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My quick thoughts, back stage, and rants as I try to Teach kids about the Web while learning how to help others build a better Web.


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‚Üź ūüēłūüíć ‚Üí

Greg McVerry

Hushed Gossip
split on summer's
in forgivines of
sins unfolding
in green chandeliers
hanging precariously
to drought
strings of
rain that will not sing
unseen bounces on
bird songs
from above
as time tickles
toes from below.

Our simple existence,
pollen in a
warrm breeze
conscience but a wisp
as we silence ourselves to stories
the wood tells

Greg McVerry

@jethanj here you go.

"Landslide of Lies"

of an
  in spiritual
that have
to honor

let myths
   in regolith
Do not
a halo
No Afterglow
to push
debris flow

the violent
hydro-static pressure
through seclusion
of the delusion

No silos
    to measure
an emphatic
  and tragic
of autocratic
on our

of such
live in infamy
  Nor shouted with glee
Every conspiracy
needs a deep
As a new
Larimide orogeny
Hearts and Mountains
aside me
fountains of truths
rather than lobotomies
spiraling in
landslides of lies

Greg McVerry

As feet
  seap into
and leaves
squeeze in
between toes

Our seat,
  our tree

An epiphany

Initially we
can not
see the enemy
within me

yet we seek
delivery from
the litanies of
scress and decress
that seize
sounds that surround
when real silence
inside all that
can't be found

in a Progeny
we seek
synchrony in
songs sun on
tears falling in
Cerpascular rays

Greg McVerry

found on
  sounds dancing
on hymns
  of a
       dying leaf
Just fade into
  silence of
an evening wind
 while our
moon rises
  on forgotten surprises
twisting in
 a long

Greg McVerry

  of memory's
swinging hips
while it seizes
all it pleases
    sung in a
cadence of can't

Greg McVerry

and @scsu family... been behind on our 90's music rewind..but been head down radio silence work bust no music..Time to get back to HipHop duos with a personal fav Black Star Mos Def and Talib Kweli

Greg McVerry

Greg McVerry

to feel
  Hang with
humans not
  masked transactions
As teacher I
  wear one every day
not cloth but
   strings weighing heavy on
bent ears.
  Can't shut off
need some

Greg McVerry

Check out this piece on reading identities by Donna Alvermann: or David Kirkland's "Search Past Silence"

Greg McVerry

Autoethnography: an overview

Autoethnography is an approach to research and writing that seeks to describe and systematically analyze (graphy) personal experience (auto) in order to understand cultural experience (ethno) (Ellis, 2004; Holman Jones, 2005). This approach challenges canonical ways of doing research and representing others (Spry, 2001) and treats research as a political, socially-just and socially-con-scious act (Adams & Holman Jones, 2008).

they wanted to concentrate on ways of producing meaningful, accessible, and evocative research grounded in personal experience, research that would sensitize readers to issues of iden-tity politics, to experiences shrouded in silence, and to forms of representation that deepen our capacity to empathize with people who are different from us (Ellis & Bochner, 2000).

Furthermore, scholars began recognizing that different kinds of people pos-sess different assumptions about the world ‚Äď a multitude of ways of speaking, writing, valuing and believing ‚Äď and that conventional ways of doing and think-ing about research were narrow, limiting, and parochial.

those who advocate and insist on canonical forms of doing and writ-ing research are advocating a White, masculine, heterosexual, middle/upper-classed, Christian, able-bodied perspective.

As a method, autoethnography combines characteristics of autobiography and ethnography.

autobiographers write about ‚Äúepiphanies‚ÄĚ ‚Äď remembered mo-ments perceived to have significantly impacted the trajectory of a person‚Äôs life (Bochner & Ellis, 1992; Couser, 1997; Denzin, 1989), times of existential crises that forced a person to attend to and analyze lived experience (Zaner, 2004), and events after which life does not seem quite the same.

Hmmm I am doing mine on learning to explore the emerging heurstic of agentive apprenticeship as a definition of learning in networked spaces.

When researchers do ethnography, they study a culture’s relational prac-tices, common values and beliefs, and shared experiences for the purpose of helping insiders (cultural members) and outsiders (cultural strangers) better

When researchers do autoethnography, they retrospectively and selectively write about epiphanies that stem from, or are made possible by, being part of a culture and/or by possessing a particular cultural identity.

An autobiography should be aesthetic and evocative, engage readers, and use conventions of storytelling such as character, scene, and plot development (Ellis & Ellingson, 2000), and/or chronological or fragmented story progression (Didion, 2005; Frank, 1995).

When researchers write ethnographies, they produce a ‚Äúthick description‚ÄĚ of a culture (Geertz, 1973, p. 10; Goodall, 2001).

When researchers write autoethnographies, they seek to produce aesthetic and evocative thick descriptions of personal and interpersonal experience.

Thus, the autoethnographer not only tries to make personal experience meaningful and cultural experience engaging, but also, by producing accessible texts, she or he may be able to reach wider and more diverse mass audiences that traditional research usually disregards

Narrative ethnographies refer to texts presented in the form of stories that incorporate the ethnographer’s experiences into the ethnographic descriptions and analysis of others

Reflexive ethnographies document ways a researcher changes as a result of doing fieldwork. Reflexive/narrative ethnographies exist on a continuum rang-ing from starting research from the ethnographer’s biography, to the ethnogra-pher studying her or his life alongside cultural members’ lives, to ethnographic memoirs

But unlike grounded theory, layered accounts use vignettes, reflexivity, multiple voices, and introspection (Ellis, 1991) to ‚Äúinvoke‚ÄĚ readers to enter into the ‚Äúemergent experience‚ÄĚ of doing and writing research (Ronai, 1992, p. 123), conceive of identity as an ‚Äúemergent process‚ÄĚ (Rambo, 2005, p. 583)

Community autoethnographies thus not only facilitate ‚Äúcommunity-building‚ÄĚ research practices but also make opportunities for ‚Äúcultural and social intervention‚ÄĚ possible (p. 59; see Karofff & Sch√∂nberger, 2010)

Writing is a way of knowing, a method of inquiry (Richardson, 2000). Conse-quently, writing personal stories can be therapeutic for authors as we write to make sense of ourselves and our experiences (Kiesinger, 2002; Poulos, 2008), purge our burdens (Atkinson, 2007), and question canonical stories ‚Äď conven-tional, authoritative, and ‚Äúprojective‚ÄĚ storylines that ‚Äúplot‚ÄĚ how ‚Äúideal social selves‚ÄĚ should live (Tololyan, 1987, p. 218; Bochner, 2001, 2002).

These ‚Äúrelational ethics‚ÄĚ are heightened for autoethnographers (Ellis, 2007). In using personal experience, autoethnographers not only implicate themselves with their work, but also close, intimate others (Adams, 2006; Etherington, 2007; Trahar, 2009).

Furthermore, autoethnographers often maintain and value interpersonal ties with their participants, thus making relational ethics more complicated. Partici-pants often begin as or become friends through the research process.

For an autoethnographer, questions of reliability refer to the narrator‚Äôs credibility. Could the narrator have had the experiences described, given avail-able ‚Äúfactual evidence‚ÄĚ?

For autoethnographers, validity means that a work seeks verisimilitude; it evokes in readers a feeling that the experience described is lifelike, believable, and possible, a feeling that what has been represented could be true. The story is coherent. It connects readers to writers and provides continuity in their lives.

In autoethnography, the focus of generalizabil-ity moves from respondents to readers, and is always being tested by readers as they determine if a story speaks to them about their experience or about the lives of others they know;


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