ENG 123 1.F: Sentence Syntax, AI Work

Today’s Plan:

  • Grades in Canvas
  • AI Quotation Work
  • For Next Session

Grades in Canvas

I wanted to remind everyone that I use that weird labor-based grading scale. If you pass something in, and it looks like you tried, you will get a 4.25 / 5 in Canvas. That’s the highest score. If elements of the assignment appear to be missing, or it doesn’t seem like you put in some effort, you will get either a 4/5 or a 3/5. If you want to revise and resubmit those, go ahead.

Remember that to earn an A, you will have to:

  • Revise your project proposal
  • Visiting student hours in order to share drafts or ask meaningful questions about a project/reading/work (have a Google Doc I can look at and we can discuss, come with specific questions about your writing you want me to address
  • Submitting a draft of your final paper prior to the draft deadline

Quotation Work

Here’s how I teach quotation and the use of sources (be it direct quotation or paraphrase).

  • Signal: who, what, where, when. Note that what/where can be a reference to a kind of media [article, book, poem, website, blog post], a genre [sonnet, dialogue, operational manual], or location/event [press conference, reporting from the steps of the White House]. The signal helps create ethos, establishing the credibility of your source, addressing their disposition toward the issue, and positioning them within the context of a particular conversation. Think of a paper like a dinner party. You’ve invited me and want to introduce me to all your guests. Very polite. After they leave, you might tell me how great they are or make snide comments about their dress.
  • Quote/evidence: in-line citations use quotation marks and are generally three lines or less. Block citations do not use quotation marks and are indented from the rest of the text. Generally, quotes present logos of some kind–be it in the form of statistics or argumentation. Of course, quotes can also be used in an attempt to engender pathos, or a strong emotional reaction.
  • Summary: especially for block quotations, you need to reduce a block of text to a single-line. You need to put the quote in your own words. Because language is slippery, and your readers might not read the quote as you do. So, offering a summary after a quote– particularly a long one (which many readers simply do not read)–allows readers an opportunity to see if they are on the same page as you. You might highlight a particular word or term of importance, especially if it indicates the writer’s attitude toward the topic.
  • Analysis: Reaction, counter-argument, point to similar situation, offer further information, use the bridge, “in order to appreciate X’s argument, it helps to know about/explore/etc. This is where the thinking happens.

For Next Session

Go into your the reading response Google Document you submitted for today and revise your quotation–thinking about signal, summary, and analysis (you can also choose to change your quote).

I will email out a reading and response assignment by Sunday at midnight.

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ENG 429 1.R: Mollick, Some Theoretical Terms, Ong and Literacy

Today’s Plan:

  • Mollick Responses / AI Experiments
  • Some Theoretical Terms
  • Fuck Plato (A Super Short History of Rhetoric)
  • Ong and Literacy
  • For Next Session

Some Theoretical Terms

Okay, if we are going to talk about “literacy” in the ways that Ong and I tend to do, then we are going to need a few things. First, we need to define a few terms. Second, we are going to need to talk about Plato.

Metaphysics

In short, metaphysics is a branch of philosophy that attempts to identify the absolute foundation of existence. “Meta” translates (mostly) as beyond, and thus “Meta-physics” asks questions about what exists “beyond” the physical world, what underlies it or (more commonly) transcends it. It also asks how/if we can approach said beyond.

Ontology

Ontology is perhaps the most complicated of the three terms I’ll introduce today–it also has different meanings to different disciplines. Let me start by loosely introducing “ontology” as “what one considers real” (and metaphysics as “how reality comes to be”). Why introduce them that way? Because that’s how Plato introduced them, and, as Alfred North Whitehead once quipped, “the safest general characterization of the European philosophical tradition is that it consists in a series of footnotes to Plato.” I much prefer Plato’s quip about Plato and will share that one in the next section, crudely titled “fuck Plato.” Moving on.

Plato’s ontology is metaphysical, meaning that this reality in which we live is predicated upon another, “transcendent” realm. This is generally called Idealism, Plato’s idea that the reality in which we live is a poor, pale, unfortunate, changing imitation of a richer, vibrant, amazing, immutable realm of pure idea. Everything that could ever be thought of or made already exists in this Ideal realm. The Ideal of everything that ever could exist is already imprinted in our brains at birth, and it is through the use of our brains that we rediscover them. The material world is, again, an unfortunate pile of sludge made worse by stupid people (so so many stupid people) who cannot see that they play with sludge (or shadows whatever fuck Plato) and will probably try to kill you if you tell them they are playing with sludge like they did his teacher. I am ranting a bit too much and free writing this so let me pull this together. Ontologically speaking, Plato believes that material reality is merely a signifier that points to a higher Ideal signified. We will revisit this point after you have read the Ong.

