Happy denouement of the history of Mr. Oldbuck

recaptures the beloved one.

Mr. Oldbuck politely takes leave of them

pushes the monks into the hole, and throws the earth upon them.

passes his ladye-love off as a sack of flour.

On awaking

mounts the beloved one fast asleep on his donkey, and carries her off during Mr. Oldbuck's nap.

The rival continues his aquatic amusement.

Mr. Oldbuck conceals his beloved in a close carriage, with locked door to prevent every danger.

dreadfully frightened to see it ascend the chimney.

discovers his emaciated dog.

He turns over a new leaf.

Mr. 0ldbuck amuses himself by drowning the porter who had pursued them.

n which it has lain a fortnight.

habiliments

Mr. Oldbuck is imprisoned for midnight rioting

Mr. Oldbuck is thrown.

nearly strangles himself.

His beloved one leaves him-unhappy wretch!

dying

He receives no reply to his letter

but she has vanished

Drawings

Three things are postulated here: a determination of the work by the outside world (by race, then by history), a consecution of works among themselves, and an allocation of the work to its author.

reading in the sense of consuming is not playing with the text.

that is a choice whose price we cannot avoid.

Can we imagine an app that “measures” whether one is really in love with someone else? Or an app that compares how one’s processes of creativity hold up against established measures of creative inspiration? How about an app that compares the “depth” of one’s grieving for a loved one against others’ grief?

But it can be free if it comes to grasp such processes as its own – related to its goals and not those of others.

freedom is impossible without the self having some space of autonomy where it can be in a reflective relation with itself.

… freedom is this: to be with oneself in the other.

… not merely by the fact that someone is reading my emails but also by the fact that someone has the power to do so should they choose … leaves us at the mercy of arbitrary power … What is offensive to liberty is the very existence of such arbitrary power.

A helpful spy behind the dashboard is a young driver’s new best friend.

It’s puzzling we are not already more angry about this transformation. We never liked mass surveillance in its historic forms.

The primary business model of the internet is built on mass surveillance.

it is as if the social itself has become the new target of capitalism’s expansion.

For more than a decade now, the difficulty of targeting messages at particular consumers online has driven advertisers to reach audiences through the continuous tracking of individuals, wherever they are online.

… the centrality of corporate power is a direct reality at the very heart of the digital age.

if every point in space-time is connectable to every other, then it is susceptible to monitoring from every other.

Surveillance capitalism only became possible through the development of the internet. While the internet is often credited with bringing freedom, its most important feature is connection, not freedom.

Some see this as a new “surveillance capitalism”. This is focused on data extraction rather than the production of new goods, thus generating intense concentrations of power over extraction and threatening core values such as freedom.

Yet this, in crude outline, is the world we are being asked to celebrate today.

Devaluation means employees in this role don’t get the resources they need — particularly company money — to experiment and test new technologies that could actually bring the company’s social and digital presence to new heights.

Even the New York Times has an audience development strategy (read: lots of focus on social media).

It’s a real job. And it deserves its place and respect at tech networking events, conventions, and roundtables.

But they’re still analytical as fuck, with a measure of art in there.

Track video retention rates. Track engagement numbers. Track the velocity of video view counts, constantly refreshing pages while tracking several additional key metrics across multiple other platforms. Figure out what part of the data is white noise and what indicates that the content is receiving the optimal amount of exposure, watch time or attention minutes, and engagement. Learn and manage a variety of technologies and analytic tools. Monitor Facebook trends and pitch content to create based on what is going to ride the trending wave. Write each and every single Facebook share text, Tweet, and any other social media post — and make sure every word of it is genuine. Learn the language of viral momentum and how it varies from platform to platform. Monitor comment sections. Respond to messages from fans, leveraging them for crowdsourced ideas and aggregating their critiques and fact-checks to bring back to producers. Collaborate with other employees of the organization, including sales — because driving traffic to sponsors’ content is key — and IT, because you are the first and primary interface with customers and users. Become the primary point of contact with other organizations with whom to coordinate traffic swaps or content collaborations. Create community, develop an audience, and develop trust — but don’t ever neglect the data.

