Tag: City Tech

Notes on A Science Fiction Walking Tour in New York City

Spaceman graffiti in Brooklyn.
Spaceman graffiti at NE corner of Court St. and Degraw St. in Brooklyn, New York.

Looking ahead to the New York City of Print NEH Summer Institute, I wanted to collect some notes and resources together for Science-Fiction-focused locations around the city, including the original Manhattan-based offices for the magazines Amazing Stories and Astounding Science-Fiction, and home and business locations in Brooklyn of importance to the SF writer Isaac Asimov.

Amazing Stories

Hugo Gernsback launched Amazing Stories in April 1926 as the world’s first magazine devoted to what he called “scientifiction,” a clunky term that would soon evolve into what we now call Science Fiction. Amazing Stories was based out of an office at 53 Park Place, Manhattan. Today, Google Map’s Street View of 53 Park Place reveals that the building looks remarkably unchanged from this early, undated photo held by the NYPL and this 1940 Tax Photo.

Astounding Science-Fiction

John W. Campbell, Jr., who oversaw the so-called “Golden Age of Science Fiction,” joined Street & Smith Publications as the third editor of Astounding Stories in 1937. Located at 79 7th Avenue, the Street & Smith office building where Campbell made his office for a number of years remains largely unchanged as seen in Google Street View from how it appeared in this photo from 1931 and its 1940 Tax Photo (albeit sans the Street & Smith sign).

Now known as Analog Science Fiction and Fact, it is based out of the 9th floor of 44 Wall Street, which seems largely unchanged today as compared to this 1940 Tax Photo.

Isaac Asimov

The FAQ for alt.books.isaac-asimov provides a useful list of family residences and storefronts from Asimov’s youth:

When the Asimov family came to the United States in 1923, they moved into their first apartment at 425 Van Siclen Avenue, in the East New York section of Brooklyn. In the summer of 1925 they moved one block away to an apartment at 434 Miller Avenue. They moved half a mile eastward in December 1928 to another apartment at 651 Essex Street, above the second candy store bought by his father. In early 1933, they moved to an apartment on Church Avenue, and after a brief stay there they moved to an apartment above yet another family candy store, at 1312 Decatur Street, in the Ridgewood section of Brooklyn. In December of 1936, Asimov’s father sold his third candy store and bought his fourth, at 174 Windsor Place, in the Park Slope section of Brooklyn, and the family moved to a house across the street.

FAQ for alt.books.isaac-asimov
174 Windsor Pl on May 30, 2022.
174 Windsor Pl, Brooklyn, New York on May 30, 2022.

The 174 Windsor Place address is particularly significant. Asimov was a teenager at this point, and he used this address in some of his early SF magazine correspondences, such as his “Feminine-less Issue” letter to Startling Stories (November 1939, p. 115), which he wrote when he was 16 years old. 174 Windsor Place doesn’t have a photo in the 1940 tax photo records, but its right side can be clearly seen as carrying “Stationary” and other goods on the left side of this photo of 172 Windsor Place. Today, the building is home to CNS Construction and Cabinets, which you can see on Google Street View here.

The earlier addresses might be where Asimov first encountered science fiction magazines. These include:

How I Work: Distance Learning Edition

Due to COVID-19, City Tech (and all of CUNY) shifted its in-person classes to online, distance learning instruction. In this post, I reflect on my current class’s transition to distance learning, show how I have configured my office and computer for screencasting and video conferencing, describe some software and services that support distance learning, and give instructions for uploading a video to YouTube.

My Transition to Distance Learning

For my current Science Fiction (ENG2420) class, this was not too much of a disruption, because I was already leveraging online technologies to support student learning and course material accessibility. I designed the course as a zero textbook cost class, meaning I find resources that I can make available to students via PDFs and handouts, and choose readings that are available freely online, such as the unparalleled Archive.org.

Also, I redesigned some of the course assignments to emphasize the importance of note taking by teaching good note taking practices and evaluating students on the quality of their notes. To support this, I recorded each lecture during our earlier in-person classes and posted them on YouTube after class ended, so that students could use the videos to fill in gaps in their notes and allow those students who missed a class to make their own notes based on the video lectures.

