My article on the public debate between H. G. Wells and Sir Ernest Dunlop Swinton about who originated the idea of a motorized, armored weapons platform or tank, which first appeared in The Wellsian: The Journal of the H. G. Wells Society (no. 33, 2010, pp. 42-57) is now available as a reprint in Short Story Criticism, Volume 264 (edited by Catherine C. DiMercurio, Prod. Layman Poupard. Gale, Cengage, 2018, pp. 256-265).
N.B.: Gale’s Short Story Criticism series is an excellent resource for scholars and students to easily and quickly learn the discourse on a particular author’s short story oeuvre. These volumes collate scholarship from a wide variety of academic journals on the works of a particular author. For example, Short Story Criticism, Volume 264 includes three sections of collected articles for these writers: Mary Caponegro, Mahasweta Devi, and H. G. Wells. I believe that the series is a good addition to libraries serving the needs of English departments and literature programs, because it provides a wide array of research on its selected authors for convenient access to scholarship.
Recently, I had an opportunity to speak with colleagues about what Publishing Studies means to me. I edited my thoughts into the following note.
Publishing Studies: Theory and Praxis
Publishing Studies is an interdisciplinary field of study that encompasses rhetoric and composition, media studies, history of the book/newspaper/magazine/websites/etc., and practical skills including writing, editing, design, layout, production, marketing, business administration, etc. Publishing Studies programs prepare students for publishing industry careers.
Publishing Studies should be grounded in theory and praxis. Theory provides a foundation for understanding the field and its development. It gives ways of seeing and thinking about the process and purpose behind publishing. Theory helps one be a confident problem solver, an open-minded thinker, and a dynamic life-long learner who can adapt to changing work conditions and challenges. Balancing theory is practical skills. These skills are what help students build a portfolio, gain experience through internships and entry level positions, and obtain a job on their desired career path. Through their understanding of theory, students will understand that the skills they have when leaving a program will only go so far as the publishing industry changes. They can leverage their current skills to grow their skill set over time and be engaged members in their profession so that they know what new trends they should pay attention to and what new skills will keep them competitive in the job market.
Publishing Studies is founded on rhetoric and composition. Publishing is all about communicating particular ideas to a particular audience using a particular (production scale/mass communication) medium. Knowing audience, rhetorical techniques, modes of communication (WOVEN=written, oral, visual, electronic, and nonverbal), and the writing process are essential skills for anyone interested in the publishing industry. Furthermore, being a reflective practitioner–using journal writing and reflection–supports the acquisition, integration, and improvement of the use of rhetoric and composition principles in the work place. There is a lot of overlap in this regard (as well as in the tools employed in the publishing field mentioned below) with Technical Communication.
Media and materiality are really big components of Publishing Studies, because publishing is all about using mass communication media technologies to reach an audience. Important issues for Publishing Studies from a Media Studies perspective might include: the effect/affect of media on audiences, how does media change over time, how does media influence other media, what biases are built into particular media or how those media are used, and are there issues with particular media at scale (e.g., Facebook and Twitter’s role in Brexit and the 2016 US election). Aesthetics, design, layout, and UX are important, too, and they overlap (as do many aspects of theory) with practical skills.
History of the Book/Newspaper/Magazine/Website/Etc
Perhaps under the umbrella of Media Studies, the History of the Book and other produced media such as newspapers, magazines, websites, social media, and others, are key to a fundamental understanding of Publishing Studies. The field encompasses many different forms of mass communication technologies, and the intertwined histories of these media provide a useful context for how we are at this particular moment in publishing history while also revealing how the history of publishing is not a Whig historical progression, but in fact, contains many interesting dead ends and forgotten technologies whose time might not have been right but contained some aspects that were useful and might deserve revisiting in the present. Layered in these histories are issues of labor, capital, production technologies, world historical events, and societal movements, all of which have influenced the development of the publishing history.
Praxis is tempered by theory. Theory is made meaningful by praxis. The two support one another and enrich one’s experience of the publishing field in a way that helps propel students toward dynamic careers instead of cookie-cutter jobs. Publishing careers include writing, editing, design, layout, printing, IT, programming, procurement, representation, marketing, fact checking, research, and business administration. All of these rely on a basic set of writing, communication, and interpersonal skills, and each branches off into a discrete set of current (but always changing) skills involving knowledge-based work (e.g., planning, research, summarizing, extrapolating, etc.) and tool-based work (e.g., Adobe Creative Suite, Microsoft Office, CMS, etc.). Each career path’s set of widely accepted skills (i.e., those skills that employers are looking for in employees) are those that should be researched and taught by faculty. Besides their course work, students can learn more about these through trade publications and books, mentors, and internships.
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!