its representation, historically, The steed remains but instead of Napoleon, Wiley depicts an anonymous black man, who the artist found during his 'street-casting process,' in which he literally asked people he met on the street to sit for his works. The man wears a camouflage outfit and Timberland boots mimicking notions of the military but only insofar as fashion is concerned. Wrapped in a gold cloth now, Napoleon's blue coat and gold-encrusted sword also remains peeking out beneath the man's jacket. The background has been replaced with Wiley's signature painted, patterned fabric, this time in red and gold. Within it, are small painted sperm that comment on the hyper-masculinity associated with the style of portraiture, which was so common amongst the western world, and this subgenre specifically. Wiley does, though, retain the rocky terrain and the names, but he adds in Williams. The addition does not relate to one person, exactly, but comments on the Anglo name, which is also common among African-Americans, that has been forced on people of African descent due to the slave trade. As a whole, Wiley's version of the painting is a comment on the treatment of people of colour throughout history and their lack of representation in such kinds of works.

Seeing the two works alongside each other will prove to be an incredible experience that might not happen again anytime soon. It will offer viewers the chance to look at such portraiture in a different light, but also the opportunity to see all the details that are carried over to Wiley's version and still all the parts that are not kept. The two large-scale paintings together for the first time will definitely be a sight to see that needs to be experienced.
The two paintings will be on view between October 9th and January 22nd, 2020 at the Château de Malmaison before heading to the Brooklyn Museum where they will be exhibited from January 24th through May 10th, 2020.

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Portraits inspired by Napoleon by Kehinde Wiley and Jacques-Louis David come together for the first time ever

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When you see Kehinde Wiley's Napoleon leading the Army over the Alps, it is reminiscent of Jacques-Louis David's 19 th century painting, Napoleon Crossing the Alps, in more than just its name. Wiley's 2005 reinterpretation of the 1801 painting takes the original and runs it through a process of modernization creating a vibrant 21 st century take on the portrait of the famed leader.

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What are some of the things you've developed knowledge, experience and/or skill in over the past two challenging years? Make a badge for 2-3 to recognize your growth and dedication.

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Possible activity:Life-size figure on butcher paper

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Possible activity:Life-size figure on butcher paper

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each has their body traced out on butcher paper and then will annotate with symbols and words to represent multiple aspects of themselves. Maybe we will explore metaphor with this as in - what is in your heart? where are you grounded (e.g. by your feet).

we can also add a dimension by using the back of the figure which could be either what do people not know or see about you OR what/who are you not....

all the things that make us up (our interests)
horizon about Braddock
back - things people don't see about me. to keep adding to.

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Step 6 - Remove the capacitors

Looking at Natalie's hack, she managed to get her capacitors to lay flat, which meant desoldering them and reattaching them laying on their sides. The two capacitors are NOT identical, so I made a note of which went where on the circuit board.

And then I made my biggest mistake of the entire project. Learn from me! A couple of important disclosures:

1. I am not an experienced electronics hobbyist. My technique is definitely in the developing phase.

2. I did not have soldering wick when I started, although I was aware of its existence.

3. I should have ordered a set of helping hands when I (eventually) bought my soldering wick.

First, I tried to desolder them by heating the solder on one side and pulling on the capacitor. This would have been ideal as it would have kept the capacitors' legs as long as possible, making it easier to reattach them so that the capacitors could lay flat. I don't know if it's my soldering iron, the kind of solder the factory used when manufacturing the case or some combination of the two, but it was really, really hard to get the solder to re-melt and by the time it did, the board and components were too hot and I'd scorch my fingers. (This is where the helping hands would have been really useful.)

The mistake: I decided to trim the capacitors' wires as close to the solder join as possible with the theory I'd be able to pull the end free more quickly, before the solder cooled. This would have been workable if I didn't have to reuse these capacitors or if I wanted to mount them vertically on top of the circuit board.

Sadly, this still didn't work-I was succeeding in scorching my fingers but not freeing the capacitors. I admitted defeat and ordered soldering wick. (And should have also ordered the helping hands.)

Once the soldering wick arrived, I took another stab at desoldering the capacitors. It took some time, practice and a lot of rookie mistakes (pro tip: remember to expand the soldering wick into as wide a ribbon as possible before attempting to desolder), but eventually, I managed to detach the capacitors ( Picture 4).