I collect student work via email and on OpenLab, “an open-source, digital platform designed to support teaching and learning at City Tech (New York City College of Technology), and to promote student and faculty engagement in the intellectual and social life of the college community.” I joined the OpenLab team as a co-director of the project this year, but I have been using OpenLab in all of my classes since joining City Tech in 2014.

Now with classes meeting asynchronously online, I have tweaked assignments and the schedule to accommodate students accessing materials and completing their assignments. I hold office hours once a week at a regularly scheduled time via Google Hangouts, and I can hold private office hours by appointment with students. I use email to respond to questions and concerns on a daily basis.

Now that I have reconfigured a space in my apartment to support my class and the many other online meeting responsibilities that I have with OpenLab and other projects, I wanted to share some tips and ideas to help others transitioning to facilitating their classes with distance learning.

Office Configuration

I know how easily distracted I am by busy backgrounds, I wanted to provide as neutral a space for my lectures and online meetings. To this end, I appropriated my apartment’s closet as a distance learning and video conferencing studio.

I positioned the Logitech C615 webcam so that I am centered in the frame when video conferencing or recording myself lecture. Above the camera, I positioned a white light to illuminate my face.

I arranged the desk so that my back would be against a solid white wall as pictured above looking from behind my monitor towards where I would be sitting facing the monitor and webcam.

Notice that I taped a small piece of cardboard above the webcam. This blocks glare on the camera lens from the light above that illuminates my face. I was careful to cut and position it so that it is out of frame of the camera lens. Depending on your webcam, be careful not to cover the microphone if you build a similar lens shade.

To the side of my desk, I have a larger lamp that points against the wall and behind me. This reduces my shadow from the desk lamp in front of me.

The end result looks like this:

Software and Online Services for Distance Learning

As mentioned above, I use email and the OpenLab for interacting with students, disseminating materials, and collecting student work. And, I am using Google Hangouts for regular office hours since it is a far easier lift for students than official CUNY supported video platforms like Skype and WebEx.

To create my class lectures, I do the following things.

First, I create a presentation slide deck using Slides in Google Docs.

While presenting my slides in full screen mode, I use OBS Studio, a “free and open source software for video recording and live streaming” that supports Windows, Mac, and Linux, to record a video of my desktop (the Slides presentation) and my webcam video and audio in a smaller picture-in-picture that positioned in the lower right corner of the screen, which produces a video like my recent lecture embedded below.

Before I can post the video to YouTube, I like to edit it (though, editing isn’t absolutely necessary). I like to use Shotcut, a “a free, open source, cross-platform video editor.” After trimming the video, I then upload it to YouTube, get the video’s sharable link, and embed the video with the link in my class’ OpenLab site.

OBS Studio and Shotcut have steep learning curves, but each have extensive online documentation and there are communities of users online who share tips and advice about how to setup and use these powerful tools.

There are many other options for working with video. On Mac OS X, one can use Quicktime Player to record a screencast or iMovie to create something more advanced. On Windows 10, the built-in Xbox Game Bar can be used for creating a screencast movie. Also, there are commercial solutions, such as Screencast-o-Matic.

In some cases, you might not even need a computer. iPhones with iOS and Android phones can use video recording software that’s built-in or with an app to record and edit video, and there’s a YouTube app for both platforms that you can use for uploading the resulting video.

In the next section, I will show you step-by-step instructions for uploading a video made on a computer to YouTube.

Uploading a Video to YouTube

Once you have a video ready to share with students, the following step-by-step guide for uploading your video to YouTube shows you how to upload and share a link to your video.

First, navigate to YouTube.com and login to your account. Then, click on the camera icon in the upper right corner and then click “Upload Video.”

Second, drag-and-drop your video from your computer into the center of the window that opens, or click on “Select File” to navigate to and select your video file on your computer.

Third, while your video is uploading and processing (updates are shown along the bottom edge of this window shown above), fill out the Title and Description boxes and choose a thumbnail for how the video will initially display before the play button is pressed. Then, scroll down the window.

To comply with the COPPA law, select if your video is for kids or not. Then, click Next in the lower right hand corner.

Fourth, you can skip the options on the Video Elements screen and click Next in the lower right corner.

Fifth, select the Visibility option for your video. The most versatile choices are Public (this is what I choose) and Unlisted. In these cases, you will have a sharable video link that you can send via email or easily embed in a webpage. Private is also an option, but you have to choose who is permitted to see the video, which requires students having a Google account and you knowing those accounts to grant permission to each one. After making your selection, click Publish in the lower right corner.

