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Editor's Note: Guy Bensusan is best known for his successful method of peer teaching on the Web. In the early 90's he taught similar courses using the multi-campus interactive television network at Northern Arizona University. It is interesting to compare his description of the television experience with the syllabus for his web courses published July 2001 in the USDLA Journal.

START HERE:
Introduction to the course

Guy Bensusan

You sign up for a Liberal Studies course, "1492 and the Arts," and on entering the classroom see big television screens, microphones and TV cameras. Startled, you wonder if you're in the right place. You are, but since NAU's IITV technology is new, and the discussion-plus-project-based, learner-centered, self-directed method is uncommon, we will describe it to eliminate surprise. The first part of this essay will cover approaches to content and the second will explain the technology and various do's and don'ts for using it. A third part, spelling out course organization and grading, is described in a chapter called The Bensusan Method.

We study "1492 and the Arts" in a Humanities course. It is not an Art course, nor History, Sociology, Biography or any other academic specialty. Humanities examines expressions humans have created in their cultures over long periods of time -- meaning the arts, music, literature, dance, costume, foods, religion, history, social sciences, and the sciences which tell stories of stars, earth, plants, animals, minerals and so on.

In fact, while one school of thought considers Humanities as the study of Human Aesthetic Principles, another sees it as Comparative Arts and Cultures. Regardless, it focuses on who we are and what we think, cutting across academic disciplines to explore what humans created through the ages and around the globe by examining the evidence of arts, ideas, relationships, structures, situations, developments over time and interpretations.

When we say "1492 and the Arts," many of us will automatically see certain images, though the more we think about it, the more questions may arise. A survey might net several meanings in our title. One might be: What Happened to the Arts after Columbus came and went back? And does this imply in America or in Europe? And does everyone associate 1492 with Columbus? Spanish Language scholars might say, "1492 marks the publication by Lebrija of the first dictionary of the Spanish Language, which helped centralize Spain's political life and created the dominance of Castilian."

International Jurists could say, "1492 marks the first use of the principle of discovery as a legal basis for territorial acquisition." Or, Sephardic Jews might say, "1492 is when we were expelled from Spain," and Moroccan Moslems might say, "Granada fell to the Spanish Christians in 1492, indicating the end of the magnificence of Moorish Spain." For Japan, 1492 marked the Shogun struggles; in Russia it saw Ivan the Great conquer Lithuania; while in Peru, the Inca Empire of Huayna Capac had expanded in the Andes, ruling eight million people from Chile to Colombia. Arabs would undoubtedly say, "What do you mean, 1492?, this is only 1373," referring to the fact that their calendar begins with the flight of Mohammed from Mecca in 622. So, while 1492 was a banner year, how you see it relates to your culture and point of view.

For our course purposes we will primarily, though not exclusively, examine the many American arts resulting over time from the Columbian Encounter. We cannot focus totally on the New World for several reasons;

1. the arts of the Old World need to be considered since many of them will interact with Indian arts;
2. arts and ideas from America moved eastward as well, so influence was mutual; and
3. the lengthy relationship of trade between Spain and America, especially Cuba and Puerto Rico (1492-1898), helped establish something which Spanish scholars call Las Artes de Ida y Vuelta, roughly meaning The Arts of Going Over and Returning, which became a continuous spiral of developments in arts, music, dance, clothing, language, and many other fine and folk activities.

There were other factors. For instance, if we watch the change of visual renderings of human and animal figures, it becomes clear that Indians depicted them before Columbus arrived, while Europeans did it in a different manner. This is important, since Indians did not "discover" Europe, colonize it and then tell the Europeans, "No, that's not right, draw it this way, use these shapes, these colors, and stay inside the lines." It was the other way around, which meant that those Indians who initially were colonized by the Spaniards had to do most of the adapting, even if the influence of their ways would definitely be felt in Spanish arts.

In early class meetings we will discuss arts through the Hexadigm. We then examine The Bias Factor and its parts and filters. The Ladder of Comprehension explores many levels of interpretation to be considered as one learns a subject. Other chapters discuss traditional, modern and post-modern theories and schools of interpretation giving us a history of the ways Western scholars have explained the earth, society and human behavior. Each one of these schools sheds light on one or more ways that the consequences of the 1492 encounter were interpreted as time went on -- a fascinating story in itself.

