What were the 12 resolutions?

Suggests the [[superior parietal lobule]] helps maintain an internal model of the body's state.

Does this imply that it's a part of the [[default mode network]] when doing this modeling?

The Language Master<br /> BBC - Michel Thomas<br /> [English CC]<br /> [Leg. PT-BR]

Michel Thomas is one of the most brilliant language teachers in the world. His usual clients are movie stars and business leaders. This programme takes him to a Sixth Form College in London to work with school pupils, to test his claim that he can teach anyone a language in a week - with no reading, writing or homework. The film also explores his personal history - as a hero of the French Resistance during WW II.

The Michel Thomas method involves: - slow build up of words, phrases, natural grammar - forced production of the language through practice - positive interaction - patience - no stress - no judgement - encouragement - constant evidence of progress

How does "understanding" of the language evolve out of this method? It's more like revelation rather than understanding...

This method appears much more atomic than that of SSiW (Aran Jones), but some of this is down to the fact that there's a live person who is able to unjudgementally prompt one with pieces which they've missed. The teacher has the context whereas the taped instructors do not. Presumably this sort of interpersonal prompting and context isn't necessarily required, but it can help to better lower the learner's stress and potentially speed up the learning process. It would require some standardization to set up a specific experiment to test between these two modes to tease this data out.

Reference key: [[Levy1997]]<br /> “The Language Master.” 1:33 : 1, color. London, UK: BBC 2, March 23, 1997. https://www.youtube.com/watch?v=O0w_uYPAQic.

I like the Underlay solution to conflicting information, which is that all old and new versions are retained and the individual must set constraints and filters to determine 'truth'. May not be useful for more technical applications. It does however point to the fact that there will be bias, perhaps it's about making the bias transparent — favouring first truth or more prolific or higher status, etc?

One gap I don't know how to solve is the continued making of meaning that condenses vast quantities of discussion and thinking data into a symbolic representation like squishing a concertina that can be built on in the future in a very constructivist way. How can computers do this in the sticky way humans do?

Initial hunch is that this is related to 'good protocols' and 'bad protocols'.

Reminds me of Deep Laziness, where structure preserving figures are indefatigable?

Would also look at 'play'. Perhaps this is a feature of good vs bad protocols? If play can overlap with protocols then mutation might happen to satisfy continuation desire by augmenting to enable continued challenge (as skill improves so complexity continues — challenge and skill as the axes for Flow) see Good Business

Would need it to become more embodied over time? (see Problem of Embodiment in the Sociology of Knowledge letter)

maybe come back to this - would this be dialectical? - would it be anthropologically traceable? - would attributing behavioural expressions to some underlying value systems be too hermeneutical?

easiest answer for now might be that small-p could be used as an archetype to explain big-P, but it would be a story or myth to help understand, like Zizek's toilet joke?

• do all protocols emerge or can some be designed?
• are solutions kind of like patterns?
• is there a difference in quality that can be assumed about designed or emergent solutions?

side note: relates to "How to meme your data" idea. In that it is easily reproducible and iterable, maybe overlaps with composable

potential link to Stigmergy too?

Where does the learning portion of education morph into research? Where is the dividing line?

In Miracle and Wonder: Conversations with Paul Simon, Malcolm Gladwell comments on the prodigious memories of both Paul Simon with respect to sounds and Lebron James with respect to basketball game play.

Where these sorts of situational memories built and exercised over time or were they natural gifts? Or perhaps natural gifts that were also finely tuned over time?

How did we shift from inter-related subjects and "one knowledge" of rhetoric in the Middle Ages to such strict departmentalization in the academy to only now be moving back toward multi-disciplinary research?

early study relating to both culture and memory decay

What does memory decay scale as? Is it different for different levels of "stickiness"?

Indeed! I find myself having asked this particular question in a similar setting/context before!!!

“What is the meaning of home?”

“How do Dutch adolescents aged 14-18 engaging in online education experience the meaning of home

during the Corona pandemic?”

What have been the decisive positive and negative changes and challenges in the teachers' professional roles and teacher-student relationship? • What tools and strategies have the teachers used to overcome difficulties and strengthen their ability to cope? • How has EDT affected teachers' health and well-being?

RQs

It would be highly useful to do another test at a larger interval, say a week or a month later as well, both with and without the suggestion of spaced repetition with all three groups.

