However, in the case of text generation, “comprehension” comes about only by conflating the program structure with its output, much like confusing a language with its grammar. It is not sufficient to use terms like “rereading” to describe what happens in different iterations of such works, since to “reread” is to suggest that the repeated elements are visible instead of a phantasmic structural trace of the source code and to suggest that the product on screen is only what matters, not the concept of the generator itself.

This is summed up well by a distinction Marjorie Perloff makes between rules and constraints in writing poetry: rules create definite expectations for an audience that an author will follow, as in poetic measure, whereas constraints are "primarily generative, the constraint determining, not what is already fixed as a property of the text, but how the writer will proceed with his composition [Perloff 1991, 139]. “Anti-chance” in this sense may then be redefined according to the legibility of such a constraint within a composition.

Nick Montfort's poetry generator Taroko Gorge, which includes clear structural elements resulting from procedure as well as an emergent aesthetic features irreducible to that structure, shows the limits of both experiential and procedural approaches in understanding such works.

Therein lies the significance of digital art’s unique temporality: by removing real-time computation from the equation and turning to the static form of the document, one creates legibility, allowing the past to be reproduced (or at least re-written), but in doing so one diminishes the performative and theatrical aspects of the art

One might be tempted to make the assumption that an archived recording of a live digital art performance is equivalent to “previously recorded

To engage random variation in digital art requires a combined approach, one that acknowledges the importance of procedure in giving shape to the randomness while also treating the experience of the work as a prospective act of discovery in which that underlying procedural shape gradually comes into view through repetition and feedback

processes and experience

In essence, this move attempts to stay the disorder of variation by setting limits, identifying rules that govern what would otherwise appear to be undifferentiated output or response in playable media including video games, hypertext fiction, and other forms of interactive digital art.

Avoid allowing learners to select which essay items they answer. This keeps learner scores comparable. If learners can choose which essay questions to answer, the test is not assessing the same thing for all students.

strategy #1: present a social presence and have students do so as wellSocial presence is an important concept for developing community.26 It is an individual’s sense that he or she is connected to other real people, and that the re-verse also applies.27 Social presence requires being there and being seen as being there, and it is achie

Being personally engaged as an educator and serv-ing as a role model—displaying commitment, drive, and care—are the first steps in developing a culture within a class that can foster a sense of community.To me, this means that a teacher is an active learner in spaces where the students can witness that teacher behaving like a good learner. This can take place anywhere online or in physical spaces. The instructor is a cultivator of connections, and those connections to people and ideas are what need tending in order to create a community.The use of various tools can help instructors create this type of envi-ronment, but it is not the tools themselves that will make it work. Teach-ers need to show that they are engaged in a community of practice in their profession and that they are contributing members, not just passive recipients of content.

In an onsite course, members may receive recognition from their classmates through nonverbal behavior. For example, when a student makes a particularly good point, classmates can nod their approval. That student is recognized and thus is encouraged to participate in the future. The compe-tence and capabilities of other students may also be assessed quickly, both through their comments and the ac knowledgment given to them by their class-mates. Online, however, students have to make an effort to write to another stu-dent to congratulate him or her on a point well made.

Membership requires a system of common symbols. Understanding common symbols—which may involve a name, landmark, logo, or architectural style—is a prerequisite to understanding community.In an onsite course, membership is established decisively and relatively quickly. It is bounded by the walls and doors of the classroom. Those on the inside are mem-bers; those on the outside are not. Members have an established sense of belong-ing; they have a right to be inside the walls of the classroom. Students often dis-play common symbols, from similar styles of clothing to wearing school colors or logos, although some intentionally choose not to conform.

When it comes to web publishing at UMW, “open” (rather than “closed/private”) is the default setting. The next stage is to make the process for publishing and sharing information about each academic de-partment, faculty member, and student that much simpler and more transparent.

n online courses, community still develops through patterns of communica-tion, but the community structure typically is not determined by geography. Rather than individuals who are in close physical proximity creating communities and cliques, an online community can develop more evenly among the members of the class, because of the absence of spatial limitations. Thus an online community has a structure that potentially can be fairly inclusive, and barriers to entry into the course’s community may be less rigid.

Students in an online course may not have the same level of interest in the sub-ject as a virtual community, in which membership is voluntary. They do, however, enter an established community in which there are experienced members who are already engaged.

Thus community is differ-ent onsite than it is online.

