AIFF 2014: My Saturday Highlights

I started at the short narratives program Love and Pain.  I missed the first film and came in during the second one.  Of the rest, I particularly liked two:

• Universal Language
• Reaching Home

Based on what I'd read and seen about Universal Language, I was a little unsure if the director would really be able to pull it off.  And at the beginning I still wasn't sure, but it worked very nicely.  An American in Paris meets a Parisian woman - they don't speak each others' languages.  

Reaching Home was just a very good short family drama - family gathering at Thanksgiving - some sibling rivalry among the two adult sons - as they try to resolve what Mom should do about Dad.  Sailing plays a big role in this movie.  This shorts program plays again Thursday evening.

Rocks In My Pockets

Then on to the museum for Rocks In My Pocket.  I was looking forward to this one - an animated feature film where we learn the history of Latvia in the 20th Century through a family in which depression and suicide  are passed on from generation to generation.  This is a film that has had the programmers and judges divided.  The animation programmers didn't even select it to show in the festival.  The feature programmers not only picked it, but made it one of their films in competition.  

The  animation is playful, and relatively simple (not pixar-like) and the story does go on awhile, but all the history gives us context for the end.  This is probably the most unique film in the festival, but if you like Hollywood action films, this one may not be your cup of tea.  

Rocks in My Pockets plays again Sunday (today), Dec. 7, at 5 pm at the Alaska Exp Theater.

Petter Ringbom after showing of his film Shield and Spear

Shield and Spear

Then to the Bear Tooth for the 5:30 film Shield and Spear, a film about cutting edge, generally below the radar artists in South Africa.  The Swedish born director, Petter Ringbom, who lives in New York was here.  Just very briefly, this a beautifully shot film - wonderful images - of artists on the edge in South Africa.  Petter did this as a solo film crew, something that he says helped him gain the trust of the people who filmed.    Interesting topic, well done.  

Shield and Spear plays again today - Sunday, Dec. 7, 2014 at the Alaska Exp Theater (large) at 1pm.

Hands Up, Don't Shoot - Anchorage

As I left the Alaska Experience theater about 2:50pm to catch Rocks In My Pockets at the Museum, I heard want sounded like a drum?  chanting?  I'd just seen the short "What Cheer?" where the main character is followed around, closely, by his own bizarre brass band.  So I was wondering if I was hearing that in my head.

But I looked back, as it got louder, and there were marchers coming down 4th Avenue to cross C St  where I had just been.  There were marchers in Seattle last week, but I was driving and had to make a left turn before our path was blocked by the marchers.  So no pictures.

But this time i was on foot and so here's a super short video to just document the march.

AIFF 2014: Bob Curtis-Johnson On The Digital Data Management Workshop

I ran into long time Anchorage film maker Bob Curtis-Johnson, who has been promoting film making and new film makers for decades.  I knew he was doing a workshop, but I didn't know the details, so I asked.  When we have national talents in town for the Festival,  I think there should be more technical workshops aimed at local film makers.


This workshop - Sunday, Dec. 7, 2014  at 2pm at the Museum - on Digital Data Management is the kind of workshop I was talking about.  But listen to Bob describe it.





The official Title is:

Archive Before You Shoot: Media Management 

for Digital Filmmaking

The official description is:

Illustrated with an eclectic assortment of digital media and film clips, this open conversation will explore workflows used by digital filmmakers and how media can be optimized to aid repurposing (such as stock footage licensing) and ongoing preservation. Jeff Consiglio, editor on multiple Academy Award-recognized documentary films, will Skype in from L.A. to discuss his media management workflow. Included in the conversation will be a discussion of the digital and analog preservation technologies utilized for the recent restoration of UKSUUM CAUYAI (The Drums of Winter), a 90-minute feature documentary listed on the Library of Congress' National Film Preservation Registry. Also: "52 Cats and 1 Kitten" makes its triumphant return to the Alaskan screen.

AIFF 2014 - Saturday - What To Do?

I'm throwing up my hands here.  Lots of good things and some I really want to do are at the same time.  And the alternative times conflict with something else.  But that's the nature of festivals like this.  More than anyone can see.

I'm going to try to get to Global Village Shorts Program which has four films in competition and to Rocks in My Pocket.  I hate to miss The Homestretch at Loussac and will try to get to the discussion at least.  But I may change my mind.  The grid below will get bigger if you click on it.  Or go to the original at Festival Genius.  There, if you mouse over a film, a popup will give you more detail.

