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robertogreco : annetrubek   11

Anne Trubek on Twitter: "This is the single biggest problem of the entire Rust Belt, I’ve come to believe. Our cities are run by non-profits, not elected officials… https://t.co/5ZHeJlpzkn"
"This is the single biggest problem of the entire Rust Belt, I’ve come to believe. Our cities are run by non-profits, not elected officialsAnne Trubek added,
Anna Clark

[quoting: @annaleighclark
https://twitter.com/annaleighclark/status/1049697553296580608

"The power of philanthropy in Detroit can't be underestimated. (Eg: https://www.elle.com/culture/a37255/forgotten-rape-kits-detroit/ …; https://detroithistorical.org/learn/encyclopedia-of-detroit/grand-bargain …) Money that was denied to the city over decades -- tax base, loans, mortgages, investment, state revenue sharing -- comes back as charity. A loaded…

As in other cities where philanthropists take responsibility for basic public services, it can fill an immediate, urgent need. (Water! Lights!) It also comes at a cost to transparency and shifts our expectations, bit by bit, of our democratic leaders & institutions.

Detroit is, in many ways, ground zero for this model. From 2012:
"Welcome to Your New Government: Can Non-Profits Run Cities?"
https://nextcity.org/features/view/welcome-to-your-new-government

But see also Flint:
"This City Runs on Donations
Small family foundations are increasingly funding parks, neighborhood revitalization, education and more. What’s next for urban-focused philanthropy?"
https://nextcity.org/features/view/philanthropy-money-foundations-city-funded

Here's a provoking take from @DavidCallahanIP
"A Foundation Gives $1 Billion in One City and Things (Mostly) Get Worse. What’s the Lesson?"
https://www.insidephilanthropy.com/home/2017/6/27/a-foundation-gives-away-1-billion-in-one-city-and-things-mostly-get-worse-whats-the-lesson "]

...and I want to publish on this topic but everyone I ask...works for a non-profit so cant b/c of fear of losing their job....

Not to mention the arts...what percentage of working artists are funded by non-profits? Ppl are actually surprised by the concept of being an artist and *not* be grant funded...nor have many thought about possible downsides to taking that $

And according to one very persuasive argument, it led to Trump (cc @annaleighclark—still best analysis of this issue I’ve read)

[but if you wanna give me some of that sweet foundation money DMs are open]

And as Randy Cunningham persuasively argues, in Cleveland the non-profits bought out activists in 80s by creating CDCs

FULL DISCLOSURE I AM PRESIDENT OF THE BOARD OF A NON-PROFIT (also I own a business that is....not a non-profit. We all live in contradictions."
annetrubek  annaclark  rustbelt  charitableindustrialcomplex  philanthropicindustrialcomplex  economics  inequality  democracy  nonprofit  governance  charity  philanthropy  nonprofits  capitalism  power  control 
october 2018 by robertogreco
Handwriting Just Doesn’t Matter - The New York Times
"Cursive has no more to do with patriotism than Gothic script did with barbarism, or the Palmer Method with Christianity. Debates over handwriting reveal what a society prizes and fears; they are not really about the virtues or literacy levels of children.

Finally, current cursive advocates often argue that students who don’t learn cursive won’t be able to read it — “they won’t be able to read the Declaration of Independence” — but that is misleading. Reading that 18th-century document in the original is difficult for most people who know cursive, as the script is now unfamiliar. A vast majority of historical manuscripts are illegible to anyone but experts, or are written in languages other than English.

In fact, the changes imposed by the digital age may be good for writers and writing. Because they achieve automaticity quicker on the keyboard, today’s third graders may well become better writers as handwriting takes up less of their education. Keyboards are a boon to students with fine motor learning disabilities, as well as students with poor handwriting, who are graded lower than those who write neatly, regardless of the content of their expressions. This is known as the “handwriting effect,” proved by Steve Graham at Arizona State, who found that “when teachers are asked to rate multiple versions of the same paper differing only in legibility, neatly written versions of the paper are assigned higher marks for overall quality of writing than are versions with poorer penmanship.” Typing levels the playing field.

Ours may be the most writing-happy age in human history. Most students and adults write far more in a given day than they did just 10 or 20 years ago, choosing to write to one another over social media or text message instead of talking on the phone or visiting. The more one writes, the better a writer one becomes. There is no evidence that “text speak” like LOL has entered academic writing, or that students make more errors as a result. Instead, there is evidence that college students are writing more rhetorically complex essays, and at double the length, than they did a generation ago. The kids will be all right.

Despite the recent backlash, handwriting will slowly become a smaller and smaller aspect of elementary school education. That will be a loss — I don’t deny it. The kinetic movement of pen across paper is pleasurable, and soothing in its familiarity. It is affecting to see the idiosyncratic loops and strokes of relatives from generations past.

