Category Archives: Ford 2015

Behavioral Economics-Online Experiments and Game theory Modeling

Indirect costs for charities are the costs that are not directly related to their specific projects, including administration, personnel, facilities etc. They are necessary costs for the operation of charities, yet it is popular for donors to demand low indirect cost ratio for the money they donate. This summer I worked with Professor Benjamin Ho on a research project about the factors that influence charities’ indirect costs and indirect cost restrictions government imposes when it issues new grants to charities.

Working from a model set up by Baran, we tested three interesting propositions of the model using data provided by Charity Navigator. The first proposition states that if a charity receives more grants from the government, its indirect cost ratio will be lower. However, the regression results suggest the contrary (r = 0.773). The percentage of government grants and indirect cost ratio are positively correlated , as shown below. This is possible because if the government likes a charity, it is likely to grant more funds to the charity, and at the same time, allow more money to be spent on administration and facilities to help the organization grow. The correlation coefficient is influenced by levels of government grants and categories that charities belong to.

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The second proposition states that when people care more about the charity, the indirect cost ratio is higher. We quantify how much people care about the charity using the number of page views of the charity on Charity Navigator. The regression result suggests that page view and indirect cost ratio are positively correlated (r = 0.0149), which is consistent with the model. To attract more attention from the public, the charity might spend more on building up public image, therefore it has higher indirect costs.

The last proposition states that when people care more about the charity, government is willing to set higher indirect cost restriction on the charity. In order to let the most-cared charities grow, government might allow the charities to spend more on their own development. Two findings from a GAO (Government Accountability Office) report are consistent with the proposition. The related statistics are summarized in the table below.

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The GAO report first suggests that universities in the Northeast area have higher indirect costs restriction, while our data set shows that those universities get more attention from people than the others (p-value of 0.007). The second finding from the GAO report suggests that universities with higher research volume have higher indirect cost restrictions, and our data shows that people care more about universities with higher research volume.

In this project, my major role was to clean up data and perform analysis using STATA to test the propositions. I also spent time researching relevant data that were not included in the data set and could not be directly obtained from online databases. To carry the project forward, in the coming semesters, I am going to further test the results we found this summer, and form explanations for the patterns we see.

Choral Music: Treble Choir Repertoire and Theory

This summer, I worked with Professor Christine Howlett on researching treble choir repertoire, developing curriculums to teach said repertoire and music theory/vocal musicianship to young musicians, and studying choir management software solutions.  I also had the opportunity to travel to two conferences at Yale University and Westminster Choir College to learn more about the ways choral music can transform lives.  The capstone experience of my summer was co-conducting and teaching at the Cappella Festiva Treble Choir Summer Choral Festival, a one week music program for singers ages 10-18.

Assembling a library of new treble choir repertoire was my first task.  When researching choral music, one must be diligent in ensuring that they are choosing pieces that are interesting, varied in terms of genre, time period, accompaniment, tonality, tempo, etc., and accessible for the ensemble that is being programmed for (four vocal parts vs. two, for example).  I logged many hours on the web and had great resources from music websites such as JWPepper and Graphite Publishing.  Below are some of our newfound favorite pieces (many of which we programmed for the aforementioned Summer Choral Festival):

A small sampling of our favorites from treble choir repertoire research.

A small sampling of our favorites from treble choir repertoire research.

Having lots of new music to program and perform is crucial to staying relevant and successful in music.  But, equally important is having a solid curriculum in place to teach the musicianship skills that are vital to achievement with the music.  I compiled many methods that music educators employ in their pedagogies.  Professor Howlett and I then chose the strategies that we felt would affect most immediate change in young singers and created a curriculum centered around them to be used in the Summer Choral Festival.  The strategies that we chose included the use of body percussion (to help singers internalize rhythm and pulse), solfège scales and syllables, or “do re mi fa sol la ti do” as many know it (helps improve accuracy of pitch and tuning; part of the “Kodály Method”), and teaching rounds and canons (quickly develops independence of parts and aural skills necessary for accurate rhythm and harmony).

Guide to solfège hand symbols in Kodály Method of music pedagogy.

Guide to solfège hand symbols in Kodály Method of music pedagogy.

