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Following the performance of The Muted Note: Songs Based on Poems by P. K. Page by Scott Thomson and Susanna Hood, the International Institute for Critical Studies in Improvisation is convening a colloquium called “Extraordinary Presences: Women, Poetry, Art Song” from 2:00 to 5:00 on Thursday, 16 October 2014 in the Dodson Room of the Irving K. Barber Learning Centre at the University of British Columbia. Two panels of poets, composers, performers and scholars will talk about their own work and their collaborations. Presenters will be investigating the cultural politics of contemporary composition and performance by women: are there particular constraints or challenges that contemporary women artists face? Are there specific musical, textual or performative strategies that women employ in their creative work when faced with such challenges? Is it still necessary or even possible to address artistic work, as performers, composers and listeners, with attention to the complex cultural politics of gender and sexuality? In addition to the two discussion panels, there will be a performance by Lisa Cay Miller of her text-based improvisations for piano, “Lessing Stories.” Admission is free, and the colloquium is open to all, students, artists, academics and the general public.
2:00-3:00 Panel: Extending the Poetics of Song
Scott Thomson, composer and improviser, Montréal and Toronto
Susanna Hood, vocalist, choreographer, Montréal and Toronto
Sandra Djwa, P. K. Page biographer, Vancouver
Phanuel Antwi, Department of English, UBC
Lisa Cay Miller, “Lessing Stories”
3:30-4:30 Panel: Collaborations and Challenges, Sounding Out
Rachel Rose, Vancouver Poet Laureate
Jacquie Leggatt, composer, Vancouver
Bronwyn Malloy, Department of English, UBC
A downloadable PDF version of the colloquium schedule can be found here: Extraordinary Presences schedule
|Actual sunset with which Taylor Ho Bynum was playing on Wreck Beach– including a couple in the right foreground.|
Since the recorder didn’t work, here is an audio version of the piece from Ammons, with my colleague – the superbly excellent Geoff Mitchell – doing his modernistic improvised boogie woogie piano thing along with me. Thanks to everyone who managed to come out, and again to the library folks for putting it all together: I had a great time myself.
This is an audio capture of a reading last night (Wednesday, 15 January 2014) by Catriona Strang and Christine Stewart at Green College at the University of British Columbia, as part of the Play Chthonics: New Canadian Readingsseries. There were a few minor tech problems with the recorder, so the beginning minutes of their reading were unfortunately lost; the recording fades in with Christine Stewart reading from a collaborative piece written for the Institute for Domestic Research, which presents their shared poetic methodology (I think it’s called “aleatoric alchemy” at one point in the text) for collective, collaborative research practice. The piece finishes with a declaration of openness – “We do not come to terms. We abound.” – that signals a key shared interest in practices of listening. Christine Stewart suggests at one point that listening might be understood as a way of reading, or of being read, and Catriona Strang’s poems consistently inclined toward loving intensifications of attention, toward keeping things open: “Imagine,” she writes to Proust in Corked (her forthcoming book from Talonbooks), “all my conclusions are tentative.” Christine Stewart read from Virtualis, her collaboration with David Dowker published by BookThug in the spring of 2013. She also read from a text on Paul – joined by another collaborator, Ted Byrne, who happened to be in the audience – and she and Catriona Strang traded poems, reading each other’s work, to conclude the reading itself. On the recording, the reading is followed by an extended conversation with members of the audience about their poetics.
|I am keen to introduce the poets: photo by Ryan Fitzpatrick|
Here is an audio capture of my part of a colloquium session for the University of British Columbia Department of English Faculty Research series, which took place in the afternoon of Friday, October 18, 2013, on “Teaching Literature in the Time of the MOOC.” I co-presented with Jon Beasley-Murray. (There are a few glitches – I inadvertently call Dave Cormier “Eric” – so I have included a script for the talk below. I truncated the long quotations when I presented. The gain on the recorder was also set a little high — my apologies for any clipping. Jon’s portion of the session can be found here.)
