Category: City Tech

  • Teaching Portfolio Workshop on Teaching Philosophy and Teaching Methodology, Feb. 9

    anthropomorphic cat professor lecturing in front of a chalkboard with a book under his paws
    Image created with Stable Diffusion.

    I’m giving a presentation today on the Teaching Philosophy and Teaching Methodology at City Tech’s Teaching Portfolio Workshop. It’s part of a series of events to support faculty who are preparing their portfolios before applying for promotion.

    You can find a copy of my Teaching Portfolio here.

    Below are my presentation notes and bibliographic citations for readings that might be helpful.

    General Teaching Portfolio Advice

    As with everything in your PARSE and Teaching Portfolio, the key is considering your audience. The audience for these documents are our colleagues across the campus representing very different intellectual disciplines, ways of approaching teaching, and styles for communicating information. Each reader brings different knowledge, expertise, ways of reading, and ways of thinking about teaching. While it’s impossible to accommodate every conceivable possible reader, it pays to address the needs of a general academic audience outside of your field. To do this, unpack concepts, explain the importance of people, theories, or approaches, and use an approachable writing style. If you are unsure or want additional feedback on whether colleagues outside your discipline can get what you are trying to say, ask someone in another department to read an excerpt or section of your portfolio. Avoid dumping your whole portfolio on someone to provide you feedback on unless they have offered to do that for you in advance!

    Also, I think it should be said that while it might seem that the work you put into the Teaching Portfolio is a bureaucratic hurdle for promotion, it actually serves a few different important functions. Of course, it is something to check off for your promotion package. However, it’s also a way to reckon with the teaching that you’ve done, the kinds of teaching that you want to do, and how to achieve your ideal teaching in the future. Without it being a requirement, many of us might not take the time to do this necessary professional work that helps us become better educators. Also, it’s valuable for yourself to create a Teaching Portfolio and its individual documents to keep your professional portfolio fresh and up to date. None of us knows what the future holds, but having these documents at the ready help you face change and seek opportunities.

    To write an effective Teaching Portfolio, I would suggest reading as many examples as you can given your time and energy. A good starting place is the portfolios of your departmental colleagues who have most recently gone up for promotion successfully. But, you can get lots of good ideas about what to write, how to write it, and how to organize what you write by looking at portfolios from faculty across the college. Reading others’ Teaching Portfolios is what helped me write mine.

    Teaching Philosophy and Teaching Methodology

    For today, I was asked to talk about two sections of the Teaching Portfolio today: the Teaching Philosophy and Teaching Methodology, which provide your readers with the framework to understand everything that you do in the classroom as an instructor. You can think of the Teaching Philosophy as the “why,” and your Teaching Methodology as the “how.” Another way to think about them is that the Teaching Philosophy is your strategy or the military general’s overarching battle plan, and the Teaching Methodology is your tactics or the smaller actions that added together help you achieve your larger battle plan. While these two documents are separate, they should be in dialog with one another and might even repeat or rephrase some of the same information but in service to the purpose of the respective document. They are simply a reflection of the work that you do in the classroom—your theory of teaching and your praxis of teaching.

    Teaching Philosophy

    • Your Teaching Philosophy is the theoretical underpinning for what you do in the classroom day in and day out. It answers the “because” for each aspect of your teaching.
    • You can use it to situate yourself in terms of being an educator or in relation to your students at City Tech.
    • Threaded together, it can include theories of learning, theories of teaching, and theories of assessment and feedback. Show how these work together to facilitate student learning and success.
    • Rigor in your Teaching Philosophy is an asset, but if you are going to name names or provide quotes, you should explain who those people are, why they are significant, and what they say means in terms of your teaching. This is a part of my Teaching Philosophy that I want to improve on.

    Teaching Philosophy Readings

    Alexander, Phill, Karissa Chabot, Matt Cox, Dànielle Nicole DeVoss, Barb Gerber, Staci Perryman-Clark, Julie Platt, Donnie Johnson Sackey, and Mary Wendt. “Teaching with Technology: Remediating the Teaching Philosophy Statement.” Computers and Composition, vol. 29, no. 1, Mar. 2012, pp. 23-38, https://doi.org/10.1016/j.compcom.2011.12.002.

