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Here’s the official reading list for ENGL 459 on Disaster Fiction, along with a quick breakdown of the class’s organization:

Part I: The Disaster Novel

Part II: The Postmodern Disaster Novel

Part III: Apocalyptic Journeys

Part IV: The Disaster of History

You can find a more visual display of the reading list as well.

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Amazon.com sent me a message this morning, announcing that the company is has “little choice but to end its relationships with North Carolina-based Associates” because of an “unconstitutional tax collection scheme” due to be passed by the North Carolina General Assembly. Not that I make any significant amount of money from my referrals to Amazon, but this is still disappointing news. Here’s the full text of Amazon’s announcement:

We regret to inform you that the North Carolina state legislature (the General Assembly) appears ready to enact an unconstitutional tax collection scheme that would leave Amazon.com little choice but to end its relationships with North Carolina-based Associates. You are receiving this e-mail because our records indicate that you are an Amazon Associate and resident of North Carolina.Please note that this is not an immediate termination notice and you are still a valued participant in the Associates Program. All referral fees earned on qualified traffic will continue to be paid as planned.

But because the new law is drafted to go into effect once enacted – which could happen in the next two weeks – we will have to terminate the participation of all North Carolina residents in the Amazon Associates program on or before that same day. After the termination day, we will no longer pay any referral fees for customers referred to Amazon.com or Endless.com nor will we accept new applications for the Associates program from North Carolina residents.

The unfortunate consequences of this legislation on North Carolina residents like you were explained in detail to key senators and representatives in Raleigh, including the leadership of the Senate, House, and both chambers’ finance committees. Other states, including Maryland, Minnesota, and Tennessee, considered nearly identical schemes, but rejected these proposals largely because of the adverse impact on their states’ residents.

The North Carolina General Assembly’s website is http://www.ncleg.net/, and additional information may be obtained from the Performance Marketing Alliance at http://www.performancemarketingalliance.com/.

We thank you for being part of the Amazon Associates program, and we will apprise you of the General Assembly’s action on this matter.

Sincerely,

Amazon.com

So much for that graphic novel Amazon store I had just set up last night for my class this fall.

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I’ve finalized the reading list for my Fall 2009 course on graphic novels. This is the same super-sized class that I’ll be teaching with technologies that may help me preserve my student-centered pedagogy. The syllabus was especially hard to settle on, as there are so many compelling graphic novels worthy of inclusion. I had to make some tough choices: Neil Gaiman didn’t make it on, nor did Kyle Baker, Jessica Abel, Charles Burns, Rutu Modan, and a host of other possibilities.  But what I’ve got is some great stuff, spanning genres, styles, and mood.

And here’s a more appropriately visual presentation of the same required texts, complete with pricing information.

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One midnight a short time ago I picked up 30 Days of Night, a vampire graphic novel I was looking forward to, after having read some great reviews. (In 500 Essential Graphic Novels, for example, Gene Kannenberg calls 30 Days of Night a “livid, modern-gothic triumph.”)

I finished the first volume by 1am. Was I too scared to sleep afterward? No way. The only thing that kept me up was trying to figure out why I was so underwhelmed by the comic.

The series begins with a great premise — vampires go on a thirty day feeding spree in Barrow, Alaska, during the darkest part of winter, when the sun will not rise for another thirty days — and at first glance Ben Templesmith’s graphics look stunning, crowded with expressionistic Nosferatu vampires against brushed and splattered grey-black backgrounds.

But on both levels – narratively and visually – 30 Days of Night is unrewarding.

The problem with Steve Niles’s writing is its flatness. Aside from a few pages early in the book (when the sheriff spots the vampire swarm approaching, each panel a closer shot than the one before, ending with a horrific close-up of the vampires looking like Edward Gorey’s creatures on steroids) – aside from a few sequences like that, the pacing is flat. There is no rising tension, no build-up of suspense. We know everything we need to know by the end of the first few pages.

The graphics likewise have a plodding sense of sameness about them. However vivid, frenzied, and edgy they are, it’s the same panel, over and over and over. There’s no sense of motion. Even when a panel depicts a vampire in the act of gutting a human, blood splattering all over the page, there’s a still-life sense about the scene. Visually, it’s beautiful, the fast strokes and scribbled outlines recalling the Muromachi Period in Japanese painting in the 14th and 15th centuries. But such dark beauty fails to create visual tension between panels. The images are too frantic, too much of the time, and the effect is a grinding repetition that, however much it may resemble the bleak sameness of the northern wastes of Alaska, sacrifices storytelling for the sake of artistry.

