Humanities: September 2007 Archive Page

Full transcript, the very end of which is Columbia's Bollinger having the last word:

I'm sorry that President Ahmadinejad's schedule makes it necessary for him to leave before he's been able to answer many of the questions that we have or even answer some of the ones that we posed to him. (Laughter, applause.) But I think we can all be pleased that his appearance here demonstrates Columbia's deep commitment to free expression and debate. I want to thank you all for coming to participate. (Applause.) Thank you.

I understand that by inviting the leader of Iraq to speak in a public forum, Columbia's Bollinger risked fallout that could have affected his career. I was not surprised that he began with a speech that put Ahmadinejad on the defensive. And I was not surprised that Ahmadinejad twisted and dodged so much.

I am hardly an expert on linguistics, but I used to teach a freshman engineering writing course when I was in Toronto as a grad student,and from time to time, I had to teach students who had gone to high school in another language how to write college English. I remember learning that one way to translate the concept "learn" into Chinese is the concept "copy," so when I saw Mandarin speakers (many of whom were second-generation immigrants to Canada) struggling until I gave them the model, and then respectfully reproducing my work and expecting to be praised, I had to ask someone if there was a different word for Chinese "watch all the little components of what I do, so that you can improvise and do different things  as circumstances require". Oddly enough, when the students wrote their first personal paragraphs, they often wouldn't actually state the main point -- they thought it would be an insult to the reader's intelligence for a memo to spell out exactly what the client should do. (I told those students, if you don't insult your North American clients that way, you'll lose their business."  ("North America" is friendly Canadian slang referring to "Canada and that country south of us".)

Ahmadinejad's speech reminds me of so many different freshman papers I got from students with a Middle Eastern background. I don't want to start making generalizations, because I never really made a serious academic study of this (there is a whole field of English as a Second Language acquisition, so I'm sure this is nothing new), but the facial expressions that Ahmadinejad gave, the way he cheerfully evaded answers, even the way he responded (after behind reminded) to a the question of gender discrimination by saying "But as for women, maybe you think that being a woman is a crime. It's not a crime to be a woman." On the surface, coming right after his insistence that at there are no homosexuals in Iran, he looked intolerant and ridiculous -- how could he possibly think that the question accused him of thinking that being a woman is a crime? (Of course, he backed up his statement by giving only examples of traditional female roles, though elsewhere he did emphasize the role of women in science and government.)

Language Log offers a thorough discussion of the real story of the emoticon.

Before seeing the Google Books page image, I had thought that Bierce's suggested punctuation looked like this: \___/. That's how it appears in a footnote to Andrew Graham's online essay, "Forked Tongue: The Language of Serpent in the Enlarged Devil's Dictionary of Ambrose Bierce," as well as the Wikipedia entry on emoticons. It's interesting to discover that the parenthesis-as-smile representation actually goes back 120 years. (In Ambrose Bierce's Civilians and Soldiers in Context: A Critical Study, Donald T. Blume dates this essay to September 25, 1887, but the version published in the 1912 collection may have been subsequently revised.)

The pre-Fahlman trail included a 1979 reference an idea from a Reader's Digest article the author had read "long ago."  I actually once sent a grad student to the library to look for this article, but he came back empty-handed. (I think I asked him to look from 1970 on, which explains why he didn't find the right article, which was published in 1962,

I'm glad someone has tied all those loose ends together...

Emily Short reviews a game that tries to make a point:

While I sympathize with the message of the game, it didn't really work for me, for two reasons.

First, the game is irritating to play. It's impossible to undo mistakes (if you accidentally confiscate someone's pants instead of his shoes, for instance, as I did repeatedly) and the list of banned items is posted at the opposite corner of the screen from the passenger luggage list, which means that you have to look back and forth quite a lot. Many of the frustrations that constitute the "message" of the game result from game design decisions, even screen layout decisions, and not from the system being emulated. This is the game-design equivalent of a rhetorical cheap trick.

Second, the game doesn't argue the issues. I agree that TSA guidelines tend to be arbitrary and that they don't make us safer, but this game doesn't really argue that; it takes these facts as read. It felt more like an exercise in whipping up the indignation of people who already agree with the central premise. There's much to be indignant about in the American political environment lately, but I don't think my inconvenience in going through transport security is the most important issue by a long shot.

The Pittsburgh Post-Gazette, via Miki Louch.