The chapter on evaluating sources of information is practical, dealing with how one tries to determine the potential accuracy of what one learns from books, diaries, magazines and newsletters, but also from videotapes and recordings, museums and galleries, historical and natural parks and monuments, interpretative theme parks, special purpose associations, private collections, collections of oral traditions and interviews with individuals.

Two important considerations affect us:

1. students at all sites cannot have equal access to the resources of NAU's Cline Library, despite the existence of libraries in their own communities and the excellent efforts of inter-library loan, and
2. the fact that books provide one type of knowledge, point of view and learning, artifacts from archaeology and history provide another, while stories from ethnographic interviews make a third.

Students are encouraged to select project topics based on what sources are available, and also to consider their non-book local resources.

Several different mindsets and perspectives concern us:

• One is the question of finding out what actually happened within our topic and how we can be sure of the information.
• Another is to follow different components or threads that weave through the story fabric to learn what happened over time.
• A third examines how we personally react to the information and how our perceptions evolve as we develop the study through the semester.
• A fourth looks at how the topic and data have been interpreted in many evolving disciplines and schools of thought.
• A fifth concerns our predisposed mindsets and stereotypes, inherited from our ethnicity, culture, religion, gender and nationality.
• A sixth explores new perspectives and techniques for learning about the subject, determining validity and updating earlier conclusions.
• A seventh is the learner-centered, project-oriented, growth-graded, cooperative activity on state-of-the-art Interactive Instructional Television NAU-net of nine Arizona classrooms.

Taking an IITV course is not exactly the same as taking a class in another manner -- equipment, staff, protocol, methods and expectations are distinctive. There are cameras, monitors, pad-scanners, computers, videotape, microphones and open-audio, while the professor, rather than being alone, is helped by control-room operators at each site as surrogates with assignments, materials distribution and evaluations. In one case, an IITV course is a cooperative-education model, with interdependence of professor and staff as the support for learning by interaction.

One consideration is the vocabulary, especially in Flagstaff. Most on-campus students are also enrolled in courses not delivered electronically. Since descriptive words have implications, what should we call those; if one is "the regular classroom," then by reverse association IITV is the "irregular classroom." "Normal" evokes "abnormal," with like implications for common, typical, standard, ordinary, usual, classic, and other synonyms. We need new words, because the yardstick is based on older ways.

The label is also important because "INTERACTIVE," whether by ignorance, calculation, or a bit of both, is a current-market buzz-word which confuses and misleads. To interact means to send the action both ways -- and NAU's system is totally interactive in that regard. Teacher and students at all the sites are technologically able to engage in dialogue at any time -- whether the teacher wants to do that or just wants to lecture. The potential for going beyond our ancient traditions of teacher-tells-story while students write-it-down is perhaps the most important component of re-design in the current educational revolution.

Since some say that any student feedback, even one question, constitutes "interaction," it may be useful to spell out the qualities, rank the interaction levels and discuss educational potentials. With IITV, three levels are apparent: Full Interaction, Partial Interaction and Delayed Interaction.

I. FULL INTERACTION (meaning two-way video with two-way audio)

A. Motion seen

1. Full motion, via analog microwave signal
2. Diminished motion, compressed video via phone

B. Microphones

1. With open microphones
2. With push-button microphones

C. Operators

1. Operators at all sites
2. Operators at master site only

II. PARTIAL INTERACTION (meaning one-way video, two-way audio)

A. One way video and two way audio

1. With microphones at each desk
2. With one central microphone for students

B. One way video and phone return

1. Open phone lines in each classroom
2. With one central phone available for call-ins

III. DELAYED INTERACTION (meaning one-way video, one-way audio)

1. Class watches tape, then holds group discussion with visiting professor or teaching assistant -- alternative is growing for individual feedback over e-mail.
2. Site goes off-line, tape is sent for students to watch, discuss, write review and send by FAX, courier, mail or e-mail
3. Student who is absent watches video afterwards, writes review and delivers or sends it

The outline shows several options; the highest and fullest interaction clearly is two-way video, two-way audio, open microphones both ways, multiple sites and operators at each. This is NAU-net, with the one exception of Prescott, which uses compressed video, a choice made for physical-topographic reasons. NAU can set up its many classrooms into various configurations, offering a course to one or to as many as eight off-campus sites at the same time. Eighty different courses will be carried over NAU-net in the fall of 1995, many originating from Yuma.