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Ian Bogost has a theory about Every Computer Animated Film Ever that boils down every plot into a universal structure, not too dissimilar from the monomythic Hero’s Journey. I don’t have much to add about the narrative conventions of the genre, other than to seize upon one point Bogost makes in passing and to expand upon it. The hero of nearly every computer animated film ever is, as Bogost puts it, an “anthropomorphized creature protagonist.”

As I commented on Bogost’s post, I’d argue that the “anthropomorphized creature protagonist” is a technical effect of what we might call the platform of CG films: for at least twelve of the last fourteen years (going back to Toy Story in 1995), humans, especially their faces, were simply too difficult to render in CG. So Pixar and Dreamworks had to make do with anthropomorphizing Potato Heads, cars, rats, bugs, fish, and so on.

What I find fascinating about the genre is how the technical limitations of CG transformed the more standard Disney princess story. From the late eighties to mid nineties we had Ariel, Belle, Jasmine, Pocahontas, and Mulan. And suddenly, nothing. No more princesses.

The animated princess is a thing of the past.

A final thought: is it a coincindence that post-Toy Story we find the most “othered” princesses: Pocahontas (1995) and Mulan (1998)? Is it a sign of multiculturalism or some sort of reaction to CG, the death rattle of pen and paper animators?

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Faced with the prospect of teaching larger classes, I’ve been thinking about how technology might help me preserve what I value most about small class sizes—and perhaps even bring added value to those large classes. But first some background.

There’s probably not a humanities program in the country that hasn’t received a memo from its dean that begins something like Due to the ongoing economic downturn and ends with bad news. Friends at other universities have been put on furlough, have had their benefits frozen, and have even been banned from making photocopies. Things aren’t that apocalyptic at George Mason, but we have had to slash our department budget, including reducing the number of courses we teach by six percent. That figure may not sound like much, but in a department our size it means cutting 18 sections for Fall 2009 and 16 sections for Spring 2010. In other words, in the next academic year we have to teach the same number of students as before, but with 34 fewer classes.

In addition to eliminating under-enrolled sections (forcing students to fill remaining sections to their maximum capacity), our department’s solution to this mathematical problem is to increase the size of a few key classes that are sure to fill, no matter what the cap is. I am the lucky professor of one of these newly designated “extra-large” classes. My Fall 2009 upper-division graphic novel class, once capped at 27 students, is now fully enrolled at 40 students, an increase of 50 percent.

How should my pedagogy change to meet this new teaching context? Or should it?

My classes are student-centered and discussion-oriented, and I rarely hold forth in any kind of lecture mode. It’s unusual for me to talk more than five minutes at once (a legacy of Doc Fuller, my undergrad mentor at Miami University of Ohio, who promised me his ghost would piss down my neck if I ever lectured more than ten minutes).

Rather than looking at this shift from a smaller class to an oversized class as a hardship or an obstacle to my teaching philosophy, I see it as a challenge: How do I continue to engage students on a dialogic plane when they, my department, and institutional momentum all expect me to lecture as the most efficient means of delivering content?

There is no single answer, but I have begun thinking about tactics I might employ that allow me to maintain a student-centered classroom while taking into account the larger class size. Not surprisingly, some of these tactics exploit technology that my students are already familiar with, but in different contexts.

Here are four I’ve been thinking about, followed by more detailed explanations of each:

  1. Blogging
  2. Wiki
  3. Twitter
  4. Pecha Kucha

Blogging

I routinely have my undergraduate and graduate students contribute to a class blog. The advantages are many: it’s a public space that requires students to consider questions of accountability and audience; students begin to see themselves as participating in an ongoing conversation about culture; and participation jump-starts class discussion so that I already have an idea of what students are thinking and wondering about before I even enter the classroom. In smaller classes I read and evaluate every post (according to this rubric) and generally comment throughout the semester on at least two posts by every student.

The problem with 40 students is that there is no way to read (much less comment upon) every post if every student is posting every week. I am toying then with a rotation model (inspired by Randy Bass),  in which students are divided into five groups of  eight students, cycling through these five roles:

  • Role 1 – Students are “first readers,” posting initial questions and insights about the reading to the class blog by Monday morning
  • Role 2 - Students are “respondents,” building upon, disagreeing with, or clarifying the first readers’ posts by class time on Tuesday
  • Role 3 - Students are “synthesizers,” mediating and synthesizing the dialogue between first readers and respondents by Thursday
  • Role 4 - Students are responsible for the week’s class notes (see next section on Wikis)
  • Role  5 – Students have this week “off” in terms of blogging and the wiki

I like the rotation model because each group of students is reading for and reacting to something different. The shifting positionality affords them greater traction, offers greater variety, and guarantees a dialogue without comments from myself.

