tag:blogger.com,1999:blog-71944006220507263872024-03-13T21:10:07.286-07:00MIRANDA: Composer's JournalAn occasional blog about issues and events relevant to Aldous Huxley's novel Brave New World.Beeble Baxterhttp://www.blogger.com/profile/04337471900561330653noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-7194400622050726387.post-4569439282784474622014-02-27T09:36:00.000-08:002014-02-28T10:26:24.611-08:00Genetic Engineering Today: How Far Should We Go?<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-cwgXJC-X4fY/Uw9nymvj7_I/AAAAAAAAADU/OzYgVpXCR00/s1600/genetic-engineering.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-cwgXJC-X4fY/Uw9nymvj7_I/AAAAAAAAADU/OzYgVpXCR00/s1600/genetic-engineering.jpg" height="256" width="320" /></a></div>
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<span style="font-family: Verdana, sans-serif;"><b>Aldous Huxley</b> anticipated these questions way back in 1930 and he explored them masterfully in his ever-relevant novel <i><a href="http://www.huxley.net/miranda/home.html" target="_blank">Brave New World</a>.</i></span><br />
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<span style="font-family: Verdana, sans-serif;">Let me begin by confessing that the image I have chosen as a heading to my brief discussion is a bit "over the top" but I hope its sensational nature might get us to pause for further consideration. Chipmunks used to be cute right? Imagine this little monster scurrying across your backyard. That settles it. </span><br />
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<span style="font-family: Verdana, sans-serif;">But then the image is biased negatively, isn't it?</span><br />
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<span style="font-family: Verdana, sans-serif;">New developments in genetic engineering recently discussed in the news are generating necessary, useful public debate. As a general practice, it's probably best to enter the discussion without a fixed position either way. A February 19th story on NPR <a href="http://www.npr.org/2013/02/15/172137776/should-we-prohibit-genetically-engineered-babies" target="_blank">"Should We Prohibit Genetically Engineered Babies?"</a> features an Oxford style debate on this question. </span><br />
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<span style="font-family: Verdana, sans-serif;">The NPR piece begins with two potently emotional questions: <i>"</i></span><span style="background-color: white; color: #111111; font-size: 18px; font-style: italic; line-height: 1.5;"><span style="font-family: Verdana, sans-serif;">What if, before your children were born, you could make sure they had the genes to be taller or smarter? Would that tempt you, or would you find it unnerving? </span></span><span style="background-color: white; color: #111111; font-family: Verdana, sans-serif; font-size: 18px; line-height: 1.5;"><i>What if that genetic engineering would save a child from a rare disease?" </i></span><br />
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<span style="background-color: white; color: #111111; font-family: Verdana, sans-serif; font-size: 18px; line-height: 1.5;">Few of us with children would quickly answer no. But I wonder, do we attribute too much certainty to positive predictions of outcome as if a human being is a just predictable mechanical process? But if we would support the prohibition of genetic engineering then we might be attributing too much certainty to negative outcome, fearing extra fingers, a third nostril or an ear on the forehead and such.</span><br />
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<span style="background-color: white; color: #111111; font-family: Verdana, sans-serif; font-size: 18px; line-height: 1.5;">An interesting feature of this debate is that, of the four experts only one, <a href="http://twinston.org.uk/biography/" target="_blank">Robert Winston</a> of Imperial College London, has actually practiced genetic engineering, specifically "</span><span style="background-color: white; color: #111111; font-family: Helvetica, Arial, sans-serif; font-size: 18px; line-height: 24px;">preimplantation genetic diagnosis" </span><span style="background-color: white; color: #111111; font-size: 18px; line-height: 24px;"><span style="font-family: Verdana, sans-serif;">that helped families with a history of genetic defects to have children without them. </span></span><br />
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<span style="background-color: white;"><span style="font-family: Verdana, sans-serif;"><span style="color: #111111;"><span style="line-height: 24px;">I won't review each expert's stand on the motion, but the moderator begins the discussion by calling on </span></span><a href="http://www.tufts.edu/~skrimsky/bio.htm" style="color: #111111; font-size: 18px; line-height: 24px;" target="_blank">Sheldon Krimsky</a><span style="color: #111111;"><span style="line-height: 24px;"> to articulate his support of prohibiting genetic engineering, and he makes an important point that applies to many scientific and social discussions. Krimksy observes that a human being is more than a "Lego set" predictably assembled but more like "an ecosystem where all the parts interrelate and are in mutual balance." Who we become is </span></span></span></span><span style="background-color: white; color: #111111; font-family: Verdana, sans-serif; line-height: 24px;">made over time through the intertwined influences of genetics, nutrition, environment, social practices etc. Changing a gene is not the only factor involved when attempting a desired result. </span><br />
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<span style="background-color: white; color: #111111; font-size: 18px; line-height: 24px;"><span style="font-family: Verdana, sans-serif;"><a href="http://law.duke.edu/fac/farahany/" target="_blank">Nita Farahany</a> who opposes the prohibition of genetic engineering in favor of the "middle ground" of public debate. She makes her case partly by relating the emotional story of a mother who passed on her genetic defect to all six of her children, five of whom died. Her disease is known as <a href="http://www.ncbi.nlm.nih.gov/books/NBK1173/" target="_blank">Leigh's Syndrome</a> and it could have been prevented through an egg-engineering approach called <a href="http://www.npr.org/blogs/health/2014/02/26/283022514/scientists-question-safety-of-genetically-altering-human-eggs" target="_blank">"DNA transfer"</a> which is questioned by some scientists and being debated by the FDA now. </span></span><br />
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<span style="background-color: white;"><span style="font-family: Verdana, sans-serif;"><span style="color: #111111;"><span style="line-height: 24px;"><b>The good news is</b> that all four participants, two in favor and two against prohibiting genetic engineering, are active in public discussion of the ethical and social implications of scientific discoveries. This is far different from the scientific situation in </span></span><i style="color: #111111; font-size: 18px; line-height: 24px;">Brave New World </i><span style="color: #111111; font-size: 18px; line-height: 24px;">where the primary role of science is to promote stability.</span><span style="color: #111111;"><span style="line-height: 24px;"> </span></span></span></span><br />
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<span style="background-color: white;"><span style="font-family: Verdana, sans-serif;"><span style="color: #111111;"><span style="line-height: 24px;">In <a href="http://www.huxley.net/miranda/ch16.html" target="_blank">chapter 16</a>, World Controller Mustapha Mond discusses science with John Savage: "</span><i><span style="line-height: 24px;">Besides, we have our stability to think of. We don't want to change. Every change is a menace to stability. That's another reason we are so chary of applying new inventions. Every discovery in pure science is potentially subversive; even science must sometimes be treated as a possible enemy. Yes, even science."</span></i></span></span></span><br />
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Beeble Baxterhttp://www.blogger.com/profile/04337471900561330653noreply@blogger.com0tag:blogger.com,1999:blog-7194400622050726387.post-21008369101251687912012-07-16T17:05:00.000-07:002012-07-16T17:13:47.105-07:00Seeds of Brave New World?<div class="separator" style="clear: both; text-align: center;">
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In Alix Spiegel's July 16, 2012 NPR article <a href="http://www.npr.org/2012/07/16/156571493/can-science-plant-brain-seeds-that-make-you-vote">"Can Science Plant Brain Seeds That Make You Vote?" </a>we have a hint at the psychological conditioning that Huxley foresees as one of several methods of control used by the World Controllers in his novel <i><a href="http://www.huxley.net/miranda/home.html">Brave New World</a></i>. Ironically however, active participation in the democratic process is precisely the kind of behavior that can help prevent the kind of subtle technologized control that makes the Brave New World possible - unless, of course, those 'seeds' also guide or override our natural choice of candidate.<br />
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In the novel it is the ever-present hypnopedia that continually plants slogan seeds that help keep the populace docile and obedient, and even those who know about the conditioning and/or have helped design the hypnopedic seeds are subject to their influence. As Bernard Marx reflects in <a href="http://www.huxley.net/miranda/ch3.html">chapter 3</a>: <i>"Sixty-two thousand four hundred repetitions make one truth"</i> a fact that <a href="http://www.calvin.edu/academic/cas/gpa/goebmain.htm">Joesph Goebbels </a>recognized which is in full operation today - especially in politics.<br />
