#i understand the general idea but the specifics r not well written and our lecturer has never given us good instructions for anything

[kurthorton-moving]

staring at the assignment thats due tomorrow night

[importanceofbeingontimeessay931]

college papers for sale

About me

Follow Essay Format Guide From Experienced Teacher

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[tak4hir0]

This is the the last of three posts on the course I regularly teach, CS 330, Organization of Programming Languages. The first two posts covered programming language styles and mathematical concepts. This post covers the last 1/4 of the course, which focuses on software security, and related to that, the programming language Rust. This course topic might strike you as odd: Why teach security in a programming languages course? Doesn’t it belong in, well, a security course? I believe that if we are to solve our security problems, then we must build software with security in mind right from the start. To do that, all programmers need to know something about security, not just a handful of specialists. Security vulnerabilities are both enabled and prevented by various language (mis)features, and programming (anti)patterns. As such, it makes sense to introduce these concepts in a programming (languages) course, especially one that all students must take. This post is broken into three parts: the need for security-minded programming, how we cover this topic in 330, and our presentation of Rust. The post came to be a bit longer than I’d anticipated; apologies! Security is a programming (languages) concern The Status Quo: Too Much Post-hoc Security There is a lot of interest these days in securing computer systems. This interest follows from the highly publicized roll call of serious data breaches, denial of service attacks, and system hijacks. In response, security companies are proliferating, selling computerized forms of spies, firewalls, and guard towers. There is also a regular call for more “cybersecurity professionals” to help man the digital walls. It might be that these efforts are worth their collective cost, but call me skeptical. I believe that a disproportionate portion of our efforts focuses on adding security to a system after it has been built. Is your server vulnerable to attack? If so, no problem: Prop an intrusion detection system in front of it to identify and neuter network packets attempting to exploit the vulnerability. There’s no doubt that such an approach is appealing; too bad it doesn’t actually work. As computer security experts have been saying since at least the 60s, if you want a system to actually be secure then it must be designed and built with security in mind. Waiting until the system is deployed is too late. Building Security In There is a mounting body of work that supports building secure systems from the outset. For example, the Building Security In Maturity Model (BSIMM) catalogues the processes followed by a growing list of companies to build more secure systems. Companies such as Synopsys and Veracode offer code analysis products that look for security flaws. Processes such as Microsoft’s Security Development Lifecycle and books such as Gary McGraw‘s Software Security: Building Security In, and Sami Saydjari‘s recently released Engineering Trustworthy Systems identify a path toward better designed and built systems. These are good efforts. Nevertheless, we need even more emphasis on the “build security in” mentality so we can rely far less on necessary, but imperfect, post-hoc stuff. For this shift to happen, we need better education. Security in a Programming Class Choosing performance over security Programming courses typically focus on how to use particular languages to solve problems efficiently. Functionality is obviously paramount, with performance an important secondary concern. But in today’s climate shouldn’t security be at the same level of importance as performance? If you argue that security is not important for every application, I would say the same is true of performance. Indeed the rise of slow, easy-to-use scripting languages is a testament to that. But sometimes performance is very important, or becomes so later, and the same is true of security. Indeed, many security bugs arise because code originally written for a benign setting ends up in a security-sensitive one. As such, I believe educators should regularly talk about how to make code more secure just as we regularly talk about how to make it more efficient. To do this requires a change in mindset. A reasonable approach, when focusing on correctness and efficiency, is to aim for code that works under expected conditions. But expected use is not good enough for security: Code must be secure under all operating conditions. Normal users are not going to input weirdly formatted files to to PDF viewers. But adversaries will. As such, students need to understand how a bug in a program can be turned into a security vulnerability, and how to stop it from happening. Our two lectures in CS 330 on security shift between illustrating a kind of security vulnerability, identifying the conditions that make that vulnerability possible, and developing a defense that eliminates those conditions. For the latter we focus on language properties (e.g., type safety) and programming patterns (e.g., validating input). Security Bugs In our first lecture, we start by introducing the high-level idea of a buffer overflow vulnerability, in which an input is larger than the buffer designed to hold it. We hint at how to exploit it by smashing the stack. A key feature of this attack is that while the program intends for an input to be treated as data, the attacker is able to trick the program to treat it as code which does something harmful. We also look at command injection, and see how it similarly manifests when an attacker tricks the program to treat data as code. SQL injection: malicious code from benign parts Our second lecture covers vulnerabilities and attacks specific to web applications, including SQL injection, Cross-site Request Forgery (CSRF), and Cross-site scripting (XSS). Once again, these vulnerabilities all have the attribute that untrusted data provided by an attacker can be cleverly crafted to trick a vulnerable application to treat that data as code. This code can be used to hijack the program, steal secrets, or corrupt important information. Coding Defenses It turns out the defense against many of these vulnerabilities is the same, at a high level: validate any untrusted input before using it, to make sure it’s benign. We should make sure an input is not larger than the buffer allocated to hold it, so the buffer is not overrun. In any language other than C or C++, this check happens automatically (and is generally needed to ensure type safety). For the other four attacks, the vulnerable application uses the attacker