    Carnegie Mellon University, Student Academic Success Center. Writing Your Teaching Philosophy Statement. CMU, SASC, 2022, https://www.cmu.edu/student-success/other-resources/handouts/comm-supp-pdfs/teaching-philosophy-statement.pdf.

    Eierman, Robert J. “The Teaching Philosophy Statement: Purposes and Organizational Structure.” Journal of Chemical Education, vol. 85, no. 3, Mar. 2008, pp. 336-339, https://pubs.acs.org/doi/abs/10.1021/ed085p336.

    University of Michigan, Center for Research on Learning and Teaching. “Teaching Philosophy & Statements.” U-M, CRLT, 2021, https://crlt.umich.edu/resources-publications/teaching-philosophies-statements.

    Teaching Methodology

    • The Teaching Methodology is the list of things that you do in the classroom with students to facilitate learning.
    • I don’t think there is one right way to write this. Some examples of Teaching Methodologies that I’ve seen focus on discrete activities, which might include the activities’ goals, procedures, and rationalization. Others, like mine, is a mixture of techniques for working with students, providing feedback, and encouraging learning in different ways.
    • Highlight those techniques of your teaching that you think work best and exemplify yourself as an instructor.
    • Provide context if a method works better or differently in one class versus another one.
    • Don’t assume that your reader will understand why or how a particular methodology works for your goals in the classroom. Take the time to provide explanations, discussion, elaborations, and rationalizations.
    • Review all of your past classes as you brainstorm what you want to include in your methodology. The things that you include do not necessarily have to be big tent activities. There are likely big, medium, and small techniques in your teaching that are worth discussing. Also, the small techniques might yield bigger results than the bigger techniques. If so, include those and explain how.

    Teaching Methodology Readings

    Brookfield, Stephen D. The Skillful Teacher: On Technique, Trust, and Responsiveness in the Classroom. John Wiley & Sons, 2015, https://ebookcentral.proquest.com/lib/citytech-ebooks/detail.action?docID=1895929.

    Misseyanni, Anastasia, Miltiadis D. Lytras, Paraskevi Papadopoulou, and Christina Marouli, editors. Active Learning Strategies in Higher Education: Teaching for Leadership, Innovation, and Creativity. Emerald Publishing Ltd., 2018, https://ebookcentral.proquest.com/lib/citytech-ebooks/detail.action?docID=5116698.

    University of San Diego. The Complete List of Teaching Methods. USD, 2021, https://onlinedegrees.sandiego.edu/wp-content/uploads/2022/01/USD_Complete-List-of-Teaching-Methods.pdf.

  • Spring 2025 Semester Begins

    an anthropomorphic tuxedo cat wearing pants, shirt, suspenders, and tie, standing in front of a chalkboard covered in equations
    Image created with Stable Diffusion.

    While Spring 2025 semester classes began this past Saturday at City Tech, my teaching schedule begins today. I’ll be teaching two classes in the Professional and Technical Writing Program: Introduction to Language and Technology (ENG1710) and Introduction to Professional and Technical Writing (ENG2700).

    In Introduction to Language and Technology, I have students read an article (though, we begin with Ted Chiang’s “The Truth of Fact, the Truth of Feeling), which they write about in the following class and we discuss it. We work out what we mean exactly when we say “language” and “technology” before looking more closely at how these two aspects of humanity interrelate, interoperate, and influence one another. In parallel to our class discussions, students research and write a paper about one specific technology and its relationship to language. I’ll include a past final exam review below, which will need updating due to some additions to the reading list.

    For Introduction to Professional and Technical Writing, I developed a dual approach that combines theory and praxis as a general welcoming of students to what the field they are entering is like. For each class, students read about the history, work, and deliverables created by technical communicators, which they write about in short in-class assignments and we discuss together. The final readings in the class include one paper about how reading Science Fiction can make you a better technical writer and William Gibson’s “Burning Chrome.” Additionally, students are given short deliverable assignments (e.g., write an email, a letter, a memo, a technical definition, an instruction manual, etc.) each week or so. They receive one grade on these first drafts, and they revise them and write reflections on them for creating a final portfolio, which receives a separate grade.

