A Belated Round-Up of Our Final Projects

Alice, a media studies student, drew inspiration from Bill Rankin’s Midwest map in examining the many ways of conceiving of Washington, D.C.: by land use, through demographics and deeds, by regarding its avenues as a microcosm of the nation’s geography, etc.

Alie, an urbanist, mapped geographies of sexual harrassment and spaces of avoidance.

Alyssa, a creative technologist, began with the realization that most New Yorkers hate Times Square, and decided to map it — through a Dante-themed walking tour, collage videos, projection mapping, etc. — “in an attempt to be endeared by it.”

Do-Hyeong, an anthropologist, transformed her ethnographic research on Jeju Island into concrete poetry and cartographic text art that captured “the porosity of the island’s various boundaries [and] foreground[d] the acts and relations that constitute a place, always fragile and in flux.”

Ella, also an anthropologist, used sculpture, collage, “deep maps,” field recordings and soil samples to create a more-than-human historical and ecological map of Brooklyn’s Prospect Park.

Olivia created a participatory map of queer rural life

Laura, a media studies student, examined the connections between geologic surveying and mineral extraction.

Liam created a sound map and set of videos — including an autoethnographic film-map — that examined the distinctive culture of New York’s bodegas.

Drawing inspiration from Jenny Odell’s work, Maha, an urbanist, examined the transformation of Qatar through formal extractions from Google Maps.

Manon’s atlas — a collection of cartographic collages, data visualizations, and audio work — explored “the historical, financial, power, racial, class, and emotional dimensions at play in the reengineering of Paris’ metropolitan area for the 2024 Olympics and the Grand Paris, and its implications for future territorial transformations.”

Marike, an anthropologist, wanted to understand the geographies of deportation and experimented with illustration and sound to capture the ethical risks of conducting ethnographic research with vulnerable populations.

Minsoo, also an anthropologist, used timelines and GIS and text art to understand transnational movement in cross-border marriage.

Monise, an urban policy student, experimented with different cartographic techniques to capture various women’s affective experiences of their respective cities.

Simone used various mapping tools and media to conduct a series of “performative walks” around different Brooklyn neighborhoods.

Sur created an atlas that proposed various methods for analyzing “transmedia” narratives.

And finally, Teresa experimented with different visualization strategies — illustration, video, GIS, photo documentation — to examine how different public spaces in New York either support or deny people’s human rights.

Community Mapping Workshop, Sunday, December 16

From Ella [via Woodbine on Facebook]

Please join us for a workshop and presentation of Community Mapping projects in our neighborhoods and city. Our aim is to provide a welcoming and collaborative environment for neighbors to share the community-related maps they are working on (or considering to work on), and help each other develop ideas and mapping and visualization techniques.

The first half of the workshop will be for people to share the mapping projects they are working on. Please message us to add your names and projects if you wish to present. The sharing will be very informal, with the aim of helping each other with mapping. The second half will be a space for talking to and working with each other and sharing skills. You are invited to bring a laptop, and feel free to invite others who may be interested with community mapping.

Woodbine’s Community Mapping Project hopes to promote radical cartographic practices to make visible the relations of power that govern our lives. In revealing power through the process of community mapping, we dissect and resist the social and spatial infrastructures of dominant power, and collectively carve alternative and radical geographies. We are interested in producing thick and deep maps of ICE/police patterns and activities, crime data, housing, rent controlled apartments, gentrification, land use, zoning (residential, commercial, manufacture), historical sites, vacant lots and abandoned spaces, population distributions (ethnicity, class, age, jobs, gender), queer spaces, accessibility, homelessness, non-human ecosystems, among other topics.

Nerve Macaspac is an Assistant Professor of Geography at CUNY College of Staten Island, where he teaches Urban Geography and Geographic Information Systems (GIS). He recently completed his PhD in Geography at UCLA. Before moving back to NYC, he was a member of the Board of Directors, as well as a coop member, of the Echo Park Film Center, a community cinema in Los Angeles.

TENTATIVE CALENDAR for the Woodbine Research Group:
–Wednesday December 19th: Decolonize This Place Presents…
–Sunday December 30th: Silvia Federici on Re-enchanting the World

Holes in Maps Exhibition @ 601 Artspace, from 12/1

Holes in Maps

Curated by Juliana Steiner
Dec 1, 2018 – Feb 24, 2019
601 Artspace, 88 Eldridge
Opening reception: Friday, Nov 30, 6-8pm
Gallery Website

Alia Farid, Matej Knezevic, Adriana Martinez, Reyneir Leyva Novo, Juan Obando, Regina Parra, Sanne Vaassen

Curator’s statement:

The reality of paper tears.
Land and water where they are
Are only where they were
When words read “here” and “here”
Before ships happened there.

