Did you miss yesterday's assessment on rhetorical devices? This was a a summative assessment, counting in the writing category (50%). You will need to make this up.
Thursday this week. SOTA has been selected for a field test by the state. This will involve the first three periods of the day. There will be signs posted as to what rooms you have been assigned, beginning first period.
On Tuesday and Wednesday this week we are practicing TASK 2, writing an argumentative essay, of the ELA Common Core exam.
Tuesday: We are carefully reading the directions and guidelines and checking for understanding. The directions, task and guidelines are always the same. What will be different on the exam is THE TOPIC and TEXTS.
Once we have finished, you will complete a "check for understanding" sheet, which I will collect as a class participation grade.
Name__________________________ Task 2, checking for
understanding
1.
How many texts will you be working with?
______________________
2.
What sections of the ARGUMENT will never change?
________________________, ___________________,
___________________________
3.
How many tasks MUST you address when writing
your argument? __________________
4.
What must be established in your introduction?
________________________
5.
In your own words, explain what a claim is -----------------------------------------------------------------______________________________________________________________________________
6.
What must you distinguish from your
claim?__________________________________________
7.
What will you use to support your
claim?___________________________________________
8.
What type of writing style should you use?_________________________________________
9.
How should you identify your each source that
you use? ______________________________
10.
What are the two types of sources you may
encounter? _________________________________
Wednesday, May 23 Understanding the English exam rubric
You each should have a copy the New York State Regents Examination in English Language Arts Part 2 Rubric/ Writing from Sources:Argument
As with the introductory directions we reviewed yesterday, we are going to take the time to understand the grading process, so that you may better understand the strengths involved at each level.
Regents Argumentative essay grading review questions
Name_____________________________________
1. List the headings of the four criteria at
which the student is assessed.
a.
b.
c.
d.
2. How many grading levels are there?
___________
3. To receive a level four, what does
one need to have in terms of evidence? Please write out both parts.
4. Write out the differences needed for the “command of evidence” in order to
receive a level 5 in this category.
5. Look at the criteria for Control of
Convention. List the five items for
which you will be assessed.
6. In level five, what are the
expectations under control of conventions?
7. What is the highest level you may
receive under Content and Analysis if you introduce a claim, but “demonstrate
confused or unclear analysis of the texts AND “fail to distinguish the claim
from alternate or opposing claims.” ________________
8. What is the level one may receive, if
only there is “inconsistent citation of sources?” ________________
9. You’re tired and do not feel like
writing much, but manage to “use some analysis of the text”, but have a “mostly
coherent essay”, but exhibit “occasional errors in comprehension.” What is the
score you will receive on this essay?
10. You are feeling energetic. You know
what your claim in, and the counterclaim and argument. As you read through, you
have highlighted relevant text to support your argument –and found some
counterargument material that you will refute in your essay. Oh yes, you have
at least 3 texts. Of course, you know how to correctly cite for this essay. Now
you are putting together a short outline. Your essay includes general hook with
an insightful claim that demonstrates your “thoughtfully…highly effective use
of a wide range of specific and relevant material to support your analysis”.
After you have proof read your essay, you have corrected any language
convention errors. How will you score on this essay?____________________
11. Reflection: In a minimum of 5
well-composed sentences, reflect on your strengths and needs to write a solid
argumentative essay.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
What is an argumentative essay?
The argumentative essay is a genre of writing that requires the student to investigate a topic; collect, generate, and evaluate evidence; and establish a position on the topic in a concise manner.
Key organizational elements for your introduction
1. Hook. Your first sentence is comprised of a “hook.”
Don’t know what a hook is? A hook is a sentence that grabs your reader’s
attention
2. Background information
The next part of your intro is dedicated to offering some
detailed background information on your topic.
Try answering the following questions:
What is the issue at hand? Who cares? Where is this issue
prevalent? Why is it important?
3. Thesis. Your thesis typically
makes up the last sentence of your intro paragraph. This is where you clearly
state your position on the topic and give a reason for your stance.
Topic: Is graffiti vandalism?
Your Task: Carefully read each of the four texts provided.