But as a left-hander with terrible handwriting who watched my son struggle to master cursive — he had to stay inside during recess for much of third grade because he wrote his j’s backward — that is a loss I can weather. And history is replete with similar losses; consider how rarely people now carve words in stone, dip pens into ink or swipe platens of typewriters. There will be no loss to our children’s intelligence. The cultural values we project onto handwriting will alter as we do, as they have for the past 6,000 years."

[review of Trubek's book: http://www.nytimes.com/2016/08/28/books/review/history-and-uncertain-future-of-handwriting-anne-trubek.html

"How we write is delicately connected to what we write and why. Trubek suggests relegating cursive to art class, but removing it to the realm of the exceptional limits our expectations of experiencing beauty in the day-to-day. Today’s second graders, including my own, will learn to type — one day, my daughter might even out-key Stella Willins, who banged out 264 words per minute in 1926. But we can’t quantify the value in an ability to forge a rare harmony between utility and beauty, the handsomely scripted grocery list, the love letter, the diary I write just for myself.

“We will lose something as we print and write in cursive less and less, but loss is inevitable,” Trubek concludes. Though one technology often supplants another, that doesn’t necessitate concession. Considering its rich significance, instead of hustling handwriting off to the graveyard, perhaps what’s called for is resurrection." ]
handwriting  education  schools  la  us  annetrubek  2016  sfsh  pedagogy  literacy  typing  writing  howwewrite  cursive  penmanship 
august 2016 by robertogreco
Why the media don't get Detroit--and why it matters : Columbia Journalism Review
"Coverage of declining cities is too often simplistic and lacking historical context"



"truggling cities are often found in the Rust Belt, far removed from national media concentrated along the coasts. Coverage tends to be sporadic, and centers on their most glaring failures. The narratives that emerge are of ghost towns and zombie subdivisions. These stories are compelling and based on real hardships. But they typically do little to explain how the cities got that way, let alone what’s possible in terms of reversing their fortunes.

In some larger cities such as Buffalo and Cleveland, meanwhile, the idea of renewal has begun to drive more of the media storyline. Such rosy analyses typically lack historical or geographical context, focusing on one neighborhood or one segment of the population at a time. Micro-developers may have bought up a handful of vacant homes, and new businesses may be sprouting in downtown areas. But such developments are happening amid a large, diverse metro area; their impact is easily overstated. They are not typically the indicators of wholesale resurrection that they become in a news story."



‘Population loss, poverty, isolation—all these things are happening simultaneously,’ says Stephen Henderson. ‘It’s really difficult to just pop in and grasp that complexity.’



"“Population loss, poverty, isolation—all these things are happening simultaneously,” said Stephen Henderson, editorial-page editor of the Detroit Free Press, whose columns on Detroit were awarded the 2014 Pulitzer Prize for Commentary. Poverty is fundamentally different in shrinking cities like Detroit than it is in New York or Washington, he added. “It’s hard to understand how big the city is and how that wreaks havoc on economic opportunity, especially for poor people. It’s really difficult to just pop in and grasp that complexity.”

Recent coverage has showcased Detroit’s “booming bike industry” and a luxury watch company, among other vibrant, if relatively small, businesses. Motown was described as a “culinary oasis” and “the Bar City of the Year.” Such monolithic descriptions of Detroit are similar to reporters’ characterization of Brooklyn, where the artisanal doings in a handful of neighborhoods in a borough of 2.6 million people drive the media’s narrative. “When you go to Slows Bar BQ”—a popular spot in the Corktown neighborhood—“and then make Pollyanna statements about how Detroit is a food oasis, that’s almost as unhelpful as all those jokes for all those years,” said Michael Jackman, managing editor of the Detroit weekly Metro Times. “It’s like a pat on the head for being a plucky little city.”

The way stories spread online only accentuates this black-white treatment, as social media generally reward extremes. My own Guardian feature on Detroit, in which I profiled an urban planner grappling with whether to move elsewhere, was eventually titled, “The death of a great American city: Why does anybody live in Detroit?” I was proud of the piece’s depth; I was also proud that it garnered nearly 700 comments and 10,000 social shares. While that exposure wouldn’t have been possible without a sensational headline, I can’t say what readers took away—the headline or my reporting.

A similar example can be gleaned from the popular website Business Insider, where a straight-laced Associated Press story about United Airlines ending service to Atlantic City ran beneath a particularly loud headline: “Here’s Another Sign That Atlantic City Is Dying.” That line of thinking, which has dominated coverage of the New Jersey town this year, doesn’t sit well with Kris Worrell, executive editor of The Press of Atlantic City.

