Tuesday, February 5, 2013
Dillard to Host Fourth Circuit Court of Appeal Oral Arguments on Feb. 6 in Ortique Mock Trial Center
Dillard to Host Fourth Circuit Court of Appeal
Oral Arguments on Feb. 6 in Ortique Mock Trial Center
(New Orleans) In honor of Black History Month, the Fourth Circuit Court of Appeal will hold court at Dillard University to hear oral arguments on five pending cases. The session is part of an ongoing effort to educate students and the public about the work of the appellate court. The session will convene at 10 a.m. on Wednesday, Feb. 6 in the Justice Revius O. Ortique Jr. Mock Trial Center. Fourth Circuit Court of Appeal Judges Dennis Bagneris, Terri Love and Madeleine Landrieu will hear the oral arguments.
“Justice Ortique was a judicial trailblazer, civil rights activist, and mentor to many judges, and we are honored to hold oral arguments at a location that recognizes him and his contributions to Louisiana law and public service,” Love said.
The late Ortique was the first African-American elected to serve on the Louisiana Supreme Court. As an attorney and judge, he engaged in many landmark decisions. The Justice Revius O. Ortique Jr. Mock Trial Center grew out of Dillard University’s commitment to undergraduate students who seek careers in law, government service, criminal justice, social work, public policy, and environmental justice.
In advance of the oral arguments, Love and attorney Adria Kimbrough, wife of Dillard President Walter Kimbrough, hosted an information session on Jan. 31 at noon in the West Wing of Kearny Hall. The information session provided an overview of the appellate court process to students and the public and gave them an opportunity to ask questions about the process. Students and the public are invited to attend the oral arguments on Wednesday, Feb. 6. The Fourth Circuit Court of Appeal previously held court at Dillard University in February 2011.
Would you be willing to serve as a proposal reviewer for the 2013 POD Conference in Pittsburgh? The success of the conference is due in large part to the POD community volunteering its time and energy to diligently, thoughtfully, and fairly review its membership’s work. Because of the important and time-sensitive nature of the review process, please consider carefully the following points before volunteering:
- The proposal review period is two weeks long, running from March 9th to March 24th. All reviews must be completed by this deadline.
- Depending on the total number of reviewers, you will be assigned no more than 6 proposals. We will take care to assign you only proposals which match your areas of interest and expertise.
To volunteer, please fill out the brief survey found here: https://www.surveymonkey.com/s/LZ3DP73
The questionnaire simply asks you to provide your current contact information and to identify topic areas of interest to you. This information will help us match your strengths and expertise to the most appropriate proposals.
If you have any questions about this process, please feel free to contact Program Co-Chairs Allison Boye (firstname.lastname@example.org) and Jake Glover (email@example.com). We would be happy to help you with the survey or any questions you might have about the review process.
Research: Traditional Outreach Still Has Impact in College Recruiting
· By Dian Schaffhauser
Money talk and institutional reputation dominates student choice in deciding which colleges and universities would make a good fit for them. According to recent research done by two companies that offer marketing and recruiting services to institutions, the top three characteristics students think about are schools that have "good scholarship and financial aid packages," solid academic reputations behind the majors they're interested in, and affordable tuition and fees.
"The Super Investigator: Understanding Today's 'Always On' Prospective Student," available for download with registration, also examines the impact of online marketing channels on school-related decision-making. While mechanisms that might be referred to as "traditional"--direct marketing through email and mail, guidance counselor advice, friends, college Web sites, campus tours, and search engines--still dominate the college search process, social media is playing an evolving role as well. For example, 40 percent of students reported that they use Facebook to learn more about college choices, 21 percent use YouTube, 17 percent use Google+, and nine percent use Twitter. Just over a third of respondents (37 percent) said they have used social media to "engage" with a college.
