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brandingexpert · 3 years

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Branding Studio For Growth

Working with Bethany made the creation of our new website such a fun and exciting project. She is very organized and ensured smooth communication throughout the whole project. She is also a very intuitive designer, and managed to visually translate our branding studio spirit perfectly. The team of BMRTN + Citizen was essential in helping us translate a major organizational pivot into updated brand positioning. Thanks to this team https://craftandroot.com/ we preserved the best of our brand and maintained the trust and support of our partners during a time of major organizational change. Communication so simple, it makes people fall in love with the brands created here. We partnered with Pinterest Business to create a website that’s as useful and engaging as their platform, while helping to tailor their new branding for the digital space.

Twenty Four 7 was tapped to augment research, synthesize data and outline a strategic plan. We weren’t given a tangible deliverable like a retail experience design, or brand framework, or roadmap for marketing – though we did all of those things. We were asked to re-think their position in the marketplace and light a path to success. Websites and web applications evolve with business needs, long past their original launch. We stick by our clients for the long haul to help them get the most out of their digital projects.

We are Daylight, a digital firm specializing in the design and development of unique, results-driven experiences. Our expertise and collaborative approach to working with our customers delivers products that exceed expectations.

Independently define and direct creative workflow and creative project process across organization. Proactively assess, refine and optimize processes on a continual basis to ensure project and team success. Suzie has done award-winning work for global brands like AT&T, Holland America Line, Microsoft, Starbucks, Vail Resorts and others.

Custom Services

Our sights are set on strategy, design, storytelling, and creating an impact. Lifestyle brands to tech, startups to venture capitalists, professional services to professional sports—we dig down to build up.

The Best Web Design Companies And Agencies

Every touch point is covered in order to create a complete brand experience that satisfies and delights your consumer. Once we understand exactly who your customer is and what they want, we find a way to turn your brand into an experience that will not only satisfy but that will delight your consumer.

Our branding services, coaching, workshops and DIY tools and resources help you launch, grow or pivot your business. Our focus is giving you what you need to be a successful, thriving business that supports your values. That's what it felt like when Anna asked us to help her reposition her coaching business and align her branding and messaging with her renewed focus. As a Three Principles Coach, Anna speaks the same high-vibe language we do, and we share the belief that fulfillment comes when you tap into your truth to serve your greatest purpose. As in coaching, our process always begins with a discovery session to determine a client's needs and goals. In addition to a full website redesign with new icons and infographics, sales + outreach tools, copywriting and a lead magnet.

She has served as an instructor of copywriting, design and creative concepts at Seattle’s School of Visual Concepts. Suzie also serves on the board or in an advisory role with the American Parkinson Disease Association, Campaign for Female Education, Boys & Girls Clubs of America and others. In concert with empowering future generations, we also invest in women and minority led businesses. With our incubator and accelerator program, TF7 offers its expertise in business strategy and brand marketing to support the severely underserved communities in the start-up world. This work contributes directly to individual entrepreneurs, VC’s or non-profit organizations focused on serving this community. This year is different though, and brands won’t be able to employ the same marketing strategies as in years past to engage customers. This year requires an approach that is deeply connected, authentic, and thoughtfully responsive to consumer needs during a time when nothing is status quo.

We also helped Anna with her email marketing and a curated look for her social media feed. We create brands and we tell stories that are as unique and powerful as you are.

Xo Agency

In 2016, Ali followed her passion for small business and obsession with design, and founded Amari Creative. Two years later, she brought on Rachel as the Copy + Content Creator, adding a whole new (and highly requested!) aspect to the business. Since the inception of Amari, we’ve worked with hundreds of small businesses and solopreneurs to build effective, striking brands. It does not matter if you sell a product, heavy-duty equipment or a hotel room what the consumer wants is an experience.

They have an incredible design aesthetic, which has led to a great new look that we’re thrilled about. From tech and usability, to design and branding, Studio Misfits are a top-notch team. DBC is a branding agency that infuses design with data to solve complex communication issues. Treebird occupies a modern, industrial space on Atlanta’s Westside where locomotive horns punctuate branding projects and visitors are always welcome. To us, branding is an investment into your company and your customers experience. We are a full service branding studio in Charlotte, NC that works with businesses who are passionate about craft & cuisine. We specialize in logo design, crafting full brand identities & producing smaller design projects like packaging, menus, catalogs & other print collateral.

Whether you’re a start-up or established business, we deliver a uniquely ownable story that can be easily translated across all brand touchpoints. Shelf helps you stand out from the pack™, by combining data-driven strategic insights and consumer-centric design principles. Character is a branding and design agency with studios in New York and San Francisco. M studio creates purpose-driven strategy, branding and communications for a worldwide audience. Caliber Creative is an independent,full-servicebranding agency specializing in cultivating brand experiences from initial concept strategy through final design execution. Manifesto is a creative branding and strategy agency that transforms beliefs into authentic behavior through the power of culturally disruptive ideas.

Now that you’ve established what you are delivering and when it’s time to get to know the organization you’re branding. Ask for copies of any marketing and branding strategy materials they’ve already developed. You’ll need everything from their mission and values to target market demographics. If your client doesn’t have much of this you can conduct interviews and surveys to suss out what makes them unique. Some companies provide just a few of these services and it is totally fine.

We use provocative design, communications, events and social media content that commands attention and creates buzz in order to put your brand at the top of the consumer’s mind. The brand refresh has made social and print media more streamline and simple with go-to designs. I feel like my business now has a more professional and clean branding image.

It had more cranes in the sky than any other U.S. city, fastest growing home prices in the country, the second most popular city for immigrants, and six-figure job openings – many with six-figure salaries. The landscape – both physical and figurative – was changing daily. In the midst of this boom, Seattle Metropolitan Credit Union began a brand audit that would change the trajectory of the company.

the visual designer and illustrator behind Spark & Bloom. I collaborate with small business owners and entrepreneurs to create brand identities that make a positive impact.

Oregon Lane Studio creates visual brands and beautiful custom Showit websites for passionate business owners ready to reach a new level and spark incredible growth. As a creative business owner, trying to stand out in a crowded market is a huge challenge, but it doesn’t have to be. With a clean and professional design that lights you up and makes you so excited about your brand, you can present yourself as the expert you are. Knowing that your brand visuals are sharing your business even when you’re not in the room. Whether you’re a start-up brand or a seasoned entrepreneur, you know how important it is to get your branding right.

Whenever a potential customer encounters you, they should feel like they are talking directly to you. Your brand is an extension of who you are and what you want to be known for. We create brands that look and sound like you and speak directly to the people or companies you want to work with. DesignGood is a full-service, high-vibe design and branding studio that helps you build your business and brand around the life you want to live.

Proven experience managing complex projects with multiple deliverables and tight timelines. Facilitate internal meetings, negotiate conflicts, build up teams and group dynamics, and enable creative thought processes and strategy. Provide structure around disciplines where needed.

From strategy to identity and beyond, we are your dedicated partner across the entire branding journey. We listen, observe, research, and collaborate with our clients every step of the way to guarantee authentic results. If your brand is ready to make a change, we are here to guide you through it. No matter where you are right now, working with DesignGood will help you create the vision of where you are headed and give you the tools and resources to get you there. We help you pinpoint your audience, spotlight your expertise and establish your business as the go-to source for whatever you're creating in the world.

If you’re ready to feel empowered with a new visual identity that not only accurately reflects your business and brand aspirations, but also resonates with your desired audience too, you’re in the right place. The importance of branding is often overlooked by most companies. As discussed in this article from The New York Times, “A brand is a company’s face to the world.” At Level8 we take that very seriously. Detail-oriented, proactive and a protector of both the creative and the creative process with an eye on the budget, timeline, team, vendor relationships, and production partnerships.

A boldly artistic creative studio specializing in branding and web design. At Studio Brand, we know that our success depends on the success of our clients' campaigns, and ultimately their business. This is why we've pooled a talented team of creatives and analytics who are laser-focused on being great at what they do. We treat our clients' business like it's our own and work tirelessly to ensure we are bringing value to each marketing dollar we spend. A wide range of a-la-carte graphic design services can be added on to the main packages. We will happily curate a custom combination for you! Brand Labs provides entrepreneurs, small business owners, and independent designers with the tools to help objectively build a foundational brand strategy.

In our opinion, for digital products, the bare minimum would be a visual identity and marketing website. On the projects I collaborate with some extraordinary and talented people and as a result branding.studio continuously delivers extraordinarily. Make your brand well defined with solid structure, engaging personality and beautiful visual assets. Our minimal, reductive style of design allows clients to create clarity and transform their brands into powerful assets.

By doing so, we've made some good friends along the way. Technology is really the story of our future, and it’s a story we love to uncover here at Incubate. I love rounding projects out with gorgeous printed goods, and professional designed websites. This ensures the whole package - your entire brand experience - is a cohesive journey.

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thegreatcorpus · 4 years

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Leyte Normal University

College of Arts and Sciences

Language and Literature Unit

EVALUATION OF MEDIA CONTENT TRHOUGH LANGUAGE USE

A Concept Paper

Submitted by:

FRNZA MAE G. ARCEGA

JOSHUA D. DAGAMI

MARY JANE LABUTAP

BAEL AE2-1

Submitted to:

MR. ROGELIO TICOY, JR.