“As a breed, [journalists] have a healthy dose of skepticism,” she told me. “And certainly if government officials argued that a place or company or any institution were perfect and happy, we would question that. My issue is that we don’t apply that same level scrutiny to the opposite extreme, when something is painted in negative terms. We know, when we think about it, neither of those extremes is true.”

That goes for any place that faces decline, from Atlantic City to Detroit. The reason the latter hasn’t died is that countless people who love the city have fought like hell to save it. Their victories are real, but so are the massive challenges that remain. Understanding and respecting such contradictions is crucial for reporters who set out to explain what went wrong—as well as what’s going right."
detroit  cities  inequality  poverty  2015  daviduberti  annetrubek  complexity  stephenhenderson  atlanticcity  economics  rustbelt 
january 2015 by robertogreco
Only the literary elite can afford not to tweet - SFGate
"Twitter has offered me an intellectual community I otherwise lack. It cuts the distance, both geographic and hierarchical. Not only can I talk with people in other places, but I can engage with people in different career stages as well. A sharp insight posted on Twitter is read, and RT'd (retweeted), with less regard for the tweeter's resume (or gender or race) than it might be if uttered at, say, a networking event. Social media is a hedge against the white-shoe, old-boys' networks of publishing. It is a democratizing force in the literary world.

I credit Twitter with indirectly and directly allowing me to change careers from academic to freelance writer, to garner book contracts and to launch a new magazine. Plus, it has introduced to me colleagues with whom I practice what broadcast journalist Robert Krulwich calls "horizontal loyalty," or aiding others in similar career stages. Without social media, my ideas would have likely been smaller murmurs, my career more constricted and my colleagues fewer.

So I have a short fuse when people pillory Twitter, and not because it is so darned easy to do. I respect anyone's decision to not discuss novels online. I understand the hazards of a constricted form overseen by a large company. And I am concerned about loss of privacy. But tweeting is a new literary form and, like all genres of writing, it can be banal or sophisticated.

I have even less patience for famous authors who disparage Twitter.

During an era of diminished sales and publicity budgets, book publishers look to authors to promote their own work. Writers submitting book proposals are often expected to list who follows them. Being good at social media has become an asset similar to having a good radio voice or being telegenic."



"If there is a problem in literary fiction, it may be that some of our best writers have missed out on one of the most exciting and transformative moments in American letters. Social media is primarily text-based; it propels people to write more than they have in decades - centuries, perhaps - and it is complex, fluid and resistant to simple conclusions. No wonder so many writers love it. Luckily, I now know many of them, and with them I talk, alone in my study."
annetrubek  twitter  publishing  jonathanfranzen  access  gender  socialmedia  writing  2013 
october 2013 by robertogreco
Quitting academic jobs: professor Zachary Ernst and other leaving tenure and tenure-track jobs. Why?
"Ernst’s “Why I Jumped” is thus not unusual in and of itself: Academe is a profession full of erudite free-thinkers who feel disillusioned by a toxic labor system in which criticism is not tolerated—so those who leave often relish the newfound ability to say anything they want (talking about “a friend” here). In its insularity and single-mindedness, academe is also very similar to a fundamentalist religion (or, dare I say, cult), and thus those who abdicate often feel compelled to confess.



What further distinguishes Ernst’s giant middle finger to the profession, Mizzou, and the chair of his department (what approximates in academe for a direct “boss”), is that he does not succumb to either of these trappings. He is cynical about the “academic freedom” of the tenured, whom he believes have been hand-selected for mediocrity and obsequiousness (and since he is among their ranks, one wonders if he begrudgingly includes himself in this indictment). He also has no delusions about the relative importance of hyper-specialized research, and has sought to publish innovative multi-disciplinary articles that involve the scientific disciplines—for which he has then been heavily penalized. And finally, in a rare coup for humanists, Ernst is departing for a lucrative job in the private sector."
2013  academia  education  meritocracy  highered  highereducation  annetrubek  terranlane  zacharyernst 
october 2013 by robertogreco
An Introverted Boy Against An Army of Label Makers | A.T. | Cleveland
"I certainly still lie awake some nights worrying that I am in denial, that Simon has some gross deficiency not yet identified, and I am did him great a disservice. I worry constantly that I should limit his reading and solitary time and push him into sports and classes and social activities. But just when I am about to write that check for ice hockey classes I touch base with my instinctive sense of my son, this imaginative, overly verbose happy creature, and decide not to risk ironing out his uniqueness.  Until we can figure out more creative ways to educate and encourage introspective boys who are neither high achievers nor troublemakers—boys “in the middle,” like Simon–I will keep holding my ground, my breath and my tongue, and shoo away the well-intentioned label makers who cross our path."
males  boys  academics  introspection  nclb  productivity  howwelearn  unstructured  creativity  specialized  learningdisabilities  slowprocessing  add  dysgraphia  dyslexia  adhd  overdiagnosis  autism  schooliness  schools  learningdifferences  learning  parenting  education  teaching  introverts  susancain  2012  annetrubek  shrequest1 
february 2012 by robertogreco
Why Tweet? (And How To Do It) | A.T. | Cleveland
"Effective tweeting requires effective writing. The short form—each tweet is 140 characters or less—requires discipline. Tweets reward clarity, wit and concision. You could train yourself to be a better writer by using twitter effectively. It hones your focus on the sentence level, and the sentence is the most important unit of composition.

