This semester, I am using course release time to focus on a research project that I am tentatively titling, “The Language of Computers in Science Fiction, 1975-1995.” Most of my readings come from SF magazines, but I’m finding some material in anthologies, too. More to follow…stay tuned.
In addition to working on a book review today, I created a new OpenLab site for Retrocomputing at City Tech. In addition to recording how I use vintage computers in the classroom and in research, the new OpenLab site contains a catalog of my vintage computing archive. I populated this catalog with most of the hardware, but I plan to granulize it further and create a catalog of my software. This, of course, will take time. At least there is a place for me to record these things now within the auspices of the work that I do at City Tech. I updated my previous Retrocomputing Lab page on this site with a link to the updated site on OpenLab.
When I asked Dr. Courtney L. Werner, a friend and colleague at Kent State University where we earned our PhDs (find her blog here and connect with her on Twitter here), what I should read that captures the theoretical breadth and historical depth of her discipline of study–Rhetoric and Composition–I dutifully wrote down what she told me: Steven Lynn‘s impressive Rhetoric and Composition: An Introduction. I think that it has been about three or four years since I jotted down her suggestion, but I’m happy to report that I finally got around to reading it over the past few days and I’m certainly the better for it.
For those of you who might be like me–not really knowing anything about Rhetoric and Composition when going into graduate school, but wanting to learn more about this important discipline after learning of its existence–I recommend Lynn’s book as a thorough starting point.
Lynn begins his book with a chapter on the relationship and interconnectedness of Rhetoric and Composition. He guides his reader through seeing them separately and together while peppering his discussion with an exhaustive and concise (what a balancing act throughout the book) theoretical-historical context.
In the chapters that follow, he designs them around the five canons of rhetoric as an art: invention, arrangement, style, memory, and delivery. Each chapter combines discussion of the historically relevant development of the canon, its major contributors, its past and present scholarship, and applications for the classroom. The final chapter on delivery has a lot of helpful material for first time composition instructors, too.
During my time at Kent State, I am glad that I taught in the writing program and I am glad to have had the opportunity to learn from and share ideas with graduate students and faculty in the Rhetoric and Composition Program, including Brian Huot, Pamela Takayoshi, and Derek Van Ittersum. In retrospect, however, I wish that I had made it a point to join a Rhetoric and Composition seminar (for credit or to audit), because I see now how it would have enriched my scholarship and pedagogy in pivotal ways. If you are like me in this regard or still on your path to a terminal degree, I recommend Lynn’s book for learning Rhetoric and Composition’s ideas, debates, and scale as a student, incorporating its ideas into your daily practices as a teacher, and opening up new possibilities in your thinking as a scholar.
Lynn, Steven. Rhetoric and Composition: An Introduction. Cambridge: Cambridge UP, 2010. Print.
Thanks to City Tech’s Stanley Kaplan, I now have a substantial new collection of early personal computers including IBM PCs, Radio Shack TRS-80s, a Commodore PET, Texas Instruments TI-99s, ATARI 800, and a number of other computers and peripherals in my office in Namm 520. Some of the smaller items are locked in my filing cabinet, but as you can see from the photos included in this post, I have the larger items arranged around my desk and on a new set of Edsal steel shelves that I purchased on Amazon.com. Now, I have to make some additional room for a large, removable magnetic disk from a TRIAD Computer System (c. late-1970s~early-1980s, the drive that reads this disk was about the size of a washing machine) and an Apple Macintosh Centris 650, which I shipped to myself from Brunswick when I recently visited my parents. In the coming months, I will catalog these machines, see what works, and plan how to use them (research, pedagogy, and exhibits). If you have older computers, disks, or user manuals and would like to donate them for use in my research and teaching, please drop me a line at dynamicsubspace at gmail dot com.
The Science Fiction Research Association (SFRA) held its forty-sixth annual conference on June 25-28, 2015 at Stony Brook University in the Charles B. Wang Center. Our theme this year was, “The SF We Don’t (Usually) See: Suppressed Histories, Liminal Voices, Emerging Media.”
As I detailed in a previous blog post, I presented on the SF that we don’t see (any more) on the Apple Macintosh computing platform and Voyager’s Expanded Books of the early-1990s.
Other voices that stood out in my conference-going experience included keynotes by Vandana Singh on Ursula K. Le Guin’s “Tho Ones Who Walk Away From Omelas” and climate change, and M. Asli Dukan on “the white fantastic imagination” and “the invisible universe.” Jessica FitzPatrick and Steven Mollmann presented on postcolonial superheroes and SF. Lisa Yaszek, Isiah Lavender III, and Gerry Canavan gave excellent presentations on Afrofuturism. Keren Omry, Alan Lovegreen (my colleague from City Tech), and Hugh Charles O’Connell questioned the relationship of capitalism and the future. Alexis Lothian (who tweeted much of the conference with me and others with the #sfra2015 hashtag) gave us a compelling view into “Queer World Building, Digital Media, and Speculative Critical Fandom.”Donald “Mack” Hassler chaired a session on gender with compelling papers by Marleen S. Barr and Rosalyn W. Berne.