When he was a boy, Dr. Pausch said, he had a concrete set of dreams: He wanted to experience the weightlessness of zero gravity; he wanted to play football in the NFL; he wanted to write an article for the World Book Encyclopedia ("You can tell the nerds early on," he joked); he wanted to be Captain Kirk from "Star Trek"; and he wanted to work for the Disney Co.

I interviewed Paush once for a newsletter published by the engineering school at the University of Virginia. Hearing about the occasion of his speech was a bit of a surprise.

Pittsburgh Post-Gazette:

Fahlman posted the emoticon in a message to an online electronic bulletin board at 11:44 a.m. on Sept. 19, 1982, during a discussion about the limits of online humor and how to denote comments meant to be taken lightly. "I propose the following character sequence for joke markers: :-)," wrote Fahlman. "Read it sideways."

Several years earlier, in 1979, the "tongue-in-cheek" icon -) failed to make a similar splash.

Melissa Terras writes in the introduction to Digital Humanities Quarterly v1 n2 (2007):

We at DHQ hope that we will eventually reach a wider audience (and trust our readers will help us do so), introducing the type and range of activities the digital humanities community is interested in, and featuring energetic, novel, and interesting articles on a variety of research, making use of all the Internet technologies at our disposal.

One of the papers in this, our second issue, has already done just that. Dennis G. Jerz's Somewhere Nearby is Colossal Cave: Examining Will Crowther's Original Adventure in Code and in Kentucky, was posted on the test site for proofreading a few weeks before launch, when one of our editors featured an advance mention of it on his blog. A few days later, it was picked up by the gaming community on a popular discussion list (rec.arts.int-fiction), garnering comments such as "HOLY MOLY!" and "It is clear on a single reading that this is the most important single paper ever written on the history of interactive fiction" before it had even been formally published. It doesn't stop there: the paper went on to be featured on Boing Boing (a "directory of wonderful things" which is read by hundreds of thousands of readers), then being mentioned on Slashdot, the popular technology-related news site. (We are pleased to report our servers survived being "slashdotted" so far, which is perhaps the best load test we could wish for). Shortly after, it featured on Metafilter, a community weblog that anyone can edit with a vast readership, where comments included "What academic research should aspire to be" and "I can feel a new LOLCATS meme coming on. (I can haz mint-cake?)." On the eve of publication, we have had a request from a local Kentucky newspaper wishing to republish the paper (which our publication terms willingly permit). This paper has legs.

In addition, publication on DHQ has made the original game available again for a new audience. When the preprint version of this article became available on the internet in August 2007, Matthew Russoto modified Crowther's source code so that it will compile for today's computers. David Kinder made a Windows executable version. The colossal cave lives again.

Clive Thompon is not writing from the same world where I live.

Thirty-six hours? How in god's name had I managed to spend almost four hours a day inside this game? I should point out that this was not the only game I'd been playing during that time. I'd also been hip-deep in BioShock and Space Giraffe, so I'd been planted like a weed in front of my consoles for hours more. This is a missing-time experience so vast one would normally require a UFO abduction to achieve it. So the question of the column, and possibly the question of my eternal soul, is: Is this good thing? How much does it change the architecture of your life to spend that much time playing games? The dirty secret of gamers is that we wrestle with this dilemma all the time. We're often gripped by what I call "gamer regret" -- a sudden, horrifying sense of emptiness when we muse on all the other things we could have done with our game time.

I vaguely remember what it was like to spend a whole weekend playing a video game. Last weekend I was up until 3 or 4 am Saturday and Sunday mornings, because I knew that would be the only blocks of unbroken time that I would have in order to solve some MT4 installation problems. Last week I scheduled consultations with students in my basic comp course, and while I thoroughly enjoy talking with each student, I hadn't realized just how quickly all my other work backed up. I sure wish I had the time to lament spending too much time on video games!

My five-year-old sat and listened for over an hour while I read the first chapter of Gregor the Overlander and the first chapter of The Hobbit.  Earlier that day she had found an old beat-up costume jewelry ring that another kid on the playground said he found in a stream.  When the park time was over, When I asked which she liked better, she handed me Gregor and asked for another chapter. (My nine-year-old son asked for more of The Hobbit, which I read to him when he was five or six... I was impressed that he remembered Smaug's vulnerability.)

When Peter was two or three, I read to him an hour or more each night. Carolyn has always wanted to play with Peter rather than sit still and listen, but now that she is old enough to focus on a story that also interests Peter, I hope we'll be able to have more reading time.