Instructor, Language and Media

July 15, 2020

DEFINITION OF TERMS

The term “media linguistics” has been formed based on the combination of two key components “media” and “linguistics”, the subject of this new discipline is the study of language functioning in the sphere of mass communication. In other words, media linguistics deals with overall complex research of a particular social field of language usage. (Luginbühl, 2015)

Language registers refer to the levels of formality are used in different situations and scenarios. It is important to be conscious on how we are going to use language appropriately in presenting our messages, when to use a specific register and in what type of media platform it should be used. Topic, audience, purpose and location should be taken into consideration when choosing a register. According to Nordquist (2019), “there are five existing language registers. It includes frozen/static register, formal register, consultative register, casual register and intimate register.

Language style also known as stylistics, is the study of style used in literary, and verbal language and the effect the writer/speaker wishes to communicate to the reader/hearer. It attempts to establish principles capable of explaining the particular choices made by individuals and social groups in their use of language. It strengthens the contact with the reader and heightens their awareness. (Lamichhane, 2017)

Grammar refers to the structural regulations and rules that govern the construction of phrases, sentences and words in any language. This is because they are extremely important for the communication that is desired. Although, some might argue that correct grammar and spelling does not really matter, especially in advertising, like what Paul Suggett (2010, as mentioned in Sommerfield, 2014) statement “A sentence that is structured beautifully, obeying all the laws, and bylaws, of the English language, is not what advertising is all about. In fact, in advertising you don’t even need to use real words, good sentence structure, and proper punctuation, or obey any of the rules that were drummed into you in school.” Indeed, using grammar seems like an uphill battle, but media content without it is a suicide.

Semiotics, also called semiology, is the study of signs and sign-using behavior. The Swiss Linguist Ferdinand de Saussure, one of its founders, defined it as the study of “the life signs within the society”. On the other hand, American Philosopher Charles Sandres Pierce defined sign as “something which stands to somebody for something” and contributed its categorization into three namely: icon, index and symbol. He added that a sign can never have a definite meaning, for the meaning must be continuously qualified. (Encyclopaedia Britannica, 2020)

Pragmatics deals with utterances, by which we will mean specific events, the intentional acts of speakers at times and places, typically involving language. Logic and semantics traditionally deal with properties of types of expressions, and not with properties that differ from token to token, or use to use, or, as we shall say, from utterance to utterance, and vary with the particular properties that differentiate them. (Stanford Encyclopedia of Philosophy, 2019)

INTRODUCTION

Media is deeply rooted in our lives that it is significant in our personal lives, as well as in business, politics and society. Its importance has grown exponentially. It seems like the world is lifeless without it.

Rapid development of the print and the electronic media, quick growth of virtual communications and the Internet have enormously changed people’s lives, giving stimuli for the development of the whole range of information society theories. (Luginbühl, 2015) It creates an overwhelming feeling which made people to take every information that is served on the table. Oftentimes, it misleads people that is why it is important to critically think and evaluate media content.

Patton (1987) defined evaluation as “a process that critically examines something. It involves collecting and analyzing information which include its activities, characteristics and outcomes. It is done in order to make judgments and to ensure that they are as effective as they can be. It can help us identify media content.

This paper aims to provide criteria that will help media users in evaluating media content of different types of media through language use.

DICUSSION

Media content can be evaluated through representation, audience, institutions, language, ideology, narrative and genre, but we are only going to focus on how language is used in these media types. It is also called as media linguistics.

There are six different types of media: Print Media, Visual Media, Electronic Broadcasting Media, Outdoor Media, Transit Media and Digital Media. Each media type will be evaluated on how language is used, specifically language registers, language style, grammar, semiotics and pragmatics.

PRINT MEDIA

Print media represents the oldest and the most widespread type of mass media published on paper. It includes books, circulars, journals, lithographs, memos, magazines, newspapers, pamphlets, and periodicals. (Oxford Reference, 2020)

Evaluating print media content in terms of:

Registers: Papers with an international audience usually use formal register.

Stylistics: It follows formal type of writing. it also uses a hierarchy of information to guide the consumer’s attention towards the most important statement/topic. Claims or statements are supported with evidence either in text or figure. Author’s information is usually detailed to make it easy for prospects to contact them and it holds them accountable for any problems on their published article.

Grammar: In this type of media, correct grammar and spelling should be observed. Based on the study conducted by Appelman & Bolls (2011), grammatical errors can affect the credibility of news stories and the amount of time and effort required to read them. Such errors increases reading difficulty and lower readers’ perception of credibility.

Semiotics: Effective print media design is bold and clear. Fonts should be easy to read and high quality graphics should work together. A few prominent graphics will do a much better job that having numerous elements scattered throughout the page. Contrast is everything. It highlights the most important parts of the message to create some visual appeal. Monotone color palette or tones that are very similar to each other are refrained from using.

Pragmatics: The main function of headlines and titles is to inform the reader briefly about the text that follows. They also signal of the paper’s attitude to the facts reported. Also semantically, the headline can be interpreted due to its literal meaning and inferences that readers reach depending on their cognitive knowledge. In order to demonstrate the meaning in its full efficiency, pragmatic aspects are also helpful in specifying the purpose of the article by making appropriate sense. The writer can use different stylistic devices such as discourse markers and connectors, metaphors, rhetorical questions, and emotive words to facilitate the interpretation of the utterances and attract readers’ attention. (Ismail, 2016)

VISUAL MEDIA

Visual Media as defined by the International Visual Literacy Association is ‘a group of vision competencies a human being can develop by seeing and at the same time having and integrating other sensory experiences. (Welsh & Wright, 2010) In addition to this, it is as a set of competencies that ‘enable a visually literate person to discriminate and interpret the visual actions, objects, and/or creative use of these competencies, we are able to communicate with others. (Debes, 1969) it includes images, paintings, videos and infographics.

Evaluating visual media content in terms of:

Registers: Papers with an international audience usually use formal or casual register to attract a wider scope of audience. Lasquite (n.d.) stated, that visual communication is a key component in visual content marketing. Every marketer understands the value of sending the right message to consumers.

Stylistics: Content of this type of media is not going to be plain and boring if they are full of interesting characters and places, if they are connected to themes like good vs. evil etc. and if they have engaging prose that the audience can appreciate.

Grammar: Bradley (2010) said that design elements are like letters and words. When we add design principles and apply them to our elements, our words, we form a visual grammar. As we learn to use both we enable ourselves to communicate visually. In life we can communicate through the spoken word or through gestures. In design we’re bound by a visual language. Even the words on the page are made up of characters of type which are abstract shapes. Written language itself is a visual representation of spoken language. Bradley also stated that the visual grammar, is the context within which we study design principles. When we learn to use girds or better understand typography or color we are doing so in order to communicate more effectively with our audience. The principles are the trees. Visual grammar is the forest.

Semiotics: Parsa (n.d.) stated that in visual semiotics iconic signs look like its object. They are more ‘motivated’ signs. The indexical signs draw attention to the thing to which it refers. The symbol signs, - e.g. a red rose is a symbol of ‘passion’ in Valentine’s Day and means ‘love’– are unmotivated or arbitrary. In a different culture this color of flower may not signify ‘passion’ or ‘love’. Also, any information, if not directly provided, is gained via a process of interpretation. Texts are not always produced recognizable codes in a communicative process. Usage of symbolic narratives, metaphors and metonymy may restrain the comprehension and signification of the text. In other words, in the exploration of the connotations and the associations, one requires to “make interpretations”. It also includes the material used, camera angles and color filters.

Pragmatics: David Lodge, writing in the Paradise News, says that pragmatics gives humans "a fuller, deeper, and generally more reasonable account of human language behavior." Without pragmatics, there is often no understanding of what language actually means, or what a person truly means when she is speaking. The context—the social signs, the image, body language, and tone of voice (the pragmatics)—is what makes utterances clear or unclear to the speaker and her listeners.

ELECTRONIC BROADCASTING MEDIA

Electronic media is the media that one can share on any electronic device for the audiences viewing, internet to transmit facts, skills, understanding, knowledge and appreciation with the aims of to attract general publics in general and marketers in particular. Popular examples of electronic media are television and radio. (Wikipedia, 2020)

Evaluating electronic broadcasting media content in terms of:

Registers: Electronic broadcasting media sometimes use formal register because less rigid but still constrained, where communication is expected to be respectful, uninterrupted, and restrained. Slang is never used and contractions are rare. However, it also uses consultative register. often in conversation when they are speaking with someone who has specialized knowledge or who is offering advice

Stylistics: Electronic broadcasting media is combined with a general negative view against excessive foul language has tempered electronic broadcasting into a much more “family friendly” media form. They use electromechanical energy or electronics for public to access the content. Main resources of electronic media are CD-ROM, online content, slide presentations, audio recordings, video recordings and multimedia presentations. Emotional appeal and repetition is highly observed.

