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 Distant
 

Posted by Slater Jones at 3:54 PM - 3 Comments   Add a Comment  
 

 This ones for you.
 

Judy Blue Eyes

The title refers to Stephen Stills' former girlfriend, singer/songwriter Judy Collins, and the lyrics to most of the suite's sections consist of his thoughts about her and their [imminent] breakup. Collins is known for her piercing blue eyes, which are referenced in the title. Stephen Stills on NPR, July 15, 2007 in talking about the release of demo tapes he made in 1968, called Just Roll Tape reveals that Judy Collins was with him in the studio when these tapes were recorded. She told him not to stay [at the studio] all night", Stephen said. "Suite: Judy Blue Eyes" is one of the demo songs. When the interviewer asked if he and Judy were still a couple then, because the interviewer had always thought the song was a break-up song, Stephen, after deferring an answer, went on to say:

"The break-up was imminent. We were both too large for one house."

Collins and Stills had met in 1967 and began a relationship that lasted for two years. In 1969, she was appearing in the New York Shakespeare Festival musical production of Peer Gynt and had fallen in love with her co-star Stacy Keach. She eventually left Stills for Keach. Stills was devastated by the possible breakup and wrote the song as a response to his sadness.



Bird On The Wire:  Like a bird on the wire, like a drunk in a midnight choir I have tried in my way to be free. Like a worm on a hook, like a knight from some old fashioned book I have saved all my ribbons for thee. If I, if I have been unkind, I hope that you can just let it go by. If I, if I have been untrue I hope you know it was never to you. Like a baby, stillborn, like a beast with his horn I have torn everyone who reached out for me. But I swear by this song and by all that I have done wrong I will make it all up to thee. I saw a beggar leaning on his wooden crutch, he said to me, "You must not ask for so much." And a pretty woman leaning in her darkened door, she cried to me, "Hey, why not ask for more?" Oh like a bird on the wire, like a drunk in a midnight choir I have tried in my way to be free.
Posted by Slater Jones at 7:00 PM - No Comments   Add a Comment  
 

 Substitute Teachers
 

Press

like I do satisfy

taste like I do

battle and win

like I smile

and arouse

will she ever

like I did.

Posted by Slater Jones at 2:49 PM - No Comments   Add a Comment  
 

 When will we also teach them what they are?
 

"And what do we teach our children? We teach them that two and two make four, and that Paris is the capital of France.  When will we also teach them what they are? We should say to each of them: Do you know what you are? You are a marvel. You are unique. In all the years that have passed, there has never been another child like you. Your legs, your arms, your clever fingers, the way you move....you are a marvel. And when you grow up, can you then harm another who is, like you, a marvel? You must work, we must all work, to make the world worthy of its children."

-Pablo Picasso
Posted by Slater Jones at 3:45 PM - No Comments   Add a Comment  
 

 Pedagogy of the Oppressed
 

Paulo Freire, Pedagogy of the Oppressed
Chapter 2

A careful analysis of the teacher-student relationship at any level inside or outside the school, reveals its fundamentally narrative character This relationship involves a narrating Subject (the teacher) and patient, listening objects (the students). The contents, whether values or empirical dimensions of reality, tend in the process of being narrated to become lifeless and petrified. Education is suffering from narration sickness.

The teacher talks about reality as if it were motionless, static, compartmentalized, and predictable. Or else he expounds on a topic completely alien to the existential experience of the students. His task is to “fill” the students with the contents of his narration — contents which are detached from reality, disconnected from the totality that engendered them and could give them significance. Words are emptied of their concreteness and become a hollow, alienated, and alienating verbosity.

The outstanding characteristic of this narrative education, then, is the sonority of words, not their transforming power. “Four times four is sixteen; the capital of Para is Belem.” The student records, memorizes, and repeats these phrases without perceiving what four times four really means, or realizing the true significance of “capital” in the affirmation “the capital of Para is Belem,” that is, what Belem means for Para and what Para means for Brazil.

Narration (with the teacher as narrator) leads the students to memorize mechanically the narrated content. Worse yet, it turns them into “containers,” into “receptacles” to be “filled” by the teacher. The more completely she fills the receptacles, the better a teacher she is. The more meekly the receptacles permit themselves to be filled, the better students they are.

Education thus becomes an act of depositing, in which the students are the depositories and the teacher is the depositor. Instead of communicating, the teacher issues communiques and makes deposits which the students patiently receive, memorize, and repeat. This is the “banking” concept of education, in which the scope of action allowed to the students extends only as far as receiving, filing, and storing the deposits. They do, it is true, have the opportunity to become collectors or cataloguers of the things they store. But in the last analysis, it is the people themselves who are filed away through the lack of creativity, transformation, and knowledge in this (at best) misguided system. For apart from inquiry apart from the praxis, individuals cannot be truly human. Knowledge emerges only through invention and re-invention, through the restless, impatient, continuing, hopeful inquiry, human beings pursue in the world, with the world, and with each other.

In the banking concept of education, knowledge is a gift bestowed by those who consider themselves knowledgeable upon those whom they consider to know nothing. Projecting an absolute ignorance onto others, a characteristic of the ideology of oppression, negates education and knowledge as processes of inquiry. The teacher presents himself to his students as their necessary opposite; by considering their ignorance absolute, he justifies his own existence. The students, alienated like the slave in the Hegelian dialectic, accept their ignorance as justifying the teacher’s existence — but, unlike the slave, they never discover that they educate the teacher.

The raison d'etre of libertarian education, on the other hand, lies in its drive towards reconciliation. Education must begin with the solution of the teacher-student contradiction, by reconciling the poles of the contradiction so that both are simultaneously teachers and students.

This solution is not (nor can it be) found in the banking concept. On the contrary, banking education maintains and even stimulates the contradiction through the following attitudes and practices, which mirror oppressive society as a whole:

(a) the teacher teaches and the students are taught;
(b) the teacher knows everything and the students know nothing;
(c) the teacher thinks and the students are thought about;
(d) the teacher talks and the students listen — meekly;
(e) the teacher disciplines and the students are disciplined;
(f) the teacher chooses and enforces his choice, and the students comply;
(g) the teacher acts and the students have the illusion of acting through the action of the teacher;
(h) the teacher chooses the program content, and the students (who were not consulted) adapt to it;
(i) the teacher confuses the authority of knowledge with his or her own professional authority, which she and 
he sets in opposition to the freedom of the students;
(j) the teacher is the Subject of the learning process, while the pupils are mere objects.

It is not surprising that the banking concept of education regards men as adaptable, manageable beings. The more students work at storing the deposits entrusted to them, the less they develop the critical consciousness which would result from their intervention in the world as transformers of that world. The more completely they accept the passive role imposed on them, the more they tend simply to adapt to the world as it is and to the fragmented view of reality deposited in them.

 

Posted by Slater Jones at 5:47 PM - No Comments   Add a Comment  
 
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