you noticed the following changes in students and our culture over the
years? Electronics displacing writing? Images replacing words? Drama displacing
exposition? Interest in multimedia -- movies, television, computers, videogames,
etc. -- displacing interest in literature and books in general? Obsession
with the present obviating interest in the past? A decline in the sophisticated,
higher-order ability to think seriously, conceptually, abstractly, deductively,
inferentially, and sequentially; a decline in belief in the value of reason,
order, analysis, logic, hypotheses, argumentation, and generalization;
a decline of abhorrence of contradiction; of capacity for detachment and
objectivity? of tolerance for a delayed response? Is there more egoism
now? More impatience? More laziness? More emotion? Has the goal of the
student become contentment rather than growth? Do you feel increasingly
called upon as a teacher to be an entertainer? Have what used to be called
audio-visual aids taken center stage?
the culture as a whole is show business displacing public discourse? Cosmetics
and judgment by appearance displacing ideas? In the age of the Internet
is truth being drowned in a sea of short-lived, irrelevant, trivial, incoherent,
simplistic, nonhistorical, decontextualized fragments of information?
this is your experience, no doubt you do or will like Neil Postman's Amusing
Ourselves to Death: Public Discourse in the Age of Show Business (1985)
and Jane Healy's Endangered Minds: Why Our Children Don't Think (1990).
Both have become important books. Postman's has been assigned to all students
in the freshman English course at the University of Texas, the largest
campus in the States, where it has already generated considerable discussion,
and the author will be visiting the campus during the spring semester.
However, Postman has only one chapter on teaching. Healy is the one who
focuses on education, often framing the debate in terms of the left and
right hemispheres of the brain. In this regard she is following in the
footsteps of Jerry Mander who, in Four Arguments for the Elimination
of Television (1978), suggested that the brain of someone watching
television was akin to one in which the right hemisphere had been cut off
from the left. Healy asks, "Are today's environments encouraging the most
useful hemispheric development for our society's future needs?"(127-8).
Her answer appears under the headline "Languishing Left Hemispheres? Perceptive
professionals report that children in classrooms seem to be thinking and
learning in increasingly more nonsequential and visual ways.... predisposing
them to deficits both in effective coordination between hemispheres and
in higher-level linguistic and organizational skills of the left hemisphere.
They may particularly lack practice in the use of left-hemisphere systems
of auditory analysis and in the skills of logical, sequential reasoning"(132-3).
In Teletheory: Grammatology in the Age of Video (1989) Gregory Ulmer
rejoices in this triumph of the right hemisphere: "electronic thinking
does not abandon, exclude, or replace analytical thinking; it puts it in
its place in a larger system of reasoning" which includes "the unconscious,
the right brain, inner speech, the mind of the savage, child, or even 'feminine
style'" (66). He presents a list "distinguishing right from left-brain
features" and reminds us that accounts of right-brain thinking "also tend
to line up symmetrically with accounts of creative or inventive thinking"
(67). These comments illustrate how, in many debates about the role of
computers and multimedia in education today, the traditional dualisms of
the head and the heart, reason and emotion, verbal and nonverbal knowing,
logic and intuition, linear and holistic thinking, analysis and synthesis,
abstraction and metaphor are often subsumed under the basic dichotomy of
the left vs. the right side of the brain.
hemisphere is favored, most critics believe that "we can neither preserve
the educational system unchanged nor throw out the 'literate' ways of thinking.
We have, in some way, to move the humanities from the old to the new operating
system"(Lanham 264). Like many who defend the new hypertextual, multimedia
versions of the book appearing on CDs and on the Internet, Richard Lanham,
in The Electronic Word (1993), suggests oscillating between the
two approaches (264). He is inspired in part by Jay David Bolter. In Writing
Space: the Computer, Hypertext, and the History of Writing (1991),
Bolter hails the movement from the self-imposed visual poverty of the printed
book to the greatly enhanced electronic version of the illuminated medieval
manuscript that is digital art. Lanham praises the movement from the fixed
and silent signal of the printed book to the richer but more volatile combination
of writing + voice + image of digital display, a wider, fuller spectrum
of expressivity that is to be the new operating system of the humanities.
