Engagement, Learning and Inspiration in SF: Use Cases for the City Tech Science Fiction Collection

I delivered this presentation at the James Madison University Pulp Studies Symposium on October 7, 2016. The video above shows my presentation’s images, and the script of my talk is included below.

The paper is about introducing new audiences to old ideas for the benefit of two different City Tech audiences: 1) frame the historical publication context of science fiction short stories for students, and 2) illuminate the deep history of technological ideas for faculty fellows in the NEH-funded “Cultural History of Digital Technology” project.

[UPDATE: The symposium was a great success! Thank you to everyone who had questions and comments during our session. I posted photos taken by colleague Caroline Hellman over at the Science Fiction at City Tech website.]


Engagement, Learning and Inspiration in SF: Use Cases for the City Tech Science Fiction Collection

Jason W. Ellis


In the first issue of Amazing Stories dated April 1926, Hugo Gernsback writes:

By ‘scientifiction’ I mean the Jules Verne, H. G. Wells and Edgar Allan Poe type of story—a charming romance intermingled with scientific fact and prophetic vision … Not only do these amazing tales make tremendously interesting reading—they are always instructive. (Gernsback 3)

According to Gernsback, the literary genre that would become known as science fiction combines romance, scientific fact, and prophetic vision. The romance engages the reader in an interesting story. The facts instruct the reader in science and technology. The prophetic vision extrapolates from what is known into the not-yet-known and simultaneously inspires readers to realize that vision. I believe that Gernsback’s vision of SF is fundamental to arguments for SF collections at colleges with a pedagogical and community-serving commission like City Tech. Our college occupies several buildings in downtown Brooklyn and serves the educational needs of over 17,000 students. Historically a trade and vocational school, it has over time and by design developed into a senior college of the City University of New York (CUNY) system. Nevertheless, the students it serves and the fields it attempts to prepare them for are primarily focused on STEM career paths. While not all stakeholders recognize the importance that the humanities have to STEM graduates’ success and overall outlook, the administration’s support of the City Tech Science Fiction Collection signals at least one way in which the humanities—in this case via SF—is seen as supportive to the otherwise STEM-focused educational work of the college. In effect, SF and the collection serves as a source for engagement, learning, and inspiration for students who have much to gain from it as a literary genre that reveals the inextricable linkages between STEM and the humanities. While I cannot within the scope of this presentation explore all of these functions of SF, I will restrict myself to discussing how I have used the collection to support my teaching and pedagogical work at City Tech.


Teaching Science Fiction from a Historical Perspective

For students, my SF syllabus takes a historical approach to the genre. Following Brian Aldiss, I point to Mary Shelley’s Frankenstein as the genre’s beginning, because its plot pivots upon on an extrapolation of science and technology. Following this novel, I have students read a chronological progression of short stories that correspond with the movements in the genre: proto-science fiction and SF’s influences, H.G. Wells and his scientific romances, Jules Verne and his Voyages extraordinaires, Hugo Gernsback’s scientifiction and the pulps, John W. Campbell, Jr. and the Golden Age, the New Wave, Feminist SF, Cyberpunk, and contemporary SF. Looking at my current syllabus, which draws on readings from the Wesleyan Anthology of Science Fiction and a few stories in PDF form that are not in the anthology, over half appear for the first time in magazines held in the City Tech Science Fiction Collection, including: Isaac Asimov’s “Reason,” Astounding Science Fiction, April 1941; Tom Godwin’s “The Cold Equations,” Astounding Science Fiction August 1954; Robert Heinlein’s “All You Zombies—,“ The Magazine of Fantasy and Science Fiction, March 1959; Harlan Ellison’s “Repent, Harlequin! Said the Ticktockman,” Galaxy Magazine, December 1965; Philip K. Dick’s “We Can Remember It For You Wholesale,” The Magazine of Fantasy and Science Fiction April 1966; James Tiptree, Jr’s “The Women Men Don’t See,” The Magazine of Fantasy and Science Fiction December 1973; William Gibson’s “Burning Chrome,” Omni July 1982; and Octavia Butler’s “Speech Sounds,” Isaac Asimov’s Science Fiction Magazine Mid-December 1983. In addition to discussing each story in its historical context and its addressing Gernsback’s tripartite definition (along with other definitions, too), I show students photos of the magazines and their contents. I relate how these magazines were a big deal that introduced readers to engaging stories, new science and technology, and inspirational ideas via the haptic and tactile experience of reading printed magazines. Furthermore, the contents of a given magazine add an anthropological context to the magazines via editorials, letters, fandom, and advertising. Finally, the magazines help situate the readings for students, because they empower me to point at the library and take the readings out of the abstract realm of anthologization.