Grammar: Electronic broadcasting media encompasses any form of media that is primarily consumed through listening. The grammars that they used in conveying the information to the audience are appealing and interested in the ears and eyes of the viewer.

Semiotics: Electronic broadcasting media uses connotation since they are designed to generate culturally-significant meanings. Iconic sign is usually used in advertisements of this media type. Advertisers do this, not only through repetition, but also through the combining of symbols, bringing words, images and music together into one meaningful and coherent composition.

Pragmatics: Its language contains plural codes, which interact to create new meanings or messages. Electronic broadcasting media uses the language without any opinion to the audience and convey the information just like they are interacting to the audience.

OUTDOOR MEDIA

Outdoor media is typically consisting of any advertising seen outside of the home, and is primarily grouped into a few specific categories such Billboards, posters and transit to name a few. Outdoor advertisements are the best medium to inform the moving population. Once an advertisement board is installed at a place, it usually remains there for a fairly longer period. What is best in outdoor media is that it can be displayed at a place where best impact can be created. (Nguyen, 2020)

Evaluating outdoor media content in terms of:

Registers: It uses casual register because it is probably use when you consider how you talk with other people, often in a group setting—marketers to be specific. Use of slang, contractions, and vernacular grammar is all common in Outdoor media. Also, Outdoor media uses the static register wherein it contains government agency rules, proposed rules, and public notices.

Stylistics: Outdoor media often uses public notices in advertising to different locations. It also uses figurative languages to make their advertisement more reliable and catchier to the commuters or even to the tourists. Outdoor media uses visual techniques to make the viewers more attentive and languages are more powerful in visualizing their ads for the commuters and tourists to have a desirable view.

Grammar: Just like any advertising and marketing strategy, outdoor advertising requires research and preparation so that their use of grammar may not be mistaken because it can affect their viewer’s insight about their advertisement.

Semiotics: When it comes to branding and advertising, semiotics can provide some amazing insights. In some cases, the sign can be an exact representation of the thing being signified, while in other cases, it may be a symbol associated with it. In outdoor media, they use image to visualize the product being sold. They also use word to convey a message with the same effectiveness as an entire picture. It uses the Rule of Thirds and The Golden Mean.

Pragmatics: Outdoor media uses words and images to advertise their products and the words and pictures that they are using, connects to the understanding of the people. The words and images they used are more attractive, catchy and have a bigger size for their viewers to be more interested in their advertisement.

TRANSIT MEDIA

Transit media refers to advertising placed in, on, or around modes of public transportation: buses, subways, and taxis, as well as at bus, train, and subway stations. Transit media can be a great way to reach a really diverse audience: families traveling to daycares, professionals heading to work, tourists navigating a new town, or even students making their way to a local coffee shop. (Hendricks, 2020)

Evaluating transit media content in terms of:

Registers: Conversational register is often used in this type of media because of its target audience.

Stylistics: Placing a message outside targets a larger audience and is recognized by three quarters of passing individuals. It serves as a last minute reminder or as impulse motivator at pricely a time when real and potential consumers are on the move. Exterior bus posters, displayed on the front, back, and sides of the vehicle, offer advertisers high exposure, particularly in largeurban areas. There are commuters and tourists, or people in cabs, rental cars, and on foot who can see the rolling billboard go by. According to "The Complete Guide to Creative Out-Of-Home Media Forms," bus exteriors are available in 80 to 85 percent of the top 100 markets in the United States on more than 36,500 buses. The bus exteriors provide "mass audience exposures" that are repeated and reinforced as they follow the same routes every day. The more innovative, intriguing and humorous it is, the better.

Grammar: The message should be brief consisting of at least 3-5 words.

Semiotics: It also helps that nearly all transit ads are available at eye level with large graphics and text. The message should be legible. Colors are used to contrast each other. It builds a recognizable format or layout that catches the briefest eyes contact.

Pragmatics: Every transit agency that advertises has guidelines dealing with "objectionable" material. The problem comes in defining what might fall into that category. Seventy percent of the respondents indicated that they had formal, written guidelines addressing ad content. The restrictions differ throughout the transit industry, but generally include some variation of the following prohibited content: illegal, indecent, or immoral ads; political, alcohol, or tobacco ads; libelous, obscene, or profane ads; ads that ridicule individuals or groups of people; advocacy of or opposition to a religion, denomination, tenet, or belief; violent, criminal, or anti-social behavior; false, misleading, or deceptive ads; adult materials and services; explicit sexual material; pornography or businesses that traffic in pornography; and advertising that appears as graffiti, gang signs, or symbols.

DIGITAL MEDIA

Digital media are any media that are encoded in machine-readable formats. Digital media can be created, viewed, distributed, modified and preserved on digital electronics devices. Examples of digital media include software, digital images, digital video, video games, web pages and websites, social media, digital data and databases, digital audio such as MP3, electronic documents and electronic books. (Richard, 2013 as mentioned in Wikepedia, 2020).

Evaluating digital media content in terms of:

Registers: It uses casual register or consultative register because it is probably use when you consider how you talk with other people, often in a group setting—marketers to be specific.

Stylistics: User-generated content raises issues of privacy, credibility, civility and compensation for cultural, intellectual and artistic contributions. The spread of digital media, and the wide range of literacy and communications skills necessary to use it effectively, have deepened the digital divide between those who have access to digital media and those who don't. Each digital media network has its own intended purpose and audience. Understanding this and matching your content and tone to the proper social media outlet is imperative for success..

Grammar: Gumpart & Cathcart examined how new media develop their own grammars, the way individual acquire media literacy, and the effect of media literacy on ways people relate to the world and each other. It concludes that people develop different states of media consciousness based upon the… media grammars, and that particular consciousness produce media gaps which separate people.

Semiotics: When it comes to graphics, it uses color psychology. Photos and videos can boost your social media strategy. Tweets that feature images earn 150 percent more retweets are favorited 89 percent more and lead to 18 percent more clicks. Typing in all capital letters is visually alarming, they also communicate that you’re upset (and yelling) about something. It should be avoided. When used correctly, hashtags will increase your online visibility and followers. When used in excess, it looks spammy and becomes ineffective.

Pragmatics: Its language contains speech acts like constatives (assertive, concessives, suggestive, suppositive, responsive), directives (request, question & requirement), expressives (thank, accept, reject, negative opinion & positive opinion) and attachments (link, code & log).

CONCLUSION

Media has evolved rapidly over the last couple of centuries. These changes brought a lot of convenience in accessing different types of information, from typical newspapers to our smartphones. It provided an ocean of information these days, but “we need to be critical enough not to drown in hoaxes and misinformation.” Hence, it is our duty to be responsible consumers of information, regardless of media type, and to examine every small detail we see and hear on the media. Indeed, “media is a blessing for humans as it plays a vital role in our personal lives and many other walks of our lives.” It lies upon us who decide whether “media is a blessing or a curse.”

REFERENCES:

Gray, J. (2008). How to move into moving media: Transit Media. Journal of Marketing. Retrieved from https://journals.co.za/content/mfsa1/2008/04/EJC74350

Gumpert, G. & Cathcart, R. (2009). Media grammars, generations, and media gaps. Retrieved from https://doi.org/10.1080/15295038509360059

Appelman, A. & Bolls, p. (2011). Article Recall, Credibility Lower with Grammar Errors. Newspaper Research Journal. Retrieved from https://doi.org/10.1177/073953291103200205

Herrmann, E. (2015). Language Register: What is it and why does it matter in education? Retrieved from https://exclusive.multibriefs.com/content/language-register-what-is-it-and-why-does-it-matter/education

Nordquist, R. (2019). What is Register in Linguistics? Retrieved from https://www.thoughtco.com/register-language-style-1692038

Eilders,C. (2016). Print Media. Retrieved from https://onlinelibrary.wiley.com/doi/epdf/10.1002/9781118541555.wbiepc193#accessDenialLayout

Wikipedia (2020). Digital Media. Retrieved from https://en.wikipedia.org/wiki/digital_media

Wikipedia (2020). Electronic Media. Retrieved fromhttps://en.wikipedia.org/wiki/Electronic_media

Oaks, D. (2011). Rethinking the role of grammar in advertising and marketing curriculum. Retrieved from https://journals.sagepub.com/doi/abs/10.1177/073953291103200205?journalCode=nrja#:~:text=It%20was%20observed%20that%20grammar,retention%20and%20low%20perceived%20credibility.

Nguyen, G. (2020). Types of Outdoor Media. Retrieved from https://penji.co/types-of-outdoor-advertising/

Oxford Reference (2020). Print media. Retrieved from https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100346392

Lewis, J. (2020). Semiotics in Advertising. Retrieved from https://smallbusiness.chron.com/examples-semiotics-advertising-38593.html#:~:text=Semiotics%20are%20frequently%20used%20in,symbol%20that%20signifies%20something%20else.

Encyclopaedia Britannica (2020). Semiotics. Retrieved from https://encyclopaediabritannica./semiotics

Authors:

Frenza Mae G. Arcega

Joshua D. Dagami

Mary Jane Labutap

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hollowedrpg · 5 years

Photo

CONGRATULATIONS, ROBYN! — You’ve been accepted for the role of Arthur Weasley. Your application was honestly a dream. I love, love, love how you expanded on how Arthur’s speech impediment affected his growth, and the man he’s become. The way you delve into his relationship with Molly, and with their children just allowed me to disappear into his character. I can’t wait to see where you take him from here.