Both Bolter and Lanham wrote their books because the turn from the verbal
to the visual arts was and is being met with increasing resistance. Their
opponents -- Postman, Healy, Kernan, and Bickerts -- are sometimes represented
as the puritans. I will call them the humanist puritans to distinguish
them from rationalist puritans, to be discussed later.
we have seen, opposes the new operating system of the humanities. He praises
the first great revolution in education, from an oral culture to the age
of writing and the alphabet, and the second, initiated by the printing
press, but is dismayed by the third, which he calls the electronic revolution.
If he could, apparently he would return to what he calls the Typographic
Age, which ushered in rationalism, individualism, modern science, and new
genres of prose. All that was lost then, from his point of view, was the
medieval sense of community; poetry, which became elitist; and religion,
which became superstition.
the opposite point of view, that of the defenders of multimedia, the triumph
of the printed book was the triumph of the isolated, puritan reader, suspicious
of icons and theatricality, clutching a text stripped of almost all the
expressivity that graphics, fonts, typography, layout, and color could
provide. Reading Lanham and Bolter, the triumph of the new digital arts
seems akin to that of the number one tourist attraction in Paris, Notre
Dame, where "the book" is not just enshrined but performed in a group setting,
supported by hauntingly beautiful music, dazzling art, sculpture, stained
glass, and architecture.
the movement from linear thought to hypermedia is not just a retrieval
of past possibilities; it is also a voyage into new territory. Bolter points
out that "More effectively than the codex or the printed book, the computer
reflects the mind as a web of verbal and visual elements in a conceptual
space" (207). Lanham adds, "Surely we'll begin to learn what happens to
the brain, how its pathways are formed and reformed, when it learns to
process language, spoken and written, and how it mixes its inputs of soundand
visual image. I'd also want to mix in ... what we are learning from behavioral
biology as well. The arts and letters clearly work in the domain of game
and play, and game and play are 'vacuum behaviors,' as Lorenz called them,
which reveal the basic hungers of the human biogrammar" (273).
hypermedia, combining hypertext and multimedia, is best adapted to the
whole brain, the right as well as left hemisphere, it liberates visual
literacy and other kinds of multiple intelligences rather than stigmatizing
all those that don't culminate in abstract theory. (Perhaps the most attractive
feature of this new movement for some is that "electronic text makes alot
of 'theory' unnecessary," Lanham 260). Howard Gardner "proposed that there
was not just one, monolithic kind of intelligence that was crucial for
life success, but rather a wide spectrum of intelligences, with seven key
varieties. His list includes [not only] the two standard academic kinds,
verbal and mathematic-logical alacrity, but [also] the spatial capacity
seen in, say, an outstanding artist or architect; the kinesthetic genius
displayed in the physical fluidity and grace of a Martha Graham or Magic
Johnson; and the musical gifts of a Mozart or YoYo Ma. Rounding out the
list are two facets of what Gardner calls 'personal intelligences': interpersonal
skills, like those of a great therapist such as Carl Rogers or a world-class
leader such as Martin Luther King, Jr., and 'intrapsychic' capacity that
would emerge, on the one hand, in the brilliant insights of Sigmund Freud,
or, with less fanfare, in the inner contentment that arises from attuning
one's life to be in keeping with one's true feelings" (Goleman 38). Hence
"this new mixture in the human sensorium will revolutionize that segment
of instruction we now stigmatize as 'remedial'. Some people are better
at images or sounds than at words, and some people who have not had the
verbal education they wanted or needed can come to it later in life through
images and sounds. It will all be one single spectrum of expressivity,
with no need to stigmatize any area of it. Behavioral neuroscience is teaching
us nowadays a good deal about how the lateralized brain works. Electronic
text will allow us to engineer 'reading' to fit the brain's needs and ways
of proceeding far more adroitly than print's one-size-fits-all approach"(Lanham
129). Presumably this also fits Healy's goal of expanding our teaching
methods to honor children's latent abilities.