Then, using evidence from at least three of the texts, write a well-developed argument regarding whether or not graffiti is vandalism.
Clearly establish your claim
Distinguish your claim from alternate or opposing claims
Use specific, relevant, and sufficient evidence from at least three of the texts to develop your argument.
Do not simply summarize each text.
Guidelines:
Be sure to: • Establish your claim regarding whether or not graffiti is vandalism •
Distinguish your claim from alternate or opposing claims
Use specific, relevant, and sufficient evidence from at least three of the texts to develop your argument
Identify each source that you reference by text number and line number(s) or graphic (for example: Text 1, line 4 or Text 2, graphic)
Organize your ideas in a cohesive and coherent manner • Maintain a formal style of writing
• Follow the conventions of standard written English
****************************************************************
Texts: Text 1 – What Is Street Art? Vandalism, Graffiti or Public Art – Part I
Text 2 – Graffiti Vandals Cost Public Millions
Text 3 – Is Urban Graffiti a Force for Good or Evil?
Text 4 – Art or Vandalism: Banksy, 5Pointz and the Fight for Artistic Expression
******************************************************************
Text 1
What is Street Art? Vandalism, Graffiti or Public Art – Part I What is Street Art?
There is as yet no simple definition of street art. It is an amorphous(1) beast encompassing art which is found in or inspired by the urban environment. With anti-capitalist and rebellious undertones, it is a democratic form of popular public art probably best understood by seeing it in situ.(2) It is not limited to the gallery nor easily collected or possessed by those who may turn art into a trophy.
Considered by some a nuisance, for others street art is a tool for communicating views of dissent,(3) asking difficult questions and expressing political concerns.
Its definition and uses are changing: originally a tool to mark territorial boundaries of urban youth today it is even seen in some cases as a means of urban beautification and regeneration.
Whether it is regarded as vandalism or public art, street art has caught the interest of the art world and its lovers of beauty.
Is street art vandalism?
In an interview with the Queens Tribune, New York City’s Queens Museum of Art Executive Director Tom Finkelpearl said public art “is the best way for people to express themselves in this city.” Finkelpearl, who helps organize socially conscious art exhibitions, added, “Art gets dialogue going. That’s very good.” However, he doesn’t find graffiti to be art, and says, “I can’t condone vandalism… It’s really upsetting to me that people would need to write their names over and over again in public space. It’s this culture of fame. I really think it’s regrettable that they think that’s the only way to become famous.”
Is street art illegal?
The legal distinction between permanent graffiti and art is permission, but the topic becomes even more complex regarding impermanent, nondestructive forms of graffiti (yarn bombing, video projection, and street installation.)
With permission, traditional painted graffiti is technically considered public art. Without permission, painters of public and private property are committing vandalism and are, by definition, criminals. However, it still stands that most street art is unsanctioned, and many artists who have painted without permission, (Banksy, Shepard Fairey) have been glorified as legitimate and socially conscious artists. …
Broken Window Theory: Vandalism vs. Street Art
Vandalism is inexcusable destruction of property, and has been shown to have negative repercussions on its setting. It has also been observed by criminologists to have a ‘snowball effect’ of generating more negativity within its vicinity. Dr. James Q. Wilson and Dr. George Kelling studied the effects of disorder (in this case, a broken window) in an urban setting, and found that one instance of neglect increases the likelihood of more broken windows and graffiti will appear. Then, there is an observable increase in actual violent crime. The researchers concluded there is a direct link between vandalism, street violence, and the general decline of a society.
1 amorphous — hard to define
2 in situ — in its original place
3 dissent — differing opinion
Their theory, named the Broken Window Theory and first published in 1982, argues that crime is the inevitable result of disorder, and that if neglect is present in a place, whether it is disrepair or thoughtless graffiti, people walking by will think no one cares about that place, and the unfavorable damage is therefore acceptable.
