Donate Today! Help us help others.

Lynch Coaching

Translate

Friday, January 13, 2012

Public Speaking Syllabus, Art Lynch, Spring 2012


CSN Communication 101: Oral Communication

Instructor:            Art Lynch                                                                    Phone/Voicemail: (702) 714-0740
Email:                      CSN on-line campus Angel preferred (or dr.artlynch@me.com  )                                   
Web:                        Angle link             http://www.csn.edu/pages/2212.asp,
For required blog postings and course references              http://www.comprofessor.com/
Communication Department:    http://www.csn.edu/communication/   
Art Lynch biographical info:         http://artlynch.org

REQUIRED TEXTBOOK: 
Coopman, S. J. & Lull, J. (2009).  Public speaking: The evolving art. With supplemental materials for the Department of Communication at CSN. Boston: Wadsworth Cengage Learning.

OTHER REQUIRED MATERIALS: Scantron Forms 882e or 882es & # 2 Pencils (for exams)
Keep current on current affairs and on the subjects you choose to speak about.

COURSE DESCRIPTION: Com 101, Oral Communication, satisfies the Communication requirement for related instruction for many certificates offered at CSN.  Please check the CSN Catalog or your degree sheet to determine if COM 101 fulfills that requirement.  The emphasis of this course is upon the principles of effective communication.  We will study various communication strategies from both a practitioner's perspective as well as from the viewpoint of a recipient.  

Click on "read more" below for the complete CSN Com 101 syllabus for my sections:

The Intergalactic Nemesis, Episode One, Pt. 1 (live)

'Intergalactic Nemesis': From Radio To Page To Stage


A Multimedia Production: The performance of The Intergalactic Nemesis involves (from left to right) three voice actors, a foley artist, a keyboardist and, overhead, art from the graphic novel on screen.
Intergalactic Nemesis/The Robot Planet A Multimedia Production: The performance of The Intergalactic Nemesis involves (from left to right) three voice actors, a foley artist, a keyboardist and, overhead, art from the graphic novel on screen.
What began in the 1990s as a traditional radio play at a coffee shop in Austin, Texas, has morphed from a radio play, to a graphic novel, to a live performance. The Intergalactic Nemesis is now traveling around the country with three actors, one foley artist, one keyboardist and 1,200 graphic novel images. Audiences show up not quite sure what to expect — but they often leave smiling.

To set the stage: It's 1933, there's a Pulitzer Prize-winning reporter, an evil hypnotist, a time-traveling librarian and alien sludge monsters. The radio play, says producer and director Jason Neulander, started simply, with scripts, a few actors and some crazy noises.

Recorded at the Long Center for the Performing Arts in Austin, Texas, in July 2011
"There was literally a sound for everything," Neulander says — for example, the sound of hypnotism, which the foley artist creates by whirling around two toy plastic tubes.

Eventually the Intergalactic Nemesis crew teamed up with a graphic artist. Neulander says it was fun mixing two old forms originally created in the '30s — radio plays and comics — but he says, "without contemporary technology this production would not be possible." He recently had to buy a new computer because the old one did not have the processing power to run the slide show.

Chris Gibson plays nine characters in the show. He has four death scenes. He says he loves being encouraged to overact and go "as far as you possibly can." And he does — putting on outrageous accents and creating hellish, horrific voices.

Tim Keough, who is studying acting, recently saw the show at the East Village Cinema in New York. He says his girlfriend, a comic illustrator, bought the tickets to surprise him. "I had no idea of what I was walking into," Keough says. "[It] kind of blew my mind. The sound effects — you could feel you were in the cave; it felt like an alien planet with sludge on the walls."

Sometimes it's important to just have an escape ... 
and go on a pure, unadulterated adventure.
It's not often audiences get the chance to see sound effects being made in front of them, and show-goers were riveted by foley artist Buzz Moran. "I absolutely loved the use of children's toys for the sound effects," says Jason Arias, who also saw the show in New York.