Our tech-nologies now enable our communities to extend beyond the limitations of our phys-ical beings and thus span the boundaries of time and place

Such communities may be either informal, such as when they form around the participants’ interests in movies, old cars, a specific type of music, sports, and so forth. Alternately, they may be more formal, such as in communities of practice, where members share a craft, or communities of inquiry, composed of members of a scientific community who are involved in a certain type of inquiry into social problem

They connect with each other, work well together, and encourage and support each other. They look out for each other. They generally seem to enjoy being in the course to-gether as a group.

ke Algebra, Geometry and Geometrical Drawing must beextended beyond the mere circle of geometrical ideas.

to feel that they are studying something, and are not merelyexecuting intellectual minuets.

But in considering this description, I must beg you to rememberwhat I have been insisting on above. In the first place, one train ofthought will not suit all groups of children. For example, I shouldexpect that artisan children will want something more concrete and, ina sense, swifter than I have set down here. Perhaps I am wrong, butthat is what I should guess. In the second place, I am notcontemplating one beautiful lecture stimulating, once and for all, anadmiring class. That is not the way in which education proceeds. No;all the time the pupils are hard at work solving examples drawinggraphs, and making experiments, until they have a thorough hold on thewhole subject. I am describing the interspersed explanations, thedirections which should be given to their thoughts.

Reformation must begin at the other end. First, you must make upyour mind as to those quantitative aspects of the world which ar

Whatever interest attaches to your subject-matter must beevoked here and now; whatever powers you are strengthening in thepupil, must be exercised here and now; whatever possibilities of mentallife your teaching should impart, must be exhibited here and now.

I would only remark that the understanding which we want is anunderstanding of an insistent present. The only use of a knowledge ofthe past is to equip us for the present. No more deadly harm can bedone to young minds than by depreciation of the present. The presentcontains all that there is.

call "inert ideas" -- that is to say, ideasthat are merely received into the mind without being utilised, ortested, or thrown into fresh combinations.

We have to remember that the valuableintellectual development is self development, and that it mostly takesplace between the ages of sixteen and thirty.

Like an ageing rock star, it can adapt itself to new audiences. Even so, we should not assume that such classics are up and running all the time. Like business enterprises, they can close down and start up again.

A literary classic, some critics consider, is not so much a work whose value is changeless as one that is able t

There may be something in this claim, but it raises a number of questions. Antigone and Oedipus the King have survived for thou-sands of years. But is the Antigone we admire today quite the same piece of drama that the ancient Greeks applauded?

Are all major works of literature timeless and universal in their appeal?

A literary work may be realist but not realistic. It may present a world which appears familiar, but in a way that is shallow and unconvincing

what counts as realism is a contentious matter.

truth and immediacy. On this theory, the only good literary texts are realist ones.

f good literature is always ground-breaking literature, we would be forced to deny the value of a great many literary works, from ancient pastoral and medieval mystery plays to sonnets and folk ballads

It is with postmodernism that the hunger for novelty begins to fade. Postmodern theory does not rate originality very highly. It has put revolution well behind it. Instead, it embraces a world in which everything is a recycled, translated, parodied or derivative version of something else.

But it is also true, as Noam Chomsky reminds us, that we constantly produce sentences we have never heard or spoken before. And to this extent the Romantics and modernists are in the right of it. Language is a work of astonishing creativity.

even the most innovative literary work is made up among other things of the scraps and leavings of countless texts that have come before. The medium of literature is language, and every word we use is shop-soiled, tarnished, worn thin and feature-less by billions of previous usages.

The task of art was to provide us with lively images of what we already knew. The present was for the most part a recycling of the past. It was its fidelity to the past that lent it legitimacy.

Romantics, men and women are creative spirits with an inexhaustible power to transform their world.

The modernist work of art takes a stand against a world in which everything seems standardised, stereotyped and prefabricated.

The poet may imitate the divine act of creation, yet she does so from her restricted situation in time. In any case, this theory is plainly at odds with what writers actually get up to. No work of art springs out of nothing

rich and strange

neo-classical view

Novelty was a kind of eccentricity. The crea-tive imagination was dangerously close to idle fantasy. In any case, innovation was strictly speaking impossible. There could be no new moral truths. It would have been outrageously inconsiderate of God not to have revealed to us from the outset the few, simple precepts necessary for our salvation.

tradition and convention

originality

Depth of insight, truth-to-life, formal unity, universal appeal, moral complexity, verbal inventiveness, imaginative vision:

To sum up:—Wemaybelieve what goes beyond our experience, only when it is inferred fromthat experience by the assumption that what we do not know is like what we know.Wemaybelievethestatementofanotherperson,whenthereisreasonablegroundforsupposingthatheknowsthematterofwhich he speaks, and that he is speaking thetruth so far as he knows it

Certainlynot,ifitisacceptedonunworthygrounds,andwithoutsomeunderstandingoftheprocessbywhichitisgotat.Butwhenthisprocessistakeninasthegroundofthebelief, it becomes a very serious and practical matter. For if there is nohydrogeninthesun,thespectroscope

Wemaygobeyondexperiencebyassumingthatwhatwedonotknowislikewhatwedoknow;or,inotherwords,wemayaddtoourexperienceontheassumptionofauniformityinnature.