Aristotle is Plato’s student and he kind of thinks the whole transcendental Idealism thing is bullshit but doesn’t really want to say that too bluntly to his former teacher. He ends up arguing that any material entity is part material and part idea, and that the two work in correspondence to bring a thing into being (along with a context and an artisan, but I don’t have time for this today). What’s important about Aristotle is that he changes “ontology” to mean “system of classification.” This meaning still exists today (and is particularly important in computer science for teaching computers how to write). Aristotle’s ontology can be thought of as a heuristic for breaking a thing down into its parts *and* for imagining how to classify all the things (i.e., animal, vegetable, mineral, human). We are going to come back to Aristotle and how things get made/exist when we read the Heidegger essay, since Heidegger begins by asserting that modern-industrial technology desecrates Aristotle’s ontological interest in all creation-as-poesis.

Ethics


This one is also tricky and has a lot of meanings depending on discipline, thinker, and context. Generically, “ethics” is almost synonymous with “morality,” (i.e., ethics is the study of moral systems, of how we decide what is good or bad). I don’t like to use ethics this way. Ethics can also mean how we actually make decisions when moral systems come into conflict or cannot provide a clear answer. Morality means the rules–but what happens when it is unclear which rule we should follow? Ethics! I like this one better (and it was how I learned the term), but most of my career has been dedicated to a different perspective on ethics–that is, ethics of alterity or of the other. That is, ethics is how we treat the stranger, a science of hospitality, an inquiry into why “otherness” can be so difficult to manage and why we are quick (often unconsciously quick) to homogenize the other into something familiar, and same, (and often the bottom of a binary that authorizes us to dismiss, order, or destroy them).

I am introducing these terms because I will (and Ong will, and Derrida will via Heidegger) argue that literacy, in its semantic operation, produces metaphysics. Literacy also produces, perhaps, Aristotelian ontology (it certainly enables it). And, ultimately, Derrida’s critique of literacy (poststructuralism)

The way we use, treat, and think about words dictates how we will treat other people and the contextual world around them and us. Full stop.

[Didn’t have time to do Episteme vs Doxa, but this seems really useful for ChatGPT]

Fuck Plato

Time is working against me. It is 12:42 and I still have to read all of your responses before class starts. So this might be quick.

I mentioned above Whitehead’s quote on Plato and my preference for Nietzsche. Let’s go:

To be attracted to the Platonic dialogue, this horribly self-satisfied and childish kind of dialectic, one must never have read good French writers — Fontenelle, for example. Plato is boring. In the end, my mistrust of Plato goes deep: he represents such an aberration from all the basic Greek instincts, is so moralistic, so pseudo-Christian (he already takes the concept of “the good” as the highest concept) that I would prefer the harsh phrase “higher swindle” or, if it sounds better, “idealism” for the whole phenomenon of Plato. We have paid dearly for the fact that this Athenian got his schooling from the Egyptians (or from the Jews in Egypt?). In that great calamity called Christianity, Plato represents that ambiguity and fascination, called an “ideal,” which made it possible for the nobler spirits of antiquity to misunderstand themselves and to set foot on the bridge leading to the Cross. (Twilight of the Idols)

Sorry to the Christians in the room. And Hitler intentionally misinterpreted this line to try and make Nietzsche appear antisemitic. He isn’t. He just really doesn’t like any form of organized religion (but, like Heidegger is a full-fledged Nazi and we’ll talk about that more when I introduce him).

One retort I have to Nietzsche–Plato isn’t boring, but dangerous. He’s dangerous because he’s authoritarian and anti-democratic. His political structure is an intellectual oligarchy, in which philosopher kings (um, him and his favorite students) have to make all decisions for all people because they are incapable of thinking through complicated problems. He also argues that parents should have their children taken away after birth and given to specialists because people are also too stupid to raise children. The historic Socrates, from what we can piece together from Plato’s early texts (particularly the “Apology”) and other writers like Xenophon (who also wrote a history of Socrates’ trial and execution), was a “sophist” who didn’t think anyone could know anything with certainty. We might say that he was an insignificant wrangler who liked to show people their own ultimate insignificance. I like that guy. In Plato’s hands, Socrates becomes an insufferable arrogant asshole who knows everything and continually mansplains things to anyone unfortunate enough to get in his path. Actual sophistic dialogue and dialectic (the idea that we should all be able to debate every side of a question in order to produce the most complexity from which we can and must draw what each of us thinks is the least-bad answer) is replaced by long monologues and short replies (as Luna and I joked Tuesday, “yes Socrates,” “no Socrates,” “what else do you think Socrates”).