Finally, highlight and copy the video link on the resulting screen, or click on the copy icon on the right to automatically copy the video link to the Clipboard. Click “Close” on the lower right to return to your list of videos on YouTube. With the link on your Clipboard, you can go to email, OpenLab, or another platform to paste and share the video link with your students.

On OpenLab and WordPress-based sites, pasting the link into a post or page will automatically embed the video so that students can simply navigate to your class site and watch the video on the class site instead of going over to YouTube as an additional step.

If you’re working on transitioning your classes to distance learning, it’s okay to feel overwhelmed and frustrated like Miao Miao below. Just don’t give up. We’re doing good work for our students, and it takes time to think through and implement distance learning. Also, it’s okay to let your students know that this is a work-in-progress and things might change based on what works and what doesn’t.

I republished this post on Open Pedagogy on the OpenLab here.

Call for Applicants, City of Print: New York and the Periodical Press, Deadline Mar. 1, 2020

Benjamin Franklin printing press exhibit at City Tech.
Benjamin Franklin printing press exhibit at City Tech.

Mark Noonan, my colleague at City Tech, is running an NEH Summer Institute on the topic, “City of Print: New York and the Periodical Press.” I’ll be contributing to the Digital Methods Workshop on Wednesday, June 24 with my experience working on the City Tech Science Fiction Collection and using digital tools to make archival materials available to students and researchers. See the link below for all the sessions and apply to join us in Brooklyn!

City of Print: New York and the Periodical Press

(NEH SUMMER INSTITUTE)
(June 21 – July 3, 2020)

New York City College of Technology-CUNY will host a two-week NEH Summer Institute for college and university faculty in the summer of 2020 (June 21 – July 3).

For more information visit:

http://www.citytech.cuny.edu/cityofprint/

Applications to participate will be accepted via our online application system until March 1, 2020.

The Institute will focus on periodicals, place, and the history of publishing in New York.  As an institute participant, you will take part in discussions led by cultural historians, archivists, and experts in the fields of American literature, art and urban history, and periodical studies; participate in hands-on sessions in the periodicals collection of the New-York Historical Society; visit sites important to the rise of New York’s periodical press, such as Newspaper Row, Gramercy Park, the New York Seaport, the East Village, and the Algonquin Hotel; and attend Digital Humanities workshops.

You will also be asked to read a rich body of scholarship and consider new interdisciplinary approaches for researching and teaching periodicals that take into account the important site of their production, as well as relevant cultural, technological, aesthetic, and historical considerations. Sessions will be held across New York City including New York City College of Technology, the Brooklyn Historical Society, The Schomburg Center for Research in Black Culture, Pace University, and the New-York Historical Society.

We encourage applicants from any field who are interested in the subject matter. Scholars and teachers specializing in periodical studies, journalism, urban history, art history, American studies, literature, and/or cultural studies will find the Institute especially attractive.

Independent scholars, scholars engaged in museum work or full-time graduate studies are also urged to apply.

Call for Papers: An Astounding 90 Years of Analog Science Fiction and Fact, The Fourth Annual City Tech Science Fiction Symposium

An Astounding 90 Years of Analog Science Fiction and Fact: The Fourth Annual City Tech Science Fiction Symposium

Date and Time:            December 12, 2019, 9:00AM-6:00PM

Location:                     New York City College of Technology, 285 Jay St., A105, Brooklyn, NY

Almost 90 years ago, Analog Science Fiction and Fact began its storied history as one of the most important and influential SF magazines with the publication of its first issue under the title Astounding Stories of Super-Science. During that time, its fabled editors, award-winning writers, recognized artists, and invested readers played roles in the development of one of the longest running and renowned SF magazines, which in turn, influenced the field and adapted to change itself.

The Fourth Annual City Tech Science Fiction Symposium will celebrate “An Astounding 90 Years of Analog Science Fiction and Fact.” It will feature talks, readings, and discussion panels with Analog Science Fiction and Fact’s current and past editors and writers, and paper presentations and discussion panels about its extensive history, its relationship to the SF genre, its connection to fandom, and its role within the larger SF publishing industry.

