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The chapter opens by describing how the term icon has become overused. an icon might be a "representation of a sacred figure, " "an illustration of a plant or animal, " or simply a symbol of "the secular and the mundane" p. 500 ; . it is significant that all of these examples are images that represent something else. they also communicate specific meanings within a culture. consider the pictures of bathroom signs from around the world. the symbols they use certainly "convey information, " and they also reveal things about the culture in which they're found. how do the different cultures represent gender, and what does this say about each culture? you might ask students to list current cultural icons and explain what those icons represent for them -- and then what the icons say about our culture. if students get stumped at any point, you could suggest that they look at one another's t-shirts: they will probably find icons there. the selections in this chapter include icons that are especially meaningful to americans: grant wood's american gothic, dorothea lange's migrant mother, superman and wonder woman, the american flag. you might ask students to consider how america's cultural icons have come to represent us to the world, for good and for bad. for example, in america mcdonald's arches convey convenience and a sense of the familiar; but in other cultures they may signify an oppressive american presence that is crushing local custom and commerce. even within our borders, certain icons of commercial. Washburn urged the board to take positive action on casino rock island's request as soon as possible. john churuvia, representative of sheet metal workers of local 91 was present to express his support for casino rock island's request to relocate off of the mississippi river. mr. churuvia stated that in the 60 years that he has been around, it seemed like whenever new development was the topic of discussion it was never carried out. mr. churuvia stated that the city of rock island cannot afford to let this project fall through. mr. churuvia stated that the city of rock island desperately needs the project, which would bring work to the community. jim dedecker, representative of laborers local 309 was present to express his support for casino rock island's request to relocate off of the mississippi river. mr. dedecker stated that casino rock island's project would be beneficial to the city of rock island, the county, and the state of illinois. mr. dedecker stated that this would be a "win-win" situation for everyone concerned. mr. dedecker stated that the economic impact of the project would be considerably helpful. mr. dedecker stated that it's not just a casino that we are looking at; it's a hotel and a convention center, which means more tourism for the city of rock island. mike wilcher, representative of ironworkers local 111 was present to express his support for casino rock island's request to relocate off of the mississippi river. mr. wilcher stated that the city of rock island and the representatives of the building trades need this project and the jobs that would be developed from the project. christina s. kost, liaison officer, big island river conservancy district was present to discuss casino rock island's project development. ms. kost stated that she has met with casino rock island's president and engineer, and has developed a working relationship with them. ms. kost stated that the big island river conservancy district must have the ability to do its job, which is to protect the milan big island local flood protection project, and the district's water resources. ms. kost stated that she is not present before the board to stop or to hinder casino rock island's project from going forward. ms. kost stated that she is present to receive the full cooperation and commitment from casino rock island and its representatives to provide her with sufficient information and access to its development site to ensure that the development would not have a negative impact to big island river conservancy district's flood control or to the district's water resources. ms. kost introduced dr. schwartz, who briefly shared with the board his opinion on the proposed pipeline that river stone is proposing to develop that would cross the casino property and the milan big island local flood protection plan. dr. schwartz stated that he believes that the gaming board should be concerned about public safety. dr. schwartz stated that the proposed pipeline could cause a disruption in public safety. chairman jaffe asked what big island river conservancy district expects from the board. ms. kost stated that the reason why she is has come before the board is because the big and gaming club casino. 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And bible belt musical aesthetics mixing in, in the name to new york city in 1893, where, at the age of eight, he of jewish music. what jewish intellectual and experiential became a street singer to help earn money for his family. credentials do these composers bring to their hyphenated with no formal music training, berlin became one of the music? there is a reason we read and prefer the talmudic best-known composers in the american music publishing decisions of rashi and hillel; their scholarship, erudition, business, writing about 1, 500 songs, among them the and comprehension of the widest jewish pallette is a givscores to the musicals annie get your gun 1946 ; , miss en. american jewish artists need to become liberty 1949 ; , call me madam 1950 ; , this "white christmas" is the army 1952 ; , and the songs "god bless more literate as jews and as artists. so, shehechiyanu, it seems to me that could be said to be america" and "easter parade." along with our great fortune in living in the quintessential the question of whether or not "white these times comes a great responsibility. it jewish american christmas" is a piece of jewish american music is now our mission and tikkun to both in- song of