And, look. There are times when I look at our current hellscape of a world and wish I could just go into the code and edit a few things and make everyone do what I think is right. But then I remember the lesson of Galadriel the Elven queen from LotR that any attempt to impose one’s vision upon the world will ultimately end in horrific violence and instead of dictating to people as if they were inferior we have to work with people who are in fact our material equals because one day we will all die and simply turn to dust. No one’s dust is better than anyone else’s, even if some folks will have done horrific things before they turned.

Why am I writing SO much about Plato before we read Walter Ong’s discussion of literacy? Let me turn to another classical philologist, Eric Havelock, and his book The Preface to Plato. I don’t have time to chase the exact quote down, but Havelock has a kind of throwaway comment in the book that, as much as Plato thought writing was bad, dangerous, and would lead people to lose the ability to think (sound familiar?), writing allowed Plato to develop his entire system of thought, and that system of thought looks a little bit like writing. That last clause is pretty tricky, and Walter Ong basically spend three decades trying to explain it. That’s the essay you will read for homework. Fin. Time: 1:06.

For Next Session

Finish reading Ong’s “Writing is a Technology that Restructures Thought” and complete Write-Up #1 (see Canvas).

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ENG 123 1.F: Working with Quotations, Delving Deeper into AI Topics

Today’s Plan:

  • Reviewing Quotation Assignment
  • Rewriting
  • AI Topics
  • For Next Session
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ENG 301 1.W: Brumberger and Lauer, Coding Job Ads

Today’s Plan:

  • Syllabus Refresh
  • Review B&L Responses
  • Examine Job Ads in Google Drive Folder
  • Quick Intro to Qualitative Coding
  • For Next Session (and the one after that)

Syllabus Refresh

Monday feels like a blur and I can’t remember what I discussed on the syllabus. Let me highlight a few things.

Review B&L Responses

I made a Google Doc.

Examine Job Ads in Google Drive Folder

Clean ’em up!

Quick Introduction to Qualitative Coding

Time to norm. We will need this.

For Next Session

I want you to go into your job advertisement and code it, using the coding sheet I have you (linked above). Make a comment to “insert” a code. Leave a query if you are uncertain. We will work on these in class Friday.

For Monday HA–just kidding, we don’t have class next Monday. For next week (likely Friday), the Herrick reading / response assignment.

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ENG 123 1.W: Mollick Responses, Potential Research Topics

Today’s Plan:

  • Review Mollick Responses
  • Emerging Research Topics
  • For Next Session

Review Mollick Responses

Someone wrote:

“That is our responsibility: to make sure AI stays a tool for humans to improve our lives and not turn into gods made of wires and code.”

Great sentence. As a theorist, my work looks at human desire for certainty, and the dangers that it causes for other people. A former mentor of mine, Victor Vitanza, once wrote: “we are never at home in our whirl/world of language. Any and every attempt to assume that we are has or will have created for human beings dangerous situations.”

That desire for certainty can manifest in many forms: in a notion of God (not all forms of religious are dangerous in this way, but some are) or Reason (the 19th century testifies to how intellectual transcendence can translate directly into genocide) or Utopia (I had a friend who used to joke “tell me what your perfect world looks like. Now tell me how many people we have to kill to make it happen”).

AI might promise a kind of technocratic Reason-Utopia that would realize much of Vitanza’s fears. It would dictate one world of truth against which all others would be judged.

Emerging Research Topics

As I went through the responses, I tried to keep track of potential research areas. Here’s a preliminary list:

  • AI and Creativity
  • AI and Government Oversight / Corporate Oversight / Universal Income [Do we trust corporations to have our best interests at heart? How do we address the job market / economy of the future? How can/should we regulate AI?]
  • AI and Education [benefits, distinguishing productive use vs cheating]
  • AI and Alignment [Whose Values Get Coded?

Snippets:
On education, someone wrote:

I’m working towards being a special education teacher, and depending on what level of special education I teach I understand that I might have students who use AI as a shortcut for their own learning.

Which makes me ask: how do we draw the line between AI as an aid and AI as a shortcut?

Someone else wrote:

Although, I have used AI more creatively. Sometimes, I will play around with visual AI and type in silly prompts like, “a pink dolphin jumping out of the water” just to see what a pink dolphin would look like. Or when SnapChat came out with “My AI” I played around with it and asked it random questions just to see what it would respond with. My major is Elementary Education, so I don’t feel particularly threatened by AI, but I am nervous that my students may tend to use it in the future. I know that K-6 students might not use it as much as a student at the high school level might use it, but it is still a worry of mine.