The administrative tasks that a conductor must perform are fundamental in directing a successful choral ensemble.  Professor Howlett and I researched multiple online choral management softwares that provide a portable platform for choral administration.  They included Groupanizer, Chorus Connection, and HarmonySite.  These platforms are extremely complex and powerful, so we spent quite a bit of time analyzing and studying their functionality.  We compared their handling of event planning and organization, membership management, invoicing options, learning file upload capabilities, communication systems, and even visual representations with riser placements of singers at concerts (which has a large impact in the overall sound).

Landing page of our favorite choir management platform that we researched, HarmonySite.

Landing page of our favorite choir management platform that we researched, HarmonySite.

In June, I traveled to Yale University to attend a conference featuring a symposium titled “Choirs Transforming Lives.” Hosted by the Yale International Choral Festival and the Connecticut American Choral Directors’ Association, the symposium featured many notable guest panelists that spoke about their experiences and successes in various choral music fields.  One of the panelists was a music therapist who shared her methods of musical pedagogy in the context of young people with special needs.  Another was a music scholar who spoke about the implications of choral music in political and socioeconomic contexts and the ways in which society is making use of the dissemination and teaching of song.  I also traveled to Westminster Choir College in Princeton, NJ to attend a workshop in choral conducting.  I was introduced to even more excellent repertoire and theory techniques and learned how vital the conductor’s pedagogy and methods are in the success of the ensemble.

Fellow music students and educators attending the conference at Westminster Choir College.

Fellow music students and educators attending the conference at Westminster Choir College.

I had the privilege of being a part of an incredible practical application experience during the final week of my Ford project.  I used all the knowledge that I obtained from summer research to conduct and teach music theory/vocal musicianship at the Cappella Festiva Treble Choir Summer Choral Festival.  Along with Professor Howlett, I worked with a talented and driven group of 27 young musicians over the week and saw immediate and inspiring change right before my eyes.  The students went from a group of strangers on Day 1 to a bonded and sonorous choir with incredible artistry by the final concert at Vassar on Day 6.  I had never worked with an ensemble in the age range of 10-18 nor one with only treble voices.  But with the research and preparation I had conducted in the weeks prior, I was able to adapt to the singers and provide them with a fulfilling and fun experience both in and outside of rehearsals.

Summer Choral Festival group banner project.

Summer Choral Festival banner group project.

Nick Ruggeri '18 (me) teaching vocal musicianship.

Nick Ruggeri ’18 (me) teaching vocal musicianship.

Daily choral rehearsals - Professor Howlett teaching a new piece.

Daily choral rehearsals – Professor Howlett teaching a new piece.

A group of campers posing with me at final concert.

A group of campers posing with me at the final concert.

There are many facets of choral music that work together behind the scenes of the ensemble that sings beautifully at their performance.  Careful consideration of all of them is what makes the music happen on stage.  Being a part of a choir is being a part of something bigger than oneself – and that is magic.

 

Nick Ruggeri ’18

Multiplied: U.S. Politics, Empire, and Women’s Reproductive Labor

In the introduction to elite New Englander Christiana Holmes Tillson’s account of her experiences in Illinois in the early 1870s, historical novelist Emerson Hough challenges the conventional paragon of Western expansion characterized by “the long-haired, fringed-legging man riding a raw-boned pony.”[1] Instead, Hough identifies “the gaunt and sad-faced woman sitting on the front seat of the wagon” as the “chief figure of the American West.”[2] He goes on to challenge our collective memory of the Western woman in her sunbonnet and profoundly asks, “Who has written her story? Who has painted her picture?”[3]

Hough’s critical questions perceptively frame my role in Professor Rebecca Edwards’s ongoing research on the significance of women’s fertility and reproduction in U.S. electoral politics, territorial expansion, and conquest. For four weeks this summer I researched Western narratives and diaries to better understand the ways in which men and women conceived of frontier motherhood and to paint a collective portrait of these frontier mothers from their own perspectives. I also assisted Professor Edwards in compiling and analyzing U.S. Census data and large families’ genealogical records to identify trends and patterns in family size, literacy rates, and other pertinent information.

Census and Genealogical Records: Professor Edwards and I combed through the 1900 U.S. Census and compiled data on mothers in various Southwestern counties. Our main focus was compiling information on families in a Southern frontier county to gain a better understanding of the size, make-up, and social status of this specific subset of Southwestern families. The trends that we identified illuminate the drastically differential experiences that mothers at the time could have had depending on a variety of factors, including age, race, literacy, and class. The existence of women who bore over ten children was not all that uncommon, yet the child survival rates at this time were abysmal, particularly for African-American children. For example, the average child survival rate of African-American mothers born before 1845 was only 39%, while the average child survival rate for white mothers who bore fourteen children in their lifetime was closer to 64%. As evidenced in women’s narratives, the phenomenon of extremely large families and shockingly high birth rates corresponded with a relatively high child mortality rate; although almost every woman’s diary from the time is replete with mentions of family members and friends giving birth, passages dedicated to the untimely deaths of these children are almost as frequent.

