Writing I : Human +/or Machine
ENG 2100, Fall 2014
T R 8:15 – 9:55 AM
Room: NVC-11-135
Instructor: Sara D. Akant
Office: 7-290Q (3955)
Office Hours: by appointment
sdakant@gmail.com
We cannot pretend we are machines,
and we cannot pretend we’re not.
– Vanessa Place
Course Description
What is a “machine”? Is the human “being” a machine? In what ways are we related to
machines, or to the mechanical world we create, and what makes us un-replicable, unique?
In this fast-paced technological era, our response to these questions may change faster than
Apple can upgrade the iPhone. From fictional narratives to philosophical inquiries –
scientific discovery to cultural theory – a whole range of human “thinkers” have been asking
these questions (even before the industrial revolution, when the “luddites” smashed their
machines in the textile mills). And now, with remarkable advances in artificial intelligence
and robotics (not to mention the dawn of the military predator drone), it seems perhaps
“machines” are not just that which we create and destroy, but are somehow “wired” into our
own human systems. So where does that place us – as scientists, writers, artists, and
members of this present-day society – and how can or will we survive?
Course Goals
Through an examination of the “mechanics” of mind, body, and culture, this course aims to
improve the fundamental “mechanics” of your academic writing. We will use strategies of
analysis – including “close reading,” “compare/contrast,” research-based writing, and the
personal narrative – in order to hone your language, develop your rhetorical strategies and,
most importantly, understand the process behind structuring, organizing, and executing an
“argument” that is both imaginative and convincing.
Readings and writing exercises will be assigned each week, cumulating in three graded
papers over the course of the semester. Videos will be watched; small (or large) machines
will be composed and discussed in class during four “draft workshops.” Be prepared to be
open-minded as we dive into our texts, respond thoughtfully to each other’s ideas, and use
language to get in touch with the “mechanical” side of our humanity.
Course Requirements
attendance (mandatory) + class participation (graded 0-4)
weekly “in-class” writing (ungraded) + reading quizzes (pass/fail)
three (3) “draft workshops” + 1-page “draft critique” for each fellow student
three (3) “pre-draft” writing assignments (1-3 pages each)
three (3) drafts (2-4 pages each)
three (3) full-length papers (3-9 pages each, totaling 15-20 pages)
Required Texts
(2010) Jane E. Aaron, The Little, Brown Essential Handbook (7th edition)
- Bundled with an anthology, 80 Readings for Composition ($30) and available at the
Baruch College bookstore, on the first floor of the Vertical Campus building
Assigned readings on our course blog, http://blogs.baruch.cuny.edu/machine/
(1748) Julien Offray, “Man a Machine”
(1914) Franz Kafka, “In the Penal Colony”
(1919) Sigmund Freud, “The Uncanny”
(1923) Wallace Stevens, poems from “Harmonium”
(1927) Fritz Lang’s Metropolis
(1936) Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction”
(1940) Isaac Asimov, “Robbie”
(1942) Martin Heidegger, “On the Hand and the Typewriter”
(1952) Martin Heidegger, “The Question Concerning Technology”
(1956) Jack Spicer, from “Dictation and a Textbook of Poetry” + poems
(1963) William Burroughs, “The Cut-up method of Brion Gysin”
(1982) Ridley Scott’s Blade Runner
(1982, 1989) Norman Weiner, “Cybernetics in History” + “Open Letter”
(1986) Stanley Kubrick’s 2001: A Space Odyssey (movie)
(2000) Charles O. Hartman, poems and texts from Sentences
(2001) Christian Bok, poems from Eunoia
(2002) Jonathan Jones, “No Way Out” (The Guardian)
(2004) Christopher Turner, “The Influencing Machine” (Cabinet)
(2009) Brian Christian, “Mind Vs. Machine” (The Atlantic)
(2009) Hans Rickheit, The Squirrel Machine
(2012) Gary Marcus, “Will a Robot Take Your Job?” (The New Yorker)
(2013) Kenneth Goldsmith, “The Writer as Meme-Machine” (The New Yorker)
(2013) Daft Punk, Random Access Memories
Grading
30% - Participation + Involvement – 300 points
reading quizzes – 100 points
draft critiques – 75 points
class participation – 125 points
20% - Personal Narrative (Paper 1) – 200 points
pre-draft writing assignment – 30 points
draft 1 – 50 points
personal narrative paper – 120 points
20% - Close Reading (Paper (2) – 200 points
pre-draft writing assignment – 20 points
draft 1 – 50 points
close reading paper – 130 points
30% - Final Research (Paper 3) – 300 points
pre-draft assignment – 40 points
draft 1 – 60 points
research paper – 200 points
Grading Scale
Based on a system of 1000 points.
A = 920-1000 | A- = 900-919 | B+ = 870-899 | B = 820-869 | B- = 800-819
C+ = 720-799 | C = 720-769 | C- = 700-719 | D = 600-699 | F = <600
Attendance Policy
The success of this course depends on your consistent attendance and active participation.
Your first two absences are excused: no questions asked. On your third absence, I will drop
your final grade by a half-letter (e.g., from a B to a B-). I will deduct a final letter grade for
each absence after that, and drop you from the course if you miss more than two classes in
the first three weeks of the semester.
If you miss class, you are responsible for making up the work. You must first ask 3 fellow
students what we did in class, and what work is due, before emailing me (if you email me, I
have the right to ask for proof you already asked your peers). It’s my “3 before me” policy.