Now on naked names feet stand,
No geographies in the hand,
And paper reads anciently,
And ships at sea
Turn round and round
All is known, all is found.
Death meets itself everywhere.
Holes in maps look through to nowhere.

-Laura Riding, The Map of Places, 1928

This exhibition explores themes of globalization, mobility and borders by examining ways in which personal narrative, social critique, trade, nationalism, identity and citizenship intersect. Like Riding’s poem, the artworks in this show challenge maps’ certainty and stability, exploring the immense gulf between lines on paper and lived experience – between symbols and their referents. Maps may reveal political and geographical realities, but what do they conceal?

Holes in Maps was born out of a desire to explore the strained relationship between the simple outlines of a map and the complex, emotional, contested human experiences of those boundaries. When one looks at the issues at hand through the lens of postmodern theorists, an analogous dissonance emerges between the world of intellectual discourse and the abrupt limitations of real life. For instance, social theorists Deleuze and Guattari advocate the rhizome as a model of being in which self and identity are not linked to one place or culture alone. Their rhizome endorses rootedness but forswears immobility–what a beautiful idea, and how unevenly attainable.

Maps are created and enforced through power, and disproportionately affect those who have none. One might argue that the opposite of rhizomic thought is the current global trend toward a nationalism that harshly defines and enforces social and national identities and curtails freedom of movement. (We may wish for the freedom to embrace the rhizome, but can we get a visa?) A series of barriers – physical, socioeconomic, and bureaucratic – separates those who are able to embrace “rhizomatic lives” from those who are not. For some, crossing borders has never been easier. For others, attempts to traverse them are repeatedly frustrated by newly erected barriers, while the necessity to transgress them can mean the difference between life and death. Perhaps thoughts cannot yet be confined, but physical access can and is. Through physical interventions and transformative recreations, the artists in Holes in Maps focus our gaze on the negotiation between personal agency and constructed barriers, and remind us to consider their cost.

Image: Reynier Leyva Novo, still from Eternamente te esperare (I’ll Forever Wait for You). 2015. Video, 10:06 min. Courtesy of the artist.

Trevor Paglen @ Swiss Institute, November 1 @ 6:15pm

Swiss Institute Website

How does technology learn to see the world? The interdisciplinary practice of Trevor Paglen brings us ever-closer to this question’s elusive answer. Merging practices of photography and sculpture within broader fields of science, engineering and investigative journalism, Paglen generates illuminating observations into how artificial intelligence develops the capability of sight, and how human biases can shape this technology. In 2017, Paglen debuted a new body of work that investigates the intersection of artificial intelligence and sight, “invisible images.” Paglen delineates invisible images into three categories: training libraries, machine-readable landscapes, and images made by computers for themselves. In his talk at Swiss Institute, Paglen will elaborate on these technologies, and how he has used artificial intelligence within his own practice. The resulting works are uncanny, alien and sublime, giving form to the precarious potentials of these superhuman algorithms.

Please RSVP to rsvp@swissinstitute.net. Please note: events at Swiss Institute are limited capacity, and entry is on a first-come, first-served basis.

Trevor Paglen is an artist whose work spans image-making, sculpture, investigative journalism, writing, engineering, and numerous other disciplines. His work is included in the collections of the Metropolitan Museum of Art; the San Francisco Museum of Modern Art; the Smithsonian American Art Museum; the Whitney Museum of American Art; Berkeley Art Museum; the Solomon R. Guggenheim Museum, New York; Victoria and Albert Museum, London; and the Nevada Museum of Art. He has launched an artwork into distant orbit around Earth in collaboration with Creative Time and MIT, contributed research and cinematography to the Academy Award-winning film Citizenfour, and created a radioactive public sculpture for the exclusion zone in Fukushima, Japan. He is the author of five books and numerous articles on subjects including experimental geography, state secrecy, military symbology, photography, and visuality. Paglen’s work has been profiled in the New York Times, the New Yorker, the Economist and Artforum. He is a 2017 recipient of the MacArthur Foundation Award. Paglen holds a B.A. from U.C. Berkeley, an MFA from the Art Institute of Chicago, and a Ph.D. in Geography from U.C. Berkeley.

