Inside Oxford: Questions for Niko Pfund

2. Do you hate Wikipedia?”

Not at all, I’m actually very fond of Wikipedia, which is not only useful to me on a daily basis but one of the most interesting exercises in information-gathering we’ve yet seen. While there are obvious and stark differences between the goals and utility of Wikipedia and traditional reference works—say, the Oxford English Dictionary—we are rapidly moving toward an online environment defined by “multiple levels of authority” (in the words of our online/reference publisher, Casper Grathwohl), in which people know to go to different sites for different kinds of information. As the population becomes increasingly technology-literate and information-literate, as search becomes increasingly sophisticated, and as Wikipedia’s growing influence brings additional challenges (with prominence come expectations…), the one-stop shopping model will likely fragment, as people will know where to go for the best and most appropriate information, or will be led there automatically.

Inside Oxford: Questions for Niko Pfund

Whenever we talk about citation formats (APA,MLA) I always tell my students that the conventions of print are relatively new and the the emerging conventions of the web, including collective authorship, undated material and the like, are much older. Pfund makes a similar point, contending that Wikipedia is simply returning to a type of authorship that created, among many other things, the Oxford English Dictionary. Imagine, the rabble wrote the OED!

Extinction Timeline

There are hundreds of scholarly journals published online, plenty of them free. But what makes Museum Anthropology Review’s launch notable is that it is being led by the same editor as the traditional journal, Museum Anthropology, using the exact same peer review system. For years, the criticism of the free, online model has been that it would be impossible for it to replicate the quality control offered by traditional publishing. When online journal publishers have boasted of their quality control, print loyalists have said, in effect, “well maybe it’s good, but it can’t be as good as what we’re doing.”

To this subjective criticism, open access advocates can now point to someone who knows exactly what the standards are at both journals, as he’s leading them both. And while the professor has set up the journal with his own university library, this project isn’t focused on one university’s scholarship, but the best articles in the field — again, precisely the model that makes the best journals vital to scholars.

Scott Jaschik, Abandoning Print, Not Peer Review, February 28, 2008

Museum Anthropology Review: http://museumanthropology.net/

For those who want a quick summary of a few of the things that we anticipate will become extinct in coming years:

2009: Mending things
2014: Getting lost
2016: Retirement
2019: Libraries
2020: Copyright
2022: Blogging, Speleeng, The Maldives
2030: Keys
2033: Coins
2036: Petrol engined vehicles
2037: Glaciers
2038: Peace & Quiet
2049: Physical newspapers, Google
Beyond 2050: Uglyness, Nation States, Death

The Extinction Timeline project collaboration was sparked by Richard Watson’s original idea, invigorated by a couple of wines over a Future Exploration Network celebratory lunch.

Ross Dawson, Trends in the Living Networks,October 2007

As far as I can tell, printed academic journals are not on this list, although i think they belong there too. I also suspect keys will be gone before libraries, but i am not so certain. Also, I hope the coins go earlier than petrol engines.

Poetry Criticism: Poetry and Politics

To establish a platform for discussion—and inevitably to over-simplify, to establish a heuristic in what has become a huge body of discussion on the subject—I would argue that contemporary poets espouse three main views of the relationship of politics and poetry. One caveat: Any poem that takes itself seriously as poetry with complex interactions of prosody and lexicon will tend to address all three points of view, but I think the division of approaches is useful.

1. The Content View: One approach represents themes and positions as content in the poem in order to take a relevant political position. The writing process is instrumental to delivering this content or lexical view.

2. The Prosodic View: Another point of view argues that limiting technical mechanisms to representation, to narration and description concedes the most significant political issues of our time. To avoid ceding strategic ground to a political opposition, these poets use a more indirect approach to presenting political ideas by exploring the meaning embedded in prosody. We can call this alternately the rhetorical, non-lexical, or prosodic view.

3. The Non-political View: The third perspective is that poetry need not address quotidian issues of politics. Poetry is really about humanity’s relationship to nature, the universe and the individual’s most deeply felt personal realities that transcend mere politics.