Street Art and Gentrification (4) line 40
Thoughtful and attractive street art, however, has been suggested to have regenerative effects on a neighborhood. In fact, the popular street artist Banksy, who has catapulted his guerilla5 street art pastime into a profitable career as an auctionable contemporary artist, has come under criticism for his art contributing to the gentrification of neighborhoods. Appropriate Media claims that: line 45
“Banksy… sells his lazy polemics (6) to Hollywood movie stars for big bucks… Graffiti artists are the performing spray-can monkeys for gentrification. In collusion with property developers, they paint deprived areas bright colours to indicate the latest funky inner city area ripe for regeneration. Pushing out low income families in their wake, to be line 50 replaced by middle class metrosexuals with their urban art collections.” [Times Online] …
Video Projection
Digitally projecting a computer-manipulated image onto a surface via a light and projection system.
4 gentrification — the process of renovation and revival of deteriorated urban neighborhoods that results in the displacement of lower income residents by higher income residents
5 guerilla — combative
6 polemics — criticisms
Street Installation
Street installations are a growing trend within the ‘street art’ movement. Whereas 55 conventional street art and graffiti is done on surfaces or walls, ‘street installations’ use 3-D objects and space to interfere with the urban environment. Like graffiti, it is non-permission based and once the object or sculpture is installed it is left there by the artist. …
Yarn Bombing is a type of street art that employs colourful displays of knitted or crocheted cloth rather than paint or chalk. The practice is believed to have originated in the 60 U.S. with Texas knitters trying to find a creative way to use their leftover and unfinished knitting projects, but has since spread worldwide. While other forms of graffiti may be expressive, decorative, territorial, socio-political commentary, advertising or vandalism, yarn bombing is almost exclusively about beautification and creativity.
—Erin Wooters Yip excerpted from “What is Street Art? Vandalism, Graffiti or Public Art – Part I” http://artradarjournal.com, January 21, 2010
Text 2
Graffiti Vandals Cost Public Millions
There is a certain rhythm to Michael Parks’ job. He paints, they tag, he paints, they tag. … It’s a silent tango between those who scrawl graffiti and those who are paid to remove it. The dance pauses briefly when one side gives up. Maybe a tagger gets bored — or caught. Maybe a painter moves on to something else.
For now, that won’t be Parks. He shows up as a “graffiti ranger” for Seattle Public Utilities (SPU) every day, just as he has for the past six years, in a white uniform and orange vest. He and a partner roam Seattle neighborhoods in a city-owned truck, their solvent cans, brushes and paint drums clanging in the back.
They stop at stairwells, bridges, trash cans, postal boxes, retaining walls. Graffiti disappears. And it all comes back the next week. …
In Seattle, rangers are only one faction. The parks department, Seattle’s Department of Transportation, King County Metro Transit and Sound Transit all pay workers to erase the mess. For years, Seattle police even had a “graffiti detective,” but he retired in 2007 and the position never was filled.
The effort is expensive. Seattle Public Utilities spent about $1 million last year for graffiti enforcement, removal, education and outreach, while King County Metro Transit spent $734,000 last year to rid buses, tunnels, park and rides and bus shelters of graffiti. Add it all up and, overall, city and county agencies are spending millions in tax dollars a year trying to combat the ubiquitous1 squiggles, tags, gang symbols and drawings that mar public property.
Its persistence creates headaches for private-property owners required to get rid of it, and anxiety from residents worried about neighborhood blight. …
No centralized front
It’s hard for officials to talk with any certainty about graffiti trends. Because so many city agencies deal with it, no one keeps a centralized database of complaints.
And there are a lot.
Seattle Public Utilities has averaged about 7,300 a year since 2008, said Linda Jones, manager of the graffiti-rangers team. Some are divvied up among the six rangers. The rest are handed off to other city agencies, she said.
The rangers erased or painted out 445,000 square feet of graffiti in 2009. That’s almost eight football fields.
Hate messages take first priority; those have to be gone in 24 hours. Everything else is tackled within six to 10 days, Jones said. …
Certainly, graffiti seems to tattoo all urban landscapes. Look around Seattle and you’ll find it everywhere: billboards, construction sites, businesses and homes.
Overhead highway signs and train cars hold particular appeal, evidence of the adrenaline rush — and grudging respect of other taggers — that go along with the crime, officials say.