NEH-sponsored “Cultural History of Digital Technology” Project

While my students’ experience of SF is enriched by the historical materiality of our readings, City Tech’s faculty, who are engaged in pedagogical planning that bridges STEM and the humanities, share some of the same needs as my students. I have learned that my STEM-focused colleagues are experts in their fields, but many do not conceptualize SF on one level as a literary genre that addresses Gernsback’s tripartite definition: romance, scientific facts, and prophetic vision, or on another level as a literary form built on interdisciplinary STEM methodologies (i.e., building assemblages of ideas and constructing extrapolations) and focused on the effects of science and technology on humanity and vice versa (e.g., Asimov’s concept of “social science fiction” or Philip K. Dick’s epistemological and ontological adventures). Professor Anne Leonhardt of Architectural Technology and director of the NEH-funded project titled, “The Cultural History of Digital Technology: Postulating a Humanities Approach to STEM,” asked me to join and contribute my humanities-focused perspective. The project’s goal is to create six interdisciplinary pedagogical modules—on maps, fractals, robotics and sociality, geotagging, topology, and finally, robotics and the workplace. We do this by inviting speakers, holding reading groups, and participating in pedagogical workshops. The student-facing modules will integrate readings, classroom lecture and demonstration, and a hands-on activity. Initially, I helped with finding readings for two modules—fractals and topology, but as I describe below, I have leveraged the City Tech Science Fiction Collection’s magazine holdings and demonstrated that humanities folks can do more than find interesting readings. Also, I will use Gernsback’s definition as a measure of each considered story’s usefulness to the module’s goals.


3D Printing

The first module that I contributed readings to is called “Fractals: Patterning, Fabrication, and the Materiality of Thinking.” Its purpose is to bridge students’ understanding of mathematics to the natural world by using fractal geometry—the notion that Benoit Mandelbrot introduced as the process and principle of order and structure underlying the physical world. We teach students the underlying principles of fractal geometry, help them create a workflow using open-source tools to generate a 3D printable STL, or STereoLithography model, and finally, have them print their model using one of City Tech’s powder or plastic 3D printers.

Initially, I did not consider the City Tech Science Fiction Collection’s holdings, because everything was sitting in 160 boxes stacked floor to ceiling in my office and my former colleague, Alan Lovegreen’s office. Rudy Rucker’s “As Above, So Below” (1989), a story not widely anthologized but available on the author’s website, first came to mind, because I knew that both sides of his professional work touched on this topic. Rucker, a cyberpunk SF writer and mathematician, had written this story after his own attempts at discovering what is now called a “Mandelbulb,” or a three-dimensional plot of the Mandelbrot set, the recognizable image based on a simple iterative function explored in the work of Benoit Mandelbrot. In Rucker’s story, a mathematican hacks together a program that creates a three-dimensional Mandelbrot set that breaks out of his computer screen and takes him on a trippy voyage away from life and into a crabmeat can in his pantry where he can code and enjoy energy drinks for the rest of his life—as long as no one get hungry for canned crab. While it is an interesting story and Rucker’s work on the Mandelbulb is noted in the module, his story is more romantic and possibly prophetic, but less instructive.

