2
10
40
-
https://humanities.gbcnv.edu/omeka/files/original/98463459ba4d538dda4581cdca9e561e.jpg
b1f0cea7ebffdd851cecc7dfc32c324c
Dublin Core
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Title
A name given to the resource
Jay and Frankie Bilbao
Subject
The topic of the resource
Frances "Frankie" Bilbao and her son Jay Bilbao during an oral history interview with Dr. Gretchen Skivington on 25 September 2015.
Description
An account of the resource
Frances "Frankie" Bilbao (right) and her son Jay Bilbao (left) during an oral history interview with Dr. Gretchen Skivington on 25 September 2015.
Creator
An entity primarily responsible for making the resource
Scott A. Gavorsky
Source
A related resource from which the described resource is derived
http://humanities.gbcnv.edu/omeka/items/show/131
Publisher
An entity responsible for making the resource available
Great Basin College Virtual Humanities Center
Date
A point or period of time associated with an event in the lifecycle of the resource
25 September 2015
Format
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.jpeg; 200 px x 200 px; 96 dpi
https://humanities.gbcnv.edu/omeka/files/original/5a25d211777c5787233aa940a9c6ef9f.pdf
d1afcee0e4c29d44ad5aceba3181ed2e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Oral History Interview Summary - Jay and Frankie Bilbao (25 September 2015)
Subject
The topic of the resource
Summary sheet from interview with Jay and Frankie Bilbao, interviewed by Dr. Gretchen Skivington on 25 September 2015.
Description
An account of the resource
<p>Summary sheet from interview with Jay and Frankie Bilbao, interviewed by Dr. Gretchen Skivington on 25 September 2015.</p>
<p>The summary includes the details of the interview, a summary of the topics discussed, related keywords, and people mentioned in the interview.</p>
Creator
An entity primarily responsible for making the resource
Gretchen Skivington
Source
A related resource from which the described resource is derived
Frankie and Jay Bilbao Oral History Interview<br />[<a title="Frankie and Jay Bilbao Oral History" href="/omeka/items/show/131" target="_blank" rel="noopener">http://humanities.gbcnv.edu/omeka/items/show/131</a>]
Publisher
An entity responsible for making the resource available
GBC Virtual Humanities Center.
Date
A point or period of time associated with an event in the lifecycle of the resource
25 September 2015
Rights
Information about rights held in and over the resource
All rights reserved. Use of any content only by express permission of Great Basin College © 2015-2016
Format
The file format, physical medium, or dimensions of the resource
.pdf file; 1 page
Language
A language of the resource
English
PDF Text
Text
INTERVIEWEE: Jay & Frankie Bilbao Interviewer: Gretchen Skivington Location: Elko, NV Date of interview: 09.25.15 Audio & Video: 1 Length: 1 :08 Language: English (very little Basque) Summary and index: Gretchen Skivington 1. SUMMARY Tom Bilbao, son of Basque immigrants Vicente & Paula Bilbao was born at Jack Creek, NV in 1925. His wife Frances "Frankie" Vicondoa Bilbao and son Jay Bilbao talk about prospecting & mining in northern Elko County and their "Aita", father Tom who was one of the discoverers of different veins along the famous Carlin Trend. Frankie Bilbao talks about her parents Fermin & Madilyn Vicondoa Basque immigrants to Susanville, CA and her move in 1947 to Elko, NV and subsequent marriage to Tom Bilbao. She discusses what it meant to be Basque-American and to be raised in an "Old Country" household. Jay Bilbao, Tom's son discusses how and where his Dad staked claims and mined independently, his interactions with the big mining companies, contracts and working for and with his Dad. Both interviewees speak of Old Country & New World values and what kind of man Tom Bilbao was and how his legacy lives on. II. Key words: : Basques, Basque sheepherding, Jack Creek/Gold Creek/Tuscarora/Mountain City/Elko, Jerritt Canyon, mining in the north country, Carlin Trend, early prospecting 1940s2000, mining companies, process of claim staking/mine maintenance, trapping, Old Country vs. New World Values, Stockmen's Hotel, Elko, Basque culture in Elko III: Names of People mentioned in/from Jack Creek/Gold Creek/Tuscarora/Elko, NV: Vicente & Paula Bilbao, Tom & David Bilbao Dan Bilbao, Jay & Mike Bilbao; Filbert Echevarria, Willis Packer, Walt Whittaker, Lew Eklund.
Dublin Core
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Title
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Memoria Bizia: The Basque Diaspora Living Heritage Project
Subject
The topic of the resource
The Elko and Northeastern Nevada contribution to the international Basque Diaspora Living Heritage Project.
Description
An account of the resource
<p>Memoria Bizia is a long-term international project to collect the oral histories of the Basque history of emigration and exile, focusing on both the emigrants and their descendants in the United States and Canada.</p>
<p>Download Memoria Bizia Information Sheet [pdf file]</p>
<p>Memoria Bizia is a project directed by Dr. Pedro J. Oiarzabal and funded by the North American Basque Organizations, the Basque Government, the Etxepare Basque Institute, and the University of Deustro. In collaboration with the Center for Basque Studies at the University of Nevada, Reno, and the University of Nevada, Reno Libraries.</p>
Creator
An entity primarily responsible for making the resource
Gretchen Skivington [GBC]; Anita Franzoia [Elko Basque Community]
Source
A related resource from which the described resource is derived
Memoria Bizia: The Basque Diaspora Living Heritage Project
Publisher
An entity responsible for making the resource available
GBC Virtual Humanities Center
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-2016
Contributor
An entity responsible for making contributions to the resource
Scott A. Gavorsky [VHC]
Format
The file format, physical medium, or dimensions of the resource
Oral Histories and Associated Documents
Language
A language of the resource
English; Basque
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
Interviewer
The person(s) performing the interview
Dr. Gretchen Skivington
Interviewee
The person(s) being interviewed
Frankie Bilbao; Jay Bilbao
Location
The location of the interview
Bilbao residence, Elko, NV
Transcription
Any written text transcribed from a sound
Transcription pending
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
DVD
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
1:11:22
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Frankie and Jay Bilbao: Oral History Interview
Subject
The topic of the resource
Oral history interview with Elko Basque residents Frankie and Jay Bilbao, conducted 25 September 2015 by Dr. Gretchen Skivington.
Description
An account of the resource
<p>Tom Bilbao, son of Basque immigrants Vicente & Paula Bilbao was born at Jack Creek, NV in 1925. His wife Frances "Frankie" Vicondoa Bilbao and son Jay Bilbao talk about prospecting & mining in northern Elko County and their "Aita", father Tom who was one of the discoverers of different veins along the famous Carlin Trend. Frankie Bilbao talks about her parents Fermin & Madilyn Vicondoa Basque immigrants to Susanville, CA and her move in 1947 to Elko, NV and subsequent marriage to Tom Bilbao. She discusses what it meant to be Basque-American and to be raised in an "Old Country" household.<br />Jay Bilbao, Tom's son discusses how and where his Dad staked claims and mined independently, his interactions with the big mining companies, contracts and working for and with his Dad. Both interviewees speak of Old Country & New World values and what kind of man Tom Bilbao was and how his legacy lives on.</p>
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<p><a title="Discussions for Critical Thinking Video" href="http://kaltura.tmcc.edu/index.php/kmc/preview/partner_id/109/uiconf_id/11170182/entry_id/0_qmuris4b/delivery/http" target="_blank;">Click here for direct access to video (if embed above is not functioning).</a></p>
<p>Interview conducted on 25 September 2015 by Dr. Gretchen Skivington.</p>
Creator
An entity primarily responsible for making the resource
Gretchen Skivington
Publisher
An entity responsible for making the resource available
Virtual Humanities Center at Great Basin College
Date
A point or period of time associated with an event in the lifecycle of the resource
25 September 2015
Contributor
An entity responsible for making contributions to the resource
Scott A. Gavorsky [VHC]
Rights
Information about rights held in and over the resource
Memorial Bizia Oral History Consent Form on File:
http://humanities.gbcnv.edu/omeka/items/show/XXX [administrator access only]
Relation
A related resource
<p style="font-size: 14px;">Howard Hickson's Histories - articles</p>
<ul>
<li><a title="Rio Tinto Stock story" href="http://www.gbcnv.edu/hickson/RioTinto.html" target="_blank" rel="noopener">Rio Tinto Stock: Some People Papered Their Bathroom Walls With Them (1920-1847)</a></li>
<li><a title="How a Gold Rush Begins story" href="http://www.gbcnv.edu/hickson/JarbidgeRush.html" target="_blank" rel="noopener">How a Gold Rush Begins: Jarbidge, Nevada - 1909</a></li>
</ul>
Format
The file format, physical medium, or dimensions of the resource
streaming video [.mp4 file]
Language
A language of the resource
English; little Basque
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Basques, Basque sheepherding, Jack Creek/Gold Creek/Tuscarora/Mountain City/Elko, Jerritt Canyon, mining in the north country, Carlin Trend, early prospecting 1940s- 2000, mining companies, process of claim staking/mine maintenance, trapping, Old Country vs. New World Values, Stockmen's Hotel, Elko, Basque culture in Elko
Source
A related resource from which the described resource is derived
Original Oral History Interview
Basques
Community
Crossroads
Elko
Faculty
Memoria Bizia
Story
-
Dublin Core
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Title
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Toolkit - Discussions
Subject
The topic of the resource
Items related to the use of discussions as a pedagogical tool.
Description
An account of the resource
This collections features various items related to the use of discussions in live and online classrooms as a pedagogical tool.
Many of these items were taken from the VHC In-Service Workshop on "Discussions for Critical Thinking" on 21 January 2016.
Creator
An entity primarily responsible for making the resource
Scott A. Gavorsky
Publisher
An entity responsible for making the resource available
GBC Virtual Humanities Center
Date
A point or period of time associated with an event in the lifecycle of the resource
January 2016
Contributor
An entity responsible for making contributions to the resource
Kathy Schwandt; Joshua Webster;
Rights
Information about rights held in and over the resource
All rights reserved. Use of any content only by express permission of Great Basin College © 2016.
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Discussions for Critical Thinking" - Spring 2016 Faculty In-Service
Subject
The topic of the resource
Spring 2016 Faculty In-Service on using discussions to promote critical thinking skills, particularly for online classes.
Description
An account of the resource
<p>On 21 January 2016, the VHC hosted a faculty in-service on strategies to use discussions to promote critical thinking, particularly in online classes. The workshop was presented by GBC faculty members Scott A. Gavorsky, Kathy Schwandt, and Joshua Webster.</p>
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</p>
<p><a title="Discussions for Critical Thinking Video" href="http://www.kaltura.com/tiny/9ebi6" target="_blank;">Click here for direct access to video (if embed above is not functioning).</a></p>
Creator
An entity primarily responsible for making the resource
GBC Virtual Humanities Center
Source
A related resource from which the described resource is derived
<a title="Humanities Toolkit exhibit on Discussions" href="/omeka/exhibits/show/humanities-toolkit/discussions" target="_blank" rel="noopener">Humanities Toolkit - Discussions</a>
Publisher
An entity responsible for making the resource available
GBC Virtual Humanities Center
Date
A point or period of time associated with an event in the lifecycle of the resource
21 January 2016
Contributor
An entity responsible for making contributions to the resource
Scott A. Gavorsky, Kathy Schwandt, Joshua Webster [VHC presenters]; Brenda Wilkie [GBC IAV facilitator]
Rights
Information about rights held in and over the resource
All rights reserved. Use of any content only by express permission of Great Basin College © 2015-2016
Format
The file format, physical medium, or dimensions of the resource
streaming video [mp4]
Language
A language of the resource
English
Critical Thinking
Design
Design 2015-2017
Discussions
Faculty
In-Service
rubric
Toolkit
-
https://humanities.gbcnv.edu/omeka/files/original/a5b61644e580beb37ac7a1023c356359.pdf
bfe745366d5082bd5b3751bf130a3ac3
PDF Text
Text
DISCUSSIONS POSTING RUBRIC (for History Survey Course)
Ratings
Criteria
Initial post responds Initial post responds Initial post responds Initial post answers
to all discussion
to all discussion
prompts and
to two of the
Initial post fails to
Post fails to engage with the
two of the discussion answer two of the
prompts, but fails to
prompts, answering
assigned readings.
supports arguments
one is unsupported
and supports them
support them with
only a single prompt
with specific
with evidence from
with evidence from
evidence from the
supported with
evidence drawn from the readings.
the readings, but
readings.
evidence from the
the readings.
ignores one of the
No post submitted.
specific discussion prompts or the
prompts, but at least discussion prompts
Pts
0 pts
INITIAL POST
300 words
(due by Thursdays at
11:59 pm)
1 pt
5 pts
6
readings.
3 pts
prompts.
6 pts
2 pts
4 pts
CITATIONS
(applies to both Initial
Post and Responses)
SPELLING /
GRAMMAR
(applies to both Initial
Post and Responses)
All evidence used in the initial post and the responses is properly Significant number of citations missing or incomplete.
No citations included
cited, including both source and page number.
with postings.
1 pt
2 pts
0 pts
A few minor grammatical and spelling errors that do not harm the Frequent or recurring grammatical or spelling errors.
Errors to the extent
meaning of the posts.
2
that understanding
1 pt
the post is difficult.
2 pts
2
0 pts
At least two responses which both engage Two responses, but
Two responses, but
Only one response
Only one response included,
No responses to
with the initial poster's responses in a
at least one fails to
neither response
included, which
which does not engage with the
colleagues' posts
substantial manner and are supported by
engage with the
engages with the
engages with the
initial poster's responses in
included.
RESPONSES
evidence from the readings.
initial poster's
initial poster in
initial poster's
substantive manner supported
150 words EACH
(two required by
Sundays at 11:59 pm)
responses with
substantive manner
responses in a
from the readings.
5 pts
support from the
supported from the
substantial manner
0 pts
5
1 pt
readings.
readings.
4 pts
and are supported by
3 pts
evidence from the
readings.
2 pts
Total Possible Points
15
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Toolkit - Rubrics
Subject
The topic of the resource
Collections of rubrics and related material contributed by GBC Faculty
Description
An account of the resource
Collections of rubrics and related material contributed by GBC Faculty
Creator
An entity primarily responsible for making the resource
GBC Faculty
Publisher
An entity responsible for making the resource available
GBC VHC
Contributor
An entity responsible for making contributions to the resource
Scott A. Gavorsky
Document
Documents such as transcripts, pdf files, legal documents, letters, etc.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Discussions Posting Rubric for a History Survey Course
Subject
The topic of the resource
A grading rubric for discussion posts used for History survey courses.
Description
An account of the resource
This grading rubric for discussion posts was developed for History survey courses, although it is generic enough to be used for any types of courses. The rubric is set up based on a three-prompt discussion model, with an initial post and two required responses.