hypermedia enables us to fulfill the promises of all those who have called
for more right brain and more progressive education. It challenges us to
"participate in the invention of a style of thought as powerful and productive
as was the invention of conceptual thinking that grew out of the alphabetic
apparatus.. .to learn how to write and think electronically -- in a way
that supplements without replacing analytic reason" (Ulmer x). For Ulmer
the "converging descriptions of primal logic constitute the invention of
a new discourse that can be learned and practiced as a calculus of composition,
as an invention" (60). The goal of this new discourse is not to abandon
critique but to balance it "with the aesthetic playfulness and immediacy
of interpersonal contact inherent in computer-based manipulations of information,
text, and graphics" (Tuman 130). Lanham adds that digitalization of the
arts means that the other arts "will form part of literary study in an
essential way"(11); "the walls between painting and music and sculpture,...
architecture, and literature" will dissolve"(13).
own contribution to this discussion focuses on the role of emotion. Resistance
to hypermedia is often due, I would argue, to its association with the
right side of the brain and thus with feeling. Healy states the obvious:
"Video is persuasive. For immature viewers -- and perhaps for mature ones
as well -- it pulls on emotions and evokes mood more readily than does
print" (339). We are reminded of the danger of this feature every time
violent video games, television, and movies are linked to aggressive behavior.
Frustration, anger, and rage at computers themselves are often versions
of "technostress"(Brod). Hence it is not difficult to connect computers
and multimedia to the decline in "emotional
intelligence" documented by Daniel Goleman. His best seller of 1995
focused on a problem Healy recognized in the schools: "If the 'emotional'
brain is preoccupied with fears or anxiety, it may fail to activate the
proper cortical switches for attention, memory, motivation, and learning"(Healy
239). Adopting the definition developed by the Yale psychologist,
Peter Salovey --  knowing one's emotions,  managing emotions, motivating
oneself,  recognizing emotions in others, and  handling relationships
-- Goleman shows how important emotional intelligence is for mental health,
education, social competence, business success, intimate relationships,
and physical health. The rage inspired by and/or directed at computers
is a good example of the inability to manage emotions.
the stereotype of the cold computer nerd who retreats to the world of cyberspace
to avoid relationships, hypermedia can facilitate as well as retard emotional
intelligence. For example, it can trigger the sympathetic imagination much
better than print. For most mature as well as immature viewers, one picture
of a suffering child is more persuasive than pages of words supported by
tables of statistics. Postman concedes "that whatever power television
might have to undermine rational discourse, its emotional power is so great
that it could arouse sentiment against the Vietnam War or against more
virulent forms of racism. These and other beneficial possibilities are
not to be taken lightly" (28-9). Lanham does not discuss the emotional
impact of hypermedia. His goal is "revival of the classical system of education,
the theoretical paideia, of an applied rather than a pure, an interactive
rather than a passive, conception of the liberal arts" (110). I suggest
that the goal be extended to include emotional literacy, as Aristotle did
both in his rhetoric and poetics.
comments, "We have had so hard a time selling the Great Books partly because
we have systematically travestied their greatness, strained out -- both
in commentary and translation -- half of what makes them great. They weave
their spell out of the ancient quarrel between the philosophers and the
rhetoricians, and we have cut that quarrel in half and broken the spell"(105).
What we have strained out, as many graduate studies of literature make
abundantly clear, is not just the rhetorical but also the emotional, the
affective dimension of literature that attracted readers to it in the first
place. I, for one, am reassured that the emotional impact of literature
is greatly enhanced when voice, music, image and video are added to the
words in CDs and web sites.
asserts that since much of Western literature "is oral in origin and nature,
and self-consciously rhetorical, and since electronic text is both oral
and rhetorical to a degree, [it] can reveal to us aspects of our greatest
works of art -- literary, artistic, and musical -- that we have never noticed
before" (131). He argues that "the interactive audience of oral rhetoric...
has returned in force. The ritualistically silent audience of the 19th
century was an audience of 'readers' observing a print convention" (76).
In fact even as late as the 19th century much of literature, even fiction,
was performed aloud to groups, as Philip Collins has shown. In any case,
while the hypermedia movement "enfranchises the oral/rhetorical/ dramatistic/semiological
world in the same way that print did its literature/philosophical/positivist
opposite" (Lanham 214), it often overlooks the way that the new media also
enfranchises emotional response.