input when piecing together another program. For example, an application might expect user inputs to correspond to a username and password, splicing these inputs into a template SQL program with which it queries a database. But the inputs could contain SQL commands that cause the query to do something different than intended. The same is true when constructing shell commands (command injection), or Javascript and HTML programs (cross-site scripting). The defense is also the same, at a high level: user inputs need to either have potentially dangerous content removed or made inert by construction (e.g., through the use of prepared statements). None of this stuff is new, of course. Most security courses talk about these topics. What is unusual is that we are talking about them in a “normal” programming languages course. Our security project reflects the defensive-minded orientation of the material. While security courses tend to focus on vulnerability exploitation, CS 330 focuses on fixing the bugs that make an application vulnerable. We do this by giving the students a web application, written in Ruby, with several vulnerabilities in it. Students must fix the vulnerabilities without breaking the core functionality. We test the fixes automatically by having our auto-grading system test functionality and exploitability. Several hidden tests exploit the initially present vulnerabilities. The students must modify the application so these cases pass (meaning the vulnerability has been removed and/or can no longer be exploited) without causing any of the functionality-based test cases to fail. Low-level Control, Safely The most dangerous kind of vulnerability allows an attacker to gain arbitrary code execution (ACE): Through exploitation, the attacker is able to execute code of their choice on the target system. Memory management errors in type-unsafe languages (C and C++) comprise a large class of ACE vulnerabilities. Use-after-free errors, double-frees, and buffer overflows are all examples. The latter is still the single largest category of vulnerability today, according to MITRE’s Common Weakness Enumeration (CWE) database. Programs written in type-safe languages, such as Java or Ruby, 1 are immune to these sorts of memory errors. Writing applications in these languages would thus eliminate a large category of vulnerabilities straightaway. 2 The problem is that type-safe languages’ use of abstract data representations and garbage collection (GC), which make programming easier, remove low-level control and add overhead that is sometimes hard to bear. C and C++ are essentially the only game in town 3 for operating systems, device drivers, and embedded devices (e.g., IoT), which cannot tolerate the overhead and/or lack of control. And we see that these systems are regularly and increasingly under attack. What are we to do? Rust: Type safety without GC In 2010, the Mozilla corporation (which brings you Firefox) officially began an ambitious project to develop a safe language suitable for writing high-performance programs. The result is Rust. 4 In Rust, type-safety ensures (with various caveats) that a program is free of memory errors and free of data races. In Rust, type safety is possible without garbage collection, which is not true of any other mainstream language. Rust, the programming language In CS 330, we introduce Rust and its basic constructs, showing how Rust is arguably closer to a functional programming language than it is to C/C++. (Rust’s use of curly braces and semi-colons might make it seem familiar to C/C++ programmers, but there’s a whole lot more that’s different than is the same!) We spend much of our time talking about Rust’s use of ownership and lifetimes. Ownership (aka linear typing) is used to carefully track pointer aliasing, so that memory modified via one alias cannot mistakenly corrupt an invariant assumed by another. Lifetimes track the scope in which pointed-to memory is live, so that it is freed automatically, but no sooner than is safe. These features support managing memory without GC. They also support sophisticated programming patterns via smart pointers and traits (a construct I was unfamiliar with, but now really like). We provide a simple programming project to familiarize students with the basic and advanced features of Rust. Assessment I enjoyed learning Rust in preparation for teaching it. I had been wanting to learn it since my interview with Aaron Turon some years back. The Rust documentation is first-rate, so that really helped. I also enjoyed seeing connections to my own prior research on the Cyclone programming language. (I recently reflected on Cyclone, and briefly connected it to Rust, in a talk at the ISSISP’18 summer school.) Rust’s ownership relates to Cyclone’s unique/affine pointers, and Rust’s lifetimes relate to Cyclone’s regions. Rust’s smart pointers match patterns we also implemented in Cyclone, e.g., for reference counted pointers. Rust has taken these ideas much further, e.g., a really cool integration with traits handles tricky aspects of polymorphism. The Rust compiler’s error messages are also really impressive! A big challenge in Cyclone was finding a way to program with unique pointers without tearing your hair out. My impression is that Rust programmers face the same challenge (as long as you don’t resort to frequent use of unsafe blocks). Nevertheless, Rust is a much-loved programming language, so the language designers are clearly doing something right! Oftentimes facility is a matter of comfort, and comfort is a matter of education and experience. As such, I think Rust fits into the philosophy of CS 330, which aims to introduce new language concepts that are interesting in and of themselves, and may yet have expanded future relevance. Conclusions We must build software with security in mind from the start. Educating all future programmers about security is an important step toward increasing the security mindset. In CS 330 we illustrate common vulnerability classes and how they can be defended against by the language (e.g., by using those languages, like Rust, that are type safe) and programming patterns (e.g., by validating untrusted input). By doing so, we are hopefully making our students more fully cognizant of the task that awaits them in their future software development jobs. We might also interest them to learn more about security in a subsequent security class. In writing this post, I realize we could do more to illustrate how type abstraction can help with security. For example, abstract types can be used to increase assurance that input data is properly validated, as explained by Google’s Christoph Kern in his 2017 SecDev Keynote. This fact is also a consequence of semantic type safety, as argued well by Derek Dreyer in his POPL’18 Keynote. Good stuff to do for Spring’19 !

[ml2338]

Heather Hart, Readings, Videos, and 20x20.

