Open-book prof

Al Filreis

In today's NYT "ThursdayStyles" section the lead story, under a huge photo of a famous crusty TV law prof, is a story about "the professor as open book." Wow! News! Now students and others can discover their professors' red wine preferences, their favorite films, their social-networking profiles, "friend" them. Or not — or not — if the academic in question does not choose to put such stuff up, which is most often the case, even at this late date into the internet age. So what really is the story here? The key perhaps is where the story runs: the "Style" section, not the higher-ed page/half-page in the main first section. This story befits the My Space/You Tube/no-one-is-private-anymore craze and has nothing to do with academics or education or the professoriat per se.

"It is not necessary for a student studying multivariable calculus, medieval literature or Roman archaeology to know that the professor on the podium shoots pool, has donned a bunny costume or can’t get enough of Chaka Khan.

Yet professors of all ranks and disciplines are revealing such information on public, national platforms: blogs, Web pages, social networking sites, even campus television ...

While many professors have rushed to meet the age of social networking, there are some who think it is symptomatic of an unfortunate trend, that a professor’s job today is not just to impart knowledge, but to be an entertainer."

Now ponder this last part. The professor's "job" seemed to be in part to create an aura of personal impenetrability and solitariness and remoteness only when, as it happens, the technologies of personal knowing were what they were. Now that they are what they are, the "job" seems to be changing. These things are not innate. And as for entertainment, it's the Times that's asserting this by putting the "story" on its Style page. There's nothing more or less entertaining about a teacher who is known as distinct from unknown. It all depends on the teaching.

March 20, 2008

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DIGITAL PEDAGOGY: This was a magazine story published in 2001 about my use of e-media in teaching. “Postmodern poets focused on the process of their poetry, rather than on what the words in their poems actually said. The purpose was to make poetry and language new again. There's no better way to describe Filreis's teaching style. He uses technology to free class time for discussion, which to Filreis is more important than the course material itself. The point is to develop his students' ability to think critically, not to have memorized every last fact about Gertrude Stein. And yet, he said, through that active engagement with the material, students end up remembering more of the content.”

Click on the image.

ASHBERY PERFORMS STEVENS: In October of 1989, John Ashbery went to St. John's the Divine Cathedral in New York to be part of the induction of Wallace Stevens at the Poets' Corner. There was a vespers service and Ashbery read six sections of Stevens's "An Ordinary Evening in New Haven." Imagine that--that poem read at a vespers service! Anyway, I certainly don't know of another recording of Ashbery performing Stevens. Stevens was a fairly bad reader of his own poems. Ashbery is deemed by many to be an indifferent reader of his poems. (I don't agree, but understand the point.) But here, reading Stevens, Ashbery is marvelous. Here is a 7-minute recording of sections 3, 5, 12, 17, 18 and 30 of the Stevens poem that comes closest to real serial writing (seriality at the level of the section, anyway).

THE (ANTI)MODERN PRESIDENT. After looking at an abstract mural at the U.N. then President-elect Eisenhower said, “To be modern you don't have to be nuts.”

THE END OF THE LECTURE & PLANNING TO STAY. As often as I can, I call for the end of the lecture as we know it. I'm pretty serious about this - not often exaggerating on the point. Click here for one of many forays into the topic. Once you're there, click on the "end of the lecture" tag for still more. My thoughts on institutional politics and the arts were presented in a manifesto called "Planning to Stay" (published as a pamphlet by No Press); the text of that talk is available here.

KELLY WRITERS HOUSEPhiladelphia's PBS affiliate, WHYY-12, produces a TV show that in each episode features four centers for the arts and creativity in the Philadelphia region. For its winter 2010-11 program, the show devoted 15 minutes to the Kelly Writers House in a segment called “The Creative Campus.” To watch the video, click on the image above.

REPRESENTATIONS OF THE HOLOCAUSTI dislike Spielberg’s Schindler’s List intensely. It's a film, I think, that is very friendly toward sovereignty. For more on this minority view, click on the image above. I teach a course at Penn on representations of the Holocaust in literature and film every other fall semester.

In 2003 I founded and continue to direct the Center for Programs in Contemporary Writing at the University of Pennsylvania. CPCW brought together the university's writing programs and projects: Critical Writing, Creative Writing, the Kelly Writers House, PennSound, RealArts@PENN, Writers Without Borders, Creative Ventures, Jacket2, and more. For information and links to each of these projects, click on the logo above.