In the first half of Rheingold’s ‘Net Smart’, he addresses an issue paramount to our generation: how to deal with the constant temptation and distraction of social media? So I’m just curious, have you noticed any behavior when it comes to your usage of social media that is overly distracting or prevents you from focusing on certain tasks?
This particular panel of the AIDS Quilt was created by the Ahavath Achim Synagogue in Atlanta, in order to memorialize Alan Landis, who passed away in January of 2016. The panel features eighteen distinct squares in columns of three, with the words ‘Equality & Inclusion’ stitched in a shiny silver thread above the squares and Ahavath Achim Synagogue, Atlanta, Georgia, 5776/2016 below in the same thread
The quilt panel is three feet wide by six feet long, which is the standard size of a grave, and the background is black covered in thousands of faint white pinpricks and golden dots, potentially mimicking the night sky. The text at the top and bottom of the panel, as well as each of the squares is embroidered on. Because of this embroidery, if you were to run your hand across the quilt it would feel like a series of small mountains with shallow valleys in between. The raised nature of each square heightens the sense of uniqueness and underlines the fact that this is not just one person’s memorial of Alan Landis, but eighteen distinct interpretations and comprehensions of the AIDS crisis itself and a statement of a robust Jewish faith. These eighteen squares all share a common creamy white background with very faint spirals forming the canvas upon which each mourner creates their memorial.
These squares were all created by a different member of the Synagogue and feature each individual member’s perspective of the AIDS crisis, their memory of Alan, their Jewish faith, and, in a more broad sense, the expression of important moral values such as inclusivity, justice, and love.
Because of the extremely high level of detail, I won’t go into depth on every single one of these squares. Instead I’ll focus on the squares that reveal an aspect of the Jewish faith that the makers of this quilt thought was relevant to the HIV/AIDS discussion.
These eighteen squares are arrayed in three rows of six, matching the specifications of the quilt panel itself. Because Hebrew is read right to left, then square one is the far right square on the first row, square six is the far left square on the first row square eight is the third square from the right on the second row, and so on.
Starting with square two, you see a black and white stitched drawing of four faces of different races, one older Asian male, a black male, a white female, and a white male. The stitching of these figures is quite complex; every single detail, from the faces to the writing on this square is done entirely in the same monochrome black thread. Due to the raised nature of this material, its texture is rather rough if you ran your hand over it. Written at the top of the square is ‘B’tzelem Elohim’ and at the bottom is the translation of this phrase, ‘In God’s Image’. There is a small figure at the bottom right of the square whose back is facing the viewer looking at the faces.
Squares four and eleven: seven values central to progressive Judaism. ‘Respect’, ‘Peace in the Home’, In God’s Image’, ‘Communal Responsibility’, ‘Guarding One’s Use of Language’, ‘Love Your Neighbor As Yourself’, and ‘Solidarity
Moving to the right, squares four and eleven are meant to be examined together. These squares’ composition exhibits Jewish values. The words ‘Seven Jewish’ are at the top of square four, and ‘Values’ are at the bottom of square eleven, written in the same simple font that appears in the other squares, and pressed onto royal blue fabric to create contrast. All the fabric on these squares are scraps of material that have been stitched on to the panel. In between these words are seven strands of multicolored beads that hang off of the quilt with one letter on each bead, similar to how a child might have made a bracelet with a spelled out word. These bead strands are connected with a piece of twine and the two ends of the strands are stapled to the quilt itself. When you move the entire panel, the beads click together as they hit each other. The font of the beads is a chunky all-caps style and mostly black, but a few of the beads have lighter colored fonts like pale yellow and green for some of the darker bead backgrounds. For the strands that have multiple words, a shiny bright piece of metal separates the beads to make it easier to discern the actual words.
In succession, the bead strands spell out ‘Respect’, ‘Peace in the Home’, In God’s Image’, ‘Communal Responsibility’, ‘Guarding One’s Use of Language’, ‘Love Your Neighbor As Yourself’, and ‘Solidarity’. Next to each bead strand is the translation of the value in Hebrew, printed onto a cream colored rectangle to contrast with the dark spindly Hebrew characters. These seven values are pulled directly from an organization called Keshet. According to their About page, “Keshet is a national organization that works for full LGBTQ equality and inclusion in Jewish life. Led and supported by LGBTQ Jews and straight allies, Keshet cultivates the spirit and practice of inclusion in all parts of the Jewish community.” (Keshet Website). The inclusion of these values from Keshet are a reflection of the Ahavath Achim Synagogue’s views on the often polarizing issue of LGBTQ inclusion in religious circles, and offer a glimpse as to why they might be more sympathetic than some conservative religious groups.
