<?xml version="1.0" encoding="utf-8"?><feed xmlns="http://www.w3.org/2005/Atom" ><generator uri="https://jekyllrb.com/" version="4.4.1">Jekyll</generator><link href="https://collopy.net/feed/writing.xml" rel="self" type="application/atom+xml" /><link href="https://collopy.net/" rel="alternate" type="text/html" /><updated>2026-03-09T16:09:41-07:00</updated><id>https://collopy.net/feed/writing.xml</id><title type="html">Peter Sachs Collopy | Writing</title><author><name>Peter Sachs Collopy</name></author><entry><title type="html">Passing in the Hallway: Art and Technology at Caltech, 1968–1972</title><link href="https://collopy.net/writing/2024/passing-in-the-hallway/" rel="alternate" type="text/html" title="Passing in the Hallway: Art and Technology at Caltech, 1968–1972" /><published>2024-10-17T00:00:00-07:00</published><updated>2024-10-17T00:00:00-07:00</updated><id>https://collopy.net/writing/2024/passing-in-the-hallway</id><content type="html" xml:base="https://collopy.net/writing/2024/passing-in-the-hallway/"><![CDATA[In 1969, Caltech converted seven rooms in its defunct Earhart Plant Research Laboratory into an art studio, hosting artists who worked in the media of plastics and computer animation. In the long 1960s, artists and scientists embraced each others’ professional practices, and universities created new centers for art and technology. Artists and scientists did not come to these new programs with the same motivations and expectations. Many artists were interested in synthesizing art with science and engineering, but most scientists and engineers who engaged in art were seeking a break from their technical work rather than a different mode of it, making genuine collaboration the exception rather than the rule.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="art" /><category term="Caltech" /><category term="chemistry" /><category term="computing" /><category term="engineering" /><category term="media" /><category term="science" /><category term="technology" /><category term="visual culture" /><category term="California" /><category term="education" /><summary type="html"><![CDATA[In 1969, Caltech converted seven rooms in its defunct Earhart Plant Research Laboratory into an art studio, hosting artists who worked in the media of plastics and computer animation. In the long 1960s, artists and scientists embraced each others’ professional practices, and universities created new centers for art and technology. Artists and scientists did not come to these new programs with the same motivations and expectations. Many artists were interested in synthesizing art with science and engineering, but most scientists and engineers who engaged in art were seeking a break from their technical work rather than a different mode of it, making genuine collaboration the exception rather than the rule.]]></summary></entry><entry><title type="html">Crossing Over: Art and Science at Caltech, 1920–2020</title><link href="https://collopy.net/writing/2024/crossing-over/" rel="alternate" type="text/html" title="Crossing Over: Art and Science at Caltech, 1920–2020" /><published>2024-10-17T00:00:00-07:00</published><updated>2024-10-17T00:00:00-07:00</updated><id>https://collopy.net/writing/2024/crossing-over</id><content type="html" xml:base="https://collopy.net/writing/2024/crossing-over/"><![CDATA[Science is as much a visual practice as a textual or quantitative one. For centuries, scientists have used microscopes, telescopes, painting, illustration, printing, and photography to perceive nature and communicate what they see in it, often in collaboration with artists. In the twentieth century, scientists also came to view creativity as an essential resource and looked to art to foster it.

*Crossing Over* is an interdisciplinary publication that looks at one prominent university—the California Institute of Technology (Caltech) in Pasadena—as a site for scientific and artistic image production. Uncovering the rich pictorial record embedded in its Archives and Special Collections, a team of visual culture scholars examines Caltech through a series of tightly focused case studies. How, the authors ask, have science and engineering institutions like Caltech used scientific representation, art, and architecture to construct themselves and produce discovery and invention? This book reveals new facets of life and work at Caltech that will be illuminating even to those familiar with the school, showcasing views that informed—and were informed by—the vibrant visual culture of Southern California.

This volume was published to accompany [an exhibition](/exhibits/2024/crossing-over) on view at the California Institute of Technology from September 27 to December 15, 2024. It was a [finalist](https://www.collegeart.org/news/2025/11/13/announcing-the-2026-morey-book-award-and-barr-awards-shortlists/) for the College Art Association’s 2026 Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="architecture" /><category term="art" /><category term="astronomy" /><category term="biology" /><category term="Caltech" /><category term="chemistry" /><category term="computing" /><category term="engineering" /><category term="geology" /><category term="laboratories" /><category term="media" /><category term="physics" /><category term="science" /><category term="technology" /><category term="visual culture" /><category term="war" /><category term="California" /><category term="education" /><summary type="html"><![CDATA[Science is as much a visual practice as a textual or quantitative one. For centuries, scientists have used microscopes, telescopes, painting, illustration, printing, and photography to perceive nature and communicate what they see in it, often in collaboration with artists. In the twentieth century, scientists also came to view creativity as an essential resource and looked to art to foster it. Crossing Over is an interdisciplinary publication that looks at one prominent university—the California Institute of Technology (Caltech) in Pasadena—as a site for scientific and artistic image production. Uncovering the rich pictorial record embedded in its Archives and Special Collections, a team of visual culture scholars examines Caltech through a series of tightly focused case studies. How, the authors ask, have science and engineering institutions like Caltech used scientific representation, art, and architecture to construct themselves and produce discovery and invention? This book reveals new facets of life and work at Caltech that will be illuminating even to those familiar with the school, showcasing views that informed—and were informed by—the vibrant visual culture of Southern California. This volume was published to accompany an exhibition on view at the California Institute of Technology from September 27 to December 15, 2024. It was a finalist for the College Art Association’s 2026 Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions.]]></summary></entry><entry><title type="html">Between Paradigms: Video and Art Therapy</title><link href="https://collopy.net/writing/2024/between-paradigms/" rel="alternate" type="text/html" title="Between Paradigms: Video and Art Therapy" /><published>2024-05-24T00:00:00-07:00</published><updated>2024-05-24T00:00:00-07:00</updated><id>https://collopy.net/writing/2024/between-paradigms</id><content type="html" xml:base="https://collopy.net/writing/2024/between-paradigms/"><![CDATA[As therapists developed the new field of video therapy in the 1950s and 1960s, they rarely interacted with the parallel field of art therapy or with the concept of creative expression at its core. Video therapy mostly involved recording and playing back talk therapy sessions. In only a few places did it become something like art therapy, a practice in which patients themselves made art to process their own experiences. This chapter traces how that resemblance developed at New York’s Village Project and elsewhere in the United States from about 1967 to 1975. It considers how painter Frank Gillette and philosopher-sociologist Victor Gioscia in particular drew from both modernist and emerging postmodernist intellectual currents, particularly the boundary-crossing work of media theorist Marshall McLuhan, to navigate the intersections of disciplines.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="video" /><category term="cybernetics" /><category term="psychiatry" /><category term="consciousness" /><category term="visual culture" /><category term="human sciences" /><category term="medicine" /><category term="art" /><category term="drugs" /><category term="anarchism" /><category term="politics" /><category term="conservatism" /><category term="technopolitics" /><category term="philosophy" /><category term="New York" /><summary type="html"><![CDATA[As therapists developed the new field of video therapy in the 1950s and 1960s, they rarely interacted with the parallel field of art therapy or with the concept of creative expression at its core. Video therapy mostly involved recording and playing back talk therapy sessions. In only a few places did it become something like art therapy, a practice in which patients themselves made art to process their own experiences. This chapter traces how that resemblance developed at New York’s Village Project and elsewhere in the United States from about 1967 to 1975. It considers how painter Frank Gillette and philosopher-sociologist Victor Gioscia in particular drew from both modernist and emerging postmodernist intellectual currents, particularly the boundary-crossing work of media theorist Marshall McLuhan, to navigate the intersections of disciplines.]]></summary></entry><entry><title type="html">“Video Is as Powerful as LSD”: Electronics and Psychedelics as Technologies of Consciousness</title><link href="https://collopy.net/writing/2023/video-is-as-powerful-as-lsd/" rel="alternate" type="text/html" title="“Video Is as Powerful as LSD”: Electronics and Psychedelics as Technologies of Consciousness" /><published>2023-11-21T00:00:00-08:00</published><updated>2023-11-21T00:00:00-08:00</updated><id>https://collopy.net/writing/2023/video-is-as-powerful-as-lsd</id><content type="html" xml:base="https://collopy.net/writing/2023/video-is-as-powerful-as-lsd/"><![CDATA[<p>In the middle of the twentieth century, the invention and availability of new psychedelic drugs, and the growing cultural discourse around them, coincided with those of television, videotape, and computing. The technologies of psychedelics and electronics grew up together, and those using or thinking about one often implicated the other. When Sony and other Japanese manufacturers developed new portable videotape recorders in the late 1960s, for example, new communities of artists and tinkerers emerged around them, first in the US and Canada and then in Europe, Asia, North Africa, and Latin America. For the first time, declared these enthusiasts, many people could make their own television, breaking the broadcast oligopoly. In describing the psychological and sociological implications of this new technology, many compared it to psychedelic drugs.<p>

<p class="translation">A mediados del siglo XX, la invención y disponibilidad de nuevas drogas psicodélicas, y el creciente discurso cultural en torno a ellas, coincidieron con los de la televisión, las cintas de vídeo y la informática. Las tecnologías psicodélicas y la electrónica crecieron juntas, y quienes usaban o pensaban en una a menudo implicaban a la otra. Cuando Sony y otros fabricantes japoneses desarrollaron nuevos magnetoscopios portátiles a finales de los años sesenta, por ejemplo, surgieron nuevas comunidades de artistas a su alrededor, primero en Estados Unidos y Canadá, y después en Europa, Asia, el norte de África y América Latina. Por primera vez, declararon estos entusiastas, mucha gente podía hacer su propia televisión, rompiendo el oligopolio de la radiodifusión. Al describir las implicaciones psicológicas y sociológicas de esta nueva tecnología, muchos la compararon con las drogas psicodélicas.</p>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="video" /><category term="synthesizers" /><category term="consciousness" /><category term="visual culture" /><category term="science" /><category term="human sciences" /><category term="medicine" /><category term="engineering" /><category term="drugs" /><category term="art" /><category term="psychiatry" /><category term="California" /><summary type="html"><![CDATA[In the middle of the twentieth century, the invention and availability of new psychedelic drugs, and the growing cultural discourse around them, coincided with those of television, videotape, and computing. The technologies of psychedelics and electronics grew up together, and those using or thinking about one often implicated the other. When Sony and other Japanese manufacturers developed new portable videotape recorders in the late 1960s, for example, new communities of artists and tinkerers emerged around them, first in the US and Canada and then in Europe, Asia, North Africa, and Latin America. For the first time, declared these enthusiasts, many people could make their own television, breaking the broadcast oligopoly. In describing the psychological and sociological implications of this new technology, many compared it to psychedelic drugs. A mediados del siglo XX, la invención y disponibilidad de nuevas drogas psicodélicas, y el creciente discurso cultural en torno a ellas, coincidieron con los de la televisión, las cintas de vídeo y la informática. Las tecnologías psicodélicas y la electrónica crecieron juntas, y quienes usaban o pensaban en una a menudo implicaban a la otra. Cuando Sony y otros fabricantes japoneses desarrollaron nuevos magnetoscopios portátiles a finales de los años sesenta, por ejemplo, surgieron nuevas comunidades de artistas a su alrededor, primero en Estados Unidos y Canadá, y después en Europa, Asia, el norte de África y América Latina. Por primera vez, declararon estos entusiastas, mucha gente podía hacer su propia televisión, rompiendo el oligopolio de la radiodifusión. Al describir las implicaciones psicológicas y sociológicas de esta nueva tecnología, muchos la compararon con las drogas psicodélicas.]]></summary></entry><entry><title type="html">Video and the Self: Closed Circuit | Feedback | Narcissism</title><link href="https://collopy.net/writing/2022/video-and-the-self/" rel="alternate" type="text/html" title="Video and the Self: Closed Circuit | Feedback | Narcissism" /><published>2022-02-24T00:00:00-08:00</published><updated>2022-02-24T00:00:00-08:00</updated><id>https://collopy.net/writing/2022/video-and-the-self</id><content type="html" xml:base="https://collopy.net/writing/2022/video-and-the-self/"><![CDATA[A chapter which I guest edited:

The relationship between video and the self has been one of the central concerns of video theory. Prominent artists such as Vito Acconci, Dan Graham, Joan Jonas, and Bruce Nauman have organized their artistic practice around mediated self-observation, either using video to document and complicate their own expressions of self or building installations with which viewers can see and experience themselves in new ways. Such self-portraiture is the subject of the most widely cited essay in this volume, Rosalind Krauss’s 1976 “Video: The Aesthetics of Narcissism,” and of several essays responding to it.

Even before videotape became an artistic medium in 1965, though, video, self-observation, and narcissism were already the subjects of a theoretical literature produced by psychiatrists and psychologists. If patients saw how disordered they appeared to others, some psychotherapists suggested, they might be motivated to change. Other clinicians rewatched sessions with patients so that either could pause the video to discuss emotions or experiences which they hadn’t articulated, essentially putting themselves back into a moment in the conversation. Some of the most prominent artists and theorists working with video were directly influenced by this video therapy tradition.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="video" /><category term="cybernetics" /><category term="consciousness" /><category term="visual culture" /><category term="human sciences" /><category term="medicine" /><category term="art" /><category term="psychiatry" /><summary type="html"><![CDATA[A chapter which I guest edited: The relationship between video and the self has been one of the central concerns of video theory. Prominent artists such as Vito Acconci, Dan Graham, Joan Jonas, and Bruce Nauman have organized their artistic practice around mediated self-observation, either using video to document and complicate their own expressions of self or building installations with which viewers can see and experience themselves in new ways. Such self-portraiture is the subject of the most widely cited essay in this volume, Rosalind Krauss’s 1976 “Video: The Aesthetics of Narcissism,” and of several essays responding to it. Even before videotape became an artistic medium in 1965, though, video, self-observation, and narcissism were already the subjects of a theoretical literature produced by psychiatrists and psychologists. If patients saw how disordered they appeared to others, some psychotherapists suggested, they might be motivated to change. Other clinicians rewatched sessions with patients so that either could pause the video to discuss emotions or experiences which they hadn’t articulated, essentially putting themselves back into a moment in the conversation. Some of the most prominent artists and theorists working with video were directly influenced by this video therapy tradition.]]></summary></entry><entry><title type="html">Making Art Do Work</title><link href="https://collopy.net/writing/2020/making-art-do-work/" rel="alternate" type="text/html" title="Making Art Do Work" /><published>2020-10-22T00:00:00-07:00</published><updated>2020-10-22T00:00:00-07:00</updated><id>https://collopy.net/writing/2020/making-art-do-work</id><content type="html" xml:base="https://collopy.net/writing/2020/making-art-do-work/"><![CDATA[In <cite>Making Art Work</cite>, W. Patrick McCray asks why and how American artists and engineers collaborated to produce technological art in the 1960s and 1970s. In our current moment, so obviously marked by the American government’s failure to deploy scientific expertise against a pandemic, and by demonstrations against white supremacy and police brutality larger than those of the 1960s, this book also provokes additional questions. Of what did technological art make people aware? Could it in fact contribute to solving social problems like hunger, homelessness, and war? How did patriarchy and white supremacy shape this art and the awareness it produced? What roles did women and people of color play in constructing and contesting it? Although none of these questions is at the center of McCray’s book, he points toward some of the answers.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="art" /><category term="visual culture" /><category term="politics" /><category term="engineering" /><category term="technopolitics" /><summary type="html"><![CDATA[In Making Art Work, W. Patrick McCray asks why and how American artists and engineers collaborated to produce technological art in the 1960s and 1970s. In our current moment, so obviously marked by the American government’s failure to deploy scientific expertise against a pandemic, and by demonstrations against white supremacy and police brutality larger than those of the 1960s, this book also provokes additional questions. Of what did technological art make people aware? Could it in fact contribute to solving social problems like hunger, homelessness, and war? How did patriarchy and white supremacy shape this art and the awareness it produced? What roles did women and people of color play in constructing and contesting it? Although none of these questions is at the center of McCray’s book, he points toward some of the answers.]]></summary></entry><entry><title type="html">Notes on Thomas J. Watson for Caltech’s Committee on Naming and Recognition</title><link href="https://collopy.net/writing/2020/thomas-j-watson/" rel="alternate" type="text/html" title="Notes on Thomas J. Watson for Caltech’s Committee on Naming and Recognition" /><published>2020-08-18T00:00:00-07:00</published><updated>2020-08-18T00:00:00-07:00</updated><id>https://collopy.net/writing/2020/thomas-j-watson</id><content type="html" xml:base="https://collopy.net/writing/2020/thomas-j-watson/"><![CDATA[Thomas J. Watson Sr. was leader of IBM—carrying at various times the titles of general manager, CEO, president, and chairman—from 1914 to 1956. During this period, the company became a major player in the American and international data processing industries, setting the stage for its dominance of computing in the decades that followed.

Watson is a controversial figure principally because of IBM’s relationship with the government of Nazi Germany. The history of this relationship, and of Watson’s role in it, is complex. It is the subject of a bestselling 2001 book, <cite>IBM and the Holocaust</cite>, by journalist Edwin Black. Unfortunately, <cite>IBM and the Holocaust</cite> is generally regarded as hyperbolic and inaccurate by historians who research related subjects.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="computing" /><category term="politics" /><category term="technopolitics" /><category term="engineering" /><category term="fascism" /><summary type="html"><![CDATA[Thomas J. Watson Sr. was leader of IBM—carrying at various times the titles of general manager, CEO, president, and chairman—from 1914 to 1956. During this period, the company became a major player in the American and international data processing industries, setting the stage for its dominance of computing in the decades that followed. Watson is a controversial figure principally because of IBM’s relationship with the government of Nazi Germany. The history of this relationship, and of Watson’s role in it, is complex. It is the subject of a bestselling 2001 book, IBM and the Holocaust, by journalist Edwin Black. Unfortunately, IBM and the Holocaust is generally regarded as hyperbolic and inaccurate by historians who research related subjects.]]></summary></entry><entry><title type="html">Ready, Set, Spark</title><link href="https://collopy.net/writing/2020/ready-set-spark/" rel="alternate" type="text/html" title="Ready, Set, Spark" /><published>2020-08-13T00:00:00-07:00</published><updated>2020-08-13T00:00:00-07:00</updated><id>https://collopy.net/writing/2020/ready-set-spark</id><content type="html" xml:base="https://collopy.net/writing/2020/ready-set-spark/"><![CDATA[When Caltech's former Sloan Lab reopened in January 2019 as the Linde Hall of Mathematics and Physics, staff, faculty, and students encountered a structure with a transformed interior that was originally built 97 years ago. Over the course of a century, it has witnessed many changes, evolving to suit the needs of the disciplines it has served: physics, mathematics, and electrical engineering. In its earliest years, the building was known by several names, including Edison High Tension Laboratory and High Voltage Research Laboratory, but was generally referred to as High Volts. It came into being out of a partnership between Caltech and the Southern California Edison (SCE) company, which contributed money to its construction in exchange for use of it for research. SCE had recently decided to change its transmission lines from 150,000 to 220,000 volts. The lines and associated equipment would need to be able to withstand a massive surge if they were struck by lightning, so SCE wanted to conduct research at a million volts, a higher voltage than could be reliably produced by any existing American laboratory.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="Caltech" /><category term="science" /><category term="physics" /><category term="technology" /><category term="engineering" /><category term="California" /><summary type="html"><![CDATA[When Caltech’s former Sloan Lab reopened in January 2019 as the Linde Hall of Mathematics and Physics, staff, faculty, and students encountered a structure with a transformed interior that was originally built 97 years ago. Over the course of a century, it has witnessed many changes, evolving to suit the needs of the disciplines it has served: physics, mathematics, and electrical engineering. In its earliest years, the building was known by several names, including Edison High Tension Laboratory and High Voltage Research Laboratory, but was generally referred to as High Volts. It came into being out of a partnership between Caltech and the Southern California Edison (SCE) company, which contributed money to its construction in exchange for use of it for research. SCE had recently decided to change its transmission lines from 150,000 to 220,000 volts. The lines and associated equipment would need to be able to withstand a massive surge if they were struck by lightning, so SCE wanted to conduct research at a million volts, a higher voltage than could be reliably produced by any existing American laboratory.]]></summary></entry><entry><title type="html">Documenting the World: Film, Photography, and the Scientific Record</title><link href="https://collopy.net/writing/2020/documenting-the-world/" rel="alternate" type="text/html" title="Documenting the World: Film, Photography, and the Scientific Record" /><published>2020-04-01T00:00:00-07:00</published><updated>2020-04-01T00:00:00-07:00</updated><id>https://collopy.net/writing/2020/documenting-the-world</id><content type="html" xml:base="https://collopy.net/writing/2020/documenting-the-world/"><![CDATA[Although photography and film are sometimes marginal subjects in the history of technology, the apparent dematerialization produced by digitization has prompted greater interest in materiality and technology from humanities disciplines more invested in their history. At the same time, historians of science have become increasingly attentive to visual representation and how images function as evidence.