Thank you so much for applying. Please create your account and send in the link, track the right tags, and follow everyone on the follow list. Welcome to Hollowed Souls!

ooc.

name:

robyn

age:

pref pros:

she/her

timezone:

GMT (wales)

activity:

I’m working full time but other than that I should be around daily to interact.

how do you feel about your character dying?:

I’d be gutted because Arthur has already been dealt a bit of a shitty hand (what with everything in the Mols/Gid/Fab realm) but such is war and that’s this world.

anything else?:

WHERE’S MY WIFFEEEEEEEE :(( — jk he’s just suffering already :D

ic details.

full name:

Arthur Septimus Weasley

date of birth:

5th february 1950

former hogwarts house:

Ravenclaw - A boy who could be heard without words, who can command attention from his peers? tell me he’s not here to prove himself with his knowledge of other languages or pour himself into non-verbal magic to provide himself with a voice that can not be ignored. For an individual that has never been thoughtless, Hogwarts freed him from any social restraints he put on himself, the house of the curious facilitated the growth of that character, to ask questions where he felt things were unjust or provide an answer to those that challenged him. It leads perfectly into his role within the Ministry as he attempted to introduce legislature to protect and normalise muggle culture.

(I have always been irritated at the trope-y excuses for the Weasley’s being Gryffindors,Art screams Ravenclaw to me, lemme know what you think)

sexuality:

heterosexual

gender/pronouns:

cis male, he/him

face claim change:

i’m happy with sam if you are

more.

how do you interpret this character’s personality? how will you play them? include two weaknesses & two strengths.

Art is that guy that you turn to when you need someone to hear you out or have a be with. He’s a rock because he has his world laid ahead of him, his marriage is absolutely water tight and his children are the light of his life. Shake that up and you’ve shaken his core sense of stability. With Molly gone… He’s lost in the hope for her to come back to them all, to their children, to him.

Therefore his strengths look like:

Homemaker/Comforter: He and Mol built the Burrow for themselves before the children were even a whisper in their subconscious, and now he strives for the familiarity and comfort that his home gave even strangers. Godric’s Hollow is a taboo place, in a horrendous situation, but Arthur turns the dingiest corners into little nooks for the boys or respite for those around them all. Hopefully everyone benefits from smaller icons of what home could be and where it could be found again.

Defender: Arthur’s decision to join the Order was not only to protect the ones he holds dearest, but those that need help. He is no pawn to be played with and whilst he feels he has made the biggest mistake by not taking his children and wife and leaving, Arthur knows Molly will come back to him. His knowledge in defensive magic will grow broader as he seeks to understand the darker twists and turns of runic magic and strengthening wand-less charms and hexes for the purpose of duelling. What else could he do with the time where the kids are asleep?

And his weaknesses look like:

Sightless: People may’ve picked up on the speech impediment, something he’s navigated for years but he’s currently blinded. Not physically of course, but things have occurred and who knows what is happening to those missing. Arthur is a certified knot of chaos, and is only just realising that it’s detrimental to his and his children’s safety. He’s too caught in what was and cannot accept a future without his wife and friends. It’s a lot for everyone right now, but he cannot drag himself from the searing pain of what looks to be the future. Unlike others, Arthur is finding it incredibly difficult to move forwards without his stabilising people. To have lost his brother-in-law, and not know whether his other brother-in-law, and wife, has annihilated any sense of security.

Unamenable: In the sense that he hates the pity that others cast him whilst desperately requiring the support he needs for his own wellbeing and that of his children. It’s something that he needs to get over yesterday in order to survive as a parent, it isn’t weak to accept the criticism of those around him.

how has the war affected this character, emotionally and otherwise?

His blood runs cold when he can’t see all of his children. Every morning he wakes up and forgets in those two seconds that Molly isn’t going to be soft under his arms, he’s content, but then he remembers. Arthur has stopped being the warm, inviting, individual that he was once acclaimed, and is now succinct with a worn nod or an obligated line of a smile. Opening up to the new people he’s put in close proximity with isn’t his game, and instead of offering stories to lighten the mood, he listens to everyone and everything he can. He observes more so now than ever and people can assume it’s because he has a speech impediment or that he’s grief stricken because his family are missing or because he’s preoccupied with his children. Arthur isn’t at Godric’s Hollow out of choice, he’s there because he couldn’t think of a better place to be with his children. He’s incredibly thankful but doesn’t trust people’s intentions, Arthur is aware that he can be used a tool in the machine and is biding his time until someone calls upon him.

where does this character currently stand? with those who wish to hide in godric’s hollow until the war ends, with those who wish to rebuild the order and continue fighting the war, or on neither side? why?

Arthur’s as conflicted as most. Stay in the quiet with the boys and lay low, stay protected where flicks of ginger haired aren’t sought out to match their mother’s. Yet there’s a fire in him that yearns to fight and flicker from the ashes and embers, to go and fight for Molly. And he so bitterly finds himself wishing that they would’ve waited longer for the children’s sake because if there were no children they could’ve fought harder at the immediate. She wouldn’t have been lost. He shouldn’t have been a coward and told her to go alone… He’s a mass dichotomy, no one move seems to have a balanced return, he always seems to lose.

It’ll take time but he will realise that he needs to listen to his gut and fight forwards, to set an example that good does prevail when it’s smart and strong enough. For now, they’re all exhausted and Arthur’s very much caught in that state of mind also.

With Molly missing, how is Arthur managing taking care of his children and continuing to be a part of the Order? Does he feel like he should remain a part of the Order?

He knows that he has obligations to the Order because after all, they are housing his children, using resources that should be reserved for those that are actively fighting. However, they accepted that strain and he will serve as best as he can. Currently Arthur is attempting to school his children with what books are littered through Godric’s Hollow and provide structure and normalcy where there seems to be none.

Art knows the Order need people who are dedicated to lose their lives for this, for others, and more importantly for the future, but he just isn’t sure if that is something that he can actively promise or provide to any degree.

Although he continues to read and further his skills to the point where he either decides to move the children and fight with the Order or leave Godric’s Hollow and take off with them.

extra.

here you can list or add any extras you created to get a sense of this character. that can include graphics, writing samples, mock blogs, etc. apps that have extras won’t have an advantage over apps that don’t, although it can help me further understand your grasp of the character.

00/00/52 Molly

05/02/50 Arthur

29/11/70 Bill

12/12/72 Charlie

22/08/76 Percy

01/04/78 George

01/04/78 Fred

01/03/80 Ron

11/08/81 Ginny

_________________________________________________________________

“Do not listen with the intent to reply. But with the intent to understand.”

Fingertips pressed to the tip of his thumb, orderly and silent within his pocket. Listen, watch, observe Arthur, it’s the fastest track to becoming a wiser man. Advice from his father, a stoic, genius of a man. He’s taught Arthur secrets about morality and how to keep his tongue in his head before he had even considered the evils of the world. It was priceless information to have instilled into you at a younger age - especially with the Weasley name carrying blood traitor status.

However it took a time for everyone to realise that words were caught struggling to tumble from his mouth, tripping on his tongue. Fighting their way through monetary issues meant that Cedrella and Septimus Weasley were incredibly busy people whilst Arthur was younger. Both working tirelessly in order to make ends meet, and of course they did, but at the extent of Arthur never really being able to realise the frustrations of having a speech impediment until he took interest in attempting to say new words at the age of five. He should’ve been talking for longer than that but it was a combination of being busy and Arthur naturally being quiet that allowed his disability to go unrecognised.

And so began the speech therapy with a diagnosis for developmental verbal dyspraxia. His speech went from incorrect stresses to monotone, breath control allowed Art to imagine the music he had heard and loved so dearly and breathe to it, suddenly he was starting to flourish. In the meantime, he was introduced to sign language in the therapist’s waiting room, and of course he was intrigued. Talking without words? It seemed like the ultimate solution and so he delved into books and taught himself to sign in the mirror. He wasn’t fluent with expressions and developing a less mechanical place until he made friends with a few deaf children. They filled the gaps in his knowledge and he was a new friend for them to play with. It was exactly what he needed to realise that he could manage without clear language, that he could make others hear him. And these children were muggle, without magic to aid their communication.

Arthur was so excited to be surrounded in magic that he started reading the texts at the age of ten, the anticipation made him nervous beyond belief, knowing that incantations would be his fall. Instead he read the theory of the magic, practising the movements and prayed that by the time he got to Hogwarts, he would just need time to breathe through the incantations. Thankfully he was sorted into Ravenclaw, a house that fed his traits of listening but nurtured the need to ask questions, he began to reach out to his peers and ask more. And they listened, sometimes baffled by his lack of intonation, sometimes reaching out to sign themselves, it was a house of curiosity and endless questions so of course Arthur was forced to be more communicative.

Whilst it wasn’t a cure all, it was what he needed to develop into the individual that would speak out against what he thought was wrong and stand strongly for what he believed to be right.