  • Videos From The Ninth Annual City Tech Science Fiction Symposium on SF, Artificial Intelligence, and Generative AI

    audience of people listening to a panel of five people read stories in a large auditorium-style classroom.

    If you weren’t able to make it to this year’s City Tech Science Fiction Symposium but are interested in the intersection of SF, AI, and GenAI, you can listen to the presentations, stories, and discussions in the videos from the event below, and you can see some photos taken by Hugo Award winner Andrew Porter on the Science Fiction at City Tech website here.

    9:00AM Opening Remarks
    Jason Ellis and Justin F. Vázquez-Poritz

    9:20AM Paper Session 1
    Moderator: Wanett Clyde
    Jason Ellis, “A History of Generative AI in SF”
    Jacob Adler, “The End Zone: A.I. as a Commentary on the Human Condition in 17776”
    Martijn J. Loos, “A Plea for Theory: The Relationship Between Real-World AI and its Representation in Science Fiction”

    10:50AM Paper Session 2
    Moderator: Kel Karpinski
    Virginia L. Conn, “The Tyranny of Neutrality in AI 2041”
    Nathan Lamarche, “Monotheistic Ethics in Caprica: The Consequences of AI Development on Queer Futurity”
    Adam McLain, “Computational Poetics: Franny Choi’s Soft Science and the Dialogues to Come”

    1:10PM Student Panel
    Moderators: Jill Belli and Vivian Zuluaga Papp
    Lucas Felipe
    Journey Ford
    Malik Joseph
    Christine Retirado
    Ronald Hinds

    2:10PM Asimov’s/Analog Writers’ Panel
    Moderator: Emily Hockaday
    Sarah Pinsker
    Mercurio D. Rivera
    Sakinah Hoefler
    Matthew Kressel

    4:00PM Keynote Address
    Speaker:
    Marleen S. Barr, “Science Fiction/AI/Feminism: A Temporal Progression”
    Moderator: Leigh Gold

  • Program for The Ninth Annual City Tech Science Fiction Symposium on SF, Artificial Intelligence, and Generative AI

    Date and Location

    The Ninth Annual City Tech Science Fiction Symposium will take place in the City Tech Academic Building at 285 Jay Street in downtown Brooklyn, New York on Tuesday, December 10, 2024 from 9:00am to 5:00pm in Room A-105.

    The event is free and open to the public. Pre-registration for this in-person event is not required. Participants and attendees who are not affiliated with the college will need to sign-in at the security desk before entering and walking down the hallway to the right to room A-105.


    Program

    9:00AM Opening Remarks

    Jason Ellis and Justin F. Vázquez-Poritz

    9:15AM Break

    9:20AM Paper Session 1

    Moderator: Wanett Clyde

    Jason Ellis, “A History of Generative AI in SF”

    Jacob Adler, “The End Zone: A.I. as a Commentary on the Human Condition in 17776”

    Martijn J. Loos, “A Plea for Theory: The Relationship Between Real-World AI and its Representation in Science Fiction”

    10:40AM Break

    10:50AM Paper Session 2

    Moderator: Kel Karpinski

    Virginia L. Conn, “The Tyranny of Neutrality in AI 2041”

    Nathan Lamarche, “Monotheistic Ethics in Caprica: The Consequences of AI Development on Queer Futurity”

    Adam McLain, “Computational Poetics: Franny Choi’s Soft Science and the Dialogues to Come”

    12:10PM Lunch

    1:10PM Student Panel

    Moderators: Jill Belli and Vivian Zuluaga Papp

    Lucas Felipe

    Christine Retirado

    Malik Joseph

    Journey Ford

    2:00PM Break

    2:10PM Asimov’s/Analog Writers’ Panel

    Moderator: Emily Hockaday

    Sarah Pinsker

    Mercurio D. Rivera

    Sakinah Hoefler

    Matthew Kressel

    3:50PM Break

    4:00PM Keynote Address

    Moderator: Leigh Gold

    Marleen S. Barr, “Science Fiction/AI/Feminism: A Temporal Progression”


    Participants

    Jacob Adler has been part of the CUNY system for a number of years now, most recently as the Cataloging and Metadata Librarian for the Lloyd Sealy Library at the John Jay College for Criminal Justice. In September 2024, he contributed to Space, the Feminist Frontier, a scholarly book publication about feminist topics related to the Star Trek franchise. Since 2022 he has been involved with providing educational material about artificial intelligence, including creating academic research guides and delivering presentations in CUNY and throughout the Westchester Library System. Other than AI, his interests include media history, fiction writing, and tabletop role-playing games.

