Close Reading Strategies

    reading strategies

  • Methods used in reading to determine the meaning of a text. Examples are: rereading; substituting an appropriate familiar word for an unfamiliar one; using root words to determine the meaning of unfamiliar words; using background knowledge to determine meaning; using information from the context

    close

  • A short distance away or apart in space or time
  • Very near to (being or doing something)
  • at or within a short distance in space or time or having elements near each other; “close to noon”; “how close are we to town?”; “a close formation of ships”
  • near: near in time or place or relationship; “as the wedding day drew near”; “stood near the door”; “don’t shoot until they come near”; “getting near to the true explanation”; “her mother is always near”; “The end draws nigh”; “the bullet didn’t come close”; “don’t get too close to the fire”
  • move so that an opening or passage is obstructed; make shut; “Close the door”; “shut the window”
  • With very little or no space in between; dense

close reading strategies

close reading strategies – Guided Highlighted

Guided Highlighted Reading (Maupin House)
Guided Highlighted Reading (Maupin House)
In Guided Highlighted Reading, teachers of grades 4-12 learn an easy and effective text-based strategy that scaffolds all students to return to a complex or difficult text for four different reading purposes. This resource uses promptsnot questionsto build competency with difficult and complex text for four close-reading purposes for any content area: Reading comprehension Authors craft Tier II vocabulary acquisition Answering multiple-choice questions on high-stakes assessments Sample passages from ELA Appendix B of the Common Core State Standards are prepared for student use for all purposes, along with how-to directions, rubrics for assessing mastery of reading comprehension and authors craft, and an alignment of the four purposes to the CCSS. Guided Highlighted Reading is a go-to resource for teachers to help students navigate complex texts and meet the rigorous requirements of the CCSS.

Liga02 Paisajes Emergentes Agosto – Octubre

Liga02 Paisajes Emergentes  Agosto - Octubre
Poster 60 x 90.
Edition: 1000.

Text by Charles Waldheim.
Chair of Landscape Architecture, Harvard University Graduate School of Design.
AN ARCHITECTURE OF ATMOSPHERICS:

In the postmodern era architectural culture has come to emulate the culture of fashion. This culture is one predicated on a regularly scheduled production of novelty, carefully timed to the cycles of the attendant media. This culture and its cult of celebrity are now firmly established globally. As a result, the shelf-life of any particular architectural discourse has grown shorter and shorter. In part because of this relentless demand for regularly reproduced newness, actual architectural innovation is harder to come by. It occurs occasionally, in the unlikeliest of places, and of its own organic accord. This work is often difficult to recognize and harder to disseminate.

Among the dangers of the architecture-fashion industry has been its anesthetizing effects on our collective cultural sensitivity to original thought and genuine architectural innovation. When the shock of the new is felt, it is often in obscure and marginalized contexts, and often resists easy categorization. In spite of this cultural condition, and the difficulty that it poses for the dissemination of deserving work from a range of emerging talents, architecture does emerge in new and stimulating varieties. And architecture persists as a vibrant cultural form through which actual innovation is still possible. No contemporary practice represents this perennial potential for the shock of the new through architectural innovation better than the trio of young Colombian architects practicing under the collective description “Paisajes Emergentes.”

The work of Paisajes Emergentes is embodied through an astonishing array of recent projects exhibiting fluency with a range of scales and subject matter. Their provocative appropriation of the culturally loaded term ‘paisajes’ to describe their practice signals their ambivalence regarding traditional professional role of the architect. It also points toward their literacy with international architectural culture and the recent recovery of landscape as a medium of design. Combined with the adjectival modifier ‘emergentes,’ their appropriation of landscape as a frame for their diverse body of work illustrates an appetite for addressing the ecological imperatives of contemporary design culture as well as the diverse array of international environments in which they find their work projected. As such, Paisajes Emergentes serves as an apt appellation for both the medium and message of the collective’s architectural aspirations that have as much to do with curating atmospheres as with constructing buildings.

Many of the young practice’s projects exhibit specifically horticultural or botanical strategies in the service of complex public realms. These projects typically resist easy identification with the traditional typological categories of landscape, urban design, or architecture. Rather, these projects more often conflate various aspects of these diverse disciplinary practices, in favor of a new hybrid form of work. This confluence of disciplinary commitments often reveals itself through robust representational strategies hacked from various architectural and landscape precedents. More often, it is revealed through the very subject matter and operating assumptions driving the particular design response on a given site. At its best this work simultaneously reveals aspects of a particular site and subject, while conjuring remote and fleeting environments and emotions.

The architectonic language and design sensibility of Paisajes Emergentes reveal a deep literacy with contemporary architectural culture, they are equally informed by the rising importance of environment as a category of architectural thought. In this sense the recent work of Paisajes Emergentes transcends Iberoamerican architectural precedents from late 90’s and early 00’s by pushing the limits of the architectural object to its extreme end conditions, into environments, experiences, or even atmospheres. Many of the projects of Paisajes Emergentes accomplish this through a close reading of the particular ecological or phenomenal contexts in which they are sited. While these effects can reveal themselves through architectural artifice, they are best described through that dated term landscape. While much of Iberian architectural culture (and its international diaspora) has been actively engaged in resisting the rise of landscape as a professional and cultural practice in recent years, Paisajes Emergentes have firmly declared their commitments to the messy and productive potentials of landscape in relation to architectural production. In so doing, they have not only offered us an example of genuine innovation and a whiff of the new, they have also made a generational and geographic stake in the ongoing cultural struggle to open architecture to its multiform and various ec

Conquest Of The World

Conquest Of The World
Game documentation for Magnavox Odyssey² game “Conquest of the World”

Transcript:

“A. Power Base Units (PBU’s) indicate the strength pof each country.