hypermedia and printed versions of the same text, we realize that while
abstract prose in print facilitates intellectual reading, it can impede
emotional response. In purely theoretical print discourse, for instance,
the distance between the head and the heart often becomes greater. The
icon of "the heart" stands not just for the right side of the neocortex
but also the older amygdala or emotional brain with which it is so closely
allied. That is the part of the brain that is most feared by some heirs
of the Age of Reason. It is primarily because the right side of the neocortex
has more direct access to the amygdala and emotion that media that appeal
to it are resisted. In the past Darwin and Freud, fearing domination by
what we now call the right side of the brain, were identified as puritans
of rationalism (Fleming). The new rationalist puritans are usually university
administrators (Bump, "Teaching") and/or social or natural scientists,
though some of the humanist puritans share their desire to preserve the
rationalist structure of education.
however, is one of the humanist puritans who critiques the dogmatism of
rationalism: "In the Middle Ages people believed in the authority of their
religion, no matter what. Today, we believe in the authority of our
science, no matter what" ("Informing").
As Reiss noted, "the analytico-referential discourse sets itself apart
from and opposes all other styles of cognition, taking them at best as
objects of study. The ideology of science takes an aggressive stand
against all challenges to its exclusive claims to be the knowledge effect"(Ulmer
66-67). Tuman cites Bowers' critique, in 1987, of "the assumption that
the individual is the basic social unit within which we locate the source
of freedom and rationality, . . . and that rationality is the real basis
of authority for regulating the affairs of daily life' "(Bowers 2,Tuman
122). Tuman traces criticism of rationality back to 1974, to Pirsig's Zen
and the Art of Motorcycle Maintenance. The critique of reason is much
older than that, of course (Bump, "Creativity"), but Pirsig's narrator
is a good example of "a man determined to overcome the dichotomy between
emotion and reason" (Tuman 48). He failed partly because he was "using
the ultimate tool of print literacy, an ever more powerful critique" (49).
is another kind of tool altogether and its impact will be very powerful
indeed. Electronic media and digital art clearly do challenge the reliance
on abstraction and traditional logic that dominates universities and "learning"
today. Heirs of the Age of Reason have noticed that there is now a powerful
rival to the black and white bias "toward the disembodied concepts of Platonic
philosophy" (Lanham 78). Conceptual argumentation is challenged by a return
to narrative; exclusive reliance on words and mathematical symbols by behavioral
and experiential thinking; pure theory by concrete art; analytical thought
by creative imagination; the impersonal by the personal; the alphabetic
by the imagistic; the serious by the playful; the passive by the interactive;
the left side of the brain by the right. Instead of complaining, Lanham
stresses the advantages of behavioral thinking: "We evolved as a species
which learned to 'think' in terms of specific behavioral situations. This
behavioral thinking stands much closer to the surface of life in an oral
culture than in a literate one, but it is essential to human thought of
any kind." 'Thinking' in behavioral terms -- with all the reliance
on appearances, local knowledge, private interest, that it brings with
it -- is our native mode of thought. Conceptual thinking rides on top of
it. Surely any full definition of 'reason' wants to integrate the
rationalist puritans resist any significant change in the definition of
reason, and to this day almost all courses in the university still address
primarily the left side of the brain. During the 1960's there was a growing
protest against this myopia. It was acknowledged by more and more teachers
that "'intellectual accomplishments represent only one small aspect of
human experience. To emphasize facts and information [exclusively is] to
contribute excessively to alienation, desensitization, and personal fragmentation'"(Moustakas,
Personal Growth, 1969; Brand, Therapy 35). Hence, during
that decade the Ford Foundation sponsored several efforts to renew "education
for the 'whole' person" (Brand, Therapy, 39-40). Though I spent
the 60's in college, first as an undergraduate, then as a graduate student,
I was aware of no such movement. Indeed, it seemed the more education I
received, the deeper became the split between the left side of my brain
and the right, splitting reason from emotion, language from feeling. In
1970 I came to the University of Texas at Austin, and fifteen years of
ostensibly objective "research" in an institution that the student newspaper
once labeled the Church of Reason not only anesthetized me more completely,
but endowed me with an amazing ability to spin complex webs of words to
defend myself from emotion and thus from the whole right side of my brain.
I am became another example of the loss of feeling in postmodern culture
adumbrated by Bickerts.