its time. lies less in the song itself which shows no escrease our own literacy and compassion and pecial christian sentiment in its lyrics or music ; to be or la-goyim, a light unto the nations. than in the social and musical context of its creation and i've heard, sung and studied the bach b-minor mass, the in its meaning as a marker of midcentury jewish upward beethoven missa solemnis, the brahms deutsches requiem, mobility. and, if we are to take this question seriously, we the faur requiem, the vivaldi gloria, the pergolesi stamust also address a larger issue: does music carry its own bat mater, and even morton lauridsen's lux aeterna-- meaning, or is that meaning created alive in specific social now it's time for our american gentile neighbors to know and music contexts and for specific people? the foss "adon olam, " the schoenberg "kol nidre, " the written at a time when jewish immigrant composers adler "hayom harat olam, " and maybe even my own dominated the popular music business on tin pan alley nishmat chayim or shir ari services for leil shabbat. we and on broadway, songs that dealt with american values need to stop limiting our concerts to mainly jewish audiproliferated. often composed in a popular style associences, and proudly proclaim that our music is both jewish ated with contemporary american theater and film, with and uniquely american and universal in its value. the immigrant experience, and with democratic values, finally, i must add that american jewish music whatsongs like "white christmas" and "easter parade" were ever it is ; has been ennobled by the zamir tradition. less about christian holy days than about a particularly thirty-five years ago i admired stanley sperber and mati jewish view of america as an open and welcoming socilazar in new york, and i'm thrilled to learn of all that ety, where anyone could succeed and thrive. to mistake josh jacobson and the zamir have achieved in boston. them for purely christian songs is to miss the point of the forgive me if i've preached to the choir. you, the singers jewish american immigrant experience, which, for many, and lovers of american jewish music, are the ones who was filled with an unbounded gratitude for american create its future. i'm hopeful that, together, we will all go freedoms and economic security. from strength to strength. certainly, most people would not immediately identify "white christmas" as a piece of jewish american music, michael isaacson is a composer and producer based in los because it does not appear to express or encode any jewangeles. ish sensibilities, either through its lyrics or music. yet, as ellen koskoff a product of a jewish american musician, with lyrics that celebrate a nostalgic view of an america "where treetops recently asked to speak on the subject of jewish american glistened and children listened to hear sleighbells in the music at a local synagogue, i posed the following question snow, " and music distinctly drawn from a jewish-domias the title of my talk: "is `white christmas' a piece of nated popular music industry, "white christmas" could jewish american music?" written by a jewish immigrant be said to be the quintessential jewish american song of to the united states, isidore baline 18881989 ; --who its time. became the proud american song-writer we knew as irthus, the question of what is jewish american music is ving berlin--this song has become not only one of the not a simple one. who is asking the question and for what most recorded popular american songs but also a sympurpose? what music is being considered? what is the bol of the jewish american experience in the first half of context of its composition and reception? and, perhaps the 20th century, when many jewish immigrants to this most importantly, what is the symbolic meaning of such country fought for economic, political, and social equalmusic to those who experience and love it? ity, while at the same time constructed and negotiated new jewish identities here. ellen koskoff is associate professor of ethnomusicology at the born in russia the son of a cantor, irving berlin came eastman school of music in rochester, n.y. notes from zamir, spring 2002 page 11.

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More willing to entertain ambiguity in their expectations about people, artifacts, interfaces, and tools. such conditions may more easily give rise to intimacy" 3 ; . i have no doubt that the game aspects of you're in control did enable playtesters to engage in this socially risky gender play. i also believe it is likely only through play that users would so willingly offer up such a personal practice as urination to so much public scrutiny. you're in control therefore draws critical attention to the power of game design and the power of ubicomp infrastructure to encroach upon the most intimate personal habits. * i want to make one final observation about the you're in control project. while it presents a rather extreme example of computing anywhere and everywhere, there is nothing about the project other than the authors' tongue-in-cheek writing to distinguish it from any other ubicomp game. in satirizing the genre so effectively that it becomes impossible to differentiate it from actual ubicomp research, you're in control demonstrates that there is no ridiculous extreme built into the ubiquitous computing model. there are no out-of-bounds in a technological worldview that takes all places as its proper terrain. the ability of a satire of ubiquitous computer gaming to circulate in the same network of scientific literature as serious ubicomp games is a result, no doubt, of the entire genre's tendency to under-produce play. ubicomp games do not have to pass effectively or extensively as a good idea in real-world contexts for real-world players. instead, they must simply be persuasive in their conceptual documentation, which requires only limited or even simply imagined deployment. the ability of ubicomp gaming to circulate such.
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