In some cities, such as Los Angeles, these signs are wrapped with barbed wire to prevent vandalism. But that’s not the case in Washington, said Jamie Holter, spokeswoman for the Washington state Department of Transportation. To clean a freeway sign, workers have to shut down a lane at night, get in a truck and raise a boom.
1.ubiquitous — found everywhere
2 boom — a maneuverable arm of a truck used to lift workers for aerial work
Last year, a 28-year-old Miami man made national news after he fell to his death while tagging a sign on the Palmetto Expressway. In 1997, one prolific Seattle tagger severed a foot while tagging a train in Golden Gardens. But that didn’t stop him. Records show he 45 pleaded guilty for tagging again in 1999 and 2000.
Hard to catch …
Arrest numbers fluctuate wildly year to year. For instance, Seattle police made 234 graffiti-related arrests in 2008. That number fell to 41 last year.
“Usually [taggers] are on foot, so they can just drop the stuff and run,” police spokesman Mark Jamieson said. (line 50)
And property owners are left to clean it up.
Under the city’s Graffiti Nuisance Ordinance, if private businesses or homes get tagged and owners don’t act promptly, SPU sends a letter asking them to remove it within 10 days. Ignore the notice, and property owners could face fines of $100 per day with a maximum of $5,000. (line 55)
SPU sent 1,392 first-time warnings to property owners last year. About 75 percent complied, Jones said. After a second warning, nearly all got rid of the graffiti, she said. …
—Sonia Krishnan excerpted from “Graffiti Vandals Cost Public Millions” www.seattletimes.com, April 25, 2010
***************************************************
TEXT 3
Is Urban Graffiti a Force for Good or Evil?
Ban it, legalise it, put it behind glass … no matter what city councils do, graffiti remains the scapegoat for all manner of urban ills, from burglary on one extreme to gentrification on the other. But it may have another effect on cities entirely.
In the spring of 2008, the Tate Modern opened the world’s first major public museum display of graffiti and street art, inviting six international artists to decorate its facade1 with enormous, eye-catching murals.
Meanwhile, just down the riverbank at Southwark crown court, eight members of London’s well-known DPM crew2 were tried for an estimated £1m3 in graffiti-related damages across the country, and sentenced to a total of 11 years in prison – the biggest prosecution for graffiti that the UK [United Kingdom] has ever seen. …
Since its contemporary birth in 1960s Philadelphia, city leaders have tended to condemn graffiti as mindless vandalism. Policing later began leaning towards the “broken window” theory, which argues that if petty crime like graffiti is visibly ignored, suggesting general neglect, it could inspire more serious offences. The UK spends £1bn4 on graffiti removal each year.
But as cities seek to “clean up”, could graffiti’s ephemeral role within the urban environment actually be good for cities?
For Ben Eine, a graffiti artist whose work was gifted to Barack Obama by David Cameron,6 graffiti leads not to drug deals and robberies, as the broken windows theory suggests, but to something very different. “If they [councils] stopped painting over them, they would get tagged and then they’d do silver stuff over it. And then eventually, people would do nice paintings over it … The natural evolution of graffiti is that it will just turn out looking nice,” he told the recent Graffiti Sessions academic conference. …
Embracing graffiti’s cultural value can do wonders for a city’s tourism industry, too. In Bristol, the 2012 See No Evil festival saw 50,000 people flock to the streets; in Stavanger, Norway, the city walls are transformed into a canvas for the highly successful annual NuArt festival. Even without a dedicated event, for every painted wall in a city there is most likely a tour to go with it. A three-hour graffiti walk around the streets of Shoreditch could set you back £20, and in colourful Buenos Aires a tour of the decorated walls can cost $25 (£16).
Buenos Aires is a particularly fascinating example of a city where the walls talk, telling tales of a turbulent past. Here, graffiti has been continuously harnessed as a tool of political communication, resistance and activism by citizens caught up in a cycle of military dictatorship, restored democracy and economic collapse. Although there are laws prohibiting graffiti, the city has gained worldwide recognition for its urban art. Now a new bill proposes to assign a registry of graffiti artists to designated spots in Buenos Aires, with the aim of decreasing undesirable markings elsewhere.