Society Civic Science Initiative - Upcoming webinar April 20 2020

Orben, A. (2020, April 30). The Sisyphean Cycle of Technology Panics. Retrieved from psyarxiv.com/dqmju

Teach source evaluation skills- I like this idea!

All that I have given up to this let them serve as examples of the way in which the Connaught peasant puts his love-thoughts into song and verse, whether it be hope or despair, grief or joy, that affect him. (147)

In these final lines of the book, the reader is offered Hyde’s selection of songs as a faithful and complete insight into vernacular Connacht song about the theme of love. Moreover, Hyde suggests that in reading this anthology one achieves a good degree of familiarity with an idealized, essentially native ‘Connaught peasant’.

Although speakers in the songs are variously male and female, and the reasons for separation from absent lovers differ, the experience of love is fairly uniform throughout. It is a sore experience of unrealized desire. That scenario produces a pronouncedly virtuous image of the ‘Connaught peasant’ for a number of reasons.

The reader encounters deep loyalty where admiration is unstinted by forbiddance of love because of emigration, lack of requital, or death. ‘Úna Bhán,’ for example, is preceded by a long passage explaining how deeply a bereaved lover missed the fair Úna after, until he himself passed away. Also, Hyde’s anthology is particularly rich in its examples of similes drawn from the natural world. See ‘my love is of the colour of the blackberries’ (5) in ‘If I Were to Go West’, ‘I would not think the voice of a thrush more sweet’ (27) in ‘Long I Am Going,’ and ‘My love is like the blossom of the sloe on the brown blackthorn’ (31) in ‘An Droighneán Donn’. In the vivid rendering of these images, the beauty of the desired lover is stressed, and the delicate sensibility of the speaker is inherently implied. The Connaught peasant is thoroughly valorized as a result.

Accounting for consistencies among what anthologies include, and among what they exclude, can highlight their organizing agenda. One obvious example in the area of Irish Studies is the Field Day Anthology controversy, detailed in depth by Caitríona Crowe in The Dublin Review: https://thedublinreview.com/article/testimony-to-a-flowering/

In the case of Hyde’s Love Songs, consistencies among excluded material strengthen our perception of how actively he sought to contrive an estimable image of the Connaught peasant. Though Hyde claims his selection is emblematic of the love-thought of that idealized personage, he does not provide any examples of la chanson de la malmariée. This variety of song is so widespread that Seán Ó Tuama, who was the principal authority on the theme of love in Irish folksong, included it as one of five major genres in his article ‘Love in Irish Folksong’ (in the book Repossessions: Selected Essays on the Irish Literary Heritage. Such songs are an expression of grief by a young woman unhappily married to an elderly man.

If we are to view the songs anthologized by Hyde in a broader context of Connacht songs about love, an awareness of the chanson de la malmariéé is required. Faoi Rothaí na Gréine (1999) is a relatively recently published collection of Connacht songs. The collecting work was done in Galway between 1927 and 1932 by Máirtín Ó Cadhain, and latterly edited by Professor Ríonach Uí Ógáin. ‘An Droigheán Donn’, ‘Úna Bhán’, and ‘Mal Dubh an Ghleanna’ are common to Faoi Rothaí na Gréine and Love Songs of Connacht. The inclusion in the former of two famous songs of the malmariée genre, ‘Dar Mo Mhóide Ní Phósfainn Thú’ (I Swear I Wouldn’t Marry You), and ‘Amhrán an Tae’ (The Tea Song) demonstrate the strong presence of that genre in the ‘love-thought’ of vernacular Connacht song.

This way of framing discussion of Love Songs of Connacht invites close interrogation of Hyde’s biases. The choice of material for inclusion and exclusion is ideologically cohesive, to the specific end of creating a valorous image of the idealized native peasant. In my M.A. thesis, I might further refine the line of argument pursued in this annotation, and use it as the basis on which to build a discussion of Hyde’s particular ideological motivations.

'I have compiled this selection out of many hundreds of songs of the same kind which I have either heard or read, for, indeed, the productiveness of the Irish Muse, as long as we spoke Irish, was unbounded.' (vi) This point in Hyde’s preface to Love Songs of Connacht is relevant to two questions that my M.A. thesis preparation is concerned with.

