As media grows and changes, we incorporate the new forms of communications into popular culture. However, the previous communication methods continue to be used as well.

Your assignment this week has two parts: First, you will create a timeline or infographic to address the following questions:

1. Research and provide examples or comparisons that demonstrate these changes over time from each of the categories: Print, Radio/Music, Cinema, Television, and the Internet. Include images of each artifact.
2. How have these various forms of communication have evolved since they were first introduced? (Give a “before” and “after”)

Second, you will write a mini-statement answering the following question.

1. In 300-500 words, give your opinion: Will pop culture ever stop using a form of media? Why or why not?

Specifications:

You will submit an Infographic or timeline in response to part 1 with an accompanying mini-statement to address part 2. Your infographic can be submitted as MS Word document or if you use an online infographic creator like the ones listed below you can submit your infographic as a URL. Your accompanying mini-statement can be included on your infographic or submitted separately as an MS Word document.

Helpful tips:

• Here are a couple of perfect tools to use to create your infographic for this assignment! You can open a free account at https://venngag (Links to an external site.)e.com/ (Links to an external site.) or http://piktochart.com/ (Links to an external site.) to make your infographic.
• Prezi (Links to an external site.)would be a good tool to use for your infographic as well. Here’s a great example of a Prezi timeline template:

I’m working on a film writing question and need support to help me learn.

1. According to Gillespie, what are some of the reasons an online company would call itself a “platform”? What connotations does it have? Are there problems with the term?

[Place your response here]

2. After watching The Social Dilemma, do you think that it accurately represents the experiences of young people today (such as yourself)? Is there anything you’d question or challenge?

[Place your response here]

3. Given what you saw in The Social Dilemma, what do you think the ethical responsibilities of social media platforms are? Are tech companies responsible for the wellbeing of their users?

-The tutor needs to have read the book Wild by Cheryl Strayed

-The introduction paragraphs for this two subject essay are already completed. Now I need to find 10 quotes to support each claim in introduction paragraphs (there are two claims, so 20 quotes total). Each quote needs to also have a transition in the beginning (context from the book).

-The specific instructions are attached

-The introduction paragraphs are attached

-The picture of book that the quotes need to come from is attached

I’m working on a sociology question and need an explanation and answer to help me learn.

The book reading for Ideology and Legitimation of Inequality argues and shows that all systems of social inequality impose or require societal consent and justification especially through ideology in various societies. In addition, the supplementary reading Top Heavy: Increasing Inequality of Wealth in America and What Can Be Done about It implies the role of ideology and politics, including the tax system, in the justification of systems of social, especially wealth, inequality in the United States. Furthermore, the two video lessons point out that ideologies and politics play a strong role in defending and perpetuating such systems of social inequality focusing on the United States.

Discussion Question:

Can you explain how systems of social inequality impose or require societal consent and justification through ideology in past and present societies, particularly referring to the United States, including your own state?

Choose one of these topics to do presentation include two kind of graphs, rates and percentages. Also,I would like to have explanation for every slide in sheet.

8-10 slides and references slide

Sample Presentation Topics

1.Social Inequality

• Gender inequality in education, employment, income, etc.

• Racial inequality in education, employment, income, etc.

2.American Health Care System: It can be an international comparison study (i.e., France vs. America)

3.American Education System

• Domestic problems and issues

• International benchmark/comparison study

4.Crime, Incarceration/Prison, Court System

5.Racism

• Racial prejudice, discrimination, and segregation

• Is America racist? Watch 2 videos listed on your syllabus (‘Racism is real’ and ‘Is America racist?’)

6.Smoking, Alcohol and Drug Use/Abuse

7.Anti-Social Behaviors such as Gangs, Human Trafficking, Drug Cartels, etc.

8.Immigration

• Pre- and Post- Social Status

• Adaptation

9.Mental Health/Suicide

10.Poverty

11.Virtual Community/Reality: Social media, cyber bullying, video games, etc.

12.Female-Headed Households

• Poverty

• Births to Unmarried Mom (i.e., young/teenage African American single mothers)

WRITING ASSIGNMENT; DESCRIBE THE POWERS THAT CONGRESS USES TO INFLUENCE OTHER BRANCHES OF GOVRNMENT, FOR EXAMPLE EXECUTIVE AND JUDICIAL BRANCH.