A similar approach has been adopted in Toronto, where a Graffiti Management Plan sees that “graffiti vandalism” is removed by city staff, while “graffiti art and other street art that adds vibrancy” may remain if commissioned by the building’s owner. Toronto council has even assigned an official panel of specialists to judge the value of graffiti, deciding whose markings are artistically worthy to grace the city’s bricks. …
1 facade — front of a building
2 DPM crew — graffiti gang
3 £1m — one million British pounds
4 £1bn — one billion British pounds
5 ephemeral — short-lived
6 David Cameron — British Prime Minister 2010–2016
Legal or not, as graffiti seeps into the fabric of neighbourhoods, it becomes a natural fact of everyday life in the city, a cultural practice appreciated and legitimised by young urban dwellers. Simultaneously, it is harnessed by local authorities and property owners as a method of cultural branding, to create the sort of “poor but sexy” neighbourhoods that work so well for cities like Berlin. Active curation7 of street art really got into full swing in pre-Olympic London when the work of a local crew was scrubbed from the walls of the River Lea Navigation to make way for street art by several international artists, specially commissioned by the Olympic legacy’s public art body. …
From its roots as a means of visual communication for disenfranchised youth to both hide and be seen, graffiti has developed into a bona fide art form, a legitimate force for economic, cultural and social good – and, as we continue to shift towards increasingly sanitised urban environments, one of the few remaining ways we have to respond to our surroundings in an expressive, public way. “Good” v “bad” graffiti might continue to be disputed between fervid councillors, but Eine says the public have moved on. “The whole world is covered in graffiti. No one cares. It’s just part of urban noise.”
—Athlyn Cathcart-Keays excerpted and adapted from “Is Urban Graffiti a Force for Good or Evil?” www.theguardian.com, January 7, 2015
curation — to organize for presentation
8 disenfranchised — marginalized or powerless
9 fervid councillors — passionate community representatives
TEXT 4
Art or Vandalism: Banksy, 5Pointz and the Fight for Artistic Expression
In 1974, Norman Mailer wrote, The Faith of Graffiti, one of the first literary works that looked at the origins and importance of graffiti in modern urban culture. Mailer’s belief was not widespread with many opponents looking at graffiti as no more than vandalism. The battle between those two camps1 has waged ever since, although the graffiti artists, (now given the more politically correct name of street artist), have slowly begun to win the battle.
Artists like Banksy and Mr. Brainwash have actually made the public salivate with anticipation as they await their next creative exploits. While often unsanctioned, street art allows the artist to bypass the confines of the formal art world where only the elite can participate. Communicating directly with the public allows street artists to present socially relevant content while at the same time beautifying the bleak sprawl of urban decay.
Whether graffiti is art or crime has an implication in protecting the integrity of a street artist’s work. If considered art, the creative works might be shielded under the Visual Arts Rights Act (VARA). VARA protects the work of visual art, from intentional distortion, mutilation or other modification. As a crime, these works can be washed away without further consideration, as has been the fate of many.
“It’s a very frustrated feeling you get when the only people with good photos of your work are the police department.” —Banksy
Street artists across the country have been fighting back using the VARA argument. 5Pointz, an outdoor art exhibit space in Long Island City, New York, is considered to be the world’s premiere “graffiti Mecca.” Since 1993, with the property owner’s permission, artists have been creating unique artistic works on numerous walls of a 200,000-square-foot factory. 5Pointz has now become a tourist attraction, with hundreds visiting each week. Now, the building is supposed to be razed to make way for a luxury apartment complex. Sixteen artists have sued to preserve the space citing VARA. They are currently seeking a temporary injunction.
Los Angeles, often on the forefront of intellectual property issues, recently passed a new murals ordinance making street art legal if you pay for a permit, get permission from the location, and publicly post your intentions. Shepard Fairey, best known for his Obama Hope poster and his Obey campaign, has teamed up with renowned graffiti artist, Risk to create a major piece in Skid Row. Another work will be painted in the Arts District by culturejamming contemporary artist, Ron English.