Hmm.

On creativity, someone wrote:

There are lots of people in the world who use AI to make various forms of art and then either pass it off as their own or argue that AI does it better than humans, making artists obsolete. I’m attending UNC to study Art Education with the plan of becoming an elementary school art teacher, so potentially AI could take over my future job. I think AI is a unique tool that can be helpful for a lot of things, and I have used it for help with a lot of things, but the idea of using it to take people out of certain fields of work is terrible.

Which led me to ask: “I’d be really curious: what do you see as the value of making art? How do you defend taking hours to make a painting vs taking minutes to have an AI generate that painting for you?” Notice that I’m asking someone to define a foundational postulate (learning to make art has value because…).

Notice, too, that I am not addressing the other argument. Because there is two arguments kind of mashed together here. That’s fine! Writing, drafting, responding is messy work. But as we revise, and as we develop a research question, we need to pull them apart. The first concerns creativity in the way I have presented it above. The second concerns employment–those concerns are also valid! But I would not try to write a paper that explores both of those things at once.

For Next Session

Read one of the following:

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ENG 123 1.M: Welcome. Game. Syllabus. Reading. Writing.

Today’s Plan:

  • Welcome / Game
  • Syllabus
  • Reading
  • For Next Session

A Quote from Douglas Adams

I’ve come up with a set of rules that describe our reactions to technologies:

  • Anything that is in the world when you’re born is normal and ordinary and is just a natural part of the way the world works.
  • Anything that’s invented between when you’re fifteen and thirty-five is new and exciting and revolutionary and you can probably get a career in it.
  • Anything invented after you’re thirty-five is against the natural order of things.

Syllabus

Here is a link to the syllabus.

For Next Session

Read: Ethan Mollick, chapters from Co-Intelligence: Living and Working with AI

Write: a 300 word response to Mollick (single-spaced). I would like your response to address a few things:

  • What are your experiences with AI? Have you used it (statistics tell us you probably have)? In what capacity (it is fine if you have used it to complete assignments)? Are you working toward a major/field that is likely to use AI? Are you an artist who feels like they might be impacted by AI? Are you already working with it proficiently or personally or professionally? You are taking a paragraph to build up a bit of ethos (telling us who you are and placing yourself in an AI discussion)
  • What do you make of Mollick’s claim that “focus[ing] on apocalyptic events robs most of us of our agency and responsibility?”? What agency? What responsibility? Why does Mollick believe we are stripped of it? Why might he be right? Why might he be wrong? [DO BOTH]
  • Explain to me in simple terms what “alignment” is and why we have to care about it. When we hear that world, what questions should we be asking ourselves?
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ENG 328 12.R: Print Typography

Today’s Plan:

  • Typography in InDesign

Paragraph Styles

Today we are going to focus on typography in InDesign. Specifically, we are going to work with paragraph styles. In preparation for today, I have asked you to make a paragraph style for the title of works. We will also make a style for author’s name and, time permitting, different styles for poetry and prose works.

Let’s look at the spring 2023 issue by Shellee Schwartz as an example.

Typography Checklist

Font Choice: I have asked you to pair two fonts together. Because this is a print magazine, you have a lot of options here. Traditionally, you would want your body font to be a serif font. Google can certainly help you find a combination or at least some inspiration. Remember that, if you download and install a font into InDesign for your design (which is awesome), you will need to include that font in the final folder you pass in (move it into your copy of the Crucible materials folder). If you need help with downloading and installing a font, then let me know.

Font Size: Typically, print designs use a “points” (pt) rather than “pixels” system (there’s also ems, but I will skip those today). I tend to prefer using pixels, if only because I learned web design before I learned print design. Typically, body font size in a printed literary magazine is 10pt (which would be 13.3 pixels). If you are ambivalent on this, then I would probably use “points.”

I refer to body font above because that gives us a baseline. To figure out how to size other elements, we want to use a modular scale.

Note that different fonts will size differently, and we ultimately want to create something both beautiful and readable. So don’t be afraid to bump your font up to an 11 base if (like in the Schellee example) your base font is really small).

Line-Length: Ultimately, after choosing a font-type and size, we want a line of 45 to 75 (max) characters. Shorter lines can be easily to read; often Crucible designers will use a column format for multi-page prose works to increase readability (remember to keep the gutter between the columns sensible).

Justification: Obviously we want body text to be left-aligned. But should we justify that text? Generally, the answer is no, unless we are working with dense text in smaller columns. I think the rhetorical purpose of a literary magazine should be to read the literature, and thus readability should trump spatial beauty. No justification please.