__________________________________________________________________

“Wit beyond measure is a man’s greatest treasure.”

“RAVENCLAW!”

Red hair felt out of place on the Ravenclaw table. Warmed by a firm hand on the shoulder, his heart pounding in his chest as he looked at the faces beaming at one another, wondering what the first years might bring to the house. His quiet at the table was easily accepted and ears tentatively picking up names and hobbies. As he turned in his bed, his stomach was full of dread at the realisation of the title to live up to - the innovators and path makers. Arthur swallowed the fear of inadequacy as he rolled again, restlessness was a new thing to one so young.

It was only a week before another signed hello to him, something he hadn’t even clocked as he returned the gesture but was immediately dumbfounded as it came to the front of his mind. It earned a grin from across the room and finally he was settled in his new home, with others hungry to learn from their peers and fill gaps in their familiarity. Despite it turning out that the other thought he was deaf, Art still greatly appreciated the act of kindness, and it instilled in him to give time to others. He hadn’t tried that hard with those around him since he had been surrounded by kids at speech therapy, but this pushed him.

A mention of a charms club had him asking questions to a fifth year student who laughed at him but shrugged and jotted down the directions to a second floor classroom. His magic had never thrived more than when charged with excitement, and Art was soon to be questioned on how he was so proficient. Why was he so proficient? And so his slow explanation was spoken aloud, a rarity to the 11 year old, but others heard him and laughed, wondering if he was going to do their homework for him.

Ravenclaw is his spiritual home. It nurtured him not only with knowledge, but with opportunity. It gifted him the bollocks to ask Molly out. Ravenclaw bequeathed him the strength to shrug off ridiculous name calling and sneers about his sympathy towards non-magical possessing individuals. His core was absolute and clad with the experiences that he held dearest, to support and nurture. To defend. To listen, to learn before marching blindly. Arthur’s morality was furthered in Ravenclaw, it wasn’t borne in the house, but it was watered to full blossom. No longer a seed under fresh soil, but a sunflower tall and looking for light where seemed little.

__________________________________________________________________

“Eos ipsos defendere non possunt defendamus”

(Let us defend those who are unable to defend themselves)

Arthur fell in love with Molly. Molly fell in love with Arthur. Everyone knew that was the story, they could see it in the fond glances and touches that lingered, savouring one another. They were the couple that you almost couldn’t imagine not being together, complete yin and yang. One was burned hot and vibrant where the other ran cool and calm, pacing was better for the both of them as the realised how well the other benefited their lives.

People didn’t see the arguments about having children immediately or wanting to travel or the small pause that happened just after they bought the Burrow. It wasn’t for people to see. They certainly didn’t see the months long conversation about joining the Order or what it would do to their family. What it would do to them and for what? A cause?

“Protecting who at what cause?!”

It made sense now.

But of course there was a part to the yin and yang that absolutely reassured Arthur everyday he woke up. Because for over a decade he had given to loving Molly Prewett, he had received her love back, he was now a piece of her. He would know if she had died. He had to know. It wasn’t fabled that people collapsed out of the blue despite not knowing their significant other had passed. It couldn’t have been. He would hold Ginevra in his arms every night whispering promises of returning her to her mother, of offering the comfort of her touch, and there were nights when his daughter was his only comfort whilst he sobbed alone, defeated and exhausted.

“Children! Families! People with those to lose!”

The memory of the argument alone made him stoic and calmed his fears as much as it screamed his guilt in silent moments of thought. An odd juxtaposition but he was as determined as he was when the words had left his lips. All of them had but one goal to move through this. They would find her, because that was what they were all here to do - what they had to do.

__________________________________________________________________

“Other things may change us, but we start and end with family.”

Charlie. Percy. Fred. George. Ron. Where’s the baby?! WHERE’S T- Ginny.

Morning mantras were never reminding yourself that your children were alive and surrounding you, they were the eggs and bacon?

Or porridge?

No, Dad! I want toast.

It wasn’t always a tightened chest when he heard a clatter of locks changing whilst his children played across the room from him, an instant flash of hands to check that they were all aware to be respectful of those around them. He had never quietened their noise as he did so now… Not that they were louder than most’s speaking level. It still was unnatural to see his eldest pick up the younger ones when Arthur moved in front of them when somebody unexpected entered the room.

Watching his children grow up aware that they were all targets. Now that was stomach churning, to see their fight or flight in real time instead of in tag or when they were scared because they’d broken a glass.

Art was exhausting his imagination in order to provide fun alternatives for them to play or take their minds away from the cold reality. They were now learning how to write their wishes and new words and spells. Art was worried for his children getting to an age where they needed proper magical tuition, whether they would leave for Hogwarts as Bill had, how would they channel their magic initially without wands. Could he guide them through that?

What would Molly do?

His heart burned for his eldest son. He just wasn’t enough for everyone and that was the problem, wasn’t it? Arthur felt like he was letting his boy down by leaving him away from the rest of his siblings but it was the safest place for him. Perhaps safer than his siblings. It was the question that wracked his head - should he collect Bill from Hogwarts so that he was safe with everyone? How could he protect him when he was miles away? Would he be able to protect another child, especially one so desperate to protect his siblings… Molly would be so irritated at that thought. Or maybe she would be furious that he still waited, that he hadn’t taken them already. His mind buzzed light the air in a storm, but at least his words weren’t yet electric and sharp to others. Instead he exhaled and shook out the distress, heaving sighs in hopes of removing the weight crushing his chest.

Self doubt was an evil bastard and he was consumed with the what-ifs and the when’s instead of the right-here’s and the nows.

DAD!!!!

He had been waiting for it. Percy was writing letters to his grandmother when Charlie had stolen a rubber band and thwacked it across the room, hitting his brother on the side of the head. Arthur stifled a laugh whilst he watched Molly take a rather purposeful sip of tea to hide her smile before correcting the behaviour.

Dad?

Art blinked, staring at a frowning George, tuning back into the room. His son had been so hesitant, the boys were very patient with both him and Ginny in the absence of their mother. They wanted home as much as he did, but at least their space was slowly becoming more comfortable and their drawings were brightening Godric’s Hollow as small gifts to the others that sat and read stories with them all. He just hoped that this wouldn’t become their usual and he could return to the home he had made for his family.

__________________________________________________________________

AFTER THOUGHT:

(Muse is something that develops in scenario for me personally and I am stoked for the plot of this RP to reinvent the Arthur I’ve written for years. Hence how face value the answers are, but hit me up if you want more drabble or to further move through the points, I just want the chance to do this organically through interaction.)

#hp rp #rp #lsrpg #marauders rp #lsrp #accepted

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didanawisgi · 6 years

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Archetypal Cosmology Nine Essential Features

By Glenn Perry

So far as I can discern, the term ‘archetypal cosmology’ originated with Archai: the Journal of Archetypal Cosmology, which was the brainchild of Richard Tarnas, Keiron Le Grice, and a group of scholars associated with the California Institute of Integral Studies in San Francisco. The inaugural issue was released online in late 2009. According to the editors of Archai, “Archetypal cosmology includes the study of correlations between cyclical alignments of the planets and archetypal patterns in human experience, but goes beyond this to address the theoretical basis of these correlations and their implications for a wider world view.”1

In November of 2009 and prior to discovering the Archai journal, I had begun developing a Certificate and Master’s Degree program at The Graduate Institute (TGI) in Bethany, Connecticut. The main focus of the program was on archetypal astrology but also drew upon diverse traditions in science, philosophy, and religion to examine the nature and development of human consciousness from a cosmological perspective.

At the heart of the program was a question: If astrology works, what does this imply about the nature of the Universe? How can correlations between psyche and cosmos best be explained? A variety of models formed the foundation of the study, ranging from the Neoplatonic philosophy of ancient Greece to chaos and complexity theories of post-modern science. Human change processes were to be examined from multiple perspectives, including developmental theory, transpersonal psychology, and archetypal astrology.

Students would identify incremental stages of growth and explore how consciousness evolves through stages and crises that correlate with planetary cycles. Most importantly, emphasis was placed on traditional wisdom that depicts the Universe as a great chain of Being—a living, conscious, purposive whole in which lower levels reflect by virtue of their internal constitution the greater Being of which they are a component part. This, of course, is the ancient doctrine of the Macrocosm and the Microcosm, which purports that human consciousness is both an extension and reflection of a transcendent intelligence that is immanent within all natural processes.

In Search of a Name After the courses and general framework of the TGI program were established, the only question was what to call it. We wanted a name that would honor the astrological content of the program and reflect its cross-disciplinary status as an emerging field—yet, not wave a red flag that could jeopardize its authorization by state agencies.

Upon reading the Archai journal and its definition of archetypal cosmology, it was obvious we were talking about the same thing. Synchronistically, both Archai and The Graduate Institute were describing a new, multi-disciplinary field of study that combined archetypal astrology with multiple other disciplines—depth psychology, history, philosophy, consciousness studies, mythology, cultural studies, the arts, biography, and the new sciences. In the inaugural issue of Archai, the opening article by Keiron Le Grice announced, “The Birth of a New Discipline”. Indeed, this was exactly what we were doing at The Graduate Institute: participating in the birth of a new discipline, heralding an emerging field.