1985 I became the first director of what eventually became the Computer
Writing and Research Laboratory of the Division
of Rhetoric and Composition of the University
of Texas at Austin. Given the stereotype of the computer nerd as the
cold and cerebral Spock of Star Trek, presumably this would have completed
the split in my brain. However, I discovered other aspects of the human
interface of computers while teaching in our networked classrooms. My image
of the aggressive adolescent alone with his violent video games was balanced
with a picture of students interacting through a computer network. I was
aware of the research on "flaming" in email communications (Sproul and
Keisler) and saw in my own classroom how "the directness of digital writing
sometimes surprises the writer -- and may even upset the reader.
So writing without barriers can also prove to be writing without restraint"(Heim
209-10). Yet I also saw, and reported in an essay in Computers and the
Humanities, how in our networked classroom there was more emotional honesty
and self-disclosure, less fear, less shyness, and less aggressive domination
of the discussion (55-9). Postman is "opposed to the use of personal computers
in school because school ... has always largely been about how to learn
as part of a group ... how to be socialized as a citizen and as a human
being"; he worries about the "personal computer because it seems... to
emphasize individualized learning" instead of social interaction ("Visions").
However, over ten years ago I observed the opposite. I noticed that as
individuals generated dissensus of opinions but became aware of their feelings,
they discovered that they had much more in common than a consensus: powerful
emotional bonds. The medieval sense of community, dissolved by the Typographic
Age according to Postman, was being restored in the classroom. The students'
goal was not to "enhance their own individuality by gaining the acquiescence
of other individuals," nor was it simply "to be accepted, to join, to be
regarded as another member of the culture or community that constitutes
the writer's audience" (Bruffee 651), but rather to explore the paradox
of simultaneous difference and similarity, discovering a common humanity
-- membership in the largest community of all.
other words, I observed first hand the emergence of what has been called
the new postindustrial, postmodern sensibility. The public realm that at
times seemed such a threat to the solitary, private reader "is now identified
as a source of emotional support" (Tuman 11-12). "Behind the widening acceptance,
and often advocacy, of the educational value of networked computing lies
the recognition that computer-mediated communication really does have revolutionary
potential. All those committed to social change, in or out of the
classroom, are encouraged by the possibility that 'one of the most important
world-wide effects of computing might be its introduction of a new ethos
of cooperation'"(McCorduck 65, Tuman 87). The classroom is to be "the 'new
post-print community.' This means establishing a climate where put-downs
are disallowed, where people are encouraged to express their ideas without
fear of recrimination, and where diversity is appreciated, not depreciated'"
(Gere 103, Tuman99). "Although not devoid of conflict or failure, the peaceable
writing class is a model of the new family, a place where the instructor
is 'more a guide than an authority figure'" (Frey 100, Tuman 104).
I taught or, rather, "guided" in that classroom, I was trying to bring
the two halves of my self together. I received no encouragement from the
local Church of Reason, but did find a few books which suggested I was
not alone, especially Gabriele Rico's Balancing The Hemispheres: Brain
Research And The Teaching Of Writing (1980) and her Writing the
Natural Way: Using Right-Brain Techniques To Release Your Expressive Powers
(1983). 1983 was also the year of Sinatra and Stahl-Gamble's Using the
Right Brain in the Language Art. Though these books had no impact on
my campus, Betty Edwards' acclaimed Drawing on the Right Side of the
Brain (1989) became popular in courses in visual literacy. More books
soon appeared demonstrating how writing was far more than a cognitive domain,
such as Henriette Klauser's Writing on Both Sides of the Brain (1987),
Natalie Goldberg's Wild Mind: Living the Writer's Life (1990), Elaine
Hughes'Writing from the Inner Self (1991), and Bonnie Friedman's
Writing Past Dark: Envy, Fear, Distraction and Other Dilemmas in the
Writer's Life (1994). After years of following these leads, I was intrigued
and encouraged by the first entry in the 1995 program of the annual convention
of the College Conference on Composition
and Communication of the National Council
of Teachers of English. Workshop #1 was "Beyond the Cognitive Domain:
Classroom Practices in The Teaching and Learning of Writing," sponsoredby
Assembly on Expanded Perspectives on Learning (AEPL). Attendance at this
NCTE Assembly workshop introduced me to the works of one of its founders:
Alice Brand's Therapy in Writing: A Psycho-Educational Enterprise(1980),
The Psychology Of Writing : The Affective Experience (1989), and
Presence Of Mind : Writing And The Domain Beyond The Cognitive(1994).