Va Tech's guidelines for evaluating disturbing student writing, as a Word file and as filtered through an analysis by Inside Higher Ed:

The document also reflects the tightrope its drafters were walking, leaving ample room for intuition and judgment in identifying disturbing writing and offering a series of questions instructors might find helpful in distinguishing creative and literary explorations of themes like violence, drugs and suicide, from a threat or cry for help. Among the questions, geared for fiction, poetry or playwrighting courses:

• "Is the creative work excessively violent? Do characters respond to everyday events with a level or kind of violence one does not expect, or may even find frightening? If so, does the violence seem more expressive of rage and anger than it does of a literary aesthetic or a thematic purpose?"
• "Are the characters' thoughts as well as actions violent or threatening? Do characters think about or question their violent actions?..In other words, does the text reveal the presence of a literary sensibility mediating and making judgments about the characters' thoughts and actions, or does it suggest unmediated venting of rage and anger? If the literary sensibility is missing, is the student receptive to adding that layer and to learning how to do so?"
• "Is this the student's first piece of violent writing?..Is violence at the center of everything the student has written, or does other writing suggest that violence is something the student is experimenting with for literary effect?"
• "Are the violent actions in the work so disturbing or so extreme as to suggest they go beyond any possible sense of purpose in relation to the larger narrative?"
• "Is the writing full of expressions of hostility toward other racial or ethnic groups? Is the writing threateningly misogynistic, homophobic, racist, or in any way expressive of a mindset that may pose a threat to other students?"

"The danger," Falco says of the Virginia Tech document (which has received approvals from the university's counseling center, legal counsel and provost's office) "is that written guidelines can be misused....that a situation would come about where you hamper creative freedom because students are afraid to write something because they're afraid it will get them thrown into a system."

Jennifer Reeger of the Tribune-Review (Pittsgurgh) reports on my colleague's local (Westmoreland County) history book.

"Thank God we do have this beautiful building," said Mike Cary, professor of history and political science at Seton Hill University and an editor of a book on the courthouse's history. "People remember Greensburg -- they remember that dome when they see it from a distance, and it's somehow inspirational for people." The courthouse, completed in 1907 and dedicated in 1908, will be celebrated in upcoming events and a book, "This American Courthouse: One Hundred Years of Service to the People of Westmoreland County, Pennsylvania," scheduled to be released Sept. 14.

The student paper at Southern Illinois University publishes an analysis, assisted by an anonymous source, of evidence of plagiarism in the dissertation written by the SIU president.

"I could have made a mistake," Poshard said. "I'm not saying I didn't."

The Daily Egyptian recently obtained copies of Poshard's dissertation and original works from a source close to Alumni and Faculty Against Corruption at SIU. The source, who insisted on anonymity, said Poshard used verbatim excerpts in his dissertation that were not cited or quoted.

Previously, SIU's strategic plan was under fire because long sections were copied verbatim from a similar document from Texas A & M.

Nick Montfort, Grand Text Auto:

Leonard Cohen

Manhattan: Taken.
Berlin: Taken.

Morris Dickstein:

Book review editors often have difficulty convincing their bosses that the news about books is in the books themselves, not in mega-buck contracts, bestseller chitchat, and profiles of famous authors. Truly conscientious reviewers are not exactly a beloved breed: authors sensitive to criticism detest them, publishers would love to coopt them, and academics rarely respect those who write for a wider public, not for other scholars. Yet book reviewing is where talented young critics often get their start. It encourages them to be generalists, keeping in touch with contemporary writing. It forces them to write quickly and clearly and to put flesh on their arguments, eschewing the abstract jargon of many professionals. And it contributes to a cultural conversation otherwise dominated by hot TV shows, blockbuster movies, and media-manufactured celebrities.

[...]

Though it is built on reading and writing, the Internet is seen as the enemy of literature, digging the grave of the printed book. But just as the computer lent new fluency to the act of writing, the Internet has revolutionized literary research, allowing instant access to vast bodies of information that would have required arduous labor only yesterday. It has amplified the reach of print publications by becoming a prime carrier of the printed word, creating a simultaneous worldwide audience for publications great and small, local and national. But the economic crisis afflicting newspapers and magazines, which has battered literary journalism, shows how the Internet is eating away at it own foundations, the printed sources of so much of its real content. The blog will not make up the difference, at least in its unedited form as a spontaneous effusion, a personal diary in shorthand. As Adam Kirsch has written: "Bitesized commentary, which is all the blog form allows, is next to useless when it comes to talking about books. Literary criticism is only worth having if it at least strives to be literary in its own right, with a scope, complexity, and authority that no blogger I know even wants to achieve." (Critical Mass)