According to one teen respondent, "We are constantly on the computer and nosing around in other people's business, so maybe we could add nosing into the college's business. I would give the quick facts about the school online with easy access. A lot of time you have to search through a college's Web site to find that information and if it is not easy to find, I give up." Another student suggested that the reverse should not be true--that schools shouldn't use social media to learn more about prospects: "We have a new tradition at our high school. When we hit senior year, we all change our Facebook names so colleges can't spy on us."
Mobile access to information is coming to the forefront too. Forty-five percent of students reported visiting a college Web site on a mobile device. One in 10 had downloaded an app from a college to their device.
The research was performed by Lipman Hearne, a marketing and communications company that focuses on higher education, and Cappex.com, which runs a Web site to introduce students to prospective colleges based on their interests and profiles. The companies collected responses from 11,244 students who had previously registered on Cappex. Those included college-bound sophomores, juniors, and seniors from the United States and other countries, as well as a small number of enrolled college students thinking about transferring and adult learners.
One interesting finding in the research was the sizable number of "stealth applicants," students who research schools and even visit campuses, but without revealing who they are until they submit an application. Nearly a quarter of respondents fall into this category. Said Lipman Hearne Chairman Tom Abrahamson, "Stealth applicants apply to colleges under the radar of admissions teams. Their behavior is important because their unexpected applications can complicate schools' admissions planning and projections."
Another group of students were classified as "super investigators," digital natives who are quite aggressive in their self-directed research. Fifty-five percent of graduating seniors belong to this camp, doing daily research using a multitude of resources, both online and print.
Noted Lipman Hearne Senior Vice President Mark Nelson, "The truly social aspect of the search--word of mouth and advice from friends, parents, and other influencers--is...incredibly effective at driving students to explore a college further. Parents represent an untapped marketing opportunity for colleges. And while social media doesn't seem to drive students to action, it can't be overlooked. More than half the students use it to learn about colleges, and it's where they are talking to their friends. Schools need to monitor comments made online and make sure the buzz is positive."
Those informational efforts need to include shifting from "providing basic information about colleges to more personalized offerings and engagement opportunities for students," added Chris Long, Cappex president.
About the Author
Dian Schaffhauser is a writer who covers technology and business for a number of publications. Contact her at firstname.lastname@example.org.
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Perfectionists tend to see their projects as long strings of words?and there?s a natural tendency, when you have that viewpoint, to want to start at the beginning of a piece and write straight through till ?The End".
And now you can use a visualization tool I call the ?writercopter,? a mental helicopter that can transport you to any place in your piece. The moment you feel you?ve taken a particular patch of writing as far as you can, hop onto your copter and take it to another section that looks enticing. Work there until you run dry, and then reboard and hop to another part.
What if no part looks appealing? Try writing about the piece, since your alienation from it is probably rooted in the fact that you either need to think it through more or are trying to force it in the wrong direction (see Section 5.9). In the unlikely event that doesn?t help, set the piece aside and let it marinate while you work on something else.
Writing might sometimes be difficult, but it should never be unpleasant; if it is unpleasant?if you?re feeling frustrated, bored or stuck?that?s not an indication of any deficiency on your part, but simply the signal to move to another part of the project, or another project. While it?s okay to practice ?writing past the wall,? i.e., sticking with a difficult section a bit longer than comfortable, don?t perfectionistically dig in your heels and become an antagonist to yourself and your process.
The writercopter technique is similar to that used by the late, great, and famously prolific author Isaac Asimov, who wrote or edited more than 500 books:
?What if you get a writer?s block?? (That?s a favorite question.) I say, ?I don?t ever get one precisely because I switch from one task to another at will. If I?m tired of one project, I just switch to something else which, at the moment, interests me more.? [From his memoir, In Joy Still Felt.]
Note Asimov?s absolute sense of freedom and dominion (authority!) over his work?expressed not in grandiose terms, but the simple ability to do whatever he wants, whenever he wants. And, of course, the total lack of blame, shame, compulsion, and perfectionism.
Nonlinear writing obviously goes hand in hand with freewriting; using the techniques together should powerfully speed your writing. What?s more, the process is accelerative, since the more easy parts of your project you finish, the easier the hard parts will get. (By writing ?around? the hard parts, you?re illuminating them and solving problems related to them.)