The past year has seen massive and radical shifts in the practice and delivery of higher education, particularly around the emergence of the MOOC, the “Massive Open Online Course,” adopted and (as of January 2013) offered for credit through many prominent North American and Australian universities. While some commentators continue to suggest that educators are over-enthusiastically caught up in surging hype around the technologizing of education, hype that will soon deteriorate into backlash, it has become clear that the MOOC represents much more than a passing trend. It signals a fundamental change in the cultural and pedagogical mission of the university – in what constitutes a university, and what constitutes university education, in our time. I, we, believe it is vitally important for academics – not just administrators, not just early adopters, not just those in the managerial echelons of an emerging knowledge economy, but particularly academics in the critical humanities – to address and to interrogate the implications of this change. Because of the velocity of these ongoing renovations to the form and substance of higher education, we need to do more than act as latecomers or followers, to be more than epigone adopters. Bluntly put, our job descriptions are changing, with or without our direct input and even our consent, and it is vital that we find the means, as both pedagogues and scholars, to contribute not only to managing but also to shaping the direction and structure of these nascent developments.
I don’t want to position myself as anything like an expert. Frankly, it’s too soon in the arc – I won’t say history, not yet – in tracing the developmental arc of media-savvy pedagogies for anyone but a few originators to lay claim to expertise, and even then there seems to me to be something endemic to these kinds of digital humanities, something inherent in what has come to be called connectivity, that wants both to exploit and to refuse cults of expertise, cults that have also largely tended to be understood as the provenance of a professoriate. I’m still under the sway, myself, of Paolo Freire’s critique of what he called the “banking model” of education, and I think I share his thorough suspicion of the cultural privilege of expertise. But rather than offer any materially rigorous critique of the economics of knowledge production and dissemination, I’m going to stick to a critique of the MOOC at the level of metaphor, something I feel like I can do with some confidence in my own method. It’s how I work, in my own field, as I understand it. But I want to be clear that I’m thinking of what I’m proposing today, briefly, as gestural and provisional, as a small contribution to a workshop rather than as a definitive or in any way exhaustive reading of the MOOC in our time, in its time.
I should offer at this point a potted history of the MOOC, although in a spirit of appearing to let shallow précis pass for knowledge, I have to defer to Wikipedia, which does a much better job than I ever could at condensing the last four or five years of MOOC history and at naming the significant names. Wikipedia – and Jon can tell you better than I can – in some very telling ways epitomizes the networked, editorial crowd-sourcing that is currently tending to replace expertise in this contemporary educational episteme, the time of the MOOC. So, go read Wikipedia, and find out something about Dave Cormier, George Siemens, cMOOCs, xMOOCs, Coursera, EdX, and the whole whelming business. In a November 2, 2012, article on Education Life, New York Times correspondent Laura Pappano dubbed 2012 “The Year of the MOOC,” lending an epochal weight to a phenomenon that is, I’m willing to argue, almost without a history, and even without history.
So what does a MOOC have to do with time? I want to gesture at two key aspects of generalized MOOC temporality, both of them catachrestic: packeting and velocity. As one among many formations in the current digitalization (as opposed to the digitization) of knowledge, MOOCs imply a mediated phenomenology, a specific set of experiential markers keyed to time management – or to a common figure in MOOC syllabi, a figure that I’m going to suggest manifests as generic course content around learning outcomes a technological latency, the data packet. For example, Jennifer Shoop’s current syllabus for “English 402: The Poetry of John Milton,” a MOOC from saylor.org, has a detailed segment on “Time Commitment,” which is distinctive to on-line pedagogy:
Time Commitment: This course should take you a total of approximately 73.25 hours to complete. Each unit includes a time advisory that lists the amount of time you are expected to spend on each subunit. These advisories should help you plan your time accordingly. It may be useful to take a look at these time advisories and to determine how much time you have over the next few weeks to complete each unit, and then to set goals for yourself. For example, Unit 1 should take 6.5 hours to complete. Perhaps you can sit down with your calendar and decide to complete subunits 1.1 and 1.2 (a total of 3hours) on Monday night; subunits 1.3 and 1.4 (a total of 6.5 hours) on Tuesday night; etc.