<cite>Documenting the World</cite>’s nine contributors work mostly at the intersection of art history and history of science. The book also brings together scholarship on still photography and moving-image film, typically subjects of separate literatures despite their common materiality. With the exception of a chapter on planetary science, contributions focus on the human sciences broadly conceived, from anthropology to medicine to law.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="science" /><category term="technology" /><category term="media" /><category term="visual culture" /><category term="human sciences" /><summary type="html"><![CDATA[Although photography and film are sometimes marginal subjects in the history of technology, the apparent dematerialization produced by digitization has prompted greater interest in materiality and technology from humanities disciplines more invested in their history. At the same time, historians of science have become increasingly attentive to visual representation and how images function as evidence. Documenting the World’s nine contributors work mostly at the intersection of art history and history of science. The book also brings together scholarship on still photography and moving-image film, typically subjects of separate literatures despite their common materiality. With the exception of a chapter on planetary science, contributions focus on the human sciences broadly conceived, from anthropology to medicine to law.]]></summary></entry><entry><title type="html">Richard Feynman</title><link href="https://collopy.net/writing/2019/richard-feynman/" rel="alternate" type="text/html" title="Richard Feynman" /><published>2019-08-27T00:00:00-07:00</published><updated>2019-08-27T00:00:00-07:00</updated><id>https://collopy.net/writing/2019/richard-feynman</id><content type="html" xml:base="https://collopy.net/writing/2019/richard-feynman/"><![CDATA[In work and play, Richard Feynman was a distinctively visual thinker. He achieved fame as a theoretical physicist by making sense of the interactions of elementary particles, and in the process inventing the Feynman diagrams that illustrated these interactions. For Feynman to do physics was to write and draw.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="science" /><category term="physics" /><category term="Caltech" /><category term="visual culture" /><summary type="html"><![CDATA[In work and play, Richard Feynman was a distinctively visual thinker. He achieved fame as a theoretical physicist by making sense of the interactions of elementary particles, and in the process inventing the Feynman diagrams that illustrated these interactions. For Feynman to do physics was to write and draw.]]></summary></entry><entry><title type="html">The Cybernetics Moment, or Why We Call Our Age the Information Age</title><link href="https://collopy.net/writing/2019/cybernetics-moment/" rel="alternate" type="text/html" title="The Cybernetics Moment, or Why We Call Our Age the Information Age" /><published>2019-05-30T00:00:00-07:00</published><updated>2019-05-30T00:00:00-07:00</updated><id>https://collopy.net/writing/2019/cybernetics-moment</id><content type="html" xml:base="https://collopy.net/writing/2019/cybernetics-moment/"><![CDATA[The historical literature on cybernetics has ballooned in the last 15 years, as scholars have sought to understand how scientists and engineers studying “control and communication in the animal and the machine” (as Norbert Weiner subtitled his book <cite>Cybernetics</cite>) contributed to Soviet and Chilean computer networks, assistive technologies for the deaf, theories of schizophrenia, and experimental music and cinema, to name just a few of their projects. This range of topics raises anew the question—central to historians’ accounts since the early 1990s—of what exactly cybernetics was. As the first book to integrate the many dimensions of cybernetics into a single narrative, <cite>The Cybernetics Moment</cite> presents a new answer to this crucial question.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="science" /><category term="technology" /><category term="media" /><category term="computing" /><category term="cybernetics" /><category term="engineering" /><summary type="html"><![CDATA[The historical literature on cybernetics has ballooned in the last 15 years, as scholars have sought to understand how scientists and engineers studying “control and communication in the animal and the machine” (as Norbert Weiner subtitled his book Cybernetics) contributed to Soviet and Chilean computer networks, assistive technologies for the deaf, theories of schizophrenia, and experimental music and cinema, to name just a few of their projects. This range of topics raises anew the question—central to historians’ accounts since the early 1990s—of what exactly cybernetics was. As the first book to integrate the many dimensions of cybernetics into a single narrative, The Cybernetics Moment presents a new answer to this crucial question.]]></summary></entry><entry><title type="html">Portable Moving Images: A Media History of Storage Formats</title><link href="https://collopy.net/writing/2019/portable-moving-images/" rel="alternate" type="text/html" title="Portable Moving Images: A Media History of Storage Formats" /><published>2019-01-01T00:00:00-08:00</published><updated>2019-01-01T00:00:00-08:00</updated><id>https://collopy.net/writing/2019/portable-moving-images</id><content type="html" xml:base="https://collopy.net/writing/2019/portable-moving-images/"><![CDATA[Although Ricardo Cedeño Montaña does not frame his project as such, <cite>Portable Moving Images</cite> is perhaps the most ambitious contribution yet to the “format theory” and “general history of compression” proposed by Jonathan Sterne in his <cite>MP3: The Meaning of a Format</cite>. <cite>Portable Moving Images</cite> is an expansive but sometimes frustrating history of the successive “reductions” that transformed first film, then analog video, and finally digital video from complex technologies for professional media production to ubiquitous tools used by amateurs. In each process, Montaña argues, cameras and other equipment became not only smaller but also more automated; reduction in both mass and the complexity of operation facilitated widespread use of new formats. “Portable media,” he writes, “compress the media factory into takeaway apparatuses that are then poured into the streets.”]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="visual culture" /><category term="video" /><category term="computing" /><category term="analog/digital" /><category term="engineering" /><summary type="html"><![CDATA[Although Ricardo Cedeño Montaña does not frame his project as such, Portable Moving Images is perhaps the most ambitious contribution yet to the “format theory” and “general history of compression” proposed by Jonathan Sterne in his MP3: The Meaning of a Format. Portable Moving Images is an expansive but sometimes frustrating history of the successive “reductions” that transformed first film, then analog video, and finally digital video from complex technologies for professional media production to ubiquitous tools used by amateurs. In each process, Montaña argues, cameras and other equipment became not only smaller but also more automated; reduction in both mass and the complexity of operation facilitated widespread use of new formats. “Portable media,” he writes, “compress the media factory into takeaway apparatuses that are then poured into the streets.”]]></summary></entry><entry><title type="html">La vidéo et les origines de la photographie électronique</title><link href="https://collopy.net/writing/2019/photographie-electronique/" rel="alternate" type="text/html" title="La vidéo et les origines de la photographie électronique" /><published>2019-01-01T00:00:00-08:00</published><updated>2019-01-01T00:00:00-08:00</updated><id>https://collopy.net/writing/2019/photographie-electronique</id><content type="html" xml:base="https://collopy.net/writing/2019/photographie-electronique/"><![CDATA[<p class="translation">Dans notre imaginaire historique, la récente révolution numérique de la photographie a tendance à occulter une révolution antérieure qui fut moins totale mais plus profonde : la révolution analogique, c’est-à-dire la traduction d’images en signaux électriques et en champs magnétiques variant de façon continue. La photographie analogique électronique a pris la forme de la télévision et de la vidéo, mais aussi de techniques d’enregistrement d’images fixes (par exemple le Videofile d’Ampex dans les années 1960 ; le Mavica de Sony dans les années 1980). Les principaux composants de ces nouvelles technologies, notamment ceux utilisés par les procédés d’enregistrement haute-fidélité et les tubes à vide pour les caméras vidéo, ont d’abord été mis au point à des fins militaires. L’électronique analogique partageait ces éléments et beaucoup d’autres – notamment les supports physiques d’enregistrement – avec les technologies numériques. Peter Sachs Collopy nous montre donc que ce n’est pas la numérisation qui a radicalement transformé la photographie au siècle dernier, mais bien le remplacement de la photochimie par des supports électromagnétiques, à la fois analogiques et numériques.</p>

<p>Our current association of the digital with progress can distract us from the historical fact that the most sophisticated electronic technologies have often been analog ones, processing information as continuous variations in voltage or current and recording it as continuous variations in magnetic fields. The discourse of the digital can also obscure continuities between electronic media, preventing us from seeing how much analog and digital modes of representing information have in common. Rather than thinking of the recent decline of film as a process of digitization, we might just as productively see it as a culmination of the rise of electronic photography, a phenomenon that has introduced into our visual experience not only the digital but also the analog.</p>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="video" /><category term="visual culture" /><category term="analog/digital" /><category term="engineering" /><summary type="html"><![CDATA[Dans notre imaginaire historique, la récente révolution numérique de la photographie a tendance à occulter une révolution antérieure qui fut moins totale mais plus profonde : la révolution analogique, c’est-à-dire la traduction d’images en signaux électriques et en champs magnétiques variant de façon continue. La photographie analogique électronique a pris la forme de la télévision et de la vidéo, mais aussi de techniques d’enregistrement d’images fixes (par exemple le Videofile d’Ampex dans les années 1960 ; le Mavica de Sony dans les années 1980). Les principaux composants de ces nouvelles technologies, notamment ceux utilisés par les procédés d’enregistrement haute-fidélité et les tubes à vide pour les caméras vidéo, ont d’abord été mis au point à des fins militaires. L’électronique analogique partageait ces éléments et beaucoup d’autres – notamment les supports physiques d’enregistrement – avec les technologies numériques. Peter Sachs Collopy nous montre donc que ce n’est pas la numérisation qui a radicalement transformé la photographie au siècle dernier, mais bien le remplacement de la photochimie par des supports électromagnétiques, à la fois analogiques et numériques. Our current association of the digital with progress can distract us from the historical fact that the most sophisticated electronic technologies have often been analog ones, processing information as continuous variations in voltage or current and recording it as continuous variations in magnetic fields. The discourse of the digital can also obscure continuities between electronic media, preventing us from seeing how much analog and digital modes of representing information have in common. Rather than thinking of the recent decline of film as a process of digitization, we might just as productively see it as a culmination of the rise of electronic photography, a phenomenon that has introduced into our visual experience not only the digital but also the analog.]]></summary></entry><entry><title type="html">History of Physics in the Caltech Archives, and Now on the Web: Hale, Glaser, and More</title><link href="https://collopy.net/writing/2018/history-of-physics/" rel="alternate" type="text/html" title="History of Physics in the Caltech Archives, and Now on the Web: Hale, Glaser, and More" /><published>2018-01-01T00:00:00-08:00</published><updated>2018-01-01T00:00:00-08:00</updated><id>https://collopy.net/writing/2018/history-of-physics</id><content type="html" xml:base="https://collopy.net/writing/2018/history-of-physics/"><![CDATA[The Caltech Archives is digitizing two major collections in the history of physics and astronomy, consisting of the papers of solar astronomer George Ellery Hale (1868–1938) and particle physicist Donald A. Glaser (1926–2013). We are also contributing to the history of physics through new acquisitions of Caltech scientists’ papers and a new exhibition on visual thinking in the work and life of Richard Feynman.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="physics" /><category term="Caltech" /><category term="science" /><summary type="html"><![CDATA[The Caltech Archives is digitizing two major collections in the history of physics and astronomy, consisting of the papers of solar astronomer George Ellery Hale (1868–1938) and particle physicist Donald A. Glaser (1926–2013). We are also contributing to the history of physics through new acquisitions of Caltech scientists’ papers and a new exhibition on visual thinking in the work and life of Richard Feynman.]]></summary></entry><entry><title type="html">When Caltech Was Throop University</title><link href="https://collopy.net/writing/2017/throop-university/" rel="alternate" type="text/html" title="When Caltech Was Throop University" /><published>2017-11-01T00:00:00-07:00</published><updated>2017-11-01T00:00:00-07:00</updated><id>https://collopy.net/writing/2017/throop-university</id><content type="html" xml:base="https://collopy.net/writing/2017/throop-university/"><![CDATA[On November 2, 1891, classes began at Throop University—the school that would become Caltech—in a rented building in downtown Pasadena. Founder Amos Throop was a Universalist preacher and abolitionist politician who made his fortune in lumber and real estate in Chicago before moving to Los Angeles, where he bought orchards and farms, in 1880. His school offered courses in literature, music, art, elocution, stenography, typewriting, and law—with only six faculty. Throop University had trouble recruiting students, so its trustees renamed it Throop Polytechnic Institute in 1893 and reorganized it to train Pasadena’s youth, from elementary school through college, for factory work in an industrial society. Although namesake Amos Throop passed away in 1894, over the decades that followed Throop Polytechnic Institute formed alliances with influential scientists—astronomer George Hale, physicist Robert Millikan, and chemist Arthur Noyes—and reinvented itself again as a pioneering science and engineering university, renamed the California Institute of Technology in 1920.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="Caltech" /><category term="education" /><category term="California" /><summary type="html"><![CDATA[On November 2, 1891, classes began at Throop University—the school that would become Caltech—in a rented building in downtown Pasadena. Founder Amos Throop was a Universalist preacher and abolitionist politician who made his fortune in lumber and real estate in Chicago before moving to Los Angeles, where he bought orchards and farms, in 1880. His school offered courses in literature, music, art, elocution, stenography, typewriting, and law—with only six faculty. Throop University had trouble recruiting students, so its trustees renamed it Throop Polytechnic Institute in 1893 and reorganized it to train Pasadena’s youth, from elementary school through college, for factory work in an industrial society. Although namesake Amos Throop passed away in 1894, over the decades that followed Throop Polytechnic Institute formed alliances with influential scientists—astronomer George Hale, physicist Robert Millikan, and chemist Arthur Noyes—and reinvented itself again as a pioneering science and engineering university, renamed the California Institute of Technology in 1920.]]></summary></entry><entry><title type="html">What Does It Mean to Say Millennials Are Having Less Sex?</title><link href="https://collopy.net/writing/2016/millennials-having-less-sex/" rel="alternate" type="text/html" title="What Does It Mean to Say Millennials Are Having Less Sex?" /><published>2016-11-01T00:00:00-07:00</published><updated>2016-11-01T00:00:00-07:00</updated><id>https://collopy.net/writing/2016/millennials-having-less-sex</id><content type="html" xml:base="https://collopy.net/writing/2016/millennials-having-less-sex/"><![CDATA[The internet was abuzz this August with speculation about why Millennials have less sex than our elders did at our age. Perhaps economic precarity makes dating difficult, particularly for those living with their parents. Mediating our relationships through the internet could reduce physical contact. Or maybe ubiquitous pornography is replacing partnered sex, antidepressants are depressing libidos, higher standards of consent reduce the incidence of “pressured sex,” asexual people are more comfortable in their identities, or Millennials are simply too busy for sexual relationships.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="science" /><category term="human sciences" /><summary type="html"><![CDATA[The internet was abuzz this August with speculation about why Millennials have less sex than our elders did at our age. Perhaps economic precarity makes dating difficult, particularly for those living with their parents. Mediating our relationships through the internet could reduce physical contact. Or maybe ubiquitous pornography is replacing partnered sex, antidepressants are depressing libidos, higher standards of consent reduce the incidence of “pressured sex,” asexual people are more comfortable in their identities, or Millennials are simply too busy for sexual relationships.]]></summary></entry><entry><title type="html">Ego Me Absolvo: Catholicism as Prototype in Paul Ryan’s Experimental Video</title><link href="https://collopy.net/writing/2016/ego-me-absolvo/" rel="alternate" type="text/html" title="Ego Me Absolvo: Catholicism as Prototype in Paul Ryan’s Experimental Video" /><published>2016-07-01T00:00:00-07:00</published><updated>2016-07-01T00:00:00-07:00</updated><id>https://collopy.net/writing/2016/ego-me-absolvo</id><content type="html" xml:base="https://collopy.net/writing/2016/ego-me-absolvo/"><![CDATA[In May 1969, a video installation entitled <cite>Everyman’s Moebius Strip</cite> appeared at the Howard Wise Gallery show <cite>TV as a Creative Medium</cite> in New York. When an individual entered a curtained booth, they found a video camera, a blank monitor, and an audio recording prompting participation. “React to the following people,” spoke the recording. “Nixon, your mother, Eldridge Cleaver, Teddy Kennedy, you.… For the next ten seconds do what you want.… Now, let your face be sad.… Turn away from the camera.… Now turn back.… Press the stop button.… Thank you.” After two minutes of this guidance, an attendant played a videotape of the viewer’s face back for them. Like its topological namesake, explained the artist, <cite>Everyman’s Moebius Strip</cite> “is used to take in our outside,” providing the viewer “one continuous (sur)face with nothing to hide.” Since each recording taped over the previous one, each participant received a unique, private experience of communing with the self.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="video" /><category term="art" /><category term="visual culture" /><category term="cybernetics" /><category term="consciousness" /><category term="religion" /><category term="Christianity" /><category term="psychiatry" /><category term="New York" /><summary type="html"><![CDATA[In May 1969, a video installation entitled Everyman’s Moebius Strip appeared at the Howard Wise Gallery show TV as a Creative Medium in New York. When an individual entered a curtained booth, they found a video camera, a blank monitor, and an audio recording prompting participation. “React to the following people,” spoke the recording. “Nixon, your mother, Eldridge Cleaver, Teddy Kennedy, you.… For the next ten seconds do what you want.… Now, let your face be sad.… Turn away from the camera.… Now turn back.… Press the stop button.… Thank you.” After two minutes of this guidance, an attendant played a videotape of the viewer’s face back for them. Like its topological namesake, explained the artist, Everyman’s Moebius Strip “is used to take in our outside,” providing the viewer “one continuous (sur)face with nothing to hide.” Since each recording taped over the previous one, each participant received a unique, private experience of communing with the self.]]></summary></entry><entry><title type="html">The Emergence of Video Processing Tools: Television Becoming Unglued</title><link href="https://collopy.net/writing/2015/emergence-of-video-processing/" rel="alternate" type="text/html" title="The Emergence of Video Processing Tools: Television Becoming Unglued" /><published>2015-10-01T00:00:00-07:00</published><updated>2015-10-01T00:00:00-07:00</updated><id>https://collopy.net/writing/2015/emergence-of-video-processing</id><content type="html" xml:base="https://collopy.net/writing/2015/emergence-of-video-processing/"><![CDATA[As artists gained access to the technologies of television production in the 1960s and 1970s, many began to build their own tools for electronically processing analog video signals to produce novel visual effects. For many artists, the construction and use of mixers, keyers, colorizers, and scan processors became the basis for aesthetic and critical engagements with electronic technologies, as well as collaboration with engineers. This expansive book consists of forty-three chapters by thirty-one authors—most of them artists or curators, many of them also participants in this history—on the people and machines that made up video processing in the United States.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="visual culture" /><category term="art" /><category term="video" /><category term="synthesizers" /><category term="engineering" /><summary type="html"><![CDATA[As artists gained access to the technologies of television production in the 1960s and 1970s, many began to build their own tools for electronically processing analog video signals to produce novel visual effects. For many artists, the construction and use of mixers, keyers, colorizers, and scan processors became the basis for aesthetic and critical engagements with electronic technologies, as well as collaboration with engineers. This expansive book consists of forty-three chapters by thirty-one authors—most of them artists or curators, many of them also participants in this history—on the people and machines that made up video processing in the United States.]]></summary></entry><entry><title type="html">The Revolution Will Be Videotaped: Making a Technology of Consciousness in the Long 1960s</title><link href="https://collopy.net/writing/2015/revolution-will-be-videotaped/" rel="alternate" type="text/html" title="The Revolution Will Be Videotaped: Making a Technology of Consciousness in the Long 1960s" /><published>2015-07-13T00:00:00-07:00</published><updated>2015-07-13T00:00:00-07:00</updated><id>https://collopy.net/writing/2015/revolution-will-be-videotaped</id><content type="html" xml:base="https://collopy.net/writing/2015/revolution-will-be-videotaped/"><![CDATA[In the late 1960s, video recorders became portable, leaving the television studio for the art gallery, the psychiatric hospital, and the streets. The technology of recording moving images on magnetic tape, previously of use only to broadcasters, became a tool for artistic expression, psychological experimentation, and political revolution. Video became portable not only materially but also culturally; it could be carried by an individual, but it could also be carried into institutions from the RAND Corporation to the Black Panther Party, from psychiatrists’ offices to art galleries, and from prisons to state-funded media access centers. Between 1967 and 1973, American videographers across many of these institutional contexts participated in a common discourse, sharing not only practical knowledge about the uses and maintenance of video equipment, but visions of its social significance, psychological effects, and utopian future. For many, video was a technology which would bring about a new kind of awareness, the communal consciousness that—influenced by the evolutionary philosophy of Henri Bergson—Pierre Teilhard de Chardin referred to as the noosphere and Marshall McLuhan as the global village. Experimental videographers across several fields were also influenced by the psychedelic research of the 1950s and early 1960s, by the development of cybernetics as a science of both social systems and interactions between humans and machines, by anthropology and humanistic psychology, and by revolutionary political movements in the United States and around the world.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="politics" /><category term="technology" /><category term="media" /><category term="consciousness" /><category term="cybernetics" /><category term="video" /><category term="art" /><category term="visual culture" /><category term="analog/digital" /><category term="synthesizers" /><category term="evolution" /><category term="war" /><category term="technopolitics" /><category term="science" /><category term="human sciences" /><category term="medicine" /><category term="engineering" /><category term="drugs" /><category term="anthropology" /><category term="religion" /><category term="Christianity" /><category term="utopianism" /><category term="communism" /><category term="psychiatry" /><category term="fascism" /><category term="New York" /><category term="California" /><category term="biology" /><summary type="html"><![CDATA[In the late 1960s, video recorders became portable, leaving the television studio for the art gallery, the psychiatric hospital, and the streets. The technology of recording moving images on magnetic tape, previously of use only to broadcasters, became a tool for artistic expression, psychological experimentation, and political revolution. Video became portable not only materially but also culturally; it could be carried by an individual, but it could also be carried into institutions from the RAND Corporation to the Black Panther Party, from psychiatrists’ offices to art galleries, and from prisons to state-funded media access centers. Between 1967 and 1973, American videographers across many of these institutional contexts participated in a common discourse, sharing not only practical knowledge about the uses and maintenance of video equipment, but visions of its social significance, psychological effects, and utopian future. For many, video was a technology which would bring about a new kind of awareness, the communal consciousness that—influenced by the evolutionary philosophy of Henri Bergson—Pierre Teilhard de Chardin referred to as the noosphere and Marshall McLuhan as the global village. Experimental videographers across several fields were also influenced by the psychedelic research of the 1950s and early 1960s, by the development of cybernetics as a science of both social systems and interactions between humans and machines, by anthropology and humanistic psychology, and by revolutionary political movements in the United States and around the world.]]></summary></entry><entry><title type="html">Race Relationships: Collegiality and Demarcation in Physical Anthropology</title><link href="https://collopy.net/writing/2015/race-relationships/" rel="alternate" type="text/html" title="Race Relationships: Collegiality and Demarcation in Physical Anthropology" /><published>2015-05-06T00:00:00-07:00</published><updated>2015-05-06T00:00:00-07:00</updated><id>https://collopy.net/writing/2015/race-relationships</id><content type="html" xml:base="https://collopy.net/writing/2015/race-relationships/"><![CDATA[In 1962, anthropologist Carleton Coon argued in <cite>The Origin of Races</cite> that some human races had evolved further than others. Among his most vocal critics were geneticist Theodosius Dobzhansky and anthropologist Ashley Montagu, each of whom had known Coon for decades. I use this episode, and the long relationships between scientists that preceded it, to argue that scientific research on race was intertwined not only with political projects to conserve or reform race relations, but also with the relationships scientists shared as colleagues. Demarcation between science and pseudoscience, between legitimate research and scientific racism, involved emotional as well as intellectual labor.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="science" /><category term="biology" /><category term="anthropology" /><category term="evolution" /><category term="politics" /><category term="conservatism" /><category term="liberalism" /><category term="human sciences" /><category term="white supremacy" /><summary type="html"><![CDATA[In 1962, anthropologist Carleton Coon argued in The Origin of Races that some human races had evolved further than others. Among his most vocal critics were geneticist Theodosius Dobzhansky and anthropologist Ashley Montagu, each of whom had known Coon for decades. I use this episode, and the long relationships between scientists that preceded it, to argue that scientific research on race was intertwined not only with political projects to conserve or reform race relations, but also with the relationships scientists shared as colleagues. Demarcation between science and pseudoscience, between legitimate research and scientific racism, involved emotional as well as intellectual labor.]]></summary></entry><entry><title type="html">Video Synthesizers: From Analog Computing to Digital Art</title><link href="https://collopy.net/writing/2014/video-synthesizers/" rel="alternate" type="text/html" title="Video Synthesizers: From Analog Computing to Digital Art" /><published>2014-12-11T00:00:00-08:00</published><updated>2014-12-11T00:00:00-08:00</updated><id>https://collopy.net/writing/2014/video-synthesizers</id><content type="html" xml:base="https://collopy.net/writing/2014/video-synthesizers/"><![CDATA[In the late 1960s, artists and engineers began building increasingly sophisticated video synthesizers, machines that produced abstract or distorted images by electronically manipulating either a video signal or the cathode ray tube on which it was displayed. This article explores how experimental videographers modeled video synthesizers on audio synthesizers, conceptualized them as analog computers, and starting in 1973, interfaced them with digital minicomputers.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="computing" /><category term="video" /><category term="synthesizers" /><category term="consciousness" /><category term="art" /><category term="visual culture" /><category term="analog/digital" /><category term="engineering" /><category term="drugs" /><category term="utopianism" /><category term="New York" /><summary type="html"><![CDATA[In the late 1960s, artists and engineers began building increasingly sophisticated video synthesizers, machines that produced abstract or distorted images by electronically manipulating either a video signal or the cathode ray tube on which it was displayed. This article explores how experimental videographers modeled video synthesizers on audio synthesizers, conceptualized them as analog computers, and starting in 1973, interfaced them with digital minicomputers.]]></summary></entry><entry><title type="html">Topic Modeling</title><link href="https://collopy.net/writing/2014/topic-modeling/" rel="alternate" type="text/html" title="Topic Modeling" /><published>2014-02-01T00:00:00-08:00</published><updated>2014-02-01T00:00:00-08:00</updated><id>https://collopy.net/writing/2014/topic-modeling</id><content type="html" xml:base="https://collopy.net/writing/2014/topic-modeling/"><![CDATA[<p>
	In 2014, I did some work as a research assistant to <a href="https://www.mpiwg-berlin.mpg.de/people/ebenson">Etienne Benson</a> exploring how we might use software to interpret changing discourses about the environment. Etienne ultimately didn’t use these digital humanities techniques in his book on the topic, <cite><a href="https://press.uchicago.edu/ucp/books/book/chicago/S/bo50271092.html">Surroundings: A History of Environments and Environmentalisms</a></cite>, but in the process I wrote this report on the potential of topic modeling specifically.
</p>
<!--more-->
<p>
	• • •
</p>