Is it possible to doubt and to test it? and if possible, is it right?

So that we have no reason to fear lest a habit ofconscientious inquiry should paralyse the actions of our daily life

THE WEIGHT OF AUTHORIT

But,” says one, “I am a busy man; I have no time for the long course of studywhich would be necessary to make me in any degree a competent judge of certainquestions, or even able to understand the nature of the arguments.” Then he should have no time to believe

In like manner, if I let myself believe anything oninsufficientevidence,theremaybenogreatharmdonebythemerebelief;itmaybetrueafterall,orImayneverhaveoccasiontoexhibititinoutwardacts.ButIcannothelpdoingthisgreatwrongtowardsMan,thatImakemyselfcredulous.Thedangertosocietyisnotmerelythatitshouldbelievewrongthings,thoughthatisgreatenough;butthatitshouldbecomecredulous, and losethehabitoftestingthingsandinquiringintothem;forthenit must sink back into savagery

Everytimeweletourselvesbelieveforunworthyreasons,weweakenourpowersofself-control,ofdoubting,ofjudiciallyandfairly weighing evidence. We all suffer severelyenoughfromthe maintenance and supportoffalsebeliefsandthefatallywrongactionswhichtheyleadto,andtheevilbornwhenonesuchbeliefisentertainedisgreatandwide

we naturally do not like to find that we arereallyignorantandpowerless,thatwehavetobeginagainatthebeginning,andtrytolearnwhatthethingisandhowitistobe dealt with—if indeed anything can be learntaboutit.Itisthesenseofpowerattachedtoasenseofknowledgethatmakesmendesirousof believing, and afraid of doubting.

No simplicity of mind, no obscurity ofstation, can escape the universal duty of questioning all that we believe

Butforasmuchasnobeliefheldbyoneman,howeverseeminglytrivialthebelief,andhoweverobscurethebeliever,iseveractuallyinsignificantorwithoutitseffectonthefateofmankind,wehavenochoicebuttoextendourjudgmenttoallcasesofbeliefwhatever.

Andnooneman’sbeliefisinanycasea private matter which concerns himselfalone. Our lives are guided by that generalconceptionofthe course of things which hasbeen created by society for social purposes. Our words, our phrases, our forms andprocessesandmodesofthought,arecommonproperty,fashionedandperfectedfromagetoage;anheirloomwhicheverysucceedinggenerationinheritsasapreciousdepositandasacredtrusttobehandledontothenextone,notunchangedbutenlargedandpurified,with some clear marks of its proper handiwork

Foritisnotpossiblesotoseverthebelieffromtheactionitsuggestsastocondemntheonewithoutcondemningtheother.Nomanholdingastrongbeliefononesideofaquestion,orevenwishingtoholdabeliefononeside,caninvestigateitwithsuchfairnessandcompletenessasifhewerereallyindoubt and unbiased; so that the existence of a beliefnot founded on fair inquiry unfits aman for the performance of this necessary duty

Foralthoughtheyhadsincerelyandconscientiouslybelievedinthechargestheyhadmade,yettheyhadnorighttobelieveonsuchevidenceaswasbeforethem.Theirsincereconvictions, instead of being honestly earned by patientinquiring, were stolen by listening to the voice of prejudice and passion.

Will that diminish theguiltofherowner?Notonejot.Whenanaction is once done, it is right or wrong for ever; noaccidentalfailureofitsgoodorevilfruitscanpossiblyalterthat

hehadnorighttobelieveonsuchevidence aswasbeforehim.

he acquired a sincere andcomfortableconvictionthathisvesselwasthoroughlysafeandseaworthy

Hewoulddismissfromhismindallungeneroussuspicions

ought

knewthatshewasold,andnotoverwellbuiltatthefirst;thatshehadseenmanyseasandclimes,andoftenhadneededrepairs.

What is it?The term “digital humanities

Digital human-ities can enrich pedagogy as well, such as when a student uses visualized data to study voter patterns or conducts data-driven analyses of works of literature

there is an intentionality about combining the two that defines it.

also extends to fields such as

e tools and meth-odologies of digital humanities open new avenues of inquiry and scholarly production

During our course, the blog served a similar role to a spider’s web.

beginning in the 12th week of class; these should be administered by mentors at a date/hour of mutual convenience. They cannot be administered by

and other useful links.