You can combine nonlinear writing with Anee Lamott?s famous ?one-inch picture frame? technique from Bird by Bird to get through even the toughest piece of writing. To combat overwhelm, Lamott reminds herself that:
All I have to do is to write down as much as I can see through a one-inch picture frame ? All I?m going to do right now, for example, is write that one paragraph that sets the story in my hometown, in the late fifties, when the trains were still running.
I myself have gotten through very tough patches of writing (meaning, sections where I felt a lot of resistance to the writing?because the patches themselves are neither easy nor hard, but just writing) by switching back and forth between the difficult patch and an easier one, doing ?one-inch picture frame?-sized pieces of the tough section and longer stretches of the easy one. The easy patches actually become a reward, in this context, which is in itself a lovely development: writing not as chore, but reward.
Take these techniques to their limit, as I assume Asimov did, and you develop a very light touch around your work. You?re hopping everywhere in the writercopter, not in a distracted way but in a focused, effective way?and the writing is almost never a struggle, and the words just pile up.
The alternative is you struggle with grim determination to write the piece linearly. And so you write a page or two and ? wham! You?re at a hard part and you stop dead. And because you don?t know what else to do, you just keep throwing yourself against that wall?until procrastination steps in to ?save? you from your predicament.
Tales of Space and Time
Besides seeing projects as complex in space, the prolific also see them as complex in time. While novice writers see writing as ?just writing,? the prolific see it as a process consisting of these or similar stages:
1. Conceptualization (a.k.a. note-taking or ?noodling around?)
2. Planning and outlining (a little more structured than above)
4. First Draft
6. Final Draft
8. Cash the Check (for freelance and other writers who get paid)
Note how the stage most people think comes first?First Draft?actually appears halfway down. A major cause of unproductivity and blocks is that the writer omits, or skimps on, the earlier stages?which means she is trying to write something she doesn?t sufficiently comprehend.
Trying to write a first draft without first spending adequate time on stages 1-3 is like planting a garden without preparing the soil, or building a house atop a shaky foundation: a risky proposition at best. Sure, once in a while a piece will just seem to write itself. But that?s usually because we?ve either thought about it a lot or figured out a link between it and other topics we?ve thought a lot about. So the early stages were, in fact, done, only perhaps at a different time. (Also, the confidence that comes from writing something familiar helps us resist perfectionism.)
Obviously, the stages differ from project to project, and writer to writer. Some projects demand extensive research, others only a little. Some writers create detailed outlines, while others work from the seat of their pants (the famous ?plotters? versus ?pantsers? divide). And some writers do the stages mostly linearly, while others jazzily intermingle them. Whatever system works for you, and the particular project you?re working on, is the right one.
It?s helpful to remember that most of us enjoy working on some stages more than others, and those are the stages we tend to get stuck on if we?re prone to procrastination. That?s procrastination as a toxic mimic of productive work (Section 1.8), and it happens especially with first draft, research, and revision.
Conversely, many writers dislike, or are afraid of, certain stages and try to avoid them. These are, typically, the first draft and submission, as well as marketing and other business ?chores.?
You probably know if you?re overworking or underworking a stage due to procrastination, but if you?re unsure, ask your mentors. If the diagnosis is, indeed, procrastination, use timed exercises (Section 2.14) to overcome your fears.
Armed with the knowledge of the stages of a writing project, you can now use your writercopter to move not just through space (the landscape of your project), but time: more specifically, back to a prior stage whenever you?re stuck. I recommend moving back to conceptualization, planning, outlining, or drafting, but not research because it is a frequent vehicle for procrastination.
Another important productivity technique is to identify the easiest parts of your project so that, when all else fails, you can work on them. When, during the writing of this book, I was severely distracted or demotivated, I worked on the bibliography. Why not? It had to get done, and doing it empowered me and helped me get re-motivated as soon as possible.