REFER TO PP 324-327 OF YOUR TEXTBOOK. LIMIT ESSAY TO 400 WORDS.

COMPLETE PRACTICE QUIZ PP329-330, QUESTION # 1-10. ENSURE TO SUBMIT BOTH ASSIGNMENTS IN BLACKBOARD ON DUE DATE AT THE SAME TIME. (It’s just multiple choice questions)

PEER REVIEWS (your analysis/response/critique of 4 video problem-solution presentations).  Here you select 4 (your choice) presenters and note the solution and reasons they make in their presentation.

You are to write-out YOUR critique and analysis for each of the 4 presenters you have selected. You will articulate whether you agree/disagree with their recommended solution and why (at least ½ page) on each of the 4 presenters you select. Also, you might think of other solutions that you believe would be better.

This is the “peer reviews” part of the problem-solution project and will be at least 2 to 3 pages in length. You are to capture the central idea or solution of each presentation/speech and focus on analyzing and reviewing the solution advanced by the speaker.

Often it takes a little more than ½ page to do a complete and thorough analysis of a presenter.  As a result, you may certainly feel free to write more than 2 to 3 pages if you would like and believe it is needed.  You will NOT be penalized, so it is an opportunity to possible earn more points by doing solid, strong, and sustaining work.

all details of peer review assignment is here: https://foothillcollege.instructure.com/courses/18…you have to review 4 presentations from here: https://foothillcollege.instructure.com/courses/18…you have to follow all instructions give in peer review assignment and post detailed peer review. As you can see it says “Often it takes a little more than ½ page to do a complete and thorough analysis of a presenter. As a result, you may certainly feel free to write more than 2 to 3 pages if you would like and believe it is needed. You will NOT be penalized, so it is an opportunity to possible earn more points by doing solid, strong, and sustaining work.”I need A/A+ in this. Please check and confirm that you understood it? 

By now, you have:

Toured the virtual exhibitions of the National Gallery in Washington (Module 1)

Read the “Major Assignment – Collection Project” Guidelines (Module 2)

• Received approval for Virtual Exhibit Theme (Module 2)
• Selected the works that will be on display in your Virtual Exhibit (Module 2)
• Received feedback on the Exhibition Texts you’ve written for each work in your Virtual Exhibit Collection (Module 3)
• Now, you need to:
• Write a curatorial statement to introduce your exhibit

Instructions:

1. Create your “Major Assignment: Collection Project” PowerPoint Final Presentation! Your presentation should serve as a virtual gallery of your exhibit including high-quality images of the artwork on display, a curatorial statement, curator’s direction, exhibition texts, and any other information that enhances your visitors’ virtual experience. The presentations should be informative, engaging, and thoughtfully crafted.
2. Please NO distracting animations or transitions – let the art speak for itself.

The presentation should be organized according to the manner in which visitors would experience the art in person.

1. Written portions are expected to meet college-level standards, including proper spelling, grammar, and punctuation.

The Final Presentation Checklist:

Title Slide

Curatorial Statement Slide (see guidelines for “Writing a Curatorial Statement” below)

Curator’s Directions Slides detailing arrangement, organization, and aesthetic of the exhibit

• Images of 4 – 10 chosen works of art
• Exhibition texts to accompany each of the 4 – 10 works of art
• Conclusory remarks/final slides

Guidelines for Writing a Curatorial Statement:

The curatorial statement is an introduction to your exhibition, and thus, should appear at the beginning of your presentation (imagine it’s also printed on your museum brochures and printed museum guides) A well-written curatorial statement is your chance to guide your visitors’ experience of your Virtual Exhibit. It provides an opportunity to communicate directly with viewers and to help them recognize the intent and purpose of your exhibit/collection, understand your point of view, and generate intrigue and curiosity about the exhibit they are about to experience. It’s a personal statement from you to your patrons. It should be professional, polished, and inviting.

