UBC Wiki - User contributions [en]

Course:LAST100

2015-05-22T20:23:05Z

Jbmurray: /* TLEF planning */ + Jessica

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|website= [http://last100.arts.ubc.ca/ http://last100.arts.ubc.ca/]

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[http://last100.arts.ubc.ca/ http://last100.arts.ubc.ca/]

==TLEF planning==

Possible models:

* John Green's "Crash Course" histories. E.g.:
** [https://www.youtube.com/watch?v=6E9WU9TGrec The Black Legend, Native Americans, and Spaniards: Crash Course US History #1]
** [https://www.youtube.com/watch?v=ZBw35Ze3bg8 Latin American Revolutions: Crash Course World History #31]
** [https://www.youtube.com/watch?v=v6xi8_7Fy6Y War and Nation Building in Latin America: Crash Course World History 225]

* The Periodic Table of Videos ([http://www.periodicvideos.com/ http://www.periodicvideos.com/]). E.g.:
** [https://www.youtube.com/watch?v=pPd5qAb4J50 Silver]
** [https://www.youtube.com/watch?v=6rdmpx39PRk Hydrogen]
** [https://www.youtube.com/watch?v=MpFTQYynrc4 Titanium]

* Foundations of Chinese Thought. E.g.:
** [https://www.youtube.com/watch?v=KOaQaWcgz14 Introduction]
** [https://www.youtube.com/watch?v=I59Oda0Tp2Y 1.2 - “What Does it Mean to Study ‘Thought’?”]
** [https://www.youtube.com/watch?v=m87aQ_C0SMg 3.1 - The World's First Hippies]

* Jessica Hallenbeck ([http://hallenbeckconsultants.com/ Hallenbeck Consultants]):
** [https://vimeo.com/channels/blueisthenewgreen Blue is the New Green] videos for Karen Bakker's MOOC

==May 4 Meeting==
* Figure out what hardware to buy. I have $3000 for this, and will need advice from Angela as to what would be helpful for Arts ISIT.
**Video: Camera that Novak mentioned (c. $800)
**Audio: Lavier Mics x2 plus associated receiver (c. $1300) (Angela)
**Tripod/monopod: $150
**Lighting: '''No'''
**Batteries
* Decide on hiring RAs. I have two people identified already, though one can’t get going until the Autumn. So at least for the summer, I need someone, ideally with technical skills. '''Post this''' somewhere. (Where?) (Talk to people in visual arts?) (Steven Barnes?) (dept administrators?) (Will to investigate)
* Narrow down options for video production, both
** Software to use (and purchase if necessary?): '''Camtasia''' (second choice: iMovie)
** format (though these need not be uniform): May '''vary''' depending on type of video. Students to be given assistance, but also allowed to make their own decisions.
** look into Zaption / Pulsepress
* Make some decisions about the website structure

* Set up compare and contrast day (Novak)

==Equipment Suggestions==
*Video:
**[http://www.bhphotovideo.com/c/product/1049540-REG/sony_alpha_a6000_mirrorless_digital.html Sony Alpha A6000] US$600
**[http://www.bhphotovideo.com/c/product/1049538-REG/sony_alpha_a6000_mirrorless_digital.html Sony Alpha A6000] US$460 + one or more of:
***[http://www.bhphotovideo.com/c/product/1001009-REG/sony_sel1670z_16_70mm_f_4_za_lens.html Zoom lens] US$1000
***[http://www.bhphotovideo.com/c/product/818647-REG/Sony_SEL24F18Z_SEL24F18Z_24_mm_f_1_8.html 24mm lens] US$900
***[http://www.bhphotovideo.com/c/product/892387-REG/Sony_sel35f18_35mm_F_1_8_Optical_Steady.html 35mm lens] US$400
*Audio:
**Shot Gun Mic: [http://www.bestbuy.ca/en-CA/product/vidpro-vidpro-condenser-shotgun-microphone-xm55-xm55/10272711.aspx?path=ed5e2508d199686211e8cfd6f2d84008en02 XM55] $119 CDN
**Dual Wireless Mic Systems: [http://www.bhphotovideo.com/c/product/733909-REG/Azden_330ULT_330LT_UHF_On_Camera_Dual.html Azden Dual bodypack System] ($760-$800) or [http://www.bhphotovideo.com/c/product/460224-REG/Audio_Technica_ATW_1821D_ATW_1821_Dual_Wireless.html Audio-Technica Dual Wireless Microphone System] ($1,395 US)
**[http://www.bhphotovideo.com/c/product/1029169-REG/sony_ecmw1m_wireless_mic.html wireless microphone] US$178
*Tripod/monopod:
*An SD card as extra storage. Depending on what you buy, some already have built-in storage but it may be handy to have another extra on hand in case you run out and don¹t want to delete anything you have already in the built-in storage. -64 gig memory card roughly $50
*Depending what equipment you purchase, if it doesn¹t have an onboard shoe for peripheral attachments (ie. microphone) you may need to also buy an extra external device bracket such as [http://www.bhphotovideo.com/c/product/918053-REG/vello_cb_510_dual_shoe_brackt.html this one].
*A carrying-case or bag. Sometimes the equipment you buy won¹t necessarily come with one.

==Software==
*Take a look at one of the tools that we developed called CLAS. Novak briefly mentioned it in our last meeting but in case you don¹t know much about it, [http://isit.arts.ubc.ca/clas/ here's a link]. It'll be a useful took for users to upload their videos and have the instructor/peers to provide comments within the system. The tool can be embedded within your Wordpress site. I can demo this tool to you the next time I see you if you¹d like.

==May 22 meeting==

Course:LAST100

2015-05-22T17:02:29Z

Jbmurray: /* Software */ fmt

{{Infobox_New_Course

|title=

|picture=Image:wiki.png

|subject code=

|course number=

|section number=

|instructor=

|instructor 2=

|instructor 3=

|instructor 4=

|instructor 5=

|email=

|office=

|office hours=

|schedule=

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|website= [http://last100.arts.ubc.ca/ http://last100.arts.ubc.ca/]

}}


[http://last100.arts.ubc.ca/ http://last100.arts.ubc.ca/]

==TLEF planning==

Possible models:

* John Green's "Crash Course" histories. E.g.:
** [https://www.youtube.com/watch?v=6E9WU9TGrec The Black Legend, Native Americans, and Spaniards: Crash Course US History #1]
** [https://www.youtube.com/watch?v=ZBw35Ze3bg8 Latin American Revolutions: Crash Course World History #31]
** [https://www.youtube.com/watch?v=v6xi8_7Fy6Y War and Nation Building in Latin America: Crash Course World History 225]

* The Periodic Table of Videos ([http://www.periodicvideos.com/ http://www.periodicvideos.com/]). E.g.:
** [https://www.youtube.com/watch?v=pPd5qAb4J50 Silver]
** [https://www.youtube.com/watch?v=6rdmpx39PRk Hydrogen]
** [https://www.youtube.com/watch?v=MpFTQYynrc4 Titanium]

* Foundations of Chinese Thought. E.g.:
** [https://www.youtube.com/watch?v=KOaQaWcgz14 Introduction]
** [https://www.youtube.com/watch?v=I59Oda0Tp2Y 1.2 - “What Does it Mean to Study ‘Thought’?”]
** [https://www.youtube.com/watch?v=m87aQ_C0SMg 3.1 - The World's First Hippies]

==May 4 Meeting==
* Figure out what hardware to buy. I have $3000 for this, and will need advice from Angela as to what would be helpful for Arts ISIT.
**Video: Camera that Novak mentioned (c. $800)
**Audio: Lavier Mics x2 plus associated receiver (c. $1300) (Angela)
**Tripod/monopod: $150
**Lighting: '''No'''
**Batteries
* Decide on hiring RAs. I have two people identified already, though one can’t get going until the Autumn. So at least for the summer, I need someone, ideally with technical skills. '''Post this''' somewhere. (Where?) (Talk to people in visual arts?) (Steven Barnes?) (dept administrators?) (Will to investigate)
* Narrow down options for video production, both
** Software to use (and purchase if necessary?): '''Camtasia''' (second choice: iMovie)
** format (though these need not be uniform): May '''vary''' depending on type of video. Students to be given assistance, but also allowed to make their own decisions.
** look into Zaption / Pulsepress
* Make some decisions about the website structure

* Set up compare and contrast day (Novak)

==Equipment Suggestions==
*Video:
**[http://www.bhphotovideo.com/c/product/1049540-REG/sony_alpha_a6000_mirrorless_digital.html Sony Alpha A6000] US$600
**[http://www.bhphotovideo.com/c/product/1049538-REG/sony_alpha_a6000_mirrorless_digital.html Sony Alpha A6000] US$460 + one or more of:
***[http://www.bhphotovideo.com/c/product/1001009-REG/sony_sel1670z_16_70mm_f_4_za_lens.html Zoom lens] US$1000
***[http://www.bhphotovideo.com/c/product/818647-REG/Sony_SEL24F18Z_SEL24F18Z_24_mm_f_1_8.html 24mm lens] US$900
***[http://www.bhphotovideo.com/c/product/892387-REG/Sony_sel35f18_35mm_F_1_8_Optical_Steady.html 35mm lens] US$400
*Audio:
**Shot Gun Mic: [http://www.bestbuy.ca/en-CA/product/vidpro-vidpro-condenser-shotgun-microphone-xm55-xm55/10272711.aspx?path=ed5e2508d199686211e8cfd6f2d84008en02 XM55] $119 CDN
**Dual Wireless Mic Systems: [http://www.bhphotovideo.com/c/product/733909-REG/Azden_330ULT_330LT_UHF_On_Camera_Dual.html Azden Dual bodypack System] ($760-$800) or [http://www.bhphotovideo.com/c/product/460224-REG/Audio_Technica_ATW_1821D_ATW_1821_Dual_Wireless.html Audio-Technica Dual Wireless Microphone System] ($1,395 US)
**[http://www.bhphotovideo.com/c/product/1029169-REG/sony_ecmw1m_wireless_mic.html wireless microphone] US$178
*Tripod/monopod:
*An SD card as extra storage. Depending on what you buy, some already have built-in storage but it may be handy to have another extra on hand in case you run out and don¹t want to delete anything you have already in the built-in storage. -64 gig memory card roughly $50
*Depending what equipment you purchase, if it doesn¹t have an onboard shoe for peripheral attachments (ie. microphone) you may need to also buy an extra external device bracket such as [http://www.bhphotovideo.com/c/product/918053-REG/vello_cb_510_dual_shoe_brackt.html this one].
*A carrying-case or bag. Sometimes the equipment you buy won¹t necessarily come with one.

==Software==
*Take a look at one of the tools that we developed called CLAS. Novak briefly mentioned it in our last meeting but in case you don¹t know much about it, [http://isit.arts.ubc.ca/clas/ here's a link]. It'll be a useful took for users to upload their videos and have the instructor/peers to provide comments within the system. The tool can be embedded within your Wordpress site. I can demo this tool to you the next time I see you if you¹d like.

==May 22 meeting==

Course:LAST100

2015-05-22T17:02:08Z

Jbmurray: /* Equipment Suggestions */ +

{{Infobox_New_Course

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|picture=Image:wiki.png

|subject code=

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|instructor 3=

|instructor 4=

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[http://last100.arts.ubc.ca/ http://last100.arts.ubc.ca/]

==TLEF planning==

Possible models:

* John Green's "Crash Course" histories. E.g.:
** [https://www.youtube.com/watch?v=6E9WU9TGrec The Black Legend, Native Americans, and Spaniards: Crash Course US History #1]
** [https://www.youtube.com/watch?v=ZBw35Ze3bg8 Latin American Revolutions: Crash Course World History #31]
** [https://www.youtube.com/watch?v=v6xi8_7Fy6Y War and Nation Building in Latin America: Crash Course World History 225]

* The Periodic Table of Videos ([http://www.periodicvideos.com/ http://www.periodicvideos.com/]). E.g.:
** [https://www.youtube.com/watch?v=pPd5qAb4J50 Silver]
** [https://www.youtube.com/watch?v=6rdmpx39PRk Hydrogen]
** [https://www.youtube.com/watch?v=MpFTQYynrc4 Titanium]

* Foundations of Chinese Thought. E.g.:
** [https://www.youtube.com/watch?v=KOaQaWcgz14 Introduction]
** [https://www.youtube.com/watch?v=I59Oda0Tp2Y 1.2 - “What Does it Mean to Study ‘Thought’?”]
** [https://www.youtube.com/watch?v=m87aQ_C0SMg 3.1 - The World's First Hippies]

==May 4 Meeting==
* Figure out what hardware to buy. I have $3000 for this, and will need advice from Angela as to what would be helpful for Arts ISIT.
**Video: Camera that Novak mentioned (c. $800)
**Audio: Lavier Mics x2 plus associated receiver (c. $1300) (Angela)
**Tripod/monopod: $150
**Lighting: '''No'''
**Batteries
* Decide on hiring RAs. I have two people identified already, though one can’t get going until the Autumn. So at least for the summer, I need someone, ideally with technical skills. '''Post this''' somewhere. (Where?) (Talk to people in visual arts?) (Steven Barnes?) (dept administrators?) (Will to investigate)
* Narrow down options for video production, both
** Software to use (and purchase if necessary?): '''Camtasia''' (second choice: iMovie)
** format (though these need not be uniform): May '''vary''' depending on type of video. Students to be given assistance, but also allowed to make their own decisions.
** look into Zaption / Pulsepress
* Make some decisions about the website structure

* Set up compare and contrast day (Novak)

==Equipment Suggestions==
*Video:
**[http://www.bhphotovideo.com/c/product/1049540-REG/sony_alpha_a6000_mirrorless_digital.html Sony Alpha A6000] US$600
**[http://www.bhphotovideo.com/c/product/1049538-REG/sony_alpha_a6000_mirrorless_digital.html Sony Alpha A6000] US$460 + one or more of:
***[http://www.bhphotovideo.com/c/product/1001009-REG/sony_sel1670z_16_70mm_f_4_za_lens.html Zoom lens] US$1000
***[http://www.bhphotovideo.com/c/product/818647-REG/Sony_SEL24F18Z_SEL24F18Z_24_mm_f_1_8.html 24mm lens] US$900
***[http://www.bhphotovideo.com/c/product/892387-REG/Sony_sel35f18_35mm_F_1_8_Optical_Steady.html 35mm lens] US$400
*Audio:
**Shot Gun Mic: [http://www.bestbuy.ca/en-CA/product/vidpro-vidpro-condenser-shotgun-microphone-xm55-xm55/10272711.aspx?path=ed5e2508d199686211e8cfd6f2d84008en02 XM55] $119 CDN
**Dual Wireless Mic Systems: [http://www.bhphotovideo.com/c/product/733909-REG/Azden_330ULT_330LT_UHF_On_Camera_Dual.html Azden Dual bodypack System] ($760-$800) or [http://www.bhphotovideo.com/c/product/460224-REG/Audio_Technica_ATW_1821D_ATW_1821_Dual_Wireless.html Audio-Technica Dual Wireless Microphone System] ($1,395 US)
**[http://www.bhphotovideo.com/c/product/1029169-REG/sony_ecmw1m_wireless_mic.html wireless microphone] US$178
*Tripod/monopod:
*An SD card as extra storage. Depending on what you buy, some already have built-in storage but it may be handy to have another extra on hand in case you run out and don¹t want to delete anything you have already in the built-in storage. -64 gig memory card roughly $50
*Depending what equipment you purchase, if it doesn¹t have an onboard shoe for peripheral attachments (ie. microphone) you may need to also buy an extra external device bracket such as [http://www.bhphotovideo.com/c/product/918053-REG/vello_cb_510_dual_shoe_brackt.html this one].
*A carrying-case or bag. Sometimes the equipment you buy won¹t necessarily come with one.

==Software==
*Take a look at one of the tools that we developed called CLAS. Novak briefly mentioned it in our last meeting but
in case you don¹t know much about it, [http://isit.arts.ubc.ca/clas/ here's a link]. It'll be a useful took for users to upload their videos and have the instructor/peers to provide comments within the system. The tool can be embedded within your Wordpress site. I can demo this tool to you the next time I see you if you¹d like.

==May 22 meeting==

Course:LAST100

2015-05-07T09:55:57Z

Jbmurray: /* Equipment Suggestions */ $$

{{Infobox_New_Course

|title=

|picture=Image:wiki.png

|subject code=

|course number=

|section number=

|instructor=

|instructor 2=

|instructor 3=

|instructor 4=

|instructor 5=

|email=

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|website= [http://last100.arts.ubc.ca/ http://last100.arts.ubc.ca/]

}}


[http://last100.arts.ubc.ca/ http://last100.arts.ubc.ca/]

==TLEF planning==

Possible models:

* John Green's "Crash Course" histories. E.g.:
** [https://www.youtube.com/watch?v=6E9WU9TGrec The Black Legend, Native Americans, and Spaniards: Crash Course US History #1]
** [https://www.youtube.com/watch?v=ZBw35Ze3bg8 Latin American Revolutions: Crash Course World History #31]
** [https://www.youtube.com/watch?v=v6xi8_7Fy6Y War and Nation Building in Latin America: Crash Course World History 225]

* The Periodic Table of Videos ([http://www.periodicvideos.com/ http://www.periodicvideos.com/]). E.g.:
** [https://www.youtube.com/watch?v=pPd5qAb4J50 Silver]
** [https://www.youtube.com/watch?v=6rdmpx39PRk Hydrogen]
** [https://www.youtube.com/watch?v=MpFTQYynrc4 Titanium]

* Foundations of Chinese Thought. E.g.:
** [https://www.youtube.com/watch?v=KOaQaWcgz14 Introduction]
** [https://www.youtube.com/watch?v=I59Oda0Tp2Y 1.2 - “What Does it Mean to Study ‘Thought’?”]
** [https://www.youtube.com/watch?v=m87aQ_C0SMg 3.1 - The World's First Hippies]

==May 4 Meeting==
* Figure out what hardware to buy. I have $3000 for this, and will need advice from Angela as to what would be helpful for Arts ISIT.
**Video: Camera that Novak mentioned (c. $800)
**Audio: Lavier Mics x2 plus associated receiver (c. $1300) (Angela)
**Tripod/monopod: $150
**Lighting: '''No'''
**Batteries
* Decide on hiring RAs. I have two people identified already, though one can’t get going until the Autumn. So at least for the summer, I need someone, ideally with technical skills. '''Post this''' somewhere. (Where?) (Talk to people in visual arts?) (Steven Barnes?) (dept administrators?) (Will to investigate)
* Narrow down options for video production, both
** Software to use (and purchase if necessary?): '''Camtasia''' (second choice: iMovie)
** format (though these need not be uniform): May '''vary''' depending on type of video. Students to be given assistance, but also allowed to make their own decisions.
** look into Zaption / Pulsepress
* Make some decisions about the website structure

* Set up compare and contrast day (Novak)

==Equipment Suggestions==
*Video:
**[http://www.bhphotovideo.com/c/product/1049540-REG/sony_alpha_a6000_mirrorless_digital.html Sony Alpha A6000] US$600
**[http://www.bhphotovideo.com/c/product/1049538-REG/sony_alpha_a6000_mirrorless_digital.html Sony Alpha A6000] US$460 + one or more of:
***[http://www.bhphotovideo.com/c/product/1001009-REG/sony_sel1670z_16_70mm_f_4_za_lens.html Zoom lens] US$1000
***[http://www.bhphotovideo.com/c/product/818647-REG/Sony_SEL24F18Z_SEL24F18Z_24_mm_f_1_8.html 24mm lens] US$900
***[http://www.bhphotovideo.com/c/product/892387-REG/Sony_sel35f18_35mm_F_1_8_Optical_Steady.html 35mm lens] US$400
*Audio:
**Shot Gun Mic: [http://www.bestbuy.ca/en-CA/product/vidpro-vidpro-condenser-shotgun-microphone-xm55-xm55/10272711.aspx?path=ed5e2508d199686211e8cfd6f2d84008en02 XM55] $119 CDN
**Dual Wireless Mic Systems: [http://www.bhphotovideo.com/c/product/733909-REG/Azden_330ULT_330LT_UHF_On_Camera_Dual.html Azden Dual bodypack System] ($760-$800) or [http://www.bhphotovideo.com/c/product/460224-REG/Audio_Technica_ATW_1821D_ATW_1821_Dual_Wireless.html Audio-Technica Dual Wireless Microphone System] ($1,395 US)
**[http://www.bhphotovideo.com/c/product/1029169-REG/sony_ecmw1m_wireless_mic.html wireless microphone] US$178
*Tripod/monopod:

Course:LAST100

2015-05-07T09:55:09Z

Jbmurray: /* Equipment Suggestions */ ce

{{Infobox_New_Course

|title=

|picture=Image:wiki.png

|subject code=

|course number=

|section number=

|instructor=

|instructor 2=

|instructor 3=

|instructor 4=

|instructor 5=

|email=

|office=

|office hours=

|schedule=

|classroom=

|website= [http://last100.arts.ubc.ca/ http://last100.arts.ubc.ca/]

}}


[http://last100.arts.ubc.ca/ http://last100.arts.ubc.ca/]

==TLEF planning==

Possible models:

* John Green's "Crash Course" histories. E.g.:
** [https://www.youtube.com/watch?v=6E9WU9TGrec The Black Legend, Native Americans, and Spaniards: Crash Course US History #1]
** [https://www.youtube.com/watch?v=ZBw35Ze3bg8 Latin American Revolutions: Crash Course World History #31]
** [https://www.youtube.com/watch?v=v6xi8_7Fy6Y War and Nation Building in Latin America: Crash Course World History 225]

* The Periodic Table of Videos ([http://www.periodicvideos.com/ http://www.periodicvideos.com/]). E.g.:
** [https://www.youtube.com/watch?v=pPd5qAb4J50 Silver]
** [https://www.youtube.com/watch?v=6rdmpx39PRk Hydrogen]
** [https://www.youtube.com/watch?v=MpFTQYynrc4 Titanium]

* Foundations of Chinese Thought. E.g.:
** [https://www.youtube.com/watch?v=KOaQaWcgz14 Introduction]
** [https://www.youtube.com/watch?v=I59Oda0Tp2Y 1.2 - “What Does it Mean to Study ‘Thought’?”]
** [https://www.youtube.com/watch?v=m87aQ_C0SMg 3.1 - The World's First Hippies]

==May 4 Meeting==
* Figure out what hardware to buy. I have $3000 for this, and will need advice from Angela as to what would be helpful for Arts ISIT.
**Video: Camera that Novak mentioned (c. $800)
**Audio: Lavier Mics x2 plus associated receiver (c. $1300) (Angela)
**Tripod/monopod: $150
**Lighting: '''No'''
**Batteries
* Decide on hiring RAs. I have two people identified already, though one can’t get going until the Autumn. So at least for the summer, I need someone, ideally with technical skills. '''Post this''' somewhere. (Where?) (Talk to people in visual arts?) (Steven Barnes?) (dept administrators?) (Will to investigate)
* Narrow down options for video production, both
** Software to use (and purchase if necessary?): '''Camtasia''' (second choice: iMovie)
** format (though these need not be uniform): May '''vary''' depending on type of video. Students to be given assistance, but also allowed to make their own decisions.
** look into Zaption / Pulsepress
* Make some decisions about the website structure

* Set up compare and contrast day (Novak)

==Equipment Suggestions==
*Video:
**[http://www.bhphotovideo.com/c/product/1049540-REG/sony_alpha_a6000_mirrorless_digital.html Sony Alpha A6000] US$600
**[http://www.bhphotovideo.com/c/product/1049538-REG/sony_alpha_a6000_mirrorless_digital.html Sony Alpha A6000] US$460 + one or more of:
***[http://www.bhphotovideo.com/c/product/1001009-REG/sony_sel1670z_16_70mm_f_4_za_lens.html Zoom lens] US$1000
***[http://www.bhphotovideo.com/c/product/818647-REG/Sony_SEL24F18Z_SEL24F18Z_24_mm_f_1_8.html 24mm lens] US$900
***[http://www.bhphotovideo.com/c/product/892387-REG/Sony_sel35f18_35mm_F_1_8_Optical_Steady.html 35mm lens] US$400
*Audio:
**Shot Gun Mic: [http://www.bestbuy.ca/en-CA/product/vidpro-vidpro-condenser-shotgun-microphone-xm55-xm55/10272711.aspx?path=ed5e2508d199686211e8cfd6f2d84008en02 XM55] $119 CDN
**Dual Wireless Mic Systems: [http://www.bhphotovideo.com/c/product/733909-REG/Azden_330ULT_330LT_UHF_On_Camera_Dual.html Azden Dual bodypack System] ($760-$800) or [http://www.bhphotovideo.com/c/product/460224-REG/Audio_Technica_ATW_1821D_ATW_1821_Dual_Wireless.html Audio-Technica Dual Wireless Microphone System] ($1,395 US)
**[http://www.bhphotovideo.com/c/product/1029169-REG/sony_ecmw1m_wireless_mic.html wireless microphone]
*Tripod/monopod:

Course:LAST100

2015-05-07T09:54:29Z

Jbmurray: /* Equipment Suggestions */ Novak suggestions

{{Infobox_New_Course

|title=

|picture=Image:wiki.png

|subject code=

|course number=

|section number=

|instructor=

|instructor 2=

|instructor 3=

|instructor 4=

|instructor 5=

|email=

|office=

|office hours=

|schedule=

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|website= [http://last100.arts.ubc.ca/ http://last100.arts.ubc.ca/]

}}


[http://last100.arts.ubc.ca/ http://last100.arts.ubc.ca/]

==TLEF planning==

Possible models:

* John Green's "Crash Course" histories. E.g.:
** [https://www.youtube.com/watch?v=6E9WU9TGrec The Black Legend, Native Americans, and Spaniards: Crash Course US History #1]
** [https://www.youtube.com/watch?v=ZBw35Ze3bg8 Latin American Revolutions: Crash Course World History #31]
** [https://www.youtube.com/watch?v=v6xi8_7Fy6Y War and Nation Building in Latin America: Crash Course World History 225]

* The Periodic Table of Videos ([http://www.periodicvideos.com/ http://www.periodicvideos.com/]). E.g.:
** [https://www.youtube.com/watch?v=pPd5qAb4J50 Silver]
** [https://www.youtube.com/watch?v=6rdmpx39PRk Hydrogen]
** [https://www.youtube.com/watch?v=MpFTQYynrc4 Titanium]

* Foundations of Chinese Thought. E.g.:
** [https://www.youtube.com/watch?v=KOaQaWcgz14 Introduction]
** [https://www.youtube.com/watch?v=I59Oda0Tp2Y 1.2 - “What Does it Mean to Study ‘Thought’?”]
** [https://www.youtube.com/watch?v=m87aQ_C0SMg 3.1 - The World's First Hippies]

==May 4 Meeting==
* Figure out what hardware to buy. I have $3000 for this, and will need advice from Angela as to what would be helpful for Arts ISIT.
**Video: Camera that Novak mentioned (c. $800)
**Audio: Lavier Mics x2 plus associated receiver (c. $1300) (Angela)
**Tripod/monopod: $150
**Lighting: '''No'''
**Batteries
* Decide on hiring RAs. I have two people identified already, though one can’t get going until the Autumn. So at least for the summer, I need someone, ideally with technical skills. '''Post this''' somewhere. (Where?) (Talk to people in visual arts?) (Steven Barnes?) (dept administrators?) (Will to investigate)
* Narrow down options for video production, both
** Software to use (and purchase if necessary?): '''Camtasia''' (second choice: iMovie)
** format (though these need not be uniform): May '''vary''' depending on type of video. Students to be given assistance, but also allowed to make their own decisions.
** look into Zaption / Pulsepress
* Make some decisions about the website structure

* Set up compare and contrast day (Novak)

==Equipment Suggestions==
*Video:
**[http://www.bhphotovideo.com/c/product/1049540-REG/sony_alpha_a6000_mirrorless_digital.html Sony Alpha A6000] US$600
or you could take just a body and higher end zoom or prime:
**[http://www.bhphotovideo.com/c/product/1049538-REG/sony_alpha_a6000_mirrorless_digital.html Sony Alpha A6000] US$460
+ one or more below
***[http://www.bhphotovideo.com/c/product/1001009-REG/sony_sel1670z_16_70mm_f_4_za_lens.html Zoom lens] US$1000
***[http://www.bhphotovideo.com/c/product/818647-REG/Sony_SEL24F18Z_SEL24F18Z_24_mm_f_1_8.html 24mm lens] US$900
***[http://www.bhphotovideo.com/c/product/892387-REG/Sony_sel35f18_35mm_F_1_8_Optical_Steady.html 35mm lens] US$400
*Audio:
**Shot Gun Mic: [http://www.bestbuy.ca/en-CA/product/vidpro-vidpro-condenser-shotgun-microphone-xm55-xm55/10272711.aspx?path=ed5e2508d199686211e8cfd6f2d84008en02 XM55] $119 CDN
**Dual Wireless Mic Systems: [http://www.bhphotovideo.com/c/product/733909-REG/Azden_330ULT_330LT_UHF_On_Camera_Dual.html Azden Dual bodypack System] ($760-$800) or [http://www.bhphotovideo.com/c/product/460224-REG/Audio_Technica_ATW_1821D_ATW_1821_Dual_Wireless.html Audio-Technica Dual Wireless Microphone System] ($1,395 US)
**[http://www.bhphotovideo.com/c/product/1029169-REG/sony_ecmw1m_wireless_mic.html wireless microphone]
*Tripod/monopod:

Course:LAST100

2015-05-05T13:29:27Z

Jbmurray: /* May 4 Meeting */ add suggestions

Course:LAST100

2015-05-04T22:23:21Z

Jbmurray: /* May 4 Meeting */

Course:LAST100

2015-05-04T22:21:08Z

Jbmurray: /* May 4 Meeting */

Course:LAST100

2015-05-04T22:18:32Z

Jbmurray: /* May 4 Meeting */

Course:LAST100

2015-05-04T22:15:22Z

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Course:LAST100

2015-05-04T22:14:24Z

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Course:LAST100

2015-05-04T22:12:34Z

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Course:LAST100

2015-05-04T22:10:49Z

Jbmurray: /* May 4 Meeting */

Course:LAST100

2015-05-04T22:07:25Z

Jbmurray: /* May 4 Meeting */

Course:LAST100

2015-05-04T22:06:42Z

Jbmurray: /* May 4 Meeting Agenda */

Course:LAST100

2015-05-04T21:52:19Z

Jbmurray: /* May 4 Meeting Agenda */

Course:LAST100

2015-05-04T21:45:28Z

Jbmurray: /* May 4 Meeting Agenda */

Course:LAST100

2015-05-04T20:58:55Z

Jbmurray: website

Course:LAST100

2015-05-04T20:57:46Z

Jbmurray: /* TLEF planning */ plus today's agenda

Course:LAST100

2015-05-04T20:56:08Z

Jbmurray: started page

Course:LING447/2014WT1/Assignments

2014-11-08T00:12:50Z

Jbmurray: /* Emotional – State */ rm vandalism from Jon

== Ideophones: introduction ==
Ideophones are instances of sound symbolism that are used in everyday speech to convey very specific meaning.