The far left square in the first row is a more personal memorial of Alan Landis. It has a thick white border and a simple dark black background. There are several words written in different shades of light blue, ranging from a robin shell blue to a more sea-foam greenish-blue to a teal. The colors on this square are important because the color blue in all of its many shades are important to Judaism. My Jewish Learning, an informational website for Jews and those curious about Jewish heritage explains the significance of the color blue this way:
“Tractate Menahot of the Babylonian Talmud reports Rabbi Meir asking “Why is blue different from all other colors?” and then answering, “Because blue resembles the sea, and the sea resembles sky, and the sky resembles God’s Throne of Glory…as it is written: ‘Above the sky over their heads was the semblance of a throne, like sapphire in appearance…’”
Blue is supposed to represent not only divinity, but also equilibrium. These blue words are overlaid over each other, creating a 3D effect. The words in the background are ‘Family Man’, Gay Man’, ‘Accountant’, ‘Social Activist’, and ‘Inspiration’, with ‘Jew’, and ‘Friend’ written overtop. In small thin white cursive handwriting, inbetween ‘Family Man’ and ‘Gay Man’ is Alan Landis’ name, followed by ‘May 9, 1951-January. 24, 2016’. The writing speaks volumes through its subtlety and its simplicity about who Alan Landis was and what impact he had on the creator of this specific square.
Moving to the next row, the second square from the right features a gilded necklace with three charms hanging off it, all of them Stars of David. The necklace is made out a shimmering golden stitch and the middle Star is made of the same material. The texture of this thread is rather scratchy and rough, whereas the material of the two Stars on the right and left is a darker golden color and is a smooth silky the Hebrew spelling of ‘L’chaim’ and are In a cursive font, the words ‘L’Chiam’ are written above the necklace, with the translation ‘To Life!’ written below. This is a traditional Jewish toast used to celebrate the beauty of the gift of life, which is a sharp contrast to the inherent somberness of the AIDS quilt.
The next square to the right expresses a similar sentiment. There are four stained glass windows with various Jewish symbology painted on, a menorah, a dreidel, a Star of David, and a Hebrew letter. These windows are created using multicolored patches of fabric all interweaving over each other in different patterns and material, and separated by thick black thread creating a collage effect. In between the second and third windows is a spindly olive tree that vaguely resembles a menorah with a long thin trunk made out of the same golden thread as the necklace from the square before and a horizontal spread of glimmering lime-green leaves that lay gently atop the stained glass windows. In Hebrew the words ‘L’dor V’dor’ are written at the top, with its translation, ‘from generation to generation’ written below. This is similar to the previous square in that they both express Jewish sayings and the familiar cycle of life, death, and rebirth.
This last square, square fifteen, is rather simplistic in terms of visual and textual effect, but speaks oceans of volumes. It depicts a two-dimensional colorful scene with a church on the left, a synagogue in the middle, and a mosque on the right. Each of these buildings is done in a mixture of fabric crayon and colorful stitched thread details on the buildings. Because of the mixed nature of this square, it has a very unique texture; the parts of the quilt that are stitched are raised from the quilt and are soft, but the areas done in fabric crayon are rough to the touch. Above the buildings it says ‘LOVE YOUR’ in red fabric crayon and “NEIGHBOR’ in green and black fabric crayon. Below the buildings are flat two-dimensional shapes in the form of humans done in bright orange, light blue, red, and light purple fabric crayon, with ‘AS YOURSELF’ written in navy and black crayon.
The walls of the church are a dark shade of forest green with the frame of the church done in brown fabric crayon. The stitched lining of the roof of the church is a slightly different shade of green than the background of the church and at the top is a brown cross created entirely out of thread. There are three windows and an awning above a brown door made out of lumps of bright red, navy blue, and green thread with a golden thread cutting through it to give the impression of stained glass windows. The synagogue in the middle has a similar design philosophy, with a two dimensional black outline of the general shape of the structure, two navy pillars on either side, and the bright Carolina blue wall of the synagogue all done in fabric crayon. Just like the church, the details are all done in thread. There is an archway done in Carolina blue thread, and the dome caps of the twin pillars done in the same color, as well as a star surrounded by a circle. This emblem is created with a mixture of gold, Carolina blue, and black thread. The mosque is done in much the same way as the other two places of worship. A green rectangle forms the base with a ring of green thread outlining it, a border with beige and purple threaded triangles like a shark’s mouth in the middle, a bright yellow dome with half circle design accents in golden thread, and a half moon and star done in orange-yellow fabric marker on top. To the right of the central mosque structure is a red pillar with a threaded royal purple cap.
With all three of these buildings sharing similar design, albeit with different colors and shapes, as well as the tagline of this square being ‘Love Your Neighbor As Yourself’, it could be interpreted that the creator of this square, and more broadly the all of the collective creators of this panel wanted to draw parallels between the three Abrahamic religions in pursuit of greater spiritual harmony and less religious division for followers of these religions.
In their memorial of Alan Landis, the Ahavath Achim Synagogue presented a call to action for all religious people, regardless of creed to refocus the efforts of religious people on issues that actually matter, such as the AIDS crises and not petty religious squabbles.