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But, as Spiegel notes, the successful sprouting of the brain seed is at least partly due to the visualization of a future action or response. This seems to be part of the World State's program for de-sensitizing children to death in <a href="http://www.huxley.net/miranda/ch11.html">chapter 11</a>. While voting is a desirable and necessary part of a healthy democracy, we might wonder about the "brain seeds" planted in us by corporate propagandists as suggested by MIT Cognitive Scientist & Linguistics <a href="http://web.mit.edu/linguistics/people/faculty/chomsky/index.html">Professor Noam Chomsky </a> in his 1998 recording <i><a href="http://www.youtube.com/watch?v=gHU2AVcK5l8&feature=related">Propaganda and Control of the Public Mind</a>.</i><br />
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So, we have to wonder, has hypnopedia been here all along? The kind of critical thinking that Huxley indirectly encourages in <i>Brave New World </i>should move us all to ask: what ideas or attitudes are sprouting in <i>my</i> brain and who planted the seeds?<br />
<br />Beeble Baxterhttp://www.blogger.com/profile/04337471900561330653noreply@blogger.com0tag:blogger.com,1999:blog-7194400622050726387.post-72024704166038668692011-02-06T07:22:00.000-08:002011-03-05T16:33:22.891-08:00Daphnia, Genetics & Adaptation<span class="Apple-style-span"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/-Hit_-90lb38/TXLMdsKbanI/AAAAAAAAABY/6qAVYoDEilk/s1600/Daphnia.png"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 195px; height: 320px;" src="http://2.bp.blogspot.com/-Hit_-90lb38/TXLMdsKbanI/AAAAAAAAABY/6qAVYoDEilk/s320/Daphnia.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5580747698708638322" /></a><br /></span><div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span">A recent NPR story<a href="http://www.npr.org/2011/02/04/133466183/tiny-water-flea-clocks-in-record-number-of-"> "Tiny Water-Flea Clocks In Record Number Of Genes"</a> started me thinking about adaptation and the contrast between this flea whose genes empower it to create what it needs according to its context, such as growing "its own spear and helmet" when under threat. Researchers at <a href="http://cgb.indiana.edu/">The Center for Genomics and Bioinformatics</a> studying the <i>Daphnia</i> have sequenced the 200 million letters of <i>Daphnia's</i> 31,000 genes. Having 8,000 more genes than humans, scientists are exploring what these extra genes do. Though properly categorized as a crustacea, the <i>Daphnia </i>were originally mistaken for fleas because of their red color, but unlike the flea, the blood in the <i>Daphnia</i> is self-generated in response to environmental stress. </span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span">Unlike the World State produced people of Huxley's novel, one of these rice-grain sized fleas is genetically programmed to be <span class="Apple-style-span"><i><b>"</b></i><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 19px; "><i><b>flexible in response to its environment"</b></i> as opposed to being genetically engineered for a narrowly defined existence. </span></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 19px; "><br /></span></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 19px; ">Lenina's growing anxiety about going to the Savage Reservation with Bernard might not suggest insufficient genetics, but she exemplifies the inflexible lack of adaptability that is increasingly the hallmark of heavily technologized human beings. As she contemplates the Reservation from the hyper-comfort of a World State hotel, Lenina reveals her anxiety about the trip by reviewing the luxuries available at the hotel and repeating the conditioned slogan "</span></span></span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 19px; "><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; color: rgb(0, 0, 0); line-height: normal; "><p style="display: inline !important; "><i>progress is lovely, isn't it?" </i>To which </p></span></span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 19px; ">Bernard glumly responds by muttering the hypnopedic formula that imprinted her brain with the phrase. </span></span></div></div><div><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 19px; font-size: medium; "><br /></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><b><br /></b></span></div><div><span class="Apple-style-span"><p style="display: inline !important; "><b><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 19px;">"</span></span><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="line-height: normal; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; "><i><span class="Apple-style-span">Liquid air, television, vibro-vacuum massage, radio, boiling caffeine solution, hot contraceptives, and eight different kinds of scent were laid on in every bedroom. The synthetic music plant was working as they entered the hall and left nothing to be desired. A notice in the lift announced that there were sixty Escalator-Squash-Racket Courts in the hotel, and that Obstacle and Electro-magnetic Golf could both be played in the park."</span></i></span></span></b></p></span></div><div><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 19px; "><i><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; line-height: normal; "><b><p>"But it sounds simply too lovely," cried Lenina. "I almost wish we could stay here. Sixty Escalator-Squash Courts . . ."</p><p>"There won't be any in the Reservation," Bernard warned her. "And no scent, no television, no hot water even. If you feel you can't stand it, stay here till I come back."</p><p>Lenina was quite offended. "Of course I can stand it. I only said it was lovely here because . . . well, because progress is lovely, isn't it?"</p><p>"Five hundred repetitions once a week from thirteen to seventeen," said Bernard wearily, as though to himself."</p></b></span></i></span></span></span></div><div><span class="Apple-style-span">The characters in <i><a href="http://www.huxley.net/miranda/home.html">Brave New World</a> </i>are the ultimate professionals. They are the products of precise planning and the latest technology, beings born of <a href="http://www.digitalhistory.uh.edu/database/article_display.cfm?HHID=202">Taylorism</a> and the assembly line. Their personalities, aptitudes and desires are all predestined and their lives are predictable. Like all World State residents, they are conditioned to repeat hypnopedic phrases about being happy but put one of them in an unfamiliar, unexpected, or unplanned situation and their precision design breaks down. Unlike our - <b>they are completely unable to adapt.</b></span></div><div><span class="Apple-style-span"><br />Unlike the <i>Daphnia, </i> contemporary human "adaptations" are the excretions and extrusions of technology, not our own biology. While our technologies <b>do</b> help us to encounter various environments successfully, most often they keep us from having to adapt and since they are not a part of our bodies they can be lost or taken away. If we genetically generated our own tools from our own bodies or if we could re-grow an organ or a limb, we might be closer to a durable adaptation, but what genetic engineering would it take to get us there? </span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><br /></div>Beeble Baxterhttp://www.blogger.com/profile/04337471900561330653noreply@blogger.com0tag:blogger.com,1999:blog-7194400622050726387.post-34654600409000505612011-01-07T07:30:00.000-08:002011-03-05T17:15:06.165-08:00upcoming adaptation?<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/-4-HqsbIBf2k/TXLgBnMqk3I/AAAAAAAAACQ/ui0HEyBOIqw/s1600/BNW%2Bpulp%2Bnovel%2Bcover.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 266px; height: 400px;" src="http://1.bp.blogspot.com/-4-HqsbIBf2k/TXLgBnMqk3I/AAAAAAAAACQ/ui0HEyBOIqw/s400/BNW%2Bpulp%2Bnovel%2Bcover.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5580769206572061554" /></a><br /><br /><div style="text-align: left;">Though <a href="http://www.huxley.net/bnw/"><i>Brave New World</i></a> has been around for over 70 years there has never been a successful full-length feature film of the novel. Though he has not been especially forthcoming about the film, <a href="http://en.wikipedia.org/wiki/Ridley_Scott">Ridley Scott</a> is set to direct a film adaptation, possibly starring Leonardo DiCaprio, this year according to the <a href="http://www.scifimoviepage.com/upcoming/previews/brave_new_world.html">Sci Fi movie page</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;">The most recent (only?) adaptations previous to this project are two TV versions, one in <a href="http://www.youtube.com/watch?v=L_8CkUMGOhM">1980</a> directed by Burt Brinckerhoff and the other in <a href="http://www.youtube.com/watch?v=WuiaT0nX9ls&feature=related">1998</a> directed by Leslie Libman that stars Leonard Nimoy as Mustapha Mond.</div><div>Nimoy makes an ideal World Controller, but the Libman version ends with typical Hollywood schmaltz showing Bernard and Lenina with an infant in exile. Brinckerhoff's version seems a bit cheezy by today's standards and it certainly takes a few liberties by developing parts of the narrative but it ends as the novel ends with John's feet swinging back and forth.<br /><br />It would make an interesting exercise to read the novel, listen to <a href="http://recordbrother.typepad.com/imagesilike/files/brave_new_world_side_1.mp3">part 1</a> and <a href="http://recordbrother.typepad.com/imagesilike/files/brave_new_world_side_2.mp3">part 2 </a>of the 1956 CBS radio broadcast (Huxley narrates!) and watch the two TV versions above followed by a discussion of the various choices made in each adaptation and how they affect our understanding of the narrative.