portfolios and the learning world

Recently, the English Department at Tunxis met with Business and CIS Departments to discuss the objectives, assignments, and work that students do in programs where writing is a requirement. In my mind, these kinds of discussions where faculty from all walks of the campus come togethert to exchange ideas are important for the people taking courses as well as for the teachers teaching them. The English Department at Tunxis isn’t a service department out of which students take their fresh abilities and apply them in other courses. If this was the case, no teaching in any other area would be done until first year writing was completed, right? On the other hand, we don’t see ourselves as cut off from the college community as a whole. We do hope, of course, that students will be able to explain themselves in other courses, and in this way we do service the college, but I’d rather see composition teaching as an offering to students who may be asked to express themselves elsewhere, either in Microeconomics or in British Literature.

I’m a big fan of teachers who ask their students to write outside of a composition course but who also take charge of the idea of writing for their own purposes, independent of the writing workshop.

Imagine a college environment where students only practiced using the language in composition, technical writing, and Literature. It would be an odd place indeed.

It would be interesting to create a learning portfolio for students to develop throughout their program career, a sort cummulative project whose outcome is to show a range of ideas and abilities, which checks along the way, a major element of this portfolio being writing.

futures

As I think about the Spring semester already, reading for fiction writing throuugh to British Lit, I’m wondering why more thought and exposition hasn’t gone into realizing gaming elements into teaching and learning on a more global scale, rather than the pockets of discussion that form the more realistic discourse on this subject.

In other words, consider the idea of objectives in a course and in a degree: what people will do and learn. All games have objectives, demonstrable from the start. They involve a clear set of stated accomplishments. As do college courses and degree programs in general. Outcomes are also requisite, and we hear a lot about these two elements of education all the time, especially from bosses who order that these be clearly articulated for students, which is fine by me.

Objectives, feedback, challenge, and narrative.

the link and the lexia

Michael van Mantgems hypertext Completing the Circle is a great example of how language structures work in hypertext space in general. Not to mention it being a great story about Haller, a man who weaves and intersects across scotomatic space struggling against the tragedy of the linear.

Consider this lexia, titled Images, and its links:

She moved her hand up his leg in measured, smooth, contractions. She still hoped that his labored breathing could be a sign of sexual arousal.

He pressed deeper into his seat, trying to create a safe distance from his dream. Fragments. He took a few deep breaths to prepare for the images that were beginning to appear in front of him. Fragments of faces. Pieces of time. A first kiss. Dreams intersecting. Dreams changing. Dreams compressed.

Here Haller is in a car with Mary. Theyve parked; theyre watching the Albuquerque light line through the darkness. The scene has snugged into the car. The paragraphs disclose irony in that what Mary hopes Haller is thinking doesnt quite match his internal state; shes seeking closeness through physical touching. Well learn later that Haller wants a closeness that was beyond sex, an intimacy beyond mere penetration. The reader is invited into both characters heads. But to see these characters develop we must traverse the links, perhaps opening narratives we may not expect, unanticipated forks.

In “Images,” the text links include fragments of faces, a first kiss, dreams intersecting, and dreams compressed.

A first kiss links to this text, titled Movement:

Her body moved despite her.

This sentence length paragraph begins with the word Her which recalls the initial word of the prior lexia She. It could be that the pronouns refer to the same woman, but does the link itself, embedded in the prior paragraph, compel a different expectation given that a first kiss suggests movement back into the past. In addition, the destination of a first kiss is enigmatic: Her body moved despite her, a description that doesnt really correspond to the narrators attitude toward Mary, who hoped that his labored breathing could be a sign of sexual arousal. The first paragraph of Images is thick with Marys movements, her desperation. She moved her hand. The movements are measured and smooth. Hallers breath is labored. But hes concerned with dreams and the links would suggest in the context of the writing mental drift, internal considerations, perhaps even regret, all of which would suggest a journey through the past, thus the links would be memorial in nature. These anticipatory considerations all form continuity across the paths of the hypertext.

Her body moved despite her sources to Sex Scene:

The anticipation of what lay ahead caused him to shiver uncontrollably. His skin became rough as it constricted around him. Every sound, every texture was distinct and immediate; the sweat trapped against his scrotum the roughness of his underwear the softness of her bed the slap of her feet against the tile bathroom floor the flush of the toilet the click of the lightswitch the shadows playing outside and against the far wall dancing, dancing in and out of focus the rustle of sheets the coolness of his fingernails as they slid along his own thighs the tug of underwear the clinging of elastic the delicacy of her breath the hardness of her lips the strings of saliva stretched between their tongues the smoothness of her freshly shaved legs the thin sheen of sweat across his back her fingers burrowing into the matted fur on his chest the press of fingertips to nipple the weight of his body pressing down on hers the fumble of hands the resistance of elastic and silk the crack of hips spreading open the whiteness of clenched and quaking hands the pressure of penis against vulva the pressure of penis against vulva the pressure of penis against vulva the pressure of penis against vulva. . .