Note the Frost Drive-In.  And there's a family friendly drive-in, in the Loussac Parking lot (I think that's what someone told me, the program just says Loussac.)  That's at 7pm.  You'll use your car radio to get the audio I was told.  

AIFF 2014: Who Is Rick Prelinger?

Image from Spots Unknown

Lots of really interesting people show up in Alaska at one time or another, and they can walk down the street and you would just see "a tourist" or "some old guy" or whatever.  I never would have known who the man in the museum waiting for his wife one Sunday afternoon was 25 or so years ago if the museum director hadn't said, "Steve, have you met Arthur Miller?"

Well coming to Anchorage for the festival is one Rick Prelinger.  He teaches at UC Santa Cruz but more important he's a HUGE old film buff - specifically home videos and sponsored videos made to promote companies, ideas, and, not incidentally, cultural values.  So if you see this guy on the left, say hello.

In my tips for how to get the most out of the festival I include the advice to go to programs that include the film maker.  Well, I think in this case, it's a chance to meet a man who has spent a lot of time and effort learning about film making in the US and how it shapes us as a nation.  This is a big deal.

 He collected thousands of such films and we'll have the chance to see a road trip across the US made up of many of these old films and you'll be able to hear him talk about his truly remarkable Prelinger Archives that is part of the National Archives now.

Check out this short video to learn about one big aspect of Rick Prelinger.







 You have a chance to see his film Saturday night and see and hear him on a panel Sunday at the Museum.   From Festival Genius:

No More Road Trips?

Documentary

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Matches: participants

No More Road Trips? isn't a conventional documentary. It's made completely from home movies that were shot by hundreds of people, starting in the mid-1920s. Its narrative traces a composite automobile journey from the Atlantic to the Pacific, beginning with the shoreline and historical monuments of New England and ending on a beach in southern California.

more>

Sat, Dec 06, 9:00 PMAnchorage Community Works

The Past and Future of Moving Image Preservation

Event

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Matches: synopsis

Join us for a scintillating and wide-ranging panel discussion on the history and future of moving image preservation in Alaska and the U.S. Our panel of experts will consist of Bob Curtis-Johnson of Summit Day Media in Anchorage, Kevin Tripp and Greg Schmitz of the Alaska Moving Image Preservation Association (AMIPA), and San Francisco Film Archivist and Filmmaker Rick Prelinger. 

more>

Sun, Dec 07, 6:30 PMAnchorage Museum at Rasmuson Center

Here's what Wikipedia says about him:

"He worked at The Comedy Channel from its startup in 1989 until it was merged into the comedy network HA!, and then worked at Home Box Office until 1995. Rick has taught

in the MFA design program at New York's School of Visual Arts and lectures widely on American cultural and social history and on issues of cultural and intellectual property access. He sat (2001–2004) on the National Film Preservation Board as representative of the Association of Moving Image Archivists, was Board President of the San Francisco Cinematheque (2002–2007), and is currently a board member of the Internet Archive. In July 2013, he was appointed Associate Professor in the Department of Film & Digital Media at UC Santa Cruz.
His feature-length film Panorama Ephemera, depicting the conflicted landscapes of 20th-century America, opened in summer 2004. With spouse Megan Prelinger he is co-founder of the Prelinger Library, an appropriation-friendly reference library located in San Francisco. In recent years he has produced archival compilation films on the history of San Francisco (Lost Landscapes of San Francisco, eight annual films, 2006–2013, and Lost Landscapes of Detroit, three films, 2010–2012 and a fourth, "Yesterday and Tomorrow in Detroit", 2014.) He was awarded a Creative Capital grant in 2012 to make the film No More Road Trips?, which premiered in Austin, Texas, at South by Southwest in March 2013.^[5]He wrote The Field Guide to Sponsored Films (2007) which "describes 452 historically or culturally significant motion pictures commissioned by businesses, charities, advocacy groups, and state or local government units between 1897 and 1980." It is available as a book and as a free PDF from the National Film Preservation Foundation. He worked at the Internet Archive (2005–2007) on a large-scale texts digitization project and (2004–2005) helped organize the Open Content Alliance."

