M 07-Dec Due: Final Project — “Resonance Assemblage” (checkpoint)
- Workshop / “Studio” class
“Stage 1″ Checkpoint instructions here.
W 09-Dec (no class)
- Due: Final Project — (9pm finalized / online)
AML 2410-8974 Fall 2009
M 07-Dec Due: Final Project — “Resonance Assemblage” (checkpoint)
“Stage 1″ Checkpoint instructions here.
W 09-Dec (no class)
“Truth depends on an encounter with something
that forces us to think and to seek the truth.” (14)
“if the resonance has both objective and subjective conditions,
what it produces is of an altogether different nature:
the Essence, the spiritual Equivalent….that breaks with the subjective chain.” (154)
— Deleuze, Proust and Signs (1972)
M 30-Nov Foer: Extremely Loud & Incredibly Close (through p. 173)
(Laura Hampson & Tahara Franklin)
W 02-Dec Extremely Loud & Incredibly Close (pp. 174-259)
(Krystal Sardinas & Paige Miller)
→ Notes from class discussion (plus reminders and clarifications)
F 04-Dec Extremely Loud & Incredibly Close (pp. 267-326) (Sarah Zimmerman)
M 07-Dec Due: Final Project — “Resonance Assemblage” (checkpoint / partial)
M 23-Nov Due: Response 6 — Part I (1:55pm) Creative Prompt
“The next story I wrote was The Crying of Lot 49,
which was marketed as a ‘novel,’ and in which I seem
to have forgotten most of what I thought I’d learned up until then.”
– Thomas Pynchon, Slow Learner, 1984.
| M 16-Nov Pynchon: The Crying of Lot 49 (through Chapter 3) Pynchon Wiki: Annotations (Laura Navia & Audrey Bannon) |
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W 18-Nov Crying of Lot 49 (Chp. 4-5) (Anna Bernstein) |
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F 20-Nov Crying of Lot 49 (Chapter 6) plus Lot 49 Short Film (Maria Tamayo) |
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M 23-Nov Due: Response 6
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M 09-Nov read:
Gregory Ulmer, “The Learning Screen.” 4 pages. Networked. 2009.
and Franz Kafka’s parable, “Before the Law”
Orson Welles’ version: Watch/Listen (2:50)
W 11-Nov No classes—Veterans Day
Due: Response 5 — Prompt (deadline 11:59pm)
F 13-Nov EGO Conference: see schedule below.
Due: Blog Entry, “Inventory” about lessons thus far; see more below.
“Spinoza’s ethics has nothing to do with a morality; he conceives it as an ethology, that is, as a composition of fast and slow speeds, of capacities for affecting and being affected on this plane of [Nature]” (125).
–”you do not know beforehand what good or bad you are capable of…what a body or a mind can do, in a given encounter, a given arrangement, a given combination (125).
–Deleuze, Spinoza: Practical Philosophy
M 02-Nov Ceremony (through p.186 ) (Jessica Brousseau & Phil Cafaro)
W 04-Nov Ceremony (through end) (Eric Roe & Jake Jacob)
F 06-Nov No class (away at conference)
Due: Blog entry (Friday this week)
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I am interested in the intersection between poetry and history. How does history make its path in a poetic work?
We rarely see history in a literary text since it is so hard to deal with. Perhaps poetry does not know how to say or utter history. …History simply smothers and squashes.
Yet some books show that one can remain poetic in the very midst of history. (110)–Hélène Cixous, “Poetry, Passion, and History” (1985)
M 26-Oct Jazz (Chp. 6-10, pp.137-229) (Tahara Franklin)
W 28-Oct Silko: Ceremony (Intro + through p.37) (Laura Hampson)
F 30-Oct Ceremony (pp.38-85) (Maria Tamayo)
Due: Response 4 (deadline: 11:59pm)
M 19-Oct Experiment–Part II
Q. in what does a “turn” occur? (hint: EXP)
W 21-Oct Morrison: Jazz (through Chp 3, pp.4-87) (Erin Gallagher)
F 23-Oct Jazz (Chp. 4-5, pp.89-135) (Hillary Silvestri)
M 12-Oct Essay Workshop
W 14-Oct Essay Workshop * Note Schedule Revision (14-Oct)
F 16-Oct No classes—Homecoming
M 05-Oct Slaughterhouse Five (through Chp 5; Caroline & Erin)
W 07-Oct Slaughterhouse Five (Chp. 6-8; Laura Navia)
F 09-Oct Slaughterhouse Five (Chp. 9-10; Audrey)
F 09-Oct Due: Response 3 — Prompt
Extra Credit for Resp 3. (due 12-Oct)