=== What is an ideophone? ===

=== The form of ideophones ===

=== The function of ideophones ===

== Ideophones and the organization of the lexicon ==
(Christina, Allyssa)

=== Markedness of ideophones ===

Ideophones are defined as being “marked words that depict sensory imagery” (Dingemanse 2011: 78). In particular, ideophones are viewed as being part of the expressive lexicon in contrast to ‘regular’ words which are part of the prosaic lexicon. The expressive lexicon is often described as deviant and not affected by prosaic rules and restrictions of a language, however, ideophones are not as abnormal as they are regularly characterized. Consequently, the inventory that ideophones make use of is the same as the prosaic lexicon utilizes, though the inventory is meaning suggestive – a characteristic that several researchers would describe as universal in natural languages – and can be altered to specific needs in everyday ideophonic utterances.

=== Prosaic and expressive lexicon ===

The difference between ideophones and words of the prosaic lexicon is their expressiveness, in contrast to their verbal counterparts, they do not have referential meaning but signify their referents (Nuckolls 1995, Dingemanse 2012). The sensory imagery that they depict is derived from sensory perception of characteristics of the environment and the body, has precise meaning and sometimes even judgmental about these exact perceptions.

Examples taken from Dingemanse (2011) in Siwu, Ghana
{| class="wikitable"
|-
| ideophones|| simple properties - expressed by stative verbs
|-
| ''kànya amε tìtìrìtììì'' ‘mouth inside sticky‘ || ''lε'' ’be good‘
|-
| ''ìgbèdi sinisinisinisini'' ‘smooth cassava‘ || ''dzɔ'' ‘be straight‘
|-
| ''nyãkãnyãkã'' ‘sensation of grooved texture‘ || ''mɔ'' ‘be big’
|}

=== Iconicity of ideophones ===

Many researchers that have occupied themselves with the use of ideophones describe them as performances – by relating language and the sensory world, ideophones serve poetic as well as prosaic uses (Dingemanse 2012). Expressives are common in everyday language and have the effect of simulating an event to a degree where the speech cannot be distinguished from the narrated action, event or process any more. The ideophonic vocabulary is therefore utilized by speakers of an expressive language to imitate and emphasize. The options for semantic fields that are used to imitate or emphasize are endless and different authors have come to different conclusions about the sensory perceptions that ideophones can denote (Dingemanse 2011, 2012, Nuckolls 1995). Nonetheless, it is important to note that ideophones and their meanings establish different kinds of mappings (Dingemanse 2012):
* imagic iconicity: the sound of the ideophone mimics the sound of the sensory percept
* gestalt iconicity: the word structure of the ideophone mimics the event structure
* item relative iconicity: related forms map onto related meanings

Examples taken from Dingemanse (2012: 661) in Kwa, Niger-Congo
{| class="wikitable"
|-
| | imagic iconicity: ''glbogblogblo'' || 'bubbling'
|-
| gestalt iconcity: ''kpɔtɔrɔ-kpɔtɔrɔ'' || 'walking like a tortoise' (reduplication)
|-
| relative iconicity: ''ɣììì''|| 'sensation of vertigo' (use of vowel space to suggest intensity)
|}

=== Suggestiveness ===

The depiction of the different types of iconicity work with acoustic symbolism, and some authors claim that articulatory symbolism affects the suggestiveness of ideophones as well. For a long time, phonology seemed to be the crucial factor in many experiments regarding suggestiveness of meaning, i.e. especially vowel quality (see Sapir 1929). Vowels appeared to have strong expressive values, especially regarding magnitude, brightness, roundness, and more characteristics (Sapir 1929, Fischer-Jørgensen 1978) of the meaning of nonce as well as meaningful words. 
 

List of Sapir's (1929), Bentley, Madison, Varon's (1933) and Fischer-Jørgensen’s (1978) results
* ‘a’ is viewed to have ‘larger meaning’ than ‘i’ and ‘e’
* ‘e’ is viewed to be larger than ‘i’
* ‘a’-sounds are also rounder and softer than ‘i’-sounds
* low tone indicates big and lax things
* ‘i’ indicates something narrow, tight, squeezed or very dark 
 
Other experiments show a lack of a feeling for suggestiveness of specific meanings (Bentley, Madison, Varon 1933). It seems as if experts cannot arrive at a definite conclusion about the phonetic symbolism of distinct sounds. The majority of authors seek for a different explanation of positive results in suggestiveness experiments – suggestiveness due to a subconscious linkage between articulatory phonetics and vowel quality or a linkage between the quality of everyday things and their attributes e.g. the sky is high and bright, therefore high voice suggests brightness etc. (Fischer-Jørgensen 1978). The lack of a sufficient and serious explanation for suggestiveness of certain sounds leads to the simplified conclusion that expressive value is always given and possibly can be explained by the general phenomenon of synesthesia. However, suggestiveness and a feeling for phonetic symbolism is suggested to present a universal tool that every speaker of a natural language may use as part of the expressive as well as the prosaic lexicon (Miron 1961).

=== Morphology of ideophones ===

Ideophones are a highly flexible part of the expressive lexicon and do not depend – but certainly do make use of – phonetic symbolism, but it is mainly repetition, reduplication and other varieties of intonational elaboration can add meaning to an ideophone (Nuckolls 1995).

Examples taken from Nuckolls (1995: 154-56) in Quechua 

'''Reduplication''' 
N: Charapa wawa sa sa sa sa sa tiyumanda lyukshinawn’? 
: The turtle hatchlings emerge from the sand sa sa sa sa sa?

'''Reduplication, lengthening and falling pitch''' (indicated with smaller font) 
M: Phaa pa pa pa pa pa pa pa pawasha rig, kuti mandzhariracha. 
: Flying phaa pa pa pa pa pa pa pa, it (a condor) went off because it was frightened.

'''Lengthning and reduplication''' 
E: Thaaaaaay thaaaay thay! Ay Janelya uyangi ma yanga thaaaay tbaay ton ton ton ton ton ton ton ton ton ton 
: Thaaaaaay thaaaay thay! Oh Janet, you would hear (them) just thaaaay tbaay ton ton ton ton ton ton ton ton ton ton

: thay – simulation of rifles firing 
: ton – thud-like sound of ammunition hitting a body

=== Prosaic inventory ===

Based on this assumption, the ideophonic lexicon differs from the prosaic lexicon in several ways. However, it is important to note that ideophones use the same inventory as ‘normal’ words, but in a different way. Dingemanse points out that ideophones differ from nouns and verbs, as they are usually longer, have different word structure, are differently integrated in an utterance, they give emphasis, they can be altered prosodically and are non-derived basic terms (2011). Therefore, they use the same inventory of phonology, morphology and morphosyntax as nouns and verbs. In some languages the expressive language contains exceptions from rules and restrictions of the prosaic lexicon and vice versa – they “stretch the system of some language a bit” (Newman 251). The exceptions result in the markedness of ideophones, that is easily overstated as making them unlike ordinary words. 

Examples taken from Newman (2014) in Hausa
Excerpt of differences and similarities between expressive and prosaic lexicon:
* There are no consonants found in ideophones that are not part of prosaic phonological inventory
* Most Hausa words end in vowel – numerous ideophones end in consonants
* Prosaic and expressive lexicon make use of the same vowel inventory
* Prosaic and expressive lexicon make use of the same tones
* It is rare for prosaic words to end in L L tone and have a long final vowel – very often occurs in ideophones
* All words of Hausa undergo phonological changes, whether they are part of the ideophonic or the prosaic lexicon 
 
 
 
: Bentley, Madison, and Edith J. Varon. “An accessory study of ‘Phonetic symbolism’.” The American Journal of Psychology 45.1 (1933): 76-86. Print.
: Brown, Roger W., Abraham H. Black, and Arnold E. Horowitz. “Phonetic symbolism in natural languages.” Journal of Abnormal and Social Psychology 50.3 (1955): 388-393. Print.
: Dingemanse, Mark. “Ideophones and the aesthetics of everyday language in a West-African society.” Senses & Society 6.1 (2011): 77-85. Print.
: ---. “Advances in the cross-linguistic study of ideophones.” Language and Linguistics Compass 6.20 (2012): 654-672. Print.
: Fischer-Jørgensen, Eli. “On the universal character of phonetic symbolism with special reference to vowels.” Studia Linguistica XXXII I-II (1978): 80-90. Print.
: Miron, Murray S. “A cross-linguistic investigation of phonetic symbolism.” Journal of Abnormal and Social Psychology 62.3 (1961): 623-630. Print.
: Newman, Paul. “Are ideophones really as weird and extra-linguistic as linguists make them out to be?” Ideophones. Ed. Voeltz, F. K., and Christa Kilian-Hatz. Philadelphia: John Benjamins, 2001. 251-258. Web. 6 October 2014.
: Nuckolls, Janis B. “Quechua texts of perception.” Semiotica 103.1/2 (1995): 145-169. Print.
: Sapir, Edward. “A study in phonetic symbolism.” Journal of Experimental Psychology 12.3 (1929): Print.
: Waugh, Linda R. “Degrees of iconicity in the lexicon.” Journal of Pragmatics 22 (1994): 55-70. Print.

=== Ideophones are "regular words" ===
Samarin

=== Ideophones are "marked words" ===
Dingemanse

=== Ideophones are "iconic words" ===
Waugh

==== The ubiquity of diagrammatic iconicity ====
:'''Diagrammatic iconicity'''
:Icons "which represent the relations of the parts of one thing by analogous relations in their own parts."
:(Peirce 1955: 105)

:'''Diagrammatic iconicity at the word-level'''
:''Watery'' and ''waterfall'' are related to each other diagrammatically by virtue their shared root ''water'':

(1) '''''water'''-y '''water'''-fall''
'''''water''' '''water'''''

: ''Watery'' and ''rainy'' are related to each other diagrammatically by virtue their shared suffix ''-y'':

(2) ''water-'''y''' rainy-'''y'''''
'''''-y''' '''-y'''''

: '''Diagrammatic iconicity at the phrase-level'''
: The intransitive form of ''eat'' (3a) and the transitive form of ''eat the cake'' (3b) are related to each other diagrammatically (4) by virtue of their shared head ''eat''.

(3) a. ''Lucy will'' [VP[V'''''eat''''']]]
b. ''Lucy will'' [VP[V'''''eat'''''][DP''the cake'']]

(4) Diagrammatic relation between '''''eat''''' and '''''eat the cake'''''
[VP [V '''''eat''''']] [VP [V '''''eat'''''] [DP''the cake'' ]
[V '''''eat'''''] [V '''''eat''''']

: '''Diagrammatic iconicity at the sentence-level'''
: Affirmative (5a) and negative (5b) sentences are diagrammatically related by virtue of their propositional content (6).

(5) a. ''Lucy did '''so''' eat the cake''.
b. ''Lucy did '''not''' eat the cake''.

(6) AFF[S ''Lucy eat cake''] NEG[S ''Lucy eat cake'']
[S '''''Lucy eat cake'''''] [S '''''Lucy eat cake''''']

==== Morphemes are based on isomorphic iconicity ====
[introduce text]

* '''One-form/one-meaning principle'''
: Sameness of form from one sign to another signals sameness of meaning.
: Difference of form from one sign to another signals difference of meaning.

[Describe patterns in the following table, and show how they illustrate isomorphic iconicity. Examples adapted from Waugh (1994:56f.)]

{| class="wikitable"
|-
! [α] !! [α -β] !! [ [a] [β] ]
|-
| '''''water''''' || '''''water'''-y'' || '''''water'''-fall''
|-
| '''''rain''''' || '''''rain'''-y'' || '''''rain'''-drop''
|-
| '''''snow''''' || '''''snow'''-y'' || '''''snow'''-shoe''
|}

==== Sub-morphemes are based on partial shared structure ====
Although words are divisible into parts, this does not mean that they are totally divisible into morphemes. For Waugh (1994:58), word parts that are not morphemes have the status of '''sub-morphemes'''.

===== Sub-morphemes with lexical categories =====
While '''''black''''' and '''''berry''''' are both morphemes, *'''''cran''''', *'''''boysen''''', and *'''''rasp''''' are sub-morphemes:

{| class="wikitable"
|-
! [[α] [β]] !! α=morpheme? !! β=morpheme?
|-
| ''black'''berry''''' || Yes; ''black'' || Yes; ''berry''
|-
| ''cran'''berry''''' || No; *''cran'' || Yes; ''berry''
|-
| ''boysen'''berry''''' || No; *''boysen'' || Yes; ''berry''
|-
| ''rasp'''berry''''' || No; *''rasp'' || Yes; ''berry''
|}

While '''''day''''' and -'''''ly''''' are both morphemes, *'''''holi''''', *'''''yester''''', *'''''Mon''''' and *'''''to''''' are sub-morphemes:

{| class="wikitable"
|-
! [[α]-[β]] !! α=morpheme? !! β=morpheme?
|-
| '''''dai'''ly'' || Yes; ''day'' || Yes; -''ly''
|-
| ''holi'''day''''' || No; *holi || Yes; ''day''
|-
| ''Mon'''day''''' || No; *''Mon'' || Yes; ''day''
|-
| ''yester'''day''''' || No; *''yester'' || Yes; ''day''
|-
| ''to'''day''''' || No; *''to'' || Yes; ''day''
|}

While '''''rain''''' and -'''''y''''' are both morphemes, *'''''naught''''', *'''''joll''''', *'''''clums''''' and *'''''coze''''' are sub-morphemes:

{| class="wikitable"
|-
! [[α]-[β]] !! α=morpheme? !! β=morpheme?
|-
| ''rain'''y''''' || Yes; ''rain'' || Yes; -'''''y'''''
|-
| ''naught'''y''''' || No; *''naught'' || Yes; -'''''y'''''
|-
| ''joll'''y''''' || No; *''joll'' || Yes; -'''''y'''''
|-
| ''clums'''y''''' || No; *''clums'' || Yes; -'''''y'''''
|-
| ''coz'''y''''' || No; *''coze'' || Yes; -'''''y'''''
|}

While '''''spit''''', '''''run''''' and -'''''le''''' are morphemes, *'''''nozz''''' is a sub-morpheme:

{| class="wikitable"
|-
! [[α]-[β]] !! α=morpheme? !! β=morpheme?
|-
| ''spitt'''l''e''' || Yes; ''spit'' || Yes; -'''''le'''''
|-
| ''runn'''el''''' || Yes; ''run'' || Yes; -'''''le'''''
|-
| ''nozz'''le''''' || Yes; *''nozz'' || Yes; -'''''le'''''
|}

While '''''bro''''' and -'''''ther''''' are morphemes *'''''mo''''' and, *'''''fa''''' are sub-morphemes:
{| class="wikitable"
|-
! [[α]-[β]] !! α=morpheme? !! β=morpheme?
|-
| ''bro'''ther'''''' || Yes; ''bro'' || No; -'''''there'''''
|-
| ''mo'''ther'''''' || No; ''mo'' || No; -'''''there'''''
|-
| ''mo'''ther'''''' || Yes; *''mo'' || No; -'''''there'''''
|}

===== Sub-morphemes with functional categories =====
[insert text here]

{| class="wikitable"
|-
! [[α]-[β]] !! α=morpheme? !! β=morpheme?
|-
| '''''th'''e'' || Yes; '''''th'''''- || No; -e
|-
| '''''th'''is'' || Yes; '''''th'''''- || No; -is
|-
| '''''th'''at'' || Yes; '''''th'''''- || No; -at
|-
| '''''th'''ey'' || Yes; '''''th'''''- || No; -ey
|-
| '''''th'''eir'' || Yes; '''''th'''''- || No; -eir
|-
| '''''th'''ee'' || Yes; '''''th'''''- || No; -ee
|-
| '''''th'''ou'' || Yes; '''''th'''''- || No; -ou
|-
| '''''th'''y'' || Yes; '''''th'''''- || No; -y
|-
| '''''th'''ine'' || Yes; '''''th'''''- || No; -ine
|-
| '''''th'''en'' || Yes; '''''th'''''- || No; -en
|-
| '''''th'''ere'' || Yes; '''''th'''''- || No; -ere
|-
| '''''th'''us'' ||Yes; '''''th'''''- || No; -us
|-
| '''''th'''an'' || Yes; '''''th'''''- || No; -an
|-
| '''''th'''ough'' || Yes; '''''th'''''- || No; -ough
|}

==== Phonesthemes: the emergence of sound symbolism ====
[insert text]

{| class="wikitable"
|-
! Header text !! Header text !! Header text
|-
| '''fl'''ap || fl- || -ap
|-
| '''fl'''are || fl- || -are
|-
| '''fl'''ee || fl- || -ee
|-
| '''fl'''ick || fl- || -ick
|-
| '''fl'''icker || fl- || -ick-er
|-
| '''fl'''ing || fl- || -ing
|-
| '''fl'''ip || fl- || -ip
|-
| '''fl'''it || fl- || -it
|-
| '''fl'''itter || fl- || -itt-er
|-
| flow || fl- || -ow
|-
| '''fl'''utter || fl- || -utter
|-
| '''fl'''y || fl- || -y
|-
| '''fl'''urry || fl- || -urry
|-
| '''fl'''ask || *fl- || *-ask
|-
| '''fl'''ag || *fl- || *-ag
|}

(5) a. '''sn'''orkel
b. '''sn'''iff
c. '''sn'''our

(6) a. ??-s
b. ??-s

(7) a. book < any written material < document < pieces of wood from tree < 'tree'
b. bank1 (grassy bank) versus bank2 (savings bank)
c. rain-y, craz-y, canny-, joll-y

==== Ideophones can be placed on several continua ====

{| class="wikitable"
|-
! + !! 0 !! –
|-
| fully iconic || many degrees of iconicity || fully non-iconic
|-
| isomorphic || partially isomorphic || not isomorphic
|-
| motivated || partially motivated || not motivated
|-
| morphemic || semi-morphemic || not morphemic
|-
| onomatopoeic || partially onomatopoeic || not onomatopoeic
|-
| sound symbolic || partially sound symbolic || not sound symbolic
|-
| full compositionality || degrees of compositionality || no compositionality
|-
| unitary meaning || polysemy || homonymy (accidental identity)
|-
| identity || degrees of similarity || no identity
|-
| full relatedness || partial relatedness || no relatedness
|}

=== Ideophones and the mental lexicon ===

== Perceptual basis for ideophones ==
(Enrico)

== Phonology of ideophones ==
(Noriko, Masaki)
=== Phonological properties of ideophones ===
Ideophones exhibit unique phonological properties, including:
* consonantal melody
* vocalic melody
* tone
* syllable structure
* word size (e.g. minimality versus maximality effects)
* intonation

=== Phonology of Nembe ideophones ===
Maduka (1988) Size and shape ideophones in Membe: a phono semantic analysis

Nembe is part of the Ijoid sub-family of the New Benue-Congo family [link to Ethnologue?]

Data: Nembe-English Dictionary

==== Nembe phonological inventory: consonants, vowels, and tones ====

(1) Phonological inventory
a. Consonants
{ p, b, ɓ, m, f, v, t, d, ɗ, r, s, z, n, y, k, g, kp, gb, w }
b. Vowels: +wide vs -wide; [wide] correlates to pharynx size
{ ??? }
c. Tone
{ High, Low]

(2) Size restrictions for Nembe ideophones
a. 2 syllables: CV.CVV
b. 3 syllables: CV.CV.CVV
c. 4 syllables: [CV.CV] + [CV.CV]
d. 6 syllables: [CV.CV.CV] + [CV.CV.CV]

(3) Melodic restrictions for Nembe ideophones (??)
a. L…H
b. L...
c. L…HL… L…HL
d. (HL)…, (HL…)…, (LHL)…

==== Nembe phono-semantic rules and ranking effects ====
Absolute size ideophone

Vowels produced with wide pharynx refer to large or neural size/Vowels produced with narrow pharynx refer to small size

{| class="wikitable"
|-
! Phonology !! !! Semantics !! Ranking
|-
| V [α wide] || → || [α LARGE] || o in isolation specifies [+LARGE] at level n, ɔ in isolation specifies [-LARGE] at level n-4
|-
| C3 [-α alv, α vel] || → || [α LARGE] ||
|-
| {r, t, d, ɗ} || → || [-LARGE] || r in isolation specifies [-LARGE] at level n-1
|-
| {k, g} || → || [+LARGE] || k in isolation specifies [+LARGE] at level n-3
|-
| C1 [α grave] || → || [α LARGE] ||
|-
| {ɗ} || → || [-LARGE] ||
|-
| {gb} || → || [+LARGE] ||
|}

{| class="wikitable"
|-
! Example !! Translation !! Pattern
|-
| gbɔ'''k'''ɔgbɔ'''k'''ɔ || very tall or long || '''k''' [+LARGE] outranks '''ɔ''' [-LARGE]
|-
| s'''oko'''s'''oko''' || tall or high || '''k''' [+LARGE] agrees with '''o''' [+LARGE]
|-
| s'''o'''r'''o'''s'''o'''r'''o''' || bulgy, swollen || '''o''' [+LARGE] outranks '''r''' [-LARGE]
|}

:Maduka, O. N. (1988). Size and shape ideophones in Nembe: a phonosemantic analysis. Studies in African linguistics, 19(1).
:Maduka, O. N. (1991). Phonosemantic antecedents of some verbs in Igbo. Journal of West African Languages, 21(1), 105-15.
:Maduka, O. N. (1991). Phonosemantic rules and hierarchies: Evidence from roundness ideophones in Hausa. Afrikanistische Arbeitspapiere, 26, 167-175.
:Maduka, O. N. (1992). A PHONOSEMANTIC ANALYSIS OF NEMBE REDUPLICATED SOUND IDEOPHONES. Frankfurter afrikanistische Blätter, (4), 71.
:Fordyce, J. F. (1983). The Ideophone as a phonosemantic class: the case of Yoruba. Current Approaches to African Linguistics, 1, 263-278.
:Akita, K. (2011). Toward a phonosemantic definition of iconic words. Semblance and Signification, 10, 3.
:Hinton, L., Nichols, J., & Ohala, J. J. (Eds.). (2006). Sound symbolism. Cambridge University Press.
:Shinohara, K., & Kawahara, S. (2012). A cross-linguistic study of sound symbolism: The images of size. In Proceedings of BLS (Vol. 36).
:Masuda, K. (2007). The physical basis for phonological iconicity. Insistent Images. Amsterdam/Philadelphia, 57-71.
:Schmidtke, D. S., Conrad, M., & Jacobs, A. M. (2014). Phonological iconicity. Frontiers in psychology, 5.
:[http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0092852 Sound Symbolism in the Languages of Australia]

== Morpho-Syntax of Ideophones ==
(Leighanne, Iris)

=== Syntactic Category of Ideophones ===

==== Ideophones as Interjections ====
Ideophones are a part of speech that shares the same status as interjections, as they both express emotion and neither is subject to the rigid constraints other grammatical word classes are governed by (Doke, 1948). Other word classes are governed by rules of length, stress, and tone, whereas ideophones can have variable tone, length, and stress.
"Ow!" in (1) is an interjection in English for expressing pain.
"Ow" can be lengthened with a different prosodic melody to express a slightly different meaning, such as, "Owwwwwww" in a whiny tone, with the connotation of complaining and trying to get someone's attention.
In terms of variable stress, “Ow” can be stressed, or exclaimed louder, to demonstrate a sharp, sudden, unexpected pain as in “OW!!” With the additional stress, it is perceived as more painful than “Ow.”

(1) "Ow!"

==== Ideophones as Nouns ====
"Slap" in (1-3) is an ideophone in English expressing a painful, intentional contact of the hand against a surface. The English ideophonic noun "slap" can be lengthened reduplicated (1), lengthened (2), and verbalized (3).

(1) reduplication of the ideophonic noun ''slap''
a. ''The '''slap-slap-slap''' of the water against the shore.''
b. ''The water went '''slap-slap-slap''' against the shore.''

(2) expressive lengthening of the ideophonic noun ''slap''
a. ''The '''slaaap-slaaap-slaaap''' of the water against the shore.''
b. ''The water went '''slaaap-slaaap-slaaap''' against the shore.''

(3) verbalization of the ideophonic noun ''slap''
a. ''The water '''slapp'''-ed against the shore.''
b. ? ''The water '''slap-slapp'''-ed against the shore.''
c. ? ''The water '''slaaapp'''-ed against the shore.''

Regular English nouns like bottle (4a) are not expressive, cannot be reduplicated (4b) or lengthened (4c), but they can be verbalized (4d).

(4) regular noun "bottle"
a. ''The '''bottle''' floated away.''
b. *''The '''bottle-bottle''' floated away.''
c. *''The '''booottle''' floated away.''
d. ''They '''bottle'''-d three cases of wine.''

Dhoorre and Tosco suggest that ideophones in Somali belong to a subclass of nouns (1998). Like nouns, they have a definite suffix or anaphoric determiner and have feminine gender.

In (5a), because there is a noun, the noun is focalized. In (5b), since there is no noun, the ideophone carries the focus, demonstrating how ideophones are nouns in Somali.

(5)a. Affirmative, declarative sentence with both ideophone and noun
irriddii ayaa qab tiri
door.F.ANAPH FOC IDEO said.3F
‘the door banged’
b. Affirmative, declarative sentence without the noun, only the ideophone
big buu yiri
IDEO FOC.3M said.3M
‘he left suddenly’

==== Ideophones as Adverbs ====
Syntactically, ideophones in Bantu languages are their own word class, but behave like descriptive adverbs, so they contain descriptive information about manner, colour, sound, smell, and so on. They do not carry information about time or place (Doke, 1948).
Examples:
The Shona ideophone for bright, “ngwe” (1) describes colour, and state. The intensity can vary depending on the length of the ideophone (i.e. longer vowel means brighter). “Ngwe” usuall references the moon, so that could be a possible reference to place.
(1) Mwedzi wakachena kuti ngwe-e.
mu-edzi u-aka-chen-a ku-ti ngwe-e.
C3-moon SM-PAST-V(to be bright)-FV SM-say IDEO-bright.
The moon was extremely bright.
Without the vowel lengthening in “ngwe-e,” the moon as perceived as less bright with the ideophone “ngwe.”
Without the ideophone completely, the sentence would mean, “The moon was bright.” This demonstrates how the ideophone “ngwe-e” acts as an adverb.
The Shona ideophone for snatch, “biku” (2) describes manner, and action. It also sounds “fast,” possibly due to the vowel or the velar stop /k/, so it might describe duration/time as well.
(2) Imbwa yakati nyama biku.
C9-dog SM-PAST-say C9-meat IDEO-pick up/snatch.
The dog snatched the piece of meat.
“Biku” can be verbalized (3), and though the sentence with the verbalized ideophone has the same meaning, is it perceived as less dramatic than the ideophonic, adverbial form.
(3) Imbwa yakabikura nyama.
C9-dog SM-PAST-snatch-verbalizer-FV C9-meat.
The dog snatched the piece of meat.
In Chasu, ideophones are identical to adverbs in distribution and function (Mreta, 2012). The following example (4) demonstrates that ideophones and adverbs both occur post-verbally, both serve to modify the verb, and never co-occur (Mreta, 2012)
(4) Adverbs occur post-verbally
a. é‐ m‐ bigh‐ ie kwerí
SPM OM beat COMPL1‐ ADV
“S/he beat him/her severely”
b. Ideophones also occur post-verbally
é‐ l‐ a pa‐pa‐pa
SPM eat FV IDEO
“S/he eats hurriedly”
d. Ideophones and adverbs cannot co-occur
*é‐ l‐ a pa‐pa‐pa na mnó
SPM eat FV IDEO and ADV
*“S/he eats very fast and in a non‐stop motion and very much”

==== Ideophones as Adjectives ====
Ameka argues that ideophones belong to the adjective class in Ewe (2001). Adjectives in Ewe appear immediately after the noun, and their function is to describe a property of the noun, which is exactly ideophonic adjectives behave (Ameka, 2001). Example (1) demonstrates that ideophonic adjectives are located in the same place and do the same things as simple, non-ideophonic adjectives.
(1)a. Ideophonic adjectives appear after the noun
nenem nyɔnu kɔkɔ tralaa dzetugbe eve ma- wo koŋ ko
ID N ADJ ADJ ADJ QT DEM PL INT INT
such woman tall slender beautiful two that PL just only
‘only those same two tall slender and beautiful women’
b. Simple, non-ideophonic adjectives also appear after the noun
awu ɣi/ɣe la
N ADJ DEF
garment white DEF
‘the white garment’

==== Ideophones are Heterogeneous ====
Ideophones do not belong in their own category because they have different syntactic properties in each language (Newman 1968). In Hausa, they act as adjective-intensifiers, verb intensifiers, or descriptive adverbs, whereas in Tera, they act as adjectives or adverbs.