Women’s Narratives: As the Census and genealogical data demonstrate, women in the early to mid-nineteenth century, particularly Southern women, routinely married at a very young age and were thus able to start their childbearing careers quite early on. Early marriages were a common theme in women’s reminisces and diaries, yet not all women accepted this social custom. Elvina Apperson Fellows, born in Missouri in 1837, married a forty-four year old man named Julius Thomas in 1851 soon after she arrived in Oregon at the behest of her mother. She was just fourteen years old at the time. As Fellows describes, “What could a girl of 14 do to protect herself from a man of 44, particularly if he drank most of the time, as my husband did?”[4] Sarah Haynsworth Gayle, a mother of six who moved to Alabama in the early 19th century, expressed similar sentiments on such early marriages. She vehemently opposed the marriages of young teenage girls and described how “Old Dr. Merriwether has taken a third wife, having buried his last about eight months ago – he is seventy seven & she seventeen… There is something really shocking in the idea; something wrong too, for a good virtuous girl would have encountered poverty in its most hidious [sic] form, rather than have made the sacrifice so repugnant to nature and to reason.”[5] In addition to the controversial topic of teenage marriage, Gayle’s journal is preoccupied with the social visits of friends and family members. Gayle was subsumed in a network of mothers who provided advice and assistance in the details of bearing and raising children, as well as consoling figures when these children died in infancy.

John Molstad and his wife Petronelle Rosedahl Molstad moved from Norway to Dakota Territory in the late 1800s. Petronelle had already birthed five children in Norway but went on to birth six more after arriving in pioneer territory, all of whom helped maintain the family's 160 acres of land. Ten of the Molstad children are pictured above with their parents. Source: www.marisaannebenson.com/petramolstad.html.

John Molstad and his wife Petronelle Rosedahl Molstad moved from Norway to Dakota Territory in the late 1800s. Petronelle had already birthed five children in Norway and went on to birth six more after arriving in pioneer territory, all of whom helped maintain the family’s 160 acres of land. Ten of the Molstad children are pictured above with their parents. Source: www.marisaannebenson.com/petramolstad.html.

Because many women married at such a young age, the size of frontier families often grew to be quite large in a relatively short period of time. In collecting the Census and genealogical data, it was not uncommon to come across women who had birthed over six, eight, or ten children. In Chicot County, Arkansas, we identified twenty-seven women, all African-American, who bore sixteen or more children, including two who were mothers of twenty and one who bore twenty-three.

Christina Holmes Tillson, an elite New Englander who moved with her husband to Illinois, described the difficulties of raising even a few children on the frontier. She frequently described how fatigued she was at raising her handful of children without any help. The particular difficulties and conditions of frontier life certainly took its toll on pioneer mothers.

This devastating toll that motherhood could have on women of the frontier generation was perhaps no more evident than in the story of Henriette “Jette” Bruns, a native German who immigrated to Upper Louisiana with her family in 1835. jetteJette birthed eleven children in her lifetime, yet five died in childhood. Jette’s life in America was extremely challenging and disheartening. These sentiments are perhaps best summed up in Jette’s declaration that “it is no fun to represent cook, nursemaid, and housewife in one person.”[6] These difficulties that frontier women experienced in their attempts at inhabiting so many roles and managing the myriad of responsibilities that accompany childcare were often exacerbated by the frequent occurrences of various maladies and diseases. In 1841, one of Jette’s older children, Bruns, returned from a trip to St. Louis with dysentery. Jette described how “In a few days all of our children were sick. Hermann survived the illness, but the little ones! Johanna died on the 13th of September, Max on the 19th of September, and the babe in arms, little Rudolph, followed on the 2d [sic] of October. With all of them the last words and the dying glance was ‘Mother!’”[7] Jette’s three youngest children therefore died within three weeks of each other. The youngest, Rudolph, was not even a year old. unnamedIn light of these devastating events, Jette wrote to her brother that he “would be disappointed in me, and you would have only sad memories when I had left you again. There is none of the youthful freshness left, but instead a stiff, sad, indifferent figure, without manners, without interests, with aged features, a mouth without teeth.”[8] Jette’s story, although quite extreme, encapsulates the complex of difficulties, disappointments, and hardships that frontier women often faced.