Heather Hart, an African American artist born May 3, 1975 dove right into her lecture by sharing pictures of her artworks. She was born and raised in Seattle. Hart is highly educated as could be seen from her achieving a BFA from Cornish College of Arts, attending the Center for African American Studies at Princeton University, and obtaining a MFA from Rutgers University.

Heather Hart reminds me of Taiye Selasi, the woman who was on the TED talk video: “Don’t ask me where I am from, ask me where I am local”. Her quote in the talk really resonated with me “How can a human being come from a concept? It's a question that had been bothering me” because I too am not just from one place. Born and raised in Los Angeles, I ended moving to Hong Kong where I went to a British International School there. So I have been a part of many places, been accustomed to many different cultures, traditions, language and people. I’m just like Heather Hart and Taiye Selasi, no matter where we are “from”, we are not bounded by it, we are more than it. Taiye Selasi went on more to explaining how it doesn’t seem right to say that she’s from the United States when she’s only had a relationship with Brookline, New York City and Lawrenceville, and not every single state and city in the US. I can agree completely with her. It does seem ridiculous now to say you’re from a place where you haven’t even the least lived or explored or been familiar to most of things accustomed to the United States.  Whenever I address where I seem to come from, people would just automatically answer the question for me with their opinion: It doesn’t matter where you were born, it doesn’t matter where you have lived or stayed the longer, you’re family is Chinese so you’re automatically Chinese. I find this rude, because it seems people base their labels off appearances. I may look Chinese and know how to speak the language, but I do not know most of the things to being a Chinese. I don’t know how to read or write Chinese, nor do I know the area. If I was placed in China right now, I would be completely lost. I don’t follow most of their traditional cultures as well, the only holiday I celebrate is Chinese New Year with my family. How is it safe to say that I am truly only Chinese when I am more than just one label? This is based on Selasi’s three step test called the Three R’s: Rituals, Relationships, and Restrictions. The Rituals I share would be like I said holidays and festivities that I care about such as Chinese New Year, which pronounces my Chinese, and western holidays like Christmas, Thanksgiving and Halloween which signifies my western side. My relationships are with my parents who are Chinese, my American childhood friends, my high school British and Hong Kong friends and my current international and American college friends. Like Selasi mentioned the 3 R’s have proved that I am not just a part of one label, I am everything that I have been accustomed to.

Many factors played an influence on Hart’s artistic practice and career. A big factor would be her family. Her dad was a carpenter and starting from a young age, he taught her carpentry. This allowed her to have taken on an interest in sculpture influenced by his father. She also researched her family tree which brought her to to discover this essay written for her great great great great grandfather (4 generations before her) by a student where he mentions the tribes from Africa that he has found and she discovers many other histories about it. Her favorite movies and movie actors who were negro played a big part in influencing her artworks e.g. her sculpture piece of “The New Numinous Negro” was based upon it.

Her artistic practice consists of many traditional mediums such as watercolor, collage, printmaking, and drawings. But what makes her unique is that she likes to combine these mediums together than use them individually. She goes back and forth with these mediums, she is always constantly exploring with them. She describes herself as a research based person instead of being into experimenting with materials and thinking about formal reasons in her art.

One of her pieces that resonated with the most is The Black Lunch Table. Heather Hart is the co founder of this collaborative masterpiece. The aim of this piece is to take literal or metaphorical lunch tables filled by the artistic community or the larger community of neighbors and visitors and transform them into a discursive site, the perfect space to be able to discuss critical issues to clarify and support shared concerns. In my opinion, I think this is a genius masterpiece because it is such a clever way to have people who identify as an African American to be able to join in on conversations and feel as if they’re a community. Last week’s readings especially the video: “The Problem with Wokeness” and the New York Times article: “I’m a Black Feminist. I think Call-Out Culture is Toxic.” has a connection to this piece. Both the video and the article strives for a community where we finally understand each other instead of turning our backs from each other and continue to be separated by our differences and labels. The Lunch allows us ignore them and be able to come together by our similarities and finally be able to look past our labels.

Her art practice relates to the core issues addressed in the talk, because it is the core issues she has that influenced her art practice. Her work explores changed symbols and traditions, the nostalgic future. She wants her works to be able to engage with the audience by activating and programing the public. A major issue she has is depicting the personal reclamation.

Throughout the presentation, I felt quite lost. Hart would not have a clear method of explaining her artworks, its process and meaning. She would constantly jump from one thing to the next without elaborating into it properly. Sometimes during the lecture she would be explaining something and she would even lose herself during the process. Where she would end whatever she was trying to say by repeating “I don’t know” because she had confused herself as well. This has me questioning her intentions in her artworks. She doesn’t seem to know what she is really doing sometimes. For an artist to be able to create their artworks based on a theme, they would have to know the theme well because it is their motivator.

In terms of the bigger picture, although I had a criticism about Hart, but I do admire her artworks and the meanings behind it, at least the ones she has managed to explain in deeper detail. She bases her artworks on her identity as a black woman. She tries to  

Several readings and videos that has interested me the most for this week is Taiye Selasi TED TALK “Don’t ask me where I am from, ask me where I am local” (which I have already mentioned earlier on), Setting The Historical Stage passage, and the BBC Ideas Video: “Gender identity: 'What quantum physics taught me about my queer identity’”.