Doug Davis gave what I thought was the best presentation of the conference on “The SF We (Usually Don’t Talk About but) Always See, or Can We Use Science Fiction Genre Theory to Read Canonical Literary Texts?: Reading Flannery O’Connor’s “The Displaced Person.” Doug’s co-panelist Brad Reina presented a different tact on approaching eBooks in his paper: “Electronic Literature in The Diamond Age: Neal Stephenson and the Present and Future of eBooks.” I learned a lot (and took a lot of pictures of slides/names) in the China SF session on Saturday afternoon featuring interesting papers by Hua Li, Cara Healy, Quiong Yang, and Nathaniel Isaacson.
The SFRA Awards Banquet on Saturday night ended what I consider to be a very successful conference. While some of us encountered challenges to reaching Stony Brook on Long Island (the Long Island Rail Road, Newark/JFK/La Guardia Airports, ferries, car rentals, traffic problems), I think that sharing of ideas and the valuable conversations made the difficulties recede far into the background. The warmth of the camaraderie and the welcoming inclusivity at SFRA overcomes any hurdle. Additionally, Stony Brook–a sprawling campus surrounded by trees and populated by bunny rabbits–has a surprisingly science fictional side in some of its buildings’ architectures, including the Charles Wang Center (pictured above) and the Stony Brook University Hospital (pictured below).
After the conference was over, I caught a ride back to Brooklyn with Mack and Sue Hassler and Adam Frisch. We had lunch together after Y joined us at Wilma Jean’s Restaurant. We all squeezed back into the rental car, dropped Adam off at the airport to fly back to Sioux City, and then, Mack, Sue, Y, and I drove to Coney Island to enjoy walking along the boardwalk and sharing each other’s company.
Next year, we will cross the Atlantic Ocean for the forty-seventh conference and meet to discuss “Systems and Knowledge.” Forming a joint event with the Current Research in Speculative Fictions at the University of Liverpool, we will meet on June 27-30, 2016 in Liverpool, England. For me, it will be like going home, and I can’t wait!
Back in 2007, I made a deal with a friend to participate in his fMRI brain scan study at the University of Liverpool in exchange for a copy of the DICOM data from my scan. He agreed to the trade.
Since then, I occasionally pull my scan data off the shelf and dust off the cobwebs and disk errors, and import it into the DICOM Viewer, OsiriX (e.g., as I did in 2009). With the latest versions, I have had a lot of trouble importing the files as they were given to me into OsiriX. Luckily, I saved the installers for earlier versions including the venerable version 3.5.1, which still runs fine on MacOS X Mavericks and Yosemite.
Using OsiriX’s many features, I created these four videos and an album of images of my 2007 brain. I wonder how it has changed since that time–completing my MA, then PhD, taking a postdoc at Georgia Tech, and now, working at City Tech. Also, I think about the technologies of representation that make it possible for me to see my brain without injury or invasion–OsiriX and unseen software libraries for working with, manipulating, and displaying DICOM data, MacOS X and its technology APIs, my MacBook Pro retina, disk and flash drives, email (how I originally received the scan data), the fMRI machine that I sat in for 30 minutes to an hour, the physical laws behind each technology and the biology of myself, etc. What do you think about when you see my brain represented below?
Draft Video (I had not yet removed all the tissues and bone around the brain)
Since I received my Google Glass last week, I have been learning how to wear and use it. Ultimately, I want to incorporate Glass into my Retrocomputing Lab research workflow. I am interested in the experience of using computer hardware and software (something that I have been interested in for a long time and wrote about as an undergraduate), so Glass will provide a way of capturing some of my phenomenal experience–perspective, vision, and sound. I can provide oral commentary of my haptic and olfactic experiences (yes, computers have unique smells–something that helps store/recall memories and emotions) while also recording thoughts, memories, and asides that enrich my shared video experience. As one component of the digital humanities, I want to create an archive of my raw research of working with computers and their software that others can use, draw inspiration from, or comment on through their own research, writing, and teaching.
For the work that I do in my personal Retrocomputing Lab, I will use Glass as one more tool among a variety of other technologies that enable my research. Glass will add another data layer–itself richly textured and layered with audio/video/Internet/software capabilities–to the research that I do. Due to the ease of sharing images and video in real time, I can immediately make my in-process research available on YouTube, Twitter, and here on dynamicsubspace.net. Furthermore, my research will be useable by others–hobbyists, students, and other researchers in many interdisciplinary fields. Glass will join my non-real time distribution of data on paper, computer written notes (though, I could make these freely viewable in realtime on say, Google Drive), and published research.
Finally, I am interested in the mixing of old and new technologies. Glass meets its ancestors in the IBM PC and Macintosh. Glassware meets DOS, Windows 3.1, and System 7. I want to explore how the intermingling of these technologies leads to new insights, connections, and elaborations. While I am only speculating, I strongly believe that Glass and similar wearable computing technologies will elevate the outcomes and knowledge produced in humanities research–conceptualized as interdisciplinary like mine or not.
The videos included in this post were tests of the manually extended video recording feature. They don’t involve the Retrocomputing Lab, because how I want to use Glass to record my work will involve more and different kinds of planning. I used what I had at hand to test out Glass’ video capabilities included below.
Glass Video from Apr 22, 2014, Lego Build of The Batman Tumbler 30300 Polybag
Glass Video from Apr 24, 2014, Target Exclusive Lego 30215 Legolas Greenleaf Polybag