<br /><br /><div class="separator" style="clear: both; text-align: center;"></div></div>StryderLee: edupunkhttp://www.blogger.com/profile/17254621276771031350noreply@blogger.com0tag:blogger.com,1999:blog-7194400622050726387.post-12480225705861653022010-08-10T22:31:00.000-07:002011-03-05T17:05:17.353-08:00Just because we can?<div style="text-align: left;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/-RJvgfS02GjY/TXLdKi30REI/AAAAAAAAACA/ybSKP2M39q8/s1600/BNW%2BHappy%2BPill%2BHead.jpg"><img style="cursor:pointer; cursor:hand;width: 223px; height: 320px;" src="http://3.bp.blogspot.com/-RJvgfS02GjY/TXLdKi30REI/AAAAAAAAACA/ybSKP2M39q8/s320/BNW%2BHappy%2BPill%2BHead.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5580766061494813762" /></a></div><div style="text-align: right;"><b><div style="display: inline !important; "><span class="Apple-style-span" style="font-weight: normal; "><b><div style="display: inline !important; "><span class="Apple-style-span" style="font-weight: normal; "><b><br /></b></span></div></b></span></div></b></div><div style="text-align: left;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/-RJvgfS02GjY/TXLdKi30REI/AAAAAAAAACA/ybSKP2M39q8/s1600/BNW%2BHappy%2BPill%2BHead.jpg"></a><b><div style="display: inline !important; "><span class="Apple-style-span" style="font-weight: normal; "><b><div style="display: inline !important; "><span class="Apple-style-span" style="font-weight: normal; "><b>Ah, the ever-relevant Huxley...</b></span></div></b></span></div></b></div><div><div><div><br /><div><br /></div><div>A few lines of dialog at the end of chapter 3 in Huxley's <i>Brave New World</i> outline the development of soma, the drug for every occasion, to evade every unpleasant mood:<br /><br /><span style="font-style: italic;">"Two thousand pharmacologists and bio-chemists were subsidized in A.F. 178.</span></div><div><div style="text-align: right;"><i><span class="Apple-style-span" style="font-style: normal; "><div><br /></div><span class="Apple-style-span" style="color: rgb(0, 0, 0); -webkit-text-decorations-in-effect: none; "><span class="Apple-style-span" style="color: rgb(0, 0, 0); -webkit-text-decorations-in-effect: none; text-align: left; clear: right; margin-bottom: 1em; margin-left: 1em; display: inline !important; "><a href="http://2.bp.blogspot.com/_Xcg2KSvC5rQ/TGHuaF8S9tI/AAAAAAAAA1I/XF2CAJHbKOA/s1600/PillsHead.jpg" imageanchor="1" style="text-align: left; clear: right; margin-bottom: 1em; margin-left: 1em; display: inline !important; "></a></span></span></span></i></div><span></span><span style="font-style: italic;">"He does look glum," said the Assistant Predestinator, pointing at Bernard Marx. </span></div><div><span></span><i><br /></i><span style="font-style: italic;">"Six years later it was being produced commercially. </span></div><div><span style="font-style: italic;">The perfect drug." </span></div><div><span></span><i><br /></i><span style="font-style: italic;">"Let's bait him." </span></div><div><span></span><i><br /></i><span style="font-style: italic;">"Euphoric, narcotic, pleasantly hallucinant." </span></div><div><span></span><i><br /></i><span style="font-style: italic;">"Glum, Marx, glum."</span></div><div><span></span><i><br /></i><span style="font-style: italic;">The clap on the shoulder made him start, look up. </span><span style="font-style: italic;">It was that brute Henry Foster. </span></div><div><span style="font-style: italic;">"What you need is a gramme of soma. All the advantages of Christianity and alcohol; </span></div><div><span style="font-style: italic;">none of their defects."</span>(53-54)<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_Xcg2KSvC5rQ/TGHzt1yGXtI/AAAAAAAAA1Q/6Vvejd1Cjo4/s1600/nervous_breakdown.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img src="http://1.bp.blogspot.com/_Xcg2KSvC5rQ/TGHzt1yGXtI/AAAAAAAAA1Q/6Vvejd1Cjo4/s200/nervous_breakdown.jpg" border="0" height="165" width="200" /></a></div> In a recent NPR story <a href="http://www.npr.org/templates/story/story.php?storyId=128874986">Is Emotional Pain Necessary?"</a> Alix Spiegel explores our ability to chemically avoid difficult and unpleasant experiences like grief. Huxley's fictional soma is not mentioned but our growing <a href="http://www.usp.org/products/pharmacistsPharm/#contents">pharmacopeia </a>is increasingly blooming with mood altering drugs and <a href="http://video.google.com/videoplay?docid=739609197405993027&ei=aW6XScm9M4bi2gLR9fSyAw#">Big Pharma</a> is a multi-billion dollar industry.<br />Clearly, some of these pharmaceuticals are helpful and bring much needed relief to many people, but it may be time to reconsider whether some of the emotions or experiences we try to avoid might actually be important, if painful, to encounter directly.<br /><br />For example, no matter who you are it is certain that you will experience grief at some point in your life - unless you're a sociopath.<br />Spiegel's story reveals that in the most recent draft of the Diagnostic and Statistical Manual (DSM), the book used by psychiatrists to diagnose mental illness, a debate is roiling about whether grief should be considered a treatable mental illness if it lasts longer than two weeks.<br /><br />The natural grief we experience at the death of a loved one includes loss of appetite, loss of sleep, lack of concentration but "in the new manual, if symptoms like these persist for more than two weeks, the bereaved person will be considered to have a mental disorder: major depression. And treatment, either therapy or medication, is recommended."<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_Xcg2KSvC5rQ/TGIwIpqcq0I/AAAAAAAAA1w/nc24MFoHRt0/s1600/DSCN0622.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="http://3.bp.blogspot.com/_Xcg2KSvC5rQ/TGIwIpqcq0I/AAAAAAAAA1w/nc24MFoHRt0/s320/DSCN0622.JPG" border="0" /></a></div><br />So that's it: you get a 2-week limit for grief and then it's back to work. Longer than that and you're considered sick and in need of treatment.<br />This is one of the reasons that soma is so useful in Huxley's fictional World State - it keeps the wheels of production spinning. No pesky human emotions to slow things down or cause disturbance.<br /><br />In the last three chapters of <i>Brave New World, </i>John Savage challenges Mustapha Mond to justify the ways of the World State. In the process of their conversation, John argues for facing rather than avoiding difficulties, challenges and pain. These unpleasant experiences strengthen our will, make us more self-aware, and remind us of our ability to survive.<br /><br />"The Savage nodded, frowning. "You got rid of them. Yes, that's just like you. Getting rid of everything unpleasant instead of learning to put up with it. Whether 'tis better in the mind to suffer the slings and arrows of outrageous fortune, or to take arms against a sea of troubles and by opposing end them . . . But you don't do either. Neither suffer nor oppose. You just abolish the slings and arrows. "It's too easy.""<br /><br />It was the easy life of the Eloi in H. G. Wells' <a href="http://etext.virginia.edu/toc/modeng/public/WelTime.html"><i>The Time Machine</i></a> that left them physically and intellectually weak:<br />"What, unless biological science is a mass of errors, is the cause of human intelligence and vigour? Hardship and freedom: conditions under which the active, strong, and subtle survive and the weaker go to the wall; conditions that put a premium upon the loyal alliance of capable men, upon self-restraint, patience, and decision."</div></div></div></div>StryderLee: edupunkhttp://www.blogger.com/profile/17254621276771031350noreply@blogger.com1tag:blogger.com,1999:blog-7194400622050726387.post-55102436267272387292010-06-08T07:08:00.000-07:002010-06-08T09:53:52.695-07:00Not Bokanovsky's Process, but....MORE <span style="color: rgb(255, 0, 0);">FASTER <span style="color: rgb(51, 51, 255);">EASIER</span> <span style="color: rgb(0, 0, 0);">MORE</span></span> <span style="color: rgb(255, 0, 0);">FASTER</span> <span style="color: rgb(51, 51, 255);">EASIER</span> MORE <span style="color: rgb(255, 0, 0);">FASTER</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_D_nlmkdoNCo/TA5TsaJu9mI/AAAAAAAAAAw/Nj4qPrdjoY0/s1600/DNA_animation.gif"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 181px; height: 313px;" src="http://4.bp.blogspot.com/_D_nlmkdoNCo/TA5TsaJu9mI/AAAAAAAAAAw/Nj4qPrdjoY0/s320/DNA_animation.gif" alt="" id="BLOGGER_PHOTO_ID_5480409818955970146" border="0" /></a>Recently NPR News featured a story that demonstrates the continuing relevance of Huxley's insights in his novel <span style="font-style: italic;">Brave New World</span>:<a href="http://www.npr.org/templates/story/story.php?storyId=127010591"> "Scientists Reach Milestone On Way To Artificial Life"</a>. When Craig Venter says that <span style="color: rgb(204, 0, 0);">"we could create new species to do what we want them to do, not what they evolved to do</span>" his hybrid entity of synthesized DNA and biological cell suggests a step towards Huxley's fictional world of manufactured commoditized human beings:<br /><span style="font-style: italic;">"...a bokanovskified egg will bud, will proliferate, will divide. From eight to ninety-six buds, and every bud will grow into a perfectly formed embryo, and every embryo into a full-sized adult. Making ninety-six human beings grow where only one grew before. Progress."</span><br /><br />MORE <span style="color: rgb(255, 0, 0);">FASTER <span style="color: rgb(51, 51, 255);">EASIER</span> <span style="color: rgb(0, 0, 0);">MORE</span></span> <span style="color: rgb(255, 0, 0);">FASTER</span> <span style="color: rgb(51, 51, 255);">EASIER</span> MORE <span style="color: rgb(255, 0, 0);">FASTER</span><br /><br />And perhaps Venter's invention <span style="font-style: italic;">will</span> prove to be progress, to move us forward in solving some of the grave threats to our species, but creating a corporation to manufacture artificial servants for-profit may not be the most promising first step.