Full-motion, full-interaction with many linked classrooms makes it possible for teachers to explore new teaching ways that go beyond tradition. In 1994, the NAU Foundation awarded Instructional Television a grant to pursue research, discussion and experimentation with alternative teaching methods for helping learners and for evaluating student learning. Along with Guy Bensusan, several NAU professors are collaborating on the project.

Some examples of first stage efforts are using Computer Generated Visuals and also printing them as a course-pack: having students present textbook information to the rest of the class and holding discussion over the main points in conjunction with the professor, and using small-group activity to generate presentations of information and interpretation to the whole class.

Another level of student involvement and evaluation is in restructuring the classroom process, creating discussion in selecting, defining and assessing examples of course principles with application by individual students or small groups. Brief, well-constructed projects for presentation over the IITV system is another level of practical involvement of students in their own learning. These various methods have shown promise, and courses taught by Guy Bensusan will be student-centered, growth-assessed and project-oriented. Each semester we will attempt to go farther in this direction.

Why does it take so long to learn to do new things? It is difficult and risky to experiment when large numbers of Liberal Arts students are signed up for the course; the professor is responsible for maintaining the course content approved by several faculty committees, and rules of the course should not be changed during the semester. Syllabus commitments are legally binding. Thus, course development only progresses a few steps each semester -- and those must be written into the syllabus before the course begins.

We are not in a vacuum, and students can be as locked-in to safe, "comfy" traditions as professors, staff, administrators and parents. Class layout also inhibits change, because we take existing classrooms and retro-fit electronic gear, squeezing to make it all fit. It would be nice to build a brand new IITV classroom that did not have chairs and tables in rows facing the blackboard and a podium. That inheritance presupposes the professor will present information to students, who sit in rows writing down what is said.

The conventional vocabulary of teacher/student/lecture/test does not help us change things either. What are synonyms for teacher? Educator, master, instructor, professor, tutor -- in all cases indicating something being taught by someone who knows, to a lot of people who don't. We might this the Edgar Rice Burroughs' approach, but instead of "me Tarzan, you Jane," it is "me teacher, you dummy." It probably derives from when there was only one book and the priest was the only one who could read it, alone or aloud to others. Lecture relates to sermon, thereby conveying various other moral, political and psychological insinuations.

But we are not there anymore: we cannot be if we consider the information explosion. No one teacher could possibly read everything relating to his or her field of study now; this is one reason, by the way, for so many fields dividing into sub-specialties, and often serves as a rationale for perpetuating lecture, since the professor is "the expert."

But I would then ask, why can't the professor put the information on paper, assign the reading, and then let students talk about the ideas and meanings? One does not need the IITV situation to create interaction, but incentives for doing it are few. Other traditions, such as closed-door classrooms, no admittance without permission from the professor, and the ritual of omnipotent professor are all part of sacred (occasionally abused) academic freedom. Any change at all means extensive work for the change-maker, and everyone already has too much work in those activities, which over time have become The Safe and Proven Paths to promotions, peer recognition, raises and other rewards. One earns few points for going against the wishes of those who vote for those rewards.

Hindrances besides megatons of inertia exist. How is change justified: by research. How do we design research: by measures already accepted. Yesterday's yardstick appraises tomorrow's innovation -- is there a contradiction? Are we not locking ourselves into a minimum-change mode? If we continue to tinker with lecture, test, grading-by-points and bell curve, as well as subtracting points for absences, we cannot easily move beyond them.

Let us break out of the old model and invert the paradigm; instead of focus on teaching, let us emphasize the learning! Who learns when lecture is written? Who learns when lecture is read? The teacher learns -- it was clear to me in graduate school that giving a "lecture" was a performance, like a poetry reading or any other song, dance or pantomime on stage. You got applause for clever, witty oration: not from the students, but from your professors and other graduate peers.

Does lecture help students learn? Research says they learn less by hearing than by a combination of presentation forms. A good lecture provides a model for a good lecture, but students also need to learn by reading, listening, doing, taking field trips, comparing, discussion: handling the information, arguing about it, and being guided in figuring out their discoveries. The doing is even better if the learner is provided with useful tools, encouraged to apply them to specific topics, and with the teacher available for help while "students do the doing."