Swiss Institute would like to thank UBS for their support of this event.

Image: Trevor Paglen, Rainbow (Corpus: Omens and Portents) Adversarially Evolved Hallucination, 2017. Copyright Trevor Paglen, Courtesy of the Artist and Metro Pictures, New York.

Some Things You Can Do In Lieu of Our 15th Class Meeting

Go to the Trevor Paglen Talk @ the Swiss Institute on November 1

See my separate post

Go to The Walker as Mappist: Psychogeography and the (Caribbean) City on November 3

Pioneer Works, November 3, noon to 3pm

Register via Eventbrite

“Block after block, I keep trying to search for what lies beyond. Beyond my own neighborhood, beyond my awareness, beyond my self. I am searching for what the city’s communities hold forth and hold back, recognizing that, as Alfred Kazin once said of lights along Jamaica Avenue, ‘they were searching out so many new things in me’.”

So wrote Garnette Cadogan in Nonstop Metropolis, a landmark atlas of New York created by Rebecca Solnit and current Pioneer Works writer-in-residence, Joshua Jelly-Schapiro. In this workshop led by Jelly-Schapiro and Cadogan—essayist, editor, and walker extraordinaire—we will explore how any city, whether New York or Kingston or Port-au-Prince, contains at least as many ways to be mapped as it does people; how we all forge maps that are also stories, in our heads or otherwise, to make sense of the places we live; how such processes occur in the Caribbean cities—including New York—that the workshop leaders know best. Finally, we will use Cadogan’s essay “Round and Round,” from Nonstop Metropolis—which describes a 24-hour walk Cadogan took through New York’s five boroughs—to explore the relation between walking and mapping.

So doing, we will walk through the PORTOPRENS exhibition now on view at Pioneer Works and subsequently through nearby streets, concluding with a self-mapping exercise, to explore how walking can function as both barometer, revealing the cultural and social character of our surroundings, and as mediator, creating a bridge between data and stories.


Joshua Jelly-Schapiro is the author of Island People: The Caribbean and the World and the co-editor of Nonstop Metropolis: A New York City Atlas. A geographer and writer, he is a regular contributor to the New York Review of Books and his work has also appeared in the New Yorker, Harper’s, The Believer, and The Nation. He teaches at NYU and is currently the inaugural resident in Narrative Arts at Pioneer Works.

Garnette Cadogan is an essayist who served as editor-at-large of Nonstop Metropolis. Currently a Scholar in Residence at the Institute for Advanced Studies in Culture at the University of Virginia, his essay “”Black and Blue” (aka “Walking While Black”), first published in Freeman’s, has been much anthologized and published in several languages. He is at work on a book about walking.

Go to Laura Kurgan’s Talk @ Cooper Union on Tuesday, November 6 @ 7pm

Located in the Frederick P. Rose Auditorium, at 41 Cooper Square (on Third Avenue between 6th and 7th Streets)

See the CU website 

Laura Kurgan delivers a free, public lecture as part of the Intra-Disciplinary Seminar series.

Laura KurganLaura Kurgan is an Associate Professor of Architecture at the Graduate School of Architecture Planning and Preservation at Columbia University, where she directs the Visual Studies curriculum, and the Center for Spatial Research. She is the author of Close Up at a Distance: Mapping, Technology, and Politics (Zone Books, 2013). Her work has been exhibited internationally, including the Museum of Modern Art in NYC, the Cartier Foundation in Paris, the Venice Architecture Biennale, MACBa in Barcelona, and the ZKM in Karlsruhe.

Visit Cohen & Taliaferro, an antique map / atlas / globe dealer on East 54th St; Martayan Lan, an Antique Map Dealer on East 55th Street; or the Map Room of Argosy Book Store on East 59th Street

Cohen & Taliaferro is open to the public Monday through Friday, 9:30am to 5pm, by appointment. Visit their website.

Martayan Lan is open Monday through Friday, 9:30am to 6pm. Check out their website.

Argosy is open Monday through Friday 10am to 6pm and Saturday 10am to 5pm. Visit out their website.

Check out the Navigating New York Exhibition at the Transit Museum

New York’s transportation history happened in phases, from early ships, trains and passenger ferries to more modern subways, trains, buses and cars. Transportation maps highlight the story of New York’s growth through the increasingly connected transportation system. Indeed, mass transit helped make the greater New York region what it is today. Navigating New York draws on the New York Transit Museum’s collection, artistic renderings, historic maps, guidebooks and digital technology that refresh our view of the city and show how transportation has catalyzed its development.