James Sherry, AlYoung.org, February 9th, 2008

Here’s a great discussion I found on AlYoung.org about the aims and goals of poetry. It was organized by the Poetry Society of America in 2000, and features “Thomas Sayers Ellis, Marilyn Hacker, Erica Hunt and Ron Silliman.” James Sillman’s opening remarks are particularly engaging, touch (unknowingly) on the great divide in English Studies between Rhetoric and Composition and Literary Studies.

Sillman cites as an example of The Content View, Thomas Hardy’s WWI poem, “Channel Firing”: “All nations striving strong to make/ Red war yet redder. Mad as hatters/ They do no more for Christes sake/ Than you who are helpless in such matters.” It’s language that is “instrumental to the theme and transparent, a lens focusing the eye of the reader.” This is what Pierre Bourdieu called a popular ethos and its has long shaped composition courses.

And for The Prosodic View, Ron Silliman’s“Sunset Debris” 50 pages of questions with no answers. “Are we there yet? Do we need to bring sweaters? Where is the border between blue and green? Has the mail come? Have you come yet? Is it perfect bound? Do you prefer ballpoints? Do you know which insect you most resemble?” At the center is interpretation, “the writing process and the words themselves together create meaning.”

Here Sillman is in effect defining what Bourdieu called the formalist aesthetic; it’s shaped literary studies for a hundred years. (Sillman rejects the third position as obviously irrelevant to a discussion about poetry and politics, but I am not sure he was correct to do do.) As Sillman says towards the end of his introduction, “poetry contradicts business-as-usual expectations in a way that makes the very act of writing poetry political.”

Computers, Pianos, and Cultural Capital

Along with standardized testing and back-to-basics reforms, computers have contributed to the trivializing of the content of the curriculum and the work of teachers in ensuring the quality of the substance of schooling. We need to examine current digital pedagogy in terms of unarticulated and implicit models of labor and the job prospects that students, parents, and teachers imagine computer skills will lead them to. There are clear benefits that access to technology can bring to disheartened and disenfranchised student populations. Computers can be a hook to do more sustained academic work for working-class students of color. Yet, the process of education cannot be made more cost effective through technology, and computers cannot teacher-proof the classroom. The enthusiasm among school board members and local business communities for high technology in public education was based on a desire to teacher-proof the classroom.

Practicing at Home: Computers, Pianos, and Cultural Capital, Ellen Seiter

As an online teacher, I’ve long been interested in the too-rarely noted connections among proprietary education, computer technology, and the rise of adjunct labor, particularly in composition. Corporations alway use technology to disrupt worker organization, of course, as the current writer’s strike illustrates. It’s not surprising, then, that the same thing has been happening even among the privileged halls of academia.

Seiter uses an unlikely but effective analogy with the history of the piano to emphasize one of the ironies of teaching with computers that recalls the now dashed hope for the paperless office: “Teaching with computers requires a smaller teacher-to-student ratio than conventional classrooms.” And, as she notes, now that the dot-com boom is a distant memory– and the recession looming– it is working class and poor districts that are least able to provide the low ratios or maintain equipment.

So computers further evolve into an effective tool for class management, in the economic as well as the pedagogic sense. Seiter goes on to list several other reasons why, as she says, it’s so difficult for working-class students to achieve that “cool job” in new media. Among the main reasons she includes “a reliance on public computers, a lack of access to “prestigious educational credentials,” as well to “the social networks crucial to employment in the “new” economy.”

In a strong sense, the dot-com boom in higher education has lasted nearly a decade longer than the speculative economic bubble which burst in the late 1990s. Administrators, though, seem to realize that while a teacherless classroom was unlikely, computers could be introduced alongside an increased reliance on adjuncts and graduate students. It’s not as cheap as automation, but its much cheaper than using full professors. The close fit between these two impulses is still not well understood.

Seiter’s research represents an important step in the ongoing deflation of the idea that the mere presence of computers can ameliorate the injustices of class. “The time for technological utopianism is past,” she writes, and the use of technology in the schools has to be rethought, “in the context of a realistic assessment of the labor market and widening class divides, struggles for fair employment in both technology industries and other job sectors, and the pressing need to empower students as citizens who can participate actively in a democracy.”