We invite proposals for 15-20 minute paper presentations that explore or strongly relate to Analog Science Fiction and Fact. Please send a 250-word abstract with title, brief professional bio, and contact information to Jason Ellis (jellis@citytech.cuny.edu) by September 30, 2019. Topics with a connection to Analog Science Fiction and Fact might include but are certainly not limited to:

  • Histories of the magazine’s editors, writers, and relationship to other SF magazines.
  • Relationship of the magazine to the ongoing development of the SF genre.
  • Tropes, themes, and concepts in the magazine.
  • Issues of identity (culture, ethnicity, race, sex, and gender) in the magazine.
  • Writers of color in the magazine.
  • Women writers in the magazine.
  • Fandom and the magazine.
  • Visual studies of cover and interior artwork.
  • Hard SF and the magazine.
  • Interdisciplinary approaches to studying the magazine.
  • STEM and the Humanities bridged in the magazine.
  • Pedagogical approaches to teaching SF and/or STEM with the magazine.

This event is free and open to the public as space permits: an RSVP will be included with the program when announced on the Science Fiction at City Tech website (https://openlab.citytech.cuny.edu/sciencefictionatcitytech/).

This symposium is held in partnership with Analog Science Fiction and Fact and its publisher Penny Publications. It is hosted by the School of Arts and Sciences at the New York City College of Technology, CUNY.

The Annual City Tech Symposium on Science Fiction is held in celebration of the City Tech Science Fiction Collection, an archival holding of over 600-linear feet of magazines, anthologies, novels, and scholarship. It is in the Archives and Special Collections of the Ursula C. Schwerin Library (Library Building, L543C, New York City College of Technology, 300 Jay Street, Brooklyn, NY 11201). More information about the collection and how to access it is available here: https://openlab.citytech.cuny.edu/sciencefictionatcitytech/librarycollection/.

ENG3402, The Graphic Novel: Frank Miller’s The Dark Knight Returns (Continued…)

Continuing from my previous post on The Dark Knight Returns, I’ve assembled a selection of videos below featuring Frank Miller and others talking about Miller’s work in The Dark Knight Returns.

In this interview introduced by science fiction writer and editor Harlan Ellison for “The Masters of Comic Book Art (1987), Frank Miller discusses The Dark Knight Returns, Ronin, and other works.

DC Comics interviews people about their work on and memories of The Dark Knight Returns.

The Frank Miller episode of G4’s Icons discusses The Dark Knight Returns at the 16:00 mark.

Frank Miller was interviewed for Comic Book Confidential (1988). His part of documentary is embedded below.

In this final video, Frank Miller talks about his work and influences.

Presentation Videos from the Third Annual City Tech Science Fiction Symposium, Nov. 27, 2018

 

IMG_20181127_161342

The Third Annual City Tech Science Fiction Symposium was an amazing success! Here are videos from the symposium’s presentations and discussions from Nov. 27, 2018. Watch them all on YouTube via this playlist, or watch them as embedded videos below.

9:00am-9:20am
Continental Breakfast and Opening Remarks
Location: Academic Complex A105
Justin Vazquez-Poritz, Dean of the School of Arts and Sciences, New York City College of Technology
Jason W. Ellis, New York City College of Technology

9:20am-10:35am
Session 1: Affect and Experimentation
Location: Academic Complex A105
Moderator: Jason W. Ellis
Leigh Gold, “The Legacy of Frankenstein: Science, Mourning, and the Ethics of Experimentation”
Lucas Kwong, “The Island Of Dr. Moreau, Fantastic Ambivalence, and the Victorian “Science Of Religion”
Robert Lestón, “Between Intervals: A Soundscape for all Us Monsters”

10:45am-12:00am
Session 2: Identity and Genre
Location: Academic Complex A105
Moderator: Jill Belli
Anastasia Klimchynskaya, “Frankenstein, Or, the Modern Fantastic: Rationalizing Wonder and the Birth of Science Fiction”
Paul Levinson, “Golem, Frankenstein, and Westworld”
Joy Sanchez-Taylor, “Genetic Engineering and non-Western Modernity in Paolo Bacigalupi’s The Windup Girl and Larissa Lai’s Salt Fish Girl”