See the museum’s exhibits page.



Tips for Migration / Affective Mapping

Those of you who are studying migration and affective experience might be interested in the work of Meghan Kelly, a geography PhD student at the University of Wisconsin – Madison. In particular:

Navigating New York Exhibition @ NY Transit Museum, 10/11 –

NY Transit Museum Website

New York’s transportation history happened in phases, from early ships, trains and passenger ferries to more modern subways, trains, buses and cars. Transportation maps highlight the story of New York’s growth through the increasingly connected transportation system. Indeed, mass transit helped make the greater New York region what it is today. Navigating New York draws on the New York Transit Museum’s collection, artistic renderings, historic maps, guidebooks and digital technology that refresh our view of the city and show how transportation has catalyzed its development.

State Secrets + Satellites @ Eyebeam, October 25

EYEBEAM ASSEMBLY | INTERNAL USE ONLY, Hosted by Dhruv Mehrotra & Brendan C. Byrne


Website + RSVP

The longest amount of time any area in the continental United States has gone without an update in Google Earth was between 2008 to 2016. The gap lied in a dry lake bed in Southwestern Nevada located in the Tonopah Test Range, a subsection of the Nellis Test and Training Range, which is jointly owned by the Department of Energy and Air Force.

When Eyebeam Resident Dhruv Mehrotra and writer Brendan C. Byrne discovered this gap and realized they could purchase the rights to the satellite image themselves, they bought it in an attempt to push Google into completing its dataset. However, the purchase came with a set of its own restrictions within layers of legalese, which frustrated this initial intent while prompting an exploration into the most notable phrase that kept appearing: FOR INTERNAL USE ONLY.

What possibilities exist between the fine print, and can creative approaches help to locate grey areas, or loopholes to work within? Can abstraction or poetry obfuscate an original to the point of no longer being confined by a legal document? Where is that line and in how many ways can we collectively push upon the boundaries defined by “internal use?” What are the implications of state secrets and corporate censorship on artistic interpretation?

In an effort to interrogate these questions, Mehrotra and Byrne have commissioned a series of abstracted paintings of the satellite image by artist Sebastian Gladstone, and original poetry by Marvin Mayfield. During INTERNAL USE ONLY, these new works will be revealed and performed to an intimate audience of “internal users,” followed by conversations joined by Washington DC Bureau Chief of Yahoo News, Sharon Weinberger, and copyright lawyer Mark Bradford.

Instructions to become an “internal user” to follow.

Dhruv Mehrotra is an engineer whose work explores networks, conspiracy, politics and power. He is currently a resident at Eyebeam and a researcher at NYU.

Brendan C. Byrne’s criticism has appeared in Rhizome, The Intercept, and The Baffler. His fiction has appeared in Terraform, Big Echo, Flapperhouse, and Dark Mountain.

October 3 Cognitive Mapping Lab

Choose your mission:

  1. You are a government certification agency charged with ensuring that architectural design and urban planning are sensitive to the needs of (1) the agoraphobic (those who fear crowds and potential entrapment), (2) the misophonic (those who are triggered by particular sounds), or (3) the elderly and mobility -challenged. Explore a circumscribed environment: the University Center, the intersection of 5th Ave and 14th Street, or some other nearby location. You migth: note sites / passages / zones / etc that would not be appropriate for your constituents; and sketch out recommended circulation routes, work spots, socialization areas, etc., that might be particularly appealing to them. Your challenge is to create a means of cartographic communication that conveys the importance of these concerns to various stakeholders: activists, city administrators, planners, contractors, etc.
  2. Your international student-exchange group has just time-machined in from 40,000 BCE Eurasia. You can’t read, you’re not familiar with modern technology, and, honestly, all the conventions of urban living are pretty baffling to you. You’re Neanderthals — literally. How do you create a map to help your successors find their way from the Union Square subway to the University Center cafeteria?
  3. You’re nominating Union Square in a global competition for the Earth’s Happiest Places (…or “Safest Places,” or “Most Legible Places,” or “Most Inclusive Places”). You must include a map with your submission. How do you compellingly capture the Park’s superlative qualities?