<p>
	Although it has a longer history, topic modeling is now typically done using Latent Dirichlet Allocation, a hierarchical Bayesian model developed by computer scientist David Blei and his colleagues (<a href="http://www.cs.princeton.edu/~blei/papers/BleiNgJordan2003.pdf">initial article</a>, <a href="http://www.cs.princeton.edu/~blei/papers/BleiLafferty2009.pdf">technical description</a>, <a href="http://www.cs.princeton.edu/~blei/papers/Blei2012.pdf">less technical description</a>). The premise, it’s worth stating explicitly, is a rather odd model of composition. “Documents are mixtures of topics,” explains <a href="http://psiexp.ss.uci.edu/research/papers/SteyversGriffithsLSABookFormatted.pdf">one article</a>, “where a topic is a probability distribution over words. A topic model is a generative model for documents: it specifies a simple probabilistic procedure by which documents can be generated. To make a new document, one chooses a distribution over topics. Then, for each word in that document, one chooses a topic at random according to this distribution, and draws a word from that topic. Standard statistical techniques can be used to invert this process, inferring the set of topics that were responsible for generating a collection of documents.” So topic modeling involves reverse engineering the creation of a text, which is conceptualized as a process of synthesizing multiple topics into a single document. As far as the computer can understand them, though, these “topics” are simply sets of words with associated frequencies. Because topics can be conceptualized as vectors, it is also relatively easy to measure correlations between words or correlations between topics.
</p>
<p>
	Among digital humanists, the most widely used tool for topic modeling is <a href="http://mallet.cs.umass.edu/">MALLET</a> (<a href="http://programminghistorian.org/lessons/topic-modeling-and-mallet">tutorial</a>), “a Java-based package for statistical natural language processing, document classification, clustering, topic modeling, information extraction, and other machine learning applications to text.” There are several alternatives, though, including libraries for <a href="http://www.cs.princeton.edu/~blei/lda-c/">C</a>, <a href="http://arbylon.net/projects/">Java</a>, <a href="http://radimrehurek.com/gensim/">Python</a>, <a href="http://psiexp.ss.uci.edu/research/programs_data/toolbox.htm">Matlab</a>, and R (<a href="http://www.jstatsoft.org/v40/i13/">topicmodels</a>, <a href="http://cran.r-project.org/web/packages/lda">lda</a>) as well as two Java applications: <a href="https://code.google.com/p/topic-modeling-tool/">Topic Modeling Tool</a> provides a graphical interface for MALLET (<a href="http://miriamposner.com/blog/very-basic-strategies-for-interpreting-results-from-the-topic-modeling-tool/">tutorial</a>), while the <a href="http://nlp.stanford.edu/downloads/tmt/tmt-0.4/">Stanford Modeling Toolbox</a> is scriptable using Scala  and processes CSV files. The Maryland Institute for Technology in the Humanities has produced some <a href="http://mith.umd.edu/topic-modeling-round-up-and-some-new-software/">additional utilities</a> for MALLET. Perhaps the easiest tool available is the Zotero extension <a href="http://papermachines.org/">Paper Machines</a>, which incorporates MALLET. Paper Machines can model not only Zotero collections, but also JSTOR Data for Research CSV files, which otherwise requires <a href="http://www.jgoodwin.net/?p=1036">some preprocessing</a> to be legible to MALLET. Its output doesn’t seem very versatile, though.
</p>
<p>
	There are several precedents for tracking the rise and fall of topics over time, though few seem to have contributed to peer-reviewed historical articles. A project by historian Robert Nelson on the <a href="http://dsl.richmond.edu/dispatch/">Richmond <cite>Daily Dispatch</cite></a> from 1860 to 1865, conducted using MALLET, produced a widely-cited web presentation, and computer scientist David Newman and historian Sharon Block conducted a similar study of the <a href="http://www.ics.uci.edu/~newman/pubs/JASIST_Newman.pdf"><cite>Pennsylvania Gazette</cite></a> from 1728 to 1800. (Block and Newman also published a historical article on <a href="muse.jhu.edu/journals/journal_of_womens_history/summary/v023/23.1.block.html">trends in the field of women’s history</a> from 1985 to 2005 for which they used topic modeling to compare the prominence of research topics, but its diachronic analysis is all based on text-mining.) Historian Cameron Belvins has diachronically topic modeled <a href="http://historying.org/2010/04/01/topic-modeling-martha-ballards-diary/">Martha Ballard’s diary</a>. Among several studies of academic journals by computer scientists, David Mimno’s work on the <a href="http://www.perseus.tufts.edu/publications/02-jocch-mimno.pdf">field of classics</a> stands out for its careful methodology.
</p>
<p>
	Perhaps the best model for using topic modeling in historical research is literature scholar Allen Riddell’s apparently unpublished paper on the <a href="http://ariddell.org/static/how-to-read-n-articles.pdf">history of German Studies</a>, which contains a particularly clear technical explanation as well as a study of the rise and fall of topics ranging from gender to Goethe. Similarly, but in published articles, folklorist John Laudun and literature scholar Jonathan Goodwin used topic modeling to illuminate the dynamics of <a href="http://muse.jhu.edu/journals/journal_of_american_folklore/v126/126.502.laudun.html">folklore studies’ turn toward performance</a>, while Andrew Goldstone and Ted Underwood not only modeled the <a href="http://journalofdigitalhumanities.org/2-1/what-can-topic-models-of-pmla-teach-us-by-ted-underwood-and-andrew-goldstone/">topics of the <cite>Proceedings of the Modern Language Association</cite></a>, but also produced network visualizations of the relationships between the topics.
</p>
<p>
	It is also possible to produce models in which  topics themselves evolve over time, changing their word composition. As a demonstration of <a href="http://www.cs.princeton.edu/~blei/papers/BleiLafferty2006a.pdf">dynamic topic models</a>, Blei and fellow computer scientist John Lafferty produced a <a href="http://topics.cs.princeton.edu/Science/">browsable year-by-year model of <cite>Science</cite></a>. Blei has also published, with computer scientist Sean M. Gerrish, a study attempting to use such models to <a href="http://www.cs.princeton.edu/~blei/papers/GerrishBlei2010.pdf">measure the influence of scientific publications</a> without resort to citations or other conventional bibliometric tools. Similarly, computer scientists Xuerui Wang and Andrew McCallum (the latter the initial developer of MALLET) developed a model called <a href="http://people.cs.umass.edu/~mccallum/papers/tot-kdd06.pdf">Topics over Time</a>, which they tested on Presidential State of the Union Addresses and proceedings of the Neural Information Processing Systems conference. Very few humanists—possibly only Laudun and Goodwin—have used these tools.
</p>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="computing" /><category term="technology" /><category term="media" /><summary type="html"><![CDATA[In 2014, I did some work as a research assistant to Etienne Benson exploring how we might use software to interpret changing discourses about the environment. Etienne ultimately didn’t use these digital humanities techniques in his book on the topic, Surroundings: A History of Environments and Environmentalisms, but in the process I wrote this report on the potential of topic modeling specifically.]]></summary></entry><entry><title type="html">MIT, Ethics, and the Prosecution of Aaron Swartz</title><link href="https://collopy.net/writing/2013/aaron-swartz/" rel="alternate" type="text/html" title="MIT, Ethics, and the Prosecution of Aaron Swartz" /><published>2013-08-01T00:00:00-07:00</published><updated>2013-08-01T00:00:00-07:00</updated><id>https://collopy.net/writing/2013/aaron-swartz</id><content type="html" xml:base="https://collopy.net/writing/2013/aaron-swartz/"><![CDATA[<p>
	On January 11, autodidact, hacker, and activist <a href="http://www.aaronsw.com/">Aaron Swartz</a> committed suicide in the midst of a draconian prosecution for using guest access to MIT’s network to download millions of articles from JSTOR. I’d only had a few brief conversations with Aaron on Twitter, but I read his blog for almost a decade, making his projects and ideas a steady presence in my life. In the words of Grace Llewellyn’s <a href="https://openlibrary.org/works/OL2674846W/The_Teenage_Liberation_Handbook"><cite>Teenage Liberation Handbook</cite></a>, for which Aaron and I <a href="http://www.aaronsw.com/weblog/productivity">shared an affection</a> as unschoolers, Aaron was a “glorious generalist,” someone who has deep interests but, rather than obsessing, searches for connections between them and everything else. The world needs such people. I was crushed by Aaron’s death.
</p>
<!--more-->
<p>
	On Tuesday, MIT released its review panel’s report on “<a href="http://swartz-report.mit.edu/docs/report-to-the-president.pdf">MIT and the Prosecution of Aaron Swartz</a>.” Those of us interested in the case have been anticipating this report, particularly given the respect many of us have for computer scientist <a href="http://groups.csail.mit.edu/mac/users/hal/">Hal Abelson</a>, who was charged by MIT’s president with writing it. Personally, I learned how to program when I was about ten from <a href="http://mitpress.mit.edu/books/logo-macintosh">a book by Abelson and his daughter</a>, and still appreciate his approach to computer science pedagogy and work with foundations like <a href="http://creativecommons.org/">Creative Commons</a> and the <a href="http://fsf.org/">Free Software Foundation</a>.
</p>
<p>
	The Abelson report effectively depicts an MIT administration telling itself it was neutral in the case while cooperating with the prosecution, particularly by allowing prosecutors to repeatedly meet with witnesses without an MIT lawyer present once MIT had granted them initial permission, a courtesy they did not extend to the defense. It depicts an MIT that didn’t see itself as Aaron’s victim, but also never recognized its own role as legislator given the use of the <a href="http://ist.mit.edu/network/rules">MITNet Rules of Use</a> to support a claim, under the <a href="http://en.wikipedia.org/wiki/Computer_Fraud_and_Abuse_Act">Computer Fraud and Abuse Act</a>, that Aaron exceeded authorized access to MIT’s network. Within MIT, only incoming Media Lab director <a href="http://joi.ito.com/">Joi Ito</a> suggested that MIT question the premise of the prosecution, writing to MIT’s lawyers that “since it is a criminal case and the prosecutor needs to prove beyond reasonable doubt that it was unauthorized, I think MIT is in the position to ‘cast doubt’ if it desires.” As defense attorneys asked MIT to speak out against the prosecution with increasing urgency, the Institute’s main reason for not doing so seems to have been that they believed it might actually hurt Aaron’s case, that they believed—as Aaron’s friend <a href="http://lessig.tumblr.com/post/40347463044/prosecutor-as-bully">Lawrence Lessig wrote</a> immediately after Aaron’s death—that prosecutor <a href="http://en.wikipedia.org/wiki/Stephen_Heymann">Stephen Heymann</a> was a bully who interpreted opposition as a personal attack on his authority and responded by escalating.
</p>
<p>
	The report is nonetheless a disappointment. I don’t think I saw until now MIT President L. Rafael Reif’s formal letter to Abelson requesting the report, and I certainly hadn’t realized that Abelson’s charge was limited to fact-finding and “identify[ing] the issues that warrant further analysis in order to learn from these events.” Since Abelson and his colleagues on the review panel, economist <a href="http://economics.mit.edu/faculty/pdiamond">Peter Diamond</a> and lawyer <a href="http://grossolaw.com/grosso.htm">Andrew Grosso</a>, didn’t discover any shocking malfeasance on the part of MIT, their recommendations (which take the form of questions to avoid exceeding their charge) are rather mundane, including reforming MIT’s data retention policies and holding “a series of campus-wide deliberations around issues raised by this report.” The most critical, perhaps, is that MIT “develop additional on-campus expertise for handling potential computer crime incidents” in order to avoid reliance on outside police, reliance that in Aaron’s case inadvertently (from MIT’s perspective) involved the Secret Service.
</p>
<p>
	This limited charge proscribed the review panel from asserting outright that MIT should have behaved differently. The two quotations from their interviews which they include in their conclusion, though, say a lot. One administrator told the review panel, “MIT didn’t do anything wrong, but we didn’t do ourselves proud.” And a friend of Aaron’s pointed out that “neutrality on these cases is an incoherent stance. It’s not the right choice for a tough leader or a moral leader.”
</p>
<div style="text-align: center; font-weight: bold">. . .</div>
<p>
	Early this summer, I taught <a href="/teaching/2013/cyberculture/">a course</a> on the history and culture of the internet. In our discussion of Lessig’s book <a href="http://codev2.cc/"><cite>Code and Other Laws of Cyberspace</cite></a>, I suggested to students that it, like most political writing, was written in the genre of advice for those in power. Its central point is that “cyberspace requires choices” in how it is built, both by programmers and by legislators. Lessig’s message to these influential people was that although their decisions might seem merely technical, they are in fact deeply ethical. Although he was quite pessimistic that those in power would rise to the occasion—“we urgently need to make fundamental choices about values,” wrote Lessig, “but… the government we have now is a failure”—he wrote a book about how governance on the internet ought to function in America.
</p>
<p>
	I also showed my class Aaron’s 2012 Freedom to Connect keynote speech, “<a href="http://www.democracynow.org/2013/1/14/freedom_to_connect_aaron_swartz_1986">How We Stopped SOPA</a>,” and noted a difference in perspective between these two political documents. Aaron’s intended audience was those who are not in power. His message was that they too should seek to influence internet policy, and indeed that this is the way out of Lessig’s trap. “We won this fight because everyone made themselves the hero of their own story,” concluded Aaron. “Everyone took it as their job to save this crucial freedom. They threw themselves into it. They did whatever they could think of to do. They didn’t stop to ask anyone for permission.… The internet really is out of control.”
</p>
<p>
	Internet censorship was an issue on which Swartz and Lessig generally agreed, but their rhetoric appealed to different audiences: to caricature a bit, Lessig’s was technocratic while Swartz’s was rabble-rousing. The lesson I suggested to my students was not that Aaron’s perspective was more productive than Lessig’s; I love Lessig’s critical edge, and since I teach at the University of Pennsylvania, I expect that some of my students will become influential politicians and programmers who may build the internet more humanely under Lessig’s influence. Rather, I suggested that, in considering any political issue, it’s worth thinking through both perspectives. What could you do to improve the world in a particular way if you were in a position of authority? What could you do if you were not? We need to be able to think in both ways because most of us move back and forth between these situations over the course of our lives and even over the course of our days. I, for example, have no more influence than my neighbors in electoral politics, but make hiring and firing decisions as a board member of our local food co-op. In either context, though, I want to act ethically.</p>
<p>
	Because they were not in the role of either prosecutor or defendant, and because Aaron was not formally affiliated with the Institute, MIT’s lawyers and administrators imagined themselves to be neutral, without any ethical interest in the prosecution. The Abelson report reveals that they acted properly, for the most part, with regard to their professional and legal responsibilities. Their largest sins of commission were relatively minor, permitting the prosecutors greater access to witnesses than the defense team and acting on a subpoena which had apparently expired. It also reveals, though, that they failed—“<a href="http://tarensk.tumblr.com/post/56881327662/mit-report-is-a-whitewash-my-statement-in-response">reprehensibly</a>,” as Aaron’s partner Taren Stinebrickner-Kauffman writes, “<a href="https://archives.lessig.org/index6f09.html">more than negligent[ly]</a>,” as Lessig writes—to act on their deeper ethical responsibilities, in particular by not asserting that Aaron hadn’t actually violated their Rules of Use. In short, MIT believed that as long as they played their narrow role in the drama everything would turn out fine; they did not “take it as their job,” as Aaron would have counseled, to consider whether the prosecutor was behaving ethically and how they could influence him. Given that the case concerned not only the use of MIT property, and not only issues of intellectual and practical interest to many MIT students and faculty, but the eminent possibility of a ruined life, this was a grave ethical failure.
</p>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="computing" /><category term="internet" /><category term="politics" /><category term="technopolitics" /><summary type="html"><![CDATA[On January 11, autodidact, hacker, and activist Aaron Swartz committed suicide in the midst of a draconian prosecution for using guest access to MIT’s network to download millions of articles from JSTOR. I’d only had a few brief conversations with Aaron on Twitter, but I read his blog for almost a decade, making his projects and ideas a steady presence in my life. In the words of Grace Llewellyn’s Teenage Liberation Handbook, for which Aaron and I shared an affection as unschoolers, Aaron was a “glorious generalist,” someone who has deep interests but, rather than obsessing, searches for connections between them and everything else. The world needs such people. I was crushed by Aaron’s death.]]></summary></entry><entry><title type="html">Taking Over the NRA</title><link href="https://collopy.net/writing/2013/taking-over-nra/" rel="alternate" type="text/html" title="Taking Over the NRA" /><published>2013-02-04T00:00:00-08:00</published><updated>2013-02-04T00:00:00-08:00</updated><id>https://collopy.net/writing/2013/taking-over-nra</id><content type="html" xml:base="https://collopy.net/writing/2013/taking-over-nra/"><![CDATA[<p>There’s an episode of <cite>The West Wing</cite>—“<a href="http://westwing.wikia.com/wiki/The_Portland_Trip">The Portland Trip</a>”—in which Republican congressman Matt Skinner quips to presidential aide Josh Lyman, “I never understood why you gun control people don’t all join the NRA. They’ve got two million members, you bring three million to the next meeting, call a vote. ‘All those in favor of tossing guns?’ Bam. Move on.”</p>
<!--more-->