AIFF 2014: Alaska Film Industry Discussion Focuses on Alaska Film Credit

Johnston, Worrell, Schildt, Green, Mazzei

Frank Hall Green, Director of WildLike
D.K. Johnston, Executive Producer/Director of Alaska Filmmakers
Deborah Schildt, President of the Alaska Film Group & Production Manager at Piksik
Dave Worrell, Development Specialist at the Alaska Film Production Promotion Program
Kelly Mazzei, Executive Director of the Alaska Film Office







This is pretty rough note taking, but it will give you an idea of what they talked about.

Johnston

DK Johnston is talking about the Alaska Filmmakers group and its growth since the tax incentive program went into place.  People  starting to come here to start their film careers now because there is now a huge supportive film network up here.

Deborah Schildt, the Alaska Film Group, moved here from LA.  What can Alaskans do with film?  A lot?  I got my degree in BC and then to LA.  Eight years and 20 features later, I came to Alaska for vacation and loved it.  I'm working in film here now.  We realized we needed an incentive program and we got together.  Industry is changing.  High end commercials coming here changing.  More independents, internet.  If you take your film passion and get on the job training - features, realities, docs, you move up the ladder.  $75,000 you can get the incentive - and benefit for being an Alaskan.  First you need the passion.  Then pursue it.  Join the Alaska Film Group, talk to me, Do it!

Dave Worrell - Our incentive program.  What's it all about.  Signed into law 2008 - also recreated the Alaska Film Office.  It had existed in 80s and 90s, but when film group started, it realized it needed an incentive program.  The industry has become incentive driven.

Provides a tax credit against productions in Alaska.  Makes it more affordable to do the work here in Alaska.  We have the program created by the Legislature.  About diversifying the economy.  I'm in the Division of Economic Development.

Online film.alaska.gov  - allows Alaskans to create a listing of the products or services etc.  So when producers are looking for Alaskans are looking for Alaskans to work on projects, we tell them to look.  Also, they mostly don't have a tax liability, so they can sell their credit to Alaska businesses.
Program divided ito two sections - Dept. of Commerce where I am and also Dept. of Revenue which runs the program.

1.  Website is for productions to learn about production here, find people, locations, and about the credit. Good site.
2.  We answer the phone and answer questions.  Important that we have a permanent personal contact is critical.
3.  Partner with the Alaska Film group and ??? to have a presence at Outside film conventions.  People ask all sorts of questions about Alaska.  Our job to make Alaska attractive to productions companies.


Kelly Mazzei, Exec. Director of the Alaska Film Office.  Since July 1, 2013 we had 63 applications

Mazzei, Alaska Film Office

for the film credit, of them, 13 features or short films, 37 unscripted ??, ?? documentaries, and commercials.  Films are utilizing our state resources - particularly the documentaries.  Commercials are keeping Alaskans working and showcase Alaska.

Some changes - Commission must approve all applications with majority vote.  Credits can now be used ???, changed to incentivize greater Alaska hire.  She's going through the steps for applying and getting tax credit for a film.

Frank Hall Green

Frank Hall Green - director and producer of the film WildLike. (Opening the festival tonight)  I'll talk about filming WildLike and what it's like to film in Alaska.  It's definitely not difficult - that's the question I get from others at film festivals.  It wasn't hard.  Working in the state with Alaskans.  I'd come again, I'm an avid backpacker and in 2003 we were in Denali.  On the train back I really saw the state differently.  Interesting place with diversity of culture and people - away from the US.  So much more than people realize.  So started writing the story and it made sense to take place in Alaska.

Alaska came first and tax credit came second.  My producer said we should do it in Oregon or Washington.  I said No.  Has to be in Alaska.  Traveled around the state to explore it for the film.  Back to talk with Film Office.  Two helpful things:

1.  The film community was strong, good film network
2.  Tax office and credit

Ultimately for the entire budget of the film - it saved us about 25% of the budget.  It has to be one of the strongest in the country.  The promotion of the tax credit program is really key.

You have pluses and minuses
Plusses:  Incredible landscape and scenery;  all the different ways you can shoot - Anchorage big city, Palmer a small side
Negative:  Short season, but I don't see that as problematic.

We tried to bring as few people as possible.  Thought we couldn't find too much here - others in crew really surprised at all the people working in the industry here in various capacities.

There are so many stories here to tell.  Someone here in Alaska can tell those stories much better than Outsiders.  Comments I get from people who see WildLike - wow, didn't realize it's so beautiful or that it has cities.

Q&A:

Q:  Tax Credits in other states become a political football.  What about here?
Worrell:  Passed on bi-partisan basis, we have firm support, but budgetary and leigslative landscape changing.  In effect to 2018.  But won't make any predictions.
Kelly:  Not a time to sit passively by, but need to be talking to your legislators and you need to tell them you support the incentive.