As you create your maps, you might draw from today’s readings in considering:

  • What particular paths, edges, nodes, landmarks, districts, or other “species” of space might guide your constituents’ way, as they did for Lynch’s research participants?
  • How might your subjects’ navigation become a social activity, as it is for the Perfect City Working Group?
  • How might your constituents, like the Polynesian wayfinders, use the stars  — or some other architecturally-, infrastructurally-, or environmentally ingrained markers or cues — to find their way around? How might they rely on their own spatial memories?
  • Do they, like London’s black cab drivers, have strategies for finding the “shortest and most elegant line between points” or employing other navigational rubrics or schema?
  • How might your constituents denote those places best avoided? Why are certain sites, routes, or regions topoi non grata? What are the ethical implications of “blacklisting” particular terrains, and how can we grapple with those concerns through our cartographic codes and aesthetics?
  • What other strategies might folks employ to make the building or the larger terrain “imageable” and “legible”?

Try sketching out some rough maps representing your cartographic subject(s)’ “sense of place.” You might draw inspiration from Lynch’s maps, but you’re free to develop your own legends and visual language. Consider also integrating or adapting some of Lynch’s other methods – like photography and inventories – or inventing your own.

Resources re: Ecologies, Nature-Culture, Porosity, etc.

Many of your have proposed atlas projects examining Latourian networks of nature-culture, Anthropocenic landscapes, porous geographies and other hybrid spatial forms. I asked my friend and colleague Bobby Pietrusko — who teaches at the Harvard Graduate School of Design, and whose work we’ll be exploring during our “Deep Mapping” week in November — if he could recommend the work of a few designers engaged with hybrid landscapes. Here’s what he recommended:

Anu Mathur + Dilip Da Cuhna

Anuradha Mathur and Dilip da Cunha – Wetness Everywhere from GIDEST on Vimeo.

Nina Marie Lister + Chris Reed

Ecology and Design: Parallel Genealogies,” Places Journal (April 2014)

Projective Ecologies Lecture & Panel from PennDesign on Vimeo.

Bradley Cantrell + Justine Holzman

LAM Lecture 4: Bradley Cantrell, March 13, 2018 from ASLA on Vimeo.



CFP: Media Fields Journal: “At the Edge” – due 11/9

Media Fields Journal is excited to announce the call for papers for Issue #14: At the Edge. Please email submissions to submissions@mediafieldsjournal.org by the newly extended deadline, November 9, 2018. For more information and submission guidelines, visit Media Fields.

While researching the Hells Angels in the 1960s, Hunter S. Thompson wrote, “The edge…there is no honest way to explain it because the only people who know where it is are the ones who have gone over.” Conceiving of the edge as both a site of orientation and a sharp drop-off, Thompson gestures towards its dual denotations: as “the line where an object begins or ends” and “the cutting side of a blade.” Thus, the edge can act both as a form of speculative orientation that provides boundaries or points of entry, and as a threshold that offers the possibility of “going over.”

As contemporary media scholarship continues to think through the proliferation of internet and screen cultures, their edges remain crucial to a comprehensive understanding. Scholars such as Adrian Mackenzie, Lisa Parks, and Mel Hogan have explored media technologies at or beyond their edges, asking how edge environments or experiences might alter their ‘typical’ use. Edward S. Casey writes that edges supply “a species of boundaries, that is, porous edges that take in as well as give out—in contrast to borders, which act to delimit institutions and concrete practices in the life-world.” Casey’s provocation suggests that studying media at the fringes or peripheries of society necessitates a discussion of the edges that construct their marginality. Additionally, edges establish relationalities between entities through their capacity to connect the nodes of distributed networks and complex systems. In this way, exploring media technologies and practices ‘at the edge’ can help locate imagined horizons and connections that inform the boundaries of identity, community, and globality.

Explicit academic engagement with the edge has thus far been situated in sociology, wherein ‘edgework’ came to be known as the study of risk-taking within recreational contexts. Stephen Lyng describes in the introduction to Edgework how leisure practices centered around risk are paradoxically treated as a form of individuality and resistance to a neoliberal society that itself demands economic and social precarity more and more often. Despite this paradox (or perhaps because of it), both individual and systemic risk—living on the edge—can be viewed as a means of exploring broad cultural spaces and their boundaries, such as those between safety and precarity, inclusion and exclusion, and life and death.