<br /><div style="text-align: right;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_D_nlmkdoNCo/TA5w4_v-vqI/AAAAAAAAABA/OF6jvKyLJCs/s1600/bravenewworld-heads.jpg"><img style="cursor: pointer; width: 180px; height: 167px;" src="http://2.bp.blogspot.com/_D_nlmkdoNCo/TA5w4_v-vqI/AAAAAAAAABA/OF6jvKyLJCs/s320/bravenewworld-heads.jpg" alt="" id="BLOGGER_PHOTO_ID_5480441921044135586" border="0" /></a><br />Is this how we define progress?<br /></div><br /><br /><span arial="" helvetica="" font="" style="font-family:verdana;"></span>Beeble Baxterhttp://www.blogger.com/profile/04337471900561330653noreply@blogger.com0tag:blogger.com,1999:blog-7194400622050726387.post-74018364636083007762010-04-12T12:12:00.000-07:002010-04-12T12:12:18.150-07:00Designing MirandaIn approaching the redesign of Miranda, I decided to stick with the approximate original color scheme. The site as a whole is rather somber and dark in order to reflect the sense of dystopia that emanates from the text itself. Such is part of the appeal of having a hypertext such as this. In a book, the only option is black text on a white page, and even the font cannot really be changed much. Online, however, the design of the site can be just as important as the links that supplement the text. The design helps to embed the reader in the world of the novel.<br />
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In addition to the color scheme, we chose two separate fonts to use on the site, one <a href="http://en.wikipedia.org/wiki/Serif">serif</a>, and one <a href="http://en.wikipedia.org/wiki/Sans-serif">sans-serif</a>. Since <a href="http://www.alexpoole.info/academic/literaturereview.html">studies </a>have shown that sans-serif fonts are far easier to read on a screen, we chose that for the text of the novel to assist readers. However, the particular font we chose is Helvetica, as it is one of the most widely used fonts in the world, enhancing the sense of a unified world envisioned in <i>Brave New World</i>. The serif font we chose for the menu and banner is Courier New, designed to resemble the output of a typewriter. As such, it also encourages a sense of uniformity, as well as ideas of mechanical control. <br />
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What do you think of the design?Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7194400622050726387.post-49801636148819984652010-03-23T12:12:00.000-07:002010-04-12T12:14:11.143-07:00Miranda is now live!<a href="http://writing2.richmond.edu/writing/miranda/home.html">Check it out!</a> And let us know what you think!Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7194400622050726387.post-78274446775960788142010-03-22T21:01:00.000-07:002010-03-22T21:01:14.770-07:00Sneak Peek at the Upcoming Changes!Here's what the current homepage looks like:<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_9dWALT7oV2M/S6g8d-FAITI/AAAAAAAAA0U/w85fpV3WQ7s/s1600-h/mirandaold.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/_9dWALT7oV2M/S6g8d-FAITI/AAAAAAAAA0U/w85fpV3WQ7s/s320/mirandaold.JPG" /></a></div>And here's the revised version:<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_9dWALT7oV2M/S6g8pkK1pGI/AAAAAAAAA0c/_IdMI1Lx6EQ/s1600-h/mirandanew.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/_9dWALT7oV2M/S6g8pkK1pGI/AAAAAAAAA0c/_IdMI1Lx6EQ/s320/mirandanew.JPG" /></a></div>Thoughts? Comments? Concerns? Questions?<br />
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Hopefully the updated version will go live soon!Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7194400622050726387.post-37710951459520263672005-05-13T18:08:00.000-07:002010-03-22T18:09:37.927-07:00Miranda Revisited: Hypertext Applied<strong><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Lee Carleton<br />
English / Writing Center<br />
University of Richmond<br />
“Miranda Revisited: Hypertext Applied” – VSU Conference on Composition, May 2005</span></strong><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> </span><br />
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<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Introduction<br />
This presentation is an update on the presentation I did on this hypertext at last year’s conference. Since then, I have had the opportunity to deploy Miranda in four different sections of ENGL 103 (Introduction to Expository Writing) over two semesters here at the University of Richmond. While certainly not exhaustive, nor excessively formalized, the student feedback and input I gained over the past year has been both exciting and instructive for me as well as my students, and I think you may find it interesting. </span> <br />
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Definitions <br />
A few words from my earlier essay on hypertext might help to re-contextualize the word and concept of “hypertext”:<br />
“While some may be familiar with the basic origins of hypertext, a very brief review might be helpful. “Hypertext” begins with the Greek “hyper” meaning above, beyond or over so that a hypertext is a text that surpasses the boundaries of traditional text. The concept of hypertext can be traced to Vannevar Bush in his July 1945 article in The Atlantic. Bush’s article “As We May Think” details his vision of the “memex” (as in “memory annex”) that was a “mechanically-linked information retrieval machine to help scholars and decision makers with…an explosion of information.” (Landow 7) One of Bush’s disciples, Theodore Nelson, was the first to coin this term in 1965 to refer to a database format where information that is related to a display can be accessed through that display in any sequence the reader chooses. As George Landow notes in Hypertext 2.0:<br />
Bush wished to replace the essentially linear fixed methods <br />
that had produced the triumphs of capitalism and industrialism <br />
with what are essentially poetic machines…that work according<br />
to analogy and association, machines that capture and create<br />
the anarchic brilliance of the human imagination. (10)</span><br />
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Not only does a hypertext allow greater freedom and empowerment to the reader, it encourages a completely different kind of thinking than traditional linear, rational approaches to text. The value of this is that more often than we realize, our best ideas and solutions come to us intuitively rather than as a result of conscious reasoning - our “anarchic brilliance” may hold the solution to many of our most perennial human problems.”(“Ambivalence” 2-3) <br />
Perhaps the most important aspect of this project is its ability to encourage, and often demand, creativity and new kinds of thinking and connecting ideas – skills we desperately need and are rapidly losing. Landow’s assessment of Vannevar Bush echoes the Emersonian reminder that a galaxy of genius awaits us as we leave worn paths of thinking and knowing and forge new ones.</span><br />
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While “hypertext” can technically refer to any website with a “hypertext transport protocol” address, the familiar “http” at the beginning of the address, most of these do not contain significant opportunities for users to add to the content. A few websites out there do allow and encourage input in the form of personal blogging, gaming and other activities, but fewer still are those that encourage critical interaction and the opportunity to contribute to an academic discussion. The next revision of Miranda will include “Writing Space” where my composer’s journal and user submissions will be posted, thus insuring the hypertext is a dynamic, multi-vocal, omni-relevant resource. </span><br />
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Theory<br />
There are several theoretical motivations at play in my use of hypertext, but the original inspirations came from postmodern theory (Foucault, Derrida, Baudrillard) and the idea of tracing the source of ideas, foregrounding structure and power, empowering the reader, and authorizing her to participate more fully in the making meaning by building in a variety of reading and informational possibilities rather than a standard, linear text with structured table of contents. The web is often referred to as “cyberspace” and is derived from the Greek “cyber” or helmsman – the one in charge with the power to steer the boat, thus emphasizing the importance of self-direction in navigation a key aspect of postmodernism. Knowledge or appreciation of literary theory however is not necessary, nor is it paramount in the creation of Miranda. </span><br />
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A more relevant theory perhaps might be that of Canadian media theorist Marshall McLuhan who gave us the mantra “the medium is the message” among hundreds of other words and phrases about technology and communication. McLuhan noticed that, despite its profound power, the very nature of language as a medium (discrete symbols, arranged in specific, linear ways, labeling, classification and division) has a limiting influence upon the human mind. This structure limits what we perceive, and perhaps what we are able to perceive just as it narrowly defines what is “true” or what we find believable. Finally, this structure is also the foundation of book technology. Though hypertext still contains writing (linear, logical, alphabetic, symbolic communication) it also includes other media and a whole array of choices for reading beyond what a single book could offer. </span><br />