The precision suggests an empirically obsessive scientism, but also a desire to lay out student commitments with as much transparency and accuracy as possible. Al Filreis’s “ModPo,” a “fast-paced” and much more loosely orchestrated MOOC from UPenn on “Modern & Contemporary American Poetry,” still lays out participant time commitments (“Workload: 5-9 hours/week”) and offers some proleptic feedback in an FAQ on course velocity:
You say the course is “fast paced.” Will it move too fast for me?
ModPo is “fast paced” because we will not spend long on any one poet. This is a “survey” course — covering many poets with the objective of conveying a sense of poetic movements and trends. We will study only a few poets in any depth (Dickinson, Williams, Gertrude Stein, John Ashbery) but otherwise during each week we will typically talk about poems by three or four or even five different poets.
A sense of depth is sacrificed for coverage, and the learning outcomes are accordingly adjusted, offering gestalt in lieu of detail. Finally, the extensive course matter around Gregory Nagy’s HarvardX MOOC on the Ancient Greek Hero in 24 Hours explains at some length how pace and segmentation interconnect, a pedagogical strategy as well as a gesture at the temporality of his subject-matter, particularly the Homeric epic. Indeed, of all of the MOOC syllabi I have tried to encounter so far, Nagy’s is the most reflexively sophisticated, and conveniently provides me with something of a test-case for an informed critique of the humanities MOOC.
In an article from The New Yorker earlier this year, Nathan Heller seems to think so too, spending considerable column-length on Nagy’s HarvardX course, and its time-demands:
Nagy has been experimenting with online add-ons to his course for years. When he began planning his mooc, his idea was to break down his lectures into twenty-four lessons of less than an hour each. He subdivided every lesson into smaller segments, because people don’t watch an hour-long discussion on their screens as they might sit through an hour of lecture. (They get distracted.) He thought about each segment as a short film, and tried to figure out how to dramatize the instruction. He says that crumbling up the course like this forced him to study his own teaching more than he had at the lectern.
Presuppositions about attention span and attentiveness push Nagy to “crumble up” and parcel out his material, but I’d like to assert that what’s happening here isn’t so much an effect of his students’ shrinking cognitive capacities, but rather the impact of the structural informatics of media-dense teaching. He’s creating analogues on his students’ screens to the data packets – as distinct, though not entirely so, from the packaging or commodification of information – into which his texts and videos must be divided in order to disseminate efficiently across a network. Data packets are essentially arbitrary segments (blocks, cells) of bits and bytes, of data, into which a text, for instance, must be materially fractured if it is to be transmitted effectively. The process of packet-switching involves a horizontal leveling of parceled information to facilitate exchange across a dimensional (as opposed to linear) network; in a way, you could imagine one of Nagy’s students ranging in an anti-linear fashion through the welter of text, video and assessment tools that make up his MOOC, although that movement is still governed by a broadly linear rhetoric – at least a rhetoric, if not a teleology – of progress and completion, of sectional and totalized learning outcomes.
Efficiency, as a hallmark of good tech, of vibrant network and of functional pedagogy, is tied to velocity or pace, the re-assemblage and the intake of cultural knowledge – in Nagy’s case, of Homeric epic and Sophoklean drama. The trick to success in his course in particular, he suggests, is learning to manage and to adjust your rate of reading, to accelerate and decelerate modes of critical attention. There is, frankly, way too much material on Nagy’s syllabus, as there is on Filreis’s. I have to confess that I signed up for the Nagy MOOC – drawn by the promise of some sort of close-ish link to the cult of expertise that accretes around Nagy’s work on Homer. And I flunked it, mostly because I just didn’t have time to do the reading or to complete the multiple-choice and short-answer assignments. It’s reading, of course that I have done before, for the most part, so that shouldn’t have been a problem, but there is a density of information – something keyed to what I’d like to think of, analogically again, as bit-rate compression – that was frankly overwhelming, particularly as spare-time or extra-to-load reading. Nagy insists in the descriptive matter he writes about how to take up his assigned coursework, that students need to learn different velocities of reading, from fast to slow; the second is privileged, as a mode of close attention that Nagy develops from his own take on Friedrich Nietzsche’s Homeric philology. (I hope you’ll pardon the extensive quotation.)