“The great force of history comes from the fact that we carry it within us, are unconsciously controlled by it in many ways, and history is literally present in all that we do.”- James Baldwin. This is a quote taken from Setting The Historical Stage passage which made me think of how much of an affect our histories have on our present and potentially our futures. In the passage, when the Spanish conquistador Balboa discovered Panama, he also discovered very open sexual and queer behaviors from the Indigenous people of Quaraca. He was disgusted by these actions that he ordered brutal punishments then deaths to them. This past has reflected on our present and future in many ways. Although many people are striving for the acceptance of the LGBTQ community, there are also many people who continue to share the disgust and hatred towards it like Balboa. Furthermore, many places like the United States still conduct punishment and policing for these actions. The author of this passage even quotes the US as a “the current criminal legal system.” In my opinion, the people who still do not accept specific groups of people like the LGBTQ community is mostly because they still share these old traditional views that were brought upon them because of our history. If people with enormous power like Balboa was accepting then, we wouldn’t have this problem now.

This also reminds me of the BBC Ideas Video: “Gender identity: 'What quantum physics taught me about my queer identity’. Amrou Al-Kadhi the narrator of the video gave an interesting perspective on how we should view gender identity, which is quantum physics. He explains: “Quantum physics reveals that there is no fixed reality and it’s full of beautiful contradictions” Al-Kadhi explains this by using a sub-atomic particle which can be in many places at the same time and multiple versions of the same event can be able to occur all at the same time. This reminds me of Heather Hart, Taiye Selasi and my shared issue. We are like these sub-atomic particles which has acted as a metaphor for where we belong. We don’t belong in one label, we can be more than one at the same time, just like the particles.

A 20x20 presentation that has interested me the most, was the one on Cian Dayrit. Dayrit, an artist born in Manila, Philippines in 1989 who is currently based in Brazil, is an intermedia artist working with sculpture, painting, and installation and considers himself as a researcher. His working themes are about origins, history, heritage, nationalism, nation-building, and critical problems in the Philippines. Just like Heather Hart, he creates his artworks also based on his identity. He also looks into a character and their political life and material legacy, which is the things in history that passed on. He also takes interest in how one navigates his or her life through suppose guilt and entitlement but also reluctance of control. During his time in London, he hunted for colonial images that represent power, he used these images as a tool to critique a rather privileged perspective that challenges the traditional concept of mapping since he believes it is a very politically manipulated creation. His love for mapping has grown that he even gave out workshops on mapping. His workshops with the underrepresented population guides them to create individual maps to establish a self identity that they have control over rather than the political powers. A word he believes revolves around mapping a lot is hegemony: leadership by one country over another. One of his artworks that I am quite fond of is the Monuments of Great Divide. The work is done in collaboration with the artist Felman Bagalso. It is a multimedia work of wood sculpture with acrylic and digital print on paper. He creates these wood sculptures of walls that feature chicken wires and spikes that show the dangers of crawling over. How I have interpreted this piece is that these walls suggest the different levels of restrictions at different borders and the difficulty of passing through them. The drawings feature the boundary divisions that are artificial which were come up by political powers. I believe it is criticizing how the way the territory are divided may not be fair or even artificial.

[deceptivelytall-blog]

Richard Roach Reflective Statement

The last twelve weeks have given me insight into how to improve future group projects, through motivating my team better, taking responsibility for my actions as well as assigning responsibility, better communication, and a better framework for organizing individual work delegation.

From the outset, we knew the general direction our project wanted to take, that of a message focusing on environmental issues, and how it related to a city-wide context, but specific elements, such as aesthetics, mechanics, and even a proper name for our project eluded us.

The unfortunate side-effect of this large group was that the most available people doing most of the work (myself, AJ and Quentin), while the others needed to be constantly updated, as they were not in the ‘loop’ of development (as much of the developmental process occurred outside of uni, over Facebook messaging and Google Drive uploads).

----MOTIVATION----

Motivation was a factor considering that for all students in our group this project is part of a minor and thus efforts were more often than not concentrated elsewhere, meaning that there was little ‘left-over’ for this project.

I found that (with a few exceptions) most tasks I delegated either was not done or done to a low standard and that in both cases I or someone else would have to make up for the deficiency.

One example was during the semester break when I assigned everyone a small task to be completed over the 2 week period.

I had asked Beth, AJ, Daniel, and Angie to each produce a visual mood board, with examples of existing metro/public transport wayfinding, iconography, and text treatment, however, despite constant queries, only AJ managed to complete her mood board within a reasonable timeframe, Daniel and Angie didn’t even complete theirs.

Our group mostly communicated digitally, with 1 weekly meeting, on average, and so in the future, I may be able to use Sosik et al’s framework concerning digital group projects, and especially the leadership of these projects. In their article ‘Transformational Leadership and Dimensions of Creativity�� Sosik et al. stress the significance of digital anonymity in group projects and how this can lead to a lack of motivation due to an absence of immediacy.  (Sosik, Kahai, & Avolio, 1998)

To combat this, I would schedule more face-to-face meetings in future group projects.

----GROUP RESPONSIBILITY----

The group cited outside factors such as conflicting schedules in addition to the aforementioned motivational issues, but this kind of problem affected all of us to some degree, and the project was still able to be worked on.