<p>Skinner isn’t exactly proposing direct action, but the president’s staff on <cite>The West Wing</cite> clearly consider this sort of activist politics beneath them. Josh is dismissive not, it seems to me, because it’s a bad idea, but simply because it’s not the way establishment liberals do things. “It’s a heck of a strategy, Matt,” he says. “I’ll bring that up at a meeting.”</p>

<p>As American started talking seriously about gun control in the weeks after December’s shooting at Sandy Hook Elementary School, this scene played over and over in my head. What if a lobbying organization like the National Rifle Association could be made responsive to the public—or at least to those who care enough about its issue to join whether they agree with its current political stances or not? At the very least, this fictional congressman had a more creative approach to gun control activism than the ineffective assault weapons bans championed by many Democratic legislators.</p>

<p>If the NRA is any kind of democracy, it’s representative rather than direct, so I started looking into how the NRA’s Board of Directors is elected. While the Association’s policies regarding elections aren’t available online, you can find blogs where members gripe about the system’s shortcomings and occasionally describe it in some detail. I was intrigued enough to write to the NRA and ask for a copy of their bylaws, which they were kind enough to mail me.</p>

<img style="display: block; margin: auto;" title="Envelope from the NRA" src="/images/envelope.gif" width="357" height="243">

<p>My conclusion is that Skinner’s idea wouldn’t work. Even if you could persuade three million—or five million, or ten million—progressives to join the NRA, the organization’s bylaws ensure they couldn’t take it over. Aaron Sorkin frequently says <a href="http://www.vulture.com/2012/06/aaron-sorkin-newsroom-interview.html">in interviews</a> he can “write about people who are smarter than I am and know more than I do, and I am able to do that simply by being tutored almost phonetically, sometimes.” Much of what passes for intelligence among his characters is merely cleverness. It would not be difficult for an actual Republican congressman to understand that the NRA can resist conquest by “gun control people.” For the rest of us, however, here’s how it works:</p>

<img title="The National Rifle Association of America Bylaws" src="/images/bylaws.gif" style="display: block; float: right; margin: 10px;" width="175" height="375">

<p>In addition to a fairly typical clause offering membership only to those “who subscribe… to the objectives and purposes of the Association,” the bylaws bar new members from voting unless they purchase a “Life Membership,” <a href="https://membership.nrahq.org/forms/signup.asp">currently available for $1000</a>. Article III, section 6, item e, part 1 states that only “lifetime members and annual members with five or more consecutive years of membership… who have attained the age of 18 years and who are citizens of the United States of American shall be entitled to a vote” when electing Directors.</p>

<p>The bylaws also prescribe the process by which aspiring Directors of the NRA get their names on the ballot. Most are nominated by a Nominating Committee (on which <cite>Mother Jones</cite> journalist Frank Smyth has <a href="http://www.motherjones.com/politics/2013/01/nra-board-newtown-bushmaster">some interesting reporting</a>) appointed by the Board of Directors and thus unlikely to rock the boat. Alternately, a candidate may be placed on the ballot by a petition of a mere 250 signatures of members eligible to vote.</p>

<p><a href="http://firearmscoalition.org/index.php?option=com_content&amp;id=599">According to NRA member Jeff Knox</a>, this petition process was instituted in 1977 as part of “a major member revolt at the annual meeting in Cincinnati [in which] a more politically aggressive faction grabbed the reigns of the organization.” <a href="http://www.thenation.com/blog/172125/how-nra-became-organization-aspiring-vigilantes-part-2">As Rick Perlstein writes</a>, it was in this coup that the NRA became more concerned with opposing gun control than with outdoor sports. Making the NRA more democratic by introducing petitions was a way to keep it accountable to a politically involved membership.</p>

<p>Now, though, the NRA’s membership is in favor of substantially more gun control than their leadership, even if it isn’t flooded with three million “gun control people”; <a href="http://www.nejm.org/doi/full/10.1056/NEJMp1300512">74% of NRA members support background checks for all gun purchases</a>. There are a number of reasons why the NRA’s leadership doesn’t reflect membership opinion, but among them is surely that, according to Knox and other members, only 7% of eligible members vote. (This number is probably low, since <a href="http://www.motherjones.com/mojo/2013/01/nra-membership-numbers">it’s likely that many of the NRA’s Life Members are dead</a>, but it’s still probable that only a minority of eligible members vote.) The shortest path to the NRA becoming a more moderate organization might be simply for moderates to run for the Board of Directors—by petition if necessary—and for other moderates to vote for them. The “hardliners” who made the NRA what it is today may have also left a way out.</p>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="politics" /><category term="technology" /><category term="technopolitics" /><category term="conservatism" /><summary type="html"><![CDATA[There’s an episode of The West Wing—“The Portland Trip”—in which Republican congressman Matt Skinner quips to presidential aide Josh Lyman, “I never understood why you gun control people don’t all join the NRA. They’ve got two million members, you bring three million to the next meeting, call a vote. ‘All those in favor of tossing guns?’ Bam. Move on.”]]></summary></entry><entry><title type="html">Video Revolution: A Photocomic</title><link href="https://collopy.net/writing/2013/video-revolution/" rel="alternate" type="text/html" title="Video Revolution: A Photocomic" /><published>2013-01-01T00:00:00-08:00</published><updated>2013-01-01T00:00:00-08:00</updated><id>https://collopy.net/writing/2013/video-revolution</id><content type="html" xml:base="https://collopy.net/writing/2013/video-revolution/"><![CDATA[<style type="text/css" title="text/css">
	body {width: 1080px; max-width: none;}
	.column {float: left;}
	.panel {position: relative; border: 3px solid black; margin: 2px;}
	.caption {font: 18px Helvetica; position: absolute; line-height: 130%;}
	.translucent {background-color: white; opacity: 0.6; padding: 3px 6px;}
	.secondline {padding-left: 6px;}
</style>

<div style="white-space: nowrap; clear: both;"">
	<!--First row-->
	<div class="column panel" style="height: 450px">
			<img src="/writing/comic-images/portable.gif" alt="Photograph by George Adams, from Guerrilla Television" width="300" height="450" />
		<div class="caption" style="top: 238px; left: 10px"><span class="translucent">In the late 1960s, <br /><span class="secondline">video recorders became portable.</span></span></div>
	</div>
	<div class="column">
		<div class="panel" style="height: 190px; margin-bottom: 4px">
		    <img src="/writing/comic-images/buddha.gif" alt="TV Buddha by Nam June Paik, 1974" width="300" height="190" />
		    <div class="caption" style="top: 4px; right: 3px"><span class="translucent" style="padding: 2px 4px">They left the television studio <br /><span class="secondline">for the artist&rsquo;s studio,</span></span></div>
		</div>
		<div class="panel" style="height: 250px">
		    <img src="/writing/comic-images/psychiatry.gif" alt="Photograph from Videotape Techniques in Psychiatric Training and Treatment" width="300" height="250" />
		    <div class="caption" style="top: 24px; left: 6px"><span class="translucent">the psychiatric hospital,</span></div>
		</div>
	</div>
	<div class="column panel" style="height: 450px">
		<img src="/writing/comic-images/mayday.gif" alt="Mayday Realtime, 1971" width="450" height="450" />
		<div class="caption" style="bottom: 44px; right: 27px"><span class="translucent">and the streets.</span></div>
	</div>
	<br />
	
	<!--Second row-->
	<div class="column panel" style="height: 300px">
	    <img src="/writing/comic-images/film.gif" alt="Photograph from Guerrilla Television" width="300" height="300" />
	    <div class="caption" style="top: 6px; left: 13px"><span class="translucent">Unlike the optical medium of film <br /><span class="secondline">with its photographic frames,</span></span></div>
	</div>
	<div class="column panel" style="height: 300px">
	    <img src="/writing/comic-images/tape.gif" alt="Photograph from Guerrilla Television" width="300" height="300" />
	    <div class="caption" style="top: 29px; right: 12px"><span class="translucent">video was recorded electronically</span></div>
	    <div class="caption" style="bottom: 49px; right: 12px"><span class="translucent">on magnetic tape.</span></div>
	</div>
	<div class="column panel" style="height: 300px">
		<img src="/writing/comic-images/replay.gif" alt="Photograph from Videotape Techniques in Psychiatric Training and Treatment" width="450" height="300" />
		<div class="caption" style="bottom: 22px; left: 90px"><span class="translucent">It could be replayed immediately,</span></div>
	</div>
	<br />
	