 

[1] Milo Milton Quaife, introduction to A Woman’s Story of Pioneer Illinois, by Christiana Holmes Tillson (Chicago: The Lakeside Press), xvi.

[2] Ibid.

[3] Ibid.

[4] Fred Lockley, Conversations with Pioneer Women, ed. by Mike Helm (Eugene: Rainy Day Press, 1981), 65.

[5] The Journal of Sarah Haynsworth Gayle, 1827-1835: A Substitute for Social Intercourse, ed. By Sarah Woolfolk Wiggins and Ruth Smith Truss (Tuscaloosa: The University of Alabama Press, 2013), 47-48.

[6] Hold Dear, As Always: Jette, A German Immigrant Life in Letters, ed. By Adolf E. Schroeder and Carla Schulz-Geisberg (Columbia: University of Missouri Press, 1988), 79.

[7] Ibid, 111.

[8] Ibid. 157.

Archiving Einstein

“To a collector, you see, the true freedom of all books is somewhere on his shelves.” – Walter Benjamin from ‘Unpacking My Library

“What can a library do with secret letters? We shall define libraries in general as places devoted to keeping the secret but insofar as they give it away. Giving a secret away may mean telling it, revealing… as well as keeping it so deeply in the crypt of memory that we forget it is there or even cease to understand and have access to it. In one sense a secret kept is always a secret lost.”  – Jacques Derrida from Geneses, Genealogies, Genres and Genius

“Dear Posterity!

If you don’t become fairer, more peaceful, and generally more reasonable than we are, or have been, then the devil take you.

Having thus uttered this pious hope in all due respect, I am your (former)

sig. Albert Einstein” – Princeton, May 4, 1936 from Vassar’s Einstein Digital Collection

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The world seems over-populated with geniuses. I’m not trying to be cheeky (or, that is, I’m only trying a little), but, working with Professor Andy Bush these past few months to plan a Jewish Studies course for the Fall, my life has been teeming with the lot of them and I’m only saying what I see.

What have I been doing to be so graced with the presence of great men and women? I know that I’ve been reading, copiously, feverishly, that I’ve been sitting in various positions in varying stages of madness (but always with a cup of coffee in hand) in the library or the Krafted Cup trying to discern what is it that makes something collectable. To put something in an archive, Walter Benjamin seemed to be telling me (fairly shouting at me via tome and photocopied essay), you must be in love with it. What else? Only an object of passion may gain access to the portraiture that is your private collection. A true collector, Edward Fuchs of Benjamin’s famed essay for instance, collects only that which manifests his absolute devotion: materials that he must collect and that are, in fact, not only very material, but also that have been forgotten or have ‘died’ somehow in the course of their existence. This took me off on a long ahistorical journey of materialism and poetry, which ended, as it began, with Einstein. Or rather, what remains of his ‘genius.’ Let me explain.

Among our great collectors we might place Otto Nathan, former Vassar professor. And the object of his devotion? His companion and correspondent Albert Einstein, of course. Nathan collected the debris of forty years of friendship and aid: letters from Einstein, from Elsa, Einstein’s wife, postcards, photographs, and ephemera because, it is not too difficult for one to make the assumption, he loved Einstein dearly.

But, Einstein himself seems not to be a collectible material (if amalgamations of public memory might ever said to be materials) because there’s a distinct way in which he has not yet died – not yet garnered the potential energy of the marginalized that allows a collector the capacity to save him from obscurity. He is a constant ghost, or perhaps, not he himself but his vestigial consumable discoveries and the inevitably false phantom of his personality. Everyone knows he was the perfect absent-minded professor. A genius and goofy slob to a fault. Cixous writes aptly of herself what might be applied to the form of our genius’s fame “I am obsessed by love, lost in my papers…” And we all know this to be true. Everyone knows Einstein. Everyone knows his love of his work, how he was absorbed by it entirely. Everyone owns this story and, in fact, his very name: the synonym of genius. And here even, he shows the form of that loss, the process by which a word so simple and common as a name might skitter away from you, might scatter into indiscernible, unrecognizable episodes of a life we, looking back on seemingly immutable evidence, will never truly have access to. The illusion of a complete picture is inevitably breathing in every mind that contemplates this defining figure of ‘genius.’ So what is there to understand? If we acknowledge the arrogance and impossibility of this seemingly fixed state of mind, the parasitic and glutinous quality of thought, where does that leave those who truly wish to delve into the history of one long-dead human’s beating heart? His brain was stolen by Princeton, as the story goes, so the heart seems to be our best point of access.