Wiki

Students in Role 4 will be responsible the week’s class notes, written collaboratively by the group on the class wiki. I am indebted to Brian Croxall’s Wiki Class Notes assignment for this idea. I haven’t thought through all of the specifics, but essentially these students will capture what happens in the classroom—synthesizing the discussion, referencing the visuals, highlighting moments of confusion and understanding—and then archive it and make it available for the entire class. I would even encourage students to document each session with their cell cameras and incorporate annotated versions of this “evidence” into the wiki. The notetaking students can also use the Twitter backchannel (see the next section) as another source for their notes.

Twitter

A number of professors and instructors have begun using Twitter in their classrooms (see the Ultimate Twitter Teacher Resource for some ideas aggregated from across the web). I am most interested in Twitter as a backchannel, in which students use hashtags to create a stream of realtime on-task chatter about the class, which we can refer to at key moments during classtime. Outside of class, Twitter can be a microblogging-lite platform as well, for students to share quick notes and inquiries whenever they come across something in their daily lives relevant to the course material. This is the kind of use that David Parry writes about on Academhack.

Pecha Kucha

The most exotic sounding of all these tools, Pecha Kucha (pronounced “pe-chak-cha” ) is in fact the simplest idea: student presentations of 20 slides, 20 seconds per slide, adding up to a total time of 6 minutes and 40 seconds.

This rigid format sounds like it might lead to manic presentations, but I see it as the perfect solution to the usual crop of undisciplined, unfocused student presentations, especially when we have 40 of them to get through in a semester. There is no way to do a timed presentation without practice, and no way a student can get through one of these presentations simply by reading aloud the text the audience can read for themselves on the screen. Think of pecha kucha as Ouilipo for PowerPoint. The formal constraints paradoxically unleash creativity.

A Note About Grading

Taken together, these four digital pedagogies will add up to quite a bit of writing for my students—writing that will replace several of the major assignments I’d normally require. Eventually such dialogic, community-based writing might encompass the entire grade for a class. (At Leheigh University, for example, Ed Gallagher has successfully experimented with online discussion comprising 100% of a student’s grade; read his thoughtful reflection at Academic Commons.) For now, though, I’ll still have at least one paper, and I’ll also require a meta-reflection two-thirds of the way into the semester (similar to my blogging about blogging assignment).

What Else?

My extra-large class is three months away, so I have plenty of time to rethink these strategies or add more to my arsenal. I welcome suggestions, both lofty untested ideas and proven, practical techniques. The class will be an experiment in pedagogy, and even if it fails it will have failed successfully.

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Facebook is the past, Twitter is the future.

Or phrased less starkly, Facebook reconnects while Twitter connects.

All of my friends on Facebook are exactly that: friends from real life, or at the very least, people whom I actually know. Colleagues, students, family members, former classmates, childhood friends. A significant chunk of those Facebook friends are ghosts from the past, people whom I haven’t seen, spoken to, or even thought of in years, maybe decades. Facebook has reconnected me — albeit in a very superficial sense — to these people. I’d even estimate that friends from my past now outnumber current friends and acquaintances on Facebook. Given the exponential algorithm driving the growth of social networks (like the old Faberge shampoo commercial, you tell two friends, and they’ll tell two friends, and so on), it’s not surprising that these reconnections to the past began with a single high school friend, last seen at our graduation in 1989. The ripple effect from this single act of “friending” led to dozens of acquaintances from my hometown.

The reciprocal nature of “friendship” on Facebook reinforces the site’s re-networking aspect. You can only befriend people who have befriended you. Facebook’s insistence upon reciprocity appealed to me at first, ensuring that nobody could lurk on my profile without likewise surrendering their own profile to me. Yet this feature, that I found so comforting when I first dipped into social networking, I now find to be confining, perhaps even the greatest limitation of Facebook. Reciprocity guarantees a closed platform, a fixed loop that cannot expand beyond itself.

This stands in contrast to Twitter, where reciprocity is not required. You can follow someone without them following you. The effect of this asymmetric system is that many of the people I follow I have never met. And I may never. Likewise many of my followers are absolute strangers. Yet many of them share interests with me: pedagogy, literature, digital humanities, even music (at least two of my followers added me after I wrote about the band Shearwater). So this is what I mean when I say Twitter connects.