The pairing of ‘archetypal’ and ‘cosmology’ is significant. Archetypes are akin to Ideas in the mind of a divine Being, universal patterns of meaning that serve as templates for phenomena at every level of the Universe. They not only inform and animate the psyche, but are operative in planetary movements, biological processes, everyday events, societal institutions, and virtually anything we can experience as human beings.

Archetypes are metaphysical principles that constitute the hidden, generative matrix of life, the within of things, the interiority of the Universe. As such, the word ‘archetypal’ alludes to the imaginal, symbolic capacity of the mind to make meaning by constructing stories that serve as metaphors for deeper, underlying principles that exist beyond our senses or rational intellect. Archetypal language harkens back to earlier periods in human history when myth and story were our primary means for making sense of the Universe.

Conversely, the word ‘cosmology’ refers to the scientific study of the origins and structure of the Universe, and relies upon an objective, empirical way of knowing to gain a more precise, material understanding of that which unifies and is fundamental. For most of human history, cosmological thought was formulated in mythological, religious or philosophical language, but more recently has become a science that combines astronomy, physics, and biology into a grand, all-encompassing account of the Universe as a whole.

Cosmology is the big picture, the mighty frame that pulls together all the pieces of the jigsaw puzzle into a comprehensive model. It is important to understand that cosmology is not simply astronomy; it is the study of cosmic forces and processes such as space, time, and evolution; it examines the evolution of energy into matter and matter into consciousness. It investigates the physical constituents of that which is infinite and eternal—the constants of Nature, laws that endure over long periods of time, non-local forces that extend over large regions of space.

Whereas cosmology is the rational study of all that is, archetypology is the imaginative study of the Universe. One deals with the without of things, the other with the within. As an emerging field, archetypal cosmology bridges these two styles of reasoning—the objective/rational with the imaginal/symbolic—in a kind of sacred marriage that yields a fuller, non-dual, panpsychic understanding of the relationship between psyche and cosmos.

Archetypal cosmology directly implies that all objective bodies in the Universe—from planets to subatomic particles—possess an interior, subjective reality. Nature has a within and a without; it consists of external bodies with internal experiences analogous to feelings, ideals, and intentions. The very words ‘archetypal cosmology’ suggest that the Universe has an inner and outer dimension, mirror images of the one reality that is both Psyche and Cosmos.

Clearly, archetypal cosmology covers a lot of ground. It provides a model of the Universe; yet, is a personality theory, too. It has philosophical ramifications, but also constitutes a research methodology. As a way of understanding people and working with clients, it extends to the practice of counseling. Given the complexity of archetypal cosmology, it might be useful to summarize some of its main features.

Nine Essential Features

1. Correlates planetary cycles with archetypal patterns in human experience.

2. Aspires to methodological rigor and epistemological humility in knowledge claims—thus, is research oriented, evidenced based, and value-neutral

3. Extends psychological astrology’s growth oriented perspective and renders more precise its explication of the intrapsychic realm

4. Situates astrology within an archetypal ground, defining archetypes as cosmological principles that are both transcendent and immanent, and which shape, inform, and animate Nature at every level, within and without

5. Recognizes the multidimensionality, intra-dimensional variability, and polyvalence of astrological archetypes, which underscores their inherent indeterminism

6 Emphasizes the co-creative, participatory role of the psyche in shaping behavior and attracting formative experiences, thus highlighting the self’s responsibility for its continually evolving fate

7. Establishes synchronicity as the key to understanding feedback relations between internal and external reality (as symbolized by the horoscope); and for overcoming the modern dichotomy of a living, purposive, evolving self embedded in a dead, random, mechanistic universe

8. Draws upon science, philosophy, and religion in formulating a theoretical basis for the observed correlations between psyche and cosmos, thus paving the way for a broader world view

9. Focuses on the interiority (ensouled nature) of the cosmos—its consciousness, intelligence, and apparent teleology—and how this interiority is both the ground of psyche and the basis for an interconnected, evolving cosmos that is hierarchically structured and holonomically organized

While these nine essential features could be fleshed out and more fully explained, I trust they suffice to provide a quick glimpse into the general nature of archetypal cosmology.

Conscious Evolution While conscious evolution is not a formal feature of archetypal cosmology, it constitutes a natural complementation. Conscious evolution can be defined as the intent to cooperate with an evolutionary process inherent in nature. Since archetypal cosmology recognizes that evolution is a key feature of the Universe, an implicit goal is to facilitate the evolution of consciousness through archetypal pattern analysis. This involves analysis of the central archetypal dynamics operating in an individual’s life as symbolized by the birthchart and as manifest in their character and everyday experiences. Archetypal pattern analysis also addresses individual responses to personal transits as well as collective human responses to world transit.

As the art of prognosis, astrology utilizes planetary movements for predicting the quality, meaning, and duration of specific time periods. Rather than simply describing event-outcomes, however, planetary movements can be depicted as windows of opportunity for the actualization of natal potentials. Concrete events both reflect and serve as catalysts for changes in awareness; thus, planetary movements can provide insight into the precise timing of developmental processes, allowing us to appreciate how inner and outer reality coincide, reflect, and transform each other.

In 2012, the TGI program in Archetypal Cosmology morphed into a Certificate and Diploma Program at the Academy of AstroPsychology (AAP). Courses at AAP include not only the history and theory of astrology, but also how astrology can best be utilized in a counseling setting. Students learn astrology as a psychological language, diagnostic tool, and developmental model.

Again, astrology’s value as an aid to conscious evolution is especially emphasized, most notably through experiential work that combines archetypal pattern analysis with personal mythology. Support for conscious evolution is built into every course, encouraging students to collaborate with planetary cycles toward the unfoldment of their highest potential. Such an approach infuses the learning of astrology with tremendous, personal significance.

Notes

1 http://www.archaijournal.org/about.html

2 See Rod O’Neal’s “Archetypal Historiography: A New Historical Approach,” Archai: The Journal of Archetypal Cosmology, I, no. 1 (Summer 2009): 71.

3 During application for regional accreditation in 2011, the Graduate Institute was informed by the New England Association of Schools and Colleges (NEASC – their accrediting agency), that accreditation would not be possible so long as they were offering an MA program in astrology. Accordingly, the program at the Graduate Institute was transferred to the Academy of AstroPsychology as a non-degree Certificate and Diploma program that began in September, 2012. For more information, go to: www.astropsychology.org

#Glenn Perry #Archetypal Cosmology #astropsychology #astrology #sacred astronomy #jungian psychology #jungian archetypes #carl jung #c.g. jung #Richard Tarnas #Becca Tarnas #Archai: the Journal of Archetypal Cosmology

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creativesage · 5 years

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(via 10 Reasons Why a Mentor Is a Must | Inc.com)

From not making certain business decisions to fostering certain partnerships, a mentor can help guide you through your entrepreneurial journey.

By John Rampton

As an entrepreneur, it's exciting to go it alone and create something on your own. However, the reality is that, while you have a great idea, you may not know exactly what you should be doing with your business at which times to develop it into a sustainable business.

I've had several mentors over the years and learned a large amount of valuable lessons from each and every one of them. From not making certain business decisions to fostering certain partnerships, a mentor can help guide you through your entrepreneurial journey.

Here are ten other reasons why you need someone like a mentor:

1. Mentors provide information and knowledge. As Benjamin Franklin said, "Tell me and I forget, teach me and I may remember, involve me and I learn." When I was starting out, I had no idea what was involved in running a business, including making a business plan, budgeting, handling daily operations, making strategic decisions or running a marketing campaign. With a mentor there from the start, I tapped into a wealth of knowledge that got me up to speed faster and shortened that learning curve.

2. Mentors can see where we need to improve where we often cannot. Movie maker George Lucas noted, "Mentors have a way of seeing more of our faults that we would like. It's the only way we grow." They will always be brutally honest with you and tell you exactly how it is rather than downplay any weaknesses they see in you.

This constructive criticism that my mentor offered helped me to see things in myself that I could not recognize. I appreciated that insight because I didn't want someone to pad my ego. (Well, I did want someone to pad my ego, but I had to decide that the business was more important.) Instead, I wanted to know exactly where I was lacking so I could improve those areas.

3. Mentors find ways to stimulate our personal and professional growth. Another famous movie director explained, "The delicate balance of mentoring someone is not creating them in your own image, but giving them the opportunity to create themselves." My mentor would often pose questions for me to think about and ask me to come back with answers later.

He would also set various goals for me and let me loose to see if I could accomplish them on my own, all the while watching from a distance to see how these projects helped me to develop. He then made a point to sit down and tell me what he'd observed about me through the project process, what he thought was worth keeping - and definitely what he would immediately throw out. He also focused on character and values, which nurtured my personal growth as well as my leadership abilities.

4. Mentors offer encouragement and help keep us going. Inspirational entrepreneur Oprah Winfrey stated, "A mentor is someone who allows you to see the hope inside yourself." They are there no matter what and offer moral support sprinkled heavily with cheerleading. There were times that, if there wasn't a mentor there for me, I could have easily, "caved-in," emotionally, or given up on the business. However, I had a mentor and each one I had wouldn't let me stop but provided the encouragement and guidance that gave me hope and confidence that I could do whatever was asked of me.