I leave it here. Is this the past? Obviously. Continuity can be read in the path from Images to Movement to Sex Scene, only one path out of Images in the use of pronoun, the specific tone of the narrator space to space, persona, subject, and, of course, the link itself, whether it be a word or a word group. In the hypertext, source, link, destination are all at play in meaning, forming a new semantical grammar and logic. Indeed, the juxtaposing of The anticipation of what lay ahead caused him to shiver uncontrollably with Her body moved despite her with He took a few deep breaths to prepare for the images that were beginning to appear in front of him. Fragments of faces. Pieces of time. A first kiss. Dreams intersecting. Dreams changing. Dreams compressed, snipped here as I would be likely to think about them in readerly retrospect, invoke not a distorted set but a vigorous rereading and concentration on the reasons why the paths have been constructed as they are: in other words, Im being asked to pay attention to structure, to meaning, to context, to details in my act of reading, rereading, and understanding. As I read I move back and forth; I try out different paths; I concentrate on the context and action, and, importantly, forgo the habit of thinking that Im missing something or being tricked because if I follow one path, I may be missing something on another (It could that I could just click through 20 spaces and stop and try to find my way “out” or the edge of the circle). Im forgetting that in order to read Completing the Circle I have to read it in some predisposed sequence. I go where my interests are pushing, given the density and attraction of the link structure. Im not free to go where ever I wish, since the hypertext is woven before Ive begun to read it just as any story is. I sense the story and just read, constructing meaning and finding continuity along the way.

sententia

In new media we’ve been talking a lot about sequential information and fundamental unifying principles that form or promote continuity in visual narrative. But how does alphabetic language, these marks on the page, display continuity other than being recognized symbols and words? Spoken and written language are at heart sequential in orientation; the structure of language is so transparent to us that it barely gets noticed, unless a reader picks up a poem and is faced with structure first hand.

The sentence forms a unit of language as a system of meaning. Everyone looks or listens for the verb. In English the noun and verb form the sense of a unit of meaning. Nevertheless, a word is a discrete unit in and of itself, but without a syntactical system in which to operate, the word is arbitrary, thus there has to be a unit beyond the single word that can be called discrete, say a phrase, maybe. Dog, in other words, means nothing outside the system. In fact dog doesn’t even exist, really.

Id like to do a little codification and take a sentence and break it up into its units just to see how it fits together as a system.

One evening, after thinking it over for some time, Harold decided to go for a walk in the moonlight.
one evening | after thinking it over | for some time | Harold decided | to go | for a walk | in the moon light

Each of these units is critical to the meaning of the sentence from Harold and the Purple Crayon, although other units could be at play here. Neither of the units can stand on their own outside of the sequence, but they can be ordered differently. I have to qualify that last sentence because each unit does maintain a certain level of closure or chunk of meaning that retrieves the next part of the sequence into a whole. Ill provide two examples and label them YES and NO

YES
Harold decided to go for a walk in the moon light one evening after thinking it over for some time

NO
To go for some time Harold decided for a walk one evening after thinking it over in the moon light

The scrambled No is obviously a dud. By distorting (or reordering) the sentence, the YES sentence reveals its syntactical unifying elements: prepositions, tenses, qualifiers, articles, phrases, clauses, modifications, and associations. If left alone, the NO sentence is difficult at best to understand and could be made much worse. Concerning the Yes version One evening indicates time. After thinking and for some time indicate duration. Harold links across the series and indicates who is thinking and who is in time and who will be traveling in the moon light. Also, one before evening qualifies the moment.

What does sense mean in terms of the sentence, though? Obviously, NO can make sense, but it may not be the sense the writer or reader is looking for. Yes and No mean different things. Thats the point. The elements that make the Yes and original sentence mean something to the reader are fundamental to alphabetic language. The reader wants the sentence to make sense; wants to figure things out. Its way beyond me to ask: how does one evening . . . generate recognition. I have to wonder if there are connections between psycholinguistics and semantics. Anybody know about this?

Anyway, we know that One evening, after thinking it over for some time, Harold decided to go for a walk in the moonlight makes sense. The reader relates this One evening to that after thinking it over for some time, knowing that thinking doesnt come before the one evening, although Harold may have been considering his adventure throughout the afternoon. Also, the reader knows that neither the evening nor the moonlight decides anything.

The reader works at putting the sentence together just as the reader strains to make sense of panels in Watchmen.