Shortly thereafter, Alan and I finished moving and shelving the City Tech SF Collection, and I began searching for a better story in the collection’s magazines—a story that fulfills the Gernsbackian requirements and connects to both of the module’s topics: fractals and 3D printing. One such contender was Robert Heinlein’s “Waldo,” which tended to capture the materiality-emphasis of the module better than Rucker’s much later story. Published in August 1942 in Astounding Science Fiction as by Heinlein’s pseudonym Anson MacDonald, “Waldo” features on the cover with art by Hubert Rogers and story illustration by Paul Orban. The story is where the term for a remote manipulator system is coined—a waldo. However, the story is about a man named Waldo Jones who invents remote manipulators to enable his weakened body to act on the world. With his invention, he sets out to make smaller ones and smaller ones until they were capable of manipulating microscopic neural tissue and investigate the cause of his physical handicap. The idea then is that waldoes could be used to build up matter in the same way they were used to build smaller versions of themselves. Heinlein’s story fulfills Gernsback’s requirements—romance (intrigue and revenge), scientific fact (cybernetics), and prophetic vision (what possibilities might waldoes enable), but it does not fulfill both module topics as strongly.

Eventually, I found the story that is credited as the first SF describing 3D printing in detail: Eric Frank Russell’s “Hobbyist,” in the September 1947 issue of Astounding Science Fiction. Unlike “Waldo,” “Hobbyist” is not as widely anthologized, so having access to it in its original magazine was a bonus. If you are familiar with the contemporary video game, No Man’s Sky, then you have an idea about what “Hobbyist” is generally about. Astronaut Steve Ander and his companion parrot Laura crash land on a distant world and are in need of nickel-thorium alloy for fuel, which will hopefully get them a little closer to home. While scavenging around the crash site, Ander notices unsettling patterns of repetition in the world around him and discovers a structure that houses what amounts to a collection of life forms created in a 3D printer of sorts and maintained by an omnipotent being. The narrator describes it thus:

It was done by electroponics, atom fed to atom like brick after brick to build a house. It wasn’t synthesis because that’s only assembly, and this was assembly plus growth in response to unknown laws. In each of these machines, he knew, was some key or code or cipher, some weird master-control of unimaginable complexity, determining the patterns each was building—and the patterns were infinitely variable. (Russell 56)

“Hobbyist” satisfied the Gernsbackian requirements—romance (escape the planet), scientific fact (small scale engineering, iterative and fractal growth), and prophetic vision (might this technology make us gods?) and united both module topics. Capturing “Hobbyist” with my iPhone and Scanner Pro app, I shared the story with the other NEH Fellows— the story’s text and in-story illustrations by Edd Cartier and cover art by Alejandro de Cañedo. During meetings, I related the history of the magazine and how that adds to the importance of the story as a nodal point of STEM ideas expressed through SF long before 3D printing was first innovated in the 1980s, and even before it was described in theoretical terms by Richard Feynman in his well-known December 1959 American Physical Society presentation, “There’s Plenty of Room at the Bottom.”



The second module that I contributed to is called “Topology: Behind Escher’s Wizardry, A Look at the Development of Modeling and Fabrication.” Unlike the earlier fractal module, the topology module would involve programming to create each student’s 3D printed model. In addition to my role as the humanist on the team, I made this a personal challenge to relearn Wolfram Mathematica, a symbolic computation program that supports a relatively easy-to-use programming language, because I wanted to demonstrate how its could satisfy all aspects of teaching, coding, and modeling. I began by creating a Mathematica workbook that demonstrated topology concepts, such as points, lines, polygons, and dimensionality, and easy-to-follow programming tutorials of topological surfaces. Additionally, I showed how Mathematica exported 3D printable STL files of the topological models students would create.

Initially, we considered Edwin Abbott’s Flatland: A Romance of Many Dimensions (1884), but Professor Satyanand Singh, a colleague in the Mathematics department, suggested that we show a video based on Abbott’s story instead. This created an opportunity.