Moran coaxes surprising new sounds from familiar old toys. He takes a child's slide whistle and blows into a different area to create a gas jet for an alien planet. He takes a toy that allows children to change their voices and makes the microphone feed back into the speaker, creating a laser effect. A child's train whistle coupled with a box of macaroni and cheese makes for a very convincing approaching train.

Neulander says The Intergalactic Nemesis connects with his inner 12-year-old. His favorite movie is (still) Star Wars, and and he loves pulp science fiction from the 1930s and '40s. He's not bothered by the critique that there's no deep purpose or moral in the show.

"Sometimes it's important to just have an escape," Neulander says. "Life can be hard, and I feel like right now, in the times we are in, it really can't hurt to have an opportunity for a couple of hours — for people from 7 to 70 and older — to go in the theater and escape from their daily lives and go on a pure, unadulterated adventure."

Source: NPR's All Things Considered

The Intergalactic Nemesis - Live at Dell Hall, Austin TX (excerpt)

A War To Watch: YouTube Takes On Television




More than 80 million people have watched Ultimate Dog Tease, making it the second-most popular video on all of YouTube last year.

YouTube has grown rapidly over the past seven years, as people share videos of piano-playing cats, kids doing precocious things, and singers demonstrating their talents. But the Google-owned video website now has its sights on an even wider audience: everyone watching TV.

"By 2016, I'm told that half of all households in the U.S. will have Internet-ready television," says New Yorker reporter John Seabrook. "[And] there is a looming battle for the living room — the control of what you watch in the living room."

In his latest New Yorker piece, Seabrook details YouTube's strategy to compete with the cable networks by developing more than 100 new professional content streams with partners like Amy Poehler, Madonna, Shaquille O'Neal and Anthony Zucker, the creator of CSI. The company hopes the new professional videos will keep YouTube's visitors on the site longer — and attract more advertising dollars.

Currently, Seabrook writes, "the average 'Tuber spends only 15 minutes a day on the site — a paltry showing when compared with the four or five hours the average American spends in front of the TV each day."

Time Equals Money
If YouTube can increase the amount of time people spend on its site or videos, it can make a lot more advertising money, Seabrook tells Fresh Air's Dave Davies. And the way YouTube plans to do that is by targeting audiences through interests that may not get airtime on mainstream networks.

"They see an Asian channel, which doesn't really exist on cable, or a ... cricket channel or a horsebacking channel — there are a lot of sports and pastimes that have a lot of people interested in them, but they're not necessarily based in one country," he says. "And one of the unique things about YouTube is that it's global. So you can put together an audience of cricket lovers from many countries around the world and achieve a pretty large audience. But if you just tried to do that in one country, you'd get a small audience."

Seabrook notes that the top videos on YouTube — think episodes of TV shows and those ubiquitous cat videos — currently receive comparable traffic to the top shows on cable networks.

"It's pretty much straight-up one for one, but the difference is that people tend to watch YouTube for much shorter periods of time, partly because the episodes on YouTube tend to be only three or four minutes," he says. "People are more distractible online so they don't watch the shows online. So even though you have the same number of viewers, you don't have those viewers investing the same amount of time in YouTube that they do in television."

John Seabrook is a staff writer at The New Yorker. His work has also appeared in Harper's, The Nation and Vogue.

Channels On YouTube
YouTube is actively working to change that, says Seabrook. Since 2007, the website has offered some YouTube content-makers the opportunity to place advertising on their videos and split the profits 50/50 with the company. Currently, there are more than 30,000 people in the program — and the top video sites make a lot of money.

"About 500 make serious money, and the top 20 make close to $1 million a year and garner pretty large audiences," he says. "Some of those people are going to be making new channels [for YouTube]."

Those new channels, YouTube hopes, will appeal to an older and wider demographic.
"The big difference is that most of the user-generated content has all been amateur-based," says Seabrook. "Most of the content on YouTube now are things that my 13-year-old son loves, but [that] are a little too tween-oriented for those of us who are actual grownups. So now I think we're going to see some grown-up channels that might appeal to the rest of us."