Curatorial Statements should be 3 paragraphs in length and approximately 250-300 words. Use the following outline to craft your Curatorial Statement:

• 1st paragraph – discuss the theme and overall message of your exhibition. What inspired this particular exhibit and why is it worthwhile?
• 2nd paragraph – describe your selection process. How do these few works come together to tell the story you want to tell. Briefly list the types of works that viewers will see in your exhibit. This may include portions of the artist’s statements (if available) and/or excerpts from external press/critical reviews about the works (if available). Be sure to properly cite any external information that is paraphrased or quoted if applicable.
• 3rd paragraph – discuss any choices you’ve made as the curator to create a positive museum-going experience. What decisions have you made to ensure these are thoughtfully displayed. What final note do you want to leave with viewers about the experience you want them to have when they tour your exhibit?
• All resources and instructions, including sample “Student A+ Collection Project” and a “Mrs. Case Collection Project” are available in the
  “Work on Your Collection Project” sub-folders in Modules 1-4; they are presented in the order as tasks should be completed. Please see these documents and samples for reference. 

1. After Reading my E-lecture on “Sacred Symbols, Myth, and Doctrine Assignment”

2. Complete Cornell notes on the lecture, and submit

E-Lecture: Sacred Symbols, Myth, and Doctrine

E-Lecture: Sacred Symbols, Myth, and Doctrine

Symbolic Communication

Human beings are capable of abstracting from their immediate situations, forming judgements, imagining and fantasizing. The main difference between animal and human communication is that humans have a symbolic capacity. This is different than signaling (as animals do through gestures or sounds).

Signs and symbols are forms of expressing meaning. They are used interchangeably but they are NOT the same. Signs are natural reminders. Symbols are special kinds of signs- they are used to talk about things, not to direct our ears or nose toward something (as signs do). Symbols can refer to things that are not immediately in the present, while signs tend to point to something visible.

There are representational symbols and presentational symbols. Representational symbols tie together things that are different even when there doesn’t appear to be a natural connection between the symbol and the thing that is being symbolized. Representational symbols are determined by their cultural context and use. Ex: green traffic lights mean “go” but blue could just as well have been used. Green and go have no natural connection but have become connected in our society. Many of the most common religious symbols are representational.

Presentational symbols often take the form of an icon or image. They are similar or they are part of what is being symbolized. Ex: a map is used to point to a geographical reality. Religiously, presentational symbols are very powerful because they participate in the holy or sacred. Ex: certain gestures in Buddhism, called mudras, demonstrate aspects of the Buddha spirit.

Religious Symbols

Symbols function as a shorthand reminder of information or a mode of action that is already known. Some symbols, presentational ones, convey knowledge of the thing that is symbolized. In order to do this, it must resemble the thing that is being symbolized or in other words, there must be an analogy between the symbol and the thing that it point.

Religious expression is mostly symbolic because it points to a reality that is essentially transcendent (God or gods). Religious language uses metaphor, poetry, myth and ritual in order to communicate many things.

Most religious language (what is called “first-order” religious language) is poetic and full of metaphor. However, it usually doesn’t stay that way. The “second-order” language within religion is when people attempt to get more clarity or meaning from the symbols, myths and metaphors by analyzing them and translating their meaning into concepts and doctrines.

A religious symbol is a bridge that links the image, gesture, sound taken from both the Holy and ordinary experience. Some symbols are so powerful that become root metaphors or master symbols within a religious community because they are so central to the sustaining of the community. Ex: the crucifix in Christianity.

Religion constitutes an entire life form, it is not just a collection of ideas. By understanding the master symbols and root metaphors of a religion, one can gain a great understanding into the life form of those that follow the religion.

Religious symbols can bring together a wide variety of events and meanings. One example is the symbol of the sacred fish, which is used in Christianity and has multiple meanings (see pg. 62-64 for more specifics).

Metaphor, Parable, and Story

Metaphor is a type of symbolic communication. It is not a literal statement but is a comparison or an analogy. However, it is different than an analogy because a metaphor creates something new (it is not just a comparison). It brings together similarity and difference and holds them in tension with one another, causing one to ponder the symbolic meaning within the metaphor, rather than taking it literally.

Parable is an extended metaphor, and gives new insight to the religious. Parables cause the mind to doubt the exact definition of the story and ponder the meaning for truth. It is not an abstract thought, but a story drawn from ordinary life that leaves open many possible explanations. Parables use the ordinary to show the religious the extraordinary.

