"The world bursts at the seams with people ready to tell you you're not good enough. On occasion some may be correct. But do not so their work for them. Seek any job; ask anyone out; pursue any goal. Don't take it personally when they say "no" - they may not be smart enough to say "yes"."
- Keith Olbermann
I presented my "THIS FACE WILL SAVE THE WORLD" in class today. Classmates liked it, or so the ones who spoke up did. But not my professor. He had something else in mind. I produced different results . He's not listening to my intent, nor seeing it. Or I didn't give a clear, sound mssg to him. Overall, one big fiasco; well on my part, it's an even bigger fiasco because he, the professor, is grading my work, the work which he is clearly confused about.
What I got from him:
he hates:
-my use of the powerpoint program - idk why he's hating, he doesnt need to be mad, i could use a movie maker program in a cinch, but never windows movie maker.
-my idea? - im confused if he hates my idea bahaha
-my selected images - i guess they're not good enough?
-my photo-shop images? - eh, i tried my best at this prgm
-my staged photographs - that's the point
-my choice of words - welp, i realize that umm im not skilled in speaking clearly about my ideas, so for that, i aint gonna apologize for my flaws. just deal with it. bahaha
-
my turn:
i hate:
-his put downs, he never really give any good advice or suggestions, so he's not really any use for me, so why the fuck should i be paying any attention to him
-at least i didnt get burned badly at the altar; he should pay more attention to his life than to my project, then maybe, just maybe, he'll get hitched one day. god bless whoever it may be.
-he didnt really teach me shit, except bring up info about 'gaming studies' and even then, most of them are fucken useless.
-him putting me on the spot: HE DO NOT LISTEN TO ME. so stupid. he asked. i answered (but i guess not in the way he wants it). he told me he's confused. my classmate reiterated my response and defended my position. then he told her he got it but just didnt hear that from me. MAJOR WTF.
-he thinks i did my work overnight. im not saying my project is perfect, but dang, he jumps right into conclusion.
perhaps his idea of jane mcgonigal's ideas differ from mines, but that does not give him any rights to put my idea down.
----
im mad at myself more because im letting his words walked all over me. i cant stop it; i cant help it. it's a sick cycle. i would love to forget about it, but it's easier said than done. plus, what i hate most is that he's grading my work, and obviously, he doesnt like it. i think its my turn to tell him that im confused of his confusion about my work. too much, too much.
Thursday, March 10, 2011
Monday, February 7, 2011
sarah baartman
Who is Sarah Baartman? Give a brief description and relate some aspect of
her life (or her contexts/situation) to something discussed either in
class or in the reading that interests you.
Sarah Baartman, also known as Saarjtie Baartman, was a South African woman who was given the title, "The Hottentot Venus" and was exhibited in Europe between 1810 to 1815. She was chosen to be exhibited due to her unusually large buttocks, and the European scientists reasoned it was a sign of her 'excessive sexuality.' After Baartman's death, French scientist Georges Cuvier anatomically removed her genitals and is currently preserved to this very day in Paris' Museum of Man. In "David's Story", the character David named her one of the "queens of Steatopygia" (p. 16) and discussed the historical figure in details with his amanuensis that Baartman had to endure being caged with leopard skins in London and was ridiculed by the Europeans because of her unique bodily structure. His storytelling was an attempt to evoke sympathy for the exhibited woman because he said, "Baartman belongs to all of us."
In "History After Apartheid", Annie Coombes stated that the exhibited figure was an "iconic symbol of dispossession of Khoisan peoples" (p. 240) and the Griqua and Khoisan groups want to bring back what was once theirs; they want Baartman's remains to return to their homeland. Martin Engelbrecht, a researcher for the Khoisan Representative Council said, "We want to know about the study of our skeleton. We need to benefit from knowledge" (p. 241). As an outsider, I think it is more than justified that the parts of Baartman should return to South Africa because she is after all in living spirits of the country. I am not sure if there was a written agreement between Cuvier and Baartman about her bodily dissection, but I doubt that she wanted her remains to be publicly exposed at such an institution. Even other people besides South Africans wants Baartman to return by rallying through the use of international publicized campaigning efforts such as Zola Maseko's film titled "The Life and Times of Sara Baartman", the World Archaeological Congress conference held in Cape Town, and Spain's "El Negro" organized efforts. However, Paris' denial of her return and keeping of her remains shows us that they still want to hold onto any power whatsoever, and does not at all respect the wish of Baartman's people.
her life (or her contexts/situation) to something discussed either in
class or in the reading that interests you.
Sarah Baartman, also known as Saarjtie Baartman, was a South African woman who was given the title, "The Hottentot Venus" and was exhibited in Europe between 1810 to 1815. She was chosen to be exhibited due to her unusually large buttocks, and the European scientists reasoned it was a sign of her 'excessive sexuality.' After Baartman's death, French scientist Georges Cuvier anatomically removed her genitals and is currently preserved to this very day in Paris' Museum of Man. In "David's Story", the character David named her one of the "queens of Steatopygia" (p. 16) and discussed the historical figure in details with his amanuensis that Baartman had to endure being caged with leopard skins in London and was ridiculed by the Europeans because of her unique bodily structure. His storytelling was an attempt to evoke sympathy for the exhibited woman because he said, "Baartman belongs to all of us."
In "History After Apartheid", Annie Coombes stated that the exhibited figure was an "iconic symbol of dispossession of Khoisan peoples" (p. 240) and the Griqua and Khoisan groups want to bring back what was once theirs; they want Baartman's remains to return to their homeland. Martin Engelbrecht, a researcher for the Khoisan Representative Council said, "We want to know about the study of our skeleton. We need to benefit from knowledge" (p. 241). As an outsider, I think it is more than justified that the parts of Baartman should return to South Africa because she is after all in living spirits of the country. I am not sure if there was a written agreement between Cuvier and Baartman about her bodily dissection, but I doubt that she wanted her remains to be publicly exposed at such an institution. Even other people besides South Africans wants Baartman to return by rallying through the use of international publicized campaigning efforts such as Zola Maseko's film titled "The Life and Times of Sara Baartman", the World Archaeological Congress conference held in Cape Town, and Spain's "El Negro" organized efforts. However, Paris' denial of her return and keeping of her remains shows us that they still want to hold onto any power whatsoever, and does not at all respect the wish of Baartman's people.
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