Creator
An entity primarily responsible for making the resource
Scott A. Gavorsky
Source
A related resource from which the described resource is derived
Discussion Requirements for History Survey Courses [<a title="Discussion Requirements for History Survey Course" href="/omeka/exhibits/show/humanities-toolkit/item/124" target="_blank" rel="noopener">http://humanities.gbcnv.edu/omeka/exhibits/show/humanities-toolkit/item/124</a>]
Publisher
An entity responsible for making the resource available
GBC Virtual Humanities Center
Date
A point or period of time associated with an event in the lifecycle of the resource
21 January 2016
Rights
Information about rights held in and over the resource
All rights reserved. Use of any content only by express permission of Great Basin College © 2016
Relation
A related resource
<a title="Humanities Toolkit - Discussions" href="/omeka/exhibits/show/humanities-toolkit/discussions" target="_blank" rel="noopener">Humanities Toolkit / Discussions</a>
Format
The file format, physical medium, or dimensions of the resource
pdf; 1 page
Language
A language of the resource
English
Design
Design 2015-2017
Discussions
Faculty
In-Service
rubric
Toolkit
-
https://humanities.gbcnv.edu/omeka/files/original/0ae5e93257b596567e75b837d09936c8.pdf
7d77bf9a2b779fc2489b6ac343250674
PDF Text
Text
����
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Toolkit - Discussions
Subject
The topic of the resource
Items related to the use of discussions as a pedagogical tool.
Description
An account of the resource
This collections features various items related to the use of discussions in live and online classrooms as a pedagogical tool.
Many of these items were taken from the VHC In-Service Workshop on "Discussions for Critical Thinking" on 21 January 2016.
Creator
An entity primarily responsible for making the resource
Scott A. Gavorsky
Publisher
An entity responsible for making the resource available
GBC Virtual Humanities Center
Date
A point or period of time associated with an event in the lifecycle of the resource
January 2016
Contributor
An entity responsible for making contributions to the resource
Kathy Schwandt; Joshua Webster;
Rights
Information about rights held in and over the resource
All rights reserved. Use of any content only by express permission of Great Basin College © 2016.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Text
Any textual data included in the document
<p><span style="font-size: medium;"><strong>These requirements should be followed in the graded discussions unless specifically noted otherwise in the discussion post.</strong></span></p>
<p><span style="font-size: medium;">At the collegiate level, history courses are far more concerned with the whys of history. Facts such as dates, institutions, and persons are important, but they are only part of understanding history. Understanding why historical events and processes occurred the way they did and the connections between them is a far more complex and far more difficult skill. Discussion with colleagues to argue the importance of various pieces of evidence is the best way to arrive at this understanding.<br /><br /></span></p>
<p><span style="font-size: medium;"><strong><span style="text-decoration: underline;">INITIAL POSTING</span><br /></strong>The Initial posting is due by Thursday evening of the assigned week. It should be 300 words and engage with the historical issues raised in the discussion prompts. The purpose is to analyze the week's readings (both the textbook and any additional primary sources) and discuss the major ideas presented. To achieve this, you should be prepared to answer the discussion prompts AND explain and support your arguments with direct evidence drawn from the readings.</span></p>
<p><span style="font-size: medium;">Note that you will not be able to view any other postings until you submit your initial discussion post.<br /><br /></span></p>
<p><span style="font-size: medium;"><strong><span style="text-decoration: underline;"><strong>SUPPORTING ARGUMENTS IN POSTS USING SOURCES</strong></span></strong></span></p>
<p><span style="font-size: 12pt;">For the initial post and the responses, the point is not merely to "answer the question," but also to explain the basis for this answer based on evidence from source material. Sources are divided into three broad groups, based on their origin:<br /></span></p>
<p style="padding-left: 30px;"><span style="font-size: 12pt;"><span style="color: #008000;"><strong>PRIMARY SOURCES</strong> <strong>=</strong> <strong>Evidence</strong></span> = Documents <span style="text-decoration: underline;">composed</span> in the time period being studied, providing the perspective of the people living at the time. These are the most powerful basis of arguments, since they represent what historical actors saw and why they say they pursued certain actions. Most of the discussions will revolve around the analysis of primary sources.</span></p>
<p style="padding-left: 30px;"><span style="font-size: 12pt;"><span style="color: #3366ff;"><strong>SECONDARY SOURCES = Interpretation</strong></span> = Scholarly articles (peer-reviewed) or books based on analyzing primary sources. These are modern scholars discussing the events of the past.</span></p>
<p style="padding-left: 90px;"><span style="font-size: 12pt;"><strong>Scholarly (Peer-Reviewed) Sources:</strong> <span style="color: #3366ff;">Secondary</span> (and some <span style="color: #800000;">tertiary</span>) sources which have been submitted prior to publication to reviewers working in the same field of study who provide feedback to the author and insure the source meets evidentiary and methodological standards. Scholarly sources exclusively should be used at the collegiate level.</span></p>
<p style="padding-left: 30px;"><span style="font-size: 12pt;"><span style="color: #800000;"><strong>TERTIARY SOURCES = Summaries</strong></span> = Textbooks, encyclopedias, Wikipedia, etc. Although some tertiary sources such as course textbooks are useful for basic information, most tertiary sources--especially encyclopedia sites such as Wikipieda, SparkNotes, and Ask.com--should be avoided in collegiate-level writing.</span></p>
<p style="padding-left: 90px;"><span style="font-size: 12pt;"><strong>Popular Sources:</strong> Most websites such as PBS, NPR, or History.com are tertiary sources aimed at a popular audience, and are not scholarly in orientation. They should be avoided in collegiate-level work. Instead, seek out out peer-reviewed items from the <a id="" class="" title="" href="http://www.gbcnv.edu/library/" target="">GBC Library's journal databases</a>. If you have any doubts, just ask in an e-mail.</span></p>
<p><span style="font-size: 12pt;">While you are welcome to use outside sources, the purpose of the discussions are to engage with the assigned readings, especially the <span style="color: #008000;"><strong>primary sources</strong></span> and the textbook. Outside sources should be rarely used (if at all), and, of course, always cited, as described below.<br /><br /></span></p>
<p><span style="text-decoration: underline; font-size: medium;"><strong>CITATIONS</strong></span><br /><span style="font-size: medium;">Since supporting information is being used, citations will be required (even for information taken from the textbook). Citations are required anytime that information is used from a source, regardless of how that information is used. Direct quotes and statistics should always be cited, as should paraphrases and summaries. There is no minimum or maximum number of citations required; the number is based on what evidence you are using in your argument.</span></p>
<p><span style="font-size: medium;">Given the limitations of the WebCampus system, citations can be given in a modified MLA parenthetical format, giving the source (usually identified by the author's last name) and a page or other reference number. Citations should follow the specific datum being cited.</span></p>
<ul>
<li><span style="font-size: medium;"><strong>EXAMPLE 1: Summary of Specific Information taken from a Source</strong></span><br /><span style="font-size: medium;">The average ancient Egyptian lived in a small family group, indicated by the small size of typical Egyptian houses (McKay, et al., 26). <br /><br /></span></li>
<li><span style="font-size: medium;"><strong>EXAMPLE 2: Direct Quotation from a Source</strong></span><br /><span style="font-size: medium;">Hammurabi's Code provides for capital punishment if a builder kills someone because "his work is not strong" (Hammurabi, 16). <br /><br /></span></li>
<li><strong><span style="font-size: medium;">EXAMPLE 3: General Knowledge not Needing Citation</span></strong><br /><span style="font-size: medium;">Mesopotamia is the land between the Tigris and the Euphrates rivers.</span></li>
</ul>
<p><span style="font-size: medium;">The practices of proper citations are discussed more fully in the video for the Academic Integrity Quiz, available when Discussion # 2 is available.</span></p>
<p> </p>
<p><span style="font-size: medium;"><strong><span style="text-decoration: underline;">RESPONSE POSTINGS</span><br /></strong>At least two responses to colleagues' posts </span><span style="font-size: medium;">are due</span><span style="font-size: medium;"> </span><span style="font-size: medium;">by Sunday evening. These posts should be at least 150 words and engage with the historical arguments advanced by the original poster. </span><span style="font-size: medium;">As with the initial posts, evidence should be used to support your position.</span></p>
<p><span style="font-size: medium;">Responses such as "Good job" are certainly welcome, but not sufficient. Also note that the goal is NOT to critique colleagues' writing styles, citations, or grammar, but to engage with the ideas and the historical content being argued.</span></p>
<p><span style="font-size: medium;">Students should also feel free to post questions about the course readings in the discussion posts. As noted below, I will be in and out of discussions over the week, and will answer the questions as I come across them.</span></p>
<p> </p>
<p><span style="font-size: medium;"><strong><span style="text-decoration: underline;">DISCUSSION ETIQUETTE</span><br /></strong>The general policy outlined in the Course Syllabus applies to all course discussions. We will likely disagree on our interpretations of the readings, but those disagreements should be handled through debate supported by evidence, not direct attacks. </span></p>
<p><span style="font-size: medium;">Serious or repeated violations will subject the student to removal from the course.</span></p>
<p> </p>
<p><span style="font-size: medium;"><span style="text-decoration: underline;"><strong>SUMMARY POSTING</strong></span><br />I will be in and out of the discussions each week, primarily to spark further discussion and keep an eye out for any problems. At the end of each week's discussion, I will post a summary of my views on the discussion prompts. Note these posts are not necessarily the answers, but part of the ongoing conversations.</span></p>
<p> </p>
<p><span style="font-size: medium;"><span style="text-decoration: underline;"><strong>GRADING RUBRIC</strong></span><br />As with all work in the course, grading is based on content, grammar, and style simultaneously. The Discussion Posting Rubric is given below, and can be viewed with each weekly Discussion prompt.</span></p>
<table style="width: 100%;" border="1" cellpadding="2">
<tbody>
<tr>
<td style="text-align: center;" colspan="9"><span style="font-size: medium;"><strong>DISCUSSIONS POSTING RUBRIC</strong></span></td>
</tr>
<tr>
<td style="text-align: center;"><span style="text-decoration: underline;"><strong><span style="font-size: medium;">Criteria</span></strong></span></td>
<td style="text-align: center;" colspan="7"><span style="text-decoration: underline;"><strong><span style="font-size: medium;">Ratings</span></strong></span></td>
<td style="text-align: center;"><span style="text-decoration: underline;"><strong><span style="font-size: medium;">Pts</span></strong></span></td>
</tr>
<tr>
<td width="25%">
<p><strong><span style="font-size: medium;">INITIAL POST</span></strong><br />300 words<br />(due by Thursdays at 11:59 pm)</p>
</td>
<td style="vertical-align: top;" width="10%">
<p>Initial post responds to all discussion prompts and supports arguments with specific evidence drawn from the readings.</p>
<p>6 pts</p>
</td>
<td style="vertical-align: top;" width="10%">
<p>Initial post responds to all discussion prompts, but at least one is unsupported with evidence from the readings.</p>
<p>5 pts</p>
</td>
<td style="vertical-align: top;" width="10%">
<p>Initial post responds to two of the discussion prompts and supports them with evidence from the readings, but ignores one of the prompts.</p>
<p>4 pts</p>
</td>
<td style="vertical-align: top;" width="10%">
<p>Initial post answers two of the discussion prompts, but fails to support them with evidence from the readings<span>.</span></p>
<p>3 pts</p>
</td>
<td style="vertical-align: top;" width="10%">
<p>Initial post fails to answer two of the prompts, answering only a single prompt supported with evidence from the readings.</p>
<p>2 pts</p>
</td>
<td style="vertical-align: top;" width="10%">
<p><span>Post fails to engage with the specific discussion prompts or the assigned readings.</span></p>
<p>1 pt</p>
</td>
<td style="vertical-align: top;" width="10%">
<p>No post submitted.</p>
<p>0 pts</p>
</td>
<td style="text-align: center;" width="5%"><span style="font-size: medium;">6</span></td>
</tr>
<tr>
<td><span style="font-size: medium;"><strong>CITATIONS</strong></span><br />(applies to both Initial Post and Responses)</td>
<td style="vertical-align: top;" colspan="3">
<p>All evidence used in the initial post and the responses is properly cited, including both source and page number.</p>
<p>2 pts</p>
</td>
<td style="vertical-align: top;" colspan="3">
<p>Significant number of citations missing or incomplete.</p>
<p>1 pt</p>
</td>
<td style="vertical-align: top;">
<p>No citations included with postings.</p>
<p>0 pts</p>
</td>
<td>
<p style="text-align: center;"><span style="font-size: medium;">2</span></p>
</td>
</tr>
<tr>
<td>
<p><span style="font-size: medium;"><strong>SPELLING / GRAMMAR</strong></span><br />(applies to both Initial Post and Responses)</p>
</td>
<td style="vertical-align: top;" colspan="3">
<p>A few minor grammatical and spelling errors that do not harm the meaning of the posts.</p>
<p>2 pts</p>
</td>
<td style="vertical-align: top;" colspan="3">
<p>Frequent or recurring grammatical or spelling errors.</p>
<p>1 pt</p>
</td>
<td style="vertical-align: top;">
<p>Errors to the extent that understanding the post is difficult.</p>
<p>0 pts</p>
</td>
<td style="text-align: center;"><span style="font-size: medium;">2</span></td>
</tr>
<tr>
<td><span style="font-size: medium;"><strong>RESPONSES</strong></span><br />150 words EACH<br />(two required by Sundays at 11:59 pm)</td>
<td style="vertical-align: top;" colspan="2;">
<p>At least two responses which both engage with the initial poster's responses in a substantial manner and are supported by evidence from the readings.</p>
<p>5 pts</p>
</td>
<td style="vertical-align: top;">
<p><span>Two responses, but at least one fails to engage with the initial poster's responses with support from the readings.</span></p>
<p>4 pts</p>
</td>
<td style="vertical-align: top;">
<p><span>Two responses, but neither response engages with the initial poster in substantive manner supported from the readings.</span></p>
<p>3 pts </p>
</td>
<td style="vertical-align: top;">
<p>Only one response included, which<br /><span>engages with the initial poster's responses in a substantial manner and are supported by evidence from the readings.</span></p>
<p>2 pts </p>
</td>
<td style="vertical-align: top;">
<p>Only one response included, which does not engage with the initial poster's responses in substantive manner supported from the readings.</p>
<p>1 pt </p>
</td>
<td style="vertical-align: top;">
<p>No responses to colleagues' posts included.</p>
<p>0 pts</p>
</td>
<td style="text-align: center;"><span style="font-size: medium;">5</span></td>
</tr>
<tr>
<td style="text-align: right;" colspan="8"><span style="font-size: medium;"><strong>Total Possible Points </strong></span></td>
<td style="text-align: center;"><span style="font-size: medium;"><strong>15</strong></span></td>
</tr>
</tbody>
</table>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Discussion Requirements for a History Survey Course
Subject
The topic of the resource
Example discussion requirements for a History Survey Course, including a rubric for grading.
Description
An account of the resource
<p>Example discussion requirements for students for a History Survey course, in this case HIST 105 (European Civilization to 1648). The requirements includes the rubric for grading.</p>
<a title="Discussion Requirements for History Survey Course" href="/omeka/files/original/0ae5e93257b596567e75b837d09936c8.pdf" target="_blank" rel="noopener">Download pdf of full page</a>
Creator
An entity primarily responsible for making the resource
Scott A. Gavorsky
Publisher
An entity responsible for making the resource available
GBC Virtual Humanities Center
Date
A point or period of time associated with an event in the lifecycle of the resource
January 2016
Rights
Information about rights held in and over the resource
All rights reserved. Use of any content only by express permission of Great Basin College © 2016.
Format
The file format, physical medium, or dimensions of the resource
HTML coding that can be copied-and-pasted.
INSTRUCTIONS:
1) Copy the HTML text.
2) In WebCampus course shell, click Add New Page.
3) In page editor, click on "HTML Editor"
4) Paste the text into the HTML Editor.
5) Save and test links.
6) Place in any desired course module.