Once, I asked a group of students to take an essay they had written for class and tweet it, sentence by sentence. By forcing them to fit each sentence into that white box, I was asking them to analyze every word they used and to consider how they constructed the clauses in the sentence. They were furious with me: they hated the exercise. But they all agreed they thought about their sentences more than they had when they first wrote the paper…

I have broken down effective tweets into four categories: headline, questions, self-contained quips and comments…"
tutorials  howto  questions  comments  quips  headlines  2011  communication  howwewrite  practice  efficiency  brevity  sentences  classideas  writing  twitter  annetrubek 
january 2012 by robertogreco
New Rules: Writing Well In The 21st Century | A.T. | Cleveland
"…three major changes to 21st century writing: (1) writing is more informal, or “looser”…; (2) writing is more voice-driven, more personal (you can get a sense of what the people above are like by reading their tweets & Facebook posts, and (3) writing is more audience-specific. The tweets & Facebook replies above were composed as part of a conversation with a person or specific group of people…All were written to me particularly (and they knew when they wrote them that I am a professor of writing and a writer interested in new technologies. Their responses may have been different if the question was asked, say, by their children). And, as @jbj and @wynkenhimself show, sometimes one reply to me leads to a new conversation between two other people.

It can be hard to know how to engage in this type of writing. You might feel a bit lost and unsure of the tropes of twitter, say. But chances are, you are more comfortable with writing than you were 10 years ago. Why? Because you do it more."

[via: http://ayjay.tumblr.com/post/16364252528/there-have-been-three-major-changes-to-21st ]
english  communication  howwewrite  conversation  informality  informal  practice  web  socialmedia  twitter  facebook  writing  via:lukeneff  annetrubek 
january 2012 by robertogreco
Notes Towards A Theory of Twitter (Revised) | A.T. | Cleveland
"Twitter is an associative writing form, not a narrative one. In Twitter, we are sent somewhere else-via a link-or reminded of something. We are not telling stories. Thus, while the twitter fiction is swell and cute, it usually it misses the generic boat. Twitter promises a new slate for poets. For fiction writers, not so much. (For what I find to be a notable exception, see my piece for Economist.com). Tweets create meaning and aesthetic experiences  by reminding us, not by telling a story…

1.a.) Twitter does not operate on the narrative arc of rising action, suspense, climax, and denouement…

Twitter lacks single-point perspective (or omniscience)…

2.) Twitter helps resist the curse of paragraphism…

2.a.) A new focus on the sentence is salutary…

Conclusion: There is no summing up on twitter. There are many arrows pointing one across (not up or down) to the ideas of others, cross-fertilization, and forced attention to the composition of sentences."
via:allentan  2012  sentences  hypertext  communication  howwewrite  classiseas  composition  crosspollination  cross-fertilization  storytelling  narrative  literature  paragraphism  writing  twitter  annetrubek 
january 2012 by robertogreco
Handwriting Is History - Miller-McCune
"Writing words by hand is a technology that’s just too slow for our times, and our minds."

"I transferred him to a private school where he was allowed to dictate his writing assignments. For his fourth-grade assignments, I sat at the computer, my laptop on the dining room table, as he paced the dining room, wildly gesticulating, sometimes stopping to put his hand on his chin in thought, but mainly speaking without stopping. I am a fast typist, but I could not keep up; I had to break his train of words. He spoke aloud in full clauses and paragraphs. What would have taken him about three or four hours (I am not exaggerating) by hand took him about four minutes by mouth."

"The moral of the story is that what we want from writing — what Simon wants and what the Sumerians wanted — is cognitive automaticity, the ability to think as fast as possible, freed as much as can be from the strictures of whichever technology we must use to record our thoughts."
handwriting  future  communication  writing  education  history  neuroscience  schooling  2011  annetrubek  learning  unschooling  deschooling  efficiency  typing  speed  cognitiveautomacity 
july 2011 by robertogreco

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