1:15pm-2:30pm
Session 3: American Culture and Media
Location: Academic Complex A105
Moderator: A. Lavelle Porter
Aaron Barlow, “‘Fraunkensteen’: What’s No Longer Scary Becomes Funny or, How American Popular Culture Appropriates Art and Expands the Commons”
Marleen S. Barr, “Trumppunk Or Science Fiction Resists the Monster Inhabiting the White House”
Sharon Packer, “Jessica Jones (Superhero), Women & Alcohol Use Disorders”

2:40pm-3:40pm
Student Round Table: “Shaping the Future: A Student Roundtable on Octavia Butler’s Parable of the Sower”
Location: Academic Complex A105
Moderator: A. Lavelle Porter
Panelists: Zawad Ahmed
Marvin Blain
Kartikye Ghai
Devinnesha Ryan

4:00pm-4:50pm
Frankenstein Panel: Mary Shelley’s Novel’s Influence on Scientists and Technologists
Location: Academic Complex A105
Moderator: Justin Vazquez-Poritz
Panelists:
Heidi Boisvert, Entertainment Technology Department
Robert MacDougall, Social Sciences Department
Ashwin Satyanarayana, Computer Systems Technology Department
Jeremy Seto, Biological Sciences Department

5:00pm-6:00pm
Closing and Tour of the City Tech Science Fiction Collection
Location: City Tech Library L543
Remarks by Jason W. Ellis

Third Annual City Tech Science Fiction Symposium, Nov. 27: Program and Details

SF-symposium-3-poster

The Third Annual City Tech Symposium on Science Fiction

 

200 Years of Interdisciplinarity Beginning with Mary Shelley’s Frankenstein

 

Tuesday, Nov. 27, 2018, 9:00am-6:00pm

 

New York City College of Technology, CUNY

Academic Complex, Room A105

285 Jay St., Brooklyn, NY 11201

 

Organizing Committee: Jill Belli, Jason W. Ellis, Leigh Gold, Lucas Kwong, Robert Lestón, and A. Lavelle Porter

 

Hosted by the School of Arts and Sciences.

 

Event hashtag: #CityTechSF

 

The kind of literature that came to be known as Science Fiction (SF) owes a tremendous debt to Mary Shelley’s Frankenstein, or The Modern Prometheus (1818). In addition to being an (if not the) inaugural work of SF, Mary Shelley builds her cautionary tale around interdisciplinary approaches to science, and she takes this innovation further by applying the humanities to question the nature of being in the world, the effects of science on society, and the ethical responsibilities of scientists. These are only some of Frankenstein’s groundbreaking insights, which as Brian Aldiss and David Wingrove observe in Trillion Year Spree (1986), “is marvellously good and inexhaustible in its interest” (20). The many dimensions of interdisciplinarity in Frankenstein and the SF that followed are the focus of the Third Annual City Tech Science Fiction Symposium.

Schedule

 

9:00am-9:20am

Continental Breakfast and Opening Remarks

Location: Academic Complex A105

Justin Vazquez-Poritz, Dean of the School of Arts and Sciences, New York City College of Technology

Jason W. Ellis, New York City College of Technology

 

 

9:20am-10:35am       

Session 1: Affect and Experimentation

Location: Academic Complex A105

Moderator: Jason W. Ellis

Leigh Gold, “The Legacy of Frankenstein: Science, Mourning, and the Ethics of Experimentation”

Lucas Kwong, “The Island Of Dr. Moreau, Fantastic Ambivalence, and the Victorian “Science Of Religion”

Robert Lestón, “Between Intervals: A Soundscape for all Us Monsters”

 

 

10:35am-10:45am     

Break

 

 

10:45am-12:00am     

Session 2: Identity and Genre

Location: Academic Complex A105

Moderator: Jill Belli

Anastasia Klimchynskaya, “Frankenstein, Or, the Modern Fantastic: Rationalizing Wonder and the Birth of Science Fiction”

Paul Levinson, “Golem, Frankenstein, and Westworld”

Joy Sanchez-Taylor, “Genetic Engineering and non-Western Modernity in Paolo Bacigalupi’s The Windup Girl and Larissa Lai’s Salt Fish Girl”

 

 

12:00am-1:15pm       

Lunch

 

 

1:15pm-2:30pm        

Session 3: American Culture and Media

Location: Academic Complex A105

Moderator: A. Lavelle Porter

Aaron Barlow, “‘Fraunkensteen’: What’s No Longer Scary Becomes Funny or, How American Popular Culture Appropriates Art and Expands the Commons”