While performing serious play with Mathematica, I recalled Robert Heinlein’s “—And He Built a Crooked House” from the February 1941 issue of Astounding Science Fiction. Featuring cover art by Hubert Rogers and story illustrations by Charles Schneeman, the story is about an ambitious architect who designs a house in the shape of an unfolded tesseract, or a four-dimensional cube. Unfolded means to create a geometric net or the interconnected, component elements of the object. For example, a three-dimensional cube unfolds into a net composed of two-dimensional squares arranged in eleven different configurations. On the other hand, a tesseract, which is four-dimensional, unfolds into a net of connected three-dimensional cubes with 168 possible configurations! The architect’s innovative design is such an arrangement of three-dimensional cubes, which in this case, resembles the Cross of St. Peter. Unfortunately, having been built in California, there is an earthquake and the house collapses into itself forming a nondescript house-like cube. The incredulous architect and his nonplussed clients enter the domicile to investigate and become trapped within the structure’s weird, higher-dimensional geometry. It is an improbable story, but it captures the strangeness of higher dimensions and introduces topics for discussion. “—And He Built a Crooked House” fulfills Gernsback’s definition—romance (escape the counter-intuitive house-turned-maze), scientific fact (higher dimensionality), and prophetic vision (let’s use math to build innovative buildings), and it tangentially fulfills the module’s focus on topology.

The NEH project is on going, so there are opportunities to locate other stories and materials in the SF magazines held in the City Tech Science Fiction Collection. In my SF class, I hope to bring my students to the archives for special projects pre-arranged with the librarians. Professor Jill Belli is doing this now, and some of her students’ work will be features in a special session of the upcoming Symposium on Amazing Stories: Inspiration, Learning, and Adventure in Science Fiction on November 29 at City Tech, which I hope that you all will consider presenting or attending. Thank you for listening.

Works Cited

Gernsback, Hugo. “A New Sort of Magazine.” Amazing Stories April 1926: 3.

Heinlein, Robert. “—And He Built a Crooked House. Astounding Science Fiction, February 1941, 68-83.

Russell, Eric Frank. “Hobbyist.” Astounding Science Fiction, September 1947. 33-61



CFP: Symposium on Amazing Stories: Inspiration, Learning, and Adventure in Science Fiction (Date Updated)


Symposium on Amazing Stories: Inspiration, Learning, and Adventure in Science Fiction

Date: Tuesday, Nov. 29, 2016, 9:00AM-5:00PM Wednesday, November 30, 2016, 9:00AM-5:00PM

Location: New York City College of Technology, 300 Jay St., Namm N119

“By ‘scientifiction’ I mean the Jules Verne, H. G. Wells and Edgar Allan Poe type of story—a charming romance intermingled with scientific fact and prophetic vision … Not only do these amazing tales make tremendously interesting reading—they are always instructive.”
-Hugo Gernsback, 1926.

When the widely recognized “Father of Science Fiction,” Hugo Gernsback first coined the term that captured the essence of the genre we now call science fiction (SF), he envisioned SF as a new form of literature that inspired with prophecy, taught with scientific and technical facts, and engaged with adventure. These traits unique to SF have launched many of its readers on trajectories into the STEAM (Science, Technology, Engineering, Arts, and Mathematics) fields.

Join us for a one-day symposium exploring SF as a medium for engaging imagination, a means for exploring STEM/STEAM fields, and an instrument for discovering interdisciplinary connections, and also celebrating the new City Tech Science Fiction Collection held in the Archives and Special Collections of the Ursula C. Schwerin Library.