Other artists thrive on the illegality of their work. Banksy recently hit New York City, creating 17 works throughout various neighborhoods. Despite their aesthetic value, the NYPD’s Vandal Squad want to question him in connection with the vandalism, and if they catch him, he will be charged. The vandal squad is currently combing through hours of surveillance footage looking for clues to Banksy’s whereabouts. Mayor Bloomberg said that any Banksy works on public property will be removed. …
So, while the battle rages on, it at least seems for the time being that street artists are gaining public support and it may only be a matter of time before laws like the one in L.A. are the norm.
—Steve Schlackman excerpted from “Art or Vandalism: Banksy, 5Pointz and the Fight for Artistic Expression” http://artlawjournal.com, October 26, 2013
Name_______________
Argumentative
Essay Outline
- Intro
- Hook
________________________________________________________________________________________________________________________________________________________________________________________________________________________
- Background
information
__________________________________________________________________________________________________________________________________________________________________________________________________________________
- Thesis
__________________________________________________________________________________________________________________________________________________________________________________________________________________
- Develop Your Argument
.
Make a claim 1
______________________________________________________________
i.Evidence 1a
_________________________________________________________________
ii.Evidence 1b
_________________________________________________________________
iii.Evidence 1c
_________________________________________________________________
a.
Make a claim 2
______________________________________________________________
.Evidence 2a
_________________________________________________________________
i.Evidence 2b
_________________________________________________________________
ii.Evidence 2c
_________________________________________________________________
b.
Make a claim 3
______________________________________________________________
.Evidence 3a
________________________________________________________________
i.Evidence 3b
________________________________________________________________
ii.Evidence 3c
________________________________________________________________
- Refuting Opponents’ Arguments
.
Opposing view 1
____________________________________________________________
.Refutation 1
________________________________________________________________
a.
Opposing view 2
_____________________________________________________________
.Refutation 2
_________________________________________________________________
- Conclusion
.
Restate the importance of your issue
___________________________________________
a.
Paint a picture of the world depicting what would happen if your
argument is (or is not) implemented ____________________________________________________________________
Transitional Phrases—
Concession/Rebuttal
It is true that… ;however…
Certainly… ,but…
Admittedly… ;on
the other hand…
Of course… ;nevertheless…
Obviously… ;on
the contrary…
Sure… ;in addition…
Granted… ,yet…
Although… ;still…
Even though…
While…
Even if…
- Transitional Phrases— Concession/RebuttalIt is true that… ;however…Certainly… ,but…Admittedly… ;on the other hand…Of course… ;nevertheless…Obviously… ;on the contrary…Sure… ;in addition…Granted… ,yet…Although… ;still…Even though…While…Even if…Argumentative Essay Outline
- Intro
- Hook
________________________________________________________________________________________________________________________________________________________________________________________________________________________- Background
information
__________________________________________________________________________________________________________________________________________________________________________________________________________________- Thesis
__________________________________________________________________________________________________________________________________________________________________________________________________________________- Develop Your Argument
. Make a claim 1 ______________________________________________________________i.Evidence 1a _________________________________________________________________ii.Evidence 1b _________________________________________________________________iii.Evidence 1c _________________________________________________________________a. Make a claim 2 ______________________________________________________________.Evidence 2a _________________________________________________________________i.Evidence 2b _________________________________________________________________ii.Evidence 2c _________________________________________________________________b. Make a claim 3 ______________________________________________________________.Evidence 3a ________________________________________________________________i.Evidence 3b ________________________________________________________________ii.Evidence 3c ________________________________________________________________- Refuting Opponents’ Arguments
. Opposing view 1 ____________________________________________________________.Refutation 1 ________________________________________________________________a. Opposing view 2 _____________________________________________________________.Refutation 2 _________________________________________________________________- Conclusion
. Restate the importance of your issue ___________________________________________a. Paint a picture of the world depicting what would happen if your argument is (or is not) implemented ____________________________________________________________________greater gun control a good idea? - Intro
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