===== Hausa Ideophones: Adjective-Intensifiers, Verbal-Intensifiers, or Descriptive-Adverbs =====
Ideophones are adjective-intensifiers, verbal-intensifiers, or descriptive-adverbs in Hausa.
In Hausa, ‘expletive ideophones’ strengthen the preceding adjective (1).
(1) a. fari fat
white IDEO-snow
b. ja wur
red IDEO-blood
c. baki kirin
black IDEO-coal
The adjective and the adjective-intensifying-ideophone must come after the head noun, whereas the adjective can precede the noun (2) (Newman 1968).
(2)a. rago fari fat
ram white IDEO-snow
‘a snow white ram’
b. *fari fat rago
c. farin rago
‘a white ram’
d. rago fari
‘a white ram’
The adj+IDEO construction can appear in equational sentences, questions, and negative sentences, but they are always in the “noun, adj, ideo” order (3) (Mreta, 1968). In all three sentence types, the ideophone has the same meaning and sound.
(3)a. Equational sentence
ragonsa fari fat ne
His ram is snow white.
b. Question
ragonsa fari fat ne?
Is his ram snow white?
c. Negative sentence
ragonsa ba fari fat ba ne.
His ram is not snow white.
The intensifier and stabilizer “ne” can be optionally inserted between the adjective and the ideophone in affirmative declarative sentences, and the meaning remains the same as the equational sentence (4) (Newman 1968).
(4) ragonsa fari ne fat.
His ram is snow white.
In Hausa, ideophones can also immediately follow verbs as verbal-intensifiers (5) (Newman 1968). These can occur in a variety of syntactic constructions, and are not just limited to affirmative, declarative sentences.
(5)a. Affirmative declarative sentence
ya chika pal
He filled it to the brim.
b. Affirmative declarative sentence
yak one kurmus
It burnt to the ground.
c. Question
yak one kumus?
Did it burn to the ground?
d. Negative
bai cika pal ba
He didn’t fill it up completely.
e. Imperative
cika ta pal!
Fill it full!
Ideophones can also follow verbs as descriptive-adverbs (6). These only appear in affirmative, declarative sentences, and do not have the freedom of appearing in different syntactic constructions (Newman 1968).
(6)a. Affirmative declarative sentence
ya tashi farat
He got up in a flash
b. Affirmative declarative sentence
ya fadi sharap
He fell headlong
c. *Question
*ya fadi sharap?
*Did he fall headlong?
d. *Negative
*bai tashi farat ba
*He didn’t get up in a flash.
e. *Imperative
*tashi farat!
*Get up in a flash!

===== Tera Ideophones: Adjectives or Adverbs =====
Ideophones are adjectives (1) or adverbs (2) in Tera. In Tera, ideophonic adjectives have more syntactic freedom, and can be used anywhere an adjective can be used.
(1)a. Ideophonic-adjective
wudi-a ndolndol
The milk is cool (fresh)
b. Non-ideophonic adjective
wudi-a mbarə
The milk is good.
c. Ideophonic-adjective in a question
ndogd-a kwakədak mu?
Is the stone hard?
d. Non-ideophonic adjective in a question
ndogd-a tada mu?
Is the stone heavy?
e. Ideophonic-adjective in a negative sentence
wudi-a ndolndol ɓa
The milk is not cool.
f. Non-ideophonic adjective in a negative sentence
wudi-a mbar ɓa
The milk is not good.
Since ideophonic-adjectives and adjectives appear in all the same places in a sentence, Newman argues that ideophonic-adjectives are not a separate word class from adjectives, but perhaps a subclass of adjectives based on certain phonetic properties (Newman 1968).

In Tera, ideophones also appear as descriptive-adverbs, and like in Hausa, they are limited to affirmative, declarative sentences (2) (Newman 1968). They can also be general adverbs, and as general adverbs, they are not limited to affirmative, declarative sentences.
(2)a. Affirmative declarative sentence with an adverb-of-manner, using ‘with’ + noun
wa cə ɬəna ndə xaŋkal
He worked carefully [with care]
b. Affirmative declarative sentence with an adverb-of-manner, using ‘like/as’ + noun
wa pata ɓar kə ŋgəbəŋ
He exchanged it foolishly [like a fool]
c. Affirmative declarative sentence with an adverb-of-manner, using ideophonic descriptive-adverb
wa vi nə dam cacaɬ
He went out in a rushing manner.
d. Affirmative declarative sentence with an adverb-of-manner, using ideophonic general-adverb
wa xa ɣa tətək
He sat quietly.
e. Negative sentence with an adverb-of-manner, using ‘with’ + noun
nə cə ɬəna ndə xaŋkal
He didn’t work carefully.
f. *Negative sentence with an adverb-of-manner, using ideophonic descriptive-adverb
*nə vi n dam cacaɬ ɓa
*He did not go out in a rushing manner.
g. Negative sentence with an adverb-of-manner, using ideophonic general-adverb
nə xa ɣa tətək ɓa
He didn’t sit quietly.
h. Question with an adverb-of-manner, using ‘like/as’ + noun
wa pata ɓar kə ŋgəbəŋ ya?
Did he exchange it foolishly?
i. *Question with an adverb-of-manner, using ideophonic descriptive-adverb
*wa vi nə dam cacaɬ ya?
*Did he go out in a rushing manner?
j. Question with an adverb-of-manner, using ideophonic general-adverb
wa ruɓa nda didiŋ ya?
Did he injure him very much?

=== Morphology of Ideophones ===

==== Verbalization of Ideophones ====

In some Bantu Languages, verbalization of ideophones are formed by adding suffixes to the ideophonic roots (Doke 1948)

===== Lamba ideophone verbalization =====
Verbalization of ideophonic roots achieved by suffixes.
(1) a. -ka intransitive form
ŵeŵu > ŵeŵu-ka 'come off'
b. -la transitive form
ŵeŵ-la 'snip'
c. -sya Causative form
aŵu > aŵu-sya 'take across'
(2) a. -ma 'vibration'
b. ŵimbi-ma 'quiver'
c. yoko-ma 'rattle'
(3) a. -ma 'state'
b. sana-ma 'lie on the back'
c. fulu-mana 'bend forward'

===== Ronga ideophone verbalization =====
Verbalization of ideophonic roots achieved by suffixes.
(4) a. ''dzuu''
red.IDEO
'of redness'
b. ''-dzu-k-a''
red-STATE-FV
'be red'
(5) a. ''ŝu''
noise of bird. IDEO
'noise of bird-scaring'
b. ''ŝu-kuta''
'scare birds'

===== Zulu ideophone verbalization =====
Verbalization of ideophonic roots achieved by suffixes.

(6) a. -ka intransitive form
b. -la transitive form
c. -za causative form

===== Shona ideophone verbalization =====
So far, verbalization of ideophones appears to have been achieved by certain suffixes.

(7) a. -dza causative -samhu-dza (cause to grow); -saku-dza (cause to weed)
b. -ka Vi -samhu-ka (grow); -sandai-ka (swell)
c. -ra Vi / t -sandai-ra (swell); -saku-ra (weed, cultivate)

===== Japhug ideophone verbalization =====
There is a rich and productive system of denominal prefixes used to derive verbs from nouns in Japhug (Jacques 2013). Some of these denominal prefixes can be used to derive verbs from ideophones (Jacques 2013). The denominal prefixes that can be used to verbalize ideophones include ɣɤ-, sɤ- and nɯ- (Jacques 2013).

(8) a. ɣɤ- derives intransitive dynamic verbs. These intransitive dynamic verbs are productive,
and can potentially be created from any ideophones that allow dynamic semantics
b. sɤ- derives transitive verbs with comparable semantics
c. nɯ- derives verbs used in idiomatic expressions whose meaning cannot be predicted

The verbalized videophone forms with prefix ɣɤ- is unique in that it also allows two distinct derivational forms (Jacques 2013). This verbalization process can be achieved through full reduplication or partial reduplication of the ideophonic roots (Jacques 2013).

(9) The first derivational pattern is full reduplication of ideophones.
The example below is illustrated with the ideophonic root:
zjaŋ ‘tall’
ɲɯ-ɣɤ-zjaŋzjaŋ
CONST-DEIDEOPH:INTR-IDEO:tall
'very tall'

(10) The second derivational pattern involves partial reduplication of the ideophonic root, but the onset of
the second syllable is replaced by the phoneme “l”.
An example is given with the ideophonic root:
ɲcɣɤt ‘loud’
“ɣɤt” will be partially reduplicated, and “ɣ” will be replaced by the phoneme “l” in the second syllable of
the reduplicated ideophonic root
ɲɯ-ɣɤ-ɲcɣɤlɤt-nɯ
CONST-DEIDEOPH:INTR-IDEO:DISORDER:loud/burning-PL

==== Reduplication of Ideophones ====
Reduplication can occur in a variety of ways, each with a slightly different meaning (Diffloth, 1976). Diffloth identifies major reduplication, minor reduplication, and two types of modified reduplication.

Major reduplication occurs in ideophone roots with CVC structure, so that the entire CVC string is reduplicated usually three times. Major reduplication is used to represent “repetition at intervals of time” (Diffloth, 1976).

For example, the root /tus/ is repeated three times, surfacing as /tustustus/ for ‘the repeated sound of running fast.’

Minor reduplication, which represents “prolongation or continuous repetition in time,” consists of taking the first and last consonant of the ideophone, and prefixing them to the ideophone.

For example, if the root /dyɔ:l/ undergoes minor reduplication, the first consonant “d” would be combined with the last consonant “l” at the beginning of the ideophone, so that it becomes “dldyɔ:l,” which means ‘appearance of an object which goes on floating down.’
In the first type of modified reduplication, the ideophone is completely repeated, but the major vowel is modified. The major vowel retains any nasality and lengthening, but front vowels become back vowels (i.e. /ɛ/ becomes /u/), while back and central vowels are advanced (i.e. /u/ and /a/ become /ɛ/). This type of reduplication is used to signify “irregularity distributed in time or space.”

Example of front vowel becoming /u/
/klcwɛc/ → /klcwuc klcwɛc/
‘irregular flapping circular movements

Example of back vowel becoming /ɛ/
/mŋu:y/ → / mŋɛ:y mŋu:y/
‘people in a crowd raising their heads here and there’

Example of central vowel becoming /ɛ/
/prada:k/ → /pradɛk prada:k/
‘noise of scattered large drops of rain falling on leaves or roof’

The second type of modified reduplication, which has the same connotation as the first type of modified reduplication, is more restricted and only occurs in specific dialects of West Semai located in the Kampar basin (Diffloth, 1976). This type of reduplication consists of only repeating the main syllable of the ideophone, and prefixing /ma-/ to the syllable.

For example, the root /r(ŋ)rŋʔaŋ/ has a main syllable of /ʔaŋ/, which is repeated. /ma-/ is then added to the repeated syllable, so that /r(ŋ)rŋʔaŋ/ becomes /r(ŋ)rŋʔaŋ maʔaŋ/. It means ‘appearance of irregular cracks (e.g., in earth or durian fruit).’

Nuckolls (1999)

"Ideophones are morphologically special by their reduplication. (p. 240)"

(1) a. complete repetition of an ideophonic root adds meaning of repetition over time, and extension in space
b. no reduplication, occur only once adds meaning of momentary and instantaneous actions

Ameka, F. (2001). Ideophones and the nature of the adjective word class in Ewe. In F. Voeltz & C. Kilian-Hatz (Eds.), Ideophones. Philadelphia: John Benjamins Publishing Company.

Doke, C. (1948). The Basis of Bantu Literature. Africa: Journal of the International African Institute, 18(4), 284-301. Retrieved October 10, 2014, from the JSTOR database.

Dhoorre, C., & Tosco, M. (1998). 111 Somali Ideophones. Journal of African Cultural Studies, 11(2), 125-156. Retrieved October 8, 2014, from the JSTOR database.

Diffloth, Gérard. (1976). Expressives in Semai. Oceanic Linguistics Special Publications, No.13, Austroasiatic Studies Part I, 249-264. Retrieved from http://www.jstor.org/stable/20019159

Jacques, G. (2013). Ideophones in Japhug (Rgyalrong). Anthropological Linguistics, 55(3), 256-287. Retrieved October 9, 2014, from the Project Muse database.

Mreta, A. Y. (2012). Ideophones in Chasu. 韓國아프리카學會誌¸æoeƒèªOE, 36(8), 3-50. Retrieved October 7, 2014, from the DBPia database.

Newman, P. (1968). Ideophones from a syntactic point of view. J.W.A.L., 2, 107-117. Retrieved October 9, 2014, from the Google Scholar database.

Nuckolls, Janis B.. (1999). The case for sound symbolism. Annual Review of Anthropology, 28, 225-252. Retrieved from http://www.jstor.org/stable/223394

== Semantics of ideophones ==
Kevin, Virginia

=== Early work on semantic fields of ideophones ===

Since research began on sound symbolism and ideophones, the semantics of ideophones has been discussed. Sapir (1929) noticed that sound symbolic words denoted differences between small and large, which sparked a psychological interest in what can be called universal ideophonic intelligence. It was found through psychological studies that when testing subjects with nonce words, there is a striking similarity in the responses given for possible meanings of words. This similarity is dictated by the specific vowels and consonants that are used in the nonce words (Bentley & Varon 1993, McMurray 1960). In early research on ideophones the main focus in relation to semantics was on the ways in which magnitude was denoted.

=== Semantic hierarchy ===

In more current research, there is no defined semantic typology cross-linguistically for ideophones, but individual scholars have attempted to define semantic fields of ideophones within single languages. Dingemanse (2012) has put forth a proposed implicational hierarchy for semantic fields of ideophones cross linguistically.

''Sound > movement > visual patterns > other sensory perceptions > inner feelings & cognitive states.''

=== Methods for investigating semantic fields ===
Multiple scholars have also sought to create methodologies for use in defining semantic fields within a language. Dingemanse (2011) has proposed use of stimulus based elicitation, and Samarin (1967) has proposed a methodology of ‘multiplication of synonyms’ where an elicitor attempts to find all related contexts and reated ideophones for each ideophone elicited. Samarin proposed this methodology based on the finding that ideophones are highly context dependent.

=== Affecto-imagistic dimension: Kita 1997 ===
Kita (1997) has looked at the semantics of Japanese ideophones, or mimetics. Through his work, he has developed a two dimensional analysis of the semantics of Japanese ideophones. He argues in favour of a theoretical approach that places the semantics of ideophones on an ‘affecto-imagistic’ dimension, in contrast to all other lexical items which fall within an ‘analytic’ dimension. Kita argues that the existence of two separate dimensions creates new cognitive implications for the processing of ideophones.
The first dimension that Kita proposes is that of semantics of the regular lexicon, and names this the ‘analytic’ dimension. This is the dimension of decontextualized predication, and consists of a hierarchy of all items in a sentence combining to create the meaning. Kita stresses that this dimension is amodal, and not connected with any specific cognitions other than language processing. The second, and more interesting, dimension is named the ‘affecto-imagistic’ dimension. This is the dimension where the semantics of ideophones is derived. This dimension is different from the analytic dimension because its pieces are not syntagmatically related, but spatio-temporally related. In this dimension the main feature is that sensory experiences are re-experienced due to a direct connection of the ideophonic word and the sensory experience. Kita does not explicity relate this theoretical argument to that of a synesthetic argument in relation to the processing of ideophones, but that is essentially what Kita is proposing.
To elaborate on exactly how these two dimensions differ, and why there might be reason to propose them in the first place, Kita outlines a few key pieces of data. The first of this data is in relation to semantic redundancy.

a. [Taro wa] [isogi -asi de] arui -ta.
Top hurried feet with walk Past
‘Taro walked hurriedly’
b. [Taro wa] [sutasuta to] arui -ta.
Top ideo walk Past
‘ Taro walked hurriedly’
c. *[Taro wa] [isogi -asi de] [haya -aruki o] si -ta.
Top hurried feet with haste walk Acc do Past
‘Taro walked hastily hurriedly’
d. [Taro wa] [sutasuta to] [haya- aruki o] si -ta.
Top ideo haste walk Acc do Past
‘Taro walked hurriedly’

In this data set, Kita highlights the semantic ill-formedness of repetition in a phrase that uses two ‘regular’ lexical items to describe the speed of walking. Kita then goes on to use a counter example of using a ‘regular’ lexical item in combination with an ideophone and shows that this contrastively is semantically well-formed.
The second argument for two semantic dimensions is drawn from the idea that ideophones may not be able to be negated in many languages. Kita asserts that ideophones cannot be negated and still have semantically well-formed sentences.

[PP [S tama ga gorogoro to korogat -ta] no] de wan a -i
ball Nom ideo roll Past
* ‘it was not the case that a ball rolled gorogoro’
* ‘it was not rolling that a ball did gorogoro’
* ‘it was not rolling gorogoro that a ball did’
?? ‘it was not a ball that rolled gorogoro’
?? ‘it was not gorogoro that a ball rolled’

Kita presents data that suggest that it may not be well-formed semantically to negate a phrase containing an ideophone, but the last two readings suggest some failure to conclusively state that the ideophone cannot be negated. Regardless, Kita argues that if we cannot negate a phrase with an ideophone, we can attribute this to his theory of two semantic dimensions. Kita’s theoretical argument is that because the negation comes from the analytic dimension and the ideophone comes from the affecto-imagistic dimension we get a result that is semantically ill-formed due to an inability to negate across both dimensions simultaneously. While this is an interesting argument, it appears to require further investigation.

The last set of data that Kita provides is in relation to a study that found high correlations between ideophones and spontaneous gesturing as well as prosodic peaks. These findings are interpreted by Kita to support the assertion for an affecto-imagistic dimension because he claims that logically that paralinguistic content would be derived from a dimension separate from the analytic dimension; this dimension may well be the affecto-imagistic dimension.

== Pragmatics of ideophones ==
This will be the section that Rose-Marie writes. xxxx vvvv

== WOCAL 8 abstract ==

Abstract 1: phonology; perception
:Test Maduka-Durunze's theory on phonosematics with Shona (vocalic melodies, consonantal melodies, and tones)
:Based on the description of Shona phonology in relation to phono semantics, test native speakers' intuition about the correlation between sounds and meanings (using non-words and testing it with native speakers of Shona).

Plan

:Phonosemantics of ideophones in Shona.

:Structure of ideophones in Shona

::First, we analyze the structural properties of ideophones in Shona dictionary. Analysis focuses on (1) frequencies and distribution of segment types (2) frequencies of tonal melodies (3) prosodic templates. Ideally, we would want to compare the structural properties of ideophones and prosaic words. But, it will require the analysis of all lexical entries in the dictionary, which will be unrealistic at this point.

:Connection between phonetic features and semantic features

::Second, we analyze connection between phonetic features and semantic features. In order to do that we need to have a classification system of semantic features. Studies on sound symbolism in general have focused on three major semantic classes, size, shape, and affect (Schmidtke et al 2014 for a recent review). Maduka-Durunze (2001) proposed five major semantic fields, noise type (sonic), size (dimension), speed (motion), hue/brightness (visual), and hardness (tactile). Once we decide on the system of classification, we code ideophones in terms of both phonetic features and semantic features. Then, we test whether there is a significant correlation between a phonetic feature value (e.g. [+high] vowel) and a semantic feature value (e.g. [+small] in size field). If we define semantic features as binary features like [+/-small], a statistical analysis like logistic regression may be easily applied.

::Maduka-Durunze claim that ideophones are compositional; each phonological feature indicates semantic feature(s) and the composition of those semantic features makes up the meaning of an ideophone. In the process of the composition, redundant features are displaced (displacement) and conflicting features may cancel out the contribution of the semantic features (annihilation). Maduka-Durunze also claims that semantic features may have a gradient effect as well (feature coefficients). This is a lot more complicated than finding correlation between phonetic features and semantic features.

: Draft
: This study investigate the phonology of ideophones in Shona, a Central Bantu language spoken in Zimbabwe. Ideophones are usually considered to be phonologically marked. Some of the sounds used in ideophones are marginal in a sense that they do not occur in prosaic words. Phonotactics of ideophones is different from that of prosaic words. Word shape of ideophones shows a systematic variability due to phonological processes that are unique to ideophones, such as reduplication. Some researchers have argued that markedness of ideophones derives from the iconicity of ideophones (Dingemanse 2012). Maduka (1988, 2001) has poposed a cognitive model of phonosemantic mapping. In this model, phonetic features are mapped onto semantic features in certain semantic field (e.g. phonetic feature [expanded pharynx] is mapped onto a semantic feature [+LARGE] in the semantic field of SIZE). However, the mapping rules are hierarchically organized, and a higher ranked rule overrides a lower ranked rule.

: In this study, we analyze ideophones in a Shona dictionary (Hannan 1974). First, we analyze the formal properties of ideophones in the dictionary. The analysis focuses on (1) frequencies and distribution of segment types, (2) frequencies and distribution of tonal melodies, (3) prosodic templates. Second, we analyze connection between phonetic features and semantic features in semantic fields. Our classification system is based on the ones proposed by Dingamanse (2012) and Maduka (2001).

Abstract 2: morpho-syntax; lexicon
Degree of expressivity
Two strategies
-remove ideophones
-to verbalize the ideophones
Morphology and sub categories
are the morphological classes phonological?
Manner and degree
difference between brightness and clatter
Morpho-syntactic environment
Ideophone roots vs. verbalized ideophones

== Attempt at Semantic Fields ==

=== Liquids – (Visual/Tactile) ===
Filling small container with liquid
Beginning to warm up (liquid)
Beginning to boil
Filling container with any kind of liquid
Beginning to steam (liquid being boiled)
Being completely full of liquid (large container)

''churí'' - dipping 
''chubwí'' - entering water 
''chabwí'' - entering water 
''chabvú'' - rinsing (clothes) 

initial sound remains the same 'ch' + b (and r) at the beginning of the second syllable,
the L H - tone seems to indicate the movement of going IN and OUT the water
on the scale L tone seems to indicates the in/down motion and H tone seems to indicates out/up motion

Christina

=== Spraying – Visual ===
Spraying quickly (as water-pump)
Drizzling
Spraying (continuously)

=== Taking space up – Visual/Movement ===
Spreading out and filling an area
Spreading out over an area (eg. cattle)
Going, coming, sprouting (many together)
Being wide
Being extended
Being very many (moving people or animals)
Being many (moving people or animals)

Being wide
Being extended
Being extensive
Stretching wings (bird about to land)

=== Posture – Visual/Movement ===
Bending forward, hands resting on knees

=== Exiting – Movement ===
Opening by itself (what has been compressed)
Coming out (stuffed contents from a container)
Releasing air
==== Movement/Visual ====
Being deflated slowly
==== Visual/Movement/State ====
Slowly losing consciousness (dying)
==== State ====
Revealing (a secret)

=== Quantity – Visual ===
Being very many (moving people or animals)
Being many (moving people or animals)

=== Velocity – Movement ===
Taking long strides (expressing anger)
Accelerating
Punching someone in the face

=== Being at a loss – State ===
Being at a loss

=== Emotional – State ===
Being happy
Being relaxed, happy
Being happy, contented
Rejoicing intensely

Disarranging

=== Data (from Leighanne H505, H513) ===
pava: sagging (back or roof)
pafa: sagging (person, animal, roof)
pafafa: being flattened
pafama: lying face down
pafara pafara: staggering under heavy load
{|
|-
|
Pattern:
<nowiki>|----------------------------0-------------------------------|
up</nowiki> down
|}

labiodental f/v + low tone vowel expresses downward trajectory

C1 perhaps neutral position, C2 contributing meaning?

== To do next (as of 4 Nov) ==
1. enumerate possible scales (look at dictionary examples + data from Calisto)
2. add semantic fields to database
:perceptual experiential field
'''visual percept''' generates size '''scale''' is generated
'''visual percept''' generates hue/luminosity '''scale'''
'''auditory precept''' generated sound '''scale'''

: emotional experiential field

: temporal experiential field
manner
"telicity"

3.

Course:LING447/2014WT1/Assignments

2014-11-08T00:12:17Z

Jbmurray: /* Emotional – State */ vandalism from Jon

== Ideophones: introduction ==
Ideophones are instances of sound symbolism that are used in everyday speech to convey very specific meaning.

=== What is an ideophone? ===

=== The form of ideophones ===

=== The function of ideophones ===

== Ideophones and the organization of the lexicon ==
(Christina, Allyssa)

=== Markedness of ideophones ===

Ideophones are defined as being “marked words that depict sensory imagery” (Dingemanse 2011: 78). In particular, ideophones are viewed as being part of the expressive lexicon in contrast to ‘regular’ words which are part of the prosaic lexicon. The expressive lexicon is often described as deviant and not affected by prosaic rules and restrictions of a language, however, ideophones are not as abnormal as they are regularly characterized. Consequently, the inventory that ideophones make use of is the same as the prosaic lexicon utilizes, though the inventory is meaning suggestive – a characteristic that several researchers would describe as universal in natural languages – and can be altered to specific needs in everyday ideophonic utterances.

=== Prosaic and expressive lexicon ===

The difference between ideophones and words of the prosaic lexicon is their expressiveness, in contrast to their verbal counterparts, they do not have referential meaning but signify their referents (Nuckolls 1995, Dingemanse 2012). The sensory imagery that they depict is derived from sensory perception of characteristics of the environment and the body, has precise meaning and sometimes even judgmental about these exact perceptions.

Examples taken from Dingemanse (2011) in Siwu, Ghana
{| class="wikitable"
|-
| ideophones|| simple properties - expressed by stative verbs
|-
| ''kànya amε tìtìrìtììì'' ‘mouth inside sticky‘ || ''lε'' ’be good‘
|-
| ''ìgbèdi sinisinisinisini'' ‘smooth cassava‘ || ''dzɔ'' ‘be straight‘
|-
| ''nyãkãnyãkã'' ‘sensation of grooved texture‘ || ''mɔ'' ‘be big’
|}

=== Iconicity of ideophones ===

Many researchers that have occupied themselves with the use of ideophones describe them as performances – by relating language and the sensory world, ideophones serve poetic as well as prosaic uses (Dingemanse 2012). Expressives are common in everyday language and have the effect of simulating an event to a degree where the speech cannot be distinguished from the narrated action, event or process any more. The ideophonic vocabulary is therefore utilized by speakers of an expressive language to imitate and emphasize. The options for semantic fields that are used to imitate or emphasize are endless and different authors have come to different conclusions about the sensory perceptions that ideophones can denote (Dingemanse 2011, 2012, Nuckolls 1995). Nonetheless, it is important to note that ideophones and their meanings establish different kinds of mappings (Dingemanse 2012):
* imagic iconicity: the sound of the ideophone mimics the sound of the sensory percept
* gestalt iconicity: the word structure of the ideophone mimics the event structure
* item relative iconicity: related forms map onto related meanings

Examples taken from Dingemanse (2012: 661) in Kwa, Niger-Congo
{| class="wikitable"
|-
| | imagic iconicity: ''glbogblogblo'' || 'bubbling'
|-
| gestalt iconcity: ''kpɔtɔrɔ-kpɔtɔrɔ'' || 'walking like a tortoise' (reduplication)
|-
| relative iconicity: ''ɣììì''|| 'sensation of vertigo' (use of vowel space to suggest intensity)
|}

=== Suggestiveness ===

The depiction of the different types of iconicity work with acoustic symbolism, and some authors claim that articulatory symbolism affects the suggestiveness of ideophones as well. For a long time, phonology seemed to be the crucial factor in many experiments regarding suggestiveness of meaning, i.e. especially vowel quality (see Sapir 1929). Vowels appeared to have strong expressive values, especially regarding magnitude, brightness, roundness, and more characteristics (Sapir 1929, Fischer-Jørgensen 1978) of the meaning of nonce as well as meaningful words. 
 

List of Sapir's (1929), Bentley, Madison, Varon's (1933) and Fischer-Jørgensen’s (1978) results
* ‘a’ is viewed to have ‘larger meaning’ than ‘i’ and ‘e’
* ‘e’ is viewed to be larger than ‘i’
* ‘a’-sounds are also rounder and softer than ‘i’-sounds
* low tone indicates big and lax things
* ‘i’ indicates something narrow, tight, squeezed or very dark 
 
Other experiments show a lack of a feeling for suggestiveness of specific meanings (Bentley, Madison, Varon 1933). It seems as if experts cannot arrive at a definite conclusion about the phonetic symbolism of distinct sounds. The majority of authors seek for a different explanation of positive results in suggestiveness experiments – suggestiveness due to a subconscious linkage between articulatory phonetics and vowel quality or a linkage between the quality of everyday things and their attributes e.g. the sky is high and bright, therefore high voice suggests brightness etc. (Fischer-Jørgensen 1978). The lack of a sufficient and serious explanation for suggestiveness of certain sounds leads to the simplified conclusion that expressive value is always given and possibly can be explained by the general phenomenon of synesthesia. However, suggestiveness and a feeling for phonetic symbolism is suggested to present a universal tool that every speaker of a natural language may use as part of the expressive as well as the prosaic lexicon (Miron 1961).

=== Morphology of ideophones ===

Ideophones are a highly flexible part of the expressive lexicon and do not depend – but certainly do make use of – phonetic symbolism, but it is mainly repetition, reduplication and other varieties of intonational elaboration can add meaning to an ideophone (Nuckolls 1995).

Examples taken from Nuckolls (1995: 154-56) in Quechua 

'''Reduplication''' 
N: Charapa wawa sa sa sa sa sa tiyumanda lyukshinawn’? 
: The turtle hatchlings emerge from the sand sa sa sa sa sa?

'''Reduplication, lengthening and falling pitch''' (indicated with smaller font) 
M: Phaa pa pa pa pa pa pa pa pawasha rig, kuti mandzhariracha. 
: Flying phaa pa pa pa pa pa pa pa, it (a condor) went off because it was frightened.

'''Lengthning and reduplication''' 
E: Thaaaaaay thaaaay thay! Ay Janelya uyangi ma yanga thaaaay tbaay ton ton ton ton ton ton ton ton ton ton 
: Thaaaaaay thaaaay thay! Oh Janet, you would hear (them) just thaaaay tbaay ton ton ton ton ton ton ton ton ton ton

: thay – simulation of rifles firing 
: ton – thud-like sound of ammunition hitting a body

=== Prosaic inventory ===

Based on this assumption, the ideophonic lexicon differs from the prosaic lexicon in several ways. However, it is important to note that ideophones use the same inventory as ‘normal’ words, but in a different way. Dingemanse points out that ideophones differ from nouns and verbs, as they are usually longer, have different word structure, are differently integrated in an utterance, they give emphasis, they can be altered prosodically and are non-derived basic terms (2011). Therefore, they use the same inventory of phonology, morphology and morphosyntax as nouns and verbs. In some languages the expressive language contains exceptions from rules and restrictions of the prosaic lexicon and vice versa – they “stretch the system of some language a bit” (Newman 251). The exceptions result in the markedness of ideophones, that is easily overstated as making them unlike ordinary words. 