Election Update

As I follow the aftermath of the election, in which my choice lost, I note some reactions. One is the disappointment at the loss, as a force of the lead up and hard work and hoping of the Kerry supporters; the other is the call for a new approach, a change in tactics, and/or over analysis of causes.

I was, of course, disappointed, but I don’t advocate a change in tactics. Congresspeople are hanging their heads, wishing the world was different. But I hope that the powers that be avoid a see change in approach for the Dems, because this would miss the point. The numbers, number one, are on any scale closely competitive nationally. State by state tells an uneven yet interesting story, which I interpret loosely as able to change quickly, depending on future events. In some cases, as in Ohio, the vote reveals a narrow split, as does New Hampshire. Consider Missouri at 53/46 and Alabama at 63/37. Some states show a marked split, while others, especially in the blue, are tending to red. I won’t double check this, but either way, the point remains the same. From sea to sea anything is possible even in the face of state by state trends, under the auspices of federalism.

The “attitudes” of any given time span always trend. At the moment, the trend is conservative. Anyway, this all means that a few million people, which, in my mind, are the same people you meet every day and have nice conversations with, could just as easily have swung Kerry’s way, but didn’t. In some cases, people will vote against their interests, to use Thomas Frank’s (What’s the Matter with Kansas?) phrase, and go with an anti-Roe vote or on terrorism issues (closer perhaps than any moral vote), all the while feeling their pocketbooks whithering as the world slowly changes under their feet. People vote on the visceral, not on the intellectual.

In any event, “reaction” is rarely a good way of going about solving a perceived problem. I myself have come to many conclusions about the things I think are fair, good, or honest, and I don’t plan on changing those things because of a close loss. Iraq is a great mistake; the arts and sciences need strong support; education needs teachers to have a stronger role in how learning happens; the press needs to stop trying to be the boss’s friend; and people of whatever kind need to be left to pursue what they wish or care to pursue.

new media course update

We will probably not be covering hypertext in class at the next meeting on Monday but will continue with space and time in art issues. This past week we had some dynamite spatial analysis of Watchmen from Kluba and Timmons, examinations which are well worth staying on task in terms of our time limits.

In terms of hypertext, space and time, links and sources and destinations and their structures, it’s important to consider how all this plays into the hands of Watchman and its sequential superstructures, which cross the borders of text, graphics, and visual composition. There are associations between how we read Watchman and how we read writing on the screen. To refer back to Ted Nelson: it’s filmic/cinematic.

I’m pretty that our students who are working with Powerpoint have noticed the film editing features. I think this goes to the nature of digital space in general.

juxtaposition and narrative

Professor Timmons writes, “Editing: the juxtapositioning of signs and symbols as an attempt to create or discover meanings. A significant element of narrative structure.”

I like the “create or discover meanings part.” Because it works with other forms, such as IF and hypertext, with their hidden structures. Consider this poem by Auden entitled The Shield of Achilles. First few lines go

She looked over his shoulder
For vines and olive trees . . .

All kinds of questions lead from these lines, not to mention the suspicion that poem may be longer. Calvino in If on a winter’s night a traveler takes this issue of narrative structure and makes it a part of the “plot” in the sense that the novels that never find completion compel much of the action. In the novel, a suggested novel won’t find completion, only If on a winter’s night a traveler will end, sort of.

turnabouts

In Shakespeare’s The Tempest, Caliban has a neat turnaround, as do most of the characters, fulfilling that most earnest story convention. Caliban says

You taught me language; and my profit on’t
Is, I know how to curse. The red plague rid you
For learning me your language!

then

Ay, that I will; and I’ll be wise hereafter
And seek for grace. What a thrice-double ass
Was I, to take this drunkard for a god
And worship this dull fool!

The initial quote from Act I and ending with Act 5 both point to language and knowledge. While it’s not the most likeable end for Caliban the technique remains sounds. It’s that nice arc.

There’s Finding Nemo, too. At the end Nemo’s father finally let’s go of Nemo in the fishing net and gives him “will,” a thing Caliban won’t be given. In the whale’s mouth, Marlin gives Dory trust. In Syberia, Kate Walker is bound on getting her business done then going home and at the end chooses not to. So the stories go.

the mind and new media

Spinning writes

New media brings the awareness of the thoughts in layers. Teaches us to tie them all together into a symbolic whole. The music for the dancing serves as background just as easily for ponder, and for all the movies constantly running on the monitor, on the mind.

Her post is interesting for the connection she makes between new media and mind. Simply, both mind and network are complex arrays or systems. When we remember, we “make a link” between two things. Thus database is a metaphor (not simile) for a certain function of mind. Of course, memory and database function in vastly different ways. The network and the brain are another connection in this way. Don’t we want to create metaphors that help to concretize or visualize complex systems? Don’t these lead to better questions?