At the AEPL CCCCs Preconference Workshop in 1996, I heard Prof. Brand integrate
her approaches to writing with Joseph Ledoux's research on the two sides
of the brain.
is cited extensively by Goleman, whose concept of emotional intelligence
includes "the emotional mind's special symbolic modes: metaphor and simile,
[which] along with poetry, song, and fable, are all cast in the language
of the heart. So too are dreams and myths, in which loose associations
determine the flow of narrative, abiding by the logic of the emotional
mind" (54). Ironically, though these are ostensibly its subjects, in 1995
in college English departments, the "emotional mind" was being marginalized
even more than usual by the triumph of abstract theory. However, for people
outside the ivory tower, Goleman's extensive documentation of studies
of the difference between normal academic intelligence and emotional intelligence
and the importance of the latter for mental health, education, social competence,
business success, intimate relationships, and physical health brought this
movement into the mainstream of American life.
too new to be even mentioned in such books as Emotional Intelligence,
Using the Right Brain in the Language Arts; Writing on the Right
Side of the Brain; and Brain Research And The Teaching Of Writing,
computerized "hypermedia" -- words, graphics, sounds, animation, and video
integrated by hyperlinks -- produced a new genre in which linguistic access
to the left side is supported by multimedia access to the right. The impact
on research and teaching in English of computers, already significant,
has become truly revolutionary as multimedia CDs and web sites compete
with or replace books, periodicals, and even scholarly conferences. An
example of the new "book" is UT CD '99, a Web-enhanced, multimedia CD-ROM
sent to more than 11,000 students accepted for the fall 1999 semester at
the University (web version).
Two of the most popular literary research webs which "publish" articles
are George Landow's Victorian
Webs at Brown University. The 1999 Online
Conference on Teaching Online in Higher Education is an example of
how MOO technology can be used to create a new version of the scholarly
short, reading no longer is confined primarily to the left side of the
brain. If we consider the act of reading of, say, the Dante web site constructed
in my class in 1998 by Olin Bjork and Christopher York, the word "reading"
seems to require quotation marks, so different is it from the usual meaning
of the word. Steve Bickerts, considering hypertext in The Gutenberg
Elegies (1994), asks "Do we still call it reading? Or would we do better
to coin a new term, something like 'texting' or 'word-piloting'?" (164).
Even those words become inadequate when hypertext becomes hypermedia. Whatever
the interaction is called, Bickerts, a humanist rather than a rationalist
puritan, complains that the new technologies provide merely "instrumental"
rather than "affective" communication (229).
invite you to test his assertion at the Dante
web site. The opening image of the author gives way to two maps of Hell,
one a close up of the other. As the "reader's" mouse passes over various
layers, the ones available for "reading" at this time change color. When
the "reader" clicks on one, s/he is confronted by the most famous visual
interpretation of that circle, an engraving by Gustave Dore. Then the "reader"
chooses which English translation s/he wants, Pinsky or Mandelbaum, and
the medieval Italian appears on the left, the English on the right, both
usually superimposed over a modern image of the horror of that particular
circle of Hell. The use of images as backgrounds to text is a particularly
felicitous appeal to both sides of the brain (unless the "reader" is visually
impaired). More importantly, the Italian is interspersed at times with
little signs saying "Audio" or "Video." Clicking on the "Audio" invokes
a man or a woman's voice performing the medieval Italian. This, to me,
is a very important added dimension. We forget that until this century
almost all literature was meant to be read aloud (Collins). In all the
years I taught Dante in E603, World Literature and Composition, I searched
for a recording so that students could hear the magnificent word music
that made Dante so famous. I never found one, even in modern Italian. Olin
and Christopher, however, recorded two professors of Italian performing
particularly important passages, and included the voices in their version
of the Inferno. They thus restored part of the original "reading" experience
of the text. The video option increases the emotional impact of the text
even more dramatically, as the latest film interpretation of Hell appears
on the screen on demand. Integrating the video clips and the voices inthis
way, with the images and texts, results in a more powerful and complete
"reading" experience which, in this "reading" belies Bickerts' assertion
that the effects of interactive multimedia programs on users mirror the
"affectless" assemblages of postmodernism (137).
of the key features of this new genre which Bickerts laments is the increased
interactivity, inviting the reader to make decisions and participate in
the creation of the text itself. In my own hypermedia, I focus on the interactivity
of the new medium because I believe it facilitates the new teaching initiatives
on my campus, both "discovery
learning" and the Boyer
Blueprint for Reinventing Undergraduate Education.