5. Mentors are disciplinarians that create necessary boundaries that we cannot set for ourselves. I experienced a lot of tough love from my mentor. He did this because he understood that being an entrepreneur can be challenging when it comes to self-motivation and self-discipline. He took on this role of parent to teach me good work habits and provided the boundaries for me to work within. This solidified my work ethic, sharpened my focus, (I really missed some important essentials), and clarified my priorities in a way that I could not do on my own.

6. Mentors are sounding boards so we can bounce ideas off them for an unfiltered opinion. When I started, I had numerous ideas for all types of business ventures and products. I relayed all of these to my mentor who then helped me see which ones had potential and why others were better left alone. I appreciated his candor because I might have otherwise pursued a business idea that had no legs.

7. Mentors are trusted advisers. In the world of business, it can be hard to know who to trust - and that you can trust someone, especially with proprietary information or intellectual property. Since he was an objective third-party with no stake in any idea or venture, he was happy to let me know what he thought. In return, I knew that he would keep everything I told him confidential rather than sell it to someone else or steal an idea from me.

8. Mentors can be connectors. Playing a dual role of teacher and connector, a mentor can provide access to those within your industry that are willing to invest in your company, offer their skills and expertise, introduce you to talent that can fuel your business and help you get closer to your target audience. My mentor willingly shared his network with me, taking me to events and making introductions that led to many opportunities I would not have otherwise had.

9. Mentors have the experiences you can learn from to prevent making the same mistakes beginners make. Starting a business is challenging enough, so if you can skip doing things the hard way, why wouldn't you? A mentor has been there, right where you are, and has made numerous mistakes that they can now use as a basis for helping others to skip the devastating effects of not knowing.

I am all about doing things smarter, so my mentor shared many stories about the mistakes he made along the way that became learning lessons for me minus the pain and lost resources that come from making those mistakes.

10. Mentors are free, which makes them priceless in more ways than one. Typically, a mentoring relationship will grow organically through connections within your industry and network. A mentor does not do it for the money. Instead, they are driven by the satisfaction of helping another entrepreneur, paying it forward from a similar experience they had when starting their own business.

I feel fortunate enough to have had this experience and am now in a position to return the favor to others that are just starting out. Not only is the price right, but your mentor is also providing priceless access to everything noted on this list and more.

Having a mentor is not a sign of weakness; it shows you are smart enough and are driven enough to succeed.

[Entire post — click on the title link to read it at Inc.com.]

***

You’re working on your goals, and your team’s goals. We can help you spring into action and develop a real plan that you can implement in a smart way, so you’ll start seeing results immediately, before you feel discouraged. If you feel that you’ve already gone off-track, we can help you get your focus, courage, and motivation back.

At Creative Sage™, we often coach and mentor individual clients, as well as work teams, in the areas of change management, building resilience, making personal, career or organizational transitions — including to retirement, or an “encore career” — and facilitating development of leadership, creativity and collaboration capabilities. We also work with clients on work/life balance, finding purpose and meaning, focus and productivity issues, and how to present themselves and their ideas more effectively in professional situations.

We guide and mentor executives, entrepreneurs, intrapreneurs, artists, and creative professionals of all generations, to help them more effectively implement transition processes, and to become more resilient in adjusting to rapid changes in the workplace — including learning effective coping techniques for handling failure, as well as success. We work with on-site and virtual teams.

Please do not hesitate to contact us if you would like to discuss your situation. You can also call us at 1-510-845-5510 in San Francisco / Silicon Valley. Let’s talk! An initial exploratory phone conversation is free. When you talk with me, I promise that I’ll always LISTEN to you with open ears, mind and heart, to help you clarify your own unique path to a higher vista of success.

~Cathryn Hrudicka, Founder, CEO and Chief Imagination Officer of Creative Sage™, Executive Coach, Consultant, and Mentor.

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#mentor #mentoring #coach #coaching #executivecoaching #entrepreneurcoaching #executivecoach #entrepreneurcoach #creativecoach

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chocolate-brownies · 6 years

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What are your hopes for the new school year? Maybe you want to get better at handling the day-to-day stresses of the job, or be more patient with yourself and your students. One teacher-friend I know says her hope for this year is to learn to “soften more and more into the inevitable chaos and messiness of life.” Can you relate?

The problem is, of course, that it isn’t so easy—this softening thing. Elena Aguilar knows this, which is why she wrote the new book Onward: Cultivating Emotional Resilience in Educators.

“Simply put, resilience is how we weather the storms in our lives and rebound after something difficult,” explains Aguilar. But resilience is more than this, she claims—it’s also “what enables us to thrive, not just survive.”

Last year may go down in history as one of pure “survival” for some of us, but why settle for managing or enduring when we have the potential to feel energized and joyful in our work? After all, it’s not ultimately about us—it’s about our students. They need us, with all of our faults and complexities, to walk into the classroom fully present and alive to them.

If thriving is your goal, Onward is worth reading. Although Aguilar acknowledges how our neurobiology can influence resilience, she reminds us that we can ultimately become much more emotionally resilient by simply changing our daily habits. Onward (with its accompanying workbook) serves as a practical, user-friendly resource for change—a daily guide for teachers’ personal growth and professional development.

Fostering new habits (and ways of being)

With 25 years in education under her belt and a decade as an instructional and leadership coach, Aguilar draws on research in mindfulness, neurobiology, positive psychology, change management, and systems thinking to package a coherent year-long program for developing resilience.

She explains that resilience is influenced by four factors: who you are (genetics, values, personality), what you do (habits), where you are (context), and how you are (emotions, dispositions).

Aguilar teaches you how to work on these factors with her 12 habits of emotionally resilient educators, which include things like building community, being here now, and taking care of yourself. You can choose to read about one habit every month or go straight to the topics that are most important to you, each of which is supplemented by a long list of daily activities and practices in the companion Onward Workbook.

On your journey, Aguilar believes that there are three foundational habits all educators should start with: knowing yourself (purposefulness), understanding emotions (acceptance), and telling empowering stories (optimism).

1. Know yourself. According to Aguilar, to become emotionally resilient, you must begin by exploring the key elements of self: your values, personality, aptitudes, and skills. Aguilar recommends two free online assessments for identifying some of your personality traits and character strengths. If, for example, you can identify one of your personal strengths (like kindness, curiosity, or perseverance) and creatively use your strength every day for a week, you may find yourself happier (and potentially more resilient).

To become emotionally resilient, you must begin by exploring the key elements of self: your values, personality, aptitudes, and skills.

“When you know yourself well, you gain clarity on your purpose in life and work,” says Aguilar. As you begin to understand and embrace your purpose, skills, and areas for growth, your sense of efficacy can increase—and in one research review, efficacy (or self-belief) was one of the personal resources most frequently linked to teacher resilience.

To help you get to know yourself better, Aguilar’s companion workbook includes activities like identifying your hopes, creating a values jar, and crafting a mission statement.

2. Understand your emotions. Once you have a better sense of “who you are,” it’s important to understand “how you are”—what sorts of emotions influence your daily life. By spending time observing your emotions, you can begin to understand how they function. For example, knowing that your fear reaction to an aggressive student (the tensing of your muscles, the increased heart rate, and the tightening in your throat) is both protective and temporary may help you let it go more easily and move toward a more thoughtful response to her anger. 

This form of self-awareness is one of the fundamental components of emotional intelligence as described by psychologist Daniel Goleman, and studies indicate that emotional intelligence facilitates resilience to stress and may even lead to less burnout. Although Aguilar doesn’t directly cite emotions studies—in fact, most of the research in her book is implicit rather than explicit—she seems to draw on the work of researchers like Paul Ekman and Dacher Keltner.

In her supplementary workbook, you can develop your emotional intelligence by examining your beliefs about your feelings, observing your emotions (see sidebar) and how they affect your body, and learning techniques for relaxation such as the body scan.

3. Tell empowering stories. Aguilar also encourages us to focus on the narratives we create to understand (or distort) our reactions to daily events. When we tell positive, empowering stories about our lives, we are likely to feel more optimistic and resilient as a result.

One study found that people who experience greater well-being tend to tell stories of change and growth about the obstacles they face. For example, if a new teacher reminds himself that he is a lifelong learner who is improving every day, rather than continually telling himself, “I’m just not a good teacher,” he’s more likely to hang in there and keep trying rather than burn out early in his career.

Aguilar draws on work in the field of cognitive behavioral therapy to help you interrupt your interpretations of events, identify common patterns of distorted thinking, and learn how to shift your thinking and core beliefs. When a challenging event happens, our interpretations are often dramatized and exaggerated, but we can shift our thinking by asking ourselves simple questions about the beliefs underlying our thoughts (see sidebar).

The Onward Workbook also features activities for increasing gratitude, fostering optimism, and reflecting more broadly on your life story.

Cultivating resilience to transform schools

Apart from the concrete tips and activities featured, Onward doesn’t shy away from bigger-picture questions about how our context can influence our emotional resilience, which is one of the things I appreciate most about it.