Leading: Leading is the amount of space we put between lines; generally leading is set between 1.2 and 1.5 times your font-size. So a font-size of 11pt would set the leading to 1.32 to 16.5. One big factor that designers consider is the x-height of a font–the higher the x-height, the more space you generally want between lines.

Orphans, Widows, Runts, and Rivers: I will admit that I just learned the term “runt” this morning while researching orphans and widows and have no idea if it is a real industry term or just something this writer at Herron Printing and Graphics made up. But it works for me.

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2024 Red Sox Tirade (Definitely Not a Season Preview)

I sit to write this full of rage. Rage, dear reader, rage. The very thought of this miserable off-season inspires it, you see. Lest you forget, Red Sox Chairman Tom Werner promised that “we’re going to be competitive next year. We’re going to have [to] be full throttle in every possible way.”

And how was that promise realized? In a two year contract for once-prospect-now-journeyman Lucas Giolito (now out for the year with an elbow injury) and a handful of barely above replacement-level position players. Rather than the disappointing signings, my rage grows from the fact that the Red Sox, a team with a promising offense and plenty of potential offensive additions on the way from the farm system, a team that desperately needs starting pitching (of which there is none in the farm system), will enter the season 62 millions dollars under the luxury tax. The team that has a media empire. The team that charges more for a ticket than any other in baseball. The team that let Mookie Betts leave ostensibly because they didn’t want to pay him (yeah, still angry about that too). Let me put this as plainly as I can: this team does not deserve a single dime of your money.

And I mean it. I don’t want to see any of you taking pictures at Fenway Park. Stay away. I often tell my students that, in this post-industrial-hyper-capitalist wasteland we call an economy, every dollar you spend is a vote for the world in which you want to live. It is a dwindling form of agency, but it is still a form of agency. Exercise that agency my friends, tell the Red Sox you will not live in a world in which they enter a season 62 million dollars under the cap. Tell them this by NOT GOING TO GAMES. Please.

What so frustrates me is that there were real additions out there that might not only help the team in 2024, but also in future seasons as top prospects like Ramon Anthony, Miguel Bleis, Kyle Teel, and (maybe) Marcelo Mayer reach the big leagues. I say maybe for Mayer because his 2023 season showed some contact issues that might be troublesome. I am not giving up on him yet, but he might need to retool his swing or become the next Jeter Downs. Regardless of Mayer’s future–let me not get distracted here–not complimenting this rising core, many of whom will arrive in 2024 or in 2025, with quality pitching this season is unforgivable. Especially when you are 62 million dollars under the luxury tax.

ZIPs projects this team to win 77 games next season. Another last place finish in a loaded AL East. I’m not sure if Blake Snell would be enough to get us out of the basement of the division. But Snell went for essentially 34 million for one year (he has a player option for a second season he will almost certainly waive). Snell isn’t necessarily a great pitcher, despite his two Cy Young awards. He tends to walk a lot of batters and his success largely rides on one killer pitch (thus, he might not age well). However, he is also only entering his age 31 season and is projected to be a 3 win player. As a baseball team, you get better by signing 3 win players. An 80 win team is 3 wins better than a 77 win team. We had plenty of luxury tax space to offer Snell a 4/120 million dollar deal.

There’s a lot of other pitchers we could have invested in this off-season. I will not go through all of them. There’s a handful of prospects and position players I find intriguing. But, honestly, my heart isn’t into writing about them this year. Not after the “full throttle” offseason that did little but choke my enthusiasm for this team. So I say again: do not give this team your money. They do not deserve it.

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ENG 328 12.T: Crucible Design Project Workday / Timeline

Today’s Plan:

  • Crucible Design Timeline
  • Title Page
  • Threading Content
  • Using Paragraph Styles
  • Working with Layers
  • Questions?

Crucible Design Timeline

The Crucible design project is due next Thursday at midnight. Here’s how I hope things work:

  • Tues (3/26): Title Pages, Threading Content, Paragraph Styles, Working with Layers, Questions
  • Thurs (3/28): Typography overhaul [emphasis on readability: font pairings, leading, tracking, kerning, widows and orphans. NOTE: typical print line-length is 70-80 characters.]
  • Tues (4/2): Page Numbers, Automated Table of Contents. For now, you can leave a space for the page numbers (Insert > [this requires that you have used a “title” paragraph style for all titles in your document]

Here is a link to the class notes with page dimensions.

A useful keyboard shortcut in InDesign: CTRL + Mouse Wheel

For convenience, here is the link to the project files.

Title Pages

I have uploaded the Lulu template (there is a .psd and a .indd option)

Remember that the cover has to include a Crucible logo (Bearistotle).