I "wrote" my own hypermedia, moreover, even more than when I was "reading"
hypermedia, I realized how the other arts "will form part of literary study
in an essential way" (Lanahm 11). I felt I was drawing on multiple intelligences,
certainly on my emotional as well as my academic intelligence. The word
"write" seemed even less adequate than the word "read" in this context.
"Create" seemed more appropriate as I experienced "the walls between painting
and music and sculpture, music, architecture, and literature" dissolving
(Lanham 13). For example, in my hypermedia autobiography, I simulate the
discovery of the world by a pre-linguistic child and of family secrets
during adolescence. I used Authorware to create the program, but a few
parts of the "text" are now on the web. It opens with a table of contents
with photos. One option is "graph."
If this is chosen, three graphs appear superimposed on a collage of family
photos. One represents the ups and downs of love over the course of a life,
another happiness, another spirituality. If "help" is chosen a video appears
of the author explaining what he meant by each of these terms. If one clicks
on the birth part of any of the graphs one is taken to that section.
the Birth section the interactivity is designed to simulate the way a three-year
old encounters and remembers the world, without the help (or interference?)
of words. It opens with a child's
drawing of Pine River, Minnesota. As the mouse moves over different
figures on the drawing and is clicked, the "reader" hears the sounds of
the swing between the trees, the train on the tracks, etc. If the "reader"
clicks on the dog,
a collage of three photos of the child playing with the dog appears with
the sound of the dog barking, followed by an animation of the dog running
across the screen to invite the "reader" to share some of the joy apparentin
the photos of the child playing with the dog. If the footsteps leading
off to the right of the drawing are chosen, a Catholic icon, the Sacred
Heart of Jesus, appears superimposed over the interior of a church, as
appropriate music plays. The child's mixed emotions are suggested by the
fact that the "reader" discovers that s/he can escape from the church only
by actually choosing the heart itself.
the house in the drawing is chosen, a new
child's drawing appears of a child, a dog, a house, the swing, a pine
tree and four adults. One of the adults is empty of color and detail: if
it is selected, the child's
father's army photograph appears superimposed on his army registration
papers with the sound of artillery shells being fired. If "help" is chosen
for this figure or any of the other adults a video appears of the author
explaining a little about each figure -- the only use of words in this
module aside from those on the army certificate and the birth certificate.
If the other adult figures are chosen, photos of the grandfather,the
and the mother
appear. If the child is picked, two photos of the author as a baby appear
superimposed on the official birth
certificate, and the sound of a baby laughing is heard. If the house
on this second drawing is chosen, one hears a sound perhaps not at first
identified as that of a grandfather clock, the sound that dominated that
household in the child's memory, the sound that can bring the experiences
back. If the tree is chosen the "reader" is returned to the child's drawing
of Pine River.
goal of the Adolescence section is quite different: to show the heavy influence
of outside forces on the teenager. To make the "reader" feel some of the
impact of those forces, it opens with a video of rock 'n roll bands of
the time of the author's adolescence, including Fats Domino and Jerry Lee
Lewis, with Beatles' "Rock N Roll Music" as the background music. It includes
scenes of couples dancing the dances of the time and ends with a speeding
'59 Ford to recreate the appeal of these attractions for the "reader."
This is replaced by a photo of the author as adolescent. The interactivity
is more subtle in this module, especially when representing the power of
family forces. To the lower right of this photo, for example, is a vase
in the shape of head of Mary. It is a little brighter than the rest of
the picture, but could easily be overlooked. It stands for something not
immediately obvious to one who enters the house -- the religious atmosphere--
but if a "reader" chooses it, it is replaced by a photo of a madonna and
child statue in a church, revealing the family's religion. The "reader"
hears the author "reading" a quotation on the screen from the first autobiography,
St. Augustine's Confessions, about Augustine's adolescent revolt
against religion. If this is selected, an account appears of the author's
loss of faith during these years. When the "reader" chooses "Continue,"
whether or not the vase has been investigated, the initial photo is replaced
by a screen with two letters on it. One of the letters is from the author's
teenage self to his adult self and the other is from his adult self to
his teenage self. When the "reader" chooses, this is replaced by a collage
of 4 photos, a report card, and a scout badge. As the mouse is moved over
the collage, different phrases appear inviting the "reader" to explore
for example, leads to a drawing of various stick figures. If the girl figure
is selected, a timed display of a series of photos of dating conventions
of the time begins to appear, with a video of couples kissing playing in
the center of the screen. This fades to a billboard with the word "GIRLS"
on it, with Elvis Presley's "Love Me Tender" playing in the background.