And where does learning take place? The cartoon of teacher holding a pitcher of knowledge and pouring it into the open-lidded head of the student amuses us, but is untrue. It does not depict where and how learning happens, nor how much is absorbed or passed on through, unused. Certainly it differs among students; I happen to learn best not when someone tells me, but when someone shows me: when I am given a picture or image to study. Written instruction tells me nothing -- pictures do. Others prefer words.

If learners are individual and learning is distinctive, why not concentrate on those? If as learner-helpers (rather than teachers) we can tap into student motivations and encourage learning, especially the habit of learning on their own rather than being totally dependent on a teacher, we will go far. But we must surrender old-tapes and counterproductive conditionings; we must allow students freedom to choose in their zones of comfort rather than ours; we must abandon the notion that learning is serious and solemn while any play is frivolous and sinful. We must let students experiment, build, putter, falter, regroup and improve without being punished or even graded on each step. It is the end result of self-direction and lifelong learning, applicable to every facet of their lives, that counts.

If we must use grades, why not let students earn exit grades, at the end of the course? Since all students do not learn at the same pace or manner, let them function at their own metabolic learning rate. Students can write about a topic at the beginning of the course and keep on developing, expanding, revising and rewriting step by step to the fourth and final edit.

The amount of progress, dedication, responsibility, ingenuity and growth justifies the final grade. The teacher should give feedback, encouragement and suggestions for improvement. Success creates motivation, and if students choose their own subject to work on, the ground is safe; the potential for lateral extension occurs when the student is ready. Yet, when I discuss this in class, there are four types of responses.

1. One is, "At last I will be treated as if I actually have a brain."
2. The second is, "It sounds interesting, let's give it a try."
3. The third is, "What's the gimmick?"
4. The fourth is, "I have never been able to work unless someone forces me with threats and deadlines."

Student dependence is deeply ingrained; they stand in lines, are told what to read, what to think, when to study, when to take the test, are issued grades, and are sometimes mistreated for daring to question or disagree.

Attempts to shift motivation from fear to trust must travel through the adjustment zone of balancing freedom with obligation and accountability. Even more, the mental-psychological shift means abandoning the common social bonds of "all-nighters before the big exam," the "victim psychology," and collective griping, as well as the massive, mob amnesia.

It also means that if we throw something out, we must replace it with something better. If we are to discuss, rather than lecture, we all need to know what we are talking about -- otherwise we exchange biases, fables and ignorance. The professor must make information accessible, while students must make three important commitments, obligations and responsibilities.

1. Assigned material must be read before class discussion.
2. Students must participate and share ideas (on paper if necessary).
3. In discussion, they may start with reaction, but must make an effort to go up the ladder, to use the Hexadigm, to relate ideas to schools of interpretation, and so on.

While experience shows that it does work, you may feel stress and anxiety when we begin, but it gets better and easier. I will not put you on the spot; I will acknowledge your contribution and not belittle it. I will encourage and try to draw more students into the exploration. There are few proper or correct answers to our humanistic questions -- we explore ways of perceiving and interpreting, seeking relationships and parallels, comparisons and contrasts, following development of forms and ideas, describing contexts, and going beyond the most obvious. I will not sum up at the end of class; I will not tell you "the answer." I have my own answers about many things; I want you to develop yours, based on the broad encounter you have had with many important ideas.

Twenty-five years ago was when I began changing my style of teaching, in part because I was asked to teach subjects in which I had no formal training, and was usually only one chapter ahead. But I also shifted gears because I had learned so much from creating various media programs for the 1976 Bicentennial, and from being a professor on the SS Universe for the Semester at Sea. These led me out of the "standard, typical, traditional" classroom and into situations where I had to use alternatives. As much as I loved it and felt good about it, I also felt guilty -- the weight of academe was and is extremely powerful. It is interesting that something which obviously works requires explanation and apology.

Two other factors helped this "born-again-learner-helper." One was getting started in IITV in 1987, and the other was the tide of non-traditional students. With IITV the liberation was almost immediate. I joined a unit of dedicated professionals whose positive support and "We-will-make-it-happen" attitude was inspiring and rejuvenating. My four-part job description said I would teach two courses over the system each semester, that I was to experiment with the system and explore the different ways it might function better, that I was to assist and encourage other faculty in their early IITV voyages, and that I was to help build the overall student program. Consequently, it became my specific duty to find interactive ways of focusing upon the learner.