	<!--Third row-->
	<div class="column panel" style="height: 300px">
		<img src="/writing/comic-images/usc.gif" alt="&ldquo;U.S.C. Piece May ’70 Environmental Performance by C. Bensinger,&rdquo; photograph from Radical Software 1, no. 2" width="400" height="300" />
		<div class="caption" style="bottom: 11px; right: 9px"><span class="translucent">or even screened live.</span></div>
	</div>
</div>
<div style="clear: both;">
</div>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="video" /><category term="visual culture" /><summary type="html"><![CDATA[In the late 1960s, video recorders became portable. They left the television studio for the artist&rsquo;s studio, the psychiatric hospital, and the streets. Unlike the optical medium of film with its photographic frames, video was recorded electronically on magnetic tape. It could be replayed immediately, or even screened live.]]></summary></entry><entry><title type="html">Circa 1971: Early Video &amp;amp; Film from the EAI Archives</title><link href="https://collopy.net/writing/2012/circa-1971/" rel="alternate" type="text/html" title="Circa 1971: Early Video &amp;amp; Film from the EAI Archives" /><published>2012-12-07T00:00:00-08:00</published><updated>2012-12-07T00:00:00-08:00</updated><id>https://collopy.net/writing/2012/circa-1971</id><content type="html" xml:base="https://collopy.net/writing/2012/circa-1971/"><![CDATA[<p>In the years around 1971, the electronic medium of video became available to artists. Portable video recorders like the <a href="http://experimentaltvcenter.org/sony-av-3400-porta-pak">Sony AV-3400</a>—universally known to users as “portapaks”—brought video out of the television studio and into both the artist&#8217;s studio and the streets, where they were used to document political activism, countercultural exuberance, and everyday life. This is the moment curator Lori Zippay captures in <a href="http://diabeacon.org/exhibitions/main/118"><cite>Circa 1971: Early Video &#038; Film from the EAI Archives</cite></a>, an exhibit drawn on the collections of <a href="http://eai.org/">Electronic Arts Intermix</a> on display at <a href="http://diabeacon.org/">Dia:Beacon</a> through December 31.</p>
<!--more-->
<p><a href="http://diabeacon.org/exhibitions/page/118/1665">As Zippay writes</a>, “performance and visual artists, political activists, cybernetic theorists, filmmakers, <a href="http://www.moma.org/collection/theme.php?theme_id=10457">Fluxus</a> provocateurs, and self-described video freaks and electronic geeks all contributed to the fluid mix—and creative friction—of the emergent video art scene.” She portrays this diversity of early video by bringing together 15 video productions and eight related films from 1970, 1971, and 1972. This tight periodization means the show, like an archaeological dig site, reveals a single stratum of video&#8217;s early history rather than a chronology of video art.</p>
<img style="display: block; margin: 0 auto;" title="Mayday Realtime" src="/images/mayday.jpg" width="367" height="205">
<p>The most fascinating works are those sometimes described as video verité, which provide glimpses into an unrehearsed past. In <a href="http://www.vdb.org/titles/mayday-realtime"><cite>Mayday Realtime</cite></a>, for example, <a href="http://eai.org/artistBio.htm?id=370">David Cort</a> walks and drives around Washington, D.C. on <a href="http://libcom.org/library/ending-war-inventing-movement-mayday-1971">May Day 1971</a>, documenting antiwar demonstrations and the police response. Cort, founder of a video collective called the <a href="http://videofreex.com/">Videofreex</a> who lived in a communal house in the Catskills, consistently turned up with a camera at countercultural events like the <a href="http://bethelwoodscenter.org/museum/festivalhistory.aspx">Woodstock Festival</a> and the <a href="http://law2.umkc.edu/faculty/projects/ftrials/chicago7/chicago7.html">Chicago Seven trial</a>.</p>
<p><a href="http://projectshirley.com/bio.html">Shirley Clarke</a>’s <a href="http://eai.org/title.htm?id=5912">	<cite>The Tee Pee Video Space Troupe: The First Years</cite></a> portrays cultural moments both more mundane and more glamorous than Cort’s May Day. In one segment, Clarke carouses with John Lennon, Yoko Ono, and Andy Warhol. “Video gives me something to do at parties,” Clarke tells the audience with an intertitle. Like many other videographers, Clarke—already an Academy Award winning filmmaker—was fascinated by the unique features of the video medium. As she tells a silent, posing Ono, her camera recorded sound, as film cameras could not. (Recording sound for film requires separate recording equipment.)</p>
<p>In the second segment of <cite>The Tee Pee Video Space Troupe</cite>, Shirley Clarke and Arthur C. Clarke—no relation—experiment with the interactions between two new gadgets. The science fiction writer points a laser at the filmmaker’s video camera, producing beautiful “sunbursts” and kaleidoscopic images. She has set up monitors displaying the video being recorded, so he watches himself and the abstractions he produces in real time, a mirroring practice characteristic of experimental video.</p>
<img style="display: block; margin: 0 auto;" title="Vertical Roll" src="/images/jonas_vertical_web.jpg" width="250" height="188">
<p>Indeed, many of the more explicitly artistic videos in <cite>Circa 1971</cite> are subversive self-portraits. <a href="http://eai.org/artistBio.htm?id=408">Joan Jonas</a>’ <a href="http://www.vdb.org/titles/vertical-roll">	<cite>Vertical Roll</cite></a> consists of sensual explorations of the artist’s body interrupted by the vertical rolling characteristic of a poorly calibrated CRT television in time to a violent clanging sound. This disruption of the viewing experience challenges viewers to question the routine objectification of women’s bodies. Similarly, in <a href="http://www.vdb.org/titles/i-am-making-art"><cite>I Am Making Art</cite></a> <a href="http://baldessari.org/">John Baldessari</a> challenges the category of art itself by incessantly repeating the titular phrase while moving through the video frame.</p>
<p>As Zippay notes in her essay, these pieces convey “an analog—that is, slowed-down—experience of time” compared to that of 2012. The sparse arrangement of the self portraits—displayed on large video monitors set along the wall of the gallery like paintings, with no seating—compounds this sense of slowness. Since each of six is around 20 minutes long, I found myself circulating among them, returning to those I’d already watched for a few minutes to see how the artists were doing.</p>
<img style="display: block; margin: 0 auto;" title="Self-Portraits" src="/images/11_09_circa_image04.jpg" width="400" height="267">
<p>Experimental videographers generally embraced the ability to record continuously afforded by cheap tape—which, if you ran out, could also be recorded over. The ideal of cinema without editing pioneered by Warhol on film (and at least once on video) became common among videographers, and is evidenced here both by documentary works like <cite>Mayday Realtime</cite> and consciously artistic ones like <cite>I Am Making Art</cite>. It was often in editing, though, that experimental video most effectively demonstrated its emotional range.</p>
<p>In a series of <a href="http://eai.org/title.htm?id=2991">	<cite>Media Primers</cite></a>, three members of the video collective <a href="http://radicalsoftware.org/e/history.html">Raindance</a> edited together segments from their diverse tape collection. I was particularly struck by <a href="http://ira-schneider.com/artist/">Ira Schneider</a>’s contribution, perhaps the least cerebral of the three, in which a hippie playing guitar and singing euphorically is intercut with footage of a campaign event for Richard Nixon and scuffles in the audience at <a href="http://en.wikipedia.org/wiki/Altamont_Free_Concert">Altamont</a>.</p>
<img style="display: block; margin: 0 auto;" title="TV Cello Premiere" src="/images/11_09_circa_image02.jpg" width="400" height="267">
<p><cite>Circa 1971</cite> also includes a handful of short films from the era, which are projected rather than displayed on CRTs. <a href="http://eai.org/title.htm?id=13739">	<cite>TV Cello Premiere</cite></a> by <a href="http://paikstudios.com/">Nam June Paik</a> and <a href="http://hamsadesign.com/vidfilm/JudYalkut.html">Jud Yalkut</a>, shown at the exhibit’s entrance, depicts one of Paik’s collaborations with <a href="http://eai.org/artistBio.htm?id=344">Charlotte Moorman</a>. The cellist played a one-stringed cello constructed by Paik, <a href="http://collections.walkerart.org/item/object/881">	<cite>TV Cello</cite></a>, which displayed the performance, other cellists, and broadcast television on its three TV screens.</p>
<p>Many of the works in <cite>Circa 1971</cite>, most notably <cite>TV Cello Premiere</cite> and <cite>Vertical Roll</cite>,  reveal particular technical features of the video technology used to create them. This is not the technology on which they’re displayed, however; despite being about analog media, <cite>Circa 1971</cite> is an exhibit of digital reproductions. Given the fragility and glitchiness of analog video, such concessions to practicality are necessary to display this work, but they leave the analog video medium itself absent from the gallery. An exhibit which more fully portrayed analog video as both a technology and an artistic medium might feature a portapak on a pedestal in the center of the gallery, surrounded by the art it helped create.</p>
<img style="display: block; margin: 0 auto;" title="Portapak" src="/images/Feature_W1_pt1_portapak.jpg" width="282" height="243">]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="video" /><category term="art" /><category term="visual culture" /><category term="analog/digital" /><summary type="html"><![CDATA[In the years around 1971, the electronic medium of video became available to artists. Portable video recorders like the Sony AV-3400—universally known to users as “portapaks”—brought video out of the television studio and into both the artist&#8217;s studio and the streets, where they were used to document political activism, countercultural exuberance, and everyday life. This is the moment curator Lori Zippay captures in Circa 1971: Early Video &#038; Film from the EAI Archives, an exhibit drawn on the collections of Electronic Arts Intermix on display at Dia:Beacon through December 31.]]></summary></entry><entry><title type="html">Cyber-Utopianism Before the Internet</title><link href="https://collopy.net/writing/2012/cyber-utopianism/" rel="alternate" type="text/html" title="Cyber-Utopianism Before the Internet" /><published>2012-08-21T00:00:00-07:00</published><updated>2012-08-21T00:00:00-07:00</updated><id>https://collopy.net/writing/2012/cyber-utopianism</id><content type="html" xml:base="https://collopy.net/writing/2012/cyber-utopianism/"><![CDATA[<p>In his 2011 book <cite><a href="http://netdelusion.com/">The Net Delusion: The Dark Side of Internet Freedom</a></cite>, <a href="http://evgenymorozov.com/">Evgeny Morozov</a> defines <em>cyber-utopianism</em> as “a naîve belief in the emancipatory nature of online communication that rests on a stubborn refusal to acknowledge its downside.” This belief, he writes, has entered U.S. foreign policy through the State Department’s internet freedom agenda. Its effects can also be seen in the media, as in misplaced enthusiasm about the role of Twitter in the Iranian uprising of 2009. Foundational to Morozov’s portrayal is Andrew Sullivan’s <a href="http://www.theatlantic.com/daily-dish/archive/2009/06/the-revolution-will-be-twittered/200478/">announcement on his blog</a> that Iranians began communicating using Twitter after the government shut down the cell phone network. “That a new information technology could be improvised for this purpose so swiftly is a sign of the times,” wrote Sullivan. “You cannot stop people any longer. You cannot control them any longer. They can bypass your established media; they can broadcast to one another; they can organize as never before.”</p>
<!--more-->
<p>Intriguingly, Morozov traces cyber-utopianism to “former hippies’” attempts “to prove that the Internet could deliver what the 1960s couldn’t: boost democratic participation, trigger a renaissance of moribund communities, strengthen associational life, and serve as a bridge from bowling alone to blogging together.” Morozov is right that the counterculture had some influence on the cyber-utopianism of today, but it’s perhaps deeper than he acknowledges. Hippies did not wait for the emergence of the internet to embrace the vision of a networked society; rather, the countercultural politics of the 1960s already incorporated a belief in the democratizing power of decentralized, electronic media. Indeed, despite Sullivan’s suggestion that the people’s power is unprecedented, one can find rhetoric virtually identical to his decades earlier.</p>
<p><img class="aligncenter" title="Portapak" src="/images/portapak.jpg" alt="" width="370" height="250"/></p>
<p>The focus of this earlier cyber-utopianism was on breaking the oligopoly of broadcast television with cable television, satellites, and other new electronic technologies. Central to this vision was a portable device designed, like the cell phone, for an individual user: Sony’s VideoRover II, released in 1968. This portapak, as users called it, was much lighter and less imposing than traditional television cameras. From the beginning, users interpreted it as a new medium for artistic and political expression. In his 1972 memoir <cite><a href="https://openlibrary.org/works/OL4116949W/The_Stoned_Apocalypse">The Stoned Apocalypse</a></cite>, spiritual seeker and prolific erotica writer Marco Vassi anticipated Sullivan by 37 years: “The enthusiasm for videotape,” he wrote, “came from the evenings we spent using the equipment with each other, to create portraits, and modes of psychological insight, and sheer technological art. I suppose we all had our first flashes of power through those sessions, the realization that if one had access to the technology, he had as strong a voice in shaping the destiny of the world as the politicians and generals.” Many also saw video as an inherently democratic technology that would distribute this power to be heard more equitably.</p>
<p>This ideology was most fully elaborated by the video collective <a href="http://radicalsoftware.org/e/history.html">Raindance</a>, particularly in Michael Shamberg’s 1971 book <cite><a href="https://openlibrary.org/works/OL7098564W/Guerrilla_television">Guerrilla Television</a></cite>. Shamberg, who went on to become a Hollywood producer, presented television itself as a revolutionary technology which had already created a new “electronic environment,” “Media-America.” He was a technological determinist who believed that society was structured by its media; politics was mere superstructure which would follow automatically. “It’s nostalgia,” he wrote, “to think that… balance can be restored politically when politics are a function of Media-America, not vice-versa. Only through a radical re-design of its information structures to incorporate two-way, decentralized inputs can Media-America optimize the feedback it needs to come back to its senses.”</p>
<p><img class="aligncenter" title="Media-America" src="/images/media-america.jpg" alt="" width="386" height="250"/></p>
<p>Shamberg’s influences are evident even in this short quotation. Foremost among them was media theorist <a href="http://marshallmcluhan.com/biography/">Marshall McLuhan</a>, who proposed that electronic media were creating a new social environment for humanity, a highly participatory “global village.” McLuhan&#8217;s research assistant <a href="http://earthscore.org/about.html">Paul Ryan</a> (no relation to the politician) was an experimental videographer who associated with Raindance; it was Ryan who developed the metaphor Shamberg employed of videography as guerrilla warfare in <a href="http://radicalsoftware.org/volume1nr3/pdf/VOLUME1NR3_art01.pdf">an article</a> in Raindance’s magazine <cite><a href="http://radicalsoftware.org/e/">Radical Software</a></cite>. Both McLuhan and Ryan were in turn deeply influenced by the Jesuit paleontologist and mystic <a href="http://teilharddechardin.org/biography.html">Pierre Teilhard de Chardin</a>, particularly his interpretation of human communication as constituting a global mind or “noosphere.” A more effective noosphere—a “videophere,” in art critic <a href="http://geneyoungblood.com/">Gene Youngblood</a>’s terminology—became the political ideal of experimental videography.</p>
<p>More concretely, Shamberg believed that video would revolutionize particular social relations. “Going out to the suburbs with video cameras and taping commuters,” for example, could show them “how wasted they look from buying the suburban myth.” Being videotaped could sensitize police and prevent brutality. Shamberg’s technological optimism focused specifically on communication technology, as he saw new forms of television and other media as both the sources of social change and the proper replacements for an obsolete political sphere.</p>
<p>There were also those who warned against seeing video as a source of social change, though. Among them was Vassi, himself a founding member of Raindance. “There is some talk, and there will be more, in so-called underground tape circles about the revolutionary impact of tape,” <a href="http://radicalsoftware.org/volume1nr1/pdf/VOLUME1NR1_0020.pdf">wrote Vassi</a> in <cite>Radical Software</cite>. “I think it’s too late for all that. Every innovation in technology brought about by heads will be used by the power-trip neanderthals to furnish a more sophisticated 1984.… I think the thing to watch out for is this: That there be as little talking about all this as possible, not to keep the enemy from overhearing or any of that nonsense, but to guard against coming to believe one’s own rhetoric.”</p>
<p>All of which brings us back to the recent past. In January 2010, a few months after the Iranian uprising, Secretary of State Hillary Clinton delivered a speech, “<a href="http://www.state.gov/secretary/rm/2010/01/135519.htm">Remarks on Internet Freedom</a>,” at the Newseum in Washington. “The spread of information networks is forming a new nervous system for our planet,” she told her audience. “When something happens in Haiti or Hunan, the rest of us learn about it in real time—from real people.” Clinton invoked the same emphasis on direct communication—media without mediation—which Shamberg celebrated in video and Sullivan in Twitter, and the same notion of a global mind which McLuhan and Ryan found in Teilhard. ”Now, in many respects, information has never been so free,” Clinton continued, agreeing with countercultural entrepreneur <a href="http://sb.longnow.org/SB_homepage/">Stewart Brand</a>, who declared in 1984 that “information wants to be free.”</p>
<p><img class="aligncenter" title="Hillary Clinson" src="/images/clinton.jpg" alt="" width="355" height="200"/></p>
<p>Clinton’s optimism was tempered, though. “We must also recognize that these technologies are not an unmitigated blessing,” she continued. “These tools are also being exploited to undermine human progress and political rights.” Beyond that, we should heed Vassi’s warning and recognize the threat that we will be seduced by our tools and their false but persistent promise of revolutionary change without our active political effort. These information technologies can contribute to the success of political movements, but not if their users see them as replacements for political life.</p>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="computing" /><category term="internet" /><category term="video" /><category term="technology" /><category term="technopolitics" /><category term="utopianism" /><category term="politics" /><category term="liberalism" /><summary type="html"><![CDATA[In his 2011 book The Net Delusion: The Dark Side of Internet Freedom, Evgeny Morozov defines cyber-utopianism as “a naîve belief in the emancipatory nature of online communication that rests on a stubborn refusal to acknowledge its downside.” This belief, he writes, has entered U.S. foreign policy through the State Department’s internet freedom agenda. Its effects can also be seen in the media, as in misplaced enthusiasm about the role of Twitter in the Iranian uprising of 2009. Foundational to Morozov’s portrayal is Andrew Sullivan’s announcement on his blog that Iranians began communicating using Twitter after the government shut down the cell phone network. “That a new information technology could be improvised for this purpose so swiftly is a sign of the times,” wrote Sullivan. “You cannot stop people any longer. You cannot control them any longer. They can bypass your established media; they can broadcast to one another; they can organize as never before.”]]></summary></entry><entry><title type="html">The Brainwashing of the Cleveland 5</title><link href="https://collopy.net/writing/2012/cleveland-5/" rel="alternate" type="text/html" title="The Brainwashing of the Cleveland 5" /><published>2012-06-04T00:00:00-07:00</published><updated>2012-06-04T00:00:00-07:00</updated><id>https://collopy.net/writing/2012/cleveland-5</id><content type="html" xml:base="https://collopy.net/writing/2012/cleveland-5/"><![CDATA[<p>On April 30, the FBI arrested five men affiliated with Occupy Cleveland. According to <a href="http://s3.documentcloud.org/documents/352006/bridge-bomb-plot-new-charges.pdf">Special Agent Ryan M. Taylor’s affidavit</a>, Brandon Baxter, Anthony Hayne, Joshua Stafford, Connor Stevens, and Douglas Wright were apprehended “after placing two inert IEDs at the base of the Brecksville-Northfield High Level Bridge and attempting repeatedly to detonate those IEDs.” They did so by dialing a phone number to trigger the devices—a phone number provided by the undercover FBI agent who also sold them the fake explosives.</p>
<!--more-->
<p>The <a href="http://cleveland5justice.org/">Cleveland 5</a> face life in prison on three charges, to which they’ve pled not guilty: attempted use of a weapon of mass destruction to destroy property used in interstate commerce, conspiracy to use a weapon of mass destruction to destroy property used in interstate commerce, and attempted use of an explosive device to damage or destroy real property used in interstate commerce. Judge David Dowd, Jr. <a href="http://www.cleveland.com/metro/index.ssf/2012/05/judges_proposal_of_sept_11_tri.html">initially proposed</a> a trial date of September 11, then settled on September 17 after defense attorneys protested.</p>
<p>This was the first time FBI strategies of infiltration and escalation resulted in charges against participants in the Occupy movement. In this case, the agency may be responsible not only for entrapment but for even more egregious malfeasance which amounts to brainwashing.</p>
<p>On April 29—the day before the Cleveland arrests—<cite>The New York Times</cite> published an opinion piece by journalist David K. Shipler under the headline “<a href="http://www.nytimes.com/2012/04/29/opinion/sunday/terrorist-plots-helped-along-by-the-fbi.html?pagewanted=all">Terrorist Plots, Hatched by the F.B.I.</a>” Shipler described an increasingly utilized FBI tactic of fostering terrorist plots in order to catch potential criminals. “Typically,” writes Shipler, “the stings initially target suspects for pure speech—comments to an informer outside a mosque, angry posting on websites, emails with radicals overseas—then woo them into relationships with informers, who are often convicted felons working in exchange for leniency.” Those subjected to this tactic lack the knowledge, connections, and materials necessary to commit a crime, so the FBI supplies them. James Cromitie, for example, was convicted of attempting to bomb synagogues and shoot down military aircraft. “Only the government could have made a ‘terrorist’ out of Mr. Cromitie, whose buffoonery is positively Shakespearean in its scope,” said Judge Colleen McMahon, although she nonetheless sentenced him to 25 years in prison. “Of the 22 most frightening plans for attacks since 9/11 on American soil,” Shipler concluded, “14 were developed in sting operations.”</p>
<p>As in their entrapment of Muslims, the FBI seems to have picked low-hanging fruit in Cleveland: naive young men seeking to make a difference in the world. Even Taylor’s affidavit makes it clear these alleged conspirators were coached extensively by felon <a href="http://www.thesmokinggun.com/documents/fbi-informant-shaquille-azir-756123">Shaquille Azir</a>, an FBI informant similar to those described by Shipler. <a href="http://www.greenisthenewred.com/blog/fbi-anarchist-terrorists-may-day-ohio/5988/">Will Potter writes</a> that “what’s troubling is that the government has had a heavy hand in creating the very plot it thwarted. And on top of that, the defendants, by the admission of the FBI, said repeatedly that they had no intention of harming anyone.” Potter compares the case to that of environmentalist <a href="http://supporteric.org/">Eric McDavid</a>, who was also provided with plans, supplies, and encouragement by an FBI infiltrator.</p>
<p>Azir supplied more than encouragement and fake explosives, however. Based on interviews with friends and family members of the Cleveland 5, <a href="http://www.alternet.org/story/155581/has_the_fbi_launched_a_war_of_entrapment_against_the_occupy_movement?page=entire">Arun Gupta concludes</a> that Azir “provided the five with jobs, money, a place to live, a friendly ear, beer, pot, the prescription stimulant Adderall, and most significant, the ideas and means to carry out a plot conceived by the Bureau itself.” Similarly, <a href="http://www.counterpunch.org/2012/05/21/police-entrapment-of-nonviolent-movements/">Jake Olzen writes</a>, based on an interview with Cleveland activist Richard Schulte, that “Azir would give them a case of beer in the morning,… have them work outside on houses all day, and then give them a case of beer at night. He gave them marijuana and would wear them down by keeping them up late into the night with drinking and conversation—all the while urging them to break away from other groups, keep their arrangement secret and not to trust other activists.”</p>
<p>This treatment was brainwashing—or, as it is sometimes termed, coercive persuasion. The new social environment Azir created meets several of the conditions psychologist Margaret Singer associates with such thought-reform in her book <cite><a href="https://openlibrary.org/works/OL3264926W/Cults_in_Our_Midst">Cults in Our Midst</a></cite>: Azir separated the alleged conspirators from their support networks by suggesting outsiders couldn’t be trusted (a tactic Schulte provocatively describes as using “<a href="http://security.resist.ca/personal/culture.shtml">security culture</a> against activists”), controlled their time by providing them with long days of work, and kept them unaware they were being manipulated by presenting himself as a friend and mentor. According to Gupta, friends described Stafford and Baxter as “highly impressionable,” and Azir took advantage of their vulnerability. Sociologist Richard Ofshe (quoted in <cite><a href="https://openlibrary.org/works/OL6025390W/Brainwash">Brainwash</a></cite> by Dominic Streatfeild) explains that people subjected to such manipulation “make bad decisions because they find themselves in situations that are built to get them to make those decisions.”</p>
<p>In addition to controlling their social environment, Azir manipulated the group physiologically to make them more suggestible. Fatigue obviously helped, and marijuana may have as well: <a href="http://www.ncbi.nlm.nih.gov/sites/entrez?Cmd=Retrieve&amp;list_uids=417375">Researchers in the 1970s found</a> that “the drug caused an increase in suggestibility similar to that produced by the induction of hypnosis.” Similarly, the National Commission on Marihuana and Drug Abuse’s 1972 report, “Marijuana: A Signal of Misunderstanding,” <a href="http://www.druglibrary.org/schaffer/Library/studies/nc/nc1g_8.htm">stated</a> that “cannabis intoxication produces a heightened suggestibility.” I don’t know if this phenomenon has been exploited by the FBI before. According to John Marks’ classic <cite><a href="https://openlibrary.org/works/OL4097029W/The_search_for_the_Manchurian_candidate">The Search for the “Manchurian Candidate,”</a></cite> though, the Office of Strategic Services used cannabis as a truth drug during World War II. The CIA, its successor agency, later experimented more extensively.</p>
<p>It is not clear whether Azir decided to brainwash the alleged conspirators himself or was instructed to do so by his FBI handlers, particularly since <a href="http://tpmmuckraker.talkingpointsmemo.com/2012/05/fbi_says_it_isnt_investigating_occupy_cleveland_as.php">the agency denies</a> telling him to hire them for construction work. If Azir provided the group with drugs without FBI authorization, though, his illegal activity would represent egregious loss of control over an informant; according to <a href="https://www.fas.org/irp/agency/doj/fbi/chs-guidelines.pdf">guidelines from 2006</a>, informants may distribute controlled substances only with written authorization from both the Special Agent in Charge and a Chief Federal Prosecutor.</p>
<p>At least one of the Cleveland 5 resisted Azir’s attempt to recruit him: On April 29, according to Taylor’s affidavit, “Stevens advised he did not want to be part of the project, but still wanted to work on [Azir’s] houses. [Azir] told Wright to have Stevens call him,” and apparently persuaded him to participate.</p>
<p>That the alleged conspirators required such persuasion undermines the FBI’s claim that they are dangerous criminals. Specifically, it demonstrates that they were not predisposed to commit the crime, and thus that the case against them constitutes entrapment even under the <a href="http://www.justice.gov/usao/eousa/foia_reading_room/usam/title9/crm00645.htm">narrow definition</a> prevailing in case law.</p>
<p>&nbsp;</p>
<p><i>Two disclaimers: First, this essay represents a historian’s analysis, not legal advice, and certainly not the opinions of the Cleveland 5 or their lawyers. Second, the Cleveland 5 include friends of friends of mine. As <a href="http://www.salon.com/2012/05/01/fbi_heorically_locks_up_ridiculous_anarchists_on_may_day/singleton/">Alex Pareene writes</a>	of this case, “Someday all Americans, regardless of creed or color, will have their circle of friends secretly infiltrated by a paid informant.”</i></p>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="anarchism" /><category term="consciousness" /><category term="politics" /><category term="drugs" /><summary type="html"><![CDATA[On April 30, the FBI arrested five men affiliated with Occupy Cleveland. According to Special Agent Ryan M. Taylor’s affidavit, Brandon Baxter, Anthony Hayne, Joshua Stafford, Connor Stevens, and Douglas Wright were apprehended “after placing two inert IEDs at the base of the Brecksville-Northfield High Level Bridge and attempting repeatedly to detonate those IEDs.” They did so by dialing a phone number to trigger the devices—a phone number provided by the undercover FBI agent who also sold them the fake explosives.]]></summary></entry><entry><title type="html">Cybernetics of the LRAD</title><link href="https://collopy.net/writing/2012/cybernetics-of-lrad/" rel="alternate" type="text/html" title="Cybernetics of the LRAD" /><published>2012-05-17T00:00:00-07:00</published><updated>2012-05-17T00:00:00-07:00</updated><id>https://collopy.net/writing/2012/cybernetics-of-lrad</id><content type="html" xml:base="https://collopy.net/writing/2012/cybernetics-of-lrad/"><![CDATA[<p>
	The LRAD, or Long Range Acoustic Device, is an extremely loud speaker—loud enough to damage hearing—that is <a href="http://www.lradx.com/site/">marketed</a> to militaries and police forces for both communication and “escalation of force.” It was <a href="http://gizmodo.com/5369190/lrad-sound-cannon-used-on-pittsburgh-g20-protesters">first deployed in the United States</a> at the Pittsburgh G20 protests in 2009 and <a href="http://www.salon.com/2012/05/14/chicago_cops_new_weapon/singleton/">will likely again</a> project orders and siren sounds this weekend in Chicago during demonstrations prompted by NATO’s summit meeting. It also embodies a logic which has pervaded American thought since World War II, a logic which conflates communication and control.
</p>
<!--more-->
{% include youtube.html id="TInNg6QbHXc" %}
<p>
	As Aaron Bady <a href="http://thenewinquiry.com/blogs/hearing-like-an-lrad/">points out</a>, the LRAD brings together violence and speech. “To ask the question of whether an LRAD is designed to hurt people or designed to communicate across long distances with people,” writes Bady, “is to mystify its central design function: It is a technology whose purpose is to FORCE you to listen and obey, and one which is less interested in the difference than you’d think.” The LRAD makes it impossible to think of policing—particularly the iconic “order to disperse” delivered to political demonstrators from <a href="https://en.wikipedia.org/wiki/Haymarket_affair#Bombing_and_gunfire">Chicago in 1886</a> to Pittsburgh in 2009 (shown above)—as a process in which orders come first and force follows only in the case of disobedience. The medium through which orders are communicated is itself forceful; the LRAD is a <em>weapon</em>, which is why the LRAD Corporation sells it, according to their <a href="http://www.lradx.com/site/content/view/323">fact sheet</a>, “only to qualified government agencies and commercial entities that are fully trained in the device’s operation.” Bady concludes, then, that the LRAD demonstrates policing is “simply about power. Communication is a means of making you obey,” and, from the perspective of the LRAD, nothing more.
</p>
<p>
	The LRAD conflates communication and force not only conceptually but materially: The same sound serves both purposes. It thus taps into a deep seam in twentieth century science and philosophy that is concerned precisely with the relationship between communication and action. It could be interpreted, for instance, in terms of <a href="http://online.sfsu.edu/~kbach/spchacts.html">speech act theory</a>: A loud LRAD order to disperse is both a threatening speech act and itself an act of force.
</p>
<p>
	Since the use of violence to establish control is intrinsic to the LRAD, though, its collapsing of communication and force resonates less with speech acts than the mid-century science of cybernetics. As MIT mathematician Norbert Wiener subtitled <a href="https://openlibrary.org/books/OL14113345M/Cybernetics_or_Control_and_communication_in_the_animal_and_the_machine.">his 1948 book</a> in which he named the discipline, cybernetics involved the study of “control and communication in the animal and machine.” The field developed in the late 1940s through collaborations between scientists interested in understanding minds, societies, and machines in the same terms—collaborations such as the <a href="http://asc-cybernetics.org/foundations/history/MacySummary.htm">Macy Conferences</a>—and cyberneticians conflated control and communication in part to establish parallels between these different entities. This collapsing of categories also owed something, though, to the origins of cybernetics in military research.
</p>
<p>
	Wiener did much of his thinking about analogies between humans and mechanical control systems during World War II while designing an “antiaircraft predictor,” designed to aim a gun in order to shoot down a maneuvering plane. Such a predictor was necessary because during the twenty seconds a shell took to reach its target, the pilot would maneuver, apparently unpredictably. In his article “<a href="http://jerome-segal.de/Galison94.pdf">The Ontology of the Enemy: Norbert Wiener and the Cybernetic Vision</a>” and a <a href="http://cabinetmagazine.org/issues/12/najafi2.php">followup interview</a> in <cite>Cabinet</cite>, historian of science <a href="https://galison.scholar.harvard.edu">Peter Galison</a> argues that Wiener conceived of the enemy pilot as essentially mechanical, and his predictor as a machine that mirrored its behavior. “With no access to anything in the enemy plane,” he says, “Wiener simply treated the pilot-plane assembly as a complex machine—a servomechanism—that once characterized could be simulated in order to predict what it would do. And then it could be blown out of the sky.”
</p>
<p>
	Although Wiener’s work stood in a long tradition of <a href="https://openlibrary.org/works/OL8396574W/Between_Human_and_Machine">control engineering</a>—since his goal was simply to control a gun—his system also relied on interpreting the plane’s motions as communication to the predictor, which then “learned” its patterns by observing with radar. Even though, “because of the antagonistic relationship between attacker and defender, the anti-aircraft operator was obviously in no position to talk to or even see the pilot,” the latter’s movements still revealed—communicated—his intentions. From Wiener’s perspective as an engineer, though, there was no distinction between control and communication in this system; both were simply messages. There were messages conveyed by the pilot to the plane (through a joystick, say), from the plane to the predictor (through radar), from the predictor to the gun (through a mechanical connection), and from the gun to the plane (through a shell), but each relationship was one of both control and communication, of both force and speech.
</p>
<p>
	The U.S. military also embraced this conflation. During the decades after World War II “command and control,” previously two competing models of military management, became a single practice. <em>Command</em> traditionally involved an officer giving an order which was then interpreted and implemented by those below him in a hierarchy, often as more specific commands to their subordinates. It involved the ambiguity we expect from human communication, if not the dialogue. <em>Control</em>, on the other hand, was direct and (at least ideally) unambiguous. Nuclear weapons, which had to be deployed rapidly and only upon the decision of senior commanders, were subject to control rather than command. This distinction collapsed, though, as nuclear weapons were integrated into conventional military tactics. “By the early 1960s,” writes historian of technology <a href="http://pne.people.si.umich.edu/">Paul Edwards</a> in <cite><a href="https://openlibrary.org/works/OL2937046W/The_Closed_World">The Closed World</a></cite>, “military parlance treated the two as virtually identical. A decade later, ‘command, control, communications, and information’ (C<sup>3</sup>I) had become a single unified process.”
</p>
<p>
	It is from this postwar military ideology that the LRAD and its inventor Elwood Norris emerged. According to <a href="http://keynotespeakers.com/speaker_detail.php?speakerid=4074">his speaking bio</a>, Norris served in the Air Force as a nuclear weapons specialist in the 1950s before becoming an independent inventor. He was <a href="http://money.cnn.com/2009/03/06/smallbusiness/killer_sounds.fsb/">hired by the Navy</a> to design the LRAD in 2000 after the U.S.S. Cole bombing, and the original purpose of the device was to deter guerrillas from U.S. warships. It has since been used to deter Somali pirates from commercial ships and “to blast a series of Arabic phrases, such as ‘Go away or we will kill you,’” in Baghdad and Fallujah.
</p>
<p>
	The LRAD, then, is a military technology that has come home to U.S. soil as a command-and-control system for conveying both orders and force from police to civilians. Its erasure of the distinction between control and communication is not a unique phenomenon that emerges when you build a very loud speaker; rather, its inventor designed a speaker loud enough to “influence behavior and create safety zones” because he and his employers already conflated force and speech.
</p>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="cybernetics" /><category term="technology" /><category term="politics" /><category term="technopolitics" /><category term="conservatism" /><category term="war" /><category term="engineering" /><summary type="html"><![CDATA[The LRAD, or Long Range Acoustic Device, is an extremely loud speaker—loud enough to damage hearing—that is marketed to militaries and police forces for both communication and “escalation of force.” It was first deployed in the United States at the Pittsburgh G20 protests in 2009 and will likely again project orders and siren sounds this weekend in Chicago during demonstrations prompted by NATO’s summit meeting. It also embodies a logic which has pervaded American thought since World War II, a logic which conflates communication and control.]]></summary></entry><entry><title type="html">History of Cybernetics Bibliography</title><link href="https://collopy.net/writing/2012/cybernetics-bibliography/" rel="alternate" type="text/html" title="History of Cybernetics Bibliography" /><published>2012-02-29T00:00:00-08:00</published><updated>2012-02-29T00:00:00-08:00</updated><id>https://collopy.net/writing/2012/cybernetics-bibliography</id><content type="html" xml:base="https://collopy.net/writing/2012/cybernetics-bibliography/"><![CDATA[<p>This is a bibliography of historical and sociological works on cybernetics, a science of “control and communication in the animal and the machine” which flourished from World War II into the 1970s.</p>
<!--more-->
<p>If you’ve come here after asking yourself (or Google) what cybernetics is, I recommend starting with Bernard Geoghegan and Benjamin Peters’ entry “<a href="https://doi.org/10.1002/9781118766804.wbiect041">Cybernetics</a>,” from the <cite>International Encyclopedia of Communication Theory and Philosophy</cite>, and Geoffrey Bowker’s “<a href="https://www.jstor.org/stable/285691">How to Be Universal: Some Cybernetic Strategies, 1943–70</a>.” Ronald Kline’s <cite><a href="https://www.worldcat.org/title/cybernetics-moment-or-why-we-call-our-age-the-information-age/oclc/890127838">The Cybernetics Moment</a></cite> is the synthetic history the field has been waiting for. William Aspray’s “<a href="https://doi.org/10.1109/MAHC.1985.10018">The Scientific Conceptualization of Information: A Survey</a>” places cybernetics in the context of developments in computing and information theory, while Peter Galison’s “<a href="https://www.jstor.org/stable/1343893">The Ontology of the Enemy: Norbert Wiener and the Cybernetic Vision</a>” is a classic account of the field’s military origins. The texts listed below survey the many forms cybernetics took in the decades that followed.</p>
	