Marleen S. Barr, “Trumppunk Or Science Fiction Resists the Monster Inhabiting the White House”

Sharon Packer, “Jessica Jones (Superhero), Women & Alcohol Use Disorders”

 

 

2:30pm-2:40pm        

Break

 

 

2:40pm-3:40pm        

Student Round Table: “Shaping the Future: A Student Roundtable on Octavia Butler’s Parable of the Sower”

Location: Academic Complex A105

Moderator:      A. Lavelle Porter

Panelists:         Zawad Ahmed

Marvin Blain
Kartikye Ghai

Devinnesha Ryan

 

 

3:40pm-3:50pm        

Break

 

 

4:00pm-4:50pm        

Frankenstein Panel: Mary Shelley’s Novel’s Influence on Scientists and Technologists

Location: Academic Complex A105

Moderator:      Justin Vazquez-Poritz

Panelists:         Jeremy Seto

Robert MacDougall

 

 

4:50pm-5:00pm        

Break/Relocate to Library

 

 

5:00pm-6:00pm        

Closing and Tour of the City Tech Science Fiction Collection

Location: City Tech Library L543

Remarks by Jason W. Ellis

 

 

Symposium Participants & Contributors

 

 

Aaron Barlow teaches English at New York City College of Technology (CUNY).

 

Marleen S. Barr is known for her pioneering work in feminist science fiction and teaches English at the City University of New York. She has won the Science Fiction Research Association Pilgrim Award for lifetime achievement in science fiction criticism. 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 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 latest publication is When Trump Changed, the first single authored short story collection about Trump.

 

Jill Belli, Ph.D., is Associate Professor of English and Co-Director of the OpenLab, the college’s open-source digital platform for teaching, learning, and collaborating. Jill teaches and researches utopian studies and science fiction, and she serves on the Steering Committee and as the web developer for the Society for Utopian Studies. She is currently working on a book about happiness and well-being in education.

 

Julie Bradford designed the symposium’s Frankenstein-themed poster. She is a BFA in Communication Design Management student at City Tech who has a strong background in illustration. When she is not distracted by cute and shiny things or busy drawing up comic adventures with her Pokemon Go buddies, she is focused on her schoolwork and catching up on her shows. While completing her BFA, she is working as a graphic design intern for City Tech’s Faculty Commons. Her online portfolio is available here: www.behance.net/
juliebradf2a85.

 

Jason W. Ellis is an Assistant Professor of English at the New York City College of Technology, CUNY. He holds a Ph.D. in English from Kent State University, M.A. in Science Fiction Studies from the University of Liverpool, and B.S. in Science, Technology, and Culture from Georgia Tech. Recently, he co-edited a special issue of New American Notes Online (NANO) on Star Wars: The Force Awakens.

 

Leigh Dara Gold received her doctorate in German Literature in 2011 from New York University. She teaches Introduction to Poetry and English 1121 at New York City College of Technology, and Ancient Literature and Composition at Borough of Manhattan Community College. Her current research interests include science fiction’s role in the classroom, research on Ursula K. Le Guin, and connections between dance, literature, and philosophy.

 

Anastasia Klimchynskaya is a doctoral candidate at the University of Pennsylvania. She is currently working on a dissertation on the emergence of science fiction in the 19th century, which she situates in the context of earlier genres as well as the period’s discourses around scientific and technological novelty.  Her other intellectual interests include the mechanisms through which science fiction becomes science fact, literature as political engagement, and the cultural history of AI. She is also on the organizing committee of the Philadelphia Science Fiction Conference (Philcon), and a peer reviewer for the Journal of Science Fiction. 

 

Lucas Kwong is an assistant professor of English at New York City College of Technology, where he has recently served as the coordinator for the Literary Arts Festival Writing Competitions. His scholarship includes the article “Dracula’s Apologetics of Progress,” published in a 2016 issue of Victorian Literature and Culture, as well as a forthcoming article on H.P. Lovecraft’s “The Call of Cthulhu” for Journal of Narrative Theory. His current research project examines how late Victorian fantastic fiction reimagined the era’s fascination with religious difference. He also serves as the assistant editor for New American Notes Online (www.nanocrit.com) and City Tech Writer (openlab.citytech.cuny.edu/citytechwriter), a journal of student writing.