Examples taken from Newman (2014) in Hausa
Excerpt of differences and similarities between expressive and prosaic lexicon:
* There are no consonants found in ideophones that are not part of prosaic phonological inventory
* Most Hausa words end in vowel – numerous ideophones end in consonants
* Prosaic and expressive lexicon make use of the same vowel inventory
* Prosaic and expressive lexicon make use of the same tones
* It is rare for prosaic words to end in L L tone and have a long final vowel – very often occurs in ideophones
* All words of Hausa undergo phonological changes, whether they are part of the ideophonic or the prosaic lexicon 
 
 
 
: Bentley, Madison, and Edith J. Varon. “An accessory study of ‘Phonetic symbolism’.” The American Journal of Psychology 45.1 (1933): 76-86. Print.
: Brown, Roger W., Abraham H. Black, and Arnold E. Horowitz. “Phonetic symbolism in natural languages.” Journal of Abnormal and Social Psychology 50.3 (1955): 388-393. Print.
: Dingemanse, Mark. “Ideophones and the aesthetics of everyday language in a West-African society.” Senses & Society 6.1 (2011): 77-85. Print.
: ---. “Advances in the cross-linguistic study of ideophones.” Language and Linguistics Compass 6.20 (2012): 654-672. Print.
: Fischer-Jørgensen, Eli. “On the universal character of phonetic symbolism with special reference to vowels.” Studia Linguistica XXXII I-II (1978): 80-90. Print.
: Miron, Murray S. “A cross-linguistic investigation of phonetic symbolism.” Journal of Abnormal and Social Psychology 62.3 (1961): 623-630. Print.
: Newman, Paul. “Are ideophones really as weird and extra-linguistic as linguists make them out to be?” Ideophones. Ed. Voeltz, F. K., and Christa Kilian-Hatz. Philadelphia: John Benjamins, 2001. 251-258. Web. 6 October 2014.
: Nuckolls, Janis B. “Quechua texts of perception.” Semiotica 103.1/2 (1995): 145-169. Print.
: Sapir, Edward. “A study in phonetic symbolism.” Journal of Experimental Psychology 12.3 (1929): Print.
: Waugh, Linda R. “Degrees of iconicity in the lexicon.” Journal of Pragmatics 22 (1994): 55-70. Print.

=== Ideophones are "regular words" ===
Samarin

=== Ideophones are "marked words" ===
Dingemanse

=== Ideophones are "iconic words" ===
Waugh

==== The ubiquity of diagrammatic iconicity ====
:'''Diagrammatic iconicity'''
:Icons "which represent the relations of the parts of one thing by analogous relations in their own parts."
:(Peirce 1955: 105)

:'''Diagrammatic iconicity at the word-level'''
:''Watery'' and ''waterfall'' are related to each other diagrammatically by virtue their shared root ''water'':

(1) '''''water'''-y '''water'''-fall''
'''''water''' '''water'''''

: ''Watery'' and ''rainy'' are related to each other diagrammatically by virtue their shared suffix ''-y'':

(2) ''water-'''y''' rainy-'''y'''''
'''''-y''' '''-y'''''

: '''Diagrammatic iconicity at the phrase-level'''
: The intransitive form of ''eat'' (3a) and the transitive form of ''eat the cake'' (3b) are related to each other diagrammatically (4) by virtue of their shared head ''eat''.

(3) a. ''Lucy will'' [VP[V'''''eat''''']]]
b. ''Lucy will'' [VP[V'''''eat'''''][DP''the cake'']]

(4) Diagrammatic relation between '''''eat''''' and '''''eat the cake'''''
[VP [V '''''eat''''']] [VP [V '''''eat'''''] [DP''the cake'' ]
[V '''''eat'''''] [V '''''eat''''']

: '''Diagrammatic iconicity at the sentence-level'''
: Affirmative (5a) and negative (5b) sentences are diagrammatically related by virtue of their propositional content (6).

(5) a. ''Lucy did '''so''' eat the cake''.
b. ''Lucy did '''not''' eat the cake''.

(6) AFF[S ''Lucy eat cake''] NEG[S ''Lucy eat cake'']
[S '''''Lucy eat cake'''''] [S '''''Lucy eat cake''''']

==== Morphemes are based on isomorphic iconicity ====
[introduce text]

* '''One-form/one-meaning principle'''
: Sameness of form from one sign to another signals sameness of meaning.
: Difference of form from one sign to another signals difference of meaning.

[Describe patterns in the following table, and show how they illustrate isomorphic iconicity. Examples adapted from Waugh (1994:56f.)]

{| class="wikitable"
|-
! [α] !! [α -β] !! [ [a] [β] ]
|-
| '''''water''''' || '''''water'''-y'' || '''''water'''-fall''
|-
| '''''rain''''' || '''''rain'''-y'' || '''''rain'''-drop''
|-
| '''''snow''''' || '''''snow'''-y'' || '''''snow'''-shoe''
|}

==== Sub-morphemes are based on partial shared structure ====
Although words are divisible into parts, this does not mean that they are totally divisible into morphemes. For Waugh (1994:58), word parts that are not morphemes have the status of '''sub-morphemes'''.

===== Sub-morphemes with lexical categories =====
While '''''black''''' and '''''berry''''' are both morphemes, *'''''cran''''', *'''''boysen''''', and *'''''rasp''''' are sub-morphemes:

{| class="wikitable"
|-
! [[α] [β]] !! α=morpheme? !! β=morpheme?
|-
| ''black'''berry''''' || Yes; ''black'' || Yes; ''berry''
|-
| ''cran'''berry''''' || No; *''cran'' || Yes; ''berry''
|-
| ''boysen'''berry''''' || No; *''boysen'' || Yes; ''berry''
|-
| ''rasp'''berry''''' || No; *''rasp'' || Yes; ''berry''
|}

While '''''day''''' and -'''''ly''''' are both morphemes, *'''''holi''''', *'''''yester''''', *'''''Mon''''' and *'''''to''''' are sub-morphemes:

{| class="wikitable"
|-
! [[α]-[β]] !! α=morpheme? !! β=morpheme?
|-
| '''''dai'''ly'' || Yes; ''day'' || Yes; -''ly''
|-
| ''holi'''day''''' || No; *holi || Yes; ''day''
|-
| ''Mon'''day''''' || No; *''Mon'' || Yes; ''day''
|-
| ''yester'''day''''' || No; *''yester'' || Yes; ''day''
|-
| ''to'''day''''' || No; *''to'' || Yes; ''day''
|}

While '''''rain''''' and -'''''y''''' are both morphemes, *'''''naught''''', *'''''joll''''', *'''''clums''''' and *'''''coze''''' are sub-morphemes:

{| class="wikitable"
|-
! [[α]-[β]] !! α=morpheme? !! β=morpheme?
|-
| ''rain'''y''''' || Yes; ''rain'' || Yes; -'''''y'''''
|-
| ''naught'''y''''' || No; *''naught'' || Yes; -'''''y'''''
|-
| ''joll'''y''''' || No; *''joll'' || Yes; -'''''y'''''
|-
| ''clums'''y''''' || No; *''clums'' || Yes; -'''''y'''''
|-
| ''coz'''y''''' || No; *''coze'' || Yes; -'''''y'''''
|}

While '''''spit''''', '''''run''''' and -'''''le''''' are morphemes, *'''''nozz''''' is a sub-morpheme:

{| class="wikitable"
|-
! [[α]-[β]] !! α=morpheme? !! β=morpheme?
|-
| ''spitt'''l''e''' || Yes; ''spit'' || Yes; -'''''le'''''
|-
| ''runn'''el''''' || Yes; ''run'' || Yes; -'''''le'''''
|-
| ''nozz'''le''''' || Yes; *''nozz'' || Yes; -'''''le'''''
|}

While '''''bro''''' and -'''''ther''''' are morphemes *'''''mo''''' and, *'''''fa''''' are sub-morphemes:
{| class="wikitable"
|-
! [[α]-[β]] !! α=morpheme? !! β=morpheme?
|-
| ''bro'''ther'''''' || Yes; ''bro'' || No; -'''''there'''''
|-
| ''mo'''ther'''''' || No; ''mo'' || No; -'''''there'''''
|-
| ''mo'''ther'''''' || Yes; *''mo'' || No; -'''''there'''''
|}

===== Sub-morphemes with functional categories =====
[insert text here]

{| class="wikitable"
|-
! [[α]-[β]] !! α=morpheme? !! β=morpheme?
|-
| '''''th'''e'' || Yes; '''''th'''''- || No; -e
|-
| '''''th'''is'' || Yes; '''''th'''''- || No; -is
|-
| '''''th'''at'' || Yes; '''''th'''''- || No; -at
|-
| '''''th'''ey'' || Yes; '''''th'''''- || No; -ey
|-
| '''''th'''eir'' || Yes; '''''th'''''- || No; -eir
|-
| '''''th'''ee'' || Yes; '''''th'''''- || No; -ee
|-
| '''''th'''ou'' || Yes; '''''th'''''- || No; -ou
|-
| '''''th'''y'' || Yes; '''''th'''''- || No; -y
|-
| '''''th'''ine'' || Yes; '''''th'''''- || No; -ine
|-
| '''''th'''en'' || Yes; '''''th'''''- || No; -en
|-
| '''''th'''ere'' || Yes; '''''th'''''- || No; -ere
|-
| '''''th'''us'' ||Yes; '''''th'''''- || No; -us
|-
| '''''th'''an'' || Yes; '''''th'''''- || No; -an
|-
| '''''th'''ough'' || Yes; '''''th'''''- || No; -ough
|}

==== Phonesthemes: the emergence of sound symbolism ====
[insert text]

{| class="wikitable"
|-
! Header text !! Header text !! Header text
|-
| '''fl'''ap || fl- || -ap
|-
| '''fl'''are || fl- || -are
|-
| '''fl'''ee || fl- || -ee
|-
| '''fl'''ick || fl- || -ick
|-
| '''fl'''icker || fl- || -ick-er
|-
| '''fl'''ing || fl- || -ing
|-
| '''fl'''ip || fl- || -ip
|-
| '''fl'''it || fl- || -it
|-
| '''fl'''itter || fl- || -itt-er
|-
| flow || fl- || -ow
|-
| '''fl'''utter || fl- || -utter
|-
| '''fl'''y || fl- || -y
|-
| '''fl'''urry || fl- || -urry
|-
| '''fl'''ask || *fl- || *-ask
|-
| '''fl'''ag || *fl- || *-ag
|}

(5) a. '''sn'''orkel
b. '''sn'''iff
c. '''sn'''our

(6) a. ??-s
b. ??-s

(7) a. book < any written material < document < pieces of wood from tree < 'tree'
b. bank1 (grassy bank) versus bank2 (savings bank)
c. rain-y, craz-y, canny-, joll-y

==== Ideophones can be placed on several continua ====

{| class="wikitable"
|-
! + !! 0 !! –
|-
| fully iconic || many degrees of iconicity || fully non-iconic
|-
| isomorphic || partially isomorphic || not isomorphic
|-
| motivated || partially motivated || not motivated
|-
| morphemic || semi-morphemic || not morphemic
|-
| onomatopoeic || partially onomatopoeic || not onomatopoeic
|-
| sound symbolic || partially sound symbolic || not sound symbolic
|-
| full compositionality || degrees of compositionality || no compositionality
|-
| unitary meaning || polysemy || homonymy (accidental identity)
|-
| identity || degrees of similarity || no identity
|-
| full relatedness || partial relatedness || no relatedness
|}

=== Ideophones and the mental lexicon ===

== Perceptual basis for ideophones ==
(Enrico)

== Phonology of ideophones ==
(Noriko, Masaki)
=== Phonological properties of ideophones ===
Ideophones exhibit unique phonological properties, including:
* consonantal melody
* vocalic melody
* tone
* syllable structure
* word size (e.g. minimality versus maximality effects)
* intonation

=== Phonology of Nembe ideophones ===
Maduka (1988) Size and shape ideophones in Membe: a phono semantic analysis

Nembe is part of the Ijoid sub-family of the New Benue-Congo family [link to Ethnologue?]

Data: Nembe-English Dictionary

==== Nembe phonological inventory: consonants, vowels, and tones ====

(1) Phonological inventory
a. Consonants
{ p, b, ɓ, m, f, v, t, d, ɗ, r, s, z, n, y, k, g, kp, gb, w }
b. Vowels: +wide vs -wide; [wide] correlates to pharynx size
{ ??? }
c. Tone
{ High, Low]

(2) Size restrictions for Nembe ideophones
a. 2 syllables: CV.CVV
b. 3 syllables: CV.CV.CVV
c. 4 syllables: [CV.CV] + [CV.CV]
d. 6 syllables: [CV.CV.CV] + [CV.CV.CV]

(3) Melodic restrictions for Nembe ideophones (??)
a. L…H
b. L...
c. L…HL… L…HL
d. (HL)…, (HL…)…, (LHL)…

==== Nembe phono-semantic rules and ranking effects ====
Absolute size ideophone

Vowels produced with wide pharynx refer to large or neural size/Vowels produced with narrow pharynx refer to small size

{| class="wikitable"
|-
! Phonology !! !! Semantics !! Ranking
|-
| V [α wide] || → || [α LARGE] || o in isolation specifies [+LARGE] at level n, ɔ in isolation specifies [-LARGE] at level n-4
|-
| C3 [-α alv, α vel] || → || [α LARGE] ||
|-
| {r, t, d, ɗ} || → || [-LARGE] || r in isolation specifies [-LARGE] at level n-1
|-
| {k, g} || → || [+LARGE] || k in isolation specifies [+LARGE] at level n-3
|-
| C1 [α grave] || → || [α LARGE] ||
|-
| {ɗ} || → || [-LARGE] ||
|-
| {gb} || → || [+LARGE] ||
|}

{| class="wikitable"
|-
! Example !! Translation !! Pattern
|-
| gbɔ'''k'''ɔgbɔ'''k'''ɔ || very tall or long || '''k''' [+LARGE] outranks '''ɔ''' [-LARGE]
|-
| s'''oko'''s'''oko''' || tall or high || '''k''' [+LARGE] agrees with '''o''' [+LARGE]
|-
| s'''o'''r'''o'''s'''o'''r'''o''' || bulgy, swollen || '''o''' [+LARGE] outranks '''r''' [-LARGE]
|}

:Maduka, O. N. (1988). Size and shape ideophones in Nembe: a phonosemantic analysis. Studies in African linguistics, 19(1).
:Maduka, O. N. (1991). Phonosemantic antecedents of some verbs in Igbo. Journal of West African Languages, 21(1), 105-15.
:Maduka, O. N. (1991). Phonosemantic rules and hierarchies: Evidence from roundness ideophones in Hausa. Afrikanistische Arbeitspapiere, 26, 167-175.
:Maduka, O. N. (1992). A PHONOSEMANTIC ANALYSIS OF NEMBE REDUPLICATED SOUND IDEOPHONES. Frankfurter afrikanistische Blätter, (4), 71.
:Fordyce, J. F. (1983). The Ideophone as a phonosemantic class: the case of Yoruba. Current Approaches to African Linguistics, 1, 263-278.
:Akita, K. (2011). Toward a phonosemantic definition of iconic words. Semblance and Signification, 10, 3.
:Hinton, L., Nichols, J., & Ohala, J. J. (Eds.). (2006). Sound symbolism. Cambridge University Press.
:Shinohara, K., & Kawahara, S. (2012). A cross-linguistic study of sound symbolism: The images of size. In Proceedings of BLS (Vol. 36).
:Masuda, K. (2007). The physical basis for phonological iconicity. Insistent Images. Amsterdam/Philadelphia, 57-71.
:Schmidtke, D. S., Conrad, M., & Jacobs, A. M. (2014). Phonological iconicity. Frontiers in psychology, 5.
:[http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0092852 Sound Symbolism in the Languages of Australia]

== Morpho-Syntax of Ideophones ==
(Leighanne, Iris)

=== Syntactic Category of Ideophones ===

==== Ideophones as Interjections ====
Ideophones are a part of speech that shares the same status as interjections, as they both express emotion and neither is subject to the rigid constraints other grammatical word classes are governed by (Doke, 1948). Other word classes are governed by rules of length, stress, and tone, whereas ideophones can have variable tone, length, and stress.
"Ow!" in (1) is an interjection in English for expressing pain.
"Ow" can be lengthened with a different prosodic melody to express a slightly different meaning, such as, "Owwwwwww" in a whiny tone, with the connotation of complaining and trying to get someone's attention.
In terms of variable stress, “Ow” can be stressed, or exclaimed louder, to demonstrate a sharp, sudden, unexpected pain as in “OW!!” With the additional stress, it is perceived as more painful than “Ow.”

(1) "Ow!"

==== Ideophones as Nouns ====
"Slap" in (1-3) is an ideophone in English expressing a painful, intentional contact of the hand against a surface. The English ideophonic noun "slap" can be lengthened reduplicated (1), lengthened (2), and verbalized (3).

(1) reduplication of the ideophonic noun ''slap''
a. ''The '''slap-slap-slap''' of the water against the shore.''
b. ''The water went '''slap-slap-slap''' against the shore.''

(2) expressive lengthening of the ideophonic noun ''slap''
a. ''The '''slaaap-slaaap-slaaap''' of the water against the shore.''
b. ''The water went '''slaaap-slaaap-slaaap''' against the shore.''

(3) verbalization of the ideophonic noun ''slap''
a. ''The water '''slapp'''-ed against the shore.''
b. ? ''The water '''slap-slapp'''-ed against the shore.''
c. ? ''The water '''slaaapp'''-ed against the shore.''

Regular English nouns like bottle (4a) are not expressive, cannot be reduplicated (4b) or lengthened (4c), but they can be verbalized (4d).

(4) regular noun "bottle"
a. ''The '''bottle''' floated away.''
b. *''The '''bottle-bottle''' floated away.''
c. *''The '''booottle''' floated away.''
d. ''They '''bottle'''-d three cases of wine.''

Dhoorre and Tosco suggest that ideophones in Somali belong to a subclass of nouns (1998). Like nouns, they have a definite suffix or anaphoric determiner and have feminine gender.

In (5a), because there is a noun, the noun is focalized. In (5b), since there is no noun, the ideophone carries the focus, demonstrating how ideophones are nouns in Somali.

(5)a. Affirmative, declarative sentence with both ideophone and noun
irriddii ayaa qab tiri
door.F.ANAPH FOC IDEO said.3F
‘the door banged’
b. Affirmative, declarative sentence without the noun, only the ideophone
big buu yiri
IDEO FOC.3M said.3M
‘he left suddenly’

==== Ideophones as Adverbs ====
Syntactically, ideophones in Bantu languages are their own word class, but behave like descriptive adverbs, so they contain descriptive information about manner, colour, sound, smell, and so on. They do not carry information about time or place (Doke, 1948).
Examples:
The Shona ideophone for bright, “ngwe” (1) describes colour, and state. The intensity can vary depending on the length of the ideophone (i.e. longer vowel means brighter). “Ngwe” usuall references the moon, so that could be a possible reference to place.
(1) Mwedzi wakachena kuti ngwe-e.
mu-edzi u-aka-chen-a ku-ti ngwe-e.
C3-moon SM-PAST-V(to be bright)-FV SM-say IDEO-bright.
The moon was extremely bright.
Without the vowel lengthening in “ngwe-e,” the moon as perceived as less bright with the ideophone “ngwe.”
Without the ideophone completely, the sentence would mean, “The moon was bright.” This demonstrates how the ideophone “ngwe-e” acts as an adverb.
The Shona ideophone for snatch, “biku” (2) describes manner, and action. It also sounds “fast,” possibly due to the vowel or the velar stop /k/, so it might describe duration/time as well.
(2) Imbwa yakati nyama biku.
C9-dog SM-PAST-say C9-meat IDEO-pick up/snatch.
The dog snatched the piece of meat.
“Biku” can be verbalized (3), and though the sentence with the verbalized ideophone has the same meaning, is it perceived as less dramatic than the ideophonic, adverbial form.
(3) Imbwa yakabikura nyama.
C9-dog SM-PAST-snatch-verbalizer-FV C9-meat.
The dog snatched the piece of meat.
In Chasu, ideophones are identical to adverbs in distribution and function (Mreta, 2012). The following example (4) demonstrates that ideophones and adverbs both occur post-verbally, both serve to modify the verb, and never co-occur (Mreta, 2012)
(4) Adverbs occur post-verbally
a. é‐ m‐ bigh‐ ie kwerí
SPM OM beat COMPL1‐ ADV
“S/he beat him/her severely”
b. Ideophones also occur post-verbally
é‐ l‐ a pa‐pa‐pa
SPM eat FV IDEO
“S/he eats hurriedly”
d. Ideophones and adverbs cannot co-occur
*é‐ l‐ a pa‐pa‐pa na mnó
SPM eat FV IDEO and ADV
*“S/he eats very fast and in a non‐stop motion and very much”

==== Ideophones as Adjectives ====
Ameka argues that ideophones belong to the adjective class in Ewe (2001). Adjectives in Ewe appear immediately after the noun, and their function is to describe a property of the noun, which is exactly ideophonic adjectives behave (Ameka, 2001). Example (1) demonstrates that ideophonic adjectives are located in the same place and do the same things as simple, non-ideophonic adjectives.
(1)a. Ideophonic adjectives appear after the noun
nenem nyɔnu kɔkɔ tralaa dzetugbe eve ma- wo koŋ ko
ID N ADJ ADJ ADJ QT DEM PL INT INT
such woman tall slender beautiful two that PL just only
‘only those same two tall slender and beautiful women’
b. Simple, non-ideophonic adjectives also appear after the noun
awu ɣi/ɣe la
N ADJ DEF
garment white DEF
‘the white garment’

==== Ideophones are Heterogeneous ====
Ideophones do not belong in their own category because they have different syntactic properties in each language (Newman 1968). In Hausa, they act as adjective-intensifiers, verb intensifiers, or descriptive adverbs, whereas in Tera, they act as adjectives or adverbs.

===== Hausa Ideophones: Adjective-Intensifiers, Verbal-Intensifiers, or Descriptive-Adverbs =====
Ideophones are adjective-intensifiers, verbal-intensifiers, or descriptive-adverbs in Hausa.
In Hausa, ‘expletive ideophones’ strengthen the preceding adjective (1).
(1) a. fari fat
white IDEO-snow
b. ja wur
red IDEO-blood
c. baki kirin
black IDEO-coal
The adjective and the adjective-intensifying-ideophone must come after the head noun, whereas the adjective can precede the noun (2) (Newman 1968).
(2)a. rago fari fat
ram white IDEO-snow
‘a snow white ram’
b. *fari fat rago
c. farin rago
‘a white ram’
d. rago fari
‘a white ram’
The adj+IDEO construction can appear in equational sentences, questions, and negative sentences, but they are always in the “noun, adj, ideo” order (3) (Mreta, 1968). In all three sentence types, the ideophone has the same meaning and sound.
(3)a. Equational sentence
ragonsa fari fat ne
His ram is snow white.
b. Question
ragonsa fari fat ne?
Is his ram snow white?
c. Negative sentence
ragonsa ba fari fat ba ne.
His ram is not snow white.
The intensifier and stabilizer “ne” can be optionally inserted between the adjective and the ideophone in affirmative declarative sentences, and the meaning remains the same as the equational sentence (4) (Newman 1968).
(4) ragonsa fari ne fat.
His ram is snow white.
In Hausa, ideophones can also immediately follow verbs as verbal-intensifiers (5) (Newman 1968). These can occur in a variety of syntactic constructions, and are not just limited to affirmative, declarative sentences.
(5)a. Affirmative declarative sentence
ya chika pal
He filled it to the brim.
b. Affirmative declarative sentence
yak one kurmus
It burnt to the ground.
c. Question
yak one kumus?
Did it burn to the ground?
d. Negative
bai cika pal ba
He didn’t fill it up completely.
e. Imperative
cika ta pal!
Fill it full!
Ideophones can also follow verbs as descriptive-adverbs (6). These only appear in affirmative, declarative sentences, and do not have the freedom of appearing in different syntactic constructions (Newman 1968).
(6)a. Affirmative declarative sentence
ya tashi farat
He got up in a flash
b. Affirmative declarative sentence
ya fadi sharap
He fell headlong
c. *Question
*ya fadi sharap?
*Did he fall headlong?
d. *Negative
*bai tashi farat ba
*He didn’t get up in a flash.
e. *Imperative
*tashi farat!
*Get up in a flash!

===== Tera Ideophones: Adjectives or Adverbs =====
Ideophones are adjectives (1) or adverbs (2) in Tera. In Tera, ideophonic adjectives have more syntactic freedom, and can be used anywhere an adjective can be used.
(1)a. Ideophonic-adjective
wudi-a ndolndol
The milk is cool (fresh)
b. Non-ideophonic adjective
wudi-a mbarə
The milk is good.
c. Ideophonic-adjective in a question
ndogd-a kwakədak mu?
Is the stone hard?
d. Non-ideophonic adjective in a question
ndogd-a tada mu?
Is the stone heavy?
e. Ideophonic-adjective in a negative sentence
wudi-a ndolndol ɓa
The milk is not cool.
f. Non-ideophonic adjective in a negative sentence
wudi-a mbar ɓa
The milk is not good.
Since ideophonic-adjectives and adjectives appear in all the same places in a sentence, Newman argues that ideophonic-adjectives are not a separate word class from adjectives, but perhaps a subclass of adjectives based on certain phonetic properties (Newman 1968).

In Tera, ideophones also appear as descriptive-adverbs, and like in Hausa, they are limited to affirmative, declarative sentences (2) (Newman 1968). They can also be general adverbs, and as general adverbs, they are not limited to affirmative, declarative sentences.
(2)a. Affirmative declarative sentence with an adverb-of-manner, using ‘with’ + noun
wa cə ɬəna ndə xaŋkal
He worked carefully [with care]
b. Affirmative declarative sentence with an adverb-of-manner, using ‘like/as’ + noun
wa pata ɓar kə ŋgəbəŋ
He exchanged it foolishly [like a fool]
c. Affirmative declarative sentence with an adverb-of-manner, using ideophonic descriptive-adverb
wa vi nə dam cacaɬ
He went out in a rushing manner.
d. Affirmative declarative sentence with an adverb-of-manner, using ideophonic general-adverb
wa xa ɣa tətək
He sat quietly.
e. Negative sentence with an adverb-of-manner, using ‘with’ + noun
nə cə ɬəna ndə xaŋkal
He didn’t work carefully.
f. *Negative sentence with an adverb-of-manner, using ideophonic descriptive-adverb
*nə vi n dam cacaɬ ɓa
*He did not go out in a rushing manner.
g. Negative sentence with an adverb-of-manner, using ideophonic general-adverb
nə xa ɣa tətək ɓa
He didn’t sit quietly.
h. Question with an adverb-of-manner, using ‘like/as’ + noun
wa pata ɓar kə ŋgəbəŋ ya?
Did he exchange it foolishly?
i. *Question with an adverb-of-manner, using ideophonic descriptive-adverb
*wa vi nə dam cacaɬ ya?
*Did he go out in a rushing manner?
j. Question with an adverb-of-manner, using ideophonic general-adverb
wa ruɓa nda didiŋ ya?
Did he injure him very much?

=== Morphology of Ideophones ===

==== Verbalization of Ideophones ====

In some Bantu Languages, verbalization of ideophones are formed by adding suffixes to the ideophonic roots (Doke 1948)

===== Lamba ideophone verbalization =====
Verbalization of ideophonic roots achieved by suffixes.
(1) a. -ka intransitive form
ŵeŵu > ŵeŵu-ka 'come off'
b. -la transitive form
ŵeŵ-la 'snip'
c. -sya Causative form
aŵu > aŵu-sya 'take across'
(2) a. -ma 'vibration'
b. ŵimbi-ma 'quiver'
c. yoko-ma 'rattle'
(3) a. -ma 'state'
b. sana-ma 'lie on the back'
c. fulu-mana 'bend forward'

===== Ronga ideophone verbalization =====
Verbalization of ideophonic roots achieved by suffixes.
(4) a. ''dzuu''
red.IDEO
'of redness'
b. ''-dzu-k-a''
red-STATE-FV
'be red'
(5) a. ''ŝu''
noise of bird. IDEO
'noise of bird-scaring'
b. ''ŝu-kuta''
'scare birds'

===== Zulu ideophone verbalization =====
Verbalization of ideophonic roots achieved by suffixes.

(6) a. -ka intransitive form
b. -la transitive form
c. -za causative form

===== Shona ideophone verbalization =====
So far, verbalization of ideophones appears to have been achieved by certain suffixes.

(7) a. -dza causative -samhu-dza (cause to grow); -saku-dza (cause to weed)
b. -ka Vi -samhu-ka (grow); -sandai-ka (swell)
c. -ra Vi / t -sandai-ra (swell); -saku-ra (weed, cultivate)

===== Japhug ideophone verbalization =====
There is a rich and productive system of denominal prefixes used to derive verbs from nouns in Japhug (Jacques 2013). Some of these denominal prefixes can be used to derive verbs from ideophones (Jacques 2013). The denominal prefixes that can be used to verbalize ideophones include ɣɤ-, sɤ- and nɯ- (Jacques 2013).

(8) a. ɣɤ- derives intransitive dynamic verbs. These intransitive dynamic verbs are productive,
and can potentially be created from any ideophones that allow dynamic semantics
b. sɤ- derives transitive verbs with comparable semantics
c. nɯ- derives verbs used in idiomatic expressions whose meaning cannot be predicted

The verbalized videophone forms with prefix ɣɤ- is unique in that it also allows two distinct derivational forms (Jacques 2013). This verbalization process can be achieved through full reduplication or partial reduplication of the ideophonic roots (Jacques 2013).

