Students will consider the difference what is shared online and what might be going unshared.  What you see is not always what is real.  This lesson is part of a media unit curated at our Digital Citizenship website, "Who Am I Online?".

This OER is a PowerPoint presentasion to discuss Chapter 9, Are Things as They Appear?, in the textbook Norton Intro to Philosophy and Appearance and Reality, by Bertrand Russel. It is my interpretaion of the content from a college student's view. In the PowerPoint, I have added some discussion questions and additional resources to further the learning of the students.

This course focuses on novels and films from the last twenty-five years (nominally 1985–2010) marked by their relationship to extreme violence and transgression. Our texts will focus on serial killers, torture, rape, and brutality, but they also explore notions of American history, gender and sexuality, and reality television—sometimes, they delve into love or time or the redemptive role of art in late modernity. Our works are a motley assortment, with origins in the U.S., France, Spain, Belgium, Austria, Japan and South Korea. The broad global era marked by this period is one of acceleration, fragmentation, and late capitalism; however, we will also consider national specificities of violent representation, including particulars like the history of racism in the United States, the role of politeness in bourgeois Austrian culture, and the effect of Japanese manga on vividly graphic contemporary Asian cinema.
We will explore the politics and aesthetics of the extreme; affective questions about sensation, fear, disgust, and shock; and problems of torture, pain, and the unrepresentable. We will ask whether these texts help us understand violence, or whether they frame violence as something that resists comprehension; we will consider whether form mitigates or colludes with violence. Finally, we will continually press on the central term in the title of this course: what, specifically, is violence? (Can we only speak of plural "violences"?) Is violence the same as force? Do we know violence when we see it? Is it something knowable or does it resist or even destroy knowledge? Is violence a matter for a text's content—who does what, how, and to whom—or is it a problem of form: shock, boredom, repetition, indeterminacy, blankness? Can we speak of an aesthetic of violence? A politics or ethics of violence? Note the question that titles our last week: Is it the case that we are what we see? If so, what does our obsession with ultraviolence mean, and how does contemporary representation turn an accusing gaze back at us?

The fact that no one knows the answer to this question is what makes it exciting. The story of physics has been one of an ever-expanding understanding of the sheer scale of reality, to the point where physicists are now postulating that there may be far more universes than just our own. Chris Anderson explores the thrilling implications of this idea. A quiz, thought provoking question, and links for further study are provided to create a lesson around the 5-minute video. Educators may use the platform to easily "Flip" or create their own lesson for use with their students of any age or level.

This section examines how reality and fantasy are understood and constructed by, across, and in the Americas. Materials drawn from across the curriculum (e.g., from history, psychology, media, and communication studies) are used to question definitions of reality, fact, truth, fiction, fantasy, magical realism, myth, virtual space, reality-TV, and corporeality. Students gain the ability to defend their positions about how categories such as reality and fantasy differ and overlap.

A unique perspective on the confluence of the three basic conceptual frameworks in human experience. Contains several studies, with data, of remarkable world views of disparate cultures based on their specific cultures language. The premise is that how people experience the world, then think about it, then create a language around it, alters their perception of the world in very fundamental ways. The radical notion is that thought and language, creates the circumstances of, and contribute to significantly different realities for different peoples.

The internalization and realization of this concept is significant and can possibly radically alter and change how different cultures assess their ability to, at the most basic levels, understand other cultures realities.

This course is a seminar on the philosophical analysis of film art, with an emphasis on the ways in which it creates meaning through techniques that define a formal structure. There is a particular focus on aesthetic problems about appearance and reality, literary and visual effects, communication and alienation through film technology.