Essay on collaboration

After becoming a teacher it became pretty clear that no one outside of education can understand just how brutal and time-consuming it is to be a teacher — especially when it comes to grading essays. But on the flip-side most teachers don't know how or where technology can help them. Or worse, they're surrounded by all this awful technology that's been forced upon them. My district's attendance system required three separate logins! Three! Argghh! Last year I had four sections of the same Senior English prep. That meant 96 papers would come in all at once. I was super-passionate about getting these regular-level students ready for the rigors of college so I would find myself spending 15, 20, 30 minutes per paper. That multiplied by 96 is insane. That's where came from — as a teacher I felt the same pain you're feeling but my programming background allowed me to see where a little bit of technology could go a long way.

In other situations, though, lose-lose outcomes occur when win-win outcomes might have been possible. The classic example of this is called the prisoner's dilemma in which two prisoners must decide whether to confess to a crime. Neither prisoner knows what the other will do. The best outcome for prisoner A occurs if he/she confesses, while prisoner B keeps quiet. In this case, the prisoner who confesses and implicates the other is rewarded by being set free, and the other (who stayed quiet) receives the maximum sentence, as s/he didn't cooperate with the police, yet they have enough evidence to convict. (This is a win-lose outcome.) The same goes for prisoner B. But if both prisoners confess (trying to take advantage of their partner), they each serve the maximum sentence (a lose-lose outcome). If neither confesses, they both serve a reduced sentence (a win-win outcome, although the win is not as big as the one they would have received in the win-lose scenario).

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Samuel Beckett, the celebrated author of Waiting for Godot , made a single work for projected cinema. It’s in essence a chase film; the craziest ever committed to celluloid. It’s a chase between camera and pursued image that finds existential dread embedded in the very apparatus of the movies itself. The link to cinema’s essence is evident in the casting, as the chased object is none other than an aged Buster Keaton, who was understandably befuddled at Beckett and director Alan Schneider’s imperative that he keep his face hidden from the camera’s gaze. The archetypal levels resonate further in the exquisite cinematography of Academy Award-winner Boris Kaufman, whose brothers Dziga Vertov and Mikhail Kaufman created the legendary self-reflexive masterpiece Man With a Movie Camera . Commissioned and produced by Grove Press’s Barney Rosset,  FILM  is at once the product of a stunningly all-star assembly of talent, and a cinematic conundrum that asks more questions than it answers.

Essay on collaboration

essay on collaboration

Samuel Beckett, the celebrated author of Waiting for Godot , made a single work for projected cinema. It’s in essence a chase film; the craziest ever committed to celluloid. It’s a chase between camera and pursued image that finds existential dread embedded in the very apparatus of the movies itself. The link to cinema’s essence is evident in the casting, as the chased object is none other than an aged Buster Keaton, who was understandably befuddled at Beckett and director Alan Schneider’s imperative that he keep his face hidden from the camera’s gaze. The archetypal levels resonate further in the exquisite cinematography of Academy Award-winner Boris Kaufman, whose brothers Dziga Vertov and Mikhail Kaufman created the legendary self-reflexive masterpiece Man With a Movie Camera . Commissioned and produced by Grove Press’s Barney Rosset,  FILM  is at once the product of a stunningly all-star assembly of talent, and a cinematic conundrum that asks more questions than it answers.

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