    Marleen S. Barr is known for her pioneering work in feminist science fiction scholarship and has recently retired from teaching English at the City University of New York. She has won the Science Fiction Research Association Award for Lifetime Contribution to Science Fiction Scholarship. Barr is the author of Alien to Femininity: Speculative Fiction and Feminist Theory, Lost in Space: Probing Feminist Science Fiction and Beyond, Feminist Fabulation: Space/Postmodern Fiction, and Genre Fission: A New Discourse Practice for Cultural Studies. Barr has edited many science fiction critical anthologies and co-edited the science fiction issue of PMLA. She is the author of the novels Oy Pioneer! and Oy Feminist Planets: A Fake Memoir.   Her When Trump Changed: The Feminist Science Fiction Justice League Quashes the Orange Outrage Pussy Grabber is the first single authored Trump short story collection. It is followed by This Former President: Science Fiction as Retrospective Retrorocket Jettisons Trumpism. Her latest critical anthology is Jewish Women Writers Create Science Fiction: Gender, Temporality–and Yentas.

    Jill Belli is Associate Professor of English at New York City College of Technology, CUNY, where she happily teaches science fiction and utopian studies often. She’s working on long-standing projects on well-being & happiness in education and writing & revising in speculative fiction. Newer interests include nature writing, healing & illness, tarot & astrology as storytelling / intuitive literacy, and grief. Learn more about Jill and her interdisciplinary research and teaching: jillbelli.org.

    Wanett Clyde is the Collections Management Librarian at CUNY’s New York City College of Technology, where in addition to managing the library’s collection she oversees the university archives. Her research seeks to explore the intersection of Black history and fashion history, drawing out under credited African-American contributors, their critical innovations and accomplishments, and other meaningful connections in the overlapping research spheres.

    Virginia L. Conn is a Teaching Assistant Professor at Stevens Institute of Technology. She researches depictions of the “new socialist human” in socialist science fiction and how those depictions guided policy decisions in Mao-era China, Soviet Russia, and East Germany. She is currently working on her book manuscript, which offers a literary-material account of the relationship between socialist literary policies and the concurrent sociopolitical and technological drive to create the “new human” in daily life. She is also the managing editor of the Science Fiction Research Association Review.

    Jason W. Ellis is an Associate Professor of English at the New York City College of Technology, CUNY, where he coordinates the City Tech Science Fiction Collection. He published the OER Yet Another Science Fiction Textbook, and co-edited The Postnational Fantasy: Postcolonialism, Cosmopolitics and Science Fiction (McFarland, 2011) and a special issue on Star Wars: The Force Awakens of New American Notes Online, and talked with Dr. Neil deGrasse Tyson about the relationship between SF and society on StarTalk Radio.

    Lucas Felipe is a student at City Polytechnic High School of Engineering, Architecture, and Technology.

    Journey Ford is an Entertainment Technology student at the New York City College of Technology, CUNY.

    Leigh Dara Gold is a Doctoral Lecturer in the English Department at City Tech. She currently teaches composition, fiction, drama, poetry, and several other literature classes.  Her doctoral work, completed at NYU in 2011, explored mourning in the work of Else Lasker-Schüler using several theoretical approaches, among them feminist, trauma, and poetic theories.  Since then she has deepened her focus on interdisciplinary work such as writing about Ursula K Le Guin, Mary Shelley and Le Guin’s intersections, Eastern philosophies and ethics in Le Guin’s work, trauma in women writers of science fiction, including Octavia Butler, and the role of the body in poetry.  Leigh recently published an essay about Judith Merril in Jewish Women Science Fiction Writers Create Future Females: Gender, Temporality—and Yentas, edited by Marleen S. Barr (Lexington Books, 2024).