B. The player selecting the number closest to the last digit goes first. ->

C. Each player selects one homeland and places a Homeland marker in that country. ->

D. The United States has allied in its own zone with Canada and Mexico, placing its C/A markers in the allied column.

E. West Germany allies in its own zone with Greeve, Italy and Spain.

F. The United States records its alliances on the POWER BASE RECORD.

G. Recording half PBU values.

—-

_The Rules of the Game_
(2 to 6 players)

_THE OBJECTIVE OF THE GAME_ is to lead your Homeland to world domination through negotiations, conquests and alliances. Each successful conquest and alliance you make will strengthen your country‘s _power base_. The country with the strongest _power base_ at the end of the game is the winner.

_1. Start up_
_A._ Place the Game board on the table in front of the Odyssey². The Game board consists of 43 countries divided into 11 geo-political or politectonic zones. The relative strength of each country is indicated by its numerical POWER BASE which represents thousands of units (PBU’s).
_Example:_ The board strength POWER BASE of the United States is 30 which translates into 30,000 POWER BASE UNITS (PBU’s).
(See illustration A.)
_B._ Each player chooses a set of CONQUEST/ALLIANCE (C/A) markers and a _Homeland_ marker.
_C._ One player is selected to take charge of the WARCHEST (he or she is entrusted with all of the POWER BASE UNIT {PBU} chips. These are to be kept separate from the player‘s other PBU chips which will be accumulated during the game).

_2. Order of play_
_A._ Insert the Master Strategy cartridge into your Odyssey² and press the POWER BUTTON. SELECT GAME should appear on the screen. If it does not, press RESET on the alpha-numeric keyboard.
_B._ Press any key on the alpha-numeric keyboard except the SPACE bar. This will program the WAR GAME into the computer mode.
_C._ Each player calls out a number between 0 and 9. No two players may choose the same number.
_D._ One of the players stops the digital read-out on the screen by pressing the SPACE bar. This is done without looking at the screen. (See illustration B.)
The player who selected the number closest to the last digital of the left-hand readout is the first to begin play. (If two players tie because one number is higher than the number on the screen and the other number is lower, the player with the highest number goes first.)

_3. Selecting a Homeland._
The first player selects any HOMELAND (country) and places a Homeland marker on the country chosen.
The next player to choose a HOMELAND is to the left of the first player and so on clockwise around the table.
(See illustration C.)
_Important!_ There is an advantage to choosing a HOMELAND with the highest number of POWER BASE UNITS available. The greater the number of PBU’s in your HOMELAND, the more difficult it is for an enemy to launch a direct attack.

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_4. Making Country Alliances within Homeland zone._
_A._ Each palyer begins by making country alliances within his/her of HOMELAND ZONE _only_. A player can make any number of country alliances as long as their numberical sum does _not_ exceed the Homeland’s PBU numerical value (PBU capability).
_B._ Each player places his or her Conquest/Alliance markers (C/A’s) on the allied place of each chosen country.
_Example 1:_ The United States can ally with both Mexico (5 PBU’s) and Canada (7 PBU’s) since their numerical sum does not exceed the United State’s PBU value of 30.
(See illustration D.)

_Example 2:_ West Germany can ally with Spain (4 PBU’s), Italy (5 PBU’s), and Greece (1 PBU) since their numerical sum does not exceed West Germany’s PBU capability of 10.
(See illustration E.)
_Important!_ It is critical to ally with countries bordering both sides of your HOMELAND to protect it from a direct enemy attack. (This procedure is covered under rule #19.)

_5. Recording Country Alliances._
_A._ Country alliances are recorded on the POWER BASE RECORD at one-half their PBU value.
_B._ Place your C/A marker on the appropriate number on the POWER BASE RECORD.
_Example 1:_ The United States allies with Canada (7 PBU’s) and Mexico (5 PBU’s) which adds up to 12 PBU’s. The U.S. player places a C/A marker at 6 (12/2=6) on the POWER BASE RECORD.
(See illustration F.)
_Example 2:_ West Germany alles with Spain (4 PBU’s), Italy (5 PBU’s), and Greece (1 PBU). The West Germany player places a C/A marker at 5 (10/2=5) on the POWER BASE RECORD.

_6. Recording half PBU values._
To record half PBU values, place the marker on the line of the POWER BASE. For example, 9/2=4.5. Place a marker on the line between four and five.
(See illustration G.)

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close reading strategies

Text Complexity: Raising Rigor in Reading
Selecting appropriate reading material for students is hard. For decades, teachers have known that quality instruction requires a careful matching of materials to students. The goal is to select materials that are neither too difficult nor too easy for students–a phenomenon sometimes called the Goldilocks Rule. To ensure that students learn to read increasingly complex texts, teachers have to understand what makes a text hard. The introduction of the Common Core State Standards has also placed a spotlight on text complexity. This book focuses on the quantitative and qualitative factors of text complexity as well as the ways in which readers can be matched with texts and tasks. It also examines how close readings of complex texts scaffold students understanding and allow them to develop the skills necessary to read like a detective.
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