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Of course, traditional book technology also has hypertextual aspects as many will point out: a reader can skim, skip around, browse the index or consult any annotations or sources listed. Hypertext allows all this and more. In addition to a web of cross-linking texts, hypertext can include audio and video clips as well as innumerable links to other supporting materials instantly.</span><br />
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My personal theory regarding the use of Miranda is that it can encourage a very useful, similar type of thinking in its users encouraging them to stray from established paths and to explore or make their own paths of knowledge and then to share them. I believe that the complexity of navigating (or creating!) a new kind of text focused on this brilliant and widely applicable novel helps to create Vygotsky’s pedagogical “ZPD” or zone of proximal development. This is a place of maximum learning where the difficulty of the assignment is between the easy independent, unaided exercise and tasks so difficult as to necessitate assistance. </span><br />
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The newness of hypertext as a teaching medium combined with my insistence on student invention (they come up with their own theses for writing) makes for a stimulating and challenging experience that pushes students to grow intellectually without overwhelming or over-direction.</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Method<br />
The central text for Miranda is Aldous Huxley’s Brave New World that is divided into eighteen “pages”, one for each chapter, at the end of which are links to other chapters and questions to stimulate writing. Each page contains multiple links to other pages in Miranda, or to outside links (text, audio & video) that connect in some way to the chapter or passage in which they are embedded. To the left of each page in the hypertext is a menu bar that divides the links in the hypertext according to general categories like history, philosophy, science, and of course Shakespeare. Readers of Miranda have a wide variety of choices for reading and can glean as much or as little additional information about the novel as she likes. </span><br />
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Though Miranda could arguably be deployed across the curriculum in a variety of disciplines (Brave New World is surprising in its scope), thus far I have only used it in my freshman writing course “Introduction to Expository Writing” and I have collected the writings and feedback from the students of four different sections of this course over the past year. </span><br />
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Originally, I had intended to assign the reading of the hypertext for the final project of the semester where each student would write her own research essay from her unique explorations of Miranda. While I kept this project as our final effort, I turned it into a group project where each group would submit a single final essay, and each group member would submit her own portfolio of contributions to that final essay. I might note here that though group work is almost universally despised, the focus on and use of Miranda seemed to change this so that the pedagogical value of both the group exercise and the hypertext were delightfully enhanced.</span><br />
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The biggest challenge for students here was the invention of a sufficiently narrow, sophisticated and significant researchable thesis from their various readings. The final group essay is required to be at least 10 pages long, not including the works cited and works consulted pages. Though Miranda teems with web sources, I require a certain minimum number of paper-text sources to demonstrate student ability to navigate this elder technology. Paper-text sources also highlight the fact that the internet is not peer reviewed or checked for reliability like most academic books, requiring close reading and critical engagement with these amazing technologies. In fact, the disclaimer on the index page notes that even the links contained in Miranda are not pre-approved or necessarily “authoritative” thus requiring vigilant reading – a fading but crucial skill. <br />
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Results<br />
Though the quality of the final group essays varied a bit, it was clear from the accompanying student portfolios that a group writing project using hypertext was a valuable academic experience and intellectual stimulant. Most students were enthusiastic about using this new technology even if they complained about specific aesthetic insufficiencies they noticed while reading online instead of by book. Even this mild distaste for e-reading is intellectually valuable in that it requires the reader to reflect on her specific dissatisfaction and its cause, in this case involving a survey of pleasant sensory experiences ordinarily associated with reading a book. </span><br />
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For some students, the absence of a paper text to annotate and mark up was the primary problem. Other students read using the temporary highlighting available in a mouse click, while still others opened word processing software for typing notes while reading. Some students found the links to be useful and interesting and stimulating to their thinking but others found the links distracting as they read, suggesting that perhaps links should be listed at the bottom of each “page” to prevent distraction. One of my observations after eight years of teaching is the decreasing ability of the student to focus attention, a rather obvious side effect of modern media ubiquity. While it might be suggested that a hypertext offering a wilderness of links could only further stunt student ability to focus attention, several students noted that the “page” format of each chapter actually helped them to stay focused and to scroll through the reading more quickly and efficiently than if they were conscious of and flipping individual pages of a chapter. </span><br />
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Though the advantages derived from group work cannot be totally ascribed to Miranda, the value of this approach is clear. Written student responses to their group experience revealed that, though occasionally frustrating, interacting with group members during the project was a great enhancement to learning. Students stimulated one another’s thinking about the novel and its significance and they grew in responsibility as they negotiated their various schedules to plan group meetings, writing workshops etc. </span><br />
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In addition to its easy cross-curricular application possibilities, using Brave New World as the central text for Miranda helps to focus student attention specifically on the activity of learning since psychological conditioning is a major aspect of the novel. In the first chapter of the novel, we are shown a scene where a clutch of scribbling Alpha students uncritically record all that the director says without question, because “the question didn't arise; in this year of stability, A. F. 632, it didn't occur to you to ask it.” This sort of passive acceptance-learning or what might be called the “banking” system of instruction is not only pervasive today in America, it is insufficient to the needs of a functioning democracy. Students learn from this passage that education requires much more than the mere taking of notes – it demands thoughtful engagement and critical attention. </span><br />
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Revisions<br />
Miranda could easily be a lifelong project with no “final” completion, but along the way I am certain to revise the hypertext with additional student submissions as well as their feedback on the efficacy of this format. In line with an excellent student suggestion, I will be listing the links for each chapter at the bottom of the chapter/page to prevent distraction while reading. </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"><br />
I also plan to revise the navigation bar so that it remains fixed as the chapter scrolls by. The glossary is helpful, but there is plenty of other vocabulary from the novel that could be included.<br />
Instead of a direct link to the glossary, I’m considering making vocabulary words “live” so that they only appear as a link when the cursor touches them. This could help prevent distraction while reading while enhancing the ease with which a reader could discover a particular definition. </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"><br />
Eventually, I plan to link many other relevant texts to Miranda, particularly Orwell’s 1984 (already online in a searchable version!) and Zamyatin’s We, the original inspiration for both Brave New World and 1984. Though I’ve noted that Huxley’s novel is cross-curricular and offers many multi-disciplinary advantages, mathematics is a key area that is underdeveloped, but in We mathematics is a central concern and metaphor for the novel. Other future links, additions or revisions might also include a page of links and commentary on current events and popular culture as they connect with the novel and its ideas. And finally, the ultimate revision would be one that included student-created media specifically designed for Miranda that simultaneously enhances their creativity, their digital literacy and their critical language skills. </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"><br />
Closing Comments<br />