<p>This bibliography is limited in three ways: It includes only books and articles which focus on cybernetics rather than the related histories of cyborgs and information theory; it includes only texts in English, though there are also substantial literatures on the subject in other languages; and it excludes articles and dissertations that have been superseded by books by the same authors. Within these limitations, I welcome references to additional books and articles. I last updated this list in February 2026.</p>

<h3 id="big">The Big Picture <small>(but mostly Anglo-American)</small></h3>
<ol class="start">
	<li>A. A. Verveen, “<a href="https://doi.org/10.1016/0025-5564(71)90004-6">In Search of Processes: The Early History of Cybernetics</a>,” <cite>Mathematical Biosciences</cite> 11 (1971).
	<li>Michael Apter, “Cybernetics: A Case Study of a Scientific Subject-Complex,” in <cite><a href="https://www.worldcat.org/title/sociology-of-science/oclc/591825">The Sociology of Science</a></cite>, edited by Paul Halmos (University of Keele, 1972).</li>
	<li>Robert Lilienfeld, <cite><a href="https://www.worldcat.org/title/rise-of-systems-theory-an-ideological-analysis/oclc/3275488">The Rise of Systems Theory: An Ideological Analysis</a></cite> (Wiley, 1978).</li>
	<li><a href="http://www.ics.uci.edu/~gbowker/">Geoffrey Bowker</a>, “<a href="https://www.jstor.org/stable/285691">How to Be Universal: Some Cybernetic Strategies, 1943–70</a>,” <cite>Social Studies of Science</cite> 23 (1993).</li>
	<li><a href="http://nkhayles.com/">Katherine Hayles</a>, <cite><a href="https://www.worldcat.org/title/how-we-became-posthuman-virtual-bodies-in-cybernetics-literature-and-informatics/oclc/39539341">How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics</a></cite> (University of Chicago Press, 1999).</li>
	<li>Charles Fran&ccedil;ois, “<a href="https://doi.org/10.1002/(SICI)1099-1743(199905%2F06)16%3A3%3C203%3A%3AAID-SRES210%3E3.0.CO%3B2-1">Systemics and Cybernetics in a Historical Perspective</a>,” <cite>Systems Research and Behavioral Science</cite> 16 (1999).</li>
	<li><a href="http://sonoma.edu/hutchins/faculty/debora-hammond.html">Debora Hammond</a>, <cite><a href="https://www.worldcat.org/title/science-of-synthesis-exploring-the-social-implications-of-general-systems-theory/oclc/939936819">The Science of Synthesis: Exploring the Social Implications of General Systems Theory</a></cite> (University Press of Colorado, 2003).</li>
	<li><a href="http://www.ics.uci.edu/~gbowker/">Geoffrey Bowker</a>, “The Empty Archive: Cybernetics and the 1960s,” in <cite><a href="https://www.worldcat.org/title/memory-practices-in-the-sciences/oclc/60776866">Memory Practices in the Sciences</a></cite> (MIT Press, 2006).</li>
	<li><a href="http://bernardg.com/">Bernard Geoghegan</a>, “<a href="https://doi.org/10.1109/MAHC.2008.9">The Historiographic Conceptualization of Information: A Critical Survey</a>,” <cite>IEEE Annals of the History of Computing</cite> 30 (2008).</li>
	<li><a href="http://english.emory.edu/home/people/faculty/faculty_pages/johnston.html">John Johnston</a>, <cite><a href="https://www.worldcat.org/title/allure-of-machinic-life-cybernetics-artificial-life-and-the-new-ai/oclc/255975196">The Allure of Machinic Life: Cybernetics, Artificial Life, and the New AI</a></cite> (MIT Press, 2008).</li>
	<li>Philipp Aumann, “<a href="https://doi.org/10.1109/MAHC.2011.78">The Distinctiveness of a Unifying Science: Cybernetics’ Way to West Germany</a>” <cite>IEEE Annals of the History of Computing</cite> 33 (2011).</li>
	<li><a href="http://orithalpern.net/">Orit Halpern</a>, “<a href="https://doi.org/10.1179/0308018812Z.00000000018">Cybernetic Sense</a>,” <cite>Interdisciplinary Science Reviews</cite> 37 (2012).</li>
	<li><a href="http://orithalpern.net/">Orit Halpern</a>, <cite><a href="https://www.worldcat.org/title/beautiful-data-a-history-of-vision-and-reason-since-1945/oclc/875884461">Beautiful Data: A History of Vision and Reason since 1945</a></cite> (Duke University Press, 2014).</li>
	<li><a href="http://sts.cornell.edu/people/Kline.cfm">Ronald Kline</a>, <cite><a href="https://www.worldcat.org/title/cybernetics-moment-or-why-we-call-our-age-the-information-age/oclc/890127838">The Cybernetics Moment; or, Why We Call Our Age the Information Age</a></cite> (Johns Hopkins University Press, 2015).</li>
	<li><a href="http://medientheorie.com/">Claus Pias</a>, “The Age of Cybernetics,” in <cite><a href="https://www.worldcat.org/title/cybernetics-the-macy-conferences-1946-1953-transactions/oclc/945975579">Cybernetics: The Macy Conferences, 1946–1954; The Complete Transactions</a></cite> (diaphanes, 2016).</li>
	<li><a href="https://ridt.co/">Thomas Rid</a>, <cite><a href="https://www.worldcat.org/title/rise-of-the-machines-a-cybernetic-history/oclc/921868924">Rise of the Machines: A Cybernetic History</a></cite> (Norton, 2016).</li>
	<li><a href="http://bernardg.com/">Bernard Geoghegan</a> and <a href="https://petersbenjamin.wordpress.com/">Benjamin Peters</a>, “<a href="https://doi.org/10.1002/9781118766804.wbiect041">Cybernetics</a>,” <cite>International Encyclopedia of Communication Theory and Philosophy</cite> (2016).</li>
	<li><a href="http://elizabethpetrick.com">Elizabeth Petrick</a>, “<a href="https://doi.org/10.1177/0162243919881212">Building the Black Box: Cyberneticians and Complex Systems</a>,” <cite>Science, Technology, and Human Values</cite> (2019).</li>
</ol>

<h3 id="origins">Origins</h3>
<ol class="continue">
	<li>Otto Mayr, <cite><a href="https://www.worldcat.org/title/origins-of-feedback-control/oclc/102836">The Origins of Feedback Control</a></cite> (MIT Press, 1970).</li>
	<li><a href="https://www.ischool.utexas.edu/~bill/">William Aspray</a>, “<a href="https://doi.org/10.1109/MAHC.1985.10018">The Scientific Conceptualization of Information: A Survey</a>,” <cite>IEEE Annals of the History of Computing</cite> 7 (1985).</li>
	<li><a href="http://mindell.scripts.mit.edu/homepage/">David Mindell</a>, <cite><a href="https://www.worldcat.org/title/between-human-and-machine-feedback-control-and-computing-before-cybernetics/oclc/51493422">Between Human and Machine: Feedback, Control, and Computing before Cybernetics</a></cite> (Johns Hopkins University Press, 2002).</li>
</ol>

<h3 id="us">United States</h3>
<ol class="continue">
	<li><a href="http://galison.scholar.harvard.edu/">Peter Galison</a>, “<a href="https://www.jstor.org/stable/20027476">The Americanization of Unity</a>,” <cite>Daedalus</cite> 127 (1998).</li>
	<li>Peter Krieg, “<a href="https://doi.org/10.1108/03684920510581729">The Human Face of Cybernetics: Heinz von Foerster and the History of a Movement That Failed</a>,” <cite>Kybernetes</cite> 34 (2005).</li>
	<li><a href="https://www.gwu.edu/~umpleby/">Stuart Umpleby</a>, “<a href="http://www.gwu.edu/~umpleby/cybernetics/2005_WAS_History_of_Cybernetics_Movement.doc">A History of the Cybernetics Movement in the United States</a>,” <cite>Journal of the Washington Academy of Sciences</cite> 91 (2005).</li>
	<li>Christopher Johnson, “<a href="https://www.jstor.org/stable/43151893">Analogue Apollo: Cybernetics and the Space Age</a>,” <cite>Paragraph</cite> 31 (2008).</li>
</ol>

<h3 id="wiener">Norbert Wiener</h3>
<ol class="continue">
	<li>Steve Heims, <cite><a href="https://www.worldcat.org/title/john-von-neumann-and-norbert-wiener-from-mathematics-to-the-technologies-of-life-and-death/oclc/6304716">John von Neumann and Norbert Wiener: From Mathematics to the Technologies of Life and Death</a></cite> (MIT Press, 1982).</li>
	<li>Pesi Masani, <cite><a href="https://www.worldcat.org/title/norbert-wiener-1894-1964/oclc/19389460">Norbert Wiener, 1894–1964</a></cite> (Birkhauser, 1990).</li>
	<li><a href="http://galison.scholar.harvard.edu/">Peter Galison</a>, “<a href="https://www.jstor.org/stable/1343893">The Ontology of the Enemy: Norbert Wiener and the Cybernetic Vision</a>,” <cite>Critical Inquiry</cite> 21 (1994).</li>
	<li><a href="https://www.unizar.es/sociocybernetics/chen/felix/">Felix Geyer</a> and Johannes van der Zouwen, “<a href="https://doi.org/10.1108/03684929410068334">Norbert Wiener and the Social Sciences</a>,” <cite>Kybernetes</cite> 23 (1994).
	<li><a href="http://math.mit.edu/people/profile.php?pid=112">David Jerison</a> and <a href="http://math.mit.edu/people/profile.php?pid=268">Daniel Stroock</a>, “Norbert Wiener,” <cite><a href="https://www.worldcat.org/title/legacy-of-norbert-wiener-a-centennial-symposium-in-honor-of-the-100th-anniversary-of-norbert-wieners-birth-october-8-14-1994-massachusetts-institute-of-technology-cambridge-massachusetts/oclc/36307811">The Legacy of Norbert Wiener: A Centennial Symposium</a></cite> (1997).</li>
	<li><a href="http://conwayandsiegelman.stillpointpress.net/">Flo Conway and Jim Siegelman</a>, <cite><a href="https://www.worldcat.org/title/dark-hero-of-the-information-age-in-search-of-norbert-wiener-the-father-of-cybernetics/oclc/56656253">Dark Hero of the Information Age: In Search of Norbert Wiener, the Father of Cybernetics</a></cite> (Basic Books, 2004).</li>
	<li><a href="http://maramills.org/">Mara Mills</a>, “<a href="https://doi.org/10.1215/10407391-1428852">On Disability and Cybernetics: Helen Keller, Norbert Wiener, and the Hearing Glove</a>,” <cite>differences</cite> 22 (2011).</li>
	<li><a href="https://petersbenjamin.wordpress.com/">Benjamin Peters</a>, “<a href="https://doi.org/10.1080/19409419.2013.775544">Toward a Genealogy of a Cold War Communication Science: The Strange Loops of Leo and Norbert Wiener</a>,” <cite>Russian Journal of Communication</cite> 5 (2013).</li>
	<li><a href="https://www.uni-weimar.de/de/medien/professuren/medienwissenschaft/theorie-medialer-welten/personen/schmidgen/">Henning Schmidgen</a>, “<a href="https://doi.org/10.1177/0952695119880662">Cybernetic Times: Norbert Wiener, John Stroud, and the ‘Brain Clock’ Hypothesis</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
</ol>