Using Julian Rotter’s definition, this translates into a group-wide feeling of an external locus of control, (that external factors determine the effectiveness of one’s actions, as opposed to any concentrated individual effort)  (Rotter, 2004)

A lot of my work required the input of aesthetic assets from my group, and so progress was slow in creating vital assets.

Next time, I will try to motivate my group to better self-efficate, maybe using Blumenfield et al’s framework of project-based learning. This methodology would focus on making sure that my team actually understands the reasons behind their workload, and thus inform some kind of motivative factor.  (Blumenfeld et al., 1991)

I would have been able to bypass this deficiency by doing it myself, but I didn’t want to do the majority of the work, preferring a workload shared equally among group members.

Should I have pushed on and done the work regardless?

----PERSONAL RESPONSIBILITY AND THOUGHTS----

However, based on feedback from other people in my group, I have been an effective leader alongside AJ in organizing and motivating those willing to work.

And so exists a discrepancy between my action as perceived by me, and as perceived by my group.

Existing literature on the subject of group work, especially concerning an imbalance of work, is in line with my thinking that the other people in my group, who haven’t contributed to the group work should not be rewarded the same as everyone else. (Conway & Kember, 1993) As the project manager, I want to consider excluding some members of the group if the project does end up going forward, which is based on feedback received from Noelwenn that our project could be included in Auckland Live’s 2017 ‘Summer in the Square’ event.

The idea that something I helped produce could end up exhibited to many people in a public forum is extremely exciting.

To further this, the opportunity to showcase and bring knowledge of personally-important environmental issues would be an amazing experience.

However, there has been a large failure to communicate across the group as effectively as we could have done.

----COMMUNICATION---- 

During meetings, I found oral communication to be a direct and effective way of introducing creativity through direct, yet novel communication, allowing for the quick exchange of divergent thinking. This is in line with the ideas introduced in the literature by Hughes and Large (1993) that there is a correlation between effective communication through oral communication and written/textual communication but concedes that there is a more immediate benefit to oral communication insofar as opening a dialogue between peers  (Hughes & Large, 1993).

--------

I find it almost poetic how the mechanics of our game reflect the different work ethics within our group.

There are the Walkers; people that are willing to sacrifice personal convenience (walking long distance/working hard) for the social good of a larger group (a higher quality end product/grades?).

Then there are the Drivers; people that are willing to destroy social good (polluting/being lazy) in order for personal gain/convenience/easy grades/stickers.

I think the distribution of these types within our group is pretty evident.

----WORK ETHICS/FRAMEWORK----

While we many ideas from the outset, we really should have started prototyping mechanically from the outset, using rapid, small-scale systems, based on feedback we received after the degree-wide playtest.

We attempted the Scrum methodology through standing meetings, internal reflection, and the free-form format of task delegation, as outlined by Azanha, Argoud, Camargo Junior, & Antoniolli in ‘Agile Project Management with Scrum’  (Azanha et al, 2017) but we had issues adhering to this format, and instead focused on the delegation of individual tasks by week.

This was a fault of my leadership, as I should have researched a better way of motivating my team and achieve a better end result.

If I ever head a project again, I will use a predetermined way of organizing a group, to construct a more effective group workflow. The fault, I feel, was not with Azanha et al’s framework, just my adherence to it.

----GOING FORWARD----

Going forward, a project of this magnitude would be an invaluable opportunity to network, as well as show our hard work in this paper to a large audience, but would also involve an enormous amount of extra work to meet the 27th December deadline. However, I feel up to the task, even if my co-creators have some doubts about their possible involvement with the project.

I have been in contact with Noelwenn Lacire, Anastasia Dailianis and Anders Falstie-Jensen from Auckland Live, in an effort to organize our group project being featured in the 2017 Aotea ‘Summer In The Square’ event.

I was told there is a fair chance of this happening, as the issues of transport and pollution relate largely to Auckland’s urban setting, as well as the larger New Zealand eco-conscious zeitgeist.

The focus towards a younger demographic was also noted, however, these are thoughts that will need to be discussed between now and the 27th of December, with the relevant parties.

This is Richard Roach, signing off for 2017; thank you to my team: Quentin, AJ, Beth, Daniel, Jieya and Angie for your continued hard work, and thank you to Ben Kenobi for your inspiring and extremely helpful tutelage.

----BIBLIOGRAPHY----

Azanha, A., Argoud, A. R. T. T., Camargo Junior, J. B. de, & Antoniolli, P. D. (2017). Agile project management with Scrum. International Journal of Managing Projects in Business, 10(1), 121–142. https://doi.org/10.1108/IJMPB-06-2016-0054

Blumenfeld, P. C., Soloway, E., Marx, R. W., Krajcik, J. S., Guzdial, M., & Palincsar, A. (1991). Motivating Project-Based Learning: Sustaining the Doing, Supporting the Learning. Educational Psychologist, 26(3–4), 369–398. https://doi.org/10.1080/00461520.1991.9653139

Conway, R., & Kember, D. (1993). Peer assessment of an individual’s contribution to a group project. Assessment & Evaluation in Higher Education, 18(1), 45.    Ellemers Academy of Management Review 29(3) 2004 u.pdf. (n.d.). Retrieved from http://dare.ubvu.vu.nl/bitstream/handle/1871/17293/Ellemers%20Academy%20of%20Management%20Review%2029%283%29%202004%20u.pdf?sequence=2

Hughes, I. e., & Large, B. j. (1993). Staff and peer-group assessment of oral communication skills. Studies in Higher Education, 18(3), 379–385. https://doi.org/10.1080/03075079312331382281    

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[theworstbob]

yellin’ at songs, 04.21.2007 + 04.22.2017

the songs that debuted on the billboard chart this week and ten years ago this week. today: songs i... like? that are... good? ???