I highly recommend the construction and deployment of complex hypertexts as a valuable exercise in critical thinking and creativity for both the teacher and the student. While I have gained some experience with certain software programs (Front Page, Dreamweaver particularly) I am not a “technoweenie” to whom this comes easily, so I would like to encourage each of you to begin to play with this idea and the technology available to you to see how to more effectively meet student needs and stimulate student interest. A simple one-page poem can be created as a substantial hypertext with a minimum of effort compared to the intellectual growth that is stimulated in both the student and the teacher during its creation and use. While it certainly is a “brave new world” out there in terms of technology changing faster every day, teachers of English can more fully and effectively participate in and shape this world if we dive in and begin to navigate it as cybernauts instead of cyber-nots. </span><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br />
</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7194400622050726387.post-74914321514736472212004-09-21T18:06:00.000-07:002010-03-22T18:08:17.212-07:00Introduction<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">I begin this journal within a few weeks of Miranda's maiden voyage in my ENGL 103 freshman composition class. Though there are several years worth of background, or more accurately, though I should have started this journal sooner, I will try to encapsulate what has let up to this point and be more consistent with my entries from now on.</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">My "encapsulation" will begin with a few things I've already written about this project. This first entry was written for the m-ICTE 2003 conference in Badajoz, Spain. <br />
(multimedia & Information and Communication Technologies in Education) where I made a poster presentation of this project. Miranda was the only hypertext at the conference. </span><br />
<br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: xx-small;">Carleton, Lee. <strong>“"A Brave New Hypertext: Ambivalence and Ambition"</strong><em><br />
Advances in Technology-Based Education: Toward a Knowledge-Based Society</em>, vol. 1. <br />
Proc. of 2nd International Conference on </span><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: xx-small;"> multimedia Information and Communication Technologies in Education <br />
</span><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: xx-small;">2003. Badajoz:University of Extremadura, Spain, 2003.</span><br />
<h2><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">“"A Brave New Hypertext: Ambivalence and Ambition"</span></h2><h1><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Introduction</span></h1><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">The genesis of this infant project was a graduate class on computers and literacy where we discussed not only the pedagogical possibilities of using computers to teach writing but also the philosophical issues that arise with the onrush of technology. My colleagues and I chose Aldous Huxley’s 1932 novel <em>Brave New World</em> as a foundational document for our hypertext because the novel addresses a wide variety of issues and topics of interest to students that are of special relevance to humanity in this 21st Century dawn. Huxley’s novel is especially valuable for hypertext in its clever analysis of the technologies of consumer conditioning as well as its cogent discussion of technologically mediated experience. The complexity and multivalent nature of these conversations allows for nearly unlimited textual linking and exploration.</span><br />
<br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Though I am currently working solo, I plan to retain our original group project name “Miranda” after Shakespeare’s character in <em>The Tempest</em> because it was she who spoke the well-known phrase “brave new world” and because this phrase reflects her essential naïve enthusiasm towards an unknown world – a naivete evident today regarding the inherent value and unlimited possibilities of technology. Ellen Barton captures this concern succinctly in <em>Literacy and Computers</em> where she advocates a more critical perspective<em>:</em></span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> There are two prevailing discourses of technology: one is </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> a dominant discourse characterized by an optimistic</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> interpretation of technology’s progress in American culture</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> and by traditional views of the relations between technology</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> literacy, and education; the other is an antidominant discourse</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> characterized by a skeptical interpretation of technology’s </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> integration in contemporary culture and education. (56)</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">I also come to this project in full agreement with Purpel’s pedagogy in <em>The Moral and Spiritual Crisis in Education </em>where he writes: “given the elements of our political, economic, and cultural crises, educational discourse must focus on the urgent task of transforming many of our basic cultural institutions and belief systems.” (3) </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">A utilitarian concept of education is insufficient to the needs of a healthy democracy, so we must do much more than simply promote software mastery and job-skill training. </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Huxley had a similar sense of our modern crisis and the central role of education in working towards positive solutions. <em>Brave New World</em> is a novel of unique contemporary relevance. Although Huxley did not forsee computer technology, hypertext or the atomic bomb, he did understand the complex problems facing our species and the increasing necessity of technological, psychological and organizational solutions. In the novel, a tightly organized, technologically empowered World State rises from the ashes of world war to control the chaos and manage human life from before conception to after cremation. In 1932 the genetic engineering Huxley portrays was mostly science fiction, now it is a hotly debated reality. The conditioning techniques described in the novel have been demonstrated by Pavlov, Skinner and others. The ubiquitous advertising industry (our own “hypnopaedia”) deploys these techniques with an investment of $200 billion per year. The mandate to consume, what Huxley calls “the conscription of consumption” is not only the dogma of the “free market” West, it has most recently been suggested as a patriotic duty by George Bush in the aftermath of 9/11.</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Miranda will be an opportunity to simultaneously explore the uses and value of hypertext in teaching while maintaining an important, critical questioning of technology and its applications. Evidence for favorable bias in discussions of technology is found in how easily accusations of “Luddite” are made whenever the legitimacy and efficacy of technology is challenged. While I am not a knee-jerk opponent to technology, I am a Luddite in the sense that their original concern was for workers displaced by technology. The Luddites were concerned with how technology affected the majority of workers rather than how it could be used for the profit of a tiny minority of owners. </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Use of hypertext and other computer teaching programs like Blackboard, make it easy to imagine the teacherless classroom of the future where “education” is standardized and controlled by the corporations who create the technology and who run the schools. This gloomy vision, once in the realm of paranoia or science fiction, is no longer completely ridiculous. The “privatization” of education encourages this trend with its emphasis on efficiency and profit. And as increasing cutbacks are made to funding for public education, highly paid administrators will be happy to cut teacher costs by adopting a technology that is paid for only once, does not seek tenure and never needs health care or retirement benefits. This scenario may not be around the corner, but it is not an impossibility. Because of this, I believe teachers should actively engage in the conversation about teaching technology. We need to develop and deploy various technologies according to pedagogical rather than corporate priorities, and do so creatively but with a critical perspective. </span><br />
<br />
<ul><li><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"><strong>Definition and Methods</strong></span></li>