 

Paul Levinson, PhD, is Professor of Communication & Media Studies at Fordham University in NYC. His science fiction novels include The Silk Code (winner of Locus Award for Best First Science Fiction Novel of 1999), Borrowed Tides (2001), The Consciousness Plague (2002), The Pixel Eye (2003), The Plot To Save Socrates (2006), Unburning Alexandria (2013), and Chronica (2014). His stories and novels have been nominated for Hugo, Nebula, Sturgeon, Edgar, Prometheus, and Audie Awards. His novelette “The Chronology Protection Case” was made into short movie, now on Amazon Prime. His nonfiction books, including The Soft Edge (1997), Digital McLuhan (1999), Realspace (2003), Cellphone (2004), New New Media (2009; 2nd edition, 2012), McLuhan in an Age of Social Media (2015), and Fake News in Real Context (2016), have been translated into twelve languages. He co-edited Touching the Face of the Cosmos: On the Intersection of Space Travel and Religion in 2016. He appears on CNN, MSNBC, Fox News, the Discovery Channel, National Geographic, the History Channel, NPR, and numerous TV and radio programs. His 1972 LP, Twice Upon a Rhyme, was re-issued in 2010. He was President of the Science Fiction and Fantasy Writers of America, 1998-2001. He reviews television in his InfiniteRegress.tv blog, and was listed in The Chronicle of Higher Education’s “Top 10 Academic Twitterers” in 2009.

 

Robert MacDougall is an Assistant Professor in Philosophy at City Tech.

 

Sharon Packer, MD is a physician and psychiatrist who is in private practice and is Assistant Clinical Professor at Icahn School of Medicine at Mt. Sinai. She is the author of several books that link science, psychiatry and the humanities, including Neuroscience in Science Fiction Film, Cinema’s Sinister Psychiatrists, Movies and the Modern Psyche, Superheroes & Superegos: the Minds behind the Masks; Dreams in Myth, Medicine & Movies. She edited two multi-volume books on Evil in American Popular Culture and Mental Illness in Popular Culture. She writes regular articles on “Why Psychiatrists are Physicians First” for Psychiatric Times.  

 

A. Lavelle Porter is an Assistant Professor of English at New York City College of Technology. He holds a B.A. in history from Morehouse College and a Ph.D. in English from the CUNY Graduate Center. His writing has appeared in venues such as The GC Advocate, Callaloo, The New Inquiry, Poetry Foundation, and the African American Intellectual History Society. He is currently working on a book about representations of black higher education in popular culture.

 

 

Joy Sanchez-Taylor is an Associate Professor of English at LaGuardia Community College whose research specialty is science fiction and fantasy literature by authors of color. She has published articles in Science Fiction Studies, Extrapolation and The Journal of the Fantastic in the Arts. Currently, she is working on a book project titled Diverse Futures: Science Fiction, Fantasy, and Writers of Color.

 

Jeremy Seto is an Assistant Professor in Biological Sciences at City Tech.

 

Justin Vazquez-Poritz is the Dean of the School of Arts and Sciences at City Tech.

 

Special Thanks

 

Complementary magazines donated by Analog Science Fiction and Fact. For more information about the magazine and subscriptions, visit http://www.analogsf.com.

 

Complementary passes donated by The Morgan Library & Museum. Enjoy the exhibition It’s Alive! Frankenstein at 200 through January 27, 2019. For more information, visit www.themorgan.org.

 

Invaluable support from Dean Justin Vazquez-Poritz and Office Assistant Iva Williams.

 

Tremendous assistance from the Faculty Commons: Director Julia Jordan, Design Intern Julie Bradford, and the rest of the team.

 

 

Call for Papers: 200 Years of Interdisciplinarity Beginning with Mary Shelley’s Frankenstein: The Third Annual City Tech Symposium on Science Fiction

frankenstein-frontispiece-1831

200 Years of Interdisciplinarity Beginning with Mary Shelley’s Frankenstein: The Third Annual City Tech Symposium on Science Fiction

Date and Time: Tuesday, November 27, 2018. 9:00am-5:00pm

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

“So much has been done, exclaimed the soul of Frankenstein—more, far more, will I achieve; treading in the steps already marked, I will pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation.”

–Mary Shelley, Frankenstein (1831 edition)

“Yeah, but your scientists were so preoccupied with whether or not they could that they didn’t stop to think if they should.”