    Emily Hockaday is the senior managing editor of Analog Science Fiction and Fact and Asimov’s Science Fiction Magazine. She coedited the horror anthology Terror at the Crossroads with Jackie Sherbow and is the editor of the speculative poetry anthology Heartbeat of the Universe. Hockaday is the author of Naming the Ghost, Blood Music, and In a Body. She has received grants from the De Groot Foundation, Café Royal Cultural Foundation, NYFA City Artist Corps, and Queens Council on the Arts. You can find her at www.emilyhockaday.com.

    Sakinah Hoefler is a fiction writer, poet, and playwright. She’s a proud recipient of the 2023 Analog Award for Emerging Black Voices. Her work has been published both domestically and internationally, and her plays have been produced by places such as Cincinnati Playhouse in the Park and the University of Cincinnati’s College-Conservatory of Music. A former chemical engineer for the United States Department of Defense, she currently teaches writing at Princeton University. She resides in Newark, NJ with her wonderful husband and adorable son.

    Malik Joseph is a student at City Polytechnic High School of Engineering, Architecture, and Technology.

    Kel R. Karpinski (they/he) is the IT/ILL Librarian and Associate Professor at the New York City College of Technology, CUNY. Their research focuses on mid-century queer films and novels as they relate to sailors and hustlers in Times Square and how these texts map queer desire onto the city. Kel is also a zine maker and a NY Queer Zine Fair organizer.

    Matthew Kressel is a multiple Nebula and World Fantasy Award nominated author and coder. His many works of short fiction have appeared in Analog, Asimov’s, Lightspeed, Clarkesworld, Tor.com/Reactor, Beneath Ceaseless Skies, and many other publications and anthologies, including multiple Year’s Bests. Eighteen of his stories will be included in his debut collection, Histories Within Us, coming from Senses Five Press in February. His far-future novel Space Trucker Jess is coming in 2025 from Fairwood Press. And his Mars-based novella The Rainseekers is forthcoming from Tordotcom in early 2026. Alongside Ellen Datlow, he runs the Fantastic Fiction at KGB reading series in Manhattan. And he is the creator of the Moksha submissions system, used by many of the largest fiction publishers today.

    Nathan Lamarche is a Master of Arts in English student at the University of Alberta. Their current studies focus on writing centres and composition theory, Indigenous and queer fiction storytelling, and the relational impacts of technology on our perspectives of the self, with a keen interest on the development of AI technology through the anthropomorphisation of social-oriented technologies and services and their impacts on society, the parallel between Generative AI and monotheistics ethics, and AI’s disproportionate impact on cultural and queer marginalisation. They have received several awards and scholarships, including the Sarah Nettie Christie Scholarship, the Belcourt Brosseau Métis Awards, and The Kerry Wood Memorial Award in Arts.

    Vivian Li designed this year’s event poster. She is a graphic designer specializing in branding and visual storytelling, but more than anything she’s just another human who wants to make the world a brighter and more connected place through thoughtful design. She believes that in a world increasingly driven by technology and AI, design has the power to bring a vital human touch to the exciting digital landscape. Her mission is to craft visuals that resonate emotionally, adding warmth and personality to fast-paced modern experiences. Connect with her at: https://www.linkedin.com/in/vivian-l-8a177b19b/.

    Martijn J. Loos is a Dutch PhD candidate at New York University’s department Comparative Literature. He has a RMA in Comparative Literary Studies from Utrecht University and has taught at University College Tilburg. He works at the intersection of science fiction and philosophy, with a special emphasis on the relationship between the (political) real and the science-fictional. He has published on, amongst others, H. P. Lovecraft, Octavia E. Butler, Ray Bradbury, and Ted Chiang. He enjoys Belgian beers and anything involving laser guns.

    Adam McLain is a graduate student in the English department and law student at the School of Law at the University of Connecticut. He studies dystopian literature, legal theory, and sexual justice. They received bachelor’s in English from Brigham Young University, a master’s of theological studies from Harvard University, and a master’s in English from University of Connecticut.