Q:  What's the timeline for approval?
Kelly:  Want to be fair to producers.  Once a month we get everything approved that we have ready.  The quorum is important.  We need 3 of 4 commissioners to approve.  We're getting applications through on consistent flow

Q:  (I think it was about starting out making a film)
Frank:  You've got to find the money yourself, you have to network for it, you have to make the movie fit the budget.  $75,000 is probably the lowest threshold in the country.  I would try to meet everyone I could in the film industry here.  And I'd meet everyone who could be interested in the story of the film.  Looking in the film network for money isn't helpful, but for people who can help out and share.  It's so easy to get the film bug.  That gives you a bigger community.  Getting people who are not involved i films who aren't normally involved, that will grow the community.
Worrell:  Network, network, network.  Get feedback.
DK:  Community here understands - give a little, get a little.

Q:  Frank, where did you get your story from?
Not from Alaska, more from me.  Wanted outdoors stuff, being on a journey and AK is a great place for that.

Q:  Is the new commissioner supportive?   B.  Made in Alaska stamp issue?
A.  Kelly - change of administration - you know what I know.  It's all just happening this week.  Dust isn't settled yet.  Statute pretty straightforward, not a lot of wiggle room.  Financial impacts will come out in legislative audit reports.  People are excited about the change.
B.  The Logo - we are tasked with administering the program according to the law, so the logo has to be in the end of any production using the tax credit.
Q:  Size requirement, where it has to be shown, etc.  And commercials don't want it shown.
A:  Inent to promote Alaska and film office . . .??

Q for Frank:  how many days and season did you shoot?
A:  Varies, but for us.  Came up at end of June, landed here.  Started shooting on Aug. 1 - 31 shooting days in the five weeks.  Down time spent traveling.
Worrell:  Filming in summer, will compete with 2 million visitors for hotel rooms and rental cars, so later in the season, you get end of season lows.  Still get the look but



Q:  How does subject matter affects credit for approval?
A:  Kelly:  yes, in statute - situations that would never be allowed  - political, sexual (porn), anything on , anything internal for institutional purposes, can't be contrary to natural resources in the state. Some content won't be allowable.  Best interests of the state also there - commission or office, must look at interest of - some employment of Alaska residents, film industry in Alaska, etc.  not contrary to natural resource policy in the state.
One of the first things we do in the review is look at the script and content - not out to not give a tax credit if it fits in the statues.  Give advice to film makers on how to adjust if necessary.

A:  Old program, we did turn down some features because of production company track record in sttate, had nothing to do with
A:  We have objected because determined to be political,  if bring all cast and crew from out of state and zero support of Alaska film industry, not in state's interest.  We're here to help, to help them find out what's available.  Can modify application to show they are hiring.
Worrell:  I'm a resource for productions, I don't issue permit, I know how to get to the agencies that do give permits - NPS etc.
Come to us early and let us help you meet the criteria  We're here to create an industry.  That doesn't happen if you don't approve projects.
Kelly:  left out something in content area, if shown on screen to be breaking laws or bad for promotion of Alaska.  Negative publicity, press, laws broken in the state - that can be a reason to not give credit.  That is not subjective.

AIFF 2014: Molly McGlynn - Given Your History - US Premiere in Anchorage

Every year I try to be organized in my preparation for the Anchorage International Film Festival, and it just doesn't happen.  There are too many films playing over the week.  And it turns out this isn't a bad thing.  Serendipity plays a big role.  I run into someone who strongly recommends I see something, or I talk to a film maker and I want to see their film after hearing them talk about it.

And here's a film maker I was able to contact and interview via Skype.  Her film was already on my list to see, but now I want to see it even more.

It's only showed publicly twice - both in Molly's native Canada.  Sunday afternoon will be the US premiere.  Actually, the outside of Canada, World Premiere.

"Given Your History" is about two sisters who get together some time after their mom has died of cancer and they are considering their own danger from cancer "given their history."  Molly points out that she didn't want to do another film about someone who is dying of cancer.  Rather, she says, this is a more hopeful look at the aftermath of the cancer on the daughters.