There is another crucial difference between Facebook and Twitter that associates the former with the past and the latter with the future. Even with its new layout and feed, Facebook does not truly operate in real time. Facebook is still something like a bulletin board. My status updates, therefore, tend to be sly comments or key links that I’ve thought about and pondered and that I want to remain “active” for a day or two. Constant status updates would quickly get lost in the clutter of irritating quiz results, meaningless gift hugs, and holiday Peeps that populate the Facebook news feed.

Twitter conversely offers a more stream-of-consciousness aesthetic. If I immediately follow one tweet with another, I’m not so concerned that the first is going to get lost, as my followers are seeing a feed of my tweets in whatever application they’re using. It is also a matter of one or two clicks (depending on your Twitter client) to see my Twitter posts in aggregate, something much more difficult to achieve in Facebook.

So, to be systematic about the differences between Facebook and Twitter, I present this chart:

Facebook Twitter
past future
reconnect connect
static dynamic
closed open
pond stream

The last distinction — pond versus stream — evokes the dominant ecology of each social network. And I for one would rather be in the flowing stream than the stagnant pond.

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This is absolutely stunning: Ian Bogost had his computer science students at George Tech modify Stella, the opensource Atari 2600 emulator, to reproduce the same kind of visual artifacts you would’ve seen when you played the VCS on a CRT television (those big boxy TVs with tubes, for those of you who don’t remember). Their CRT Emulator will soon be a configurable option in Stella.

Now we’ll finally be able to recapture the original experience of playing Yar’s Revenge on your parents’ 19″ Magnovox, minus the wood console.

crt_yars

The crisp image in the bottom half is what we see when we play an Atari 2600 game on Stella now. The top image is what we would have seen playing in the late seventies on a television — and what we’ll soon be able to experience with Stella (Click the image for a larger version).

And here’s a question I’ll be asking my videogame students today: why would degrading the graphics on a game actually be a good thing?

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Lately I’ve been wondering how to use Jane McGonigal’s Zen Scavenger Hunt idea in my teaching. A Zen Scavenger Hunt is essentially a reversed-engineered scavenger hunt. The hunters go out and find ten or or so items and only afterward do they receive the list of the items they’re supposed to be scavenging for. The participants have to improvise a series of hacks and demonstrations to prove that their items perfectly match the list.

The most faithful pedagogical analog to a Zen Scavenger Hunt might be having students write about anything using any format or style, and then give them the question they were supposed to be answering. The students next have to persuade me (and their classmates) that their essays do indeed answer the question, perhaps via footnotes or annotations.

The bulk of creative and critical work on the students’ part comes in at the second, performative level, in the rhetorical act of proving by whatever means necessary that their essays match — and in fact have always matched — my question.

A less faithful, though perhaps more intriguing possibility for introducing the same kind of backwards-modding into student work might involve using Wordle. I can imagine students writing (though I am pedagogically opposed to overreliance on such writing) a typical essay, say an analysis of the failure of cognitive mapping in Karen Tei Yamashita’s Tropic of Orange. They feed their essay into Wordle, and then other students must recreate the argument of the original student essay based on the Wordle-produced word cloud.

Or, in a variation of this assignment, the professor creates a Wordle cloud out of a scholarly essay, and the students work collaboratively to reconstruct the original publication. So, here’s a word cloud generated from Rachel Adam’s essay in Twentieth Century Literature 53.3 (2007) on Tropic of Orange, “The Ends of American, the Ends of Postmodernism” (larger version):

Rachel Adams on "Tropic of Orange"

Could a group of students reconstruct an essay out of this word cloud? And then persuade me and their classmates, through an overlay of textual and spoken improvisation, that their new essay is in fact a faithful recreation of the original?

We’re in Borges territory here, but it’s someplace I think students need to spend more time.

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A few of my English department colleagues and myself are preparing to propose a new Electronic Literature course, to replace a more vaguely named “Textual Media” class in the university course catalog. Here is an incredibly first draft version of the course description, building in part on language from the Electronic Literature Organization’s own description of electronic literature:

Electronic Literature (3 credits) Electronic literature refers to expressive texts that are born digital and can only be read, interacted with, or otherwise experienced in a digital environment. Contemporary writers, artists, and designers are producing a wide range of electronic literature, including hypertext fiction, kinetic poetry, interactive fiction, computer-generated poetry and stories, digital mapping, and online collaborative writing projects via SMS, emails, and blogs. In all of these cases, electronic literature takes advantage of the capabilities and contexts of stand-alone or networked computers. Such literary texts often demand new reading and interpretative practices, which this class will develop in students.

I’m eager to hear any feedback about this purposefully generic description.

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