</ul><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">While some may be familiar with the basic origins of hypertext, a very brief review might be helpful. “Hypertext” begins with the Greek “hyper” meaning above, beyond or over so that a hypertext is a text that surpasses the boundaries of traditional text. The concept of hypertext can be traced to Vannevar Bush in his July,1945 article in <em>The Atlantic. </em> Bush’s article “As We May Think” details his vision of the “memex” (as in “memory annex”) that was a “mechanically-linked information retrieval machine to help scholars and decision makers with…an explosion of information.” (Landow 7) One of Bush’s disciples, Theodore Nelson, was the first to coin this term in 1965 to refer to a database format where information that is related to a display can be accessed through that display in any sequence the reader chooses. As George Landow notes in <em>Hypertext 2.0</em>:</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> Bush wished to replace the essentially linear fixed methods </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">that had produced the triumphs of capitalism and industrialism </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">with what are essentially poetic machines…that work according</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">to analogy and association, machines that capture and create</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">the anarchic brilliance of the human imagination. (10)</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Not only does a hypertext allow greater freedom and empowerment to the reader, it encourages a completely different kind of thinking than traditional linear, rational approaches to text. The value of this is that more often than we realize, our best ideas and solutions come to us intuitively rather than as a result of conscious reasoning - our “anarchic brilliance” may hold the solution to many of our most perennial human problems. </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">But there is another more academically oriented reason to value hypertext. As a teacher of writing, I have found that freshman writers often have difficulty with “invention” – they have little practice with coming up with original ideas, questions and theses for writing. This ability is especially important because “real-life” problems are rarely presented in convenient question form. We must consider the information available and formulate our own analysis of the situation that supports our suggestions for solution. A hypertext with open-ended writing assignments that place this responsibility for invention on the student can provide the opportunity to develop this skill in an exciting, information rich environment that includes audio and video samples as well as still images and plenty of text. Hypertext is also useful for group projects where the vastness of the text can be navigated and discussed collaboratively.</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">In the initial version of Miranda, we used Storyspace software, but for my current version of the hypertext, I have chosen FrontPage. I maintain the option of trying other software programs for comparative purposes as this project matures. My choice of FrontPage is conflicted however. While Microsoft’s domination of the market may make this software more widely accessible for students and compatible with other software, legitimate concerns about the influence of corporate control cannot easily be dismissed. My hope is that student exploration of the Miranda hypertext will, in addition to providing opportunities for invention, awaken them to the ways technology can be used as a mechanism of control so they are more critical in their interaction with it.</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Control is a central issue with hypertext and I am aware of the irony of my concern about corporate control when, as the hypertext composer, I exercise a certain amount of control over potential users of Miranda simply by virtue of which texts I have chosen to link where and in what way. For example, Miranda includes short video clips and my choice of film segments is a form of control or influence on the reader – in spite of my desire to encourage greater reader independence, I still seek to shape his experience in some way. </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">However, the inclusion of significant and linkable writing space will allow the students plenty of freedom as they navigate the hypertext, annotate it and eventually collect their various annotations into a thoughtful and coherent whole or a series of effectively linked documents. I am still considering how I want to deploy this hypertext. Miranda almost necessitates its placement on the Web rather than on a CD so that students could read one another’s writing and respond, however web posting could entail some copyright restrictions. I am hoping that a password protected website will be sufficient to satisfy copyright requirements for a non-profit educational work. </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">One of my original inspirations for this hypertext is Ann Woodlief’s “American Transcendentalism Web”. Hosted by Virginia Commonwealth University, this hypertext was favorably reviewed in <em>The Chronicle of Higher Education</em> in November of 2002. </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Dr. Woodlief’s intricately linked, cross-referenced hypertext includes primary and secondary source materials and contextual links. The index page includes basic divisions such as: “Authors & Texts”, “Roots & Influences” and “Criticism”, a division that is further divided into literary and historical subsets. Dr. Woodlief has been working on this hypertext for about ten years alternately working solo and collaborating with colleagues and students in its continued development. </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">The most pedagogically useful hypertext will be one that allows readers and students to add to the text by including their own writing, so Dr. Woodlief includes a “communication” page where potential submissions can be emailed to her for pre-posting review. This allows for greater reader/writer interaction without making the text totally vulnerable to random, unrelated postings or those of poor quality. An issue I must address in the development of Miranda is how to incorporate this writing space and what software to use. Initially, “American Transcendentalist Web” used GUIDE but this program is no longer available so Dr. Woodlief has students write in WORD and upload it through Blackboard. </span><br />
<br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">To maximize the potential of available media, I am including audio and video clips where relevant. For example, I have an excellent and illuminating recording of one of Huxley’s last interviews although even with modern technology, the sound quality is poor. In the early chapters of Huxley’s novel we are introduced to the various castes of the brave new world and the mass production of human beings, so at the phrase “mass production” I have placed multiple links. When a user clicks on the phrase, a page pops up with links to historical and technical descriptions and links to two different film clips. One clip is from a PBS documentary about the rise of industry and one is from Chaplain’s classic film Modern Times which is an amusing yet pointed critique of industrialism and its effect on the human being. As the designer of Miranda, I seek to empower the reader but I am not under the illusion that I have relinquished all control or guidance of the reading process. While “hypertext does not permit a tyrannical, univocal voice” it is not completely devoid of authorial influence. (Landow 36) </span><br />
<h3><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Hypertext Theory & Application</span></h3><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">An interesting point about hypertext is that it expands the concept of authorship. Huxley is the author of <em>Brave New World</em> but in Miranda, his novel will be joined with many, many other texts by different authors and of course, I am “authoring” Miranda, not only through the commentary and exercises that I write but also through the choices I make regarding which texts to use and where to link them. “Composing” might be a better word. Many hypertexts also allow the reader to interact with the text, to contribute his own notes and insights thus echoing Barthes’ concept of the reader/writer who participates in the construction of meaning.</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Although Jerome McGann claims that “these documentary networks may or may</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">not be interactively organized”, Miranda does include significant writing space so students can record their notes as they peruse the hypertext and add their own writing to the text. Without the possibility of significant participation in the creation of the text, there would be little to distinguish a hypertext from a simple website. While a website is clearly a hypertext, without interactivity it cannot test the claims of post-structuralism and is less likely to stimulate critical thought in the form of writing. </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">It is this interactivity that most connects recent literary theory with the technology of hypertext. The “decentering” that Derrida mentions is brought to life when the student explores a hypertext according to his own interests rather than according to the dictates of the text and its structure. Student interest becomes the center. This is simultaneously a new freedom and a new responsibility: he must make sense of the knowledge he has gained from his self-directed reading of hypertext. This is where hypertext is able to encourage critical thinking and increased metacognition. When discussing CSILE, a “networked multimedia environment” Sherman & Kurshan explain:</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> Ideas and understandings become meaningful when they are </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> examined as part of the knowledge construction process. Students</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> interact with others to explain, defend, discuss, and assess their</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> own ideas and challenge, question, and comprehend the ideas of</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> others in order to be sure of their own understanding.</span><br />