With the festival starting today, these posts are going to get quick and dirty, as I post on the fly, and minimally edit any video I get.  Note - this was a Skype video and I was in a coffee shop.  And I didn't mean to record the little window with me in it, but it's done and time's getting tight.  Also, the video is a little dodgy because the Skype connection wasn't terrific



Here's the schedule for this film from Festival Genius.  It plays in the Global Village narrative shorts program which has three other shorts that are 'in competition' for awards.  [I've done another post on all the short narrative films in competition.]

3:00 PM     Sun, Dec 07	screens with... Global Village Into The Silent Sea | Andrej Landin 2013 How Hipolito Vazquez Found Magic Where He Never Expected | Matias Rubio 2013 Intermission | Marielle Gautier 2014 Arena | Martin Rath 2013 Till Then | Benjamin Wolff 2014	Alaska Experience Theatre - Large Theatre	+ add to cal
7:30 PM     Thu, Dec 11  (AK Exp - Small)

AIFF 2014: Tony Sheppard Heading To Anchorage - Things Start Tomorrow With Free AM Discussion of Alaska Film Industry

I just ran into Anchorage International Film Festival Founder Tony Sheppard at SEATAC - headed to the festival to staff the hospitality suite.  He's moved to Bellingham, in part to be near is dad.


I've scheduled my return so I'll be back for the festival too.

Tomorrow (Friday) morning at the Bear Tooth  at 11:30am there is  free discussion  of the state of the Alaska Film Industry.  Here's the list of panelists:

Frank Hall Green, Director of WildLikeD.K. Johnston, Executive Producer/Director of Alaska FilmmakersDeborah Schildt, President of the Alaska Film Group & Production Manager at PiksikDave Worrell, Development Specialist at the Alaska Film Production Promotion ProgramKelly Mazzei, Executive Director of the Alaska Film Office
* Free Event *

 WildLike is the opening film Friday evening.

Like last year there will be some interesting off-the-radar events people should consider.  It's really hard with so many things happening at the same time.

Saturday at Loussac at 3:00 there will be a (FREE)  film called The Homestretch followed by a discussion with local folks who work with the homeless.

The Homestretch follows three homeless teens as they fight to stay in school, graduate, and build a future. Each of these smart, ambitious teenagers - Roque, Kasey and Anthony - will surprise, inspire, and challenge audiences to rethink stereotypes of homelessness as they work to complete their education while facing the trauma of being alone and abandoned at an early age. 

Stay after the free screening at the Loussac Library of "The Homestretch" for a panel discussion of the problem of Youth Homelessness in Anchorage . The panel will consist of Josh Louwerse, Outreach Case Manager at Covenant House Alaska; Benita Stepp, Charlie Elder House Program Director; Amanda Metivier, Facing Foster Care In Alaska

This may sound depressing (go see Rocks In My Pocket if you want to learn about depression) but I have to say the most exciting event I went to last year was an interactive film and discussion on the death penalty.


My advice now is to check the schedule at Festival Genius - click on the grid for each day.  There are some problems on my computer - some of the names of the films are obscured - but it gives you a good overview of what's playing and there are useful popups to see about each film/event.

Go to schedule, then click on grid.  Click here for Saturday's grid.

Climbing Prohibited or Aqua Pura MCMVI or Playing With Photoshop

How many buildings have climbing prohibited signs?


Here's the water tower in Seattle's Volunteer Park where climbing is verboten.

Actually, this appears to have been a favorite rock climbing site.    Mountain Project, a rock climbers website, has a "Rock Climbing Guide to 122,093 Routes", including a post dated in 2009 for the water tower.  They have pictures too.

"Description 
Three fun expanses of brick wall, separated by cement ledges. Brick is uneven with lots of little holds and pockets. Route will depend on which side of the tower you choose to climb. Watch out for the cement ledges, from underneath they look positive, but they are slopers!
You can also spend an enjoyable afternoon traversing around the base of the tower. 

Location 
The tower was built as a water reservoir in 1906, but is now empty. It is located in the middle of Volunteer Park in Seattle's Capitol Hill neighborhood. Address: 1247 15th Ave. E
From the inside of the tower, choose your window & anchor spot & that will decide which side of the tower you'll climb.
We climbed the east facing side, just to the right of a tall, very leafy tree. 

Protection 
Climb the inside of the tower and rig an anchor to one of the fixed metal banisters. Feed the rope through the window grating onto the ledge & then use a stick to drop the rope over the edge. Belay from the top, inside the tower. Once the climber reaches the top they will need to be lowered down, as all the windows have grating."