(9) The first derivational pattern is full reduplication of ideophones.
The example below is illustrated with the ideophonic root:
zjaŋ ‘tall’
ɲɯ-ɣɤ-zjaŋzjaŋ
CONST-DEIDEOPH:INTR-IDEO:tall
'very tall'

(10) The second derivational pattern involves partial reduplication of the ideophonic root, but the onset of
the second syllable is replaced by the phoneme “l”.
An example is given with the ideophonic root:
ɲcɣɤt ‘loud’
“ɣɤt” will be partially reduplicated, and “ɣ” will be replaced by the phoneme “l” in the second syllable of
the reduplicated ideophonic root
ɲɯ-ɣɤ-ɲcɣɤlɤt-nɯ
CONST-DEIDEOPH:INTR-IDEO:DISORDER:loud/burning-PL

==== Reduplication of Ideophones ====
Reduplication can occur in a variety of ways, each with a slightly different meaning (Diffloth, 1976). Diffloth identifies major reduplication, minor reduplication, and two types of modified reduplication.

Major reduplication occurs in ideophone roots with CVC structure, so that the entire CVC string is reduplicated usually three times. Major reduplication is used to represent “repetition at intervals of time” (Diffloth, 1976).

For example, the root /tus/ is repeated three times, surfacing as /tustustus/ for ‘the repeated sound of running fast.’

Minor reduplication, which represents “prolongation or continuous repetition in time,” consists of taking the first and last consonant of the ideophone, and prefixing them to the ideophone.

For example, if the root /dyɔ:l/ undergoes minor reduplication, the first consonant “d” would be combined with the last consonant “l” at the beginning of the ideophone, so that it becomes “dldyɔ:l,” which means ‘appearance of an object which goes on floating down.’
In the first type of modified reduplication, the ideophone is completely repeated, but the major vowel is modified. The major vowel retains any nasality and lengthening, but front vowels become back vowels (i.e. /ɛ/ becomes /u/), while back and central vowels are advanced (i.e. /u/ and /a/ become /ɛ/). This type of reduplication is used to signify “irregularity distributed in time or space.”

Example of front vowel becoming /u/
/klcwɛc/ → /klcwuc klcwɛc/
‘irregular flapping circular movements

Example of back vowel becoming /ɛ/
/mŋu:y/ → / mŋɛ:y mŋu:y/
‘people in a crowd raising their heads here and there’

Example of central vowel becoming /ɛ/
/prada:k/ → /pradɛk prada:k/
‘noise of scattered large drops of rain falling on leaves or roof’

The second type of modified reduplication, which has the same connotation as the first type of modified reduplication, is more restricted and only occurs in specific dialects of West Semai located in the Kampar basin (Diffloth, 1976). This type of reduplication consists of only repeating the main syllable of the ideophone, and prefixing /ma-/ to the syllable.

For example, the root /r(ŋ)rŋʔaŋ/ has a main syllable of /ʔaŋ/, which is repeated. /ma-/ is then added to the repeated syllable, so that /r(ŋ)rŋʔaŋ/ becomes /r(ŋ)rŋʔaŋ maʔaŋ/. It means ‘appearance of irregular cracks (e.g., in earth or durian fruit).’

Nuckolls (1999)

"Ideophones are morphologically special by their reduplication. (p. 240)"

(1) a. complete repetition of an ideophonic root adds meaning of repetition over time, and extension in space
b. no reduplication, occur only once adds meaning of momentary and instantaneous actions

Ameka, F. (2001). Ideophones and the nature of the adjective word class in Ewe. In F. Voeltz & C. Kilian-Hatz (Eds.), Ideophones. Philadelphia: John Benjamins Publishing Company.

Doke, C. (1948). The Basis of Bantu Literature. Africa: Journal of the International African Institute, 18(4), 284-301. Retrieved October 10, 2014, from the JSTOR database.

Dhoorre, C., & Tosco, M. (1998). 111 Somali Ideophones. Journal of African Cultural Studies, 11(2), 125-156. Retrieved October 8, 2014, from the JSTOR database.

Diffloth, Gérard. (1976). Expressives in Semai. Oceanic Linguistics Special Publications, No.13, Austroasiatic Studies Part I, 249-264. Retrieved from http://www.jstor.org/stable/20019159

Jacques, G. (2013). Ideophones in Japhug (Rgyalrong). Anthropological Linguistics, 55(3), 256-287. Retrieved October 9, 2014, from the Project Muse database.

Mreta, A. Y. (2012). Ideophones in Chasu. 韓國아프리카學會誌¸æoeƒèªOE, 36(8), 3-50. Retrieved October 7, 2014, from the DBPia database.

Newman, P. (1968). Ideophones from a syntactic point of view. J.W.A.L., 2, 107-117. Retrieved October 9, 2014, from the Google Scholar database.

Nuckolls, Janis B.. (1999). The case for sound symbolism. Annual Review of Anthropology, 28, 225-252. Retrieved from http://www.jstor.org/stable/223394

== Semantics of ideophones ==
Kevin, Virginia

=== Early work on semantic fields of ideophones ===

Since research began on sound symbolism and ideophones, the semantics of ideophones has been discussed. Sapir (1929) noticed that sound symbolic words denoted differences between small and large, which sparked a psychological interest in what can be called universal ideophonic intelligence. It was found through psychological studies that when testing subjects with nonce words, there is a striking similarity in the responses given for possible meanings of words. This similarity is dictated by the specific vowels and consonants that are used in the nonce words (Bentley & Varon 1993, McMurray 1960). In early research on ideophones the main focus in relation to semantics was on the ways in which magnitude was denoted.

=== Semantic hierarchy ===

In more current research, there is no defined semantic typology cross-linguistically for ideophones, but individual scholars have attempted to define semantic fields of ideophones within single languages. Dingemanse (2012) has put forth a proposed implicational hierarchy for semantic fields of ideophones cross linguistically.

''Sound > movement > visual patterns > other sensory perceptions > inner feelings & cognitive states.''

=== Methods for investigating semantic fields ===
Multiple scholars have also sought to create methodologies for use in defining semantic fields within a language. Dingemanse (2011) has proposed use of stimulus based elicitation, and Samarin (1967) has proposed a methodology of ‘multiplication of synonyms’ where an elicitor attempts to find all related contexts and reated ideophones for each ideophone elicited. Samarin proposed this methodology based on the finding that ideophones are highly context dependent.

=== Affecto-imagistic dimension: Kita 1997 ===
Kita (1997) has looked at the semantics of Japanese ideophones, or mimetics. Through his work, he has developed a two dimensional analysis of the semantics of Japanese ideophones. He argues in favour of a theoretical approach that places the semantics of ideophones on an ‘affecto-imagistic’ dimension, in contrast to all other lexical items which fall within an ‘analytic’ dimension. Kita argues that the existence of two separate dimensions creates new cognitive implications for the processing of ideophones.
The first dimension that Kita proposes is that of semantics of the regular lexicon, and names this the ‘analytic’ dimension. This is the dimension of decontextualized predication, and consists of a hierarchy of all items in a sentence combining to create the meaning. Kita stresses that this dimension is amodal, and not connected with any specific cognitions other than language processing. The second, and more interesting, dimension is named the ‘affecto-imagistic’ dimension. This is the dimension where the semantics of ideophones is derived. This dimension is different from the analytic dimension because its pieces are not syntagmatically related, but spatio-temporally related. In this dimension the main feature is that sensory experiences are re-experienced due to a direct connection of the ideophonic word and the sensory experience. Kita does not explicity relate this theoretical argument to that of a synesthetic argument in relation to the processing of ideophones, but that is essentially what Kita is proposing.
To elaborate on exactly how these two dimensions differ, and why there might be reason to propose them in the first place, Kita outlines a few key pieces of data. The first of this data is in relation to semantic redundancy.

a. [Taro wa] [isogi -asi de] arui -ta.
Top hurried feet with walk Past
‘Taro walked hurriedly’
b. [Taro wa] [sutasuta to] arui -ta.
Top ideo walk Past
‘ Taro walked hurriedly’
c. *[Taro wa] [isogi -asi de] [haya -aruki o] si -ta.
Top hurried feet with haste walk Acc do Past
‘Taro walked hastily hurriedly’
d. [Taro wa] [sutasuta to] [haya- aruki o] si -ta.
Top ideo haste walk Acc do Past
‘Taro walked hurriedly’

In this data set, Kita highlights the semantic ill-formedness of repetition in a phrase that uses two ‘regular’ lexical items to describe the speed of walking. Kita then goes on to use a counter example of using a ‘regular’ lexical item in combination with an ideophone and shows that this contrastively is semantically well-formed.
The second argument for two semantic dimensions is drawn from the idea that ideophones may not be able to be negated in many languages. Kita asserts that ideophones cannot be negated and still have semantically well-formed sentences.

[PP [S tama ga gorogoro to korogat -ta] no] de wan a -i
ball Nom ideo roll Past
* ‘it was not the case that a ball rolled gorogoro’
* ‘it was not rolling that a ball did gorogoro’
* ‘it was not rolling gorogoro that a ball did’
?? ‘it was not a ball that rolled gorogoro’
?? ‘it was not gorogoro that a ball rolled’

Kita presents data that suggest that it may not be well-formed semantically to negate a phrase containing an ideophone, but the last two readings suggest some failure to conclusively state that the ideophone cannot be negated. Regardless, Kita argues that if we cannot negate a phrase with an ideophone, we can attribute this to his theory of two semantic dimensions. Kita’s theoretical argument is that because the negation comes from the analytic dimension and the ideophone comes from the affecto-imagistic dimension we get a result that is semantically ill-formed due to an inability to negate across both dimensions simultaneously. While this is an interesting argument, it appears to require further investigation.

The last set of data that Kita provides is in relation to a study that found high correlations between ideophones and spontaneous gesturing as well as prosodic peaks. These findings are interpreted by Kita to support the assertion for an affecto-imagistic dimension because he claims that logically that paralinguistic content would be derived from a dimension separate from the analytic dimension; this dimension may well be the affecto-imagistic dimension.

== Pragmatics of ideophones ==
This will be the section that Rose-Marie writes. xxxx vvvv

== WOCAL 8 abstract ==

Abstract 1: phonology; perception
:Test Maduka-Durunze's theory on phonosematics with Shona (vocalic melodies, consonantal melodies, and tones)
:Based on the description of Shona phonology in relation to phono semantics, test native speakers' intuition about the correlation between sounds and meanings (using non-words and testing it with native speakers of Shona).

Plan

:Phonosemantics of ideophones in Shona.

:Structure of ideophones in Shona

::First, we analyze the structural properties of ideophones in Shona dictionary. Analysis focuses on (1) frequencies and distribution of segment types (2) frequencies of tonal melodies (3) prosodic templates. Ideally, we would want to compare the structural properties of ideophones and prosaic words. But, it will require the analysis of all lexical entries in the dictionary, which will be unrealistic at this point.

:Connection between phonetic features and semantic features

::Second, we analyze connection between phonetic features and semantic features. In order to do that we need to have a classification system of semantic features. Studies on sound symbolism in general have focused on three major semantic classes, size, shape, and affect (Schmidtke et al 2014 for a recent review). Maduka-Durunze (2001) proposed five major semantic fields, noise type (sonic), size (dimension), speed (motion), hue/brightness (visual), and hardness (tactile). Once we decide on the system of classification, we code ideophones in terms of both phonetic features and semantic features. Then, we test whether there is a significant correlation between a phonetic feature value (e.g. [+high] vowel) and a semantic feature value (e.g. [+small] in size field). If we define semantic features as binary features like [+/-small], a statistical analysis like logistic regression may be easily applied.

::Maduka-Durunze claim that ideophones are compositional; each phonological feature indicates semantic feature(s) and the composition of those semantic features makes up the meaning of an ideophone. In the process of the composition, redundant features are displaced (displacement) and conflicting features may cancel out the contribution of the semantic features (annihilation). Maduka-Durunze also claims that semantic features may have a gradient effect as well (feature coefficients). This is a lot more complicated than finding correlation between phonetic features and semantic features.

: Draft
: This study investigate the phonology of ideophones in Shona, a Central Bantu language spoken in Zimbabwe. Ideophones are usually considered to be phonologically marked. Some of the sounds used in ideophones are marginal in a sense that they do not occur in prosaic words. Phonotactics of ideophones is different from that of prosaic words. Word shape of ideophones shows a systematic variability due to phonological processes that are unique to ideophones, such as reduplication. Some researchers have argued that markedness of ideophones derives from the iconicity of ideophones (Dingemanse 2012). Maduka (1988, 2001) has poposed a cognitive model of phonosemantic mapping. In this model, phonetic features are mapped onto semantic features in certain semantic field (e.g. phonetic feature [expanded pharynx] is mapped onto a semantic feature [+LARGE] in the semantic field of SIZE). However, the mapping rules are hierarchically organized, and a higher ranked rule overrides a lower ranked rule.

: In this study, we analyze ideophones in a Shona dictionary (Hannan 1974). First, we analyze the formal properties of ideophones in the dictionary. The analysis focuses on (1) frequencies and distribution of segment types, (2) frequencies and distribution of tonal melodies, (3) prosodic templates. Second, we analyze connection between phonetic features and semantic features in semantic fields. Our classification system is based on the ones proposed by Dingamanse (2012) and Maduka (2001).

Abstract 2: morpho-syntax; lexicon
Degree of expressivity
Two strategies
-remove ideophones
-to verbalize the ideophones
Morphology and sub categories
are the morphological classes phonological?
Manner and degree
difference between brightness and clatter
Morpho-syntactic environment
Ideophone roots vs. verbalized ideophones

== Attempt at Semantic Fields ==

=== Liquids – (Visual/Tactile) ===
Filling small container with liquid
Beginning to warm up (liquid)
Beginning to boil
Filling container with any kind of liquid
Beginning to steam (liquid being boiled)
Being completely full of liquid (large container)

''churí'' - dipping 
''chubwí'' - entering water 
''chabwí'' - entering water 
''chabvú'' - rinsing (clothes) 

initial sound remains the same 'ch' + b (and r) at the beginning of the second syllable,
the L H - tone seems to indicate the movement of going IN and OUT the water
on the scale L tone seems to indicates the in/down motion and H tone seems to indicates out/up motion

Christina

=== Spraying – Visual ===
Spraying quickly (as water-pump)
Drizzling
Spraying (continuously)

=== Taking space up – Visual/Movement ===
Spreading out and filling an area
Spreading out over an area (eg. cattle)
Going, coming, sprouting (many together)
Being wide
Being extended
Being very many (moving people or animals)
Being many (moving people or animals)

Being wide
Being extended
Being extensive
Stretching wings (bird about to land)

=== Posture – Visual/Movement ===
Bending forward, hands resting on knees

=== Exiting – Movement ===
Opening by itself (what has been compressed)
Coming out (stuffed contents from a container)
Releasing air
==== Movement/Visual ====
Being deflated slowly
==== Visual/Movement/State ====
Slowly losing consciousness (dying)
==== State ====
Revealing (a secret)

=== Quantity – Visual ===
Being very many (moving people or animals)
Being many (moving people or animals)

=== Velocity – Movement ===
Taking long strides (expressing anger)
Accelerating
Punching someone in the face

=== Being at a loss – State ===
Being at a loss

=== Emotional – State ===
Being happy
Being relaxed, happy
Being happy, contented
Rejoicing intensely

Disarranging

:)

=== Data (from Leighanne H505, H513) ===
pava: sagging (back or roof)
pafa: sagging (person, animal, roof)
pafafa: being flattened
pafama: lying face down
pafara pafara: staggering under heavy load
{|
|-
|
Pattern:
<nowiki>|----------------------------0-------------------------------|
up</nowiki> down
|}

labiodental f/v + low tone vowel expresses downward trajectory

C1 perhaps neutral position, C2 contributing meaning?

== To do next (as of 4 Nov) ==
1. enumerate possible scales (look at dictionary examples + data from Calisto)
2. add semantic fields to database
:perceptual experiential field
'''visual percept''' generates size '''scale''' is generated
'''visual percept''' generates hue/luminosity '''scale'''
'''auditory precept''' generated sound '''scale'''

: emotional experiential field

: temporal experiential field
manner
"telicity"

3.

Course:FNH200/2011w Team16 MapleSyrup

2014-06-05T21:40:20Z

Jbmurray: /* Processing */ ce

== Introduction ==
[[File:2011257884 91f79af748 n.jpg|frame|left|x150px|'''The maple leaf on Canada's flag''' Source: http://www.flickr.com/photos/keepitsurreal/2011257884/sizes/n/in/photostream/ ]]
Maple syrup is of great cultural significance to Canada. According to the legends and stories passed down the Native American families, production of maple syrup was discovered by them long before the introduction of English, French, Dutch and German colonists.<ref name="perkins">[Perkins, T.D., & Van den Berg, A.K. (2009). Maple syrup- production, composition, chemistry, and sensory characteristics. ''Advances in Food and Nutrition Research, 56'', 101-143]</ref>.
[[File:Sugar-Making Among the Indians in the North 1883.gif|frame|right|x200px|'''Sugar making among the Indians in the North, 1883''' Source:http://www.maplesyrupfestival.com/history.php]]

Glass bottles of real maple syrup are often sold at airports and souvenirs shops for tourists as gifts to bring home. Approximately 85% of the world’s maple syrup can be attributed to the red, black and sugar maple trees of the major producing Canadian provinces of Quebec, Ontario, New Brunswick and Nova Scotia <ref name="intro">[Agriculture and Agri-Food Canada. (2011).'' Canadian maple syrup ''. Retrieved from http://www.ats.agr.gc.ca/pro/4689-eng.htm </ref>. Although cane sugar replaced maple syrup’s role as Canada’s standard sweetener after 1875, maple syrup is still widely used <ref name="intro" />. Its different variations (ex. maple candy, maple butter) are still used in cooking recipes and chosen as a topping, showing that maple syrup is still highly prevalent in Canada.

== Production ==

[[File:maple-tap-295x300.png|frame|right|'''Tap attached to maple tree for syrup collection''' Source:http://maplecommunity.com]]
Under cold climatic conditions, most maple (''Acer'') species store starch in their trunks and roots, after which the starch is converted to sugar, mainly sucrose (fructose and glucose), which rises in the sap in the spring. For commercial use, the sap of sugar, black and red maple is used to produce maple syrup. <ref name="perkins">[Perkins, T.D., & Van den Berg, A.K. (2009). Maple syrup- production, composition, chemistry, and sensory characteristics. ''Advances in Food and Nutrition Research, 56'', 101-143]</ref>.

Maple producers drill small holes into the stems of maple trees that have reached a certain diameter or 10 to 12 inches at breast height and collect the xylem sap into a container via a spout. Trees are tapped no more than once a year, and are known to produce sweeter sap as the season progresses from winter to spring.<ref name="perkins">[Perkins, T.D., & Van den Berg, A.K. (2009). Maple syrup- production, composition, chemistry, and sensory characteristics. ''Advances in Food and Nutrition Research, 56'', 101-143]</ref>. The major form of structural carbohydrate forms in maple is starch, and such soluble sugars tend to increase in content during the winter and early spring as a natural phenomenon due to temperature changes. <ref name="cortes">[Cortes, P. M. and Sinclair, T. R. (1965). The role of osmotic potential in spring sap flow of mature sugar maple trees (Acer saccharum Marsh). ''J. Exp. Bot. 36'', 12–24]</ref>

Sap is collected into galvanized or aluminum buckets or plastic bags, which are periodically emptied up to several times daily during the season. Sap is then transported to the processing site. Another method is to build a network of plastic tubing in a downhill manner for the sap to be collected into a holding tank, most commonly located at the site of sap processing into syrup, so that producers are not required to visit each tree for collection during the season. In more modern tubing installations, an evacuating pump is used to modify the pressure gradient between the inside of the stem and the ambient air inside the tubing in order to encourage a higher sap flow rate and sap yield. A well-designed and operated vacuum tubing system may reach 25 gallons per tap each season, which is equivalent to 0.6 gallon of syrup.

=== How It Is Made ===
{{#widget:YouTube|id=uxwo03fNEsc| hheight=315|width=420}}

== Processing ==
Sap is a perishable product, and it must be processed in a timely manner post-collection to eliminate the risk of microbial contamination and the reduction in syrup quality.<ref name="perishable">[Chan, J. (2012). ''Lesson 5:Perishable Foods.'' [Lecture notes]. Retrieved from https://www.elearning.ubc.ca]</ref> Processing involves filtering and UV-sterilization to minimize microbial contamination, and concentration of sap into syrup through the means of evaporation and reverse osmosis followed by heating. When extracted from the tree trunk, the sap is colourless, flavourless and high in bacterial content. <ref name="perkins">[Perkins, T.D., & Van den Berg, A.K. (2009). Maple syrup- production, composition, chemistry, and sensory characteristics. ''Advances in Food and Nutrition Research, 56'', 101-143]</ref>. The result of the brown colour and flavour sensed by our taste buds in maple syrup are attributed to the [[Course:FNH200/Lesson_02#Maillard_Browning_Reaction|Maillard Browning Reaction]]. The Maillard browning reaction involves amino acids, reducing sugars and heat.<ref name="properties">[Chan, J. (2012). ''Lesson 2:Chemical and Physical Properties of Food'' [Lecture notes]. Retrieved from https://www.elearning.ubc.ca]</ref> The bacteria feed on the bonds that hold the sucrose together, splitting it into the reducing sugars of glucose and fructose, thereby satisfying the condition for the Maillard browning reaction to occur.<ref name="perkins">[Perkins, T.D., & Van den Berg, A.K. (2009). Maple syrup- production, composition, chemistry, and sensory characteristics. ''Advances in Food and Nutrition Research, 56'', 101-143]</ref>.

[[File:making-syrup.jpeg|frame|left|'''A contemporary maple syrup evaporator''' Source:http://www.new-england-vacations-guide.com/vermont-sugarhouses.html]]
A contemporary maple syrup evaporator allows the sap to follow a continuous path from the sap inlet through the pan sections to the syrup drawoff. Heat is applied under the entire surface of an evaporator until the sap reaches a slightly lower density than of finished product, and is processed to final density in a separate finishing pan. Further evaporated syrup is then filtered to be of clear product, through a wool or synthetic cone filter in smaller operations; modern commercial operations utilize a pressure filter made of diatomaceous earth.<ref name="perkins">[Perkins, T.D., & Van den Berg, A.K. (2009). Maple syrup- production, composition, chemistry, and sensory characteristics. ''Advances in Food and Nutrition Research, 56'', 101-143]</ref> The syrup is then stored in barrels made of stainless or galvanized steel, epoxy lined steel or plastic, before being reheated and ready for retail packaging.

== Grades ==
[[File:439400179 6a6cd37b78.jpg|frame|x200px| '''Various colours and grades of Maple Syrup.''' Source:http://www.flickr.com/photos/peterjhill/439400179/sizes/m/in/photostream/ ]]Grading of maple syrup is in place to inform consumers of quality and consistency of the product. All maple syrup must be graded in Canada before hitting the shelves of grocery stores. The grading system varies between countries; in both Canada and the United States, the grading system is based upon how much light can be transmitted or pass through the product.<ref>[''Maple Syrup Grading''.(2011). Retrieved from http://www.maplesyrupworld.com/pages/Maple-Syrup-Grading.html].</ref> In Canada, products are listed as: Canada No.1, Canada No.2, and Canada No.3. If the product has been imported they must be labelled as: Grade No.1, Grade No.2, and Grade No.3 and must state the country of origin. <ref name="grades">[Canadian Food Inspection Agency.(2011).''13.3 Grades for Maple Syrup'' Retrieved from http://www.inspection.gc.ca/english/fssa/labeti/guide/ch13e.shtml].</ref> However, some products are listed as Canada No.1, 2, or 3 even if they are imported, but only after completing a grading process, being re-packaged or processed by a registered establishment. <ref name="grades"/> In the United States, grading consists of only two categories: Grade A and Grade B. Grade A is divided into light/fancy, medium amber and dark amber.

According to the Canadian Maple Product Regulations, maple syrup may only be graded if the following reasons are complied with:
* the syrup is produced exclusively by the concentration of maple sap or by the dilution or solution of a maple product, other than maple sap, in potable water
* the syrup is clean, wholesome and edible
* there are no defects or deterioration affecting the products edibility, appearance or shipping quality
* it is classed by colour and;
* it has minimum soluble solids content of 66% as determined by a refractometer or hydrometer at 20°C <ref name="regulations">[Department of Justice Canada. (2012).''Maple Products Regulations'' Retrieved from http://laws-lois.justice.gc.ca/eng/regulations/C.R.C.,_c._289/page-2.html#h-6]</ref>

=== Appearance & Flavour ===
[[File:2409584606 a91020a148.jpg|x225px|left|frame| '''Note the colour difference amongst the same grade''' Source:http://www.flickr.com/photos/ckowalik/2409584606/]] One may wonder what is the difference between grades of maple syrup. The primary differences are based on colour, colour class and flavour. There are variations of colours of maple syrup in one grade category. In the image on the left, the categories of syrup are based on the American names. Classification of colour depends on the percentage of light which is transmitted through the syrup.

===== Canada No. 1 =====
* No. 1 syrup must be free of fermentation, uniform in colour and free from any cloudiness<ref name ="regulations"/>.
* This grade has the largest variety in colour and can be Extra Light, Light or Medium<ref name="grades"/>.
* Extra Light cannot have less than 75.0% of light transmission and consists of a delicate maple flavour, usually made early in the season when the weather is the coldest. Extra Light is most often used for pancakes and maple candies<ref name="flavours">[Chu, M. (2004). ''Maple Syrup Grades''. Cooking for Engineers. Retrieved from http://www.cookingforengineers.com/article/16/Maple-Syrup-Grades]</ref> <ref name="grades"/>.
* Light has less than 75.0% light transmission but not less than 60.5%. It is similar to Extra Light in that its flavour is mild and is popular on pancakes and waffles<ref name ="grades"/>.
* Medium has less than 60.5% light transmission but not less than 44.0%. This grade has a stronger maple flavour than Light and Extra Light and is often used in baking<ref name ="flavours"/><ref name = "grades"/>.

===== Canada No. 2 =====
* No. 2 syrup must be free of fermentation, uniform in colour and free from any cloudiness<ref name ="regulations"/>.
* This grade is generally Amber in colour.
* Amber has less than 44% light transmission but not less than 27.0%. Amber grade has a stronger flavour than Canada No. 1 and is usually used in cooking and baking, although it can still be used for table syrup for people who prefer full flavoured syrup<ref name = "flavours"/> <ref name = "grades"/>.

===== Canada No. 3 =====
* The darkest of the grades, Canada No. 3 resembles a deep mahogany shade.
* Any of the colouring combinations from Canada No. 2 and Canada No. 1 can be combined with Canada No. 3 syrup<ref name="grades"/>.
* A Dark colour class is represented by 27% or less light transmission of the product<ref name = "grades"/>.
* Canada No. 3 tends to have a trace of a caramel, buddy or sappy taste and predominately used for cooking and baking due to its strong maple taste<ref name = "regulations"/><ref name ="flavours"/>.

== Importing and Exporting Maple Syrup ==

To import maple syrup in Canada, it must meet standard labeling (common name, net quantity, name and address of supplier, list of ingredients, nutritional facts table, durable life date, and bilingual labeling) and grade regulations, meaning that it meets standard quality expectations. To export maple syrup, it must meet the standards depending on the country. The production of maple syrup is only limited to places where weather conditions are suitable for maple trees to grow. Canada and some parts of the United States are the largest producers of maple syrup in the world. It is not common for Canada to import maple syrup from other countries. Japan is the second largest importer of Canadian maple syrup. There has also been a strain on the maple syrup industry lately due to global warming. The warming climates has caused manufacturers to tap the trees earlier than usual. Some manufacturers has also claimed that the amount of syrup tapped decreased over the last few years.