We invite presentations of 10-15 minutes on SF and how it fulfills learning, inspiration, and fun in STEAM-focused environments. Possible presentation topics include, but are not limited to:

• SF inspired STEM careers (or what SF inspired you to enter your field?)
• SF as a teaching tool (or what SF have you used or want to use in your classes?)
• SF’s imaginative functions (or Gedankenexperiment, considering ethical issues and unintended consequences, visualizing the influence of science and technology on society)
• Bridging STEM and the humanities via SF (or SF as an interdisciplinary cultural work that embraces STEAM)
• SF and place (or SF’s deep roots in Brooklyn and New York City)
• The fun and learning in archival work in SF collections (or making the City Tech Science Fiction Collection work for faculty, students, and researchers)

Please send a 100-word abstract, brief bio, and contact information to Jason Ellis (jellis at citytech.cuny.edu) by Oct. 31, 2016. Schedule will be announced Nov.15, 2016.

Organizing Committee: Jason Ellis (Chair), Aaron Barlow, Jill Belli, and Mary Nilles.

Hosted by the School of Arts and Sciences at the New York City College of Technology, CUNY.

An Idea for Aggregation of Student Online Artifacts Using Visual Rendering and Metadata Collection

Diagram of Visual Aggregation.
Diagram of Visual Aggregation. Click image above to view full resolution version.

This afternoon, I participated in an online reunion with my colleagues at Georgia Tech–Nirmal Trivedi, Pete Rorabaugh, Andy Frazee, and Clay Fenlason–about the first-year reading program, Project One.

During the conversation, I thought of this idea for aggregating student online work in a database and presenting student work through a website.

This builds on Pete’s ideas about dispersed exploration and fragmented student artifactual creation. So, if we have our students working online using any service, platform, or software, how can we bring their work together so that we can see and more importantly, they can see how their work fits together with the work of others? We can build a simple website that collects information (a URL, a brief, optional description, tags, and an affirmation that the content linked belongs to the student and is legal), generates a rendered image of the content, and presents those images as thumbnails with the collected information on a visually dynamic website that supports different ways of arranging aggregated content (by date, by dominant color, by tags, etc.). Beyond making these aggregated student artifacts available through the presentation website, the archive of rendered images and supporting metadata can be dispersed once the project is over (dispersing the archive–an idea I received from a conversation with Bob Stein of The Future of the Book project).

The image that leads this post illustrates my idea:

  1. Students login to a collection site with Active Directory (no new account needed). The collection website asks for the URL to the student’s work anywhere publicly available online, a brief description (not required–move this down the page and elevate tags), content tags or keywords (required), and a commitment that the content belongs to the student and is legal. The student’s name is automatically associated with the content after logging into the site with Active Directory.
  2. A service running on the site creates a JPG or PNG image of the rendered website URL supplied by the student, which is added to their content’s entry in the aggregation database. The site’s backend takes the URL, loads the URL in webkit, and captures the rendered page as  JPG or PNG. CutyCapt does this kind of work.
  3. On the public-facing side of the aggregation website, the students’ work is presented in either a grid of images (with ordering options based on dominant color, date of publication, tags) or a word cloud of tags (which can be clicked revealing the artifact thumbnails associated with that tag). Other possibilities can be concurrence between tags–visually depicting links between different tags, etc. On the visual presentation of artifacts, the square thumbnails enlarge as the user mouseovers each thumbnail to reveal a larger preview of the content, description, tags, student name, etc. (think of Mac OS X’s dock animation). There are lots of different ways to use visualization techniques and technologies to make the presentation of student work interesting, engaging, and layered with additional meaning and context.
  4. Finally, after the project is completed, the archive of student work exists online on the website and distributed among the students on flash drives. The content can be in directories for each aggregated student project, or a Java app that recreates the functionality of the website (or Java can be used on the presentation site, too–the website connects to an online database and the thumb drive version connects to the local database).

Notes from LMC Conversation Panel on “Books, Libraries, and the Digital Future” with Jay David Bolter, Lauren F. Klein, and Me

These are my speaking notes and discussion notes from today’s School of Literature, Media, and Communication Conversation following Robert Darnton’s talk yesterday on “Books, Libraries, and the Digital Future.” The panelists included Jay David Bolter, Lauren F. Klein (remotely), and me.