Here's a post card of the water tower from 1909 that was part of the displays once you 'climb' the stairs to the top inside.   

And here's a June 4, 2010 report of an encounter with the police from a Cascade Climber forum:

"Ah, so the sun came out finally in Seattle. No time to make it to the mountains to climb, so thought I would go for a quick session on the water tower at Volunteer park. The tried and true training ground for the broke Seattle climber.  
I get a few laps in, when I hear "Sir! sir! Get down off of there!". I hop down (from a whopping 2ft) and am approached by a Seattle police officer (along with a parks employee hiding in his truck). The cop tells me that the tower is "private" (!!) property and that it is only to be used for its intended purpose. I tell him that I'm pretty sure its public property and that people have been traversing it for DECADES without incident. At which point he says, "Are you arguing with me? I am a POLICE officer, do you want to go to jail?". I say, "No.. I'm just trying to understand this. Why not put a sign up then? To notify people of the rules, because this is the first I've heard of this" To which he replies, "it wouldn't do any good, people will climb on it anyways" (um, OK!?). I head back to my car, while he sticks around waiting for me to leave.
I considered being arrested, just to see if any of this would hold up. Anyone have insight in to this? Are they justified at all? At any given day there is someone traversing the tower, are they for real?!
Anyone want to plan a water tower climb-off-protest in the near future...?"

Well, now they have a sign.  (Was the cop celebrating the anniversary of Tiananmen Square by harassing the climber?)

Now, More Pictures Of The Tower With Some Photoshop Help

Of all the updated programs I'm dealing with now that I have a new computer, Photoshop (CS6) is the one that's giving me the fewest challenges.  I'm not sure what exciting new things I can do with it, but what I do like is that all the basic functions I use all the time, work they way they did in the CS3 version I was using before.  In all the others - from Safari, to iMovie, to, well everything - the basic moves are all frustratingly different.  Photoshop is, so to speak, still in English.  

So here are some experiments I did with my water tower photo.  First the original.  

This is the original.   It's pretty boring, especially since the sunny parts are overexposed and the parts in the shade are underexposed.


In the picture of the tower way up above, I just did simple adjustments so the parts in the sun got a lower exposure and the parts in the shade got a higher exposure.  Oh, yeah, I added the spider.  I took a photo of a  spider I had, but because it was so small a photo, I touched it up to make it bigger.


But then I started to have some fun.







I did this one using curves under image adjustments.

This one used the 'glowing edges' filter.

I got this one with the gradient map  (in Image Adjustment) - using Yellow, Violet, Orange, Blue.


















My favorite is this one using the water color filter

Click here for help with Roman Numerals.

Towels, Grate Art, Janet K. West, And Why I Haven't Posted About Ferguson - Choosing The Worlds We See

The Ferguson Grand Jury decision begs to be written about - and many, many people have given that beggar alms.  There's lots to write about Alaska's new governor and lieutenant governor.  The stock market is at record highs while so many people are barely scraping by.  What about the metamorphosis of our 'knowing' of Bill Cosby?

But my attention lately hasn't been controlled by cable news, newspapers, or even internet news.  No, it's been strongly influenced by two youngsters both under two years old.  That world looks very different.  I have posts bubbling up on "Why Do Toddlers Hate Naps?";  "Gaining Power By Learning To Put Words Together"; and  "How Babies Know Babies From Adults".

This post is going to focus on things we examined on a walk the other day.

Grate Art

This collage gets a little busy, but the busyness does suggest how much there is to observe in these generally unseen parts of our daily lives.  And it shows that even engineers consider aesthetics for their most mundane products.  And I couldn't help comparing the pattern on my little shark's hat, that her uncle knitted for her, to the grate art.

This puffball we encountered seemed to fit into this set of pictures well.  

But back to grates.  Here's a grate around a tree.  And in the next picture you can see what the arrow is pointing to, as people have taken this practical way to protect and water these trees stranded on sidewalk, to also honor someone they held in high esteem.

The grating does look a bit like an old zoo cage.  Does this tree feel imprisoned here?  Isolated from its tree friends?  The word we use for people, probably doesn't match what plants 'feel', but if you think this thought is totally ridiculous, read this at Scientific American.  There's so much we don't know.

I had a good feeling about Janet K. West after seeing this plaque.  However, the cynic in me also knows that anyone can buy an indulgence and replace one's past with a  rosier image.  The Catholics may have officially banned this practice, but Americans have embraced it.  Just look up the real stories of the many people whose money has put their names on public buildings and spaces.