Language
A language of the resource
English
Design
Design 2015-2017
Discussions
Faculty
In-Service
rubric
Toolkit
-
https://humanities.gbcnv.edu/omeka/files/original/1dfce2a5b634fdbf5d8bf80f4a4c4853.pdf
e550451b110dd6976155450934b59e57
PDF Text
Text
Spring 2016 VHC In-Service: Discussions for Critical Thinking Long a staple of the live classroom, discussions have also found a central place in online classes. While asynchronous and synchronous software allows a variety of interactions, the fundamental questions of organizing good discussions remain. 1) What do I want out of discussions—content mastery, skill development, or some combination? 2) How can students be encouraged to engage in critical thinking in responding to discussions? On the next page is a selection of discussions being used by GBC faculty. As the faculty present their approaches, please consider how these discussions might parallel your answers to the questions above. VHC In-Service: “Discussions for Critical Thinking” (Spring 2016) Page 1 �HIST-105: European Civilization to 1648 (Scott A. Gavorsky) Discussion # 8: The Later Middle Ages A key theme in the emergence of medieval societies in the High Middle Ages (1000-1300) and the Late Middle Ages (1300-1500) was the quest for stability, which structured a number of the conflicts of the period. Discuss how medieval society sought to achieve a stable society, considering the following issues: 1) What elements contributed to the stability of medieval society? 2) What elements contributed to instability? 3) What issues did the medieval world find increasingly difficult to deal with? For the discussion, you should draw on Lectures for Week # 11: The Medieval World and Lectures for Week # 12: The Later Medieval World and the associated readings. Remember to follow the Discussion Requirements. GRC 101: Principles of Design (Kathy Schwandt) Discussion #2: Principles of Design Assignment #1 was about principles of design, and you analyzed a book cover to identify some design principles. Examine the following movie poster image. Choose one principle of design and explain how it seems to be applied in this image. Your response may be written or you may record a video using the Record/Upload Media button in the toolbar above. (Refer to the Discussions Rubric in the Week 1 Module to see how your discussion posts are graded.) Make your first post by 8:00 p.m. (PST), Sunday, September 8. Respond by 1:00 p.m. (PST), Wednesday, September 11 to at least two other students’ postings for this topic. INT 339: Capes and Cultures (Joshua Webster) Discussion: Batgirl Cover Controversy This week's Discussion Assignment asks you to do a bit out of outside research on the dispute over the Batgirl variant cover. Start by reading the article posted in the module and, from there, research the issue in greater detail and find at least three other articles, blogs or discussions of the cover and the larger issues it connects to. You should look for sources that are taking a stance on the cover, and try to look at articles covering each side of the issue. Once you have done your research, write a brief argumentative post that analyzes the different viewpoints and also provides your stance on the issue, making sure you justify your own stance with logical arguments and support from your research. Your argument should be thesis-driven and you absolutely, 100% need to cite your sources in MLA style, so make sure you do so. The length of your post should be 300 to 500 words. Additionally, you are required to respond to the posts of two fellow classmates, preferably ones who take a view that opposes your own. VHC In-Service: “Discussions for Critical Thinking” (Spring 2016) Page 2 �3) How can discussions be assessed for both content and/or skills development? GENERAL NOTES: Note: The VHC’s Core Humanities Skills flyer is on the reverse of this sheet. Thank you for attending this VHC In-Service. Please take a few minutes and fill out our event survey at: https://docs.google.com/a/gbcnv.edu/forms/d/1f3cfD2hNpzNUu6r4imno1ymEAYyTg3HanxNCJRYZHuw VHC In-Service: “Discussions for Critical Thinking” (Spring 2016) Page 3 �At the heart of GBC’s Virtual Humanities Center (VHC) is this list of core skills and habits of mind that the humanities encourage and promote. Every aspect of the VHC is centered on these skills. They are not only college learning skills, but life skills, and they are aligned with GBC’s General Education Objectives. Humanities Core Skills/ Habits of Mind ÐÐ the capacity to write intelligently, lucidly, and fluently ÐÐ the capacity to speak intelligently, lucidly, and fluently ÐÐ the capacity to communicate through a variety of media: visual, performance, design & composition ÐÐ the ability to participate effectively in deliberative conversation ÐÐ the ability to analyze and interpret visual communication General Education Objective: Communication Skills ÐÐ the ability to use facts: working from evidence to a conclusion (induction) ÐÐ gathering enough facts to warrant the conclusion ÐÐ making valid inferences based on facts ÐÐ using accurate observation to form a hypothesis and then test it (the scientific method) ÐÐ the ability to use principles: working from principle(s) to a conclusion (deduction) ÐÐ avoiding prejudices, pressure from authority or peers ÐÐ avoiding flaws in thinking: personal attack, overgeneralization ÐÐ the ability to absorb, analyze and interpret complex artifacts or texts ÐÐ the ability to assess the reliability and validity of information, especially on the web ÐÐ the ability to synthesize information from diverse sources ÐÐ the ability to place data into a larger context ÐÐ the ability to make decisions based on evidence ÐÐ the ability to analyze and interpret abstract ideas ÐÐ the ability to recognize and compensate for ambiguity ÐÐ the ability to prioritize ÐÐ the ability to innovate ÐÐ the capacity for curiosity General Education Objective: Critical [and Creative] Thinking Visit our website at humanities.gbcnv.edu ÐÐ the ability to understand the historical and cultural foundations of ethical behavior, and develop and apply a personal code of ethics based on that understanding ÐÐ the maturity to take responsibility for one’s thinking and actions ÐÐ the capacity to express an opinion that diverges from that of the majority [OR the ability to hold and defend a divergent point of view and to allow others the same right] ÐÐ the capacity to recognize the validity of alternate viewpoints or opinions ÐÐ the capacity to recognize multiple perspectives, from local to global ÐÐ the capacity to accept diversity of people and ideas ÐÐ the capacity for a critical understanding of fine arts expressions ÐÐ an awareness of the past and its application to the present ÐÐ the application of knowledge to real-world problems General Education Objective: Personal/Cultural Awareness ÐÐ the ability to utilize new technologies as they are developed ÐÐ the ability to understand the ethical implications of technological advances ÐÐ the ability to use technology to benefit humanistic inquiry, not to replace it ÐÐ the ability to capitalize on technology as a tool to enhance the experience of the humanities ÐÐ the ability to use technological tools to expand and extend our understanding of what it means to be human General Education Objective: Technological Understanding
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Toolkit - Discussions
Subject
The topic of the resource
Items related to the use of discussions as a pedagogical tool.
Description
An account of the resource
This collections features various items related to the use of discussions in live and online classrooms as a pedagogical tool.
Many of these items were taken from the VHC In-Service Workshop on "Discussions for Critical Thinking" on 21 January 2016.
Creator
An entity primarily responsible for making the resource
Scott A. Gavorsky
Publisher
An entity responsible for making the resource available
GBC Virtual Humanities Center
Date
A point or period of time associated with an event in the lifecycle of the resource
January 2016
Contributor
An entity responsible for making contributions to the resource
Kathy Schwandt; Joshua Webster;
Rights
Information about rights held in and over the resource
All rights reserved. Use of any content only by express permission of Great Basin College © 2016.
Document
Documents such as transcripts, pdf files, legal documents, letters, etc.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Discussions for Critical Thinking" - In-Service Handout
Subject
The topic of the resource
The handout distributed to participants at the VHC In-Service "Discussions for Critical Thinking," 21 January 2016.
Description
An account of the resource
The handout distributed to participants at the VHC In-Service "Discussions for Critical Thinking," 21 January 2016. The handout was intended to be a guide for the workshop discussions and includes three sample discussions from GBC faculty presenters.
Creator
An entity primarily responsible for making the resource
Scott A. Gavorsky
Publisher
An entity responsible for making the resource available
GBC Virtual Humanities Center
Date
A point or period of time associated with an event in the lifecycle of the resource
21 January 2016
Contributor
An entity responsible for making contributions to the resource
Joshua Webster; Kathy Schwandt;
Rights
Information about rights held in and over the resource
All rights reserved. Use of any content only by express permission of Great Basin College © 2016.
Format
The file format, physical medium, or dimensions of the resource
pdf file
Language
A language of the resource
English
Design
Design 2015-2017
Discussions
Faculty
humanities education
In-Service
Toolkit
-
https://humanities.gbcnv.edu/omeka/files/original/95833ec89de606ffd21255610309d1f1.pdf
d5aed834b2d01bf3bdc3b05ac4230a18
PDF Text
Text
Using OfficeMix to Spice Up Your WebCampus Course Content
Contents
What is Office Mix? ......................................................................................................................................... 1
Getting a User and Downloading OfficeMix ................................................................................................. 21
How To: Create a slide recording .................................................................................................................. 23
How To: Create a screen recording ............................................................................................................... 24
How To: Use Interactive content: This is not available yet but will probably be in the summer! ................ 28
Export options ............................................................................................................................................... 30
Office Mix best practices............................................................................................................................... 32
Slide Recording: tips & tricks......................................................................................................................... 33
Audio tips & tricks ................................................................................................................................... 33
What is Office Mix?
Office Mix is a powerful tool that you can use to turn your PowerPoint presentations into interactive
lessons. For example, you can record:
Audio of yourself narrating a lesson
Video of yourself speaking to students
Ink being drawn on your slides
Imagine if you were music faculty and you wanted to teach a student how to play guitar. You could
record yourself playing music, include voiceover narration of the technique you're using, and then show
your student how to read sheet music by drawing lines from the staves to the strings of a guitar, just like
you would if you were sitting in front of him or her. But unlike a traditional classroom setting where
you're limited by the size of the room and the number of students, Office Mix allows you to teach in a
virtual classroom of unlimited capacity while making each student who views the lesson feel like you're
talking directly to him or her.
To your students, these lessons look and feel just like videos that they can watch at their own pace and
re-watch as often as they need. If you add content like quizzes, polls, and even lessons from Khan
Academy, then your students can do more than just watch the videos; they can interact with them and
record their answers to your questions.
You distribute each lesson by posting or embedding web address to in WebCampus. The Mix is stored
on the Office Mix website. With Office Mix's analytics capabilities, you can see which students viewed
each lesson, how they answered your questions, and how much time they spent on each slide.
1
�Office Mix adds value to PowerPoint
In addition to all the rich features available in PowerPoint, Office Mix lets you:
Record audio or video narration of your slide deck.
Insert content that users can interact with, like quizzes, polls, and simulations.
Record audio or video of other applications in action and insert them in your slide show.
Take a screenshot of another open window and insert it in your slide show.
Preview and publish your mix to the web or export it as a video.
Share your mix with whomever you choose and share it on social media.
Review data about who viewed your mix and how long they spent on each slide.
Publishing components
Once your mix is ready to publish, you decide who you want to share it with and how:
Manage the permissions:
o Sharing must be “Public or Unlisted” to automatically show in your WebCampus List
o
o
o
o
o
Mark it as private so only you can see it.
Share it with anyone who has the URL to the mix but restrict access to your organization.
Share it with anyone who has the URL to the mix, provided they sign in to Office Mix.
Share it with anyone who has the URL to the mix, without requiring them to sign in.
Share it publicly so that it's also available from search engines and potentially from
the Office Mix Gallery.
Send an email containing the URL from your default email program.
Share it on any website, including Facebook, Google+, Twitter, Pinterest, LinkedIn, and others.
Embed it on another website so that it plays in a small, medium, or large frame.
Playback components
After you publish your mix, the following elements are available to play it on any device in an HTML5compliant browser (e.g., Internet Explorer, Google Chrome, Firefox, and others):
Play and Pause controls
Next and Back controls to move forward or backward one slide at a time
Slide Sorter view to see thumbnails of all the slides in the mix
Closed captioning
Playback at different speeds from 80% slower to twice as fast
Coming soon: playback via mobile applications
�Data analytics components
After your mix has been viewed by one or more people, you can see data about it:
By slide
By visitors (i.e., viewers are visitors that viewed the slide more than once)
By exercises (for mixes that contain interactive content like quizzes, polls, etc.)
Getting a User and Downloading OfficeMix
1. Get a User Account: signup.ive.com
2. Downloading the OfficeMix FREE Add-In: http://mix.office.com
****PowerPoint needs to be CLOSED when you do this.******
3. Office Mix Gallery: https://mix.office.com/watch/1tn085hj1eanh
Getting started
Now that you've begun planning your online lessons, here are a few tips and tricks to get you up and
running with Office Mix successfully:
1.
Make sure you're using PowerPoint 2013.
Most of our college computers should have this version. If you're not sure which version you're using,
click File on the menu bar, and then click Account to see the version number. (If you don't see a File >
Account item, find out which older version you're using.)
2.
Make sure your slide deck is saved with a PPTX extension.
If you want to start with a slide deck saved in the older, PPT format, open it in PowerPoint 2013. Then
click File on the menu bar, and click Convert:
�PowerPoint will open the Save As dialog with the filename and PPTX extension already filled in.
3. Use an external web cam for higher-quality video.
Built-in cameras (and mics, for that matter) are suitable for most tasks. But if you want more
professional-looking video, invest in an external web cam. If you're using Office Mix on a tablet or laptop
and you're inking with a stylus, an external camera and mic will allow you to minimize stylus noise.
4. Test your audio level before you start recording.
No matter how engaging the content of your lesson is, your video content is only as good as the quality
of your audio. Do a test recording with your mic and adjust the volume to find the optimal setting. To do
this:
o On the Mix tab, click Slide Recording,
o In the Audio and Video pane, select your microphone in the second drop-down list.
o On the slider below the volume indicator, drag the square left to lower the volume or right to
increase it.
If the sound quality is poor, use an external microphone, like Blue Yeti or Nessie, instead of the mic
built into your laptop. Even a headset will produce better quality audio than most built-in mics.
5. As soon as you finish your first slide recording, play it back.
Before you get too far down the road of creating your mix, you'll want to make sure your audio and
video sound and look the way you expect. So as soon as you finish your first slide recording, play it
back. To do this, click Preview Slide Recording:
If the audio's too soft or too loud, or if the camera isn't positioned just right, click Delete Slide
Recording. Then make adjustments before you re-record.
6. Pause briefly between slides.
Another way to segment your content is by slide. If you make one slide recording per slide, then it's
even easier to re-record when you make a mistake. If you segment your content in this way, it gives
you the opportunity to think about it in a modular way. It also gives you the freedom to add exercises
at the end of each segment to check your students' comprehension.
7. Use video where essential; use audio and inking for greater focus on content and delivery.
When you create an online lesson, you'll want your students to reap the same benefits from your
teaching style as if you were delivering the lesson in person. If you decide to include a talking-head video,
make sure to create good eye contact by speaking directly to the camera, and speak in a conversational
tone so that your students feel like you're talking directly to them. But when you want them to focus on
the slide content, forego the video and instead draw on your slides (i.e., use inking) while talking.
8. Upload drafts as you go-- but clear the video checkbox until your final draft.
Make sure to save your work while you're creating your mix. But clear the checkbox that creates a video
version until you're ready to upload your final draft. That way, you'll speed up the publishing process of
interim drafts. To do this:
On the Mix tab of the ribbon, click Upload to Mix:
�
In the Upload to Mix pane, clear the checkbox under Enable playback on mobile devices.
When you're ready to upload your final draft, check that box.
How To: Create a slide recording
What is a slide recording?