Non-traditional students were vital in our early success. They were older, already married, working, with children, or were "empty-nesters." Whatever the situation, they had responsibilities traditional students did not have; it was necessary to accommodate their needs, wants, schedules and different motivations. Since they were off campus I had to find ways to compensate for the lack of books and resources to work with. Since they often sought enrichment and fulfillment rather than degrees, I had to plug-in to that non-standard motivation. But what they did and how they learned demonstrated our procedures were viable, and I organized and extended them to everyone.

While the final lineup of our classroom sites has not been made at this point, it would appear that Flagstaff will be linked with the following communities: Coolidge, Holbrook, Lake Havasu City, Kingman, Prescott, Thatcher, Tuba City and Yuma. As you look at this line-up it becomes apparent that the portion of the Hexadigm called Regional Diversity is well represented. Yuma is an old agricultural and military community on the Mexico-California border at an elevation of 150', and is the site of Arizona Western College; Lake Havasu City, at 500' is a recent, planned community catering to Anglo retirees on the Colorado River and houses one of the branches of Mohave Community College.

Kingman is Anglo with a few Indians and Mexican Americans, located in ranching and mining country at 3300', and the center of Mohave Community College; Prescott is at 5300', overwhelmingly Anglo, a former state capital and an historic gold mining district and center for arts, recreation, folklore and retirees. It houses Yavapai Community College and Prescott College. Tuba City is near 5000' on the Navajo Reservation, between Grand Canyon and Canyon de Chelly, near Betatakin and Navajo National monuments, extensively Navajo in its student population, and the classroom is in the High School.

Holbrook is at 5000', a hundred miles east of Flagstaff, near the Painted Desert, on the Santa Fe line and I-40, a tourist center and the headquarters of Northland Pioneer College; Coolidge is between Phoenix and Tucson, near the Gila River and the Casa Grande Ruins, site of Central Arizona College, and an important farming community at 1600'. Finally, Thatcher (2900') is up-river on the Gila and at the eastern foot of 10,700' Mount Graham. Founded by Mormon Apostle Moses Thatcher in 1881, this important farming and ranching community created St Joseph Stake Academy in 1891, and the institution became Eastern Arizona College in 1933.

Nor should we forget Flagstaff, gateway to the north, the Grand Canyon and many other important parks, an intellectual, educational and scientific center, a multicultural community in the heart of the Ponderosa forest at 7000', and at the foot of the almost 13000' San Francisco Peaks, which are sacred to Hopi, Navajo, and indispensable in a spectrum of different manners, to those of us who live here. We will perceive the importance of geography when we listen to students at different sites. One important part of the course is understanding that points of view expressed by widely separated people when they discuss a subject over IITV relate to their regional cultural conditioning, which itself can be affected by location as much as by race and point of origin.

Finally, let us consider some of the necessaries which will make our semester work. We need to know at the outset that ours is a new system, that we have a unique piece of equipment in the Nine-Way Circuit, and that three of the sites are brand new this fall and two others have only been on line one semester. One of the TV Services people says, "We are building it as we are flying it," which is not an unwarranted description. Things work well most of the time. But sometimes, they don't, sometimes being affected by weather. A direct lightning hit will demolish a dish or tower, and even take a site off-line. Balancing audios at nine sites so everyone comes in on the same voice level is tricky and sometimes warps. Considering the complex technology, IITV performs unbelievably well.

Human error exists -- meaning student error and professor error -- I make mistakes, too. Certain things must be remembered or they create problems. One is microphones, which are attached to desks and always hot (meaning on). If you come in late, please remember to enter quietly and close the door gently. Pay attention to the screen and try to avoid getting in front of the camera shot as you go to your seat -- it is distracting.

If you bring your books in a bag, set them on the desk noiselessly. And remember that in emphasizing your point by pounding your fist on the desk you will also be making thundering noises at the other sites, drowning out the very words you want to be heard.

When you contribute to class discussion, keep in mind the distance from your microphone. Even though it is on and set at a normal level, it will not pick up your voice if you lean way back in your seat. Conversely, if you lean in too close, the sound will distort.

If you shove the microphone out of the way, point it straight up in the air, twist or otherwise handle it, you will make distracting and annoying noises at the other sites. So leave the mikes alone -- I do not wish to embarrass you in class, or have to speak to you about it afterwards. When you have something to say, put your face six inches from the microphone nearest you, and speak into it with a normal voice. Just because the Yuma folks are 300 miles away does not mean you need to shout.