What are some good ways to observe the quilt in order to pull out other sensory descriptions that aren’t visual?
Click the link for the PDF
When I met with you in your office hours to review my draft for Fitzgerald’s Reading Response, the loudest feedback I heard was for me to include more nuance in my arguments. In my reading response, I was essentially trying to make the case that the centuries-long mistreatment of Native cultures by Western cultures was due to a critical lack of understanding of Native culture and how to study it. The polarities of dualism vs. nondualism, capitalism vs. natural resources, individuality vs. community, and notions of ‘advanced’ vs. ‘primitive’ serve to underline this chasm between Western and Native values.
However, in trying to illustrate this gap and increase the validity of my argument, I tended to paint with a broad brush, turning all Westerners into greedy, money hungry, cutthroat capitalists, ad all Native Americans into stoic, noble, protectors of the Earth. Obviously, in reality not all Westerners or Natives are like this. You encouraged me to introduce a little more nuance and difference of opinion into my responses and encouraged me to take a look at how Fitzgerald addressed counterarguments and then presented her own take of the basket. I definitely thought that this improved the overall ethos of my reading response. This manifested itself in sometimes little ways, like changing “Westerners view land and resources as….” to “Many Westerners view the land and resources as….”. This little change accounts for many Americans how actively fight for environmental protection and climate change research. Hopefully these changes are evident in the overall rhetorical tone of my annotations.
Aline Castro worked gave each other feedback at every level of our Reading Response process, so it was only natural that we would each review the other’s responses once we felt that we had a finished draft. As we worked through the rubric it was pretty much immediately clear that we had surpassed the ‘complete’ threshold of the rubric.
With that in place, I started examining her annotations for clear evidence, an organizational structure that backed up her core thesis, and multimodal content. Her evidence was good, and I thought she did a good job of not just arbitrarily annotating obvious sections of Fitzgerald’s text, but digging deeper into some of Fitzgerald’s more complex arguments. She had plenty of images and links to content that fully satisfied the multimodal section of the rubric. The only constructive feedback I gave her on the ‘skillful, persuasive’ area was in her organization. There were some small tweaks she could make that would make her annotations flow into each other a little cleaner and smoother, but I think that’s the only thing that could potentially limit her overall score.
Her feedback for me included some calls for greater clarity in the meaning of some of my more abstract annotations. I did my best to fix those and make it easier to understand what my intent was behind some of them.
What are the major projects? In a bulleted list, provide links to the project descriptions for each of them.
How will your final grade be calculated?
-Everything we do in the class has the potential to earn points. The projects make up the bulk of the points you can earn, but things like participation and class prep can also earn you points. The number of points you finish with at the end of the semester determines your final grade.
What happens if you don’t complete one of the major projects?
– If you fail to complete one of the major projects, it will result in an automatic D or lower.
What is Gradian and how do you use it? Embed the Gradian login page below your answer (hint: Google “embed iframe WordPress blog” to find out how).
– Gradian is an educational software tool that we will use to turn almost everything in on
<iframe src=”http://gradian.gsucreate.org/web” width=”100%” height=”500″></iframe>
Embed the course calendar and weekly overview below this question.
Where on the course website can you find an overview of what’s due and the readings for each unit?
-You can find all of that information on the weekly overview
<iframe src=”https://fall2017.rswsandbox.net/engl1103/syllabus-course-info/#Agenda” width=”100%” height=”500″></iframe>
<iframe src=”https://fall2017.rswsandbox.net/engl1103/syllabus-course-info/#Calendar” width=”100%” height=”500″></iframe>
What is the best way to see an overview of what’s due each week?
– The weekly overview
What is the attendance policy?
– You lose 50 points for an unexcused abcense, but can potentially make up those points by coming to office hours and doing some reflections of what you missed with a classmate
What is one way you can lose points?
– Not showing up to class
What are my office hours, and how do you make an appointment to see one of us outside of class?
– Tuesday/Thursday 11:00 am to 12:15 pm, and you can schedule an appointment by emailing you
How do you earn participation credit? Provide a link to the instructions/guidelines for participation.
– You earn participation credits by completing the class prep and by doing additional assignments such as visiting your office hours or writing a reflection on web design
How many points can you earn by participating in or organizing a study group session?
– 20 points
How can you be assured of earning an “A” in this course?
– By earning 5985 points
What are the minimum requirements for earning a passing grade of “C”?
– Earning 2200 points, or by doing all of the class prep, not missing a class, and earning the minimum grade on all class projects
What do you do if you’re not sure how to document your participation in order to earn points?
– Visit you during office hours and ask
What are the Unit 1 readings and which one is your group assigned to focus on for the Unit 1 Reading Response?
– The readings for both groups are Kenneth Haltman’s Introduction to American Artifacts and Stephanie Fitzgerald’s The Cultural Work of a Mohegan Painted Basket. I am group 2, so I will be annotating The Cultural Work of a Mohegan Painted Basket.