So I did some searching about Janet K. West, and the little I found seemed to confirm that she deserved a plaque.

The first hit wasn't solid evidence, but a piece of data to be weighed along with whatever else I could find.  From the Housing Resources Board

Janet West 

This development was named after Janet West, a past mayor of Bainbridge Island and long time advocate of affordable housing. It is a nine-unit bungalow style complex consisting of one two-bedroom and eight one-bedroom apartments.

This sounds good.  There are lots of reasons they could have given, and being an long time advocate of affordable housing is a good one.  But alone, it's not convincing.  We can write anything about anyone.  But then I found a book chapter that Janet K. West wrote.  Here are just a couple of excerpts, but anyone who voluntarily gives up their power so that others can achieve more fully, especially teachers, is ok in my book.

"The biggest discovery I made when I started to have students evaluate their own work was that often they were the only ones who could do it. To put it another way, I realized I couldn't always teach them because only they could discover what they needed to learn. This revelation came when a writing class of college-bound students was working a painful route through Loren Eisley's Immense Journey. I wanted to see how much of the man and his attitudes they'd begun to discover. We had struggled with vocabulary, style, and ideas. I say "we," for I too was struggling to find means to help them cope. They took dialectic notes. We had had almost page-by-page oral analysis. They had written precis. Nothing broke through the wall of frustration, confusion, misconception, even hostility that grew higher daily. So along about Chapter Five, I turned to an exercise I'd learned to use in literature classes to help students understand the characters- the bio- poem. This time, though, they were to write one about the author."

A biopoem?  I didn't know what that was.  But  Read Write Think quickly remedied that.  Here are  the first of the 12 lines of a biopoem:

"How to Write a Biopoem 

(Line 1) First name 

(Line 2) Three or four adjectives that describe the person 

(Line 3) Important relationship (daughter of . . . , mother of . . . , etc)"

And the end of the Chapter:

"With so much going for it, I'm embarrassed to think how long it took me to discover peer evaluation. I knew, with a kind of desperation, that my students would be weaned (if only by graduation) and only by happy circumstance would have a college roommate, a secretary, or a spouse to do for them what I'd been doing-showing them the weak- nesses and errors in their writing. I also knew I hadn't provided them with enough tools or practice to do the job for themselves, to be their own evaluators. Now I feel more confident that these vital dimensions are being added to their education, largely through use of writing-to- learn exercises, which frequently require sharing and peer response. It has benefits for me, too. I can and do assign more work in smaller chunks, while actually decreasing my paper-grading load, because most of the small assignments lead to formative evaluation. Both my students and I know more clearly what I'm looking for when I grade the final product. I have a much clearer idea of the quality to expect when I read that product. Best of all, they've learned more: about the subject, about themselves, and about learning."

I can relate to this.  I used to harangue my grad students that they had to learn to think for themselves.  What were they going to do when they graduated and no longer had teachers to tell them what to read and then helped them figure out what it meant?  They were going to have to do it on their own.  So, yes, I think I'd like Janet K. West and I'm glad I got to meet her with my little shark as we walked down the street and paid attention to the little things around us, without any thought of Ferguson or Cosby.

Oh yes, the towel up on top.  It was hanging on the bench at the playground.  When we went back the next day, it was still there and I thought we could use it to dry the slide, which had some ice and snow on it.  But when I picked it up, it was frozen solid.

The shark decided to skip the slide, but had a great time on the swing after I used some leaves to dry the seat.  And she learned a little bit about the effects of cold.









I'm not saying we shouldn't pay attention to the Fergusons, Cosbys, and other national and international events.  But let's put them in perspective.  If we all could enjoy the little wonders around us, perhaps we'd have more joy and less hate altogether.

And as I write about Janet K. West, I realize I know nothing about her but these tidbits.  And possibly the people who admired her didn't know about or ignored some hidden trait she had that cast her in a less positive light.  We all have done or said things we wish we could take back.  We have to learn to understand the complexity of human beings who so often combine both great, admirable qualities  with darker ones.  And we have to figure out ways to minimize the darkness and find just ways to deal with the darkness when it casts shadows on the greatness.

Being with young, young children helps one concentrate on the possibility inherent in each person and reflect on what mysterious (and not so mysterious) forces stain, or even derail those possibilities in so many.  Reading great literature from many cultures, reminds us that the complexity of humans has been around since the beginning in every culture.