As each letter is selected, the author is heard articulating the fears
and angers he felt about dating during these years. The first three letters
also include selections from T. S. Eliot's "Love Song of J. Alfred Prufrock"
and Toni Morrison's The Bluest Eye, about how people judge each
other on the basis of appearance, inviting the "reader" to think of comparable
experiences in his/her life. If the "reader" chooses the three small male
stick figures, a selection from Booker T and the MGs plays, and a photo
appears of the author as a teenager with three of his brothers. As each
brother is selected, text appears explaining the author's relationshipwith
that brother. If another set of male stick figures is chosen, music of
the Ventures begins playing and photos appear of the author's best friend
and of a newspaper clipping about the scholarships awarded to the author
and his circle of friends. If the male parent stick figure on the drawingis
chosen a photo of the author's father appears with an account of him. If
the female is chosen a photo of his mother appears with a voiceover describing
her. In the photo is also an ashtray with a cigarette in it and a full
highball glass. These represent painful facts about the family, but they
are not conspicuous nor illuminated. However, if the "reader" is persistent,
s/he discovers that clicking on them makes them brighter and the rest of
the photo darker. If the "reader" wants to discover more, clicking on the
ashtray produces a history of nicotine addiction and lung cancer in the
family and clicking on the glass reveals a history of alcoholism in the
"School" is selected four of the author's high school report cards appear.
If the biology report card, or English,
or physical education, or history report card, is selected, a text about
the author's memories of those high school classrooms appears with voiceover.
If "Hobbies and Activities" is selected, a collage appears of a stamp collection,
a newspaper article about the debate team, and patches from scout and work
uniforms. If "Graduation" is selected, the "reader" hears a car starting
up and driving away. The black screen then fades to a picture of Amherst
College, the subject of the next module.
I "wrote" these two modules in hypermedia, because I was accessing both
sides of the brain much more fully, the memories came back more strongly,
more vividly, in more detail, and the attendant emotions returned in force
as well. The two fields I began to explore in 1985, computers and feelings,
began to intersect and for the first time I felt like a whole person in
the writing process.
does my experience relate to that of my students? Tuman offers an important
caveat and call for further discussion:
it not natural . . . for masters of print literacy -- and that is what
writers such as Richard Lanham, George Landow, and Jay Bolter are -- to
see hypertext and online literacy generally as doing for others what it
has done for them? Yet in all this enthusiasm for the liberating power
of hypertext, one question goes unaddressed: what happens to future generations
of students who differ from Lanham, Landow, and Bolter in not having spent
the first forty years of their lives mining the vast cognitive and psychological
resources of print literacy? As Provenzo (1991) describes, sophisticated
multi-media computers -- with only a minimal textual component --have already
found their way into tens of millions of American homes-- Nintendo videogames.
Yet too few are willing to consider the radical implications of these changes,
not for our own print-based literacy practices and those of our high-achieving
children and students, but for generations upon generations of future children
who will grow up with only incidental contact with print culture. As a
group, advocates of hypertext, their own careers energized by the acceptance
of technology, seem too eager to make a virtue out of a looming necessity,
and as such tend to gloss over the inevitable intellectual and social dislocations
(the losses as well as the gains) represented by the radical restructuring,
if not the demise, of print literacy (79-80).
of online literacy may well have to rescue and re-integrate aspects of
print literacy. Yet many administrators and scientists are unwilling to
relinquish the almost total domination of the university curriculum by
traditional rationality and print literacy. The Church of Reason also must
expand and compromise if it is to attract today's students.
1. I want to acknowledge the help of John Slatin in preparation
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