4.21.2007

7) "What I've Done," Linkin Park

Ah, yes, the era of Sensitive Linkin Park. When Linkin Park replaced the teenage angst with, I guess, adult angst? What do we want to call this? Decidedly non-specific hand-wringing? "I did something bad!" Okay, what did you do? "A bad thing!" Yeah but we've all done bad things? "As long as we don't say what bad thing we did, you can relate your own dark secrets!" Oh okay cool thank you for the opportunity, Chester.

65) "Stolen," Dashboard Confessional

So here's how I justify being a little into this song after giving Big & Rich shit for making a "gosh, I sure love the woman I'm getting married to" song. One, I'm an emokid from way back, and this is that wuss-ass poetry shit I need, even if I wasn't that into it way back when. ("Don't Wait" wasn't really a jam, and it put me off purchasing Dusk & Summer, so.) I'll openly admit I'm predisposed to enjoy this song more. Two, I might be misinterpreting this song as being about a wedding, like I could actually be wrong about my interpretation, so it's more complex than the Big & Rich song where the dude literally says the preacher talked to Jesus. Three, "Lost in This Moment" is just about the moment. We don't know who any of those people are, short of the fact everyone's super into Jesus and the bride and groom love each other. Here, there's a clear setting (wedding reception at the end of summer), there's a small lyric thrown in there that lets you know, even at their own wedding, the couple feels mischievous, so they're more fully-realized people ("crash the best one/of the best ones"), and Dashboard Confessional takes the time to state that there's more to their love than this specific moment, that this is what they've been working for and what they want to be ("our dreams assured and we all/will sleep well, sleep well"). I never realized how into this song until I sat down and thought about it.

81) "Kiss the Girl," Ashley Tisdale

What in the absolute fuck did I just listen to. I don't think I've felt this way about a song since I heard "Pokemon Christmas Bash" for the first time.

83) "Diamonds," Fabolous ft./Young Jeezy

I don't wanna talk about this song, this song kinda blows, can we talk about "Breathe?" Can we talk about "Breathe," Fabolous' 2003 song that far outpaces most of the rest of his catalogue? "Breathe" is a fucking amazing song, and I have no idea where it came from. Does any artist have as glaring an outlier as Fabolous' "Breathe?" I'm struggling to come up with one. I'm just going to listen to "Kiss the Girl" and "Breathe" on repeat for the next few hours, BRB. "Secret Service me with some of that Lewinsky love." Absolutely not! Ugh, that's not even a hack line in 2017, that was hack in 2007, that would've been hack in 2002.

84) "Makes Me Wonder," Maroon 5

Like all Maroon 5 songs, this is acceptable.

91) "Release," Timbaland ft./Justin Timberlake

I didn't have to listen to this. I hadn't heard this song before, but I heard this song a thousand times before I sat down with it. I could have guessed. "This was gonna sound awfully loud and busy, Timbaland was gonna try to rap and bless his little heart, and it would be a party jam that I'm probably not qualified to discuss since I don't party." I could have written that and lied about having listened to this song, but I need to come by this displeasure honestly, for reasons.

94) "Find Out Who Your Friends Are," Tracy Lawrence

Four songs ago I was listening to "Kiss the Girl" and the world was a magical place where love was real. I want to go back. I want to go back to that land of awkward dancing and spunky pop guitar riffs. I hate this world where some fucking dude tells me if my truck breaks down someone, not necessarily him but someone, can fix it. Great. Great, OK. That's useful, I will do something with this information. Forgetting is doing something.

95) "Apologize," Timbaland ft./OneRepublic

I heard the original version of "Apologize" on Alternative Addiction in summer 2006 I think? And I loved that song, and I wanted more people to hear this song, because I thought it was really impressive. ...I don't want to say Monkey's Paw? But this feels like a wish made on a cursed monkey's paw. I didn't want it like this. Why would I ever want it like this. Why would I ever want this song to get big because Timbaland said, "Hey, I think I can add twelve different things to this, really take it over the top." Like, for me, this was the only thing I got between the release of "Apologize" and the release of OneRepublic's debut a year and a half later, was this nonsense, and you can't imagine my disappointment that this was the only new OneRepublic thing I had for a year and a half, especially since it turned out that OneRepublic was OneRepublic.