Please also note CUNY’s policy regarding WU grades:
“All students are required to attend every session of their courses. If a freshman or
sophomore is absent in excess of twice the number of class sessions per week, the
instructor must give the student a WU grade, which counts as an F.”
Participation
Participation will be judged based on your demonstrated efforts to make the class
stimulating and productive for both yourself and your peers. I will be grading you on a 0-4
scale: 0 for not coming to class, 1 for not speaking at all, 2 for paying noticeable attention
but making very few remarks, 3 for paying marked attention and participating productively, 4
for participating in a highly conscientious and engaging manner.
If you do not volunteer in class, I may call on you in order to involve you in the
conversation, get some of your ideas out in the open, and explore the subject matter.
Please see me after this class if you are worried about your ability to verbally participate.
I will drop your participation grade by 1pt for the following:
every 5 minutes you are late (more than 30 minutes late counts as absent)
every time you do not have a hard copy of the text in class
every time I catch you using your phone or computer in class
Reading Assignments
This course aims to develop your expository prose through the reading and analysis of ideas
presented in a wide variety of texts. These will range from essays and articles (some in
“simple” or straight-forward language, others in more dense, theoretical language), to works
of literature (such as short fiction and poetry). You are expected to read all the assigned
material, and come to class ready to discuss and write about the questions and concerns
these texts present.
I will use short and simple in-class quizzes to determine whether you have done the
reading, which will be graded Pass/Fail.
Draft Workshops + Draft Critiques
On days marked DWS, we will spend the majority of the class time discussing a draft of an
essay by 3-5 students, with the goal of giving each member of the class an opportunity to
have his/her writing read, reviewed, and discussed. There are 5 slots for each workshop. I
expect you to note when yours is, and will email your essay to the class/group so that your
peers can read it carefully and make comments for discussion.
Instructions for Draft Critiques: These should be typed, printed, and ready to give
to both me and the student (or, “Draftee”) for whom the critique is prepared (to be
distributed and collected at the end of the DWS class). Apart from proving that you
have read the paper and supplying author with valuable commentary in hard-copy
form, these critiques give you an outline for your involvement in the workshop itself,
in which you will be asked to share your comments. Your draft critiques need be no
longer than half a page, and may be in bullet-point form, but should prepare you to
present at least two points of constructive criticism on the paper in class, favoring
specific and original comments (we don’t want to repeat the same point over and
over) and avoiding line-edits (i.e., edits a computer could make).
Each draft critique is worth 25 points, and will be graded as follows:
comments on Cover Letter, etc. (5 pts)
point of “constructive critique” #1 (10 pts)
point of “constructive critique” #2 (10 pts)
I will not accept any late draft critiques.
If you do not turn it in to me in class, you forfeit the points.
Papers, Drafts, + Pre-draft Assignments
Writing is a process that takes time and dedication: brainstorming, outlining, drafting, and
revising. Since the writing curriculum at CUNY Baruch is planned as a sequence, you must
write all the essays to pass this course, and you must write them within the course’s schedule.
For these and many other reasons, all deadlines in this class are firm. In support of your own
development as a student and out of fairness to the rest of the class, I do not grant
individual extensions.
I will reduce your grade by 10% of the assignment’s total points for:
Not turning in a hard copy on time, when requested
Not emailing an electronic copy on time, when requested
Turning in any assignment after the day or time it is due
Writing Resources
The Writing Center offers free, one-to-one and small-group workshop writing support to all
Baruch students. I encourage you to make use of this excellent, free service, and to schedule
your appointment well in advance of when your writing is due.
You can schedule an appointment at: https://bc.mywconline.com/. Visit the Writing Center
in NVC 8-185 or at the Newman Library Reference Desk, or log on to their website,
writingcenter.baruch.cuny.edu, to learn more.
Accessibility
Baruch College is committed to making individuals with disabilities full participants in the
programs, services, and activities of the college community. If you require any special
assistance or accommodation, please contact the Office of Services for Students with
Disabilities at (646) 312-4590, and let me know as soon as you can.
For additional information see:
http://www.baruch.cuny.edu/facultyhandbook/DisabilitiesInformation.htm
Cheating + Plagiarism
Cheating and plagiarism are serious offenses that can result in a failing grade (or worse) and
a mark on your permanent academic record. The following definitions are based on the
College’s Academic Honesty website:
Cheating is the attempted or unauthorized use of materials, information, notes,
study aids, devices, or communication during an academic exercise.
Plagiarism is the act of presenting another person's ideas, research or writing as
your own. It includes: copying another person's words without the use of quotation
marks and footnotes (a functional limit is four or more words taken from the work
of another), presenting another person's ideas or theories in your own words without
acknowledging them, using information that is not considered common knowledge
without acknowledging the source, and failure to acknowledge collaborators on
homework or laboratory assignments.
I will give you a failing grade on any assignment that has been plagiarized or an assignment
(quiz, etc.) on which you cheated. On your second offense, you will fail the course. I am also
required to submit a report of suspected academic dishonesty to the Office of the Dean of
Students, and this report becomes part of your permanent file.
Classroom Rules:
DO bring to class:
The text assigned
A hard-copy (typed + printed) of every assignment.
DO NOT bring to class:
Food, take out, etc.
Your “technology.” We may be discussing it in depth and at
length, but I do not want you to be taking notes, checking email, social media, etc. during
class. Please keep computers, phones, iPads, Kindles, etc. (or as my Dad calls them, “all your
videos and iPods”) in your bag and away from your desk.