Step 7 - Planning the circuit traces

I'd already decided where the circuit board would go and cut notches to accommodate the deeper on/off switch and mini-USB input (Step 5), and now I needed to make a couple more design decisions: where the power leads would connect to the cover and where the battery would go ( Picture 5).

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Rechargeable Battery Notebook Hack - Prototype - NEXMAP

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When we first met with Jie, she showed us her remarkable powered sketchbook , which she created by disassembling a Moleskine notebook, hollowing out the back cover to embed a rechargeable battery she repurposed from a cell phone charging case and then running power leads onto each page.

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Link to the group haikus written with Sheila 7/18

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Link to the group haikus written with Sheila 7/18

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Summer, 2022 - What we did and thought about doing 

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Summer, 2022 - What we did and thought about doing 

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From here to the far right are ideas and plans from Summer, 2022

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Electronic Popables
This pop-up book showcases some of the aesthetic and narrative possibilities enabled by combining paper and electronics.
Each spread is an example of the different sensors and actuators that can be made with paper and electronic craft materials like conductive paints and conductive threads. The pages are powered and actuated with magnetic battery, speaker and Arduino modules.

Collaborators:
Tungshen Chew
Leah Buechley

2009
Read More: Project Website:
DREU summer internship blog
Beginnings
Research Publications:
Electronic Popables: exploring paper-based computing through an interactive pop-up book [PDF]
Qi, J. and Buechley, L. In Proceedings of the Fourth international Conference on Tangible, Embedded, and Embodied interaction. TEI '10. ACM, New York, NY, 121-128. 2010

Beginnings

I created this book as part of my summer undergraduate research internship with Leah Buechley, who later became my graduate advisor.

It began as a simple assignment to make sample sensors out of paper. However, I soon fell in love with how making my own electronic components by hand using paper gave me the freedom to make the circuit look like anything I want-from flowers to stars to skyscrapers.

In exploring paper electronics, I was constantly surprising myself with what was possible. The electronics theory I previously learned took on new meaning as it became a tool to create "magic." The paper craft came to life as it took on the interactivity of electronics, while the electronics became not only more beautiful, but also more meaningful within the context of a crafted scene.

Thus began my exploration of electrified craft and expressive circuitry through paper circuits.

The following are some spreads from the book, taken by Leah Buechley.

Related Works

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This pop-up book showcases some of the aesthetic and narrative possibilities enabled by combining paper and electronics. Each spread is an example of the different sensors and actuators that can be made with paper and electronic craft materials like conductive paints and conductive threads.

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Camp WOW basic camp documents (also kids names)

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Camp WOW basic camp documents (also kids names)

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Texts the Campers have named as favorites

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Texts the Campers have named as favorites

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Book Binding Core Workshop I-IV w/Jane Freeman & Yolanda Merrill – Spring Session 2025 - Virginia Center for the Book

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This four-part Bookbinding Core Series prepares participants to undertake a wide range of projects and additional classes in intermediate and advanced bookbinding techniques and book structures.

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Book Arts Centers, Programs, and Educational Organizations || The Book Arts Web

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The Book Arts and Bookbinding Web: #1 site for book arts and bookbinding resources on the net, and serving the subscribers to the Bonefolder and Book_Arts-L, a listserv for all the book arts. Includes links to related sites, tutorials, images of bindings and book objects. Homepage for Peter Verheyen: librarian, binder, and conservator.

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American Bookbinders Museum | San Francisco | The Story of the Book

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American Bookbinders Museum | San Francisco

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American Bookbinders Museum | San Francisco

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London Centre for Book Arts — MAKING BOOKS SPRING SCHOOL, 07–11 April 2025

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Location London Centre for Book Arts Instructor Simon Goode & Kate Rochester Date Monday 07 – Friday 11 April 2025 Time 10am–5pm Come join us at the London Centre for Book Arts for Making Books Spring School 2024. In this week-long programme taught by experts, participants will be guided through the foundations of

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The MBS Zoom Show-and-Tell – Movable Book Society

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bookmaking and wood working

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Our Facilities

Though we're known for teaching traditional trades, our building is anything but old-fashioned. We've had a home in Boston's North End since 1881, moving into a renovated and impressive 64,000 square foot facility in 2013.