A slide recording is a recording of a PowerPoint slide show enhanced with audio, video, and/or inking
that you create by using Office Mix. When you create a slide recording, Office Mix adds up to 3 different
types of information to your slide:
A "media shape" that contains your audio-video clip
Ink as a bitmap
Timings (not visible on the slide) that are used during playback so that your clips and ink strokes
start and end at the right times
For instance, the slide recording below contains video (in a media shape), inking (as a bitmap), and
timings (which are not visible):
To see what a slide recording looks and sounds like, you can preview it in Office Mix at the time you
create it, or you can simply watch your mix on the web after you publish it by going to your My Mixes
page on the Office Mix website.
How to create a slide recording
The easiest way to create a slide recording is to create a PowerPoint presentation first. Then record on
top of your existing slides.
1. Go to the slide where you want your recording to begin.
2. On the ribbon, select the Mix tab.
3. In the Record group at the far left of the tab, click Slide Recording:
At this point, before you begin recording, you should decide which elements you want to record.
To add audio and/or video
Under Audio and Video to the right of your slide:
1. Select the size and resolution of the video you’ll record:
o If you want the video to appear as a thumbnail, click Thumbnail. This option creates a lowresolution recording.
o To fill the screen with your video, click Full Screen. This option creates a high-resolution
recording.
2. Select the camera you want use.
o If you’re recording on a laptop and you don’t have an external camera connected, select
Integrated Camera in the drop-down list.
�o
If you want to record audio only, select No camera instead.
3. Select the audio device you want to use.
o If you want don’t want to record any sound, select No microphone.
4. Adjust the volume by dragging the square left (lower) or right (louder) along the slider.
To add inking
Under Inking to the right of your slide:
1. Click the pen (Fine Pen, Medium Pen, Thick Pen) you want to use to draw on your slide.
o After you begin inking, you can click the Eraser to remove all of your ink strokes.
2. Click the color of the ink you want to use.
You’re now ready to begin recording.
To record
Use the buttons in the Slide Recording tab:
How To: Create a screen recording
What is a screen recording?
The terms "slide recording" and "screen recording" sound similar but differ primarily in
this way:
A slide recording show viewers activity on PowerPoint slides.
A screen recording show viewers activity in any other program on your computer,
including Windows itself.
How to create a screen recording
Follow these steps to create a screen recording of the last program that was active:
1. On the Mix tab, click Screen Recording:
�2. On the control dock at the top of the screen, click Screen Area:
The cursor will change to crosshairs:
Note that Audio will already be selected so you can record voice narration at the same time as
your screen actions. If you don’t want to record audio, click Audio to deselect it.
3. Click and drag the area of the screen you want to record. To record the entire screen, click in the
top-left corner of the screen, and drag the crosshairs to the bottom-right corner of the screen.
Note that you cannot select an area smaller than 64 x 64 pixels.
4. Click Record.
The control dock will slide up and out of view while you record. To pin it in place, click the pushpin
in the bottom-right corner of the dock.
5. To control your recording:
o
Click Pause to temporarily stop the recording:
o
o
Click Record to resume recording.
Click Stop to end your recording:
The screen recording will automatically be added to the current slide after you click Stop.
Upload to Mix
Why create a mix instead of a video file?
Creating a mix by uploading it to your My Mixes page on the Office Mix website has several advantages
to exporting it a video:
�
You don't have to worry about it saving it locally because Office Mix saves it in the
secure Microsoft cloud.
You can distribute it easily by sharing the unique URL of your mix.
Interactive elements in your mix remain interactive after you upload it.
Office Mix collects analytical data about the mix and makes that data available on your My Mixes
page.
You can set permissions for your mix to dictate who can and cannot view it.
You can share your mix on social networking sites like Facebook, Google+, Twitter, Pinterest,
and LinkedIn as part of the publishing process, or even after the mix has already been uploaded.
How to upload a mix
To upload a mix to your My Mixes page on the Office Mix website:
1. On the Mix tab in the Mix group, click Upload to Mix:
2. In the Upload to Mix side pane, click Next.
3. If you aren’t already signed into Office Mix, choose which of the following account types
you’ll sign in with:
o your Microsoft Account
o your organizational account
o your Facebook account
o your Google account
4. Click your account ID.
5. Indicate how you want the mix to be uploaded:
o If you are creating a new mix, select This is a new mix. Otherwise, to overwrite a mix
you already uploaded, select Updating an existing mix and select the mix that you want
to overwrite.
o If you also want to create a video version of your mix, select Enable playback on
mobile devices. Note the following:
Selecting this option increases the upload time.
If you don’t select this option, viewers will still be able to view your mix on
mobile devices, provided those devices are connected to the Internet.
If you don’t select this option at this time, you can still export your mix as a video
after it has been uploaded to your My Mixes page.
o Click Next. At this point, Office Mix will begin uploading your mix.
6. In the side pane, click Show me my mix.
At this point, Office Mix will open the Details page of your mix on the Office Mix website. Fill in the
details as follows:
1. Type a title for your mix. The title will appear next to a thumbnail of your mix on your My Mixes
page.
2. Type a free-form description of your mix. The description will appear below the creation data and
�duration of your mix on your My Mixes page.
3. Set the Permission & Sharing options.
4. If you want to email the URL of your mix to a recipient, click the Email icon at the bottom of
the page to open an email containing the URL in your default email program:
5. If you want to add closed captioning to your mix, see Adding close captions.
6. Click Save.
Why export a mix as a video?
Export to video is the Office Mix export option that lets you save your mix as a video that contains the
audio, video, and inking you created with Office Mix but not contain any interactive content (apps,
quizzes, simulations, etc.). This option is designed for the following scenarios:
You want viewers to be able to watch your mix without connecting to the Internet.
You don't want your mix to be stored in the secure Microsoft cloud.
You want to save a copy of your mix locally (i.e., on your hard drive or other local storage device).
You want to publish your mix on Office 365's video portal.
You want to publish your mix to YouTube. (If you plan to make your mix available as a YouTube
video, it's a good idea to add the URL of your mix to the end of your video so people can enjoy
the full mix experience on http://mix.office.com.)
How to export a mix to a video
If you're already familiar with PowerPoint's File > Export > Create a Video feature, Office Mix's Export
to video feature has the same options with more descriptive wording.
1. On the Mix tab in the Video group, click Export to video.
2. In the Export to Video side pane, choose a video resolution from the Choose video size list:
o For high-definition video suitable for viewing on a computer monitor, TV screen, or other
HD display, select Full HD (1080p).
o For high-definition video suitable for HD computer screens, select Computer & HD
Displays (720p).
o For web viewing suitable and standard DVD resolution, select Internet & DVD (480p).
o For viewing on small portable devices like mobile phones, phablets, and tablets, select
Portable Devices (240p).
3. In Seconds spent on each slide, type the number of seconds to wait before the mix advances
to the next slide. This setting applies only to slides that do contain a video or interactive
content.
4. Click Next.
5. In the Save As dialog, choose a filename and location for your video and click Save.
How to export a video while uploading a mix
When you upload a mix (by clicking Upload to Mix on the Mix tab), you can create a video version of
�your mix at the same time that you publish your mix. To take advantage of this option:
1. Follow the How to upload a mix steps on the Create a mix page.
2. In step 5, select Enable playback on mobile devices box.
Office Mix will bundle the video in a package with the mix. When viewers watch your mix from a
mobile device (by clicking the URL that you send them), the video will play instead of the mix inside the
mobile device's video player. Slides containing interactive content will not appear.
Tips & tricks
Remember that unlike a mix, a video plays from start to finish without user interaction (except to pause,
play, and rewind). Follow these tips and tricks below to make sure your exported video plays back the
way you expect.
1. Do not use slide transitions.
There are no slide transitions in a video. To change the amount of time that is spent on each slide,
change the default value of 5 in the Seconds spent on each slide box.
2. Expect animations to play automatically.
If you added animation effects in PowerPoint that start "On Click," they will play automatically in
the video version.
3. Do not create videos when saving interim versions of your mix.
Saving a video version of your mix can be a time-consuming process because PowerPoint plays
the slideshow during the export process. For example, if the runtime of your PowerPoint
presentation is one hour, it will take just over one hour to export it to video. To speed up the
upload process, clear the Enable playback on mobile devices box, and enable it only when you're
ready to upload your final version.
How To: Use Interactive content:
This is not available yet but will probably be in the summer!
�What is interactive content?
Interactive content is readymade content that you insert into a mix and that viewers can interact with
directly. Quizzes, polls, science and math simulations, and videos from Khan Academy are all examples
of interactive content. They provide a level of interactivity above and beyond what you can create in
PowerPoint alone.
How to use interactive content
As faculty, you can use the interactive content under Quizzes and Polls as a formative assessment,
checkpoints, to make sure your students understand the material presented up to a certain point
before they continue viewing a mix. For instance, you can insert a quiz and determine the threshold, or
score, that a student must meet or exceed in order to move to the next slide. If a student falls below
that threshold, you can suggest that he or she review the material again.
You can also use the content under Videos and Apps to enhance your lessons about certain concepts by
allowing students to control and alter examples of those concepts in action. For instance, in a science
lesson about light and color, students can explore the ways that changing the wavelength of a
monochromatic beam changes the way that color is seen by the human eye:
How to add interactive content to a mix
The most efficient way to make use of interactive content in a mix is to create your lesson in
PowerPoint, and then decide where this type of content can be inserted to test students'
comprehension or illustrate a concept.
1. Go to the slide where you want interactive content to appear.
2. On the ribbon, select the Mix tab.
3. In the Insert group, click Quizzes Videos Apps:
4. At the top of the Lab Apps for Office box:
o Click MY APPS to insert an app that you already downloaded.
o Click STORE to insert an app, which automatically adds it to your list of MY APPS.
5. Click the app you want to insert to read a description of it.
6. To insert the app, click Trust It. Or click Cancel to return to the list of apps without inserting it.
7. To see the app the way your students will see it, press F5 or click Slide Show in the bottom-right.
�How to view analytics from quizzes and polls
After you publish your mix, Office Mix will begin collecting data for all the quizzes and polls you
inserted in the mix. To view this data:
Go to the list of uploaded mixes on your My Mixes page
at https://mix.office.com/MyMixes/Uploaded.
For each mix that contains one or more quizzes or polls, click Analytics:
Under the title of your mix, click by exercises:
Tips & tricks
Use interactive content to gauge a student's progress and comprehension of the material
you're teaching in a mix. This content is not intended to be used to grade students.
After you add interactive content to a slide, you can copy and paste it on other slides in your
presentation. This method is particularly useful for creating questions in a quiz that spans
several slides.
In addition to inserting interactive content from within PowerPoint, you can download apps
from the Office Store website at https://store.office.com/appshome.aspx and insert them
into your mix. However, Office Mix collects data only for those apps that you insert from the
Lab Apps for Office box that appears when you click Video Quizzes Apps on the Mix tab.
Export options
There are several ways to export a mix, depending on how you want to use it and who you want to
make it available to. You access each export option on the Mix tab:
Mix options
Preview
Though not technically an export option, Preview lets you view your mix without first
publishing it or saving a potentially big file to your hard drive or other storage device. It's
similar to the Slide Show command in PowerPoint in that it runs your mix full-screen so
you get an idea of how your viewer will experience it. This command is only available from
inside PowerPoint when you have Office Mix installed.
Upload to Mix
�Upload to Mix publishes your mix securely to your My Mixes page in the cloud on the
Office Mix website. It converts your PowerPoint presentation (PPTX) file into a rich,
interactive video with a unique URL.
You share your mix simply by sharing the URL, which plays the mix over the Internet in the viewer's
default web browser on any device. There's no need to save, keep track of, or send your mix files.
Each published mix appears on your My Mixes page and its URL never changes, even when you
update and republish your mix. You can also use the URL to link or embed your mix on other
websites.
This is the recommended export option because it gives you control over who can view your mix,
and it also gives you data about how your mix was viewed and by whom. If you require this data or
the mix itself to be present on your own servers, use one of the video export options below.
My Mixes
Though not technically an export option either, My Mixes opens the My Mixes page on the
Office Mix website in your default web browser. It provides an easy way for you to see your
list of published mixes, play them, and view the data collected for each one. It's also useful
if you want to give the mix you're working on a name similar to (or different from) mixes
you already published but you don't remember their names.
Video export options
Export to video
Export to Video lets you convert your mix to a video that viewers can watch offline. This
option saves the video to the location you specify; it is not stored on your My Mixes page
on the Office Mix website.
One clear benefit of saving your mix as a video is that you can distribute however you choose,
upload it to a learning management system (LMS), upload it to YouTube or other sites, etc. But
because it's a video and not a mix, the interactive elements will appear in the video but they will
not be interactive. Specifically, viewers will not be able to click or otherwise interact with:
Hyperlinks
Quizzes
Polls
Simulations
Other interactive content inserted from Quizzes Videos Apps
In addition, Office Mix will not collect data about videos. Analytics data is available only for mixes
(not videos) on your My Mixes page on the Office Mix website.
Export to SCORM
Export to SCORM converts your mix to a SCORM package that you can upload to your LMS.
SCORM packages appear as courses in your LMS and are generally stored on the same
server as your LMS. If you included high-fidelity audio-video elements in your course,
viewers will most likely need a high bandwidth connection to view it properly.
�Note that this export option has the same limitations as Export to Video: interactive elements that
you inserted in your mix will no longer be interactive after you export your mix to this format; and
analytics will not be collected or made available by Office Mix.
Office Mix best practices
Congratulations! You decided to use Office Mix for your recorded lessons rather than investing in
traditional video-making equipment includes screencasting software, pen annotation, interactive
whiteboards, high-end microphones, video cameras, recording software, and
compositing/editing software.
But that's just the start. Below are seven steps for creating video-based lessons that will help you create
mixes that engage your students' minds and attention:
1. Keep it short (6 minutes or less).
Shorter videos are much more engaging to students who are growing up in the YouTube generation
than videos the length of a TV program or more. Studies show that engagement drops sharply after
just six minutes. If you plan your lessons so that one video equals one topic, you're more likely
students to keep your students' attention with many short videos (e.g., five six-minute videos) than
with one long video (e.g., one 30-minute video).
2. Don’t feel compelled to use video.
Video slides take longer to record, and more iterations to get right. A common practice is to use a
full screen video for the introduction and then switch to audio and inking. This makes it much
faster to create your mix. However, videos that show you talking directly to your students are
more engaging. Think about when and where students will benefit most from seeing you speaking
to them, either in a thumbnail video in one corner of the mix, or in a full-size video that takes up
the entire area of the mix.
3. Amateur, authentic videos beat high-end, rehearsed recordings.
Videos with an "indie" feel, meaning they can be rough-around-the-edges but communicate your
message clearly, are often more engaging than high-fidelity studio recordings that feels as if they've
been rehearsed over and over. To give your videos more of an authentic look and feel, record them
in an informal and familiar setting, like the office where you hold office hours for students. You'll
save money by not renting a sleek and polished space, and you'll create the one-to-one atmosphere
that will put your students at ease.
4. Draw on your slides just like you'd draw in your classroom.
Tutorials in which instructors draw on tablets, like the ones produced by Khan Academy, are easier
to follow than PowerPoint slide shows or screencasts that run from start to finish without the
instructor calling the students' attention to specific information. Introduce motion, animation, and
inking into your lessons, along with audio or video or yourself speaking, so that students can follow
along with your thought process.
5. Plan your lessons with MOOC in mind.
High-quality, pre-recorded classroom lectures are not particularly engaging, even when they're cut
�into shorter segments for a MOOC (Massive Open Online Course). If you must record a classroom
lecture, keep the MOOC format in mind and partner with instructional designers who understand
the best way to deliver online training or education.