We’re left with love letters. Or longing for them at least. We’re left with what we hope are love letters here in the Vassar Library. Letters of some substance expressing a love for those of us in an unimaginable future who might take the time to look back. There’s a way in which every collection constitutes a love letter to the future. Anything that’s collected at all, kept in an archive, temperature controlled and preserved, seems to indicate that the collector imagined a future in which these items would be graced once again with human gaze. This is how we may read what is left to us of ‘genius.’ What Otto Nathan has circuitously left to us: a collection of letters. This is all we have, in ‘truth.’ All we may hold in our own hands. All we may know with the certainty of touch (if our archivists would ever allow such a thing without gloves). And I’ve read them. I know, more or less, the contours of their contents – the money, and travel, and legal transactions they contain. If one looks at them to discover Einstein’s secret soul, a second more relative theory of relativity, if one simply adds them to the careful progress of a great historical figure’s life, disappointment may lurk. Our option it seemed then, was to consider an alternative: to keep our preconceived notions distinct from the letters, to ignore the tenacious stream of history, and to attempt to set aside what we knew or thought we knew of Einstein. In Benjamin’s words ‘to blast the materials out of their context’ and see the material letters simply as they are – to see them as material. And then, succeeding in that, to see what we might possibly gather from such an unusual kind of inquiry.

I have no definitive conclusions, as far as I can tell, only more questions: What is collecting? Bringing order, bringing objects, brining objects in afterlife (playing god of all things that might be considered thing-like)? What is to be learned from such a process? What form and function might collecting have in the modern day (our present era of digital archivization where treasured material and inane action are likewise eternally preserved on the indelible inter-web)?

We were trying, in part, to understand if it was possible to do anything with an archive other than admire it. The Einstein Digital Archive provokes truly proper amounts of awe, especially the care and consideration that went into its digitization and continues to go into its physical and digital preservation. But in all reality, even if he were still living in the biological sense, Einstein does not need our admiration. Even he, I’m sure, would admit that he garnered quite enough esteem to last him a lifetime and, as we know, far beyond. He doesn’t need anything more from us; but, it seems there might be something we’re still yet looking for from him.

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Professor Islamaj and I worked on a project titled Jump Starting Structural Change. I had not done a great deal of work in the area of structural change previously so I saw this as an opportunity to both expand my understanding in an area of economics as well as the research process in general.

Structural change is about countries adapting to their changing economic environment to maximize labor productivity. As industries become more or less productive over time, or as a result of policies, labor flows between them. Whether this labor moves to more or less productive sectors can have a large impact on the economy as a whole. Most people think of this as the transition from Agriculture to Manufacturing and finally Services. I started my research with a study of “Globalization, Structural Change, and Productivity Growth, with an Update on Africa” by Margaret McMillan, Dani Rodrik, and Íñigo Verduzco-Gallo, and developing my research further using similar papers.

Over the course of the summer I spent a great deal of my time coding in Stata, and working through different methods of both representing and analyzing the data gathered. With a great deal of work being done on whiteboards in addition to computers, we now have a solid foundation of information to build off of, and what we feel are clear representations of results.

This summer proved to be a strong test of my understanding of both Econometrics and Macroeconomics. Through a study of others methodologies, and experimenting with some methods of my own, I am confident in the material I worked with and am eager to expand on the research I have done.

 

Below are examples of some of the results with brief explanations:
Regional Structural ChangeThis Graph shows the growth of structural change from year to year of four geographic regions, each composed of a diverse range of economies. We can see that Asia experienced a strong growth in positive structural change starting in the 90s while Europe and the USA experience negative structural change throughout the 80s, 90s, and 00s diminishing the positive change experienced in the 70s. This is only one representation of our results on a regional level.

CHN Structural Change

We can see that china has seen consistent positive structural change throughout our sample with the largest dip occurring in the late 90s. This is attributed to the dip in chinas agricultural productivity while the share of labor remained the same.