–Ian Malcolm (Jeff Goldblum), Jurassic Park (1993)

Ian Malcolm’s admonition above is as much a rebuke to the lasting echo of Victor Frankenstein’s ambition to accomplish “more, far more” as it is to park owner John Hammond’s explaining, “Our scientists have done things no one could ever do before.” Films like Jurassic Park and the kind of literature that came to be known as Science Fiction (SF) owe a tremendous debt to Mary Shelley’s Frankenstein, or The Modern Prometheus (1818). In addition to being an (if not the) inaugural work of SF, Mary Shelley builds her cautionary tale around interdisciplinary approaches to science, and she takes this innovation further by applying the humanities to question the nature of being in the world, the effects of science on society, and the ethical responsibilities of scientists. These are only some of Frankenstein’s groundbreaking insights, which as Brian Aldiss and David Wingrove observe in Trillion Year Spree (1986), “is marvellously good and inexhaustible in its interest” (20). The many dimensions of interdisciplinarity in Frankenstein and the SF that followed are the focus of the Third Annual City Tech Science Fiction Symposium.

In this special anniversary year of Mary Shelley’s Frankenstein, join us for a one-day symposium discussing interdisciplinarity and SF. Continuing conversations began in the earlier symposia, we seek to investigate SF’s power as an extrapolating art form with interdisciplinarity at its core, including interdisciplinarity within STEM fields and the interdisciplinary synergy of STEM and the humanities.

We invite presentations of 15-20 minutes on SF and interdisciplinarity. Papers on or connected to Frankenstein are particularly encouraged. Possible presentation topics include, but are not limited to:

  • Mary Shelley’s Frankenstein and interdisciplinarity (focusing on research questions or teaching approaches)
  • Explorations of interdisciplinary ideas, approaches, and themes in SF (or what disciplinary boundaries does SF bridge)
  • SF as an interdisciplinary teaching tool (or what SF have you used or want to use in your classes to achieve interdisciplinary outcomes)
  • SF’s interdisciplinary imaginative functions (or Gedankenexperiment, considering ethical issues, unintended consequences, or unexpected breakthroughs)
  • Studying SF through an interdisciplinary lens (or combining otherwise discipline-bound approaches to uncover new meanings)
  • Bridging STEM and the humanities via SF (or SF as an interdisciplinary cultural work that embraces STEAM—Science, Technology, Engineering, the Arts, and Mathematics)
  • SF and identity (or how interdisciplinarity in SF reveals, supports, or explores issues of identity, culture, sex, gender, and race)
  • SF and place (or how SF’s settings are interdisciplinary, or where it is written fosters its interdisciplinarity)
  • Interdisciplinarity and archival work in SF collections (or making the City Tech Science Fiction Collection work for faculty, students, and researchers across disciplines)

Please send your abstract (no more than 250 words), brief bio, and contact information to Jason Ellis (jellis at citytech.cuny.edu) by Oct. 31, 2018.

The program will be announced by Nov. 12, 2018 on the Science Fiction at City Tech website here: https://openlab.citytech.cuny.edu/sciencefictionatcitytech/.

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

The Annual City Tech Symposium on Science Fiction is held in celebration of the City Tech Science Fiction Collection, an archival holding of over 600-linear feet of magazines, anthologies, novels, and scholarship. It is located in the Archives and Special Collections of the Ursula C. Schwerin Library (Library Building, L543C, New York City College of Technology, 300 Jay Street, Brooklyn, NY 11201). More information about the collection and how to access it is available here: https://openlab.citytech.cuny.edu/sciencefictionatcitytech/librarycollection/.

City Tech Science Fiction Collection Inventory

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L to R: Jason Ellis, Lavelle Porter, and Jessica Roman

Over the past three days, I worked with my City Tech colleagues–Laura Westengard, Lavelle Porter, and Lucas Kwong–and student–Jessica Roman–to inventory the City Tech Science Fiction Collection. Two years ago, I began the collection’s finding aid by cataloging the 4,000+ magazines. Last year, I inventoried the collection’s nearly 1,700 monographs and anthologies. This year, we are creating an inventory of the remaining parts of the collection: scholarly journals and novels. Read details of our progress on the Science Fiction at City Tech OpenLab site here.

Retrocomputing at City Tech

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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.