<h3 id="ussr">Soviet and Comparative Studies</h3>
<ol class="continue">
	<li><a href="https://profiles.stanford.edu/david-holloway">David Holloway</a>, “<a href="https://www.jstor.org/stable/284545">Innovation in Science—The Case of Cybernetics in the Soviet Union</a>,” <cite>Science Studies</cite> 4 (1974).</li>
	<li>Peter Elias, “The Rise and Fall of Cybernetics in the US and the USSR,” <cite><a href="https://www.worldcat.org/title/legacy-of-norbert-wiener-a-centennial-symposium-in-honor-of-the-100th-anniversary-of-norbert-wieners-birth-october-8-14-1994-massachusetts-institute-of-technology-cambridge-massachusetts/oclc/36307811">The Legacy of Norbert Wiener: A Centennial Symposium</a></cite> (1997).</li>
	<li><a href="http://web.mit.edu/slava/homepage/">Slava Gerovitch</a>, <cite><a href="https://www.worldcat.org/title/from-newspeak-to-cyberspeak-a-history-of-soviet-cybernetics/oclc/48477582">From Newspeak to Cyberspeak: A History of Soviet Cybernetics</a></cite> (MIT Press, 2002).</li>
	<li><a href="http://mindell.scripts.mit.edu/homepage/">David Mindell</a>, <a href="http://jerome-segal.de/">J&eacute;r&ocirc;me Segal</a>, and <a href="http://web.mit.edu/slava/homepage/">Slava Gerovitch</a>, “From Communications Engineering to Communications Science: Cybernetics and Information Theory in the United States, France, and the Soviet Union,” in <cite><a href="https://www.worldcat.org/title/science-and-ideology-a-comparative-history/oclc/49395331">Science and Ideology: A Comparative History</a></cite>, edited by Mark Walker (Routledge, 2003).</li>
	<li><a href="https://petersbenjamin.wordpress.com/">Benjamin Peters</a>, “<a href="http://ijoc.org/ojs/index.php/ijoc/article/view/212">Betrothal and Betrayal: The Soviet Translation of Norbert Wiener’s Early Cybernetics</a>,” <cite>International Journal of Communications</cite> 2 (2008).</li>
	<li><a href="https://petersbenjamin.wordpress.com/">Benjamin Peters</a>, <cite><a href="https://www.worldcat.org/title/how-not-to-network-a-nation-the-uneasy-history-of-the-soviet-internet/oclc/927438758">How Not to Network a Nation: The Uneasy History of the Soviet Internet</a></cite> (MIT Press, 2016).</li>
	<li><a href="https://slavic.columbia.edu/content/adam-e-leeds">Adam Leeds</a>, “<a href="https://www.jstor.org/stable/26413630">Dreams in Cybernetic Fugue: Cold War Technoscience, the Intelligentsia, and the Birth of Soviet Mathematical Economics</a>,” <cite>Historical Studies in the Natural Sciences</cite> 46 (2016).</li>
	<li><a href="https://cla.auburn.edu/history/people/faculty/instructors/diana-kurkovsky-west/">Diana Kurkovsky West</a>, “<a href="https://doi.org/10.1177/0952695119886520">Cybernetics for the Command Economy: Foregrounding Entropy in Late Soviet Planning</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li><a href="https://sites.lafayette.edu/sanbornj/">Joshua Sanborn</a>, “<a href="https://doi.org/10.1353/kri.2022.0044">Cybernetics and Surveillance: The Secret Police Enter the Computer Age</a>,” <cite>Kritika</cite> 23 (2022).</li>
</ol>

<h3 id="france">France and “French Theory”</h3>
<ol class="continue">
	<li><a href="http://socio.umontreal.ca/repertoire-departement/vue/lafontaine-celine/">C&eacute;line Lafontaine</a>, “<a href="https://doi.org/10.1177/0263276407084637">The Cybernetic Matrix of ‘French Theory,’</a>” <cite>Theory, Culture &amp; Society</cite> 24 (2007).</li>
	<li><a href="http://www.columbia.edu/~ll2410/">Lydia Liu</a>, “<a href="https://doi.org/10.1086/648527">The Cybernetic Unconscious: Rethinking Lacan, Poe, and French Theory</a>,” <cite>Critical Inquiry</cite> 36 (2010).</li>
	<li><a href="https://history.cornell.edu/jacob-krell">Jacob Krell</a>, “<a href="https://doi.org/10.1177/0952695119886988">What is the ‘Cybernetic’ in the ‘History of Cybernetics’? A French Case, 1968 to the Present</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li><a href="https://www.sowi.hu-berlin.de/en/lehrbereiche-en/general-sociology/team/vincent-august/index">Vincent August</a>, “<a href="https://doi.org/10.1177/1368431021991046">Network Concepts in Social Theory: Foucault and Cybernetics</a>,” <cite>European Journal of Social Theory</cite> 24 (2021).</li>
	<li><a href="http://bernardg.com/">Bernard Geoghegan</a>, <cite><a href="https://search.worldcat.org/title/1346150607">Code: From Information Theory to French Theory</a></cite> (Duke University Press, 2023)</li>
</ol>

<h3 id="chile">Chile</h3>
<ol class="continue">
	<li><a href="https://edenmedina.mit.edu/">Eden Medina</a>, <cite><a href="https://www.worldcat.org/title/cybernetic-revolutionaries-technology-and-politics-in-allendes-chile/oclc/713834502">Cybernetic Revolutionaries: Technology and Politics in Allende’s Chile</a></cite> (MIT Press, 2011).</li>
	<li><a href="https://airandspace.si.edu/people/staff/martin-collins">Martin Collins</a>, <a href="https://doi.org/10.1080/07341512.2013.776857">introduction to forum on <cite>Cybernetic Revolutionaries</cite></a>, <cite>History and Technology</cite> 28 (2012).</li>
	<li><a href="https://usnwc.edu/Faculty-and-Departments/Directory/Michael-Aaron-Dennis">Michael Dennis</a>, “<a href="https://doi.org/10.1080/07341512.2012.756240">Scientific and Technical Knowledge and the Making of Political Order</a>,” <cite>History and Technology</cite> 28 (2012).</li>
	<li><a href="http://sts.cornell.edu/people/Kline.cfm">Ronald Kline</a>, “<a href="https://doi.org/10.1080/07341512.2012.756239">Beyond the Closed World</a>,” <cite>History and Technology</cite> 28 (2012).</li>
	<li><a href="https://drexel.edu/coas/faculty-research/faculty-directory/TiagoSaraiva/">Tiago Saraiva</a>, “<a href="https://doi.org/10.1080/07341512.2012.756238">The History of Cybernetics in McOndo</a>,” <cite>History and Technology</cite> 28 (2012).</li>
	<li><a href="https://edenmedina.mit.edu/">Eden Medina</a>, <a href="https://doi.org/10.1080/07341512.2012.756237">author response to forum on <cite>Cybernetic Revolutionaries</cite></a>, <cite>History and Technology</cite> 28 (2012).</li>
</ol>

<h3 id="biology">Biology</h3>
<ol class="continue">
	<li><a href="http://people.ucsc.edu/~haraway/">Donna Haraway</a>, “<a href="https://doi.org/10.1215/01636545-1979-20-206">The Biological Enterprise: Sex, Mind, and Profit from Human Engineering to Sociobiology</a>,” <cite>Radical History Review</cite> no. 20 (1979).</li>
	<li><a href="http://people.ucsc.edu/~haraway/">Donna Haraway</a>, “The High Cost of Information in Post World War II Evolutionary Biology: Ergonomics, Semiotics, and the Sociobiology of Communications Systems,” <cite><a href="https://www.worldcat.org/title/philosophical-forum/oclc/1787155">Philosophical Forum</a></cite> 13 (1981–2).</li>
	<li><a href="http://people.ucsc.edu/~haraway/">Donna Haraway</a>, “Signs of Dominance: From a Physiology to a Cybernetics of Primate Society, C.R. Carpenter, 1930–1970,” in <cite><a href="https://www.worldcat.org/title/studies-in-history-of-biology/oclc/2957828">Studies in History of Biology</a></cite> 6, edited by William Coleman and Camille Limoges (Johns Hopkins University Press, 1983).</li>
	<li><a href="http://people.ucsc.edu/~haraway/">Donna Haraway</a>, “A Semiotics of the Naturalistic Field, from C.R. Carpenter to S.A. Altmann, 1930–55,” in <cite><a href="https://www.worldcat.org/title/primate-visions-gender-race-and-nature-in-the-world-of-modern-science/oclc/19672184">Primate Visions: Gender, Race, and Nature in the World of Modern Science</a></cite> (Routledge, 1989).</li>
	<li><a href="http://web.mit.edu/sts/people/keller.html">Evelyn Fox Keller</a>, “The Body of a New Machine: Situating the Organism between Telegraphs and Computers,” in <cite><a href="https://www.worldcat.org/title/refiguring-life-metaphors-of-twentieth-century-biology/oclc/31606662">Refiguring Life: Metaphors of Twentieth-Century Biology</a></cite> (Columbia University Press, 1995).</li>
	<li>Lily Kay, <cite><a href="https://www.worldcat.org/title/who-wrote-the-book-of-life-a-history-of-the-genetic-code/oclc/41967065">Who Wrote the Book of Life? A History of the Genetic Code</a></cite> (Stanford University Press, 2000).</li>
	<li><a href="http://web.mit.edu/sts/people/keller.html">Evelyn Fox Keller</a>, “Taming the Cybernetic Metaphor” in <cite><a href="https://www.worldcat.org/title/making-sense-of-life-explaining-biological-development-with-models-metaphors-and-machines/oclc/48100379">Making Sense of Life: Explaining Biological Development with Models, Metaphors, and Machines</a></cite> (Harvard University Press, 2002).</li>
	<li><a href="https://sydney.edu.au/arts/history/staff/profiles/warwick.anderson.php">Warwick Anderson</a> and Ian MacKay, “The Science of Self,” in <cite><a href="https://www.worldcat.org/title/intolerant-bodies-a-short-history-of-autoimmunity/oclc/894511336">Intolerant Bodies: A Short History of Autoimmunity</a></cite> (Johns Hopkins University Press, 2014).</li>
</ol>

<h4 id="ecology">Ecology</h4>
<ol class="continue">
	<li><a href="http://faculty.umb.edu/pjt/">Peter Taylor</a>, “<a href="https://www.jstor.org/stable/4331051">Technocratic Optimism, H.T. Odum, and the Partial Transformation of Ecological Metaphor after World War II</a>,” <cite>Journal of the History of Biology</cite> 21 (1988).</li>
	<li><a href="http://host.jhu.edu/directory/sharon-kingsland/">Sharon Kingsland</a>, “Defining the Ecosystem,” in <cite><a href="https://www.worldcat.org/title/evolution-of-american-ecology-1890-2000/oclc/56982282">The Evolution of American Ecology, 1890–2000</a></cite> (John Hopkins University Press, 2005).</li>
	<li>William Bryant, “<a href="http://search.proquest.com/docview/305339541/">Whole System, Whole Earth: The Convergence of Technology and Ecology in Twentieth-Century American Culture</a>” (doctoral dissertation, University of Iowa, 2006).</li>
	<li><a href="https://www.depts.ttu.edu/english/general_info/directory/faculty_profile_pages/clarke_detailed.php">Bruce Clarke</a>, “Neocybernetics of Gaia: The Emergence of Second-Order Gaia Theory,” in <cite><a href="https://www.worldcat.org/title/gaia-in-turmoil-climate-change-biodepletion-and-earth-ethics-in-an-age-of-crisis/oclc/313017382">Gaia in Turmoil: Climate Change, Biodepletion, and Earth Ethics in an Age of Crisis</a></cite>, edited by Eileen Crist and H. Bruce Rinker (MIT Press, 2010).</li>
	<li>Nancy Slack, “Good Friends: Margaret Mead and Gregory Bateson” in <cite><a href="https://www.worldcat.org/title/g-evelyn-hutchinson-and-the-invention-of-modern-ecology/oclc/758332328">G. Evelyn Hutchinson and the Invention of Modern Ecology</a></cite> (Yale University Press, 2010).</li>
	<li><a href="https://www.usf.edu/arts-sciences/departments/humanities-cultural-studies/faculty/daniel-belgrad.aspx">Daniel Belgrad</a>, <cite><a href="https://search.worldcat.org/title/1153210310">The Culture of Feedback: Ecological Thinking in ’70s America</a></cite> (University of Chicago Press, 2019).</li>
</ol>

<h3 id="social">Social Sciences</h3>
<ol class="continue">
	<li>Steve Heims, <cite><a href="https://www.worldcat.org/title/cybernetics-group/oclc/23047769">Constructing a Social Science for Postwar America: The Cybernetics Group, 1946–1953</a></cite> (MIT Press, 1991).</li>
	<li><a href="http://www.albany.edu/~gpr/">George Richardson</a>, <cite><a href="https://www.worldcat.org/title/feedback-thought-in-social-science-and-systems-theory/oclc/22731896">Feedback Thought in Social Science and Systems Theory</a></cite> (University of Pennsylvania Press, 1991).</li>
	<li><a href="http://emsent.nl/">Esther-Mirjam Sent</a>, “<a href="http://muse.jhu.edu/journals/perspectives_on_science/v008/8.4sent.html">Herbert A. Simon as a Cyborg Scientist</a>,” <cite>Perspectives on Science</cite> 8 (2000).</li>
	<li><a href="http://reilly.nd.edu/people/reilly-fellows/philip-mirowski/">Philip Mirowski</a>, <cite><a href="https://www.worldcat.org/title/machine-dreams-economics-becomes-a-cyborg-science/oclc/45636899">Machine Dreams: Economics Becomes a Cyborg Science</a></cite> (Cambridge University Press, 2001).</li>
	<li><a href="http://cas.ou.edu/hunter-heyck">Hunter Crowther-Heyck</a>, <cite><a href="https://www.worldcat.org/title/herbert-a-simon-the-bounds-of-reason-in-modern-america/oclc/55511492">Herbert A. Simon: The Bounds of Reason in Modern America</a></cite> (Johns Hopkins University Press, 2005).</li>
	<li><a href="http://cas.ou.edu/hunter-heyck">Hunter Heyck</a>, <cite><a href="https://www.worldcat.org/title/age-of-system-understanding-the-development-of-modern-social-science/oclc/891185841">Age of System: Understanding the Development of Modern Social Science</a></cite> (Johns Hopkins University Press, 2015).</li>
	<li><a href="https://www.stefanos-geroulanos.com">Stefanos Geroulanos</a> and <a href="https://leifweatherby.org/">Leif Weatherby</a>, <a href="https://doi.org/10.1177/0952695119887098">“Cybernetics and the Human Sciences” special issue introduction</a>, <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li><a href="http://sts.cornell.edu/people/Kline.cfm">Ronald Kline</a>, “<a href="https://doi.org/10.1177/0952695119872111">How Disunity Matters to the History of Cybernetics in the Human Sciences in the United States, 1940–80</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li>Poornima Paidipaty, “<a href="https://doi.org/10.1177/1463499619899747">‘Tortoises All the Way Down’: Geertz, Cybernetics and ‘Culture’ at the End of the Cold War</a>,” <cite>Anthropological Theory</cite> 20 (2020).</li>
</ol>

<h4 id="bateson">Gregory Bateson</h4>
<ol class="continue">
	<li><a href="http://cla.umn.edu/about/directory/profile/lipse001">David Lipset</a>, <cite><a href="https://www.worldcat.org/title/gregory-bateson-the-legacy-of-a-scientist/oclc/5894222">Gregory Bateson: The Legacy of a Scientist</a></cite> (Prentice Hall, 1980).</li>
	<li><a href="http://hss.sas.upenn.edu/people/tresch">John Tresch</a>, “<a href="https://www.jstor.org/stable/2783231">Heredity is an Open System: Gregory Bateson as Descendant and Ancestor</a>,” <cite>Anthropology Today</cite> 14 (1998).</li>
	<li><a href="http://www.armoniedeldisordine.it/">Leone Montagnini</a>, “<a href="https://doi.org/10.1108/03684920710777522">Looking for ‘Scientific’ Social Science: The Macy Conferences on Cybernetics in Bateson’s Itinerary</a>,” <cite>Kybernetes</cite> 36 (2007).</li>
	<li>Frank Thomas, Rebekah Waits, and Gail Hartsfield, “<a href="https://doi.org/10.1108/03684920710777397">The Influence of Gregory Bateson: Legacy or Vestige?</a>” <cite>Kybernetes</cite> 36 (2007).</li>
	<li><a href="https://www.northeastern.edu/camd/artdesign/people/william-kaizen/">William Kaizen</a>, “<a href="https://www.jstor.org/stable/40598913">Steps to an Ecology of Communication: <cite>Radical Software</cite>, Dan Graham, and the Legacy of Gregory Bateson</a>,” <cite>Art Journal</cite> 67 (2008).</li>
	<li><a href="http://history.ua.edu/faculty/erik-peterson/">Erik Peterson</a>, “<a href="http://etd.nd.edu/ETD-db/theses/available/etd-04132010-142514/">Finding Mind, Form, Organism, and Person in a Reductionist Age: The Challenge of Gregory Bateson and C. H. Waddington to Biological and Anthropological Orthodoxy, 1924–1980</a>” (doctoral dissertation, University of Notre Dame, 2010).</li>
	<li><a href="http://orithalpern.net/">Orit Halpern</a>, “<a href="http://sfonline.barnard.edu/feminist-media-theory/schizophrenic-techniques-cybernetics-the-human-sciences-and-the-double-bind/">Schizophrenic Techniques: Cybernetics, the Human Sciences, and the Double Bind</a>,” <cite>S&amp;F Online</cite> 10 (2012).</li>
	<li><a href="http://laps-dept.apps01.yorku.ca/anth/faculty/emeriti/harries.html">Peter Harries-Jones</a>, <cite><a href="https://www.worldcat.org/title/upside-down-gods-gregory-batesons-world-of-difference/oclc/952953457">Upside-Down Gods: Gregory Bateson’s World of Difference</a></cite> (Fordham University Press, 2016).</li>
	<li><a href="https://anthonychaney.com/">Anthony Chaney</a>, <cite><a href="https://www.worldcat.org/title/runaway-gregory-bateson-the-double-bind-and-the-rise-of-ecological-consciousness/oclc/1032366653">Runaway: Gregory Bateson, the Double Bind, and the Rise of Ecological Consciousness</a></cite> (University of North Carolina Press, 2017).</li>
</ol>