99) "When I See U," Fantasia

R&B isn't one of my main genres, as I'm sure you can tell, so I've largely missed out on the career arc of the last true American Idol, as it's taken place entirely on that chart. I clearly need to get reacquainted. R&B isn’t something I come to easily. I like songs that go 1000 miles an hour on a path to DIZZYING EMOTIONAL HIGHS and that’s not something R&B really does, it slowly burns until there’s a full-on fire, and the fire crackles gently but still has devastating power, and while I’m not here saying Fantasia did just that with this song, I’m saying there’s enough I love about this song that I’m sure I can find some song in Fantasia’s oeuvre which does the thing, ‘cuz man, this song almost did it for me. (How often do I pull “I’m not saying, I’m just saying” bullshit? I need to see if that’s a tic I should edit out. Fucking own an opinion, dude, jiminy.)

The Top 20 singles of 2007 through this week: 20) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 19) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 18) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 17) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 16) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 15) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 14) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 13) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 12) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 11) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 10) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 9) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 8) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 7) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 6) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 5) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 4) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 3) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 2) "Kiss the Girl," by Ashley Tisdale (4.21.2007) 1) "Kiss the Girl," by Ashley Tisdale (4.21.2007) Some tough cuts -- so long, "Get It Shawty," we knew you well -- but the cuts are only tough since 2007 really stepped up its game, and after next week, it'll have a fairly unfuckwitable Top 20. 2017 better respond well.

4.22.2017

2) "HUMBLE." by Kendrick Lamar

So, relative to the rest of Kendrick Lamar's catalogue, I understand why the Internet would be angry at this song, but relative to the world at large, this is kinda just not a great song? Even setting aside the lyrical content, this song is bleh, something that sounds more like a throwaway than even anything on untitled.unmastered. From a lyrical standpoint, it's misguided and has some bad opinions, but Kodak Black has a legitimate hit record and two other songs debuting this week, and XXXTENTACION is rising in popularity. This is a smart man doing something dumb. I dunno, I'm just not really in the business of punishing a dude for not being woke all the time. Insomnia is a disease, y'know? I don't think this song is worth getting angry at. It's worth a stern lecture, to be sure, but we need to fix the clear and present problems before we set our sights on what is merely problematic. It's a bad song. People make bad songs sometimes.

53) "Craving You," by Thomas Rhett ft./Maren Morris

...I hate how into this I am. I listened to the Static Version. Is that the reason this is such a jam? This is basically the best pop duet in years. (The term 'duet' is being used here loosely. Maren Morris harmonizes and at one point goes "yeah" real loud.) It's so good, I can't even use this as a launching pad for a complaint about bro country, though, of course, the reason it's so good is that it does away with any pretense of being a country song. Like this is bubblegum-ass pop right here. This track would have been right at home on E MO TION Side B. (Not on E MO TION proper, of course, that album is Perfect (and now that opinion is a matter of YAS record), but this kinda reminds me of something that would be on a more dramatic version of Side B.) And I 100% get behind it? I'm behind this! Why the fuck not!

59) "Everybody," by Logic

Y'know what, I said 2017 needed to step its game up, and by golly, here we are, with a Kendrick song (Kendrick's C-game being better than most dude's A-games; to use The Sopranos as a point of comparison, "HUMBLE." is basically Kendrick's "Columbus," not a great song but still a Kendrick song), it had something that came out of nowhere to be among my favorites for the year so far, and we have this, which is just delightful! Evidently, I should have heard of Logic by now, but this seems as good an introduction as any.

60) "You Look Good," by Lady Antebellum

MORE. HORNS. IN. COUNTY. MUSIC. So, okay, first of all, I gotta note, the producer of this song, busbee, once made a song with Girl's Generation, so finally I know of the link between country and K-pop, ok now HORNS. Imagine how unnecessary this track would be without horns, if this were another country song with nothing to say but "it's nice when things are nice!" This gives it a dirty edge, but it somehow never feels skeezy, which is a miracle, considering, y'know, the dudes in Lady Antebellum. It took a little over a year but hey! Someone in the pop/country game listened to Sturgill Simpson! Better late than never!

75) "Tin Man," by Miranda Lambert

it's miranda lambert singing a sad country song with a wizard of oz metaphor, of course i'm into it

81) "Subeme La Radio," by Enrique Iglesias ft./Descemer Bueno, Zion & Lennox

Maybe it's because, of the four so far, this is the only one by an artist I've heard before, but I was less enchanted by this Latin pop song than I have been by the others. Even that Romeo Santos thing had its charm! I disagree with his choice to sound the way he does, but it's a choice he made that I still remember so really how bad a choice could it have been? This doesn't sound like anyone made a choice. It sounded like Enrique Iglesias just heaved a sigh and said, "Guess the fellas upstairs are expecting something. I dunno, people still use radios? Let's make a song about how they should turn the volume up on their radios. I don't know what we'll do for people who listen at max volume, but now at least we have the idea for album song two." According to the only English translation I am going to look up, the lyrics for this song features the line, "Time goes slow/And I'm gonna die." That is so not the vibe I got from this song.

88) "First Day Out," by Tee Grizzley

I really loved the way this song moved, like, the way it would switch it up every half-minute or so but still felt consistent, never felt like a thousand things were happening at once, and I thought the dude kept up with what the track wanted to do quite nicely. I'm. I don't know if he's a good rapper? I mean I won't pretend to know my stuff, again, I am out of my depth just wading into criticism on a technical level, but it sounded like he was talking over a beat for most of the song, and I can't tell if that's a relaxed flow or if the dude was just talking. And I KNOW he's a shit lyricist. He rhymed "blessing" with "happened," and immediately after that rhymed "status" with "castle." Like I'd be down with free verse, I think the world is ready for free verse rap, but then there’s eight consecutive bars end with the n-word? Like man, I think there's a lot to work with, I kinda wanna see where your whole thing goes, but boy, you sure amn't well-worded!