But there is some concern, says Seabrook, that changing the serendipitous nature of YouTube will turn some people away.

"Two of the pleasures of YouTube have been a) the anarchic nature of it, which in the early days just seemed so great that you could have this unplanned, no-one-is-in-charge-type feeling, which is so different than television; and b) the serendipity, the things you would just stumble upon," he says. "And I think as these new channels come in and start getting popular, it's going to be less likely that you're going to stumble on things that are out of left field, because that's the way the site is going to be reoriented: towards the hit-makers and less towards the random people. They'll still be there, but they'll be harder to find. And that would be kind of a loss."

'Fresh Air' Staffers Pick Their Favorite YouTube Videos

1. Fake Werner Herzog Reads Where's Waldo (associate producer Heidi Saman)
2. Husky Saying 'I Love You' (producer Lauren Krenzel)
3. The Huffamoose documentary trailer (associate producer John Myers)
4. Sweet Georgia Brown med traktorkomp (producer Sam Briger)
5. Dog Surprises Officer (director Roberta Shorrock)
6. The Muppets: Bohemian Rhapsody (associate producer Melody Kramer)

Keith Olbermann-Current TV feud worries media analyst




Media analyst Derek Baine worries that the feud between Keith Olbermann and Current TV could hurt the channel's long-term prospects
 From the LA Times Company Town blog..click here for the latest entertainment news.

If Keith Olbermann's rocky relationship with his new bosses at Current TV completely collapses, does the cable network have a plan B?

That's what cable industry analyst Derek Baine of SNL Kagan is wondering. In a Friday report, Baine notes that if Olbermann leaves, Current will be without its only big-name talent, the one it was banking on to help the channel compete with big boys CNN and MSNBC.

"Current will need to get its programming act together or it could face the possibility of being dropped by some distributors," Baine wrote.

The channel owned by Current Media Inc., founded by former Vice President Al Gore and entrepreneur Joel Hyatt, is trying to build its distribution from beyond the approximately 60 million homes in which is now available. Having Olbermann is part of that strategy. The hope is that he brings in viewers who then stick around for other new shows on the network, leading to greater distribution, more advertising dollars and a better platform to compete.

Current has already started building an evening lineup around Olbermann which, if successful, would likely ease some of Baine's concerns. "The Young Turks," featuring another MSNBC castoff -- Cenk Uygur -- is off to a strong start and scoring well with younger viewers. At the end of this month, former Michigan Gov. Jennifer Granholm will launch her own prime-time political talk show.
"When you've got a show like 'The Young Turks' with an average [viewer] age of 47 -- 15 years younger than the other guys -- we think we've got a solid start in a great programming lineup," Hyatt said in response to Baine's concerns. In other words, Olbermann may be the straw that stirs the drink, but Current hopes to have a few other ice cubes in the glass.

For now, Olbermann appears to have made a tentative peace agreement with Current, with which he not only has a long-term deal, but a small ownership stake. One of his beefs -- the lack of high-tech sets -- is simply a matter of working for what is basically a start-up channel. Although Current has been around for several years, it only recently got into the live-programming game.

Current's next big push is to add shows in the morning and daytime, which will be crucial to boosting its distribution across the country. Some of the distributors that carry the channel want to see more of a commitment to fresh programming every day and have made that a condition of wider distribution.


RELATED:
Keith Olbermann says he'll run Current election coverage
New Current TV president wants to be "tone changer"

-- Joe Flint

Photo: Keith Olbermann on his Current TV show. Credit: Current TV

Letterman back. Showtime gaining ground. Media reporters are kids with iPads. Kardashian stock plummeting.




FROM THE LA TIMES COMPANY TOWN BLOG..click here for industry news. 

