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I always knew there was more I wanted to convey to them about their writing, about how they had or had not created meaning for the reader.

It took me about 10 minutes per paper, times 68 papers, so the last week and a half have been intense. If you’re doing the math, that’s over 11 hours of paper grading. If I am going to put in that kind of time for grading, I must see my students growing as writers. Period.

 I liked knowing that my essay got individual attention, individual feedback, and I feel like you cared about what I wrote.

A small number of students (actually, fewer than 5) said that they didn’t feel that the verbal comments were all that helpful.

hurtful to hear me say out loud what was wrong with their papers

Writing is personal, and feedback can feel like an attack.

tried out a new way of assessing student work — screencasting

That’s not to say there isn’t any room for humans in Demand’s process. They just aren’t worth very much. First, a crowdsourced team of freelance “title proofers” turn the algorithm’s often awkward or nonsensical phrases into something people will understand: “How to make a church-pew breakfast nook,” for example, becomes “How to make a breakfast nook out of a church pew.” Approved headlines get fed into a password-protected section of Demand’s Web site called Demand Studios, where any Demand freelancer can see what jobs are available. It’s the online equivalent of day laborers waiting in front of Home Depot. Writers can typically select 10 articles at a time; videographers can hoard 40. Nearly every freelancer scrambles to load their assignment queue with titles they can produce quickly and with the least amount of effort — because pay for individual stories is so lousy, only a high-speed, high-volume approach will work. The average writer earns $15 per article for pieces that top out at a few hundred words, and the average filmmaker about $20 per clip, paid weekly via PayPal. Demand also offers revenue sharing on some articles, though it can take months to reach even $15 in such payments. Other freelancers sign up for the chance to copyedit ($2.50 an article), fact-check ($1 an article), approve the quality of a film (25 to 50 cents a video), transcribe ($1 to $2 per video), or offer up their expertise to be quoted or filmed (free). Title proofers get 8 cents a headline. Coming soon: photographers and photo editors. So far, the company has paid out more than $17 million to Demand Studios workers; if the enterprise reaches Rosenblatt’s goal of producing 1 million pieces of content a month, the payouts could easily hit $200 million a year, less than a third of what The New York Times shells out in wages and benefits to produce its roughly 5,000 articles a month.

But once it was automated, every algorithm-generated piece of content produced 4.9 times the revenue of the human-created ideas. So Rosenblatt got rid of the editors. Suddenly, profit on each piece was 20 to 25 times what it had been. It turned out that gut instinct and experience were less effective at predicting what readers and viewers wanted — and worse for the company — than a formula.

Here is the thing that Rosenblatt has since discovered: Online content is not worth very much. This may be a truism, but Rosenblatt has the hard, mathematical proof. It’s right there in black and white, in the Demand Media database — the lifetime value of every story, algorithmically derived, and very, very small. Most media companies are trying hard to increase those numbers, to boost the value of their online content until it matches the amount of money it costs to produce. But Rosenblatt thinks they have it exactly backward. Instead of trying to raise the market value of online content to match the cost of producing it — perhaps an impossible proposition — the secret is to cut costs until they match the market value.

Require lots of writing. As the management guru Peter Drucker argued, communication is the one skill required of all professionals, regardless of field. "As soon as you take one step up the career ladder," he said, "your effectiveness depends on your ability to communicate your thoughts in writing and in speaking."

Clearly, one of the best things we can do for students is to require them to write—a lot.

Focus on critical thinking. A common complaint of employers, as reflected in the NACE survey, is that many workers have difficulty thinking for themselves. They may be thoroughly trained, having mastered all of the concepts in the textbooks, but, inevitably, situations arise that weren't covered in the books. When that happens, the ability to think critically, independently, and creatively becomes indispensable.

Bring the real world into the classroom. Another strategy we can adopt, if we want our courses to be more relevant, is to make our class discussions, case studies, experiments, and assignments as real-world-based as possible. For example, in my composition courses, I not only allow students to choose their own essay topics, but I also encourage them to write about issues related to their prospective majors. I also assign reading (in addition to the old textbook standbys) from newspapers, popular magazines, even the Internet.

Make the connection. Take advantage of every opportunity to connect what students are doing in class with what they will be doing some day as employees. My students hear the term "the real world" so much that, by the middle of the term, they're starting to roll their eyes. But it's important for them to understand that the work we're doing now in class isn't just a series of meaningless exercises, another set of hoops for them to jump through on their way to a degree. They're going to have to do these things for real one day—describe processes, do research to find solutions, draw comparisons—and my course may be the last time anyone ever actually teaches them how.

Making Text-to-Text/Text-to-Self/Text-to-World connectionsCharting Debatable IssuesListing Facts/Questions/ResponsesIdentifying Cause and EffectSupporting Opinions With FactsTracking The Five W’s and an HIdentifying Multiple Points of ViewIdentifying a Problem and SolutionComparing With a Venn Diagram

The One-Pager:Almost any student can find a “way in” with this strategy, which involves reacting to a text by creating one page that shows an illustration, question and quote that sum up some key aspect of what a student learned.

“Popcorn Reads”:Invite students to choose significant words, phrases or whole sentences from a text or texts to read aloud in random fashion, without explanation. Though this may sound pointless until you try it, it is an excellent way for students to “hear” some of the high points or themes of a text emerge, and has the added benefit of being an activity any reader can participate in easily.

Illustrations:Have students create illustrations for texts they’re reading, either in the margins as they go along, or after they’ve finished. The point of the exercise is not, of course, to create beautiful drawings, but to help them understand and retain the information they learn.

Within this scheme, Leviticus presents the humbling of the foreskin of the heart as the resolution to the stubborn heart which brought the people into exile. heart circumcision will bring the blessing of restoration.

It is in the context of the covenant curses that our reference to heart circumcision occurs in Leviticus 26:41, revealing that Israel had an internal heart problem which led them to curse God and therefore undergo his covenant curses.

Leviticus 26 describes the outworking of the blessing, curse-exile, and return from exile

Deuteronomy presents circumcision of the heart as important means for attaining the Deuteronomic vision of loyalty from a devoted heart.4

The 18th century saw the continued construction of foundations upon which all subsequent medical experimentation has been built.

Her motives for writing Frankenstein are more difficult to define. In her introduction to the 1831 edition she writes that she wanted her work to … speak to the mysterious fears of our nature and awaken thrilling horror—one to make the reader dread to look round. If I did not accomplish these things, my ghost story would be unworthy of its name … (p 7, p 8)

The process of enactive listening is a pathway to the performance of music. The goal of this third level of a listening pedagogy is to continue ear training with a strong musicianship program by allowing the listening act to guide musicians to stylistically appropriate performance.[ 6] Not only can students learn the music of oral cultures aurally, but they can also effectively learn the nutated music of literate cultures by listening. In attempting to perform a musical selection, students gain from opportunities to hear a recording that allows them to concentrate on timbrai qualities, the dynamic How of a piece, its melodic and rhythmic components, and the interplay of its parts. Notation alone, whether from composed or transcribed works, can never fully depict all the musical nuances of a piece, and so listening is a helpful guide to performance.

Enactive listening takes time. It can be frustrating for those who have learned to use and value notation as an important means for music's transmission.

Young musicians can learn songs for solo or unison voices — as well as multipart songs and selections for percussion ensembles, strings groups, and gatherings of wind players — by ear.