Note that the Lulu Design Guidebook has info on the spine.

Another reminder that you are welcome to make original art for the cover.

Threading Content and Setting Up Paragraph Styles

A quick demonstration: applying a paragraph style to your titles will make the ToC generation easier.

Working with Layers

Another quick demonstration.

Questions?

If there is something you would like me to demonstrate on Thursday or address, then let me know.

Homework

For Thursday’s class, try and thread all of your content into InDesign. We will be working on typography in class on Thursday.

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ENG 231 11.T: Ethics, Morals, and Decisions in Video Games

Today’s Plan

  • A Brief Lecture on Ethics and Morals
  • Do A Thing!
  • A Quick Check and Responses
  • Trolley Problems, and a Few Absurd Trolley Problems
  • Homework

A Brief Lecture on Morals and Ethics

For me, morality is the study of the rules that govern our behavior, our internalization of the rules, what we value and believe. The spiritual-internal vs. secular-external distinction isn’t particularly productive for me. I don’t care if the rules come from state agencies, critical reason or thinking (Kant) or spiritual institutions (religion). I simply think about morality as the rules we would right down if I asked you waht is right and what is wrong. Morality is how we develop and internalize the rules: thou shalt not kill. A moral. I am not particularly concerned where the rule comes from or who enforces it. I see morality as the study of the rules we internalize, and how those rules govern our behavior, how those rules influence the way we come to see ourselves and the way we formulate/articulate our desires.

Ethics, for me, signals how we employ, actualize, our moral values in lived experience. It is how/whether we (choose to) act. What do we do when our rules seem to fail us? When our rules come into conflict? When it is unclear how our generic rules apply to a messy, complicated, specific situation? Ethics attends to those moments when we make a decision that we think feels right even though the rules might tell us it is probably wrong (I think you can probably see how Papers, Please is an ethical game in the sense I am describing–a game in which what is “right” isn’t clear, a game that makes us decide through a haze of uncertainty). If morality is our sense of what should be, ethics is the study of how we actually act. Ethics operates in relation to morality, often in its shadow, in the places where morals break down. I think the study of ethics is the most interesting when we encounter a situation in which or moral convictions come into conflict. Again, if we believe that “thou shalt not kill,” then how do we also celebrate the soldier? How do we operate in the face of competing morals, competing “goods,” competing obligations?

My understanding of ethics is heavily indebted to the work of philosopher Emmanuel Levinas. Levinas’s work encourages us to recognize our aversion to difference, and the lengths humans will go to eliminate alterity (that which is strange, different, unknown or unknowable to them). He jests that we have an allergy to the strange and different, to what he terms “the other.” We seek to “joyously possess” the world as a certain knowledge. Such possession is akin to mastery–to rule the world without question. To eliminate questions that make us uncomfortable. Rather than deal with the other, we desire the same–we desire to know, label, categorize, understand something. Facing something we do not know, or cannot know, can bring out the worst in us. To be ethical, for Levinas, is to learn to inhabit this discomfort, disequilibrium and repress the desire to transform something other into something familiar, what he calls “the same.” To welcome the other as an other, to let them be different, rather than to convert them into the “same” thing that I already know. [First principle is ethics not ontology–before we know what is, we are aware of the presence of an-other that calls us into being etc etc].

Ethics, for Levinas, is learning to recognize and prioritize others, to put their needs ahead of our own. Ethics becomes extra complicated when we realize that others make different demands on us–and no matter how generous we might want to be, we cannot give everything to everyone. To give to one other often means we have to take away from an other. Thus, in his later career, Levinas pays more attention to the concept of justice. Justice requires I choose between the competing demands of the other and the neighbor–that I chose knowing I must betray one of them. Their is no justice without choice, no choice without imposition. [Levinas’s formula: to make the choice that causes the least amount of violence].

More than just an analytical science of how we act, ethics for me marks our ability to handle, to process, the unknown. How do we feel, and respond to our feelings, when we encounter the strange? Do we curl back in repulsion? Express exasperation (*why do they do that? that’s so weird?*). Or do we become self-critical? Do we invite reflection (*why don’t I do that?*). In short, for Levinas ethics is a practice of hospitality. How/do we welcome the stranger? Something different? Further, what happens when we encounter something we cannot control, when we have to make a decision with no clear right answer, when we face something that resists our mastery?