Sticking around a little longer. Not much of a surprise here, but CBS is close to wrapping up a deal with David Letterman to keep the late night host on the air until 2014, according to the New York Times. That would mean Letterman would be on the air longer than Johnny Carson was. It also means that his in house heir apparent -- Craig Ferguson -- will either have to wait a little longer for the network's top job in late night or perhaps embark on a new path if he doesn't want to play the waiting game or is feeling burnt out by the genre.

Showtime's time. CBS' pay cable network Showtime -- once seen as the Pepsi to HBO's Coke -- has been closing the gap. Successful dramas like "Dexter" and the new CIA thriller "Homeland" have given the network great buzz with critics and the number of subscribers has grown to 21 million. Though it still trails HBO in terms of customers and profits, the game is no longer as one-sided as it once was. A look at Showtime's hot streak from the Financial Times.

Am I an assassin or a dinosaur? An anonymous piece by a TV executive in the Hollywood Reporter describing the types of writers who attend the TV press tour going on right now has got many critics up in arms. Among the participants, according to Mr. X, are the "angry young blogger" (mad about "having to attend and write about something other than himself"), "the twit" ("spends the entire time tweeting back and forth with a few other like-minded tweeters"), "the assassin" ("views himself or herself as an investigative reporter dedicated to the destruction of the evil empires that run the world and provide an inadequate breakfast") and the dinosaurs ("Their place at the top of the food chain is increasingly being occupied by smaller, quicker, warm-blooded animals with much smaller brainpans but opposable thumbs more suited to digital work."). So who is Mr. X? Well, this dinosaur's reporting (I asked two other writers what they thought) has led me to CBS communications chief Gil Schwartz, known for his sharp tongue and acid wit. Schwartz, who has written books and a column for Fortune, said he does not comment on rumors and speculation.

Retro weekend. Walt Disney Co. is re-releasing "Beauty and the Beast" in 3-D this weekend and hoping that the 20-year-old animated flick can recapture its old glory. Last year's reissue of "The Lion King" in 3-D certainly showed that more money can be squeezed out of these classics. Also entering the box office race this weekend is "Contraband," an action movie starring Mark Wahlberg. The third big entry is "Joyful Noise," a musical starring Dolly Parton and Queen Latifah. If you don't catch it now, don't sweat it. It will probably be on DVD by the end of the month. Projections from the Los Angeles Times and Variety. Also, USA Today looks at what other classics are being dusted off and given a 3-D makeover.

Surging Insurge. The surprise success of the low-budget horror movie "The Devil Inside" makes Paramount Pictures' relatively new Insurge label two-for-two. Its first movie, the concert film "Justin Bieber: Never Say Never," made about $100 million around the globe. The studio's goal is to make movies on the cheap aimed at teens and young adults. Its next big movie project is "Ultimate Dog Tease," based on the popular YouTube clips about a talking dog. "The plan for Insurge is never to have a business plan because it's an incubator and is always evolving," Paramount Film Group President Adam Goodman told the Los Angeles Times.
  
Kardashian crash. Are we over our obsession with all things Kardashian? Actually, let me tweak that sentence. Are you over your obsession with all things Kardashian? The New York Post says if the Kardashians were a stock, their share price would be plummeting. That's bad news for Comcast's E! cable channel, which basically bankrolls the family and counts on them for huge ratings. It's good news for the rest of the world until E! finds some other previously obscure family to turn into celebrities for no real reason.

He who laughs last. Former Viacom Chief Executive Tom Freston, whom Chairman Sumner Redstone famously (and some would say stupidly) fired in 2006 for, among other reasons, not buying the social networking site Myspace, penned a short piece on the experience and how he moved forward for Business Week. U2's Bono had the best advice for Freston.

Inside the Los Angeles Times: The FCC is going to review the NFL's TV blackout rules, which prevent games from being shown in a team's home city if the stadium is not sold out. Hollywood's biggest guessing game these days is trying to figure out who will be the new head of marketing at Disney's movie studio.

-- Joe Flint
Follow me on Twitter. I'm a truth vigilante. Twitter.com/JBFlint