Certain parables can be considered root metaphors. Root metaphors are symbols of the central truths of the religion. See pg. 66-67 for two root metaphors or parables of Buddhism and Christianity.

Why are parables so important? What unites humans is their shared experience of past, present and future. In other words, humans are temporal and parables take temporal stories and give them meaning.

Most people are not conscious of the profound impression that great parables or archetypal stores and myths have in shaping our sense of self, and our world.

Religious Myth

Myths are not considered to be untrue religious stories by scholars. Instead, scholars of religion view myths as complex forms of symbolic communication.

Myths tell a story, like parables. Myths serve as a community’s character for its entire life-world. Myths shape how a religious community sees itself, it’s origins and it’s future. It demonstrates the inner meaning of the universe and what is “really real.” Myths are not considered true or false by scholars.

Myths provide an order or a model for the entire world for believers. Myths shape believers sense of self and sanction how one is to behave. Myths portray the dangers of evil and chaos and show how to be liberated or redeemed from these dangers.

Myths help believers comprehend reality and also contribute to social thought, literature and popular culture.

Functionalist Theory of Myth

According to Bronislaw Malinowski, myth’s meaning is to be understood in terms of its social function within a particular culture. He believes that myth is a dramatization of human loss and the reality of death, but myth’s social function is to transform the inevitable reality.

Psychotherapeutic Theory of Myth

Carl Jung’s theory of archetypes of the collective unconscious has contributed to the field of religion and a definition of myth. According to Jung, the human psyche has three layers- conscious mind, personal unconscious, and the “collective unconscious.” The personal unconscious is the repressed of forgotten of the individual’s own history.

Collective unconscious refers to things that are psychically real prior to their personal appropriation. In other words, everyone has the potential within their psyche to tap into unconscious psychic archetypal images that recur throughout human history. The archetype is an “inherited tendency of the human mind to form representations of mythological motifs.” It is instinctive and has therapeutic value, as it can heal or help people become “self-realized.”

Whole religious communities can organize themselves around these archetypes, such as the hero.

Jung believes myth is vital because it represents the deepest level of the psychic life of humankind. The myth of a people is its living religion.

Phenomenological Interpretation of Myth

Mircea Eliade’s theory of myth states that myth is an account of a sacred history, a primordial time in which reality as we now know it came into being.

Myth narrates a sacred history, it tells how a reality came into existence by the deeds of Superhuman Beings. Myth is an account of a “creation” because it always tells how something was produced.

Religious myths has to do with the acts of gods or supernatural beings. Religious myth is always an account of origins (or a creation). Religious myths are examples of how nature and human life should be. Myth teaches humans the stories of their legitimate mode of existence. Since myth functions the same in all cultures, according to Eliade, it is possible to study cross-culturally myths of different cultures.

Myth is “true” because it is concerned with reality. By knowing the myth of a community, we know the origin and nature of things, that becomes reexperienced and reenacted through rituals.

All three theories of myths- functionalist, psychic, and phenomenological- perceive myth as indispensable and “true” in a certain way.

Models and Doctrines

According to Paul Ricoeur, in literate societies, religious myths become interpreted and these interpretations lead to doctrines, which is a second order process. Myths become reinterpreted to bring out their universal meanings that lie within the mythopoetic story (such as the Creation story of Adam and Eve). One must be careful not to become to literal when interpreting myth, according to Ricoeur.

Ricoeur believes that by explaining the myth it actually restores the myth as a symbol. Second-order interpretations allow us to hear again the meaning of the primary symbol.

Myths, root metaphors and master symbols can be understood as models that show patterns to help us interpret the world. Religious models lead to conceptual beliefs or doctrines that interpret experience in certain ways, which are according to patterns.

Models represent the enduring structure of the cosmic order which myths dramatize in narrative form (by stories). Models are ways of experiencing what is not observable right away and so they are symbolic representations. In other words, our experiences are organized in the light of certain models.

Models provide norms and motivations for ethical and moral behavior.

Religious symbols, parable, and myth all assert that human values are grounded in what is ultimately real.