6. Be energetic, enthusiastic, and when appropriate, funny.
Have you ever watched a video in which an instructor drones on? Delivering the same material with
energy and enthusiasm can makes a huge difference, especially if you inject your own brand of
humor into it, the same way you would in a classroom. If you think you need to speak slowly so that
students can follow along, remember that they control the playback: they can pause and rewind the
video, and watch it as many times as they need to.
7. Focus on sequential viewing for lectures, non-sequential viewing for tutorials.
Students engage differently with recordings of lectures and tutorials. They're likely to watch a
lecture from start to finish, whereas they're more likely to jump in and out of different parts of a
tutorial. So add support for the non-sequential viewing experience of your tutorials, such as the
ability to: skim a section (by adding callouts that summarize slide content); jump around (by
inserting hyperlinks to other slides and slide sections); and enter the tutorial at any slide.
Slide Recording: tips & tricks
Slide recordings are a powerful way to add audio, video, and inking to a presentation. But what happens
when you create a slide recording of a slide that contains many effects, like animations, transitions,
sound effects, etc.? To make sure your slide recording always plays the way you want, Office Mix will
not record the following slide elements:
Triggered animations (that you add by clicking Trigger on the Animations tab)
Sound effects (that were not recorded in Office Mix but were instead added to a motion
path animation on the Animations tab)
Hyperlinks that are inside a table or that open a custom slide showCheck out the tips and tricks
below to make sure your slide recording plays back the way you expect.
Audio tips & tricks
If you haven't already read Getting Started: tips & tricks, be sure to read tip #4: Test your audio level
before you start recording.
1. Invest in a better mic than what's built into your tablet or laptop.
Office Mix does not recommend a particular make or model of microphone, but it's easy to find
good alternatives to what's built into your computer by searching for "high quality podcast
microphone" on your favorite electronics shopping sites. See search results by Bing.
2. Choose the right Audio and Video setting for what you plan to record.
By default, Office Mix is set to record audio at a low bit rate, which is suitable for voice recordings,
�and keeps your mix file smaller. But if you plan to record music, for example, and you want to
capture the full range of that music at high fidelity, then you should change the default setting. To
do this:
o In the Audio and Video pane, click the Settings button that looks like a gear:
o
o
In the dialog box, clear the Audio for voice (noise reduction and auto-adjust volume)
checkbox.
Click OK.
For more information about the different audio settings and how to set up your mic correctly, watch
Mix Audio.
Video tips & tricks
Because Office Mix keeps track of timings for your audio, video, and inking, adding other elements that
have timings (animations, transitions, etc.) to a slide could produce unpredictable results. For that
reason, follow these video tips to make sure that your screen recording always plays the way you
expect.
1. Do not insert more than one video on a slide.
If a slide contains two videos, Office Mix won't know which one to play first. However, there is a
workaround if you want to insert two videos on a slide:
o Create two identical-looking slides.
o On the first slide, insert video 1 and an image of video 2.
o On the second slide, insert video 2 and an image of video 1.
When your mix plays, video 1 will play on the first slide and video 2 will play on the second slide.
But to the user, it will look as if video 1 will play and then video 2 will play on the same slide.
2. Do not insert an animation on a slide that contains a video.
The same challenge applies to this situation as to the situation above. The good news is that you
can use the same workaround:
o Create two identical-looking slides.
o Decide whether you want the animation or the video to play first.
o On the first slide, insert the element you want to play first, and also insert an image of the
element that will play second. For instance, if you want a video to "float in" to your slide,
add that animation effect to an image of your video.
o On the second slide, insert the element you want to play second and an image of the
element that played on the slide 1.
3. You cannot ink on a video or interactive content (the one you insert by clicking Quizzes Videos
Apps).
4. You can change the size of your video after you create your slide recording.
Before you create a slide recording, you need to select either Thumbnail or Full Screen below the
video preview. After you finish recording and close the Slide Recording window, the video will
appear on your slide. At that time, you can dynamically resize it the same way you would resize
any other shape on your slide.
5. Choose the right Audio and Video setting for what you plan to record.
�By default, Office Mix is set to record video at a low resolution, which is suitable for most videos,
and keeps your mix file smaller. But if you want to record in high definition (HD) for a mix that you
plan to save as a video and not upload to the Office Mix website, then you need to change the
default setting. To do this:
o In the Audio and Video pane, click the Settings button that looks like a gear:
o
o
In the dialog box, select the Record HD Video (not for web) checkbox.
Click OK.
Inking tips & tricks
If you haven't already read Office Mix best practices, be sure to read tip #4: Draw on your slides just like
you'd draw in your classroom.
1. For best-quality ink strokes, use a digitizing tablet instead of a mouse.
A pen or stylus will give you more control over what you draw than a mouse (or a keyboard, for
that matter).
2. Focus viewers on the inking and not on video of your drawing.
Unless you're an art teacher and you want your students to see you in the act of creating ink
strokes, don't include video of yourself inking because it will divide their attention. But do include
audio of yourself talking while you're inking so students know why you're drawing their attention
to something on your slide.
3. Move your microphone far away from your input device.
When possible, ink as far away from your mic as possible to avoid the clicking sound that pens,
styluses, and mice make when you draw on a slide.
��
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Toolkit - Software Resources
Subject
The topic of the resource
Collection of WebCampus-related resources as well as general software guides.
Description
An account of the resource
Collection of WebCampus-related and other software resources for use in the Humanities Toolkit.
Creator
An entity primarily responsible for making the resource
Scott A. Gavorsky [ VHC]
Contributor
An entity responsible for making contributions to the resource
Lisa Frazier; Carrie Miesner
Document
Documents such as transcripts, pdf files, legal documents, letters, etc.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Using OfficeMix to Spice Up Your WebCampus Course Content
Subject
The topic of the resource
Handout on the new OfficeMix software debuting in Spring 2016.
Description
An account of the resource
The handout distributed during the Spring 2016 WebCampus In-Service, featuring an overview of the new OfficeMix software available for Powerpoint and in WebCampus..
Creator
An entity primarily responsible for making the resource
Lisa Frazier
Publisher
An entity responsible for making the resource available
Great Basin College
Date
A point or period of time associated with an event in the lifecycle of the resource
14 January 2016
Rights
Information about rights held in and over the resource
All rights reserved. Use of any content only by express permission of Great Basin College © 2016
Design
Faculty
how-to
In-Service
Toolkit
WebCampus
-
https://humanities.gbcnv.edu/omeka/files/original/9c1ce42abf2dd49a6031a9d74b909d55.pdf
bf02fad2b816e7b07c96f6ef6fa6283f
PDF Text
Text
What’s New in WebCampus Spring 2016?
& OfficeMIX: A New Way to Interact With PowerPoint
Course Settings
Content Viewing Early
Under course settings, Visibility, Restrict…
ePub Exports: Why? Sometimes our students must be out of internet a range for long
periods of time. This setting allows them to download module material to have off-line in
these particular situation.
ePub Exports is used in conjunction with the ePub Exporting course-level feature option. This
feature is controlled exclusively by the instructor and must be enabled under the lower left
Settings.
Faculty can allow students to download a course as an ePub file. This feature allows
students to view course content when they are offline, such as files, pages, assignment
details, discussion topics, or quiz instructions. Students cannot interact with the course
in ePub material; course materials are displayed in a read-only state and any tasks such
as submitting an assignment must be completed online.
The default ePub organization is by module, meaning only items that students have
access to view in each module will be included in the ePub file. Locked modules list
either their pre-requisites or the unlock date, as well as the items that are contained
within that module (though not the actual content of those items themselves). Instead of
Modules, however, Faculty can set their course organization by content type (e.g.
assignments, quizzes, etc.). This option can be changed by checking the ePub Export
checkbox located in the Course Settings Course Details tab.
�After Epub settings are enabled by the instructor, any user can generate ePub files in
the current user interface by opening their User Settings page and clicking
the Download Course Content button. (In the new WebCampus user interface, click the
Global Navigation Account link to access user settings.)
Any available courses appear in the ePub content page and can be generated as
needed using the Generate ePub link. Once the ePub is completed, the user can
download the file or regenerate the ePub file. If a course includes a file that isn’t
supported in an ePub, the page also includes a link to download associated files, which
downloads the non-supported files in a zip file to be viewed in their native apps.
Downloaded content can be viewed in any ePub reader, such as iBooks (Mac) or Azardi
(Windows and Android). Other ePub applications can be used, but iBooks and Azardi
are recommended as they provide the best support for embedded media. In ePub
content, students cannot interact with course content directly such as completing an
assignment, but they can view the assignment details, availability dates, and point
values.
�Link Validator
Faculty can verify all published and unpublished links throughout a course to ensure
they are valid. This option is available in the left navigation Settings, under Course
Details tab, on the right side.
The course link validator searches through course content and returns invalid or
unresponsive links. If links are found, WebCampus provides the name of the content
item with a link so Faculty can correct the error.
�Instructors can choose to hide unpublished links. Additionally, the Link Validator
provides a warning when links direct to different courses.
In the few days since this tool has been available, we have found a few links reported
as “broken” that actually work. This is due to a problem in the HTML coding. You don’t
need to worry about these if the links are working for you.
Example of bad html causing a returned broken link that is actually working:
Correct html should look like this. However, you can ignore these if they are working
for you.
�Assignments
Moderated Grading
Do you ever want grades to go out to students all together instead of one-by-one as you
grade them? Or have view grades and comments from other graders?
When creating an assignment, Faculty can choose to have multiple graders evaluate a
student’s work and create draft or provisional grades before the grade is marked as final
for the course. This feature can also be used to create a sampling of students for
assignment review to ensure grading is consistent and allows secondary grade reviews.
Students cannot view any comments or grades until the grade is published.
Moderated grading refers to two specific user roles: moderators and reviewers.
Moderators can be any user in the course who has been granted the course-level Moderate
Grades permission (commonly Faculty).
Reviewers can be any user in the course who has been granted the course-level Edit Grades
permission (commonly TAs). Reviewers interact with SpeedGrader as they can with any other
SpeedGrader assignment.
An assignment cannot be changed to moderated grading after a grade exists.
Once grades are “posted” from moderate, they have to be changed in the Gradebook and not the
SpeedGrader.
For each assignment that needs to be moderated, Faculty must select the Allow a
moderator to review multiple independent grades checkbox from within the Assignment Edit
settings. Moderators can be any user in the course who has been granted the courselevel Moderate Grades permission (TA’s or Faculty).
�Once an assignment has been published, moderators will see the Moderate button on
the assignment page. Moderators can select checkboxes next to students whose
assignments should be moderated, then click the Add Reviewer button to add the
students to the moderation set and create quick-access links to SpeedGrader.
Then creating Moderated Grading assignments and assigning students to a moderation
set, the Moderation page only adds a second reviewer column when it is needed.
Although the Moderation page supports provisional grades for two reviewers and one
moderator, not all provisional grades may be needed in the course.
Additionally, if a student who was not previously in the moderation set is added to the
set at a later date, the Moderation page adds a SpeedGrader link to the 1st Reviewer
column. If the student received a grade before being added to the set, the SpeedGrader
link is added to the 2nd Reviewer column and opens directly in the 2nd Reviewer tab.
Moderated grading supports provisional grades for up to two reviewers and one
moderator. As clarification, if a moderator does not want to use the score from the 1st
Reviewer, the moderator can add a second review or a moderator review in
SpeedGrader to use for grading.
�The Moderate page only supports up to two provisional grades and one moderator
grade. The moderator grade can be edited or overwritten by any user with the moderate
grades permission. Several provisional grades can exist for a submission, but a
submission does not need to have more than one reviewer.
Reviewers interact with SpeedGrader as they would with any other WebCampus
assignment, including grading with rubrics and leaving comments. Once a reviewer
grades the assignment, the grade appears in the Moderate page as a provisional grade
in the appropriate reviewer column. Provisional grades are not included in the
Gradebook and are only visible to moderators.
Notes:
Students not in the moderator set can only be assigned one provisional grade.
When a course includes more than one moderator, each institution will need to set their own
policies for which moderator controls official grade posting for the assignment.
�Moderators can also view any previous reviews by opening SpeedGrader. Previous
reviews display the grade and any comments, as well as any rubric results. The
moderator can also use the Add Review link to add a second review (if one does not
already exist), add a moderator review, or copy a previous review as the moderator
review.
Copying a review applies the grade as the final. The copy retains the grade and existing
comments but allows the moderator to make additional comments or edits. When
copying a grade as the final, SpeedGrader will generate a warning and override any
existing grade in the Moderator column.
To assign and post a final grade for the assignment, the moderator can click the radio
button in any reviewer column (or click the Select button in SpeedGrader). Then click
the Post button. The final grade is the grade that will appear in the Gradebook once the
assignment grades are posted.
�Super Important: Once a grade is published, the grade in the moderator page cannot
be changed; all content is considered read-only for historical reference. However,
grades can still be changed in the Gradebook.
SpeedGrader
Anonymous Grading
When grading assignments, the SpeedGrader option to Hide Student Names is now
available for all courses as an option under course Settings, Feature Options.
.When the Anonymous Grading feature option is enabled, the Hide Student Names
checkbox is enabled by default. Turn it back off to be able to select specific
assignments.
If at any time the feature option is changed to allowed or off, the SpeedGrader option
will be retained and must be changed manually.
�Calendar
Calendar now include the description of an assignment, in addition to the title and time
of the event.
Grades
Ungraded Quizzes and Student Grade Totals
When a student submits a quiz that has a manually graded component, the ungraded
quiz does not factor into student’s grades view. Student grades are only updated when
the manually graded question has been graded by the instructor.
New WebCampus UI
The New WebCampus User Interface (UI) is a new feature option coming Summer
2016.
�People
Observers and Active Enrollment State
Users added to a course with the Observer role default to an active state so observers
can participate in a course without having to accept a course invitation. This change
does not change the process of removing an observer from a course; when the
observed student is removed from the course, the observer is also removed from the
course.
SpeedGrader
Firefox Crocodoc Annotations
When an instructor uses Crocodoc annotations for a supported assignment submission
type (primarily Word documents and PDFs), the Firefox browser frequently removes the
last annotation when updating the score field in SpeedGrader. This behavior is a
Crocodoc-specific limitation within Firefox that cannot be resolved by Crocodoc at this
time. To warn about the effects of Firefox and Crocodoc annotations, WebCampus
displays a warning banner that says “Warning: Crocodoc has limitations when used in
Firefox. Comments will not always be saved.” To avoid losing any annotations, Faculty
may choose to use another browser when providing Crocodoc annotated feedback, or
click the screen to retain comments before navigating to another student.
New Content Page Formatting Options
Accordion Format
Allow material to be chunked by topic and revealed a bit at a time. Each section is
revealed as students click on the title or tab.
The Accordion template can be added to a course shell. The names of the tabs can
easily be changed. A tiny bit of copy and pasting of HTML code is needed if you create
new pages.
�Tabs Format
Allow material to be chunked by topic and revealed a bit at a time. Each section is
revealed as students click on the title or tab.
The Tabs template can be added to a course shell. The names of the tabs can easily be
changed. A tiny bit of copy and pasting of HTML code is needed if you create new
pages.
�
Dublin Core
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Toolkit - Software Resources
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Collection of WebCampus-related resources as well as general software guides.
Description
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Collection of WebCampus-related and other software resources for use in the Humanities Toolkit.