A famility photograph isn’t a memory, though; it’s a “key,” a machine for unlocking. Nor is it “the famility.” Indeed the photograph makes “still” what is in motion always: family. This notion is what caught my ear at the last fantastic Narrative meeting that turned into a nice show and discussion of Fred Nelson’s blackandwhites. John Timmons asked the question: is “this” what Fred was seeing? Interesting, the photograph as mental image.

shifting cultures

The arguments have been made and will continue to be made that the larger issue surrounding the offensive in Iraq is really about changing the culture of the Middle East so that the conditions that cause terrorism will be nipped, whatever this means. As Bill Kristol writes in The Weekly Standard:

In his October 18 speech on the war on terror, President Bush noted correctly that his opponent “has not made democracy a priority of his foreign policy.” Indeed, Kerry’s critique of Bush goes beyond competence in the execution of policy to first principles. Kerry does not see a need to fundamentally change the political culture of the Middle East. Bush posed the challenge well: “Is he content to watch and wait, as anger and resentment grow for more decades in the Middle East, feeding more terrorism until radicals without conscience gain the weapons to kill without limit?” Bush isn’t. Thus he embraces the task of helping to spread “democracy and hope” so that “governments that oppose terror multiply across the Middle East.”

This is, of course, where I see the heart of the illogic and apparent madness of the current administration and its boosters. Kristol highlights a connection between “democracy” and “governments that oppose terror.” What troubles me about this connection is its simplicity and its power. It could easily be argued that spreading democracy across the globe is a great policy position to take, just as messianism for some religions seems, on the surface, graceful. But in our case the circumstances are different but just as cynical and naive and tactless. “Democracy and hope” is a position, a rationalization, really, that sounds reasonable but really stems from emotional reactionism, superciliousness, and over-confidence, the kind of over-confidence that one relies on approaching a hornet’s nest with a broom and crazed grin.

I suspect it’s not democracy that we’re after in Iraq, however, since that term is so muddied these days. I’d say it has to do more with “control.” When someone says that we should be spreading democracy around the world, I wonder, why not spread swiss cheese around, too, just to give it some taste. The only reason that one can say that they are spreading democracy to another is if the carrier carries a big club and bank account or the 21st century paradigm of economic markets. American democracy can’t be separated from federalism and competition for limited resources, such as coffee, sugar, broadband, or oil. But we have plenty of control issues today: nuclear proliferation, new arms deals, and terorism is far from being fisted around the throat.

The problem is practice vs guesswork, fact vs inference. The Bush administration took us to aggression for WMD, knowing full well that WMD were an improbability. “Democracy and hope” is rationalization. Does this mean that those soldiers who died in the “thrust” to Baghdad died under suspicious circumstance, false entitlement? Logic says yes. This is worse than a shame.

The argument goes, “Better to fight them overseas than on US soil.” This, again, is faulty logic, given the place we’re fighting was irrelevant to the fight to begin with and the “rationalization” comes with loads of unintended consequences, such as inspiring a new generation of America haters (not democracy or freedom haters: abstractions don’t bleed). It would seem to me that this is a clumsy way to go about spreading the good news.

Both the Cincinnati Enquirer and the Hartford Courant have endorsed George W. Bush. One reason is economic. But the record is still up for grabs on the economic policy of the administration, as Kash points out in this post. Both Bush and Kerry have incredibly naive education approaches, yet the Enquirer’s reason for disagreeing with Kerry’s approach is false. Kerry keeps NCLB but actually funds it. I disagree with both positions. NCLB for me is a solution to the wrong problem, a huge money waster.

Finally, consider this contradiction from Richard Cheney, speaking in my old territory of New Mexico yesterday.

“One way the world might look if he [Kerry] had been in charge is, he would have ceded our right to defend ourselves to the United Nations. . . . If John Kerry had been in charge, maybe the Soviet Union would still be in business. . . . If John Kerry had been in charge, Saddam might well control the Persian Gulf today. . . . He might well have nuclear weapons,” Cheney said. “It’s a good thing he wasn’t in charge.”

Campaign talk aside, the suggestion here is the same as before: that aggression against Iraq was based on false evidence then, false now. “. . . Saddam might well control the Persian Gulf today,” he claims. The implications here are audacious (even for a speech to the typical hand-picked crowd and the reference to Kerry’s vote on Gulf War I). Now and “in reality”, the infrastructural state of Iraq (remember sanctions) prior to and after the “war” has been shown to be woeful; it was a country in ruins, disrepair, and decline, the only signs of gold hammered on the walls of the dictator’s palaces.

Such a speech, and the “democracy and hope” rationalizations by the boosters, aren’t worthy of respect, except perhaps by those who buy the metaphors and the ties. But belief is one thing, logic another.

By the way, the natural gas is flowing from Libya.