What does this have to do with the distinction between morality and ethics? I believe that the more we recognize and study ethics (as moments of moral indecision), the better we become at carefully choosing how to act when we have no one true, certain, “right” answer to guide our choice. We have to learn to deal with complexity, and the icky feeling that it can produce in us. Video games can help us do that. The point of moral philosophy, of interrogating why we think or feel a particular way, why we make a decision, is to become more familiar with what we value. To reveal consistency, or inconsistency. To invite indecision or the second guess. To, hopefully, learn to live more thoughtfully.

Our last project, focused on the work of Miguel Sicart and the game Detroit Become Human questions whether games, by constructing *sophisticated* ethical problems, can make players more ethical in the sense I have just worked out. The reading you will do for homework will provide us some insight into how Sicart thinks moral problems should (and shouldn’t) be formulated in games to best encourage the kind of critical thinking and questioning I describe in the previous paragraph.

Do A Thing

A link to a Google Form.

Trolley Problems, and a Few Absurd Trolley Problems

Let’s talk about the Trolley Problem, created by Foot and complicated by Thompson. Very simply: the trolley problem is a philosophical thought experiment created in the 1970’s by philosopher Philippa Foot.

TED on Trolley Problems.

So, if you haven’t guessed by now, here is my theory for what video games have learned is their unique province: they can leverage the emotional unrest, affectation, difficulty, disequilibrium of Trolley Problems. Foot’s trolley problem is meant to explore the moral consistency, or lack thereof, people use to make life or death decisions. Video games can proceduralize this thought experiment, to make it more visceral or “real.” We feel the decision–this kind of feeling is called “affective” or pathetic (deriving from the Greek term for emotion, pathos).

In a book or a film, we are left to watch the trolley driver pull the switch or not. The author decides. The author justifies. Perhaps she does so to secretly stir our outrage, to get us to deconstruct her flawed reasoning. She can spur reflection, contemplation, resistance. But we are always a bystander to the action, distanced from the choice. We are witness.

But not so in a game. I remember my first play through of Dragon Age: Origins. The details are a bit foggy–I remember encountering some elves and some werewolves. The werewolves were created by dark elven magic? And then, like Frankenstein’s monster, abandoned by their creators. At some point a wolf had killed an elf. Maybe it was self-defense? I honestly don’t remember. But I remember, unexpectedly, having to decide which species to exterminate. Only one can survive. Neither is innocent. And there is no heroic path to saving them both (well there is, but you are probably only going to have that option if you have made a series of other decisions, and only about 1 in every 10 player unlocks that “perfect” ending). The game forced me to be responsible. I must pull the lever and determine who gets hit by the train.

I’ve played games since roughly 1984 on my Atari 2600. I’ve murdered hundreds of thousands, if not millions of aliens and demons and terrorists and zombies and horde (“For the Vanguard” or “For the Alliance!”). I’ve killed all these things from a moral position that authorizes their death. I’ve never been troubled by all this killing. Those aliens threaten our light. Those demons threaten Tristram. Those terrorists threaten democracy. Those zombies would eat me and the few others remaining in Raccoon City. I killed them all without friction. (Save for Silent Hill 3, one of the greatest mindfuck games of all-time unfortunately lost to history–“they look like monsters to you?”).

But Dragon Age interrupted my joyous possession of the world, my righteous action, my moral foundation. It stung me. This was something different. I introduce the Trolley Problem, the lever, the notions of disequilibrium, ethics, and agency as a way of thinking about games. I imagine many of you are already thinking of games that leverage this dynamic. Soon we will work together to generate lists of games–AAA, mobile, indie–that we can play and explore as a class (in addition to my required experience: Walking Dead episode 1).

As should become clear through the next project, I feel that games can spur ethical reflection. However, as Miguel Sicart notes, there are things that both programmers and players must do for games to best realize this potential. We will explore these things in class. For now, I would suggest that reflection is a key component of ethical thinking and growth. It isn’t enough to simply “do,” we must ask why we do. It isn’t enough to simply “feel,” we must ask why we feel. Both the procedural paper and the tragedy paper have begun this kind of work.

A Wicked Brief Introduction to Moral Systems

Last class I lectured on how I think about ethics, arguing for a sense of ethics:

  • Tied to moments in which moral laws come into conflict or when it is unclear which choice is the more moral. Moments of pause or indecision in which the plentitude of possibilities give us pause
  • And as attempts to overcome our inability to handle the stranger and the strange.

Today I’ll open over-simplifying those definitions a bit. Let’s call ethics the study of how we make difficult choices. To study ethics is to become more self-reflective and self-aware. As the skit from The Good Life implied, this can lead to a kind of paralysis by analysis (philosophers and theorists often are excellent at discovering and mapping complexity, less great at deciding on one definitive course of action). Rhetoricians (some of us) recognize the need for deep analysis, but often insist on a moment of decision, where analysis has to turn into action. That is a lecture for another course. (In my rhetorical theory class we work with an essay called “The Q Question” by Richard Lanham that urges humanities scholars toward more public, pragmatic projects; see also the work of Bruno Latour, especially Politics of Nature).