91) "The One," by The Chainsmokers

Please don’t make me listen to The Chainsmokers. I love "Closer" like I love few things in life. I thought "Roses" was fun. I could do without all these other Chainsmokers songs. Stop letting the dude from The Chainsmokers sing. He can't do it! He is unable to do it! He should not be carrying emotional ballads about letting someone go! Please tell me I'm not going to listen to ten other Chainsmokers songs next week. Oh god please tell me I do -- it's bullshit, because I can't take a principled moral stance like I'm about to take with Kodak Black, there is no ethical reason to not listen to the Chainsmokers, I will have to listen to every Chainsmokers song that comes on the chart, and it's BULLSHIT, because somewhere along the line y'all decided "Closer" wasn't an outlier. We all listened to "Closer," and that told the Chainsmokers people liked it when they were sensitive, and now next week, I'm going to have to listen to ten shitty EDM sad boy tracks, and all the good vibes I was feeling for 2017 are out the window because I can't believe the world is going to put me through that. Tell me this is the only cut from the album I have to endure, for the love of whatever gods you worship, tell me that.

93) "Conscience," by Kodak Black ft./Future 94) "Drowning," by A Boogie Wit da Hoodie ft./Kodak Black

As previously stated, I'm not listening to this dude's songs because I think he's a terrible monster and do not wish to support him more than I already have.

96) "Heatstroke," by Calvin Harris ft./Young Thug, Pharrell Williams & Ariana Grande

and now THIS, somehow, is the best pop duet in years? how the fuck does a duet between young thug and ariana grande work. what dark fucking sorcery is this. calvin harris is 2/2 so far this year, and i just, it's so good! i don't get it! it's like when someone told me that peanut butter, sriracha, and green apple made a good sandwich. i didn't believe it, but i still tried it, and HOT DAMN THAT WAS A SANDWICH. there is no way all these people coming together should work, but here we are, it worked and i'm happy.

98) "How Not To," by Dan + Shay

even the music video for this song doesn't wanna listen to this song

100) "Human," by Rag'n'bone Man

So are Rag'n'bone Man and Kaleo gonna have to fight for the title of Gotye 2017? Or does Rag'n'bone Man recognize that having a name one can make sense of precludes him from consideration for Gotye 2017 and is content to let Kaleo ride with that title? I don't mind that there's two Gotyes, though, especially since this one's pretty dope. I knew this was gonna be cool when I saw "Fast Car" pop up in the recommended videos sidebar and it delivered on that promise. Hot damn, though, this was a fun week for 2017. Like, last week, "Swalla" did a second week in the Top 20, and this week, Rag'n'bone Man can't get in. Well met, friend.

Speaking of, I moved some things around in the 2017 Top 20 again because I haven’t had a decade to spend with these songs and figure out my relationship with them, I’m sort of judging what’s good and isn’t good as I go, and sometimes that means bouncing Ed Sheeran from the Top 20, y’know? 20) "Tin Man," by Miranda Lambert (4.22) 19) "Everyday," by Ariana Grande ft./Future (3.4) 18) "Everybody," by Logic (4.22) 17) "Guys My Age," by Hey Violet (2.11) 16) "Heatstroke," by Calvin Harris ft./Young Thug, Pharrell Williams & Ariana Grande (4.22) 15) "Yeah Boy," Kelsea Ballerini (3.4) 14) "You Look Good," by Lady Antebellum (4.22) 13) "Selfish," by Future ft./Rihanna (3.18) 12) "Slide," by Calvin Harris ft./Frank Ocean & Migos (3.18) 11) "Now & Later," by Sage the Gemini (2.25) 10) "It Ain't Me," by Kygo x Selena Gomez (3.4) 9) "Craving You," by Thomas Rhett ft./Maren Morris (4.22) 8) "That's What I Like," by Bruno Mars (3.4) 7) "The Heart Part 4," by Kendrick Lamar (4.15) 6) "Chanel," by Frank Ocean ft./A$AP Rocky (4.1) 5) "Run Up," by Major Lazer ft./PARTYNEXTDOOR & Nicki Minaj (2.18) 4) "Green Light," by Lorde (3.18) 3) "Despacito," by Luis Fonsi ft./Daddy Yankee (2.4) 2) "Issues," by Julia Michaels (2.11) 1) "iSpy," by KYLE ft./Lil Yachty (1.14) Fucking Thomas Rhett in the top ten, this week was amazing and the worst.

WHO WON THE WEEK? 2017 took 2007 to the cleaners. It’s the first time either year has had the best bunch AND best individual song in the same week, and somehow, it’s a Thomas Rhett joint. I like “Stolen” more than I remember and “When I See U” more than I thought, but the top five from 2017 this week, man. Solid group, that. The problem, of course, is that next week, 2007 delivers an unassailable classic and two of my favorite songs from the year. 2017 may win battles, but it’s not quite prepped for war. 2017: 2 2007: 2