In the eyes of others, those skills would have worth.

the whole art/tech paradigm fell apart.

I pushed away the insecurity I felt at probably being “unable” to do anything technical by reminding myself that it was okay: I was meant to be doing something else.

I had no shortage of people telling me I was going to be a starving writer, or that I wasted my collegiate experience learning “useless” skills.

I quickly caught onto one of their personal memes: “The social media intern.”

Spec-fic tells us stories about our lives with our creations.

As to my definition of spec-fic, I describe it as a set of literatures that examine the effects on humans and human societies of the fact that we are toolmakers.

Midnight Robber is similarly syncretic, infusing allusions to Haitian culture and references to Yoruba spirituality, Jamaican revolutionaries, and Trinidadian carnival into science fiction mainstays such as alternative dimensions and artificial intelligence.

Hopkinson received the John W. Campbell Award for Best New Writer in 1999 and has also been nominated for several other prestigious awards for writers of speculative fiction,

that we, the viewer, have a role in making the world we see on screen.

One of the beautiful things about filmmaking is the dialectic it creates between filmmakers and audiences to create jointly the universe being seen.

Finn was trained to do at least one other thing: work in sanitation, which gave him the inside scoop on how to take down the Death Star planet. This is some intergalactic peak blackness right here: it was black sanitation workers in Memphis in 1968 who were so close to the heart of oppression that none other than Martin Luther King Jr thought they were key to taking down a system of death, too.

he was taken “from a family I’ll never know” and “raised to do one thing”

doesn’t “care what colour he is. No droid is that important”

The only people we see ordering the stormtroopers (who are all named with dehumanising numbers) throughout the Force Awakens are white officers

maybe it’s more comparable to Muhammad Ali or Malcolm X,

calls his new friend Finn (suspiciously evocative of Mark Twain’s Huck Finn)

This is not unlike the experience of the first humans we see in human history, who were African and who were later shipped to be similarly violently exploited for labour

the first human forms we see in The Force Awakens are those of the stormtroopers, who are moved in tightly packed ships and dispatched to commit genocide against a noncompliant population.

it could be read as the first science fiction film of the Black Lives Matter era.

what if under every white stormtrooper’s armour was a black human?

if students learn something, it has to be on their own initiatives

By largely removing the grade from my judgment, I’m forcing students to make choices about what matters to them and why.

success is largely a function of conforming to the values of the system (many of which are opaque and approached tactically)

By establishing a level of “proficiency,” I was forced to define the two or three most important criteria to that determination.

much more of my commentary can go to diagnosing the problem in the student’s writing process and focusing the commentary where it might be most helpful.

putting control of the grade firmly in students’ hands.

thoroughly conditioned to only care about that number anyway.

Most of them claim that their students produce higher-quality work, pay more attention to feedback, feel more responsible for their grades and are less grade anxious and less likely to protest their grades.

You can adopt one or two of the three elements, or apply an element in some cases and not others.

less grade anxiety.

By choosing the bundle they want to complete, students select the final grade they want to earn,

At the beginning of the term, you give your students one, two or three virtual tokens

buffers the riskiness of no partial credit and allows the opportunity for redemption.

this kind of assignment grading increases student motivation and produces higher-quality work than traditional grading systems do.

You can specify basic parameters for creative assignments and not worry about “grading” them.

Most employers of our graduates give grades little heed in hiring.

works of comparable quality, even though they differ a great deal

the importance having the space and safety and security (financially well before technologically) to think and write and be.

But you’re free… You’re free from owning.

What do you own? Your degree? Your ideas? Your work? Are you sure?

What does it mean, both literally and figuratively, to have a room of one’s own?

and we must consider both the financial burden and the transaction mechanism of a push for domains in education

any notion of “ownership” that we might have based on physical property does not necessarily extend to the digital.

We share, we like, and we retweet.