We met with an audience of about 25 members of the Georgia Tech community in the Stephen C. Hall Building, Room 102 from 11:00am-12:00pm.

  1. My research in the area
    1. My interest in eBooks comes from two tangents.
      1. First, it comes from my research interests in video game narratives in older software for the Commodore 64, Amiga, IBM-PC, Apple II, and Apple Macintosh platforms. Part of this research focuses on the way characters read within the game—particularly, computer based reading on terminals, tablets, virtual displays, etc. and how these ideas filter into reality/production and vice versa.
      2. Second, it comes from my dissertation research on something that William Gibson wrote about obsolescence and how our technologies—typewriters, Apple IIc, etc.—are fated to become junk littering the Finn’s office—in an “Afterword” to his Sprawl trilogy of novels: Neuromancer, Count Zero, and Mona Lisa Overdrive [To read it, scroll to the bottom of this page]. The trouble with sourcing this text was the fact that it was not published in a physical book. Instead, I discovered from a Tweet that a mutual friend made with the writer that it come from an early eBook designed for the Apple Macintosh Portable by Voyager Company (what’s left of this company today creates the Criterion Collection of films).
        1. Gibson, William. “Afterword.” Neuromancer, Count Zero, and Mona Lisa Overdrive: Expanded Books. Voyager Company. 1992. TXT File. Web. 25 March 2012.
        2. Gibson has done other things with ebook and experimental writing such as his exorbitantly priced Agrippa: A Book of the Dead, a floppy disk based e-poem that erases itself after “performing” one time.
      3. Since working with Gibson’s ebook, I’ve begun studying other ebooks—rediscovering ones that I read a long time ago and rethinking what constitutes an ebook—thinking about encyclopedia precursors to Wikipedia and other software such as the Star Trek: TNG Interactive Technical Manual, which does on the computer things that Rick Sternbach and Michael Okuda could not do in their print Technical Manual.
      4. We can talk more about this later, but I support Aaron Swartz’s “Guerilla Open Access Manifesto.” In my research, I have deployed my own tactics for reading and manipulating text that enable scholarship that I otherwise would be unable to do. Read more about fair use and transformation.
  2. My response to Darnton’s talk
    1. Aaron Swartz’s “Guerilla Open Access Manifesto
    2. Peter Purgathofer’s Lego Mindstorms-MacBook Pro-Kindle-Cloud-based OCR assemblage for ripping text from Kindle ebooks
    3. DPLA  scans of Dickinson’s manuscripts (open) and copyrighted scholarly editions (closed).
    4. Issues of the Archive, Access, and Control.
  3. My suggestions for future research directions
    1. The relationship between haptic experience of pulp books and ebooks (e-reader, tablet, computer, Google Glass, etc.). How do we read, think about, and remember books differently based on the modalities of experiencing the book? We know that the brain constructs memories as simulations, so what are we gaining and losing through alterations to the methods of interacting with writing?
    2. A history of eBook readers—fascinating evolutionary lineage of ebook reading devices including Sony’s DD8 Data Discman (http://en.wikipedia.org/wiki/Data_Discman).
    3. How are our students reading? More students this year than last asked me if they could purchase their books for ENGL1101 and Tech Comm as ebooks. How many students are turning to ebooks due to their cost or ease of access (pirating)? I don’t mind students purchasing ebooks over traditional books, but I have them think about the affordances of each.
    4. As researchers, how should we assert our fair use of texts despite the intentions of copyright holders? We no longer own books, but instead, we license content. [Purgathofer mentions this, but Cory Doctorow and others have commented on this at length: one source. Another more recent source.]
    5. How do we use ebooks and traditional books differently/similarly? For example, Topiary (aka Jake Davis), one of the former members of LulzSec, said earlier today on ask.fm that he prefers ebooks for learning and studying, but he prefers traditional books for enjoyment.
  4. Other responses, comments, and questions
    1. Jay Bolter: What about the future of books, the status of the book, and the status of libraries? What will happen to literature and the literary community? What is the cultural significances of print/digital to different communities (e.g., general community of readers vs. community represented by the New York Review of Books)?
    2. Lauren Klein: What are the roles of the archive and how do readers access information in the archive? We should think about how people use these digital archives (e.g., DPLA). In her work, she deploys computational linguistics: techniques to study sophisticated connections between documents. How is the information being used? Deploying visualization techniques to enable new ways of seeing, reading, and studying documents.
    3. Grantley Bailey: What about people who grow up only reading on screens/ebooks? What will their opinions be regarding this debate?
    4. Aaron Kashtan: Commented about graphic novels and comics in the digital age and about how these media remain entrenched in traditional, print publishing. Also, Aaron is interested in materiality and the reader’s experience.
    5. John Harkey: Commented on poetry’s dynamism and its not being wedded to books/chap books. Poetry is evolving and thriving through a variety of media including the Web, as electronic art, and experimental literature. We should think about literature as vehicles of genres and artifactual heterogeneity (essay, collage, posters, augmented reality, etc.).
    6. Lisa Yaszek: Pan-African science fiction is likely a model for the future. In the present, no single nation can support a thriving publishing industry for SF, but together, African SF is taking off with the diffusion of  new technologies of distribution and reading (ubiquity of cellular phones, wifi, cellular data, etc.).