== Labeling and Packaging ==
=== Label Requirements ===
[[File:Maplesyruplabel.jpg|x300px|right|frame|'''White Meadows Farms Maple Syrup packaging follows the labeling requirements''' Source:http://www.niagaralocalfoodcoop.ca]]

The Canadian Food Inspection Agency is responsible for labeling and packaging regulation and the labeling and packaging requirements are outlined in the Consumer Packaging and Labelling Act and Regulations.<ref name="packaging 1">[Chan, J. (2012). ''Lesson 4: Food Standards, Regulations and Guides - Food Additives.'' [Lecture notes]. Retrieved from https://www.elearning.ubc.ca]</ref>

The following label components are required for all imported, exported and inter-provincially traded maple syrup products<ref name="Labelling Maple">[Canadian Food Inspection Agency. (2011). ''Chapter 13 - Labelling of Maple Products'' Retrieved from http://www.inspection.gc.ca/english/fssa/labeti/guide/ch13e.shtml]</ref>:
{| class="wikitable"
|-
! Requirement !! Description/Example
|-
| Bilingual || All required information must be in both French and English
|-
| Common Name || Required if and when the food product complies with compositional standards
Maple Syrup: "syrup obtained by the concentration of maple sap or by the dilution or solution of a maple product, other than maple sap, in potable water" <ref name="Labelling Maple" />

Pure maple syrup is a single ingredient food so its common name is also considered the ingredients list
|-
| Nutrition Facts Table<ref name="Labelling General">[Canadian Food Inspection Agency. (2011). ''Chapter 2: Basic Labelling Requirements - Sections 2.1-2.9'' Retrieved from http://www.inspection.gc.ca/english/fssa/labeti/guide/ch2e.shtml]</ref> || Information includes: calories, fat, cholesterol, sodium, carbohydrate, protein, vitamins A and C, calcium and iron
|-
| Net Quantity Declaration || Standardized container sizes: 250 ml or less (whole number), 375ml, 500 ml, 540 ml (19fl. oz.), 750 ml, 1 L, 1.5L, whole number multiples of 1L
|-
| Grade || Canada No. 1, Canada No. 2, Canada No. 3
|-
| Colour || Extra Light, Light, Medium, Amber, Dark
|-
| Name and Address || Name, city, province and postal code of the responsible party (manufacturer/producer)
Contact information of one of the following:
* sugar bush, packing or maple syrup shipper establishment
* first dealer and registration number of the packing establishment
|-
| Country of Origin || Canada
|}

=== Packaging ===
Unopened pure maple syrup can have a shelf life of over one year if stored properly in cool and dry conditions. <ref name="packaging 1">[Anderson's Pure Maple Syrup. (2012). ''Storage and Shelf Life of Maple Syrup''. Retrieved from http://andersonsmaplesyrup.com/files/MapleSyrupStorageRetail.pdf]</ref> In order to minimize the loss in quality during long term storage, maple syrup is stored in plastic or glass containers. Spoilage or a decrease in quality can occur due to oxidation of maple syrup and compared to plastic, glass is more able to prevent the gas exchange necessary for oxidation. While glass is more expensive than plastic, it is the ideal material used to store maple syrup.<ref name="packaging 2">[UVM Libraries and the Agriculture Network Information Center. (2011). ''Frequently Asked Questions (FAQ)'' Retrieved from library.uvm.edu/maple/faq/]</ref>

== Trends and Usage ==
In Japan, the trend of consuming maple syrup has boomed within the last ten years. It is believed that maple syrup is more “natural” than table sugar, and the aroma of maple syrup is highly appreciated by food critics. Maple syrup is consumed as an alternative to sugar, especially when drinking coffee. Maple syrup hard candies, maple syrup flavored Kit-Kats, and cookies are some of the many examples that are being produced. The majority of maple syrup consumers are people in their middle-ages. <ref name="Trends">[Agriculture and Agri-Food Canada. (2010). ''Consumer Trends Honey and Maple Syrup In Japan.'' Retrieved from http://www.ats-sea.agr.gc.ca/asi/5594-eng.htm]</ref>

== Imitation Syrup vs. Real Maple Syrup ==
Imitation syrup is a popular substitute for real maple syrup due to its mass production and, subsequently, lower cost. Because maple sap is only collected in early spring, pure maple syrup cannot be as a widely produced and is therefore a timely and expensive process <ref name="perkins">[Perkins, T.D., & Van den Berg, A.K. (2009). Maple syrup- production, composition, chemistry, and sensory characteristics. ''Advances in Food and Nutrition Research, 56'', 101-143]</ref>. The finished, pure product usually contains maple syrup as its sole ingredient <ref name="perkins" />. Conversely, high fructose corn syrup is usually the main ingredient in imitation syrup and it often contains food colouring and artificial flavours <ref name="aunt">[Aunt Jemima. (2012). ''Syrups''. Retrieved from http://www.auntjemima.com/aj_products/syrups/]. </ref> <ref name="maple">[Maple Grove Farms of Vermont. 2012. ''Our products: syrups''. Retrieved from http://www.maplegrove.com/content_products.asp?g=3].</ref> . While higher grades of real maple syrup are light and thin, imitation syrups are advertised as ‘rich’ and ‘thick’ to appeal to consumers <ref name="perkins" />. Imitation syrups provide no nutritional benefits, as they are composed mainly of sugar and do not contain any vitamins or minerals <ref name="livestrong">[Livestrong. (2011).''Which is healthier: real maple syrup or fake''. Retrieved from http://www.livestrong.com/article/335116-which-is-healthier-real-maple-syrup-or-fake/].</ref>. On the other hand, manganese, zinc, and traces of calcium, riboflavin, pantothenic acid, potassium and magnesium are present in real maple syrup <ref name="perkins" />. Furthermore, many beneficial compounds made by maple trees, called bioactive phytochemicals, are found in maple syrup and help neutralize free radicals that may be harmful to our cells <ref name="livestrong" />. Since imitation syrups cannot be exclusively labelled ‘Maple Syrup’ on its packaging in Canada, it is possible for consumers to differentiate between the two products <ref name="grades" />.
=== Price and Taste Comparison ===
Results from a survey conducted by the staff of Cook’s Illustrated, an American cooking magazine, regarding the taste and price of real maple syrup compared to imitation syrup suggest that there is a general difference between the two products <ref name="cook"> [Cook`s Illustrated. (2009). ''Maple and pancake syrup''. Retrieved from http://www.cooksillustrated.com/tastetests/results.asp?docid=18253]</ref>. Some of the findings are displayed in the table below:
[[File:FNH200 Project Maplesyrup aunt jemima.JPG|x300px|right|frame|'''Aunt Jemima's Original Syrup''']]
{| class="wikitable"
|-
! Imitation syrup brand !! Price per ounce !! Descriptions from consumers
|-
| Aunt Jemima Original Syrup || $0.15 <ref name="cook" />|| "fake, viscious corn syrup", "straightforward corn syrup laced with maple", "honey and vanilla notes" <ref name="cook" />
|-
| Kellogg's Eggo Original Syrup || $0.15 <ref name="cook" />|| "very sugary", "slightly plastic", "nice, toasted sweetness", "where's the maple?"<ref name="cook" />
|-
| Mrs. Butterworth's Original Syrup || $0.15<ref name="cook" />|| "melted candy", "sweet, thick, vile", "what a maple-flavored Life Saver would taste like"<ref name="cook" />
|}
[[File:5120692229 5ccf561674.jpg|frame|left|x250px|'''A bottle of real maple syrup.''' Source:http://www.flickr.com/photos/chrism70/5120692229/sizes/m/in/photostream/]]
{| class="wikitable"
|-
! Real maple syrup brand !! Price per ounce !! Descriptions from consumers
|-
| Camp Maple Syrup (Grade A Dark Amber) || $1.00<ref name="cook" /> || "clean", "mild", "light maple flavour"<ref name="cook" />
|-
| Maple Grove Farms Pure Maple Syrup (Grade A Dark Amber) || $0.62<ref name="cook" /> || "potent", "good earthy, mapley notes","not too thick or thin"<ref name="cook" />
|-
| Spring Tree Pure Maple Syrup (Grade A Dark Amber)|| $0.72<ref name="cook" /> || "good maple flavor, with thin consistency", "light body and a slight burned taste", "sweet, natural"<ref name="cook" />
|}

=== Variations of Imitation Syrup ===
A possible advantage of imitation syrup would be its many variations that may meet the desires of more consumers. For example, Aunt Jemima® offers these different versions on their syrups: Original Syrup, Lite Syrup (contains half the calories of the Original syrup) and Butter Rich Syrup <ref name="aunt" />. Furthermore, Maple Grove Farms® offers Fruit-Flavoured Syrups and Sugar Free Syrups <ref name="maple" />. Their sugar-free varieties are sweetened with the low calorie sweetner sorbitol and the non-caloric sweetener sucralose <ref name="maple" /> <ref name="notes 3"> Chan, J. (2012).''Lesson 3: Fat and sugar substitutes- sensory perception of food'' [Lecture notes]. Retrieved from https://www.elearning.ubc.ca. </ref>. Both sugars do not increase blood glucose or insulin levels and therefore may be appealing to diabetic or consumers conscious of their sugar intake <ref name="notes 3" />.

== Other Alternatives to Maple Syrup ==
In addition to variations of imitation syrup, there are also other alternatives available on the market to accommodate different needs such as people with specific dietary restrictions or people on calorie intake / glycemic index watch. Some alternatives also go better with certain foods depending on what you are making. Here are some pros and cons on the different choices.

{| class="wikitable"
|-
! Alternatives!! What is it? !! Pros / Cons !! Calories/Table Spoon <ref name="discover">[Discover Good Nutrition. (2011).''Honey, Maple Syrup or Agave.''. Retrieved from http://www.discovergoodnutrition.com/index.php/2011/08/honey-maple-syrup-or-agave-all-sugars-are-pretty-much-the-same/].</ref>
|-
| Honey || Made by bees through the process of regurgitation using nectar from flowers || Contains dietary fiber, no fats, no cholesterol, significant source of vitamin C <ref name="honey">[Livestrong. (2011).''Nutrition of Pure Maple Syrup vs. Honey''. Retrieved from http://www.livestrong.com/article/412144-nutrition-of-pure-maple-syrup-vs-honey/].</ref>. || 60
|-
| Grain Syrup || Grains sprout to produce enzymes that convert starches into sugar, then mixed with water to extract the sugary syrup; eg. barley malt syrup, brown rice syrup <ref name="discover"/> || very good yeast food, perfect for light and flavorful homemade bread; less sweet than other sweeteners, might end up using more than otherwise <ref name="discover"/> || 60
|-
| Molasses||By-product of the processing of sugar cane, sugar beets or grapes into sugar || a rich source of calcium, magnesium, potassium, and iron <ref name="molasses">[World's Healthiest Foods. (2012).''Blackstrap molasses''. Retrieved from http://www.whfoods.com/genpage.php?tname=foodspice&dbid=118#safetyissues/].</ref>; has a robust bittersweet flavor, creates the distinctive taste in gingerbread and baked beans recipes. || 50
|-
| Agave Nectar || Natural sweetener derived from various agave species eg. rainbow agave, blue agave || Vegan substitute; sweeter than other alternatives so even though contains the same amount of calories, using less would achieve the same sweetness level and thus help reduce calorie intake; relatively lower glycemic index (19 compared to 54 for Maple Syrup and 35 for pure honey <ref name="GI">[The University of Sydney. (2011).''Glycemic Index''. Retrieved from http://www.glycemicindex.com/].</ref>. || 60
|}

== References ==
<references/>

Course:FNH200/2011w Team03 Sourdough

2014-06-05T21:29:04Z

Jbmurray: /* Chemical Interactions */ ce

==Introduction==
[[File:BreadBakery2.jpg|x200px|frame|left|]]
Imagine yourself walking into your local bakery looking for a loaf of bread to serve to your guests later that evening. Have you ever picked up a loaf of sourdough bread and wondered what characteristics to look for to make it a "good loaf" of bread? Or have you ever wondered how symbiotic microorganisms work together to give sourdough such a distinctive sour taste? Maybe you actually wanted to make a loaf of homemade sourdough yourself and just never knew how. Here is a little introduction of what sourdough bread is.

Sourdough bread is a form of naturally leavened bread that has been produced by man for thousands of years.<ref>Dupaigne, Bernard. The History of Bread. New York: Harry N. Abrams, 1999. Print</ref>. In its simplest form sourdough consists only of flour, water, and naturally occurring yeast and bacteria. When the flour and water are mixed, the omnipresent yeast and bacteria from the natural environment are incorporated into the dough. When left for several days to ferment, the dough will become bubbly and sour. The sour properties of the bread are derived from the metabolic activity of ''Lactobacillus'' bacteria, which feed on the dough, producing acetic and lactic acids as by-products, and ultimately help to preserve the bread. <ref name="(Corsetti et al, 2000). "> Corsetti, A., Gobbetti, M., De Marco, B., Balestrieri, F., Paletti, F.,
Russi, L., et al. (2000). “Combined effect of sourdough lactic acid bacteria and additives on bread firmness and staling.” Journal of Agricultural and Food Chemistry 48, 3044-3051. </ref> Sourdough starter culture can be preserved indefinitely if maintained properly and stored in the right conditions. <ref name="(Corsetti et al, 2000). "> Corsetti, A., Gobbetti, M., De Marco, B., Balestrieri, F., Paletti, F.,
Russi, L., et al. (2000). “Combined effect of sourdough lactic acid bacteria and additives on bread firmness and staling.” Journal of Agricultural and Food Chemistry 48, 3044-3051. </ref>The leavening is due to carbon dioxide released when yeasts feed on the dough. The carbon dioxide then rises through the bread, producing air pockets and giving the bread a light texture. <ref name="(Scott et al, 1999). ">Scott, A., Wing D. The Bread Builders: Hearth Loaves and Masonry Ovens. Vermont: Chelsea Green Publishing Company, 1999. </ref> Sourdough bread differs in many ways from its modern counterparts, which are made from commercially isolated yeasts and do not require fermentation.

==History==

Any historical discussion of bread must start by making the distinction between leavened and flat breads. Flat breads, like pita or tortilla, are mixtures of flour and water, which are baked soon after mixing. Leavened breads on the other hand, are allowed to grow and rise before being baked, giving them a lighter texture. This phenomenon is due to the action of yeast.<ref>Cauvain, Stanley P., and Linda S. Young. Technology of Breadmaking. Berlin: Springer, 2007. Print.</ref>
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Sourdough bread is believed to be the earliest form of leavened bread. Historians have found evidence of its production in Ancient Egypt as far back as 1500 BC. While impossible to prove, it is highly probable that the leavening properties of sourdough were discovered by accident. When bread dough is left to sit in a warm place for several days, it grows in size and develops a sour taste; thus, the first loaves of leavened sourdough were quite possibly due to an
ancient baker forgetting about his dough. While today we understand this to be due to the presence of yeast (which cause the growth) and bacteria (which give the sour taste), throughout the majority of bread-making history the reasons for why dough would change with time were unknown.

Sourdough remained the most common form of leavening throughout Europe until the Middle Ages when bakers realized that barm—a scummy, yeast-containing byproduct of beer making—also produced a leavening effect on their breads.<ref>http://h2g2.com/dna/h2g2/A2791820#footnote5</ref>. It was not until the late 19th century that a process had been developed to isolate yeast. <ref>Marx, Jean & Litchfield, John H. (1989). A Revolution in biotechnology. Cambridge, UK: Cambridge University Press. p. 71</ref>, thus bringing in the modern era of bread production.

==Chemical Interactions==

When examining the physical properties and taste of sourdough, the most obvious features would most likely be the unique sour taste as well as the large air pockets located within the bread. In fact, these distinctive characteristics of sourdough are largely attributed to chemical byproducts from a sourdough starter culture, which consist of flour, water, yeast, and lactic acid bacteria (LAB).<ref name="Chan">Chan,Judy. FNH 200.University of British Columbia. (2012). </ref> Therefore, the chemical reactions relating to sourdough production need to be considered in order to understand why sourdough displays such unusual qualities.

===The Symbiotic Nature of the Starter Culture ===
First generation sourdough starter is the initial mix of flour that naturally contains an assortment of yeast and bacteria, and will spontaneously ferment with the addition of water. <ref name="(Scott et al, 1999). ">Scott, A., Wing D. The Bread Builders: Hearth Loaves and Masonry Ovens. Vermont: Chelsea Green Publishing Company, 1999. </ref>
The species that predominate in most sourdough starters are '''yeast''', often of the genus '''Saccaromyces cerrivasae''', and lactic- acid fermenting bacteria or '''''Lactobacillus''''' (LAB). <ref name="(Corsetti et al, 2001). ">Corsetti, A., Lavermicocca, P., Morea, M., Baruzzi, F., Tosti, N., and Gobbetti, M. “Phenotypic and molecular identification and clustering of lactic acid bacteria and yeasts from wheat.” International Journal of Food Microbiology 64 (2001): 95-104.</ref>The microorganisms in the culture have an important '''symbiotic''' relationship, and their synergistic '''fermentation''' of sugar leads to the production of flavouring compounds that provide the distinctive texture, complex flavor and increased shelf life to the bread. <ref name="(Corsetti et al, 2000). "> Corsetti, A., Gobbetti, M., De Marco, B., Balestrieri, F., Paletti, F.,
Russi, L., et al. (2000). “Combined effect of sourdough lactic acid bacteria and additives on bread firmness and staling.” Journal of Agricultural and Food Chemistry 48, 3044-3051. </ref>. In order for both organisms to reproduce and remain viable, they need to be able to generate energy only from the starch molecules inside the flour, since there are very low amounts of oxygen available to undergo aerobic respiration. <ref name="Wink">Wink, Debra. "Lactic Acid Fermentation in Sourdough." The Bread Bakers Guild of America 15 (2007): 47-51. </ref >. However, yeast and LAB are lower order organisms, thus they need to break down the starch into simpler sugar compounds before anaerobic respiration (fermentation) can begin. When flour is immersed in water, its water activity is raised allowing the enzymatic activity of '''amylase''' in the wheat to break down starch into '''maltose''', a disaccharide, which in turn is converted to '''glucose''' a monosaccharide through the action of '''maltase'''. Glucose can be fermented by yeast. <ref name="(Salim-ur-Rehman et al, 2006).">Salim-ur-Rehman, Paterson A., Piggott R. J., “ Flavour in sourdough breads: a review.” Trends in Food Science and Technology 17 (2006): 557-566.</ref>
Yeast break down the glucose formed through the enzymatic activity of flour in water and produce '''ethanol''', an alcohol, and '''carbon dioxide'''. <ref name="(Salim-ur-Rehman et al, 2006).">Salim-ur-Rehman, Paterson A., Piggott R. J., “ Flavour in sourdough breads: a review.” Trends in Food Science and Technology 17 (2006): 557-566.</ref>
The amount of fermentable carbohydrate in the flour varies with the type of cereal, and depends on the extent of '''starch hydrolysis''', and the activities of '''microbial enzymes''' and contaminants. <ref name="(Martinez-Anaya, 1996)."> Martinez-Anaya. “Enzymes and bread flavour.” Journal of Agriculture and Food Chemistry 44 (1996): 2469-2480. </ref>. The presence of water in flour causes starch molecules to swell due to the process of '''gelatinization'''. <ref name="Chan">Chan,,Judy. FNH 200.University of British Columbia. (2012). </ref> In turn, the '''swelling''' will enable a higher amount of amylases to contact the amylase/amylopectin molecules, allowing for more efficient starch degradation. <ref name="Chan">Chan,,Judy. FNH 200.University of British Columbia. (2012). </ref> Thus, more glucose molecules will be available for catabolic processes during alcohol fermentation. After the starch has been degraded, the yeast can then ferment the glucose into carbon dioxide and alcohol, thereby making energy to support its own cellular processes. <ref name="Wink">Wink, Debra. "Lactic Acid Fermentation in Sourdough." The Bread Bakers Guild of America 15 (2007): 47-51. </ref >. This pathway of alcohol fermentation is shown in the diagram below to the right as the EMP pathway. Yeast can only utilize glucose and strictly follow the EMP pathway. <ref name="Wink">Wink, Debra. "Lactic Acid Fermentation in Sourdough." The Bread Bakers Guild of America 15 (2007): 47-51. </ref >. Once the flour is baked, the carbon dioxide molecules inside the flour will facilitate leavening of the bread and also solidify, forming solid air pockets in sourdough, which is the reason why bread is a solid foam product. <ref name="Chan">Chan,,Judy. FNH 200.University of British Columbia. (2012). </ref>

===Fermentative Pathways===

There are two fermentative pathways that LAB can undergo to produce energy for itself and also the acidic byproducts that contribute to the sour taste in sourdough. The two pathways are shown to the right as either the '''EMP pathway''' or the '''Heterofermentative pathway'''. The pathway undertaken will depend on the structure of the sugar compounds available for use as a substrate, and also the properties of the bacteria. The most common genus of LAB incorporated into sourdough is '''Lactobacillus''', and the fermentative pathways that Lactobacillus will undergo will depend if they are '''homofermentative''', '''heterofermentative''', or '''facultatively fermentative'''. Homofermentative Lactobacilli will only produce lactic acid as an end product by means of the EMP pathway, starting with glucose as the substrate.<ref name="Mohn"> Mohn, William. Microbial Physiology. University of British Columbia. (2011).</ref>. Therefore, similarly to yeast, lactobacilli will produce pyruvate as an intermediate, except that the pyruvate will then be converted into lactic acid and not ethanol. <ref name="Mohn"> Mohn, William. Microbial Physiology. University of British Columbia. (2011).</ref>. Since lactic acid has a pH of 3.86, this high level of acidity will create a sour flavour in the bread. <ref name="Mohn"> Mohn, William. Microbial Physiology. University of British Columbia. (2011).</ref>. Heterofermentative lactobacilli will only follow the heterofermentative pathway shown below. However, during the breakdown of glucose, acetyl-phosphate can be produced and converted into acetic acid, yielding a second product of high acidity (pH 4.8) that is not formed from the EMP pathway. <ref name="Wink">Wink, Debra. "Lactic Acid Fermentation in Sourdough." The Bread Bakers Guild of America 15 (2007): 47-51. </ref >. A prevalent strain of heterofermentative lactobacilli in sourdough is ''Lactobacillus sanfranciscensis''. <ref name="Wink">Wink, Debra. "Lactic Acid Fermentation in Sourdough." The Bread Bakers Guild of America 15 (2007): 47-51. </ref >. ''Lactobacillus sanfranciscensis'' contains enzymes that enable it to breakdown maltose in starch into a molecule of glucose and glucose 6 phosphate. Glucose 6 phosphate will directly enter the heterofermentative pathway, forming a combination of mixed end products such as lactic acid, ethanol, carbon dioxide, and acetic acid. <ref name="Wink">Wink, Debra. "Lactic Acid Fermentation in Sourdough." The Bread Bakers Guild of America 15 (2007): 47-51. </ref >. The remaining glucose molecule will be secreted out of the lactobacillus and into the external environment. The ability of ''Lactobacillus sanfranciscensis'' to use maltose as a substrate is advantageous because it would remove glucose competition between yeast. <ref name="Wink">Wink, Debra. "Lactic Acid Fermentation in Sourdough." The Bread Bakers Guild of America 15 (2007): 47-51. </ref >. Facultatively heterofermenantive lactobacilli are able to undergo both the EMP pathway and the heterofermentative pathway depending on the sugar compounds that are available. If glucose is present, then they prefer to use only the EMP pathway and produce lactic acid. However, if glucose concentrations are low, then the lactobacilli will scavenge for pentoses (5 carbon sugars) and incorporate them into the heterofermentative pathway. <ref name="Wink">Wink, Debra. "Lactic Acid Fermentation in Sourdough." The Bread Bakers Guild of America 15 (2007): 47-51. </ref >. The pentoses will usually be converted into acetic acid as the end product.<ref name="Wink">Wink, Debra. "Lactic Acid Fermentation in Sourdough." The Bread Bakers Guild of America 15 (2007): 47-51. </ref >. When lactic acid and acetic acid are combined together, a very unique sour taste will be generated leading to the successful production of sourdough.

<center>[[File:Metabolic Pathways.jpg|x500px| Fig 1. Metabolic Diagram showing the breakdown of glucose using the EMP and Heterofermentative Pathway in anaerobic environments. Major substrates, intermediates, and products displayed in bold print. The TCA Cycle can be ignored because it is an aerobic process.|<ref> http://www.thefreshloaf.com/node/10375/lactic-acid-fermentation-sourdough/</ref>]]</center>

==Preparation==
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===Sourdough Starter===

Due to the difficultly of creating a proper starter culture, a reliable method was developed by Debra Wink by systematically testing the acidity and temperature conditions needed to promote the growth of the desirable microorganisms. The following starter culture and recipe are derived from this <ref name="(Zamora, 2012).">Zamora, Antonio. "Sourdough Bread Recipe - From Scratch." How to Make Sourdough Bread. Antonio Zamora, 2012. Web. 23 Mar. 2012. <http://www.scientificpsychic.com/alpha/food/sourdough-bread.html>.</ref>.The three important factors to reach these optimum conditions are:
:::::# Use whole grain flour
:::::# Acidify the flour medium
:::::# Maintain temperature at approximately 75F

Whole rye or wheat flour is recommended because the desired yeasts normally inhabit the cereal hulls which are discarded to make refined flour. The required degree of acidification of the starter is provided by using apple cider or unsweetened pineapple juice instead of water to get the culture started. The warm room temperature speeds up the process. The direct instructions are:
:::::# On the first day, mix 2 tbsp whole grain flour and 2 tbsp unsweetened pineapple juice
:::::#On the second day, add 2 tbsp whole grain flour and 2 Tbsp unsweetened pineapple juice
:::::#On the third day, add 2 Tbsp whole grain flour and 2 Tbsp unsweetened pineapple juice
:::::#On the fourth day, keep 1/4 cup (2 oz.) of starter after stirring down. Discard the rest.

By the fourth day, the starter culture should exhibit signs characteristic of yeast (bubbling, expanding, smell of yeast). From this day on it is necessary to discard some starter to keep the proportion of fresh flour high enough to support the growth of the yeast while keeping the total volume of starter manageable. Feed the starter once per week with :
::::::*1 oz. bread flour (1/4cup)
::::::*2 tbsp spring water

Once you have the starter keep it loosely covered in the refrigerator and feed it once per week with the above mentioned amount of floor and water. For the two days prior to making the bread refeed the starter.

===Bread Recipe===
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The ingredients for the bread now that you have your starter culture are<ref name="(Zamora, 2012).">Zamora, Antonio. "Sourdough Bread Recipe - From Scratch." How to Make Sourdough Bread. Antonio Zamora, 2012. Web. 23 Mar. 2012. <http://www.scientificpsychic.com/alpha/food/sourdough-bread.html>.</ref>:
::*1 cup whole wheat flour
::*2 ½ cups white bread flour
::*1 ½ tsp salt
::*1 ½ cups spring water
::*¼ cup starter

Mix the dry ingredients in a large bowl and then dissolve the starter in water (use non-chlorinated water because choline will kill gas-generating yeast and bacteria). Pour the water on the flour while stirring the mixture. Then shape the dough into a ball and cover the bowl with plastic. If the starter is very fluid, ¼ cup of additional flour should be added to maintain a moist and firm consistency. The water level in the dough affects the porosity of the bread. Wet dough produces breads with big holes.

'''Fermentation:'''

Leave the covered bowl at room temperature (24C) for approximately 18 hours. During this time the dough should double in size.

'''Folding and resting:'''

Sprinkle some flour on a large cutting board and empty the dough from the bowl onto the board. Spread the dough gently sot that it can be folded in thirds and then folded once more to form a ball. Cover it with plastic again and let it rest for 15 minute.

'''Proofing:'''

Use a towel to line the large bowl and sprinke wheat bran or oat bran on the towel to keep the dough from adhering to the towel. Transfer the dough to the lined bowl and cover the bowl or with another moistened towel. Leave the dough to rise for 1 ½ to 2 hours.

'''Baking:'''

To obtain a crispy crust to the sourdough bread bake the loaf in a hot oven with plenty of moisture during the baking period. This can be done by baking the dough in an enclosed space such as a clay baking clouch or by spraying some water on the dough when it is placed in the hot oven and keep a shallow pan with water underneath it to create a hot steam.

Thirty minutes before baking, preheat the oven to 475F. When the oven is ready, work quickly to open the oven and sprinkle some bran in the bottom of the heated Dutch oven to keep the bread from burning and sticking. Make some decorative 1 cm deep slashes with a knife for stylistic purposes then bake the covered dough for 30 minutes at 450F. Remove the lid from the Dutch oven and bake for another 15mins at 400F until the crust is golden brown. Then take the loaf out and let it cool for 30 minutes.