    Vivian Zuluaga Papp is a Doctoral Lecturer in the English Department here at City Tech. She has a BA in English from Columbia University, an MA in British and American Literature from Hunter College, and her Ph.D. is in Eighteenth-Century British Literature from Fordham University. Previously, she taught classes in Satire, Women in Science Fiction, Afrofuturism, and Imaginary Travel Narratives while a Postdoctoral Teaching Fellow at Fordham University. Her research interest is in the field of visual epistemology in seventeenth-century scientific texts and early forms of the novel. She is the author of a short science fiction story “Catbot’s in the Cradle,” which was published in Behind the Yellow Wallpaper: New Tales of Madness, and has a chapter coming out in a Science Studies anthology on real and imagined visual manifestations of the “unseeable” in Daniel Defoe’s A Journal of the Plague Year and Robert Boyle’s New Experiments Physico-Mechanicall, Touching the Spring of the Air and Its Effects.

    Sarah Pinkser is the author of over sixty works of short fiction, one novella, two novels, and two collections. Her work has won four Nebula Awards (Best Novel, A Song For A New Day; Best Novelette, “Our Lady of the Open Road,” Best Novelette, “Two Truths And A Lie,” Best Short Story, “Where Oaken Hearts Do Gather,”), two Hugo Awards (“Two Truths And a Lie” and “Where Oaken Hearts Do Gather”), the Philip K Dick Award, the Locus Award, the Eugie Foster Award, and the Theodore Sturgeon Award, and been nominated for numerous Nebula, Hugo, Locus, and World Fantasy Awards. Her fiction has been translated into almost a dozen languages and published in magazines including Asimov’s, Strange Horizons, Fantasy & Science Fiction, and Uncanny and in many anthologies and year’s bests. Sarah’s first collection, the Philip K Dick Award winning Sooner or Later Everything Falls Into the Sea: Stories, was published by Small Beer Press in 2019, and her first novel, A Song For A New Day, was published by Penguin/Random House/Berkley in  2019. Her latest book is We Are Satellites, published in 2021. Her second collection, Lost Places, was published by Small Beer Press in  2023 and was followed by the Tordotcom novella Haunt Sweet Home in September 2024. She is also a singer/songwriter with four albums on various independent labels (the third with her rock band, the Stalking Horses). She lives in Baltimore, Maryland and can be found online at sarahpinsker.com and x.com/sarahpinsker.

    Christine Retirado is a Communication Design student at New York City College of Technology, CUNY.

    Mercurio D. Rivera is a writer whose short fiction has won readers’ awards for Asimov’s and Interzone magazines and has appeared in markets such as The Magazine of Fantasy & Science Fiction, Lightspeed, i09, Nature, Black Static, and various anthologies, podcasts, and “best of” collections. His novel Wergen: The Alien Love War (published by NewCon Press), which was nominated for the Arthur C. Clarke Award, tells stories of unrequited love set against the backdrop of humanity’s complicated relationship with an enigmatic alien species. And his Asimov’s story “Beyond the Tattered Veil of Stars,” was podcast by Dust Studios, and features Gillian Jacobs (of Community) and Justin Kirk (of Weeds), and is available anywhere you listen to podcasts.

    Justin F. Vázquez-Poritz is the Dean of the School of Arts and Sciences at New York College of Technology, CUNY.

  • Rappin’ Max Robot Metal Sculpture on Display in Columbus Park in Downtown Brooklyn

    20' tall metal sculpture of rappin max robot with foot on a boombox

    Columbus Park, flanked by Borough Hall, Kings County Superior Court, and the Cadman Plaza US Post Office (the building in the background of the photo above), has been invaded by a hip giant metal robot sculpture. It’s Rappin’ Max Robot with a foot propped up on his larger-than-life boombox. The character first appeared in Eric Orr’s Rappin’ Max Robot comic book. It was built by Welder Underground, which according to the dedication plaque is “a Brooklyn-based nonprofit that teaches young adults to become certified welders and metal fabricators by partnering with established artists to build large-scale public artworks.” Coming full circle, Eric Orr, Jr. was one of the Welder Underground apprentices who worked on the project. I was happy to see this unexpected addition to the park around the corner from City Tech. In fact, I would like to see more hip hop robots. Let’s get the giant robot hero from The Beastie Boys’ “Intergalactic” music video put up near Adam Yauch Park (RIP M.C.A.).

    a 5' tall woman walks under rappin max robot metal sculpture
    dynamic shot of rappin max robot sculpture from the front right
    dedication plaque for rappin max robot sculpture, by welder underground