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Scott A. Gavorsky [ VHC]
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Lisa Frazier; Carrie Miesner
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What’s New in WebCampus Spring 2016?
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Handout from the Spring 2016 WebCampus In-Service
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The handout distributed during the Spring 2016 WebCampus In-Service, listing the new features and changes to WebCampus available in Spring 2016.
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Lisa Frazier
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Great Basin College
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14 January 2016
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All rights reserved. Use of any content only by express permission of Great Basin College © 2016.
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pdf file
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Dublin Core
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Thumbnail from "Spring 2015 Argentum and Student Art Exhibit"
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Spring 2015 Argentum and Student Art Exhibit
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Scene from the Argentum 2015 Release Reception and Student Art Show on 7 May 2015.
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Scott A. Gavorsky
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Spring 2015 Argentum and Student Art Show
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GBC Virtual Humanities Center
Date
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7 May 2015
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Kayla McCarson [GBC]
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Great Basin College © 2015. All rights reserved.
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<a title="Spring 2015 Argentum and Student Art Exhibit Streaming Video" href="http://kaltura.tmcc.edu/index.php/kmc/preview/partner_id/109/uiconf_id/11170182/entry_id/0_urg50t1h/delivery/http" target="_blank" rel="noopener">Spring 2015 Argentum and Student Art Exhibit</a>
<p><a title="Argentum 2015 magazine" href="/omeka/files/original/80756781b116ddc303712110b1734c9d.pdf" target="_blank" rel="noopener"><em>Argentum</em> Arts and Literary Magazine, 2015</a></p>
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.jpg; 96 dpi; 200 px x 200 px
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English
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ACE Events 2013-2016
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Recordings of selected ACE events for the 2013-2014, 2014-2015, and 2015-2016 academic years.
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Selected events sponsored by ACE (Arts and Cultural Enrichment) Committee at Great Basin College. Included is the 2015 Cowboy Poetry Speakers Series (Teresa Jordan and Gary Nabhan).
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GBC / ACE (Arts and Cultural Enrichment); individual artists and speakers.
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GBC
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2013-2014; 2014-2015; 2015-2016
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Scott A. Gavorsky
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Great Basin College / Virtual Humanities Center
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English
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ACE 2013-2015
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Not available
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.mp4
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8:32
Producer
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GBC Arts and Cultural Enrichment foir the GBC Virtual Humanities Center
Director
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Kayla McCarson
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Spring 2015 Argentum and Student Art Exhibit
Subject
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Interviews with artists participating in the Argentum and Student Art Exhibit.
Description
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Scenes from the Argentum 2015 Release Reception and Student Art Show on 7 May 2015, with interviews with artists Shawn Collins, Debbie Heaton-Lamp, Kacie Ortiz, and Cynthia Delaney.
<p><a title="Spring 2015 Argentum and Student Art Exhibit" href="http://kaltura.tmcc.edu/index.php/kmc/preview/partner_id/109/uiconf_id/11170182/entry_id/0_urg50t1h/delivery/http" target="_blank" rel="noopener">View video [streaming file]</a></p>
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GBC Arts and Cultural Enrichment (ACE)
Publisher
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GBC Virtual Humanities Center
Date
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7 May 2015
Contributor
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Shawn Collins; Debbie Heaton-Lamp; Kacie Ortiz; Cynthia Delaney [interviewees]; Kayla McCarson [GBC]; Scott A. Gavorsky [VHC]
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Great Basin College © 2015. All rights reserved.
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<a title="Argentum website" href="http://www.gbcnv.edu/argentum" target="_blank" rel="noopener">Argentum</a>
Format
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streaming video (mp4 original)
Language
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English
Action
Argentum
arts
Community
Design
Faculty
photography
Students
-
https://humanities.gbcnv.edu/omeka/files/original/fe590cae04bd5b1378ae27566921c616.jpg
46a16b29d8a34dfc15f0cdac6dbaa586
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Design for the Human Spirit (Theme 2015-2017)
Subject
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Materials related to the VHC Theme for 2015-2017--Design for the Human Spirit.
Description
An account of the resource
What is design, and how does it impact humans? Over the next two years, the Virtual Humanities Center will explore the role of design at GBC, the communities it serves, and the larger world.
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GBC Virtual Humanities Center
Publisher
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GBC Virtual Humanities Center
Date
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August 2015 - July 2017
Contributor
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Scott A. Gavorsky [VHC]
Rights
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Great Basin College © 2015. All rights reserved.
Still Image
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.jpg; 300 dpi
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2700 px x 2400 px
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Title
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Design for the Human Spirit Logo (Theme 2015-2017)
Subject
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Official logo for the VHC "Design for the Human Spirit" Theme for 2015-2017.
Description
An account of the resource
The official "Design for the Human Spirit" logo.
Creator
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Scott A. Gavorsky
Publisher
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GBC Virtual Humanities Center
Date
A point or period of time associated with an event in the lifecycle of the resource
August 2015
Rights
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Great Basin College © 2015. All rights reserved.
Should be used only for "Design for the Human Spirit" items.
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.jpg; 300 dpi; 2700 px x 2400 px
Language
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English
Action
Design
Design 2015-2017
Faculty
logo
-
https://humanities.gbcnv.edu/omeka/files/original/80756781b116ddc303712110b1734c9d.pdf
519fdbb452ff12bb6d42cc9740320b25
PDF Text
Text
2015 Argentum Arge nt u m 2 015 1 �Introduction In the 2013 movie Words and Pictures, two instructors at an upscale prep school – one of them a writer/poet, the other a successful painter – spark a school wide debate about what is more important: images or the written word. The artist and art teacher, played by Juliette Binoche, tells her Honors Art students that “words are lies” and that only art speaks the truth. The writer and English teacher, played by Clive Owen, unnerved when his Honors English students voice their support of “pictures” over “words,” launches into a defense of language and its ability to change the course of lives and governments. The art-word debate escalates, eventually culminating in a “War on Words” assembly, where Honors Art and English students ask their school mates to decide which has more impact, more value, and more worth – words or pictures? Through the students’ point and counterpoint defense of words and pictures, they challenge all pupils, and all movie viewers, to choose for themselves between the power of an artistic image and the power of the written word. “A picture is worth a thousand words. Anonymous,” declares one student. “There is no frigate like a book to take us lands away. Emily Dickenson,” counters another. “Shakespeare’s portrait appeared on his portfolio,” says one student. “He wrote ‘Reader, look not at this picture, but at this book.’” Another student, “’What is the use of a book, said Alice, without pictures?’ Lewis Carroll.” In the end, the teacher/poet quotes Marcel Proust, acknowledging that it is “only through art that we can know what another person sees.” He calls for a truce, and a coming together of words and pictures. While the movie garnered mixed reviews for its own effective use of words and pictures, no critic seemed to fault the premise – that language and artistic expression matter. Argentum welcomes the words and pictures of our students, faculty, staff and community members, no matter where they are on their creative journeys. The sharing of stories and ideas, artistically and in written form, can help individuals make sense of their lives, and expose us collectively to new ways of looking at our daily world. Great Basin College’s Virtual Humanities Center (VHC) is a new resource for educators, students and community members appreciative of new ideas. The VHC can be found at http://humanities.gbcnv.edu. The Center’s mission is “to collect, curate, and cultivate humanities for rural Nevada,” and it hopes to become a resource for people seeking “the unique contributions the Humanities make through innovation, ideas, the arts, and culture.” The committee spearheading the development of Humanities resources and classes are convinced that the Humanities matter, and are important to the world of the 21st Century. Take a look and see why. 2 Arge n tu m 2 015 �A r g e n t u m 2 0 15 I would like to extend a special “Thank You” to the 2015 Argentum Steering Committee. Tanya Stokes’s hard work, Patty Fox’s arts expertise, Karen Kimber’s willingness to “do publicity,” Toni Milano’s photography skills, and Josh Webster’s editing eye have been welcomed and valued. GBC instructors Patty Fox, Cynthia Delaney, Kristen Frantzen Orr, Gail Rappa and Deb Finley have my deep appreciation for their support, not only of Argentum, but of the students who turn to them for guidance in bringing beautiful creations into the world. To both Frank Sawyer and Tim Beasley, who navigate pesky computer issues in times of crisis, you guys are lifesavers! To Angie de Braga and the ACE Committee, who all work diligently to bring cultural events to the campus and community, thanks for including Argentum on your list of worthwhile projects. A final thanks to the Academic Success Center and director Ping Wang for providing Argentum “office” and storage space, and all ASC staffers who graciously answered questions from people seeking information about Argentum throughout the year. Kudos to Marin Wendell and Erin Radermacher of Everything Elko for production and design assistance. - Lora Minter, Editor T h a n k Yo u s Argentum thanks the college’s Arts and Cultural Enrichment (ACE) Committee for their support of this publication and all things “artsy” on campus. ACE’s mission is to organize programs and events that expose GBC communities to diverse experiences, cultures, and viewpoints. ACE fosters a spirit of inquiry, creativity, and reflection at Great Basin College with emphasis on: Live Performing Arts | Humanities Speakers | The Great Basin College Film Festival Exhibits & Events at the GBC Art Gallery Argentum – GBC’s Literary & Creative Arts Publication Visit www.gbcnv.edu/ace for updates on upcoming cultural events. Contact Angie de Braga at the GBC Continuing Education Department at 775-753-2231 for info on: ARGENTUM 2016 Theme: Design for the Human Spirit (Cash award to the submission that best depicts the theme.) Website: http://gbcnv.edu/argentum Email: argentum@gbcnv.edu Cover Art: Shelby Wilson/Spring Creek, GBC Art 100 - Beginning Drawing Student “Curls and Glasses” Pencil (Photo by Toni Milano) Arge nt u m 2 015 3 �In Appreciation Three years ago, when GBC President Mark Curtis moved to Elko, he brought with him his wife of 43 years, (who was also his high school sweetheart), and an appreciation for the art of stained glass making. In 2012 the couple left Michigan, a state they called home for more than six decades, trading rainfall for desert, lakes for peaks. Curtis’s wife Margaret says the couple fell in love with Nevada mountains, and that love inspired the creation of an 18-foot by 3-foot stained glass landscape scene now displayed in their home. Curtis created seven, free standing, stained glass panels in order to make up the mountain and foothill scene. This is one of almost 50 major stained glass creations he has finished since taking up glass making in a community education class 30 years ago. Curtis has said that his interest in stained glass was spurred by a desire to repair broken glass windows in a Michigan church he attended. After his wife signed him up for a stained glass class, he discovered the real joy a finished piece of art brings to others. “With stained glass, both the end product and the hands-on process of creation, are so satisfying,” he says. As a community college graduate, Curtis believes deeply in access to higher education. As a stained glass artist, he believes the real beauty of the medium is the positive effect it has on others. Argentum thanks President Curtis for his support of artists and authors. This publication is funded by the GBC Office of the President. Mark Curtis/Elko, GBC President “Mountain Range and Foothills” Stained Glass, Lead Came, Zinc 4 Arge n tu m 2 015 �Argen tu m S ele c ti o n Co m m i tt e e - 2 015 A heartfelt “thank you” goes to the following community members who gave generously of their time to select this year’s Argentum entries. Your expertise and efforts are appreciated. L o r e t ta R e e d , Photographer and Educator Loretta Reed graduated from the University of Nevada, Reno with a Bachelor’s Degree in both Biology and English. She has taught English in the Elko County School District for 29 years, and photography at Spring Creek High School for 20 years. She strives to impart a love of photography and the ability to truly see the world around us to her students. Reed began teaching photography as part of her yearbook adviser position and quickly developed a lifelong love of capturing images through a lens. She takes portrait and event photos as a sideline and hopes to pursue photography as a second career when she retires. Reed’s photos have been published on the cover of a number of magazines. She loves to take images of the Nevada landscape. M a r s h a D av i s , Curator and Art Lover Marsha Davis, a retired draftsman, Nevada native, and local area resident for 45 years, is a lifelong student of art who continues to learn about art everywhere she goes. As curator of Sierra Java’s art exhibits for the past 10 years, Davis is familiar with local artists and the abundance of talent in our community. She says Sierra Java is one of the few places in the area that will allow artists to exhibit their work for 90 days. These “one-man shows” provide artists exposure and the opportunity to get community feedback. Nancy harris Mclelland, Poet and Educator A seasoned and “user-friendly” college writing instructor, Nancy Harris McLelland has conducted writing workshops in collaboration with the Western Folklife Center, Great Basin College, and the Great Basin Writing Project. An Elko County native with a background in ranching, McLelland has presented her Poems from Tuscarora at both daytime and evening events at the National Cowboy Poetry Gathering. She currently publishes essays and poetry monthly on her literary blog “Writing from Space” and conducts weekend writing retreats at her home in Tuscarora. Additional info at www.tuscarora-writers-retreats.com. Arge nt u m 2 015 5 �Ta b l e o f C o n t e n t s Artist Title Shelby Wilson Debra Zoback Gail Rappa/Kristen Frantzen Orr Adam Minter Frank Daniels Gretchen Greiner Lois Ports Joshua Webster Nicci M. Freeman Sidnie Miller Simone Marie Turner Amelia Torrance Ashley Mendoza Jessica Smith Debbie Heaton-Lamp Sally Haueter Rampe Jennifer Stieger Lynne Volpi Patricia Gray Dan Thurston Jolina Adams Norman Whittaker Thelma Richie Homer Ryan Douglass Karen Blair Patty Fox Cynthia Delaney Jeffie Mackey Jessica Smith Arthur Asson Michelle King Julie Wallace Krys Munzing Paul Bowen Shawn Collins Cindy Joyce Kari Denham Brendan Abel Frank Henley Frank L. Sawyer Troy Edler Cami Stephenson Angie de Braga Niki Jonson Gaye Terras Sarah Nahnacassia Ann Hagland Mike McFarlane Diane Rice Sarah Sweetwater Kathi Griffis Kacie Ortiz Maggie Corbari Adam McKinney Meghan Rich 6 Arge n tu m 2 015 Page Curls and Glasses...................................... Cover Twist and Shout................................................ 7 Infinite.............................................................. 8 Christmas in the Eye of a Child......................... 9 Choosing the Right Path.................................. 10 Serial Bundling #5, #4, #6.............................. 11 Strutting Along ............................................... 12 Starkmoor College Facts: Alina Zoya Ilkin....... 