Compare this to France’s experience

France Structural ChangeWe can see that from the late 80s to the early 90s the economy doesn’t experience any significant structural change but begins to fall from in the mid 90s. This can be attributed to a stagnancy in agriculture while both manufacturing and financial services declined.

 

 

 

 

Porfirio Rubirosa: Race, Masculinity and Mobility

A post made to Twitter June 8, 2015.

A post made to Twitter June 8, 2015.

It’s been over fifty years since “the glamorous” Porfirio Rubirosa last graced the international night scene with his Dominican charm, yet many are still reminiscing on the life and times of the famous playboy.  Porfirio Rubirosa Ariza, known by family, friends and close acquaintances as “Rubi,” was born January 22nd, 1909 to Pedro Maria Rubirosa (a general) and Ana Ariza Almanzar (the granddaughter of a Spanish general) in San Francisco de Macorís, Dominican Republic.  A Dominican by chance and a Parisian by choice, Rubi would become the most infamous playboy of the 20th century.  Between 1932 and 1965, Rubi married five times and maintained numerous affairs with the world’s wealthiest and most famous women–most notably, Zsa Zsa Gabor.  Regarded as the great “Latin Lover” of the 20th century, Rubi is best remembered for his charisma, charm and Creole handsomeness.  But how did Rubi, a non-White Dominican man with no particular skills (acting, business or otherwise), come to enjoy the highlife appreciated by Frank Sinatra, Aly Khan and the like?  

Prof. Paravisini-Gebert and Prof. Woods-Peiro attempt to answer this question in their forthcoming e-book, Porfirio Rubirosa: Race, Masculinity and Mobility.  In assisting them with this research, I’ve learned that Rubi was an exception to the rule- though most obviously a person of mixed race, Rubi was not understood to be Black.  During a time when race served as a basis for discrimination and genocide in both the U.S. and Europe (though it still does today), Rubi managed to marry four White, non-Dominican women: Danielle Darrieux, Doris Duke, Barbara Hutton and Odile Rodin.  The racialization of Rubi as Latin rather than Negro was particularly crucial for his social mobility: it allowed him to pass as non-Black and thus, gave rich, White women the green light.  Though Rubi was well aware of his own Blackness–he often sported Panama hats and protected his face with honey–his race was hardly noted by the press.  In fact, Langston Hughes observed: “So I have not seen in the colorful obituaries of the late Rubirosa in the American press, any reference to race.  Had he been an American citizen by birth, the headlines probably would have read: NEGRO PLAYBOY DIES.”

 

Zsa Zsa Gabor and Rubi

Rubi was not only exoticized because of his race, however.  He was also rumored to possess an appreciable genital endowment.  Indeed, his first wife, Flor de Oro Trujillo (El Jefe’s daughter and Rubi’s only Dominican wife), confessed that “In time, he began to make love to me in different ways, but when it was over my insides hurt a lot” (Levy 2005:48).  The rumours and whispers of this endowment contributed to Rubi’s hyper-masculinization–if there had been any doubts about Rubi’s masculinity, and in particular his ability to please women, Flor’s and other women’s anecdotes confirmed his tíguerismo.  It also helped that Rubi was sporty and interested in the fast life–he was an avid polo player and a terrible race car driver, but a race car driver nonetheless. Having led a fast, dangerous life [both socially (he was named in several divorce cases and involved in various crimes) and physically], many have deemed Rubi’s 1965 car crash death “a fitting end.”  Fifty years later, however, Rubi’s charisma and playboy ways have gone unmatched and it seems that many are still asking, where are the glamorous playboys of yesteryear?   Continue reading

Peer- and Self-observation as Professional Development: Teacher Learning Across Linguistic, Cultural and Preparation Differences in a Dual-immersion Bilingual Education School

 

CEC mural

 

The Overarching Project:

This summer I worked under the supervision of Professor Cann on a project that studies what co-teachers from different cultural, linguistic, and preparation backgrounds can learn from one another in a dual immersion education setting. The participatory action research (PAR) project itself, a professional development intervention program, was conducted in the spring of 2015 at a rural, K-11 bilingual school in Costa Rica, with two teams of co-teachers (each with one U.S. teacher and one Costa Rican/Tican teacher). In the first week of my internship, I conducted interviews with teachers and former administrators in order to document a brief history of professional development at the school. In conjunction with the school’s bilingual coordinator, I dedicated my time to conducting a preliminary analysis of qualitative data – including  interviews, surveys, field notes, and audio recorded sessions –  to see 1) what teachers can learn from one another in a professional learning community (PLC) and 2) the benefits of such a process. These efforts went towards writing two proposals in hopes of presenting research findings at the American Educational Research Association conference in 2016.