The edge as a heuristic thus brings together scholarly work on mediatized practices and spaces by examining exactly how their boundaries actively (re)imagine and (de)construct the dimensions of their existence. In consideration of the utility of the edge to rethink conceptualizations of spaces and boundaries, this issue of Media Fields Journal explores what happens ‘at the edge.’ We invite consideration of sites, works, practices, and systems via the constitution of the edge and its role as a permeable, although perhaps invisible, entity. We welcome work that attempts to locate
edges, and/or engages with the (potentially traumatic) experience of having ‘gone over.’ We further welcome attention to the sociological methodology of ‘edgework’ and how it might productively extend to media studies, perhaps involving industry norms of precarity and the never-ending quest for production on ‘the cutting edge.’

Dimensions of media ‘at the edge’ might include (but are not limited to):

  • Cinematic/Televisual Concerns: Elimination of the visual/sonic edge via wider screens, surround sound, 3-D enhancement, etc.; consumption of the image in edge spaces; representations of ‘going over the edge.’
  • Computational Concerns: Edges and nodes; edges as active and mediating sites; the edges of interfaces or platforms such as the Samsung Galaxy Edge or Microsoft Edge; imagined digital spaces and boundaries.
  • Environmental Concerns: Edges of communities, societies, and/or shared identities; mediating territorial edges; ecological impacts of edgeless or wireless media; media in edge environments such as data centers, server farms, media waste, etc.; edges of technological reach and possibility.
  • Experiential Concerns: Immersive media: virtual reality, augmented reality, and the quest for ‘edgelessness;’ risk-taking individuals and practices as a cultural tradition or rebellion; technologies that mediate risk experiences; sexual practices of ‘edging.’
  • Industrial Concerns: Precarity of media labor and innovation
    practices; economic motivations to produce on ‘the cutting edge;’ speculative horizons of media.

For any inquiries, please contact issue co-editors Jeremy Moore (
jmoore@umail.ucsb.edu) and Nicole Strobel (nstrobel@umail.ucsb.edu).

Writing Opportunity: Submit Your Work to Territory!

Territory is a literary project about territories and the maps that will always fail to capture them. It’s about the naive dream of objectivity, and how we use the act of representation to both hide and broadcast our subjectivities.

The map has a specific allure. It reduces the complexity of the world to a manageable space, and suggests distant lands are not so distant. In this miniaturized space, it’s easy to envision an entire world. Perhaps too easy—maps often destroy through their creation. They are a barbaric art, or an art used for politics and propaganda.

This is why maps are instruments of both progress and regress. They inspire and enable discovery, but also conquest and colonization. They tell some histories while denying others. They both reveal and conceal the spaces they circumscribe. The map is not the territory, surely, but then why is our world built on so many getting this so wrong?

Territory wants to understand these paradoxes by understanding the maps that inspire them. We invite writers, musicians, and other artists to respond to maps and the fallacies they engender, in turn creating secondary maps. We then present these two maps side-by-side as a means of getting at, but still failing to capture, the underlying territory. We are building an atlas knowing it will be a reduction, an anachronism, a distortion. But we build it anyway.

They’ve issued calls for submisions for three upcoming issues:

10 – Extremes
11 – Twins
12 – Alaska

If You Missed Our First Day

Every semester a few students have to miss our first class for any of a number of reasons — because of travel or visa complications, because they’ve added the class after our first meeting, etc. If you’re among those who’ll be joining us late, I encourage you to take a half-hour to look through all the pages on this website:

  • You’ll find the course description and numbers and my contact info on the About the Class page.
  • I describe all of our readings and other resources, and how to access them, on the Resources page.
  • On the Requirements and Assignments page, I list all of your responsibilities: your expectations for attendance and engagement; your reading responses (only two! please don’t wait until the end!); your map critique (you’ll choose a date for your presentation within the next couple weeks), and your final, an atlas (broadly conceived!).
  • Please review our Policies + Procedures, too.
  • In the Schedule + Readings section, you’ll find a separate “block” for each day of our semester. All the texts listed under a particular date are to be read for that class. Again, for more context on how these texts were chosen, see the Resources page.
  • You’ll also find that on each day’s page within the Schedule + Readings section, I’ll post my slides and any other learning materials we use in class each day. Since you will miss — or have missed — our first class, please review the slides and any other materials I post on our August 29 page. I’ll post each week’s materials before class begins — i.e., by 4pm on Wednesdays.

We look forward to meeting you on Week 2! Please come to class having read all the texts listed on our September 5 page, and having contributed a map to our collaborative slideshow. You’ll find comprehensive instructions on the 9/5 page.

Image: Ingrid Burrington’s Missed Connections project [more here]