Aguilar does this by prompting us to examine our “sociopolitical identities” and how they function in schools. In other words, which aspects of your identity are most relevant to you and your work—and which are you most aware of every day (e.g., ability, age, education, marital status, language, race, religion, socioeconomic status)?

For example, as a bilingual Latina (woman) who teaches American History, how do you relate to all of the students in your class who are immigrants and refugees? If you are a white woman serving as a principal at an ethnically diverse elementary school, how do you view your position of leadership? Are you aware of your power? Where do you feel powerful and where do you sometimes feel powerless?

“In order to create the just and equitable society that I know so many of us yearn for, we need tremendous reserves of resilience. We must change the macro conditions in which we live and work, and to do that, we’ll need all the physical and emotional resources we can muster,” writes Aguilar. “If we foster our individual resilience first, then we may have the courage to address the more complex organizational and systemic conditions we face in schools.”

So grab a group of colleagues and map out a plan (formal or informal) for sharing this resource. It was designed for teachers, school staff, coaches, and site administrators—“any group that operates in or with our educational system.” For further motivation, pick up the workbook; hop on the Onward website for meditations, handouts, blog posts, and videos; or even join the Facebook page to engage in discussions with the larger educational community. Let’s all work together to create spaces where we not only survive but also thrive this year.

This article was adapted from Greater Good, the online magazine of UC Berkeley’s Greater Good Science Center, one of Mindful’s partners. View the original article.

The post How Educators Can Become More Resilient This School Year appeared first on Mindful.

#sleep sounds #sleep music #white noise app #nature sounds #relaxing sounds #rain sounds for sleeping

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theyoungcurmudgeon56 · 6 years

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The Coming Crash: Who will pay for College?

Ivory Tower, a documentary directed and written by Andrew Rossi, argues that American higher education is facing a set of potentially fatal financial crises. The film interviews experts like professors, businessmen, scholars, etc. who have adversarial viewpoints as to the causes of the maladies plaguing American universities. The purpose of the film is to cement in the viewers’ mind the notion that the future of universities is at best uncertain, but also to give the viewers conflicting narratives about factors that have brought about this situation. The film appears to address all those people who think college is a good investment--students, parents, donors, politicians--in order to alert them to the bleak future of higher education.

Buckle Up: Higher Education is Collapsing

Ivory Tower tells two different stories about why American higher education is crumbling, but leaves no doubt that it is indeed crumbling. Before watching the documentary, I was skeptical of the idea that college is a net good for either the individual or America. After watching the documentary, my belief that the purpose of college is misunderstood and its value overrated has been emboldened, and my concern for all the young people who think college is good for them has increased.

It’s all economics

A brief scene in the documentary implies that, since the increase in tuition costs for universities were allegedly precipitated by Reagan era cuts to state funding, we need to increase said funding to lower the financial burden on parents and students. Jeff Selingo, editor-at-large at the Chronicle of Higher Education, is presented as a proponent of this view.

Screenshot: As state-funding goes down, tuition goes up.

Sinister music is used to cast President Reagan and his economic advisory board, which included Nobel prize winning economist Milton Friedman, in a suspicious light. That notwithstanding, Milton Friedman’s words ring true: “The word ‘free’ is one of the most misused words.”

I agree that colleges compensate for cuts in state-funding by increasing tuition, even though it is hard to establish a causation. But that raises the question: who pays for the state funding of public education? I assume a lot of these parents are also taxpayers. (Also, it is simply assumed that students should not have to bear the burden of having to afford their own education. Why should we take this for granted?)

A narrator in the film paraphrases Ronald Reagan as having said that states should not subsidize intellectual curiosity. There are few things that terrorize me more than the idea of a society indifferent to intellectual pursuits. But I do think that those who are fortunate enough to make a living with their minds should not take it for granted that the rest of the people in society--the taxpayers--should want to pay for their curiosity.

(One should also not forget, as Jeff Selingo reminds us, that a huge chunk of tuition revenue is used to fund the administration.)

Screenshot: The size of the college administration has blown up compared to that of the faculty.

Damn capitalism

Some people in the film scoffed at the so-called “marketization” of the education system. As Anthony Carnevale, Center of Education and the Workforce, Georgetown University, says, colleges compete against each other for prestige in the form of rankings, and in order to boost their rankings, they invest in luxurious non-educational amenities (like recreation centers).

To be sure, I personally dislike this fact as much as the next person, and I hate that colleges have become “mini cities”, as one person in the film put it, when their one and only purpose should be to bestow knowledge on those who seek it. But, as the economist who was asked how his wife is doing said, “Compared to what?” Compared to what is this “marketized” system of education so bad? And will colleges behave in a better or worse manner when they start competing for state funding instead of rankings?

Screenshot: Climbing toward the truth.

The film briefly shows part of a speech by Sen. Elizabeth Warren, who says that “the government will make over $180 billion in profit over the next ten years. All those profits will be made off of the backs of our kids who are just trying to get an education.” This is a rhetorical gem, especially suited to enrapture the people predisposed to being enraptured by Elizabeth Warren. But if you think for a moment, is it really wrong for you to ask back the money someone else owes you? It’s important to remember that the students who took on heavy debts chose to do so of their own free will. Implicit in that choice was the promise that they would pay the money back.

Learning or partying?

An enjoyable scene in the documentary takes place at Deep Springs College in California. An all-men two-year college, it is located in a ranch, ascetically secluded form the ordinary world. Its mission is to train students to be of “service to humanity” on three main issues: self-governance, academics, and labor. Students spend half their time in class, and the other half either working in the ranch or serving the community in some other manner. I am skeptical that this degree of stoicism is necessary to foster good characters in a young individual, but it is heartening to see that some among us are willing and daring to take up the responsibility to do so.

On the flip side of Deep Springs is Arizona State University, apparently ranked very high on Playboy’s list of “Party Schools”(which apparently exists). A senior at ASU at the time of filming says: “The average ASU student comes to get drunk out of their minds.” I am not in the least bit shocked that students would behave in this fashion. But why are the adults complicit in this? Richard Arum, co-author of Academically Adrift, says that the institutions themselves have paved a “party pathway” through the universities where people spend hundreds of thousands of dollars for what can only be described as a four-year-long spasm of hedonism.

Hear the coming crash

The first twenty minutes or so of the film lays out the case for the doom-and-gloom side of the higher education debate (my team). The crude caricature of the case would go something like this: “Tuition and student debt are sky-rocketing. Students are not learning much in college. Much of the college experience isn’t even about academic learning. Ergo, college is bad.”

Screenshot: Since 1978, the cost of college has increased more than any other good or service in the United States.

Screenshot: The daunting student loan crisis.

The film’s portrayal of the case, however, is not crude. They interview people who have spent time pondering these issues, like Richard Arum, mentioned above, and Anya Kamenetz , lead education blogger at NPR and author of the book DIY U: Edupunks, Edupreneurs, and the Coming Transformation of Higher Education.

I think they argue sharply for the salience of the potential catastrophes facing higher-education, but I did notice that they don’t talk a lot about how to avoid them. I think part of the reason for this is that they simply don’t claim to have the answers. Peter Thiel, co-founder of PayPal, for instance, says he doesn’t have a good answer for what people who are “from average backgrounds, less advantaged backgrounds,” as opposed to those high-achieving individuals for whom college is gratuitous, should do to avoid the pitfalls of university. Given that, on average, there is a significant financial premium to a Bachelor’s degree relative to a high school degree, one shouldn’t sweepingly dismiss the benefits of a college diploma.

Screenshot: On average, those with a Bachelor’s degree earn twice as much over a lifetime than those with a high school degree.

(There are some in the film who argue that online learning is going to revolutionize the education industry, but little evidence is provided for this bold claim.)

The meaning of higher education

Andrew DeBlanco, professor of humanities at Columbia University, says that “the very concept of the institution of higher learning is about to be broken.” The original purpose of college, going back to colonial America, included the idea that “students could be transformed to live lives of meaning and purpose.” Now, they can be transformed potentially to lead lives of unpaid debt.

A background voice in the film asserts that “nearly half of all students are showing no significant gains in learning.” One can argue about the degree to which this claim is true, but the essence of it is pretty obvious. According to Richard Arum, “36% of full time college students in our study said they studied less than 5 hours a week. Half the students said they didn’t have a single class where they wrote more than 20 pages.” With these figures in mind, one cannot help but agree with Peter Thiel when he says that “college has been sold and oversold as the key to a better future.”

Source: Bureau of Labor Statistics

An early scene in the film takes us to Harvard, where for a brief moment we see the inscription “Enter to grow in wisdom.” Clayton M. Christensen, professor at Harvard Business School, argues that the American education system, historically speaking, grew out of Harvard. Can anyone seriously observing the state of American colleges and universities dare argue that this motto is being upheld? Were the students at Arizona State University who were “just having fun” at the pool party living up to this motto? Is the recreation center at Auburn University, with a price tag of $72 million, there to facilitate the growth toward wisdom? If the dire predictions made in this film are true, perhaps the motto for American higher education should be “Enter to be saddled in debt.”

#college education

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