 

Brief Summary of Results:

The PLC session data revealed that through peer observation, teachers learned new strategies for student engagement. These strategies include different ways of teaching a particular lesson, reading instruction strategies, and classroom management techniques, as well as when to implement these strategies. Some teachers identified specific strategies in their peers’ practice that they were interested in implementing in the classroom. These included developing more routines in their classroom, attempting new language-based activities, addressing the class as a whole, and focusing on time efficiency, among other strategies. After adapting strategies from other teachers and implementing them in their own classrooms, some teachers expressed desire to change the adopted strategy to suit  their particular teaching style.

Anonymous, Respondent 4, Feedback Survey

In the process of examining student writing, teachers were able to reflect on their own expectations of student writing and what they value in writing. When analyzing student writing samples, most teachers commented on sentence structure, idea development, and clear expression of ideas. Some teachers also noted the students’ honesty in answering the prompt and staying on topic. Tican Spanish teachers in particular, however, commented on the aesthetic of the work, such as handwriting, and grammar, such as accents. After working together, they realized the importance of relating class material to the student’s lives in order to keep students interested in their writing.

In listening to other teachers discussing their observations, they were able to notice aspects of their own teaching through their peers’ eyes, such as effectiveness of their own classroom instruction and the power of classroom culture. Teachers also reported that the benefits of this process (and by extension, the PLC group), were: being able to become familiar with peers on a “deeper professional level” (Anonymous Respondent in Feedback Survey), recognizing the best practices and applying them, and becoming comfortable with being observed.

 

Looking Ahead

What teachers can learn from one another through PLCs in a bilingual context is an understudied realm of bilingual education. Thus, we aim to continue this project with the teachers themselves as the lead facilitators of the program. In addition, we hope to present our findings at the 2016 AERA conference in order to share our findings.

Anonymous, Respondent 1, Feedback Survey

 

Capturing Canterbury Cathedral

Art historians have long grappled with the challenge of describing, measuring, and representing medieval architecture. Though hundreds of these buildings have been standing for as many years, few records exist of their construction and what drawings have been made rely heavily on simplification and idealization of lines and shapes. In order to measure the buildings, historians had to rely on rulers, plum bobs and string – which is tedious and less than accurate. With the recent development of new technologies, however, today’s art historians have the ability to accurately measure these magnificent constructions.

Cyclone full 2 cropped

Canterbury’s 3D point cloud in Cyclone, a program used to slice the data into manageable sections (the bright colors are due to an intensity mapping mode, rather than scan color)

Professor Andrew Tallon uses laser-scanning technology to scan medieval buildings. With this method, a laser beam measures the distance to each point it hits as it sweeps around the building. These measurements are then mapped in a virtual 3D space as points corresponding in color and location to what they hit – creating a three-dimensional model of the building comprised of millions of tiny data points. From this data, we can trace exact ground plans and section views, based on the fabric of the building itself rather than half-measured, half-deduced information. This new exactness in measurement allows us to capture the reality of the buildings as never before.

In this project, I used the data from this laser-scanning technology to create the first accurate sections of Canterbury Cathedral’s choir, presbytery, and Trinity Chapel.

high altar

Canterbury’s apse and high altar

Why Canterbury? This building is particularly interesting to look at among medieval buildings because of clear progression of style and method with different architects and a uniquely well-documented history of construction, as well as its social and political history as the site of the martyrdom of Thomas Becket. In 1174, when a fire destroyed the Glorious Choir, the monks of Canterbury hired William of Sens to reconstruct the choir, though after he fell from the scaffolding a few years later, the monks replaced him with William the Englishman as new architect. The development in design between the two master builders and even within each one’s contribution is evident in the building’s construction. Not only is this clear progression of ideas evident in the building, it is documented by Gervase, a contemporary monk thought to have been involved in the construction. Such documentation of the building process is incredibly rare, and helps us understand the thought processes and ideas of the builders and monks at the time. In this way, the building presents a unique opportunity to read changes in ideas, aesthetic, and method in actual data of the building as well as from a rare account of the architectural progress of the building by someone involved. Furthermore, its long role as a pilgrimage site for Thomas Becket gives it a historical significance that makes Canterbury a fascinating building to study, both architecturally and historically.