<center>'''Check out the videos below to see how to make SOURDOUGH STARTER and SOURDOUGH BREAD'''</center>
<center>{{#widget:YouTube|id=pmLmpJhumSM|hheight=315|width=420}} {{#widget:YouTube|id=YgJYSOwWlvU| hheight=315|width=420}}</center>
==Preservation==
There are many parameters that contribute to the long term maintenance of a sourdough starter culture, including the storage temperature and conditions, the consistency of the substrate or flour used and the pH of the dough which directly correlates to the specific microorganisms present in the starter culture.
[[File:Second Stage Sourdough Starter.jpg|frame|x200px| Second Stage Sourdough Starter|<ref name="starter">http://www.applepiepatispate.com/bread/sourdough-italian-french-bread/</ref>]]
[[File: Home Made Starter.png|frame|x200px| Home Made Starter| <ref name="starter">http://fragmentsofsulpicia.blogspot.ca/2010/03/sulpicia-vs-conference-vs-sourdough.html/</ref>]]

===pH===
The ratio of lactic acid to acetic acid is important for the final '''flavour'''. <ref name="(Linko et al, 1997)."> Linko, Y., Javanainen, P., Linko, S. “Biotechnology of bread baking.” Trends in Food Science and Technology 8 (1997): 339-344.</ref>
Ideally, more acetic acid is produced than lactic acid as acetic acid improves quality in leavened dough, and one way to increase its ratio is by lowering the '''water activity''' of the starter. <ref name="(Vernocchi et al, 2004). ">Vernocchi, P., Valmorri, S., Gatto, V., Torriani, S., Gianotti, A., Suzzi, G. “A survey on yeast microbiota associated with an Italian traditional sweet-leavened baked good fermentation.” Food Research International 37 (2004): 469-476. </ref>
The heterofermentative LAB will produce a mixture of lactic acid and acetic acid, however the homofermentative LAB only produce lactic acid. <ref name="(Salim-ur-Rehman et al, 2006).">Salim-ur-Rehman, Paterson A., Piggott R. J., “ Flavour in sourdough breads: a review.” Trends in Food Science and Technology 17 (2006): 557-566.</ref>. For optimal activities and maintenance, the ratio of LAB to yeast should be 100:1. However in some starters the ratio can even reach a factor of 1000:1, in which the acidity of the bacteria can impede the normal leavening action of the yeast making it difficult for the bread to rise. Acidity can also weaken '''gluten''' resulting in a denser product. <ref name="(Scott et al, 1999). ">Scott, A., Wing D. The Bread Builders: Hearth Loaves and Masonry Ovens. Vermont: Chelsea Green Publishing Company, 1999. </ref>The bacteria of the culture mainly serve to impart a sour flavor on the bread by '''lowering its pH'''. Usually the pH of sourdough sits between '''4.0 to 4.5''', and spoilage causing organisms cannot grow at a pH lower than '''4.6''' thus this greatly extends the '''storage life''' of the product. <ref name="(Salim-ur-Rehman et al, 2006).">Salim-ur-Rehman, Paterson A., Piggott R. J., “ Flavour in sourdough breads: a review.” Trends in Food Science and Technology 17 (2006): 557-566.</ref>
===Water Activity===

'''Sugars''' can also act as preservatives by '''binding excess water''' produced, thereby lowering '''water activity''' and subsequent '''enzymatic reactions along with microbial growth'''. <ref name="(Gobbetti et al, 1996). ">Gobbetti, M., Smacchi, E., Fox, P. F., Stepaniak, L., Corsetti, A. “ The sourdough microflora. Cellular localization and characterization of proteolytic enzymes in lactic acid bacteria.” Food Science and Technology 29 (1996): 561-569. </ref>
However, yeast are sensitive to both salt and excess sugar, which can dehydrate them by promoting too much acid to be generated by the bacteria. <ref name="(Neysens et al, 2003).">Neysens, P., Messens, W., Vuyst, L. D. “Effect of sodium chloride on growth and bacteriocin production by Lactobacillus amylovorus DCE 471.” International Journal of Food Microbiology 88 (2003): 29-39.</ref>
===Temperature===
Yeast and lactobacillus growth is '''optimal between 15 ºC and 27 ºC or room temperature'''. Above 35 ºC the yeast is inactivated, however at 34 ºC the bacterial activity peaks. At 21 ºC the activity of the yeast is roughly halved so the fermentation takes twice as long. Because the organisms in the starter are in a '''symbiotic relationship''', decrease in the growth of one leads to a decrease in the growth of the other. <ref name="(Salim-ur-Rehman et al, 2006).">Salim-ur-Rehman, Paterson A., Piggott R. J., “ Flavour in sourdough breads: a review.” Trends in Food Science and Technology 17 (2006): 557-566.</ref>

===Additional Factors===

Another factor that contributes to the long-term maintenance of sourdough bread is the activity of '''rye amylases''', which is strongly inhibited by acid in naturally fermented dough. The '''low pH protects starch gels''' until amylase is permanently denatured as bread continues to bake to higher temperatures. Additionally the sugars in the bread will undergo '''Maillard browning reactions''' when exposed to high temperatures, which imparts a rich '''flavour and colour''' to the bread. <ref name="(Scott et al, 1999). ">Scott, A., Wing D. The Bread Builders: Hearth Loaves and Masonry Ovens. Vermont: Chelsea Green Publishing Company, 1999. </ref>

===Methods of Preservation===
Once the starter has begun to grow, it can be kept on the counter and maintained simply by adding flour and water on a daily basis. Alternatively, it can be stored in the refrigerator and fed once every 5 or 6 days as the cold temperature serves to slow down the activity of the yeast. The bacterial culture can be preserved by this method indefinitely. <ref name="(Scott et al, 1999). ">Scott, A., Wing D. The Bread Builders: Hearth Loaves and Masonry Ovens. Vermont: Chelsea Green Publishing Company, 1999. </ref>
The flour-water mixture can also be inoculated from a previously maintained culture, which can be 13-25% of the original starter depending on its water content. This is then mixed or kneaded and allowed to rest and leaven, which produces '''type 1 or traditional sourdoughs'''. <ref name="(Thiele et al, 2002).">Thiele, C.; Gänzle, M. G., Vogel, R. F. "Contribution of Sourdough Lactobacilli, Yeast, and Cereal Enzymes to the Generation of Amino Acids in Dough Relevant for Bread Flavor." Cereal Chemistry 79 (2002): 45-51. </ref>
Additionally, there are two other types of sourdough bread. <ref name="(Salim-ur-Rehman et al, 2006).">Salim-ur-Rehman, Paterson A., Piggott R. J., “ Flavour in sourdough breads: a review.” Trends in Food Science and Technology 17 (2006): 557-566.</ref>
Starter can also be purchased at the store, where on a commercial scale the starters have been preserved through '''freeze drying''', imparting them with a greater '''stability''' and a '''longer shelf life''' than fresh starters. On a further note, because freeze drying involves '''sublimation''' directly into the gas phase, starters easily retain their shape when exposed to water. <ref name="(Salim-ur-Rehman et al, 2006).">Salim-ur-Rehman, Paterson A., Piggott R. J., “ Flavour in sourdough breads: a review.” Trends in Food Science and Technology 17 (2006): 557-566.</ref>
'''Type two sourdoughs''' are usually of liquid form, produced in industrial tanks, permitting a precise control of the temperature. Different drying techniques along with '''liquid pasteurization''' are used to achieve microbial stability. <ref name="(Salim-ur-Rehman et al, 2006).">Salim-ur-Rehman, Paterson A., Piggott R. J., “ Flavour in sourdough breads: a review.” Trends in Food Science and Technology 17 (2006): 557-566.</ref>
'''Type three sourdoughs''' are dry, often used industrially and produced either through '''spray drying''' or '''drum drying'''. '''Spray drying''' introduces the sourdough as small droplets are falling down in the hot air, leaving a dry particle at the end of the process. In '''drum drying''', a thin film of product is spread over a cylinder that is heated with steam and the resulting semi-dry product on the drum is used to perform '''Maillard reactions''' so that the final product can be '''caramelized or toasted'''. <ref name="(Salim-ur-Rehman et al, 2006).">Salim-ur-Rehman, Paterson A., Piggott R. J., “ Flavour in sourdough breads: a review.” Trends in Food Science and Technology 17 (2006): 557-566.</ref>
However, there is also loss of '''volatile flavour compounds''' during the evaporation of the water, which can be prevented by '''pasteurization''' or by cooling procedures such as the '''freeze drying''' mentioned above. An advantage for the industrial applications of sourdough starter is that it is very precise and consistent allowing for easier maintenance. <ref name="(Salim-ur-Rehman et al, 2006).">Salim-ur-Rehman, Paterson A., Piggott R. J., “ Flavour in sourdough breads: a review.” Trends in Food Science and Technology 17 (2006): 557-566.</ref>
==Characteristics==

There are 5 main differences that separate sourdough bread from other types of bread, which relate to: '''formula composition''', '''external characteristics''', '''internal characteristics''', '''flavour and aroma''', and '''shelf-life stability'''.<ref name="Handbook"> Kulp, Ase S. "Baker's Yeast and Sourdough Technologies in the Production of U.S. Bread Products." Ed. Julien Bogousslavsky. Long-Term Effects of Stroke. New York: Marcel Dekker, 2003.</ref>

===Formula Composition===

[[File:Sourdough_Bread_Holes.jpg‎|x225px|frame||Sourdough: lower volume, thicker crusts, non-uniform crumb grains]] [[File:WhiteBreadHoles.jpg‎|x200px|frame|White Bread: higher volume, thinner crust, uniform crumb grains]][[File:GelatinizationRetrogradation.jpeg|x200px|frame|A-->B= gelatinization (properties= fluffliness, swelling, softness) B-->C= retrogradation (properties= straightening, stiffness, staleness)]]

Sourdough bread uses relatively simple and basic ingredients to try to avoid various chemical and enzymatic additives found in white bread.<ref name="Handbook"/>For example, white bread stales slower than sourdough bread but this is because it contains additions of surfactants and enzymes.<ref name="Handbook"/> Sourdough is a '''more natural''' food, which may be advantageous since many consumers tend to choose foods with '''fewer additives'''.<ref name="Handbook"/> Consumers tend to choose whole wheat bread over white bread because of the increased nutritive properties, however, sourdough bread may be another alternative since it has a mild effect on blood sugar.<ref name="helium"/> This means that sourdough bread '''does not increase blood sugar''', which makes it a good alternative for diabetics.<ref name="helium"/>

===External Characteristics===

The outer appearance of white pan bread is usually associated with a '''large volume and thin crust'''.<ref name="Handbook"/> The large volume is due to the strong flours used, high levels of fermentable sugars and the vigorous rate of fermentation of the baker's yeast. <ref name="Handbook"/>, around 1-2 hours.<ref name="handbook41">Hansen, Ase S., Lisbeth Meunier-Goddik, Jytte Josephsen, Wai-Kit Nip, Peggy S. Stanfield, and Fidel Toldra, eds. "Sourdough Bread." Handbook of Food and Beverage Fermentation Technology. Ed. Y. H. Hui. New York: Marcel Dekker, 2004.</ref> The thin crust is due to dough expansion during the baking process as well as the use of surfactants in the formula.<ref name="Handbook"/> Sourdough on the other hand, has '''lower volumes''' and '''thick and tastier crusts'''. <ref name="Handbook"/> This is because of longer baking times and longer fermentation times,<ref name="Handbook"/>such as 12-24 hours.<ref name="handbook41"/> If you tap the crust with your fingertips, the bread will actually sound like it is hollow. This is how you know that you have a nicely cooked loaf of sourdough.

===Internal Characteristics===

The internal characteristic of sourdough bread is different from the everyday white bread as well. White bread usually uses baker's yeast and this leads to '''uniform crumb grains (holes)''' as well as thin cell walls due to its dough makeup.<ref name="Handbook"/>In addition, the uniform crumbs of white bread are associated with its softness, which helps determine its freshness. <ref name="Handbook"/>Sourdough bread is different because it has '''non-uniform crumb grains (holes)''' present due to its '''longer fermentation period of the starter'''.<ref name="Handbook"/>These types of non-uniform holes give sourdough a more elastic but firm type of texture.

===Flavour and Aroma===

In white bread and sourdough bread, the odour and flavour of freshly baked bread are '''retained in the crust and crumbs'''.<ref name="Handbook"/> During baking, sourdough bread has a more pungent odour because it has acids present in the volatiles contributing to smell.<ref name="Handbook"/> Bread flavour is made up from various compounds produced during fermentation or baking and include products from '''Maillard reactions'''.<ref name="Handbook"/> In addition, sourdough's distinct taste comes from the '''lactic acid''' produced by bacteria during fermentation.<ref name="helium">Sprout, Beverly. "Why Sourdough Bread Is Healthier than Whole Wheat Bread." Helium. Helium, Inc. Web. 18 Mar. 2012. <http://www.helium.com/items/1365847-sourdough-bread-healthy-for-diabetics>.</ref>

===Shelf-life Stability===

It is well known that breads are perishable foods and undergo changes such as "staling" (retrogradation) and microbial degradation.<ref name="Handbook"/> Staling is caused by '''starch retrogradation''', which causes the crumbs of the bread to become firm.<ref name="Handbook"/> During baking, starch '''gelatinizes''' and gives bread a soft and fluffy texture.<ref name="Handbook"/> After cooling, the amylose structures crystallize back into their linear form and cause the firmness associated with stale bread.<ref name="Handbook"/> In addition, bread can undergo '''moisture loss''', which leads to dry bread but this can be prevented through use of moisture-proof packaging;<ref name="Handbook"/> this is why you see loafs of bread packaged in white plastic bags at the grocery store. As for microbial degradation, white bread requires the addition of antimicrobial agents to extend its shelf life.<ref name="Handbook"/> Sourdough bread has a more natural way of dealing with microorganisms because it is naturally more '''resistant to bacterial deterioration'''<ref name="Handbook"/>. The acid produced during fermentation helps decrease the pH of the bread and help inhibits bacterial growth.<ref name="Handbook"/>

==Government Regulation==

In Canada, the Canadian Food Inspection Agency. <ref name="CFIA"/> '''regulates food standards, and labeling/advertising regulations.''' <ref name="judy"/> Health Canada covers Standards of identity and composition of food as well as food additives regulations. <ref name="judy">(Lesson 4 J. Chan notes Retrieved March 8, 2011)</ref>. Every “food group” has different regulations and guide lines that it must abide by, in terms of additives, labeling, nutritional facts etc. Complying with this the CFIA has regulations specifically set for Grain and Baker Products (Seen in Ch. 9 of the Supplementary information on specific products Act). <ref name="CFIA">Canada. CFIA. Canadian Food Inspection Agency. Canadian Gov., 29 Nov. 2011. Web. 12 Mar. 2012. <http://www.inspection.gc.ca/english/fssa/labeti/guide/ch9ae.shtml>.</ref> Complying with these regulations the CFIA has set a rule that any grain and bakery product “must contain added thiamine, riboflavin, niacin, folic acid and iron at the levels prescribed by regulation. <ref name="CFIA"/>. The reasons that these '''vitamins are added to replace [those] that are lost during processing.''' “On top of the previously stated required added ingredients companies can also add vitamin B6, d-pantothenic acid, magnesium and calcium may also be added to prescribed levels”. <ref name="CFIA"/>. These '''added nutrients must be put on the nutrition facts table.''' When these additional vitamins are added sourdough bread companies can make the same nutrient claims as breads made using enriched flour. <ref name="CFIA"/>

===Export/Import of Bread/Bakery Products===

Since 1988, the export of bread/bakery products from Canada to the U.S has increased from around 5% to 14%. <ref name="agri">Canadian Gov. "Agriculture Canada." The Candian Bread and Bakery Industry. Canadian Government, 8 Apr. 2009. Web. 10 Mar. 2012. <http://www.inspection.gc.ca/english/fssa/labeti/guide/ch9ae.shtml>.</ref>
This major increase in trade is largely attributed to frozen food products, for they have a much longer shelf life compared to their unfrozen counterpart.
(Due to decreased water activity (Judy Chan notes)). The trade of bread/bakery products is duty free, and has been for some time, even before the free trade agreement, FTA, was implemented. <ref name="agri"/>

Nationwide, retail bakeries, bakeries, which sell their product “in store” such as the ones fouond in grocery stores, or private retailers generate “around $600 million” of internal revenue. <ref name="agri"/>

==References==

<references/>

Sandbox:Teaching and Learning in the Open/Group 4

2014-06-05T20:45:47Z

Jbmurray: /* What might be some examples of open educational activities, given what we've discussed so far? */

==Group 4==

=== What might be some examples of open educational activities, given what we've discussed so far? ===
You can either type plain text like this, or bullets:
* Creating Open Educational Resources
**Open to reuse, remix, etc...
* Posting Past Exams (like Math Resources Wiki)
* Use open format and/or social media as communication channels
* [http://artsone-open.arts.ubc.ca/ Arts One Open]!
* Udacity etc., but are they really open?

=== Choose two or more open educational activities and list some benefits/drawbacks/potential obstacles ===
* [http://artsone-open.arts.ubc.ca/ Arts One Open]!
**Benefits:
**Drawbacks:
**Potential Obstacles:

Sandbox:Teaching and Learning in the Open/Group 4

2014-06-05T20:45:18Z

Jbmurray: /* What might be some examples of open educational activities, given what we've discussed so far? */

==Group 4==

=== What might be some examples of open educational activities, given what we've discussed so far? ===
You can either type plain text like this, or bullets:
* Creating Open Educational Resources
**Open to reuse, remix, etc...
* Posting Past Exams (like Math Resources Wiki)
* Use open format and/or social media as communication channels
* [http://artsone-open.arts.ubc.ca/ Arts One Open]!

=== Choose two or more open educational activities and list some benefits/drawbacks/potential obstacles ===
* [http://artsone-open.arts.ubc.ca/ Arts One Open]!
**Benefits:
**Drawbacks:
**Potential Obstacles:

Sandbox:Teaching and Learning in the Open/Group 4

2014-06-05T20:44:10Z

Jbmurray: /* Choose two or more open educational activities and list some benefits/drawbacks/potential obstacles */

==Group 4==

=== What might be some examples of open educational activities, given what we've discussed so far? ===
You can either type plain text like this, or bullets:
* Creating Open Educational Resources
* Posting Past Exams (like Math Resources Wiki)
* Use open format and/or social media as communication channels
* [http://artsone-open.arts.ubc.ca/ Arts One Open]!

=== Choose two or more open educational activities and list some benefits/drawbacks/potential obstacles ===
* [http://artsone-open.arts.ubc.ca/ Arts One Open]!
**Benefits:
**Drawbacks:
**Potential Obstacles:

Sandbox:Teaching and Learning in the Open/Group 4

2014-06-05T20:43:18Z

Jbmurray: /* What might be some examples of open educational activities, given what we've discussed so far? */

==Group 4==

=== What might be some examples of open educational activities, given what we've discussed so far? ===
You can either type plain text like this, or bullets:
* Creating Open Educational Resources
* Posting Past Exams (like Math Resources Wiki)
* Use open format and/or social media as communication channels
* [http://artsone-open.arts.ubc.ca/ Arts One Open]!

=== Choose two or more open educational activities and list some benefits/drawbacks/potential obstacles ===
* [type text here and it turns into a bullet point; add stars below for more bullet points!]
*

Sandbox:Teaching and Learning in the Open

2014-06-05T20:40:13Z

Jbmurray: /* Groups */

This page relates to the Teaching and Learning in the Open: Why/Not? session at the 2014 CTLT Institute, June 5, 2014. [[File:OpenEducation.jpg|right|150px]]

'''Session abstract''': Open education has been much in the news lately in the form of Massive, Open, Online Courses (MOOCs). But there are numerous ways to engage in “open education,” some of them lost in the MOOC-hype of late. In this session we will discuss several ways in which one might make one’s courses more open, ranging from putting course materials online with a license allowing them to be revised and reused, to assigning open texts (those that are free to use, reuse and revise), to inviting people outside the university to participate in one’s on-campus course in limited ways (without making the course into a MOOC). We will also engage in a discussion of the possible upsides and downsides of doing any of these things.

'''Session facilitator''': Christina Hendricks, Senior Instructor, Philosophy and [http://artsone.arts.ubc.ca Arts One] at UBC

Christina has been involved in a project called [http://www.artsone-open.arts.ubc.ca “Arts One Open”] in which some of the instructors in Arts One have been putting videos of their lectures online for others to watch, revise and reuse, as well as asking students to blog about the texts and post these blogs publicly. She has also participated in numerous open, online courses over the past year, and has been one of the co-facilitators for an open online course at Peer 2 Peer University called [https://p2pu.org/en/courses/588/why-open/ “Why Open?”]
 

==Instructions for using this wiki==
*Sign in with your CWL using the button at left
*Click on the page with your group name, below (each table will be a group)
*Discuss the questions in your groups and type in the group's answers on your group page (all questions are the same for each group)
*The different group pages will automatically be collated into one wiki page, here: http://wiki.ubc.ca/Sandbox:Teaching_and_Learning_in_the_Open/Resource
 

==Groups==

*[[Sandbox:Teaching_and_Learning_in_the_Open/Group 1|Group 1]]
*[[Sandbox:Teaching_and_Learning_in_the_Open/Group 2|Group 2]]
*[[Sandbox:Teaching_and_Learning_in_the_Open/Group 3|Group 3]]
*[[Sandbox:Teaching_and_Learning_in_the_Open/Group 4|Group 4]]
'''JON WAS HERE!!'''

*[[Sandbox:Teaching_and_Learning_in_the_Open/Group 5|Group 5]]
 

==Results of a small survey on open education==

Christina did a survey on open education in May, 2014. See here for the results: http://wiki.ubc.ca/Sandbox:Teaching_and_Learning_in_the_Open/SurveyResponses

It would be great if you'd like to add your thoughts too! All that is recorded, besides your answers, is date and time accessed (not IP address, and no names/emails required). If so, click here for the survey: https://docs.google.com/forms/d/1g4shPI3b20jJgF-GlxYjFprzb41lsIxzmIv3FoWQM44/viewform?usp=send_form
 

==Resources==

The slides for this workshop can be found here: http://is.gd/qndMky

Link to the wiki for this workshop: http://wiki.ubc.ca/Sandbox:Teaching_and_Learning_in_the_Open

For help with creating wiki pages like the one for this workshop, and embedding them in Word Press sites, contact [http://ctlt.ubc.ca/about/people/teaching-learning-professional-development/ Will Engle].

Website on various Open projects at UBC: http://open.ubc.ca

=== Open Ed projects discussed by our panel ===

==== Food, Nutrition and Health 200 ====
Taught by [http://ctlt.ubc.ca/about/people/teaching-learning-professional-development/ Judy Chan]

FNH 200 102 Course/section page:
http://wiki.ubc.ca/Course:FNH200

FNH 200 102 Team Project page:
http://wiki.ubc.ca/Course:FNH200/TeamProjects

FNH 200 102 A new assignment this year:
http://wiki.ubc.ca/Course:FNH200/2013w2/Assignment01

==== Soil Web ====
Intro to Soil Science taught by [http://www.landfood.ubc.ca/directory/faculty/professors-and-instructors/maja-krzic Maja Krzic]

The online educational resources developed by our group during last 10 years: http://www.soilweb.ca

How I use online, open resources in one of my courses (i.e., APBI 200: Introduction to Soil Science): http://soilweb.landfood.ubc.ca/monoliths/

==== Arts One Open ====

Both [http://www.fhis.ubc.ca/people/faculty/details/beasley-murray-jon.html?no_cache=1 Jon Beasley-Murray] and [http://blogs.ubc.ca/christinahendricks Christina Hendricks] have been involved with Arts One Open: http://artsone-open.arts.ubc.ca/

==== Video Game Law ====
Instructor: [http://videogame.law.ubc.ca/jons-bio-3/ Jon Festinger]

Course website: http://videogame.law.ubc.ca/

==== Wiki Project: Murder, Madness and Mayhem ====

Instructor: [http://www.fhis.ubc.ca/people/faculty/details/beasley-murray-jon.html?no_cache=1 Jon Beasley-Murray]

Wiki site explaining the project: https://en.wikipedia.org/wiki/Wikipedia%3AWikiProject_Murder_Madness_and_Mayhem

==== Philosophy 449 ====
Instructor: [http://blogs.ubc.ca/chendricks Christina Hendricks]

Here's an example of a simple way to engage in open education, by openly licensing teaching materials and by asking students to blog publicly: http://blogs.ubc.ca/phil449

==== BC Campus Open Textbooks ====
Contact: Amanda Coolidge (email: acoolidge@bccampus.ca)

In October 2012, the BC Ministry of Advanced Education [http://bccampus.ca/2012/10/16/bccampus-to-co-ordinate-provincial-open-textbook-project/ announced its support] for the creation of open textbooks for the 40 highest enrolled first and second year subject areas in the province’s public post-secondary system. BC Campus is tasked with co-ordination of the project because of our 10-year experience with the Online Program Development Fund.

The goal of the Open Textbook Project is to provide flexible and affordable access to higher education resources in B.C. by making available 40 openly-licensed textbooks. These texts are available for use by B.C. faculty, and digital versions of the texts are free of charge to faculty and students. Printed copies are also available on demand for a low cost.

There are three broad phases to the project:

Phase 1 – Reviews of existing open textbooks
Phase 2 – Adaptation of existing open textbooks
Phase 3 – Creation of new open textbooks

For more information about the project, please email opentext@bccampus.ca or visit our site at http://open.bccampus.ca

You may also be interested in the [http://open.bccampus.ca/open-textbooks-toolkit/ BCcampus Open Textbook Toolkit], which is a starting point on how to change education with just one textbook. It provides a list of our open textbooks, information and guidelines for adopting and assigning an open textbook.
 

=== Creative Commons licenses ===

* UBC Copyright guide to Creative Commons, including where/how to search for CC-licensed content: http://copyright.ubc.ca/help-and-resources/creative-commons-guide/
* Creative Commons website overview of the licenses: http://creativecommons.org/licenses/
* Creative Commons license chooser that adds helpful metadata for those attributing you, if you add the code generated to your webpage(s), blog, etc.: http://creativecommons.org/choose/
* A video that explains the basics of the licenses, and some of the specific differences between them (it's focused on New Zealand, but the rules apply elsewhere too!): http://creativecommons.org/videos/creative-commons-kiwi

=== True Stories of Open Sharing ===

Watch some amazingly true stories of open sharing--the great stuff that can happen when we share our work openly: http://stories.cogdogblog.com/

Sandbox:ArtsOne website improvements list

2013-02-21T20:21:05Z

Jbmurray: still not indexed by google

Things to improve on [http://artsone-digital.arts.ubc.ca/ Arts One Digital] website.

==== Design ====

==== Functional ====

* It's still not indexed by Google (as of February 21, at least).

Danny James Presentation

2012-03-31T16:34:31Z

Jbmurray:

[[File:SantiagoFotosVelorio del Angelito.jpg|thumb|500px|Velorio del Angelito]][http://www.iub.edu/~lahist/index.php?page=james Danny James], Bernardo Mendel Professor of Latin American History at Indiana University, spoke at SFU Harbour Centre on [http://las.arts.ubc.ca/2012/danny-james-quemando-el-parquet/ “Quemando el parquet: cabecitas negras, urban legends and abjection. The construction of regional identity in an Argentine working class community”] as part of the SFU/UBC Latin American Studies [http://las.arts.ubc.ca/2012/spring-semester-working-paper-series/ Spring Semester Working Paper Series]. This discussion session was recorded March 29, 2012.

==Presenter Biography==

Daniel James was educated at Oxford University and received his doctorate from the London School of Economics. He was a Research Fellow at Cambridge University and from 1979 to 1982 taught sociology at the University of Brasilia. Since coming to the United States he has taught Latin American history at Yale University and Duke University until coming to Indiana in 1999 to take up the Bernardo Mendel Chair in Latin American History.

His primary research interests have been in Argentina. Since first going to Argentina in 1972 he has spent frequent prolonged periods in Argentina. His principle interest has been in modern Argentine labor, social and cultural history. Much of the focus of his work has been on Peronism. His first book, ''Resistance and Integration: Peronism and the Argentine Working Class 1943 - 1976'', was published by Cambridge University Press in 1988. Since the late 1980s he has been engaged in a long-term collaborative project with Professor Mirta Zaida Lobato of the University of Buenos Aires focused on the history of the meatpacking community of Berisso. A central part of this project has involved the collection of oral testimonies in the community. This interest in oral history led to a second book, ''Dona Maria’s Story: Life History, Memory and Political Identity'', published by Duke University Press. This book presents a long testimony by an elderly woman meatpacking activist. In addition, there are a series of chapters that offer a prolonged meditation on the practice of oral history, its methodology and its ethical and epistemological assumptions. Daniel James has recently been appointed codirector of the Center for History and Memory at Indiana University.

== Download Paper ==

* Danny James, “Quemando el parquet: cabecitas negras, urban legends and abjection. The construction of regional identity in an Argentine working class community” [http://las.arts.ubc.ca/files/2012/03/james_quemando.pdf Link (PDF)]
* Danny James, “Coda to Quemando el parquet” [http://las.arts.ubc.ca/files/2012/03/james_coda.pdf Link (PDF)]
==Listen to the presentation==

===Streaming Version===

<flashmp3>http://wiki.ubc.ca/images/9/9a/Danny_James_LAS.mp3</flashmp3>

===Download the Audio File===

[http://wiki.ubc.ca/images/9/9a/Danny_James_LAS.mp3 69MB MP3]

[http://archive.org/download/DannyJamesquemandoElParquetCabecitasNegrasUrbanLegendsAnd/Danny_James_LAS.ogg 63.9MB Ogg Vorbis]

This session is also available on the [http://archive.org/details/DannyJamesquemandoElParquetCabecitasNegrasUrbanLegendsAnd Internet Archive]

== Images Referenced (with corresponding time on audio) ==

<gallery>
File:SantiagoMapa 2.jpg|Santiago Mapa 2 (10min 36s)
File:SantiagoMap.jpg|Santiago Mapa (12min 30s)
File:Rancho al bajar.png|Rancho al bajar el sol (14min)
File:HornoPorongal.png|Horno Porongal (15min 10s)
File:Foto 4 telera santiagueña, 1940 copiar copia.jpg|telera santiagueña (16min 25s)
File:SantiagoFotosVelorio del Angelito.jpg|Velorio del Angelito (18mins)
File:Camino de tierrag.png|Camino de tierrag (21min 25s)
File:1927 Calle NUEVA YORK .jpg|1927 Calle Nueve York (23min 30s)
File:Armour.jpg|Armour (25min)
File:Armour2.jpg|Armour2 (25min 30s)
</gallery>

== Other Images ==

<gallery>
File:Swift.jpg|Swift
File:Mural panel 1.JPG|Mural Panel
File:Mural panel 2.JPG|Mural Panel 2
File:SantiagoFotos Llorona.jpg| Llorona
File:Armour-at-night.jpg|Armour at night
</gallery>

[[Category: Presentations]][[Category:History]][[Category:Latin America]]

{{cc-by-sa-all}}

Danny James Presentation

2012-03-31T16:33:44Z

Jbmurray:

[[File:SantiagoFotosVelorio del Angelito.jpg|thumb|500px|Velorio del Angelito]][http://www.iub.edu/~lahist/index.php?page=james Danny James] spoke at SFU Harbour Centre on [http://las.arts.ubc.ca/2012/danny-james-quemando-el-parquet/ “Quemando el parquet: cabecitas negras, urban legends and abjection. The construction of regional identity in an Argentine working class community”] as part of the SFU/UBC Latin American Studies [http://las.arts.ubc.ca/2012/spring-semester-working-paper-series/ Spring Semester Working Paper Series]. This discussion session was recorded March 29, 2012.

==Presenter Biography==

Daniel James was educated at Oxford University and received his doctorate from the London School of Economics. He was a Research Fellow at Cambridge University and from 1979 to 1982 taught sociology at the University of Brasilia. Since coming to the United States he has taught Latin American history at Yale University and Duke University until coming to Indiana in 1999 to take up the Bernardo Mendel Chair in Latin American History.

His primary research interests have been in Argentina. Since first going to Argentina in 1972 he has spent frequent prolonged periods in Argentina. His principle interest has been in modern Argentine labor, social and cultural history. Much of the focus of his work has been on Peronism. His first book, ''Resistance and Integration: Peronism and the Argentine Working Class 1943 - 1976'', was published by Cambridge University Press in 1988. Since the late 1980s he has been engaged in a long-term collaborative project with Professor Mirta Zaida Lobato of the University of Buenos Aires focused on the history of the meatpacking community of Berisso. A central part of this project has involved the collection of oral testimonies in the community. This interest in oral history led to a second book, ''Dona Maria’s Story: Life History, Memory and Political Identity'', published by Duke University Press. This book presents a long testimony by an elderly woman meatpacking activist. In addition, there are a series of chapters that offer a prolonged meditation on the practice of oral history, its methodology and its ethical and epistemological assumptions. Daniel James has recently been appointed codirector of the Center for History and Memory at Indiana University.