13 I Had Always Meant To................................... 14 Jewelry Artist’s Chatelaine............................... 16 Fleur de Lis Shield........................................... 17 Flight II........................................................... 18 Industrial Bridge............................................. 19 A Divine Map................................................. 20 Tahoe Treasures.............................................. 21 Goldilocks Bracelet........................................ 22 Place & Nature............................................... 23 Mountain Majesty.......................................... 24 Bristlecone III................................................. 26 The Backside of Summer................................ 27 Reba Cluckintire............................................. 28 Warmth.......................................................... 29 Jukebox Blues................................................. 30 This Side of the Glass...................................... 31 Argentum 2015.............................................. 32 Goats at the Home Ranch.............................. 34 Spirits............................................................. 35 Life Comes from Above.................................. 36 Claim Staker’s Lament..................................... 37 The Worst Gospel Singer................................. 38 Symbol and Flowers....................................... 39 Timeless......................................................... 40 Sylvan II......................................................... 41 Ready to Play................................................. 42 Beaded Woman’s Gauntlets............................ 43 Contemplation............................................... 44 Thin Walls....................................................... 45 Tunnel............................................................ 46 Shed............................................................... 47 My Love is Like a CPU.................................... 48 Star Love........................................................ 49 Bowling Reflections........................................ 50 Old Dodge..................................................... 51 Hummingbird................................................. 52 Nature’s Wonder............................................ 53 Spring Showers............................................... 54 Nature’s Abstract #1....................................... 55 West Avenue Tuscarora, Nevada..................... 56 Hand Coin..................................................... 57 A Travel Trilogy............................................... 58 In the Spotlight............................................... 59 Corsair........................................................... 60 Ole Nevada.................................................... 61 Laying One Down.......................................... 62 Motorcross..................................................... 63 �Debra Zoback/Lovelock, Community Member “Twist and Shout” Glass Beads “Beading is a natural extension of my long fascination with stippling and pointillism. There are so many stitches, variations and applications. Add all those gorgeous bead colors and what can be done in such a small space is simply amazing.” Debra Zoback Arge nt u m 2 015 7 �Gail Rappa/Tuscarora, GBC Faculty Kristen Frantzen Orr/Spring Creek, GBC Faculty “Infinite” Sterling Silver, Flameworked Glass 8 Arge n tu m 2 015 (Photo by Kristen Frantzen Orr) �Adam Minter/Elko, Community Member “Christmas in the Eye of a Child” Digital Photo “Creating art provides a space and place where everything else disappears except for the flow of the paint and the image that appears.” Debbie Heaton-Lamp Arge nt u m 2 015 9 �Choosing the Right Path Two roads diverged in a different wood. One way was bad while the other was good. A villain had taken the old road sign. Which way to choose was for us to find. We talked and we chatted, but neither knew Which way was false or which was true. Then you pointed left and I pointed right. We started to argue and began to fight. So you stormed off in the one direction. THAT was the path that would lead to protection. And I went the other way. I didn’t know why. Perhaps I was lured by the deep blue sky. I looked back at you, and I saw you go Into howling winds and blowing snow. My way was better, or so I felt told, But then it got dark and grew very cold. It must be too late to turn back, we thought. So we each pressed onward, but all for naught. For I realized as I growled at the weather That the right path to take was the one together. Frank Daniels/Ely GBC Faculty 10 Arge n tu m 2 015 �Gretchen Greiner/Elko, GBC Jewelry II Student “Serial Bundling #5, #4, #6” Pressure Formed Copper, Bone, Alcohol Ink, Torch Patina (Photo by Kristen Frantzen Orr) Arge nt u m 2 015 11 �Lois Ports/Elko, Beginning Glass Beadmaking and Jewelry II Student “Strutting Along” Copper, Brass, Enamel, Flameworked Glass (Photo by Kristen Frantzen Orr) “We are the stories we tell ourselves; the world is an anthology. Tell worthwhile stories.” Joshua Webster 12 Arge n tu m 2 015 �Starkmoor College Facts: Alina Zoya Ilkin APPROVED FOR POSTING BY STARKMOOR PUBLIC RELATIONS & MARKETING At the age of 148 years, Ms. Alina Ilkin is the oldest person on Starkmoor’s historic campus. in a makeshift ceremony, but no official record of this exists. Alina’s preservation, conducted anonymously and in violation of law, informed the work of Dr. Abrikosov, the embalmer of V.I. Lenin. Named in over eight hundred scholarly articles, dissertations, and books, Ms. Ilkin has the longest curricula vitae of any Starkmoor faculty member. Sergei Korotkin, the famed author of novels, short stories, and dramatic works, paid to preserve his longtime lover’s corpse as he could not continue to write “without the heavenly presence of my [his] radiant muse.” He paid an estimated 1600 rubles, more than $50,000 (adjusted for inflation), for the unsavory work upon her death in 1910. Marcel DuChamp once referred to Alina Ilkin as, “the foremost exquisite corpse.” Friends and colleagues report Korotkin kept Alina in her airtight glass case in his study, wedged between a teak curio cabinet and a bookshelf housing his first editions. A number of colleges and universities in the United States and Europe expressed interest in Korotkin’s papers, but only Starkmoor President Ferguson Whitehall agreed to house Alina along with the author’s writings, an inviolable condition of their possession. Three poems by Adrienne Rich reference Alina. Paul McCartney’s original sketch for the cover of Sgt. Pepper’s Lonely Hearts Club Band included Starkmoor’s revered lady, but Blake and Haworth left her out of the final design. In a letter to Harold Bloom, Philip Roth claimed that during his week-long visit to Starkmoor in 1986 menacing dreams of Alina Ilkin haunted his sleep. John Updike, who visited in 1982, claimed to have “slept like a baby.” In a 2010 interview, Slovenian philosopher Slavoj Zizek stated he has intermittently worked on a monograph examining Ilkin as an artifact of the postmodern subject. Eve Ensler has, reportedly, sought financial backing for a play entitled Dollmadder examining the relationship of the woman and author through the lens of both Mary Shelley’s Frankenstein and Ibsen’s During the culture wars of the late ‘Eighties and early A Doll’s House. ‘Nineties, when faculty and students demanded Alina receive a proper burial, current Starkmoor President, Alina Ilkin’s middle name, Zoya, translates as “life,” an Reginald Wilbur, refused, stating Korotkin “was a very irony equally preserved. important author.” The funding for Alina’s upkeep comes from a special P.T. Barnum offered Kortokin’s representatives $20,000 for Ms. Ilkin alone, expressing no interest in the rest of the estate. Despite his intention to join Alina at Starkmoor ostensibly in eternal repose, Korotkin never left the Soviet Union. Imprisoned on charges of subversion, he died in a remote gulag, the location of his remains unmarked or recorded. Alina arrived at Starkmoor College in the winter of 1932 and spent the spring term in the Vanderbilt Library’s Atrium. When concerns about UV damage arose, administrators ordered her remanded to the third floor archive space. Currently, Alina holds honorary memberships in every fraternity and sorority on campus as well as a number of campus clubs not including ROTC. endowment established for this sole purpose in 1943. Most of the donors chose to remain anonymous. The birth and death records of Alina Ilkin have been lost to antiquity, victims of the Bolshevik Revolution. Despite the overwhelming shadow Alina cast over Korotkin’s life, his writings offer few (some would argue disturbingly so) references to her personal life, history, and habits. Though circumstantial evidence supports the assertion Ms. Ilkin studied ballet, scholars of pathology and mummification suggest any present jarring, intentional or otherwise, would result in severe and catastrophic erosion of the skin and musculature to a degree they describe as “horrific.” As part of a particularly raucous Christmas party in 1952, members of the faculty and administration Alina Zoya Ilkin is on view to the public during regular including writer-in-residence William Faulkner archive hours and by special appointment. reportedly awarded Alina with an honorary doctorate Joshua Webster/Elko GBC Faculty Arge nt u m 2 015 13 �I Had Always Meant To… He wandered up from the stream with a defeated look and came to sit beside me. “I didn’t catch anything.” “I didn’t think you would. Fish were all done biting hours ago.” We sat in silence for a while, the bubbling and gurgling of the stream resounding in the background. I could hear his heavy breathing. It was so close to my ear that it sounded like the wind that beat at our doors and windows last fall when the biggest hurricane of the season hit on the first day of school. I reached down beside me and came up with a plastic water bottle that was slick from condensation. I unscrewed the lid and lifted the rim of the bottle to my lips and drank greedily. When I had had my fill, I offered the bottle to him. “Troy, do you want some water? It’s awful hot out here.” He shook his head. “No thanks. I’m good.” I shrugged and tipped the bottle and peered inside. There wasn’t that much left anyway. I set it aside for later. We continued to sit on the flat rock that overlooked the stream for quite some time. Silence crept upon us once again, but that was alright. We just sat there, each of us pondering our own small problems and not really getting anywhere. In reality, we were both stalling because neither of us really wanted to go to our respective homes. It’s not like we were abused at home or anything – we just didn’t want to be there, being told what to do and when, where, why and how to do it. We’d much rather be alone, together. Just us two against the world. That’s how it feels when you find your soul mate, and your soul mate is your best friend. You don’t need the drudgery of daily life, because together you have superpowers. “We’d better head back before it gets too late,” Troy said quietly. I nodded in reluctant agreement. We bustled around, gathering packs, tackle boxes, fishing poles and the like. When we were properly outfitted to return home, Troy offered to carry my bag for me. 14 Arge n tu m 2 015 � “No, no. That’s alright. I’ve got it.” “Are you sure? It looks heavy…” He seemed very concerned. “Troy, I’m a girl, not an invalid. It’s fine, really!” “Hurumph,” was the sound he made as he adjusted his load and started down the path that would lead us to the base of the mountain. I hung back for a moment, taking a final glance at the stream. It was dazzling in the summer sun. The light that filtered through the leaves of the full summer trees made dancing reflections on the already sparkling water. I stood a moment more, inhaling deeply, taking it all in. Then I turned to join Troy, who had kindly stopped on the path to wait for me. Together, we descended the mountain. That was when we were fifteen. I’m all grown-up now, living a grown-up life in a grown-up world. Every day I drive a grown-up’s car to a grown-up’s job and earn a grown-up’s paycheck. Then I go home to a grown-up’s house where a grown up’s family is waiting for me. We have dinner, do homework, watch TV, read bedtime stories, put the children to bed, check our email, watch the news and do other things that grown-ups do. Then we get up and do it all again the next day. Troy should have been doing this same routine with his family. As we got older, Troy and I started to grow apart. I had always meant to call him, just to say hi. Let him know he was still so special to me. I had always meant to drop in on him and rehash old times. I always meant to tell him I loved him – loved him more than I loved anyone else. Only now it’s too late, he’s gone. I forget how they told me he died – drunk driver, texting and driving, heart attack, broken ankle, aliens called him home, I don’t know and it really doesn’t matter. The point is, he’s gone. It’s too late to do any of the “I had always meant to’s.” I wish one of the “I had always meant to’s” I had gotten around to had been to say goodbye. Nicci M. Freeman/Spring Creek GBC Staff Arge nt u m 2 015 15 �Sidnie Miller/Elko, GBC Jewelry II Student “Jewelry Artist’s Chatelaine” Copper 16 Arge n tu m 2 015 (Photo by Kristen Frantzen Orr) �Simone Marie Turner/Spring Creek, GBC Jewelry II Student “Fleur de Lis Shield” Brass, Copper, Silver, Aquamarine, Labradorite (Photo by Kristen Frantzen Orr) Arge nt u m 2 015 17 �Amelia Torrance/Winnemucca, Community Member “Flight II” Digital Photoshop 18 Arge n tu m 2 015 �Ashley Mendoza/Elko, GBC Digital II Student “Industrial Bridge” Digital Photo “A professor once told me that art helps develop your problem-solving skills. More than that, without creativity, the world is just dull.” Ashley Mendoza Arge nt u m 2 015 19 �A Divine Map Maps show so many things Treasures and tales Of lost golden rings. Some maps are dirty And yellowed with age Some maps are crisp Some printed on noble page. Some are folded Hidden in some corner And some are rewarded With county recorders. Maps are like you Maps are like me Born a blank page Empty and free. But as time rattles on All of us draw our own maps With pencils of experience We plot our own path. Who else but God Could show you the way When you have no idea where you are going And no idea of what to say. You are not born With a draftsman’s keen eye So, how can you tell The mountains from the sky, But if you look around on your map There are a few hidden clues To the state you were born And the life you will choose. One knows not The roads you will take Or the mountains you’ll climb Or the fences of fate Which cross the designated path Often when least suspect Covered in rusty nails and barbs God draws you a fence. The map you are drawing Is unique and intense And you must always remember There’s a path around that nasty fence. Look to the scale bar To find out how long An inch is a mile But I might be wrong. But of the drawing of maps The most important rule is such That the North Arrow Must always face up. Like hands towards the sky It acts as your guide No matter the weather Or if your map leads you awry. So say a little prayer And you’ll find your way. Just look where you are going And always have faith. Jessica Smith/Orovada GBC Student 20 Arge n tu m 2 015 �Debbie Heaton-Lamp/Elko, Community Member “Tahoe Treasures” Watercolor Arge nt u m 2 015 21 �Sally Haueter Rampe/Elko, GBC Jewelry II Student “Goldilocks Bracelet” Copper, Brass, Silver (Photo by Kristen Frantzen Orr) “I have been an avid reader and writer since my childhood. Writing allows me to express my emotions, and to explain and interpret experiences in my life.” Jennifer Stieger 22 Arge n tu m 2 015 �Place & Nature: How Landscape Impacts Memory April 2007 A spring rain falls and the musky scent of wet sagebrush reminds me of childhood. The Nevada high desert has been home for more than thirty years; yawning deep blue skies and towering purple mountains are as familiar to me as the yellow swing set that used to occupy my grandparents’ backyard. Granny and Poppy lived in a single-wide trailer on the outskirts of Battle Mountain, a sleepy rural community in northern Nevada. During the summertime, parched alkaline soil shriveled the tomato plants in Poppy’s garden. Winter months temperatures hovered below freezing as long silver icicles dangled from the covered front porch and brilliant stars glistened in a canopy of darkness. Yet once inside Granny’s home, savory aromas overwhelmed the senses. Fragrant fried chicken and buttery biscuits mingled with the sweet smell of Poppy’s pipe. This isolated place situated in the barren Nevada landscape influences my memories, first molding, then solidifying them into permanent pieces of the past. Memories, like an intangible apparition, possess dream-like characteristics as well. In a dream, an almost forgotten loved one may have a blurry face or reside in an unfamiliar place. As with memory, the many facets of a person’s character cannot be recalled, but strong emotion - perhaps love or bitterness - will remain. The natural world and memory are intertwined as tightly as a master weaver spins his cloth. The smell of damp sagebrush after a summer thunderstorm; the soft kiss of a dandelion seed; the brilliant blood-red sunset during a wildfire - these sensory images conjure memories and sentiments. Place and the natural world resuscitate emotions once thought dead. After my grandmother passed away, it was her home and the surrounding landscape that revived my memories of her. The house was not as I remembered. I went with Mom to visit Poppy not long after the funeral. Like Poppy, the single-wide trailer was worn-out, battered from the harsh elements of the high desert. The dilapidated front porch had long since faded under an unrelenting Nevada sun. Granny’s collection of wind chimes used to serenade my entrance, but on that day only the whistle of a lonely wind tickled my ears. Entering the trailer, I noticed worn furniture and dust particles swirling in the sunlight. The kitchen the nucleus of Granny’s life - was cluttered with dirty dishes. If I cocked my head and listened closely, giggles of unruly children echoed down the hallway, phantoms from the past. Later I stood outside on the shaky wooden porch and gazed at rolling brown hills gilded by the sun. Memories of Granny wrapped warm around me like a pair of arms. September 2014 Poppy is dead. Clouds billow and roll in the late afternoon heat; large white masses of cotton obscure the deep blue of a Texas sky. The highway, a gray ribbon of concrete, stretches far into the horizon, and the human eye cannot tell where earth and sky touch. I follow Dad along the roadside as tall green grasses undulate in the wind. The air is like syrup viscous and wet. A plastic bag heavy with white ash swings from Dad’s hand; it is his father’s remains. This field in a remote region in the Texas Panhandle is where my grandfather wished to have his and Granny’s ashes scattered. As Dad spreads the ashes, and I watch the dust settle into the earth, the land transforms from dirt and grass into a sacred resting place for two souls. As I stand next to Dad on the side of the road in an obscure Texas valley, I feel a connection with the land. This is earth where my grandparents walked. The dips and swells of the verdant fields are where two families met and became one. With a bright sun beating down upon my head and the whisperings of the wind in my ear, a reverence resonates in my soul, and I close my eyes to listen. Jennifer Stieger/Elko GBC Student Arge nt u m 2 015 23 �24 Arge n tu m 2 015 �Lynne Volpi/Spring Creek, Community Member “Mountain Majesty” Watercolor Arge nt u m 2 015 25 �Patricia Gray/Spring Creek, Community Member “Bristlecone III” Acrylic Ink on Clayboard “Since I’ll never drive 2,000 cows up the Chisholm Trail, I try to write what I know…try to find romance (in a broader meaning of the word) in the American West of today.” 