So what do I mean when I say slow reading and fast reading? Let me explain briefly, starting with slow reading in §5A and then moving on to fast reading in §5B. For the reading of the following paragraph, §5A, you will have to slow down and take more time. For the reading of the paragraphs after that, §5B, §6, §7, §8, and the Appendix, I hope you will feel free to speed up again.
§4a. So here is the paragraph that needs to slow you down until you have finished reading it (and this paragraph includes the moderately long quotation that you see ahead). Please give yourself about five minutes. That said, let me delve into it. When you do slow reading in this course, you have to slow down and give yourself time to stop and think about what you are reading. You have to do this even if you feel at first that you simply do not have the time to do this. You have to develop a sense for feeling that you really do have the time to stop your reading and to think about what you have just read, allowing yourself to make connections with what you have read earlier. Some people think that philology is the “art” of such slow reading. Friedrich Nietzsche was one of these people, and he compared the “art” of this “philology” to the art of the goldsmith:
“Philology is that venerable art which demands of its votaries one thing above all: to go aside, to take time, to become still, to become slow – it is a goldsmith’s art and connoisseurship of the word which has nothing but delicate cautious work to do and achieves nothing if it does not achieve it lento. But for precisely this reason it is more necessary than ever today; by precisely this means does it entice and enchant us the most, in the midst of an age of “work,” that is to say, of hurry, of indecent and perspiring haste, which wants to “get everything done” at once, including every old or new book: – this art does not easily get anything done, it teaches to read well, that is to say, to read slowly, deeply, looking cautiously before and aft, with reservations, with doors left open, with delicate fingers and eyes.”
In closing, let me highlight one big change I made in the translation I just quoted: the translator had written “with delicate eyes and fingers,” but Nietzsche in the original German text mentions fingers first and eyes second – in order to drive home his comparison of philology with the art of the goldsmith: when you read slowly, you read with a sense of touch – with “delicate fingers and eyes” (mit zarten Fingern und Augen). We see here an example of reading out of the text instead of reading into the text (I will define these terms in §8).
Now that I am finished with this paragraph, please feel free to go back into a mode of fast reading.
Such Nietzschean tactility feels anathematic to a largely tactless and intangible internet. The manual control of the eye, its kinesis across the liminal surface of a screen, seems to be a transplanted version of formalism or of the deconstructive “slow reading” practiced, or so he says, by J. Hillis Miller. Nietzsche, it sounds like, wants you to run your finger over the paper, tracing each line. But the tactility of translucent fonts is both metaphorical and – despite the existence of the touch-screen and the new Windows touch, say – at best a feint. Stopping to think, rewinding a video, going back over a passage are all embodied reactions, all reading tactics, that have nothing inherently to do with electronic media. Rather, Nagy is cautiously attempting to return something of the material character of the book – of the manuscript, of “hand-writing,” in fact – to a multifunctional medium that fractures, compresses and accelerates. Yet rewinding, as Laura Mulvey reminds us, is a temporal trait – a gestural inversion of what Vladimir Jankélévitch characterizes as time’s essential irreversibility – that remains specific to cinematic media, from videotapes and DVDs to the YouTube videos. The time of the MOOC – that is, broadly understood, its temporal episteme – has everything to do with shaping and managing these recursions and inversions, with stopping and starting, with packet-switching and shifting velocities. In 1993, Paul Virilio asserted with dire conviction that
With acceleration there is no more here and there, only the mental confusion of near and far, present and future, real and unreal – a mix of history, stories, and the hallucinatory utopia of communication technologies. (The Art of the Motor 35)
I want to start to claim here, pace Virilio’s warning, that we need to think carefully about how the anxieties around mass connectivity and the knowledge economy, anxieties that are for me essentially temporal in character, don’t so much impel us to withdraw nostalgically into a world of letters and paper, but help motivate is to address (say, through a more careful interrogation of something as seemingly incidental as metaphor) what it means to teach literature, and what literature and reading might become, in an era when something like a MOOC is even conceivable, let alone a cultural and educational destiny.