== Download Paper ==

* Danny James, “Quemando el parquet: cabecitas negras, urban legends and abjection. The construction of regional identity in an Argentine working class community” [http://las.arts.ubc.ca/files/2012/03/james_quemando.pdf Link (PDF)]
* Danny James, “Coda to Quemando el parquet” [http://las.arts.ubc.ca/files/2012/03/james_coda.pdf Link (PDF)]
==Listen to the presentation==

===Streaming Version===

<flashmp3>http://wiki.ubc.ca/images/9/9a/Danny_James_LAS.mp3</flashmp3>

===Download the Audio File===

[http://wiki.ubc.ca/images/9/9a/Danny_James_LAS.mp3 69MB MP3]

[http://archive.org/download/DannyJamesquemandoElParquetCabecitasNegrasUrbanLegendsAnd/Danny_James_LAS.ogg 63.9MB Ogg Vorbis]

This session is also available on the [http://archive.org/details/DannyJamesquemandoElParquetCabecitasNegrasUrbanLegendsAnd Internet Archive]

== Images Referenced (with corresponding time on audio) ==

<gallery>
File:SantiagoMapa 2.jpg|Santiago Mapa 2 (10min 36s)
File:SantiagoMap.jpg|Santiago Mapa (12min 30s)
File:Rancho al bajar.png|Rancho al bajar el sol (14min)
File:HornoPorongal.png|Horno Porongal (15min 10s)
File:Foto 4 telera santiagueña, 1940 copiar copia.jpg|telera santiagueña (16min 25s)
File:SantiagoFotosVelorio del Angelito.jpg|Velorio del Angelito (18mins)
File:Camino de tierrag.png|Camino de tierrag (21min 25s)
File:1927 Calle NUEVA YORK .jpg|1927 Calle Nueve York (23min 30s)
File:Armour.jpg|Armour (25min)
File:Armour2.jpg|Armour2 (25min 30s)
</gallery>

== Other Images ==

<gallery>
File:Swift.jpg|Swift
File:Mural panel 1.JPG|Mural Panel
File:Mural panel 2.JPG|Mural Panel 2
File:SantiagoFotos Llorona.jpg| Llorona
File:Armour-at-night.jpg|Armour at night
</gallery>

[[Category: Presentations]][[Category:History]][[Category:Latin America]]

{{cc-by-sa-all}}

UBC Twitter Accounts

2011-04-01T23:54:18Z

Jbmurray: /* Departments, Schools, Institutes, Programs */ +LAS

Here is a list of Twitter accounts related to UBC. Please add yours if it is missing.[[File:UBCTwitter.png|thumb|250px|Screenshot of the UBC News Twitter Account]]

==Administrative/Non-Academic Units==
* [http://twitter.com/ubcalumni UBC Alumni Affairs]
* [http://twitter.com/ubcaplaceofmind A Place of Mind]
* [http://www.twitter.com/UBCBoG UBC Board of Governors]
* [http://www.twitter.com/ubc_candcp Campus + Community Planning]
* [http://twitter.com/UBC_CareerServ UBC Career Services]
* [http://twitter.com/UBC_CSI UBC Centre for Student Involvement]
* [http://twitter.com/UBCLearnSpaces UBC Classroom Services]
* [http://twitter.com/UBCGoGlobal UBC Go Global]
* [http://twitter.com/ubc_hse Health, Safety and Environment]
* [http://www.twitter.com/ubcHR Human Resources]
* [http://twitter.com/itubc UBC IT]
* [http://twitter.com/UBCMediaGroup UBC Media Group]
* [http://www.twitter.com/ubcnews UBC News, by Public Affairs]
* [http://twitter.com/ubconews Okanagan campus news, by Alumni and University Relations]
* [http://twitter.com/ubcproperties UBC Properties Trust]
* [http://twitter.com/UBCSecurity UBC Security]
* [http://twitter.com/UBCGlobalLounge Simon K. Y. Lee Global Lounge and Resource Centre]
* [http://www.twitter.com/terryubc UBC Terry Project]
* [http://twitter.com/techtransfer University Industry Liaison Office]
* [http://twitter.com/youbc Youbc (Prospective Students)]
* [http://twitter.com/lfslc LFS Learning Centre (Land and Food Systems)]
* [http://twitter.com/ArtsISIT_UBC Arts Instructional Support & Information Technology (Arts ISIT)]

==Student Groups==

===Clubs/Societies===

* [http://twitter.com/AMSExecutive AMS Executive]
* [http://twitter.com/amsvendors AMS Vendors]
* [http://twitter.com/minischool AMS Minischool]
* [http://twitter.com/ubcAUS UBC Arts Undergraduate Society]
* [http://twitter.com/cusonline UBC Commerce Undergraduate Society]
* [http://twitter.com/UBCFinanceClub UBC Finance Club]
* [http://twitter.com/UBCGoldenKey UBC Golden Key]
* [http://twitter.com/UBCimprov UBCimprov]
* [http://twitter.com/ibclub UBC International Business Club]
* [http://twitter.com/irsa_ubc International Relations Student Association of UBC-V]
* [http://twitter.com/UBCMA UBC Marketing Association]
* [http://twitter.com/UBCMHAC UBC Mental Health Awareness Club]
* [http://twitter.com/UBCPSSA UBC Political Science Student Association]
* [http://twitter.com/susubc UBC Science Undergraduate Society]
* [http://twitter.com/TeamUp4KidsUBC Team Up 4 Kids UBC]

===Publications/Blogs===

* [http://twitter.com/CiTRnews CiTR News]
* [http://twitter.com/AMSConfidential AMS Confidential]
* [http://twitter.com/ubc11eleven Eleven' Eleven]
* [http://twitter.com/foxtrotubc Foxtrot UBC]
* [http://twitter.com/ubcinsiders UBC Insiders]
* [http://twitter.com/ubcspectator The UBC Spectator]
* [http://twitter.com/ubyssey The Ubyssey - UBC's official student newspaper]
* [http://twitter.com/asiapacificmemo Asia Pacific Memo - Scholarly knowledge about contemporary Asia]

==Faculties==
* [http://twitter.com/ubc_arts UBC Faculty of Arts]
* [http://twitter.com/ubcdentistry UBC Faculty of Dentistry]
* [http://twitter.com/ubcforestry UBC Faculty of Forestry]
* [http://twitter.com/UBCLaw UBC Faculty of Law]
* [http://twitter.com/landfoodsystems UBC Faculty of Land and Food Systems]
* [http://twitter.com/UBCFOM UBC Faculty of Management]
* [http://twitter.com/UBCmedicine UBC Faculty of Medicine]
* [http://twitter.com/ubcpharmacy UBC Faculty of Pharmaceutical Sciences]
* [http://twitter.com/ubcscience UBC Faculty of Science]
* [http://twitter.com/ubcsauderschool Sauder School of Business]

==Departments, Schools, Institutes, Programs==
* [http://twitter.com/ubcengineering UBC Engineering]
* [http://twitter.com/UBCCHCM UBC Centre for Health Care Management]
* [http://twitter.com/UBCCPD UBC Continuing Professional Development, a Division of the Faculty of Medicine]
* [http://twitter.com/UBCAnth UBC Department of Anthropology]
* [http://twitter.com/ubc_cs UBC Department of Computers Science]
* [http://twitter.com/LLEDatUBC UBC Department of Language and Literacy Education]
* [http://twitter.com/ubc_film_prod Film Production at UBC]
* [http://twitter.com/ubclas UBC Latin American Studies]
* [http://twitter.com/UBCMET Master of Educational Technology at UBC]
* [http://twitter.com/UBCMBA Sauder School of Business MBA Admissions]
* [http://twitter.com/UBC_Music UBC School of Music]
* [http://twitter.com/UBC_TeacherEd UBC Teacher Education]
* [http://twitter.com/UBCELI UBC English Language Institute]

==Museums, Gardens, Buildings, Campus Life==

* [http://twitter.com/ubcgarden UBC Botanical Garden]
* [http://www.twitter.com/UBCBookstore UBC Bookstore]
* [http://twitter.com/ubctours UBC Campus Tours]
* [http://twitter.com/ChanCentre Chan Centre]
* [http://twitter.com/CiTRradio CiTR]
* [http://www.twitter.com/ubcfarm UBC Farm]
* [http://www.twitter.com/UBCSprouts UBC Sprouts]
* [http://www.twitter.com/MOA_UBC UBC Museum of Anthropology]
* [http://www.twitter.com/ubcocampuslife UBC Okanagan Campus Life]
* [http://www.twitter.com/UBCevents UBC Online Events Calendar]
* [http://twitter.com/ubcpress UBC Press]
* [http://twitter.com/ubcrec UBC Rec]
* [http://twitter.com/theatreubc Theatre at UBC]
* [http://twitter.com/ubctbirds UBC Thunderbirds]
* [http://twitter.com/PlaceVanier Place Vanier Residence]
* [http://twitter.com/TotemPark Totem Park Residence]
* [http://twitter.com/UBCFairview Fairview Crescent]

==Libraries, Learning Support==

* [http://twitter.com/UBCArchives UBC Archives]
* [http://twitter.com/bmblib UBC Biomedical Branch Library]
* [http://www.twitter.com/CanLearnCommons Canaccord Learning Commons, Sauder School of Business]
* [http://twitter.com/ubceres UBC Library eResources: Service Bulletins]
* [http://twitter.com/ubclawlib UBC Law Library]
* [http://www.twitter.com/UBCLearn UBC Learning Commons]
* [http://www.twitter.com/ubclibraryvault UBC Library Vault]
* [http://www.twitter.com/circle_ubc cIRcle UBC Library's Information Repository]

==Initiatives==

* [http://twitter.com/SustainUBC UBC Sustainability]
* [http://www.twitter.com/HealthyUBC Healthy Minds at UBC, UBC Wellness Centre, and Health Promotion Programs]
* [http://twitter.com/ubc_le UBC Learning Exchange]
* [http://twitter.com/ubccsl UBC Community Learning Initiative]

==Events==

* [http://twitter.com/CelebrateLearn UBC Celebrate Learning Week]
* [http://twitter.com/UBC_CLASS Conference for Learning and Academic Student Success (CLASS)]
* [http://twitter.com/ubc_risingstars Rising Stars of Research]
* [http://twitter.com/UBCSLC UBC Student Leadership Conference (SLC)]
* [http://twitter.com/ubc_murc UBC Multidisciplinary Undergraduate Research Conference (MURC)]

==See Also==
* [[UBC Facebook Accounts]]
* [[UBC Flickr Accounts]]
* [[UBC YouTube Accounts]]

* [[Documentation: UBC Social Media Handbook]]

[[Category: UBC]][[Category: Campus Life]][[Category:Social Media]]

Open Education Roundtable

2009-10-28T02:50:31Z

Jbmurray: /* Next steps... */ yup, and humble apologies once again

[http://www.flickr.com/photos/cogdog/4031867090/ http://farm3.static.flickr.com/2697/4031867090_0feb94c95d.jpg]

'''Open education at UBC: Where we are… and where are we going?'''

12:00 P.M. – 2:00 P.M., Tuesday, October 27, 2009

Rm. 260, Stikine Room, Irving K. Barber Learning Centre

Many of us at UBC are engaged in activities that might be defined as ‘open education’… But maybe we are wondering who else is working towards such objectives, and if our efforts might align? This meeting hopes to gather as many interested participants as possible to begin the articulation of an open education community of practice: to identify who is interested, and how we might work together.

== Mini-Presentations ==

* John Willinsky, [http://pkp.sfu.ca/ Public Knowledge Project], also http://wiki.elearning.ubc.ca/tela/
** Very sad to report that Brian's audio recording of Dr. Willinsky's remarks is garbled. However, this recent recording covers some of the same ground: http://vimeo.com/7099950

* Hilde Colenbrander, [https://circle.ubc.ca/ cIRcle Repository]

* Joy Kirchner, UBC Library - [http://www.slideshare.net/blamb/joy-openness-o-pen-education-talk Slides]

* Erica Frank, http://www.hso.info - [http://www.slideshare.net/blamb/hso-microversion-aug-20-2009 Slides]

* Jon Beasley-Murray, [http://en.wikipedia.org/wiki/Wikipedia:WikiProject_Murder_Madness_and_Mayhem Wikipedia authoring], [http://blogs.ubc.ca/span322/ blog-based platforms] (Presented in absentia by Brian, sporting a leather coat and a fake English accent)
** A hundred, thousand apologies for not making it today. My only excuse is that I find myself on sabbatical time, which exists at a strange tangent to the normal twenty-four hour clock. I'm especially sorry that I missed the spectacle of Brian "sporting a leather coat and a fake English accent." --[[User:Jbmurray|Jbmurray]] 02:47, 28 October 2009 (UTC)

* [http://wiki.ubc.ca/User:Alougheed Alex Lougheed], [http://andremalan.net/ Andre Malan] - student perspectives

* Danielle Blond, Community Service Learning, http://blogs.ubc.ca/csl2/

* UBC, UN-Habitat Exchange http://www.chs.ubc.ca/archives/

Also participating: Alex Garnett (SLAIS), Zack Lee (OLT), Sandra Singh (IKBLC), Shawna Reibling (NCIE's "Knowledge Mobilization Coordinator" winning title for the day's coolest job title), Nicole Ronan, Michelle Lamberson, [http://blogs.ubc.ca/ross/ Wayne Ross], Sharon ?, Kristen ?, Marianne Schroeder (OLT)

== Environmental scan of open education at UBC and beyond ==

(Besides the initiatives discussed above, here is an admittedly 'Lamb-centric' collection...)

* Solid blog (http://blogs.ubc.ca/ with some [http://www.chancancode.com/2009/09/29/a-big-thank-you/ award-winning plugins] developed here) and wiki platforms (http://wiki.ubc.ca/Main_Page)
** http://leap.ubc.ca/, http://blogs.ubc.ca/etec522/, http://sites.wiki.ubc.ca/etec510/Main_Page

* iTunesU and YouTube.edu (early stages), Kaltura pilot
** Hilde reports pending upgrade of cIRcle will have streaming audio and video capability.

* Collaborations with BCcampus (http://freelearning.bccampus.ca/), development of resource collection "[http://wiki.ubc.ca/TOE Toward Open Education]"), OPDF-funded open resources [http://solr.bccampus.ca:8001/bcc/access/search.do?qs.tq=&sort_s=RANK&she_canDisplay=checked&pg_pg=1&hier.topic=4091881c-7681-f9a2-a7e2-5427d2dc7197&pg_pp=10&pg.e=true in SOL*R repository]

* [http://openedconference.org/ 2009 Open Education Conference] - international event hosted at UBC, all sessions have a video archive

* [http://www.openedtech.org/open-ed-tech/ OpenEd Tech] - ongoing collaboration led by the Open University of Catalonia

* [http://2009.northernvoice.ca/ Northern Voice] - not exactly open ed, but Canada's first (and maybe best) social media conference takes place every year at UBC

* [http://www.ocwconsortium.org/ OpenCourseWare Consortium]

* [http://wikieducator.org/Main_Page WikiEducator]
** [http://wikieducator.org/WikiEducator:OER_Foundation OER Foundation]

* [http://oerwiki.iiep-unesco.org/index.php?title=Main_Page UNESCO OER Community]

* More?

== Challenges and questions ==

The mini-presentations above and related discussion took most of the allotted time. A few nuggets below - and people are welcome to add their thoughts via WikiMagic.

* Do we want to more tightly align the many efforts at UBC that might best be described as "open education"?
** If so, what would be an appropriate framework for that?

-- ''No proper discussion. Perhaps future meetings can consider the pros and cons of the OCW Consortium, or adopting the Cape Town Declaration as frames to define future activity.''

-- ''A common theme was the sense of engaging students to think of themselves as writers, as creators, rather than simply consumers of their educational experiences. Perhaps we can elaborate on that in future meetings.''

:::*I would certainly be keen on there being more links between those of us who are working under this (large and motley) umbrella that is "open education." --[[User:Jbmurray|Jbmurray]] 02:49, 28 October 2009 (UTC)

* There is some confusion about what the university's policies regarding issues such as intellectual property. How best to make inquiries and get more clarity?

-- ''Again, an issue that will require more discussion. In his opening remarks, Dr. Willinsky seemed to suggest a more assertive sense of academic exemptions allowed under law, that these protections and the potential they allow is in a sense a "public trust", and how we exercise those rights justifies that trust.''

* Do the vision statements articulated in UBC's strategic plan (http://www.strategicplan.ubc.ca/vision_mission/) offer any opportunities?

-- ''Short answer, yes. There is language related to Open Access as well. But again, further discussion is required.''

* How much of a [http://www.educause.edu/EDUCAUSE+Quarterly/EDUCAUSEQuarterlyMagazineVolum/FreeEducationfortheMassesorNot/182627 threat is represented by Canada's pending copyright legislation]? Is there anything can or should be doing?

-- ''Not discussed.''

== Next steps... ==

* Is this a conversation (and set of activities) we wish to continue? If so, what is the best way to move ahead? To communicate?

''-- Not discussed in depth. However, as the meeting concluded Brian threatened further meetings, email, and he's plotting a blog and wiki resource centre. Nobody explicitly objected.''

:::*Despite (because of) my failure to appear today, I would certainly be keen on continuing (joining) this conversation. --[[User:Jbmurray|Jbmurray]] 02:50, 28 October 2009 (UTC)

* Who else needs to be part of this?

** [http://www.arts.ubc.ca/students/learning-academic-skills/student-directed-seminars.html Student Directed Seminars]
** [http://www.zoology.ubc.ca/~redfield/index.html Rosie Redfield]
** http://www.aplaceofmind.ubc.ca/

Open Education Roundtable

2009-10-28T02:49:29Z

Jbmurray: /* Challenges and questions */ yes

[http://www.flickr.com/photos/cogdog/4031867090/ http://farm3.static.flickr.com/2697/4031867090_0feb94c95d.jpg]

'''Open education at UBC: Where we are… and where are we going?'''

12:00 P.M. – 2:00 P.M., Tuesday, October 27, 2009

Rm. 260, Stikine Room, Irving K. Barber Learning Centre

Many of us at UBC are engaged in activities that might be defined as ‘open education’… But maybe we are wondering who else is working towards such objectives, and if our efforts might align? This meeting hopes to gather as many interested participants as possible to begin the articulation of an open education community of practice: to identify who is interested, and how we might work together.

== Mini-Presentations ==

* John Willinsky, [http://pkp.sfu.ca/ Public Knowledge Project], also http://wiki.elearning.ubc.ca/tela/
** Very sad to report that Brian's audio recording of Dr. Willinsky's remarks is garbled. However, this recent recording covers some of the same ground: http://vimeo.com/7099950

* Hilde Colenbrander, [https://circle.ubc.ca/ cIRcle Repository]

* Joy Kirchner, UBC Library - [http://www.slideshare.net/blamb/joy-openness-o-pen-education-talk Slides]

* Erica Frank, http://www.hso.info - [http://www.slideshare.net/blamb/hso-microversion-aug-20-2009 Slides]

* Jon Beasley-Murray, [http://en.wikipedia.org/wiki/Wikipedia:WikiProject_Murder_Madness_and_Mayhem Wikipedia authoring], [http://blogs.ubc.ca/span322/ blog-based platforms] (Presented in absentia by Brian, sporting a leather coat and a fake English accent)
** A hundred, thousand apologies for not making it today. My only excuse is that I find myself on sabbatical time, which exists at a strange tangent to the normal twenty-four hour clock. I'm especially sorry that I missed the spectacle of Brian "sporting a leather coat and a fake English accent." --[[User:Jbmurray|Jbmurray]] 02:47, 28 October 2009 (UTC)

* [http://wiki.ubc.ca/User:Alougheed Alex Lougheed], [http://andremalan.net/ Andre Malan] - student perspectives

* Danielle Blond, Community Service Learning, http://blogs.ubc.ca/csl2/

* UBC, UN-Habitat Exchange http://www.chs.ubc.ca/archives/

Also participating: Alex Garnett (SLAIS), Zack Lee (OLT), Sandra Singh (IKBLC), Shawna Reibling (NCIE's "Knowledge Mobilization Coordinator" winning title for the day's coolest job title), Nicole Ronan, Michelle Lamberson, [http://blogs.ubc.ca/ross/ Wayne Ross], Sharon ?, Kristen ?, Marianne Schroeder (OLT)

== Environmental scan of open education at UBC and beyond ==

(Besides the initiatives discussed above, here is an admittedly 'Lamb-centric' collection...)

* Solid blog (http://blogs.ubc.ca/ with some [http://www.chancancode.com/2009/09/29/a-big-thank-you/ award-winning plugins] developed here) and wiki platforms (http://wiki.ubc.ca/Main_Page)
** http://leap.ubc.ca/, http://blogs.ubc.ca/etec522/, http://sites.wiki.ubc.ca/etec510/Main_Page

* iTunesU and YouTube.edu (early stages), Kaltura pilot
** Hilde reports pending upgrade of cIRcle will have streaming audio and video capability.

* Collaborations with BCcampus (http://freelearning.bccampus.ca/), development of resource collection "[http://wiki.ubc.ca/TOE Toward Open Education]"), OPDF-funded open resources [http://solr.bccampus.ca:8001/bcc/access/search.do?qs.tq=&sort_s=RANK&she_canDisplay=checked&pg_pg=1&hier.topic=4091881c-7681-f9a2-a7e2-5427d2dc7197&pg_pp=10&pg.e=true in SOL*R repository]

* [http://openedconference.org/ 2009 Open Education Conference] - international event hosted at UBC, all sessions have a video archive

* [http://www.openedtech.org/open-ed-tech/ OpenEd Tech] - ongoing collaboration led by the Open University of Catalonia

* [http://2009.northernvoice.ca/ Northern Voice] - not exactly open ed, but Canada's first (and maybe best) social media conference takes place every year at UBC

* [http://www.ocwconsortium.org/ OpenCourseWare Consortium]

* [http://wikieducator.org/Main_Page WikiEducator]
** [http://wikieducator.org/WikiEducator:OER_Foundation OER Foundation]

* [http://oerwiki.iiep-unesco.org/index.php?title=Main_Page UNESCO OER Community]

* More?

== Challenges and questions ==

The mini-presentations above and related discussion took most of the allotted time. A few nuggets below - and people are welcome to add their thoughts via WikiMagic.

* Do we want to more tightly align the many efforts at UBC that might best be described as "open education"?
** If so, what would be an appropriate framework for that?

-- ''No proper discussion. Perhaps future meetings can consider the pros and cons of the OCW Consortium, or adopting the Cape Town Declaration as frames to define future activity.''

-- ''A common theme was the sense of engaging students to think of themselves as writers, as creators, rather than simply consumers of their educational experiences. Perhaps we can elaborate on that in future meetings.''

:::*I would certainly be keen on there being more links between those of us who are working under this (large and motley) umbrella that is "open education." --[[User:Jbmurray|Jbmurray]] 02:49, 28 October 2009 (UTC)

* There is some confusion about what the university's policies regarding issues such as intellectual property. How best to make inquiries and get more clarity?

-- ''Again, an issue that will require more discussion. In his opening remarks, Dr. Willinsky seemed to suggest a more assertive sense of academic exemptions allowed under law, that these protections and the potential they allow is in a sense a "public trust", and how we exercise those rights justifies that trust.''

* Do the vision statements articulated in UBC's strategic plan (http://www.strategicplan.ubc.ca/vision_mission/) offer any opportunities?

-- ''Short answer, yes. There is language related to Open Access as well. But again, further discussion is required.''

* How much of a [http://www.educause.edu/EDUCAUSE+Quarterly/EDUCAUSEQuarterlyMagazineVolum/FreeEducationfortheMassesorNot/182627 threat is represented by Canada's pending copyright legislation]? Is there anything can or should be doing?

-- ''Not discussed.''

== Next steps... ==

* Is this a conversation (and set of activities) we wish to continue? If so, what is the best way to move ahead? To communicate?

''-- Not discussed in depth. However, as the meeting concluded Brian threatened further meetings, email, and he's plotting a blog and wiki resource centre. Nobody explicitly objected.''

* Who else needs to be part of this?

** [http://www.arts.ubc.ca/students/learning-academic-skills/student-directed-seminars.html Student Directed Seminars]
** [http://www.zoology.ubc.ca/~redfield/index.html Rosie Redfield]
** http://www.aplaceofmind.ubc.ca/

Open Education Roundtable

2009-10-28T02:47:14Z

Jbmurray: /* Mini-Presentations */ apologies

[http://www.flickr.com/photos/cogdog/4031867090/ http://farm3.static.flickr.com/2697/4031867090_0feb94c95d.jpg]

'''Open education at UBC: Where we are… and where are we going?'''

12:00 P.M. – 2:00 P.M., Tuesday, October 27, 2009

Rm. 260, Stikine Room, Irving K. Barber Learning Centre

Many of us at UBC are engaged in activities that might be defined as ‘open education’… But maybe we are wondering who else is working towards such objectives, and if our efforts might align? This meeting hopes to gather as many interested participants as possible to begin the articulation of an open education community of practice: to identify who is interested, and how we might work together.

== Mini-Presentations ==

* John Willinsky, [http://pkp.sfu.ca/ Public Knowledge Project], also http://wiki.elearning.ubc.ca/tela/
** Very sad to report that Brian's audio recording of Dr. Willinsky's remarks is garbled. However, this recent recording covers some of the same ground: http://vimeo.com/7099950

* Hilde Colenbrander, [https://circle.ubc.ca/ cIRcle Repository]

* Joy Kirchner, UBC Library - [http://www.slideshare.net/blamb/joy-openness-o-pen-education-talk Slides]

* Erica Frank, http://www.hso.info - [http://www.slideshare.net/blamb/hso-microversion-aug-20-2009 Slides]

* Jon Beasley-Murray, [http://en.wikipedia.org/wiki/Wikipedia:WikiProject_Murder_Madness_and_Mayhem Wikipedia authoring], [http://blogs.ubc.ca/span322/ blog-based platforms] (Presented in absentia by Brian, sporting a leather coat and a fake English accent)
** A hundred, thousand apologies for not making it today. My only excuse is that I find myself on sabbatical time, which exists at a strange tangent to the normal twenty-four hour clock. I'm especially sorry that I missed the spectacle of Brian "sporting a leather coat and a fake English accent." --[[User:Jbmurray|Jbmurray]] 02:47, 28 October 2009 (UTC)

* [http://wiki.ubc.ca/User:Alougheed Alex Lougheed], [http://andremalan.net/ Andre Malan] - student perspectives

* Danielle Blond, Community Service Learning, http://blogs.ubc.ca/csl2/

* UBC, UN-Habitat Exchange http://www.chs.ubc.ca/archives/

Also participating: Alex Garnett (SLAIS), Zack Lee (OLT), Sandra Singh (IKBLC), Shawna Reibling (NCIE's "Knowledge Mobilization Coordinator" winning title for the day's coolest job title), Nicole Ronan, Michelle Lamberson, [http://blogs.ubc.ca/ross/ Wayne Ross], Sharon ?, Kristen ?, Marianne Schroeder (OLT)

== Environmental scan of open education at UBC and beyond ==

(Besides the initiatives discussed above, here is an admittedly 'Lamb-centric' collection...)

* Solid blog (http://blogs.ubc.ca/ with some [http://www.chancancode.com/2009/09/29/a-big-thank-you/ award-winning plugins] developed here) and wiki platforms (http://wiki.ubc.ca/Main_Page)
** http://leap.ubc.ca/, http://blogs.ubc.ca/etec522/, http://sites.wiki.ubc.ca/etec510/Main_Page

* iTunesU and YouTube.edu (early stages), Kaltura pilot
** Hilde reports pending upgrade of cIRcle will have streaming audio and video capability.

* Collaborations with BCcampus (http://freelearning.bccampus.ca/), development of resource collection "[http://wiki.ubc.ca/TOE Toward Open Education]"), OPDF-funded open resources [http://solr.bccampus.ca:8001/bcc/access/search.do?qs.tq=&sort_s=RANK&she_canDisplay=checked&pg_pg=1&hier.topic=4091881c-7681-f9a2-a7e2-5427d2dc7197&pg_pp=10&pg.e=true in SOL*R repository]

* [http://openedconference.org/ 2009 Open Education Conference] - international event hosted at UBC, all sessions have a video archive

* [http://www.openedtech.org/open-ed-tech/ OpenEd Tech] - ongoing collaboration led by the Open University of Catalonia

* [http://2009.northernvoice.ca/ Northern Voice] - not exactly open ed, but Canada's first (and maybe best) social media conference takes place every year at UBC

* [http://www.ocwconsortium.org/ OpenCourseWare Consortium]

* [http://wikieducator.org/Main_Page WikiEducator]
** [http://wikieducator.org/WikiEducator:OER_Foundation OER Foundation]

* [http://oerwiki.iiep-unesco.org/index.php?title=Main_Page UNESCO OER Community]

* More?

== Challenges and questions ==

The mini-presentations above and related discussion took most of the allotted time. A few nuggets below - and people are welcome to add their thoughts via WikiMagic.

* Do we want to more tightly align the many efforts at UBC that might best be described as "open education"?
** If so, what would be an appropriate framework for that?

-- ''No proper discussion. Perhaps future meetings can consider the pros and cons of the OCW Consortium, or adopting the Cape Town Declaration as frames to define future activity.''

-- ''A common theme was the sense of engaging students to think of themselves as writers, as creators, rather than simply consumers of their educational experiences. Perhaps we can elaborate on that in future meetings.''

* There is some confusion about what the university's policies regarding issues such as intellectual property. How best to make inquiries and get more clarity?

-- ''Again, an issue that will require more discussion. In his opening remarks, Dr. Willinsky seemed to suggest a more assertive sense of academic exemptions allowed under law, that these protections and the potential they allow is in a sense a "public trust", and how we exercise those rights justifies that trust.''

* Do the vision statements articulated in UBC's strategic plan (http://www.strategicplan.ubc.ca/vision_mission/) offer any opportunities?

-- ''Short answer, yes. There is language related to Open Access as well. But again, further discussion is required.''

* How much of a [http://www.educause.edu/EDUCAUSE+Quarterly/EDUCAUSEQuarterlyMagazineVolum/FreeEducationfortheMassesorNot/182627 threat is represented by Canada's pending copyright legislation]? Is there anything can or should be doing?

-- ''Not discussed.''

== Next steps... ==

* Is this a conversation (and set of activities) we wish to continue? If so, what is the best way to move ahead? To communicate?

''-- Not discussed in depth. However, as the meeting concluded Brian threatened further meetings, email, and he's plotting a blog and wiki resource centre. Nobody explicitly objected.''

* Who else needs to be part of this?

** [http://www.arts.ubc.ca/students/learning-academic-skills/student-directed-seminars.html Student Directed Seminars]
** [http://www.zoology.ubc.ca/~redfield/index.html Rosie Redfield]
** http://www.aplaceofmind.ubc.ca/