Given the complexity of human decision making, there’s a lot of different theories and approaches to ethics. Let me lay out 4 of them:

  • Deontology or Moral Law
  • Teleology or Consequentialism
  • Virtue Ethics
  • Hospitality Ethics

Deontological ethics are based on identifying moral laws and obligations. To know if we are making the right decision, we ask ourselves what the rules are. For instance, if you didn’t lie to Herschel because lying is wrong, then you were invoking a deontological frame. You made a deontological decision. You worked back from the specific concrete moment to a (prior) conviction (philosophical knowledge that precedes any human experience, stuff we might “innately” know, is termed “a priori”–some empirical philosophers, like John Locke, argue that nothing is a priori, everything is learned). Deontological ethics get critiqued because sometimes moral laws come into conflict and because it requires absolute adherence to the law without thought of context. At core: God, Reason, Science, common sense dictate right from wrong.

Consequential ethics look ahead, from the action and decision, to its consequences. You use prior knowledge to make hypotheses about what will happen. Your focus here isn’t on what other people or institutions would declare right or wrong, but on producing “the greater good.” This is often called utilitarianism, which strives to imagine what will make the greatest good for the greatest amount of people. Another form of consequentialism is hedonism, which strives to make the most (personal) pleasure and minimize (personal) pain. If you didn’t lie to Herschel because you thought lying might lead him to question you further or kick you out of the farm, then you probably made a hedonistic decision. If you didn’t lie to Herschel because you thought lying might lead him to question you and kick you and Clementine out of the farm, then you made a consequential decision. Consequential ethics get critiqued because they can lead us into hurting minority populations. One could argue, for instance, that slavery contributed to the “greater good”–that enslaving 3 people makes life wonderful for 7. I’d say they are wrong–but one can rationalize pain in relation to happiness, which can lead us down dark paths, trying to calculate levels of pain, which is precisely why Kant thought of consequentialist ethics as “wishy washy” and wanted to develop something more universal. At core: act in service to the greater good.

Virtue ethics are a bit different–though, like consequential ethics they rely on our imagination. Virtue ethics asks us to imagine, in that situation how a good person would act. This, in a sense, mixes deontology (who is the good here? what rules do they follow? what institutions would they represent?) with the situational flexibility of consequentialism. If deontology operates around rules that govern behavior, virtue ethics begins by establishing the characteristics common to good people (bravery, compassion, justice, etc). Often we tie virtue ethics to a particular person–for instance, we might cite Martin Luther King’s dedication to non-violence, self-sacrifice, and self-discipline (but, like, if you try to tell me that MLK was “cooperative” or “less radical” then you are simply telling me you haven’t read MLK. MLK’s domestication is a topic for another day). At core: imagine what a great person would do in this situation.
If you didn’t lie to Herschel because you believe a good person should tell the truth and be brave, and trust others (etc.), then you are exercising virtue ethics. Note: this is different than deontology, because here you don’t *have* to follow the rules, and there might be times that lying (say, to protect someone from Nazi pursuit), is justified.

Ethics of hospitality also involve an effort of imagination; this time it is our task to put ourselves in the other person’s shoes and imagine a decision from their perspective. Is this a decision we would want someone to make if they were in our position? We can think of this as a more radical version of the Christian ethic of the Golden Rule (from Lev. “do unto others as you would have them do unto you”), except here we are self-skeptical enough to realize that the other might not want the same things as us. So rather than assume the other is just like us, we train ourselves to recognize and honor their difference, their alterity. Hence hospitality, since we train ourselves to welcome the strange, the unfamiliar. Ethics, here, trains people to negotiate the unknown and the contingent. Ethics as the impossibility of ever walking in another’s shoes, but trying like hell all the same. At core: ethics as making “space” for other people.

Final Thought: Morals, Ethics, and Video Games

I want to reserve the final 10 minutes of class for you to write a comments, question, response to today’s class. What stuck out? What are you unsure of? What would you challenge? What would you want to contribute?

Homework

There is no class on Thursday as I will be away at an academic conference. In lieu of class, do two things:

  • Read Sicart’s “Moral Dilemmas” essay in the Files section of Canvas and respond to the questions in the Canvas 11.R assignment
  • Download the PollEverywhere App for a cell phone, tablet, or create an account on a laptop. We will start using this in next Tuesday’s class to collaboratively play Detroit: Become Human
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