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As an upcoming Teacher, I will teach in the inner-city school system. My students will learn that regardless of what society labels the city they come from and how society expects them to be just another statistic of “the hood”, they are someone and they will be someone successful if they so choose. I will give them support, care, and a chance to see themselves as people and NOT just another statistic or number among the uneducated. I will share with them my willingness to help them achieve despite of the surroundings and experiences - if they were negative.

I enjoyed the article “Understanding Comics” by Scott McCloud. It was entertaining, funny, a little complicated, but true. I agree that “we” do program ourselves to believe that a representational symbol is the actual object or person. Take a look at how street signs have an affect on us. If the word Yield was in the red octagon with white letters, we would STOP instead of Yield. Why? Because we would associate the symbol and not read the sign. Think about it!! We are so used to seeing the red octagon as STOP that we don’t read the signs, we just see them. It would be the same as taking a minute to comprehend what we are actually seeing versus what the word says when we have to read the words red, blue, green, yellow out loud. It will be difficult. If we took more time to examine, read, and process information then our lives would be much smoother to live.

Don't sell merchandise and don't use any copyrighted music without a license. If people buy Lonelygirl15 stuff thinking she is real, they could claim false advertising and sue.

It was a sly move: Post a video that comments on an already-popular vlogger and piggyback on the existing audience.

But he did persuade her to meet again the next day. It was at a crowded coffee shop – she figured she'd be safe. Beckett showed up alone and explained the plan this way: The project was a sketchbook for a film. If it was a success online, they could go to the studios and use the material as a screen test for both her and the story. That seemed to soften her. This was just a stepping stone to a feature film. She decided to give it a try.

What has she found? That the Internet links millions of people in new spaces that are changing the way we think and the way we form our communities. That we are moving from "a modernist culture of calculation toward a postmodernist culture of simulation." That life on the screen permits us to "project ourselves into our own dramas, dramas in which we are producer, director, and star.... Computer screens are the new location for our fantasies, both erotic and intellectual. We are using life on computer screens to become comfortable with new ways of thinking about evolution, relationships, sexuality, politics, and identity." Turkle's own metaphor of windows serves well to introduce the following samplings from her new book. Those boxed-off areas on the screen, Turkle writes, allow us to cycle through cyberspace and real life, over and over. Windows allow us to be in several contexts at the same time - in a MUD, in a word-processing program, in a chat room, in e-mail. "Windows have become a powerful metaphor for thinking about the self as a multiple, distributed system," Turkle writes. "The self is no longer simply playing different roles in different settings at different times. The life practice of windows is that of a decentered self that exists in many worlds, that plays many roles at the same time." Now real life itself may be, as one of Turkle's subjects says, "just one more window."

ender-swapping on MUDs is not a small part of the game action. By some estimates, Habitat, a Japanese MUD, has 1.5 million users. Habitat is a MUD operated for profit. Among the registered members of Habitat, there is a ratio of four real-life men to each real-life woman. But inside the MUD the ratio is only three male characters to one female character. In other words, a significant number of players, many tens of thousands of them, are virtually cross-dressing.

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Beckett had met him through a friend and wanted to make sure Lonelygirl15 didn't get them sued for deceiving the public

But the series he created shows that Internet TV has arrived. The phenomenon is partly driven by technology – Lonelygirl15 wouldn't exist without the explosion of broadband and the advent of YouTube – and partly by the appeal of a hybrid form of storytelling.

In the process, the series is helping to invent the rhythm, grammar, and style of online storytelling

“If online reading was eating away at book reading, how did we explain literary weblogs that command thousands of readers a day, or book recommendations and dialogue as crucial features in the next generation of social software?”

When I write--text or hypertext, fiction or theory--I must set aside a certain space in which to work. I use the word "space" here to group several kinds of space: physical, temporal, and cognitive. The writing space is not merely a desk or office where I keep my manuscripts and disks and pens and computer. It is also a space of time set aside from day to day life: from my job, from my wife, from all people and activities other than the work, the writing. But all the time and (physical) space in the world would be to no avail if I could not set aside one further space, a kind of internal solitude--a meditation perhaps--to which I turn to recapture the vision I had when last I wrote, or to see what lies ahead. This space is a little hard to describe, but it is there that writing, as I have quoted Walter Ong elsewhere, transforms human consciousness

I use the term "writing space" not just because I find it apt, but on purpose to augment the ways in which Jay David Bolter uses it in Writing Space: The Computer, Hypertext, and the History of Writing. Bolter uses the term in at least three ways, all developed out of his initial concentration, the literal writing space,"the physical and visual field defined by a particular technology of writing": the papyrus, the page, the computer screen (Bolter 1991, 11)

Everyone, in the back of his mind, wants to be a star," Hurley asserts for probably the quadrillionth time, "and we provide the audience to make it happen.

Fragmentation has decimated audiences, viewers who do watch are skipping commercials,