And what do you say? Well, the first thing you should say is, "IN FLAGSTAFF, THIS IS JANE" -- and then, take a breath and say your piece. These three pieces of business have specific purposes. IN FLAGSTAFF alerts the master operator which classroom to switch to. THIS IS JANE helps the classroom operator to find you and put you on the screen so the rest of the class can see who is talking.

Taking a breath before you start has a double effect, one by calming you a bit, and the second in giving the operator a little more time to focus on the classroom and make the proper microphone adjustment on the audio board. After doing it the first few times it will all come naturally.

You may be disconcerted when you see yourself up on that big screen. You may not like that face or feel embarrassed, or not be able to think when you are looking at yourself. You may even ask me to not let the operator put you on the screen or you may decide not to talk to avoid the "problem." There's a solution to this: ignore the screen, pay attention instead to saying exactly what you want to contribute.

You will rapidly see the importance of doing this as you listen to others make their contributions. You will notice that it helps your understanding to watch them talk; you read their body language on the screen as you hear their words -- and that works both ways.

Secondly, if it bothers, disconcerts, or embarrasses you to see yourself on the screen, don't look at the screen. You can look at me if you want, but in fact, if you are doing what you should be doing when you are talking, you won't be looking at yourself on the screen anyway.

WHERE SHOULD YOU LOOK WHEN YOU ARE TALKING? "At the camera." Think about it -- you know how important it is in our culture to look into someone's eyes when you are speaking to them, especially for credibility. If you are looking down or somewhere else or shifty-eyed, the listener will not get the message you think you are sending.

If you are talking to someone at another site, and they are on the screen, your natural temptation is to look into the eyes shown on the screen. That makes sense, right? WRONG! Because if you ask what puts that picture on the screen, you see immediately that it is the camera. Therefore, if you will look directly into the camera when you are talking, everyone looking at the screen will think you are looking into his or her eyes.

If you look at the screen when you talk, the camera will show a side shot or an earshot on the screen. Even if the camera is right next to the screen, you will not be making full eye contact unless you look into the camera.

And that is another reason why I do not lecture: I don't want to see the tops of your heads while you write, I want to see your eyes -- and so do all the other students, those who are in this classroom and those at the other sites. They, like you, would like to be included in the conversation.

If you bring that idea into this IITV room, it works. In a traditional classroom, when a student who sits behind you says something, you can listen, or turn around and look. Here you have a better, more comfortable option: look at the monitor. And if the responding student looks into the eye of the camera, you will see and feel the student looking directly at you!

Some final considerations:

1. Since students who are in the same classroom as the live teacher are inevitably called upon first, I usually try to give off-campus students first chance to speak when two people at both sites have spoken up simultaneously.
2. On written work, put your name and location on every page, indicate date, course and your phone number on the front page. MAKE AND KEEP A COPY of everything you submit, just in case it goes astray.
3. PLEASE make sure the printing font is large enough and dark enough that my declining eyes can read your words.
4. If you are on the Flagstaff campus, please sign up for a Dana E-mail account as soon as you can; if you are off campus please find out about the e-mail possibilities. Then you will have direct access to me electronically, and I can respond in the same manner.

Taking this IITV course will be a positive and productive experience. Just remember that every new educational situation is unique in its makeup of students and an adventure in learning more about yourself and about the world around you. See you in class, WELCOME! And REMEMBER:

• Just because you have deadlines in other courses does not mean you should procrastinate and only turn in a first-draft in this one.
• Just because your essays are due every three weeks does not mean you may turn them all in on the last day.
• Just because you don't have to study for tests does not mean you should not read the text, or that you are not being examined and evaluated every day.
• Just because you didn't get a chance to talk doesn't mean you should not try harder to contribute next time.
• Just because you feel nervous and your heart pounds when you talk in class does not mean you won't get over it.
• Just because you need to participate in class discussion does not mean you should not be intellectually prepared every day.
• Just because I do not take roll does not mean the camera has not observed your absence.
• Just because you don't get a grade on each assignment does not mean you should not do your best work each time.
• Just because you have reactive feelings about the subject does not mean you should not try to climb the Ladder and consider your biases.

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