Rev. Robert Willis' 1845 section of the choir after and before the fire of 1174

Rev. Robert Willis’ 1845 section of the choir after and before the fire of 1174

To date, there has been no accurate representation of the building. Most art historians have based their studies off of Reverend Robert Willis’ account of the building from 1845. This account, detailed though it is, is limited because of the inaccuracy of measurement and representation. Historians are unable to examine the actual reality of the building based on Willis’ account, as it does not represent the building as it has shifted and settled over the centuries.

This project changes this. With laser scanning technology, we are able to document the real dimensions of Canterbury Cathedral to an accuracy of several millimeters. The laser scans create millions of data points in a virtual 3D space that can be sliced, rotated, and moved through, allowing us to examine the building as never before – as an accurate three-dimensional model on a computer screen. However, at this stage, the data is only a cloud of points – intriguing to explore, but often unclear and difficult to read. In this project, I converted the Canterbury point cloud into usable section views by tracing the data in AutoCAD.

Data slice through the choir with drawing overlay

Data slice through Canterbury’s choir with drawing overlay

Doing this, however, is not as easy as connect-the-dots. At times the data was confusing as to what the points might represent, or in places where the laser was blocked, I was forced to extrapolate what it might look like by exploring the 3D points renderings and comparing that to spherical panoramic images of each of the scanning locations. One of the greatest challenges I faced with this project was trying to represent three dimensions in two – a challenge when, for example, vaults project in a curve into our space. In addition, no part of the building is perfectly lined up – columns are out of line, arches are at odd angles to each other. Often, I was faced with a decision between accuracy and clarity. At times, in order to show something useful in the sections I drew, it required the elimination of a detail or collapsing several section planes into one. In this sense, though  these new drawings’ measurements are more accurate than ever before, the drawings are nonetheless filtered in order to create as understandable a section as possible – a dilemma impossible to solve in this type of representation.

Even with these challenges, these section drawings of Canterbury Cathedral are the most accurate to date. With these new sections, art historians can study the building based on real data rather than simplified models of the building. Not only are drawings such as these useful for studying the building in an art historical sense, they are also useful for upkeep and maintenance. For example, laser scanning can reveal points of weakness in the building caused by the thrust of the vaults and which columns or buttresses are working against that stress. Both in physical and historical analysis of Canterbury Cathedral, the greater accuracy of these scan-based drawings is the key to a better understanding of the building.

This project resulted in the first three accurate section views of Canterbury, but the work is far from finished – Canterbury has yet to have an accurate ground plan drawn, and exact elevation drawings would also be a first. A simple three-dimensional model based on this data would also be a powerful tool to study the building in new ways. Those will be the next stages in this project, where we use laser-scanning technology and AutoCAD to capture Canterbury Cathedral as never before.

The completed drawing of Canterbury’s Trinity Chapel: vaults are light pink to indicate their projection into space. White lines mark what could not be read from the laser scan and had to be estimated.

For a glimpse of how laser scanning technology is used to analyze buildings, take a look at the National Geographic article on Professor Tallon’s analysis of the National Cathedral.

 

Urban Water Development and it’s Cultural Effects

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This project is really a multifaceted one, complicated and interwoven with stories of tension and emotion as only Anthropology can unveil. The work consists of hiking and surveying around the sites of two reservoirs owned by the City of New York. These reservoirs, one in the Catskills and one just south of Poughkeepsie, are far far (50-125 miles) away from the city they supply. The construction of these reservoirs in the late 19th-early 20th century involved massive land acquisitions by the city, displacing whole towns full of buildings and people. This invasion helped foster a culture of distrust in those still living around the reservoir. Our project then is to untangle the connections and histories of the area, to figure out what happened, what is happening, and what could be done to fix some of the bridges that were burned long ago.

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Our primary method for digging up and reconstructing the past is Archaeology (although we don’t do any actual digging). The team travels to New York City owned land, policed by the NYC Department of Environmental Protection, and surveys the sites, looking for any signs of previous or current cultural activity. My specific job on this project is as the field photographer. I take high-quality digital images of everything we find and then database the images so that we can draw connections and conclusions from our field data. We have found that many city owned sites, although advertised as “virgin forest,” are riddled with cultural artifacts of past land use. Using the artifacts we find we can piece together a better picture of what was culturally happening in the area and how it affects those living there today.