<div align="left"><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">This intensive and recursive process of making meaning can lead students to an increasing awareness of their own thinking that is the sign of genuine intellectual growth. </span></div><div align="left"><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> While I have briefly touched on the positive predictions for hypertext, it would be unwise to limit our discussion of technology to mere celebration. The fervor with which teaching technology is pushed upon us and the extravagant claims constantly made for it should motivate us to critically examine the context in which this is all happening. Without digressing excessively, we should not dismiss the predominance of the profit motive and influence of multi-national corporations that often subsidize the “studies” that “prove” use of technology increases learning. In America, corporate presence and influence in academia has increased in proportion to government reductions in educational funding and our mistaken mania for “privatization”. The ongoing conglomeration of media ownership will make it increasingly difficult to distinguish truth from propaganda as the hegemony seeks to justify itself. As Douglas Yellowlees observes “technologies emerge out of a snarl of social, political and economic conditions” and as we explore these new technologies we must not ignore or dismiss this context. (326)</span></div><div align="left"><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> Yellowlees also highlights the lack of agreement on what hypertext is and how it should work and he notes that:</span></div><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">…we have no water-tight evidence of how the mind works when </span><br />
<div align="left"><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> reading and writing using conventional print tools, let alone even the</span></div><div align="left"><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> beginnings of how it might ‘better’ function given a somewhat more</span></div><div align="left"><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> congenial environment than a flat page splashed with ink. (330)</span></div><div align="left"><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">It may be corporate salesmanship, rather than a clear understanding of how the mind works, that convinces us of the superior efficacy of technology in teaching. We might also remember that the potentially liberating technology of computers and hypertext are actually only available to a tiny minority of the planet, and most of that minority does not have any serious need of “liberation.” </span></div><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> There are other difficulties to consider as well. Previously I noted that GUIDE writing software is no longer available. GUIDE’s lack of availability points out a critical problem in using technology for teaching: ongoing obsolescence. Learning new software is often a time-consuming and arduous experience that would be of greater worth if we did not have to waste time to re-learn everything when software is made obsolete by new versions, new trends or competing products. The same is true for hardware. This creates a tremendous amount of waste in tight school budgets. Additionally, many times the differences between versions of a product are relatively minor in comparison to the additional funding and time they require. Time, for most teachers, is in such short supply that it seems valid to question this aspect of using technology to teach. At the very least, the issue of ongoing obsolescence should encourage more funding for ongoing teacher training in technology and incentives or compensation for attendance. </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> Finally, let us not forget the fragility and vulnerability of technology. Worms and viruses prowl the Web looking for programs to destroy and information to compromise. The massive blackouts that occurred recently in the northeastern US and Italy remind us that our wonderful machines can be rendered useless in a moment and that we might want to be prepared with a paper-text backup if not an alternative energy supply. Until we create a less vulnerable technology, human error, lightning and other natural disasters will continue to disrupt and destroy. </span><br />
<div align="left"><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"><strong>Closing Remarks</strong></span></div><span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Miranda reflects my ambivalence and my ambition. My hypertext might be little more than fragile, if flashy edu-tainment for the educated elite, but I hope not. I think hypertext is well worth exploring for reasons cited above, but I also want to keep technology in perspective. I want to stay aware of the context of its creation and promotion. I wish to keep alert to how it shapes our lives and to keep my options open in this regard. I enjoy working with hypertext for the multiple intellectual challenges it presents and I look forward to using it in my teaching to see if hypertext really does confirm post-structuralist theory and empower students as writers. At a minimum, by writing with Miranda, my students will increase their knowledge in a variety of subjects while strengthening their critical and metacognitive skills. This is all I can ask without exercising too much control. However, I have a hunch that some of the brighter students will begin to ask questions about the perennial problems of human behavior highlighted in Huxley’s novel and how they might be better solved than they were in <em>Brave New World</em>. </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">New technologies can be wonderfully empowering, but they need to be kept in perspective. Considering the amount of frivolous material on the Web </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">(spam, porn, fan sites, pop-up ads) and the often trivial applications of our most powerful inventions, we might also remember Thoreau’s observations about new technology from <em>Walden: </em></span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">"Our inventions are wont to be pretty toys, which distract </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">our attention from serious things. They are but improved </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">means to an unimproved end...We are in great haste to </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">construct a magnetic telegraph from Maine to Texas; but </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Maine and Texas, it may be, have nothing important to </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">communicate." </span><br />
<br />
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<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"><strong>References</strong></span><br />
<br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Barton, Ellen. “Interpreting the Discourses of Technology.” Literacy and Computers.</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> Eds. Cynthia Selfe and Susan Hilligoss. New York: Modern Language </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> Association of America, 1994.</span><br />
<br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Landow, George P. Hypertext 2.0 : The Convergence of Contemporary Critical Theory</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> and Technology. Johns Hopkins UP, Baltimore. 1997.</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">McGann, Jerome. “The Rationale of Hypertext.” Jefferson Village.</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">University of Virginia. 2 October, 2003 </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> <http: jefferson.village.virginia.edu="" jjm2f="" public="" rationale.html=""></http:></span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Purpel, David E. The Moral & Spiritual Crisis in Education. Bergin & Garvey, </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> New York. 1989.</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Sherman, T. M. and B. L. Kurshan. “Using Technology to Support Teaching for</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> Understanding.” Unpublished Manuscript: Virginia Tech, Blacksburg, VA.</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> 2003.</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Woodlief, Ann. American Transcendentalism Web. Spring, 1999. English Web, </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> Virginia Commonwealth University. 8 October, 2003 </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"><http: engweb="" index.html="" transcendentalism="" www.vcu.edu=""></http:></span><br />
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<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Yellowlees, Douglas J. “Nature Versus Nurture: The Three Paradoxes of Hypertext.”</span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> The Emerging Cyberculture. Ed. Stephanie Gibson. Cresskill, NJ, Hampton </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;"> Press, 2000. 325-349.</span><br />
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<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">One of the grad-school colleagues that gave birth to this hypertext is Clary Washington, who is now my wife and who contributes to Miranda regularly through discussion and shared materials. She teaches a literature survey entitled "The Future Is Now" at a small progressive public school, and has been pursuing future studies on her own for about ten years. </span><br />
<span style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: small;">Other contributors will be included as well: Michelle Smith, UR English Graduate 2004, who is the first student researcher to add to this text. Student responses, papers and questions will also become a part of Miranda as she takes on a life of her own - constant contribution & growth are what will make Miranda different than a simple website which is also a hypertext. </span>Unknownnoreply@blogger.com0