26 Arge n tu m 2 015 Dan Thurston �The Backside of Summer I drove home last week, and from Wilma’s Hill The valley below me was gold. And it hit me, we’re on the backside of summer. The rabbit brush is turning gold. The goslings that were little and cute in the spring Have grown to almost goose size. The first doe goat has come into heat And the buck is coming alive. Last weekend we spent stacking up hay; The hay shed has all it can hold. It’s a good feeling, being ready for winter. The rabbit brush is turning gold. Last month we poured concrete at five in the morn, And the sky already was light. Last week, when we poured at five-thirty, We did it with pickup headlights. They’re painting an Indian head on the high school gym floor; It’s all done up in Elko maroon. But the coach is checking his schedule, “I hope they finish it soon.” It’s still warm after lunch and the calendar says August has a few days to go. But we know this won’t last too much longer The rabbit brush is turning gold. I best check the furnace and heat tape the pipes, Clean the culvert down on the road. We don’t want to be caught unready; Summertime is now growing old. I’m a tad apprehensive, a bit excited, ‘Cause you can’t put winter on hold. It happens each year, in late summer, As the rabbit brush turns gold. Dan Thurston/Elko Community Member Arge nt u m 2 015 27 �Jolina Adams/Winnemucca, GBC Staff and Beginning Glass Beadmaking Student “Reba Cluckintire” Flameworked Glass Bead 28 Arge n tu m 2 015 (Photo by Kristen Frantzen Orr) �Norman Whittaker/Elko, GBC Faculty “Warmth” Clay Stoneware (Photo by Toni Milano) Arge nt u m 2 015 29 �Jukebox Blues Our t-shirts never had anything written on them advertising a secret life we wished to have; we didn’t sit around with incense lit blowing our minds about sex revealing tattooed buttocks above hip-hugger jeans. Even though we lived in guarded innocence we still caught the spirit of the blues, tuned our ears to the Hit Parade, imagined being one of the 20,000 bobby-soxers pressed against the doors of the Paramount Theatre screaming our heads off swooning to Sinatra’s “I’ve Got You Under My Skin.” We saved our nickel tips for the jukebox juggling car-hop trays to “Mack the Knife,” or the enlivening nostalgia of the Big Bands, snapping our heels to “Mule Train.” Mostly though, we swung to the “Tennessee Waltz,” “Mockingbird Hill” or hummed “Doggie in the Window.” From sophisticate to swinger we twisted with Chubby Checker ‘til Elvis with his urgency on-the-rocks blues transformed our baby doll nights into musical euphoria waggin’ his tail and telling us we weren’t “Nothin’ but a Hound Dog.” Thelma Richie Homer/Elko Community Member 30 Arge n tu m 2 015 �This Side of the Glass From this side of the glass, The bitter wind is saved from my cheeks. Though it beats the frozen glass for weeks, I sit beside my fire with fervent desire And watch snowflakes amass. From this side of the glass, No cold could dare find my sorrowful heart. The winter’s howling chill cannot tear me apart From my crackling fire, but I do so admire Its persistent crystal clash. From this side of the glass, I no longer recall its bite upon my face. I’ve been held hostage in this pleasant place. Heated by glowing fire I wish now to acquire A brief touch of the flurry’s pass. From this side of the glass, I say a great many things about the other side. But if the blustery wind became my bride, I’d lose my fire that I’ve come to require And my comfort would cease at last. From this side of the glass, I shall watch this storm carry to the next, And mortality will find me wholly perplexed, As I sit beside my fire with apathetic desire And watch snowflakes amass. Ryan Douglass/Elko Community Member Arge nt u m 2 015 31 �Argentum - Light Graffiti “This image was created with a technique called light graffiti, also known as light painting,” explains photographer Karen Blair. “Simply put, it is painting with a hand held light source (flashlight, glow sticks or fire) and long exposure photography.” So, how did she do it? Blair chose a Lake Tahoe site with stars and trees as a backdrop. She selected the camera’s manual or bulb setting, turned auto focus OFF, and set the ISO as low as possible. Using a small ball made out of different colored glow sticks, she wrote “Argentum” in the air all at once during a 30-second shot triggered by her niece, Lauren Sharp. Blair is not visible in the image because she wore dark clothing and kept moving. “All letters were done just as if I was using a pen and paper, but I was painting with light,” she says. “I did have to get creative to cross the “t” without a tracer!” She says that since letters will be flipped, the light writer has to learn to write backwards in cursive, or learn how to flip the image in Photoshop. 32 Arge n tu m 2 015 �Karen Blair/Spring Creek, Community Member “Argentum” Light Painting Photography Arge nt u m 2 015 33 �Patty Fox/Spring Creek, GBC Faculty “Goats at the Home Ranch” Watercolor, Ink 34 Arge n tu m 2 015 �Cynthia Delaney/Elko, GBC Faculty “Spirits: Photo Collage, Images from Many Countries” Digital Photo Collage Arge nt u m 2 015 35 �Jeffie Mackey/Spring Creek, GBC Art 100 - Visual Foundations Student “Life Comes from Above” Color Pencil 36 Arge n tu m (Photo by Toni Milano) 2 015 �Jessica Smith/Orovada, GBC Student “Claim Staker’s Lament” Oil Arge nt u m 2 015 37 �The Worst Gospel Singer Well, I’m the worst Gospel singer that you ever did hear; I’ve sung in every church around, but the people cringe in fear. Strong men whimper, women faint, and preachers just get sore; It isn’t pretty and I’m done real quick, and then I’m out the door. I loved to sing in church, as a boy I did pretty good; ‘Til my voice changed, and then I sounded like a saw on wood. I tried my luck at rodeos and bars - it was an extensive search; But at last I thought, “There’s no place like home,” and went back to church. First I tried the Baptists, a really agreeable bunch; But they threw me out of church before the casserole lunch. Next I tried the Methodists, but they also gave me the boot; And left me with the impression that they and the Baptists were in cahoots. So then I tried the Catholics, and though they didn’t mention Hell; They did mention Purgatory, and ran me out of town on a rail. Next it was the Presbyters, but it wasn’t meant to be; I thought I might survive, ‘til they mentioned a rope and a tree. Next in desperation I gave the Seventh Days a try; But they were never there on Sundays when I dropped by! At last I tried the Episcopals, and they were most polite; They said that they would pray for me, and then they put me to flight. So I’m the worst Gospel singer that you never want to hear; I’ve sung in every church around, but the people plug their ears. Strong men whimper, women faint, and preachers just get mad; At least I’m good at something, but I’m good at singing bad! Arthur Asson/Spring Creek Community Member 38 Arge n tu m 2 015 �Michelle King/Elko, GBC Art 100 - Visual Foundations Student “Symbol and Flowers” Color Pencil (Photo by Toni Milano) Arge nt u m 2 015 39 �Julie Wallace/Spring Creek, Community Member “Timeless” Digital Photo 40 Arge n tu m 2 015 �Krys Munzing/Elko, Community Member “Sylvan II” Fiber Art Arge nt u m 2 015 41 �Paul Bowen/Elko, Community Member “Ready to Play” Digital Photo 42 Arge n tu m 2 015 �Shawn Collins/Spring Creek, Community Member “Beaded Woman’s Gauntlets” Brain Tanned Buckskin Beads (Photo by Laura Gallegos) Arge nt u m 2 015 43 �Cindy Joyce/Wells, Community Member “Contemplation” Digital Photo 44 Arge n tu m 2 015 �Thin Walls They’re calling out my name I’ve rolled the dice, it’s my turn, and they are Whispering answers to the game. They’re alongside and filed behind Cheerleaders, then friends, and thumbs up fans. Outspoken, outlying and internal, Struggles of the mind make time bend. Peering out of broken shades The screams of nos and pleads of yes begin, blaring in chorus with each blinking light As I wander through the tokenless arcades Watching others think for free they’ll win. Darkened corridors Exploring the never there Piping seagulls, salty sickness, crashing echoes As I wade through waterless shores. Hissing, snakey, figure eights of smoke I watch them escape evil Using the most faulty of wicked antidotes. Breathing in a lung full of hope, I exhale the bittersweet contents Of a cocktail of self control and see it wisp and float up and linger amongst the poor lost souls that walk around not sure which way’s even up. You start to fear the rooftop’s creatures That perch on corners, The most pleased and relentless pieces of them all, For they’re your biggest fans And the least of things to fear Beware it isn’t them that clicks and squawks Their master’s sitting with a blinkless stare, Slumped, unmoving, staring in an office chair Making thousands of different lists A referee to this game, I’m told it’s my turn. I didn’t want to roll, don’t deal me in No longer do we have a choice when all the Walls are not paper but digital thin. Kari Denham/Spring Creek Community Member Arge nt u m 2 015 45 �Brendan Abel/Elko, GBC Digital I Student “Tunnel” Digital Photo 46 Arge n tu m 2 015 �Frank Henley/Spring Creek, Community Member “Shed” Digital Photo “My photos are a journal to me. Each photo I make is a piece of my soul. It’s my therapy, and my never-ending journey through life.” Frank Henley Arge nt u m 2 015 47 �My Love is Like a CPU My love is like a CPU, I long to interface with you. Caught up in your memory, I’m the board and you’re the key. I monitor your every move, You bring life to color, too. I may be floppy time to time, I’m just a call away on-line. You and me and our own house; You turn me on, You click my mouse. You got a slot, I’ve got the card, Let’s just hope my drive is hard. Looking in your steel grey eyes, You’re my PC love surprise. Let cathode rays strike my heart, Still we’ll never be apart. You know I love you, I always will; I’ll gaze out from my Windows sill, Think of you and take your hand, Place you on my printer stand. I want to spend my life with you, ‘Cause my love is like a CPU. Frank L. Sawyer/Elko GBC Faculty 48 A rge n tu m 2 015 �Troy Edler/Elko, Community Member “Star Love” Digital Photo Arge nt u m 2 015 49 �Cami Stephenson/Elko, Community Member “Bowling Reflections” Digital Photo 50 A rge n tu m 2 015 �Angie de Braga/Elko, GBC Faculty “Old Dodge” Digital Photo Arge nt u m 2 015 51 �Niki Jonson/Elko, GBC Digital II Student “Hummingbird” Digital Photo 52 A rge n tu m 2 015 �Gaye Terras/Spring Creek, GBC Staff “Nature’s Wonder” Digital Photo “Photography reflects your personality as you capture an image with your eyes in order to tell a story with your heart.” Cindy Joyce Arge nt u m 2 015 53 �Sarah Nahnacassia/Spring Creek, GBC Digital I Student “Spring Showers” Digital Photo 54 A rge n tu m 2 015 �Ann Hagland/Elko, Community Member “Nature’s Abstract #1” Watercolor Arge nt u m 2 015 55 �Mike McFarlane/Spring Creek, GBC Vice President “West Avenue Tuscarora, Nevada” Digital Photo 56 A rge n tu m 2 015 �Diane Rice/Elko, GBC Digital II Student “Hand Coin” Digital Photo Collage Arge nt u m 2 015 57 �A Travel Trilogy MIDDLE AGE SPREAD I AM NO LONGER WHO I WAS ST MARTINS IN THE FIELD In pre-dawn darkness, My winter weight Is a bodyguard. Hair colored, curled and coiffed Bled dollars from my purse Arresting my age. The lean coyote Of summer days Fled the scene. “Arresting” did I say? Am I being held prisoner In a stand-still life? Three of us Sitting at separate tables, alone. Wearing comfortable shoes, Black soft-cushioned soles Neighbors to the white pair of Nikes All: real walking comfort. Heavy weight on bone vs Delicate image in mind Imprison me. Let Silver creep in Curls grow straight Be-coming myself. The first, a California lady, sighs Begins to eat her meal. The second sips wine, Her eyes cast down. I sit silent, no words. The lady rising is black, slender, serene She cleaned her table carefully The white woman also rises Adding her dishes Carefully to the pile. “Words and images are my meditation, my expression.” Sarah Sweetwater We sat there, separated, silent Yet joined by glance, By white hair and aged face, Perhaps by similar thoughts And comfortable shoes. Around our global neighborhood We often eat alone, Sit at separate tables, Savor our adventures, And wear comfortable shoes. Sarah Sweetwater/Elko Community Member 58 A rge n tu m 2 015 �Kathi Griffis/Spring Creek, GBC Staff “In the Spotlight” Digital Photo Arge nt u m 2 015 59 �Kacie Ortiz/Elko, GBC Student “Corsair” Digital Photo 60 A rge n tu m 2 015 �Maggie Corbari/Elko, GBC Student “Ole Nevada” Digital Photo Arge nt u m 2 015 61 �Adam McKinney/Battle Mountain, Community Member “Laying One Down” Digital Photo 62 A rge n tu m 2 015 �Meghan Rich/Elko, GBC Digital II Student “Motorcross” Digital Photo Arge nt u m 2 015 63 �“Creating art means getting to scream and whisper and sing all without opening my mouth. Art is often the only way to get an emotion out of my head. By exploring emotions through art, I think I come to understand them better. Art keeps me sane, or at least it helps me hide the crazy.” Shelby Wilson
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Argentum Art and Literary Magazine
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Great Basin College's Art and literary magazine featuring student, faculty, and community works.
Description
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Great Basin College's art and literary magazine devoted to highlighting the excellent artistic expression of its students, faculty, staff, and members of the communities in which GBC serves.
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Great Basin College / Arts and Cultural Enrichment
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<a title="Argentum web site" href="http://www.gbcnv.edu/argentum/">Great Basin College Argentum web site.</a>
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Great Basin College
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07/01/2014
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Great Basin College's students, faculty, staff, and members of the communities in which GBC serves.
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c. 2010-17. Great Basin College. All rights reserved.
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The issues of Argentum are in Adobe .PDF format.
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English
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Art and literary magazine
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art, arts, literature, photography
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
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Argentum 2015
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The 2015 edition of the Argentum Arts and Literary Magazine. <br /><a href="/omeka/files/original/80756781b116ddc303712110b1734c9d.pdf" target="_blank" rel="noopener">View pdf of magazine in new tab</a>
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Great Basin College
Description
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The 2015 issue of Great Basin College's art and literary magazine, Argentum. Devoted to highlighting the excellent artistic expression of its students, faculty, staff, and members of the communities in which GBC serves.
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Great Basin College Argentum web site: <a href="http://www.gbcnv.edu/argentum/" target="blank">http://www.gbcnv.edu/argentum/</a>
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Great Basin College
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1 May 2015
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Great Basin College's students, faculty, staff, and members of the communities in which GBC serves.
Scott A. Gavorsky [VHC]
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c. 2015. Great Basin College. All rights reserved.
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pdf file
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English
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arts, literature, poetry, photography
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PDF of print magazine
ACE
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Argentum
Community
Faculty
literature
photography
poetry
Students
Symphony