● What are the ways that works of the Irish Revival period express the idea that a natural cultural inheritance might be recuperated through art?

● What are the reasons for such works to treat of rural folkways as a repository of essentially native identity?

Hyde illustrates that an awareness of the significance of the Irish language within a revivalist milieu will be required for informed discussion of the questions stated above.

Proper-noun naming of an ‘Irish Muse’ suggest that there is such a thing as some essential indigenous genius, which lies in wait of stimulation. An idea of the Irish language emerges whereby it is connected intimately with a native genius, and holds inherent power to spark creativity.

Of course, this line of argument proffers Hyde’s translations – through their close linkage with the Irish language – as stimuli for new artistic production. It works well as a way of turning Hyde’s skill as a linguist into a selling point for his book.

In so doing, it highlights that a perceived inter-connection between language and an essentially native worldview was a major part of the book’s appeal. The representation of that connection in this and other works becomes important to my first research question as a result. An implication for my second research question is that I should consider the Irish language as a key part of the symbolic importance which attached to rural populations.

This website provides important context for the exploration of a research question I am addressing in my M.A. thesis preparation.

The portrayal of female personages in revivalist literature sets them in signally passive roles. This is most clearly at issue in the work of that period’s two foremost dramatists. In W.B. Yeats’ Cathleen Ni Houlihane, the female protagonist does not pursue her own course of action, but rather serves to inspire male heroism (P.J. Mathews discusses the play’s portrayal of female passivity at length in a piece, see http://www.rte.ie/centuryireland/index.php/articles/literature-and-1916). In The Only Jealously of Emer and The Countess Cathleen the value of women to society is achieved through acts of self-sacrifice for the benefit of significant male others (Christina Wilson has argued similar points in great detail: http://chrestomathy.cofc.edu/documents/vol5/wilson.pdf).

In John Millington Synge’s Riders to the Sea, we encounter a blending of the taste for passive female characters with a revival fascination with the rural west. Old Maurya’s reticence and stern faith in God, following the drowning of her five sons, established her as the moral centre of her native Aran community. Her monologue in the play’s ending concentrates our attention on the community’s willingness to surrender to tragic fate, which is always threatened by the danger of the sea (the play is available to read online at this link: http://www.one-act-plays.com/dramas/riders_to_the_sea.html).

What is interesting to me is that images of a massive female subject, favoured by Abbey playwrights who sought to stress the cultural specificity of Ireland, differ strongly with some prominent portrayals of the female subject in vernacular literature in Irish. In my annotation of this archive, I will provide examples of some genres of folk song – composed by females, and traditionally sung by female singers – that contradict ideas of a female subject as passive sufferer of fate. Annotations will include translations to English.

After highlighting these features of oral literature in Irish, I will have laid down substantial grounding for a discussion of the ideological motivations of revivalist authors’ depiction of female subjects. It is interesting that certain tropes of a national identity, which these authors consciously sought to create, can be seen as divergent with realities of the social group which was most fundamental to that identity. This observation encourages consideration of European intellectual currents which might have influenced revivalist writers, romantic nationalism in particular.

Does anyone else find this difficult to understand? I am not sure if these statements are the authors interpretation of their results or if this is their hypothesis. Also, what are the authors saying about the place/role of members of religious networks?

Again, take note of these research questions. Look back at the literature review to observe how theory and research was used to set up the basis for these questions. When the answer is found, the theory/research will be used to interpret it and discuss the importance of the answer.

Take note of this research question. It is a descriptive question but it is based in theory.

Excellent point. Has any research been done to compare the actual social networks of rich and poor kids? For example, asking a poor kid to name five people she would go to for advice and asking a rich kid the same question. Has that been done?

What a great way of using SNA to compare two competing ways of knowing. How would you collect data to show the different flow of information through these networks? What what would you be looking for? What would the node be? The link?

Your challenge will be to make these type of questions more specific and relevant to digital sociology.

p. 57 Research questions

1) What were the different types of lists? 2) what form of social relationship developed through the medium 3) were they a community

(I know this is an aside... but maybe it isn't.) Just in case anybody needed a definition of "inquiry," these sentences would do just fine. I know it can seem like too much to ask of youth, but I think we can find ways to help them to find the question they have been asking all of their lives, just like Coates's question here: "unanswerable, which is not to say futile." How different that is from finding a "researchable question."