Curating a Conference Backchannel with Storify: 2013 SFRA/Eaton Conference in Riverside, CA

SFRA-logoWhile I was unable to attend this year’s Science Fiction Research Association Conference, held in conjunction with the biannual Eaton Conference this year, in Riverside, California, I was able to follow along with the goings-on thanks to Facebook and Twitter. As you might know, I am a big fan of Storify as a digital curation tool, so I thought it would make it easier for me to catch up and create an archive of the tweets made during the conference with the hashtags #sfra or #SFRAton (thanks to Glyn Morgan for that one). Unfortunately, I found it too time consuming to try to incorporate #eaton posts, because it is a widely used hashtag by different communities. A word of advice to all future conference organizers: plan ahead by researching available hashtags by seeing what’s unique and unused in the Twitterverse (at least as long as Twitter is a viable backchannel tool–otherwise, go with what works best!).

If you have never used Storify before, you should check it out. Simply go to storify.com and either create a new account or login using your Facebook or Twitter account. Choose to “Create a new story,” and then search among the different social media and web options in the right column. In this case, I searched for #sfra and #sfraton under Twitter. I then loaded all of the publicly available tweets and choose to add them all to my Storify Story (in the left column). Finally, I reordered the tweets chronologically and added a title and description before choosing to publish the Storify Story. What I did is very basic. Storify’s power comes from the ability to intermix/remix tweets with links, photos, and your comments added within Storify. It would be great if other SFRA members who attended the conference to create their Storify Story that includes more comments or photos from the various events.

Follow the link below for my Storify curation of the conference and many thanks to all of the SFRA members who diligently reported on the awesomeness of this year’s conference!

[View the story “2013 Joint SFRA/Eaton Conference in Riverside, CA” on Storify]

Archive of Neurohumanities Reading Group at Kent State University, Notes from 2011

From National Geographic, http://science.nationalgeographic.com/science/photos/brain/

In 2011, I participated in the Kent State University Neuroscience and the Humanities Workgroup, and I collected my notes (and other relevant posts) here. This used to be a subsection of dynamicsubspace.net. I am archiving it as this blog post. The original page follows below.

I am collecting my notes from the Kent State University Neuroscience and the Humanities Workgroup meetings on this page. I will also add other relevant information to this page for those readers interested in the interdisciplinary approaches for research and teaching that derives from the critical engagement of the humanities with neuroscientific topics and critique of the neurosciences from humanistic perspectives.

Continue reading “Archive of Neurohumanities Reading Group at Kent State University, Notes from 2011”