<h3 id="mind">Sciences of Mind</h3>
<ol class="continue">
	<li><a href="http://www.sv.uio.no/psi/personer/vit/geirki/">Geir Kirkeb&oslash;en</a>, “<a href="https://doi.org/10.1177/053901895034001002">From a Naked Emperor to Just Clothes: The Rise and Fall of Cybernetic Family Therapy</a>,” <cite>Social Science Information</cite> 34 (1995).</li>
	<li><a href="https://www.brown.edu/Departments/CLPS/people/james-anderson">James Anderson</a> and Edward Rosenfeld, <cite><a href="https://doi.org/10.7551/mitpress/6626.001.0001">Talking Nets: An Oral History of Neural Networks</a></cite> (MIT Press, 1998).</li>
	<li><a href="https://dlcl.stanford.edu/people/jean-pierre-dupuy">Jean-Pierre Dupuy</a>, <cite><a href="https://www.worldcat.org/title/mechanization-of-the-mind-on-the-origins-of-cognitive-science/oclc/44026149">The Mechanization of the Mind: The Origins of Cognitive Science</a></cite>, translated by M. B. DeBevoise (Princeton University Press, 2000).</li>
	<li>Roberto Cordeschi, <cite><a href="https://www.worldcat.org/title/discovery-of-the-artificial-behavior-mind-and-machines-before-and-beyond-cybernetics/oclc/49860160">The Discovery of the Artificial: Behavior, Mind and Machines Before and Beyond Cybernetics</a></cite> (Kluwer Academic Publishers, 2002).</li>
	<li><a href="http://www.triuhistory.ca/tara-abraham/">Tara Abraham</a>, “<a href="https://doi.org/10.1023/A:1024147708370">From Theory to Data: Representing Neurons in the 1940s</a>,” <cite>Biology and Philosophy</cite> 18 (2003).</li>
	<li><a href="http://www.triuhistory.ca/tara-abraham/">Tara Abraham</a>, “<a href="http://link.springer.com/article/10.1162/biot.2006.1.4.418">Cybernetics and Theoretical Approaches in 20th-Century Brain and Behavior Sciences</a>,” <cite>Biological Theory</cite> 1 (2006).</li>
	<li><a href="http://socialsciences.exeter.ac.uk/sociology/staff/pickering/">Andrew Pickering</a>, <cite><a href="https://www.worldcat.org/title/cybernetic-brain-sketches-of-another-future/oclc/615626770">The Cybernetic Brain: Sketches of Another Future</a></cite> (University of Chicago Press, 2010).</li>
	<li><a href="http://histsci.fas.harvard.edu/people/rebecca-lemov">Rebecca Lemov</a>, “<a href="http://limn.it/running-amok-in-labyrinthine-systems-the-cyber-behaviorist-origins-of-soft-torture/">Running Amok in Labyrinthine Systems: The Cyber-Behaviorist Origins of Soft Torture</a>,” <cite>Limn</cite> 1 (2011).</li>
	<li><a href="https://vivo.brown.edu/display/dweinste">Deborah Weinstein</a>, “‘Systems Everywhere’: Schizophrenia, Cybernetics, and the Double Bind,” in <cite><a href="https://www.worldcat.org/title/pathological-family-postwar-america-and-the-rise-of-family-therapy/oclc/800721205">The Pathological Family: Postwar America and the Rise of Family Therapy</a></cite> (Cornell University Press, 2013).</li>
	<li><a href="https://mediashiga.net/">John Shiga</a>, “<a href="http://amodern.net/article/of-other-networks/">Of Other Networks: Closed-World and Green-World Networks in the Work of John C. Lilly</a>,” <cite>Amodern</cite> 2 (2013).</li>
	<li><a href="https://hps.utoronto.ca/staff/chen-pang-yeang/">Chen-Pang Yeang</a>, “<a href="https://doi.org/10.1086/694184">From Modernizing the Chinese Language to Information Science: Chao Yuen Ren’s Route to Cybernetics</a>,” <cite>Isis</cite> 108 (2017).</li>
	<li><a href="https://anthropology.columbia.edu/content/danielle-judith-zola-carr">Danielle Judith Zola Carr</a>, “<a href="https://doi.org/10.1177/0952695119874009">‘Ghastly Marionettes’ and the Political Metaphysics of Cognitive Literalism: Anti-Behaviourism, Language, and the Origins of Totalitarianism</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li><a href="http://www.christinavagt.com">Christina Vagt</a>, “<a href="https://doi.org/10.1177/0952695119882883">Design as Aesthetic Education: On the Politics and Aesthetics of Learning Environments</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li><a href="https://history.princeton.edu/people/katja-guenther">Katja Guenther</a>, “The Dancing Robot: Grey Walter’s Cybernetic Mirror,” in <cite><a href="https://search.worldcat.org/title/1345590894">The Mirror and the Mind: A History of Self-Recognition in the Human Sciences</a></cite> (Princeton University Press, 2022).</li>
</ol>

<h4 id="mcculloch">Warren McCulloch and Walter Pitts</h4>
<ol class="continue">
	<li><a href="http://ngp.usc.edu/faculty/profile/?fid=16">Michael Arbib</a>, “<a href="https://doi.org/10.1353/pbm.2000.0001">Warren McCulloch’s Search for the Logic of the Nervous System</a>,” <cite>Perspectives in Biology and Medicine</cite> 43 (2000).</li>
	<li><a href="http://www.psych.uic.edu/department-of-psychiatry-faculty-list/154-about-us/directory/faculty/234-neil-r-smalheiser-md-phd">Neil Smalheiser</a>, “<a href="https://doi.org/10.1353/pbm.2000.0009">Walter Pitts</a>,” <cite>Perspectives in Biology and Medicine</cite> 43 (2000).</li>
	<li>Lily Kay, “<a href="https://doi.org/10.1017/S0269889701000266">From Logical Neurons to Poetic Embodiments of Mind: Warren S. McCulloch’s Project in Neuroscience</a>,” <cite>Science in Context</cite> 14 (2001).</li>
	<li><a href="http://www.triuhistory.ca/tara-abraham/">Tara Abraham</a>, “<a href="https://doi.org/10.1016/S0160-9327(03)00017-6">Integrating Mind and Brain: Warren S. McCulloch, Cerebral Localization, and Experimental Epistemology</a>,” <cite>Endeavour</cite> 27 (2003).</li>
	<li><a href="https://sites.google.com/site/kenaizawa/">Kenneth Aizawa</a>, “<a href="https://doi.org/10.1179/0308018812Z.00000000017">Warren McCulloch’s Turn to Cybernetics: What Walter Pitts Contributed</a>,” <cite>Interdisciplinary Science Reviews</cite> 37 (2012).</li>
	<li><a href="http://users.sussex.ac.uk/~philh/">Phil Husbands</a> and <a href="http://cswww.essex.ac.uk/staff/owen/">Owen Holland</a>, “<a href="https://doi.org/10.1179/0308018812Z.00000000019">Warren McCulloch and the British Cyberneticians</a>,” <cite>Interdisciplinary Science Reviews</cite> 37 (2012).</li>
	<li><a href="http://www.lancaster.ac.uk/psychology/contact-and-getting-here/people/alan-collins">Alan Collins</a>, “<a href="https://doi.org/10.1179/0308018812Z.00000000020">An Asymmetric Relationship: The Spirit of Kenneth Craik and the Work of Warren McCulloch</a>,” <cite>Interdisciplinary Science Reviews</cite> 37 (2012).</li>
	<li><a href="http://www.triuhistory.ca/tara-abraham/">Tara Abraham</a>, <cite><a href="https://mitpress.mit.edu/books/rebel-genius">Rebel Genius: Warren S. McCulloch’s Transdisciplinary Life in Science</a></cite> (MIT Press, 2016).</li>
</ol>

<h3 id="politics">Politics and Planning</h3>
<ol class="continue">
	<li><a href="http://pne.people.si.umich.edu/">Paul Edwards</a>, <cite><a href="https://www.worldcat.org/title/closed-world-computers-and-the-politics-of-discourse-in-cold-war-america/oclc/42636403">The Closed World: Computers and the Politics of Discourse in Cold War America</a></cite> (MIT Press, 1996).</li>
	<li><a href="http://web.mit.edu/sts/people/light.html">Jennifer Light</a>, <cite><a href="https://www.worldcat.org/title/from-warfare-to-welfare-defense-intellectuals-and-urban-problems-in-cold-war-america/oclc/51924188">From Warfare to Welfare: Defense Intellectuals and Urban Problems in Cold War America</a></cite> (Johns Hopkins University Press, 2003).</li>
	<li><a href="http://web.mit.edu/sts/people/light.html">Jennifer Light</a>, “<a href="https://doi.org/10.1353/tech.0.0007">Taking Games Seriously</a>,” <cite>Technology and Culture</cite> 49 (2008).</li>
	<li><a href="http://bbk.ac.uk/politics/our-staff/academic/antoine-bousquet">Antoine Bousquet</a>, “<a href="https://doi.org/10.1080/14682740701791359">Cyberneticizing the American War Machine: Science and Computers in the Cold War</a>,” <cite>Cold War History</cite> 8 (2008).</li>
	<li><a href="http://www.egs.edu/faculty/brian-holmes/">Brian Holmes</a>, <cite><a href="https://brianholmes.wordpress.com/2009/01/19/book-materials/">Escape the Overcode: Activist Art in the Control Society</a></cite> (Van Abbemuseum, 2009).</li>
	<li><a href="http://geography.utoronto.ca/matt-farish-home-page/">Matthew Ferish</a>, “The Cybernetic Continent: North America as Defense Laboratory,” in <cite><a href="https://www.worldcat.org/title/contours-of-americas-cold-war/oclc/698116870">The Contours of America’s Cold War</a></cite> (University of Minnesota Press, 2010).</li>
	<li><a href="http://democracycollaborative.org/content/john-duda">John Duda</a>, “<a href="https://www.lwbooks.co.uk/anarchist-studies/21-1/cybernetics-anarchism-and-self-organisation">Cybernetics, Anarchism and Self-Organisation</a>,” <cite>Anarchist Studies</cite> 21 (2013).</li>
	<li><a href="https://rhetoric.berkeley.edu/people/david-bates/">David Bates</a>, “<a href="https://doi.org/10.1177/0952695119864237">The Political Theology of Entropy: A Katechon for the Cybernetic Age</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li><a href="https://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/People/Professors/Guilhot">Nicolas Guilhot</a>, “<a href="https://doi.org/10.1177/0952695119864244">Automatic Leviathan: Cybernetics and Politics in Carl Schmitt’s Postwar Writings</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li><a href="https://www.hf.uio.no/ikos/english/people/aca/middle-east-studies/temporary/joakimp/">Joakim Parslow</a>, “<a href="https://doi.org/10.1017/S0020743821001033">The Mechanical Atatürk: Cybernetics and State Violence in the Second Turkish Republic</a>,” <cite>International Journal of Middle East Studies</cite> 53 (2021).</li>
</ol>

<h3 id="popular">Popular Culture and Counterculture</h3>
<ol class="continue">
	<li><a href="http://homepages.rpi.edu/~eglash/eglash.htm">Ron Eglash</a>, “<a href="https://doi.org/10.1080/095023898335474">Cybernetics in American Youth Subculture</a>,” <cite>Cultural Studies</cite> 12 (1998).</li>
	<li><a href="http://fredturner.stanford.edu/">Fred Turner</a>, <cite><a href="https://www.worldcat.org/title/from-counterculture-to-cyberculture-stewart-brand-the-whole-earth-network-and-the-rise-of-digital-utopianism/oclc/62533774">From Counterculture to Cyberculture: Stewart Brand, the Whole Earth Network, and the Rise of Digital Utopianism</a></cite> (University of Chicago Press, 2006).</li>
	<li><a href="https://www.depts.ttu.edu/english/general_info/directory/faculty_profile_pages/clarke_detailed.php">Bruce Clarke</a>, “<a href="http://www.univie.ac.at/constructivism/journal/7/3/196.clarke">From Information to Cognition: The Systems Counterculture, Heinz von Foerster’s Pedagogy, and Second-Order Cybernetics</a>,” <cite>Constructivist Foundations</cite> 7 (2012).</li>
	<li><a href="http://www.dubberly.com/about">Hugh Dubberly</a> and <a href="http://pangaro.com">Paul Pangaro</a>, “<a href="http://www.dubberly.com/articles/cybernetics-and-counterculture.html">How Cybernetics Connects Computing, Counterculture, and Design</a>,” in <cite>Hippie Modernism: The Struggle for Utopia</cite>, edited by Andrew Blauvelt (2015).</li>
	<!--Felicity Scott?-->
</ol>

<h3 id="art">Art</h3>
<ol class="continue">
	<li><a href="http://daniels.utoronto.ca/people/lobsingerm">Mary Louise Lobsinger</a>, “Cybernetic Theory and the Architecture of Performance: Cedric Price’s Fun Palace,” in <cite><a href="https://www.worldcat.org/title/anxious-modernisms-experimentation-in-postwar-architectural-culture/oclc/46929153">Anxious Modernisms: Experimentation in Postwar Architectural Culture</a></cite> (Canadian Center for Architecture, 2000).</li>
	<li><a href="http://artexetra.wordpress.com">Edward Shanken</a>, “<a href="http://artexetra.com/CyberneticsArtCultConv.pdf">Cybernetics and Art: Cultural Convergence in the 1960s</a>,” in <cite><a href="https://www.worldcat.org/title/from-energy-to-information-representation-in-science-and-technology-art-and-literature/oclc/49821329">From Energy to Information</a></cite>, edited by Bruce Clarke and Linda Henderson (Stanford University Press, 2002).</li>
	<li><a href="http://arthistory.cornell.edu/people/fernandez.cfm">Maria Fernandez</a>, “<a href="http://muse.jhu.edu/journals/leonardo/v041/41.2.fernandez.html">Gordon Pask: Cybernetic Polymath</a>,” <cite>Leonardo</cite> 41 (2008).</li>
	<li><a href="http://arthistory.cornell.edu/people/fernandez.cfm">Maria Fernandez</a>, “<a href="https://www.jstor.org/stable/40598908">Detached from HiStory: Jasia Reichardt and Cybernetic Serendipity</a>,” <cite>Art Journal</cite> 67 (2008).</li>
	<li>Etan J. Ilfeld, “<a href="https://doi.org/10.1162/LEON_a_00326">Contemporary Art and Cybernetics: Waves of Cybernetic Discourse within Conceptual, Video and New Media Art</a>,” <cite>Leonardo</cite> 45 (2012).</li>
	<li><a href="http://etiennebenson.com/">Etienne Benson</a>, “<a href="https://doi.org/10.7275/R5HT2M7T">Environment between System and Nature: Alan Sonfist and the Art of the Cybernetic Environment</a>,” <cite>communication +1</cite> 3 (2014).</li>
</ol>

<h4 id="film">Film and Video</h4>
<ol class="continue">
	<li><a href="http://www.gc.cuny.edu/Page-Elements/Academics-Research-Centers-Initiatives/Doctoral-Programs/Art-History/Faculty-Bios/David-Joselit">David Joselit</a>, <cite><a href="https://www.worldcat.org/title/feedback-television-against-democracy/oclc/71322293">Feedback: Television Against Democracy</a></cite> (MIT Press, 2007).</li>
	<li><a href="http://art.stonybrook.edu/faculty/zabet-patterson/">Zabet Patterson</a>, “<a href="https://doi.org/10.1162/grey.2009.1.36.36">From the Gun Controller to the Mandala: The Cybernetic Cinema of John and James Whitney</a>,” <cite>Grey Room</cite> no. 36 (2009).</li>
	<li><a href="http://film.fsu.edu/People/Administration/Dr.-Andrew-Syder">Andrew Syder</a>, “<a href="http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/220820/">“Shaken Out of the Ruts of Ordinary Perception”: Vision, Culture and Technology in the Psychedelic Sixties</a>” (doctoral dissertation, University of Southern California, 2009).</li>
	<li><a href="http://kpaulsen.com/">Kris Paulsen</a>, “<a href="http://amodern.net/article/half-inch-revolution/">Half Inch Revolution: The Guerilla Video Tape Network</a>,” <cite>Amodern</cite> 2 (2013).</li>
	<li><a href="http://procom.ryerson.ca/people/carolyn-kane">Carolyn Kane</a>, “<a href="https://doi.org/10.1162/LEON_a_00871">The Tragedy of Radical Subjectivity: From Radical Software to Proprietary Subjects</a>,” <cite>Leonardo</cite> 47, no. 5 (2014).</li>
	<li><a href="https://collopy.net/">Peter Sachs Collopy</a>, “<a href="https://repository.upenn.edu/edissertations/1665/">The Revolution Will Be Videotaped: Making a Technology of Consciousness in the Long 1960s</a>” (doctoral dissertation, University of Pennsylvania, 2015).</li>
	<li><a href="https://medienwissenschaft.philhist.unibas.ch/de/personen/ute-holl/">Ute Holl</a>, <cite><a href="http://library.oapen.org/handle/20.500.12657/31337">Cinema, Trance and Cybernetics</a></cite> (Amsterdam University Press, 2017).
</ol>

<h4 id="sound">Sound and Music</h4>
<ol class="continue">
	<li><a href="http://annenberg.usc.edu/faculty/communication/christina-dunbar-hester">Christina Dunbar-Hester</a>, “<a href="https://doi.org/10.1177/0162243909337116">Listening to Cybernetics: Music, Machines, and Nervous Systems, 1950–1980</a>,” <cite>Science, Technology, &amp; Human Values</cite> 35 (2010).</li>
	<li><a href="http://sterneworks.org/">Jonathan Sterne</a>, “Nature Builds No Telephones” and “Perceptual Coding and the Domestication of Noise,” in <cite><a href="https://www.worldcat.org/title/mp3-the-meaning-of-a-format/oclc/769429993">MP3: The Meaning of a Format</a></cite> (2013).</li>
	<li><a href="https://www.birmingham.ac.uk/staff/profiles/music/haworth-christopher.aspx">Christopher Haworth</a>, “<a href="https://doi.org/10.1525/res.2021.2.4.461">Music and Cybernetics in Historical Perspective: Introduction to the Special Issue</a>,” <cite>Resonance</cite> 2 (2021).</li>
	<li><a href="https://deirdreloughridge.wordpress.com">Deirdre Loughridge</a>, “<a href="https://doi.org/10.1525/res.2021.2.4.503">Daphne Oram: Cyberneticist?</a>” <cite>Resonance</cite> 2 (2021).</li>
	<li><a href="https://www.eamonnbell.com">Eamonn Bell</a>, “<a href="https://doi.org/10.1525/res.2021.2.4.523">Cybernetics, Listening, and Sound-Studio Phenomenotechnique in Abraham Moles’s <cite>Théorie de l’information et perception esthétique</cite> (1958)</a>,” <cite>Resonance</cite> 2 (2021).</li>
	<li><a href="https://www.claralatham.com">Clara Latham</a>, “<a href="https://doi.org/10.1525/res.2021.2.4.559">The Sound Machine in the Body: Cybernetics and the Theremin</a>,” <cite>Resonance</cite> 2 (2021).</li>
	<li><a href="https://music.utexas.edu/about/people/eric-drott">Eric Drott</a>, “<a href="https://doi.org/10.1525/res.2021.2.4.578">Music and the Cybernetic Mundane</a>,” <cite>Resonance</cite> 2 (2021).</li>
	<li><a href="http://ted-gordon.net">Theodore Gordon</a>, “<a href="https://doi.org/10.1080/07494467.2021.2001939">‘Androgynous Music’: Pauline Oliveros’s Early Cybernetic Improvisation</a>,” <cite>Contemporary Music Review</cite> 40 (2022).</li>
</ol>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="cybernetics" /><category term="science" /><category term="technology" /><category term="politics" /><category term="computing" /><category term="art" /><category term="war" /><category term="biology" /><category term="video" /><category term="media" /><category term="anthropology" /><category term="visual culture" /><category term="consciousness" /><category term="human sciences" /><category term="medicine" /><category term="technopolitics" /><category term="engineering" /><category term="evolution" /><category term="psychiatry" /><summary type="html"><![CDATA[This is a bibliography of historical and sociological works on cybernetics, a science of “control and communication in the animal and the machine” which flourished from World War II into the 1970s.]]></summary></entry><entry><title type="html">History of Science Society 2010 Annual Meeting</title><link href="https://collopy.net/writing/2011/hss-2010/" rel="alternate" type="text/html" title="History of Science Society 2010 Annual Meeting" /><published>2011-11-01T00:00:00-07:00</published><updated>2011-11-01T00:00:00-07:00</updated><id>https://collopy.net/writing/2011/hss-2010</id><content type="html" xml:base="https://collopy.net/writing/2011/hss-2010/"><![CDATA[The History of Science Society met this past November in Montreal for a conference that included a number of sessions touching on genetics and medicine.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="biology" /><category term="science" /><category term="evolution" /><summary type="html"><![CDATA[The History of Science Society met this past November in Montreal for a conference that included a number of sessions touching on genetics and medicine.]]></summary></entry><entry><title type="html">Laboratories and Managerial Science</title><link href="https://collopy.net/writing/2010/laboratories/" rel="alternate" type="text/html" title="Laboratories and Managerial Science" /><published>2010-05-10T00:00:00-07:00</published><updated>2010-05-10T00:00:00-07:00</updated><id>https://collopy.net/writing/2010/laboratories</id><content type="html" xml:base="https://collopy.net/writing/2010/laboratories/"><![CDATA[In 2010, I took a course on “The Modern Origins of Science”—placing those origins more in the 19th century development of the industrial chemistry laboratory than in the early modern Scientific Revolution—with [Rob Kohler](https://hss.sas.upenn.edu/people/robert-e-kohler). Although Rob had officially retired, he was still teaching about one graduate seminar a year; I think this was his last. In perhaps my most institutionalist moment (and also one following in my father’s footsteps as a management scholar), I got interested in an argument Rob himself had made about the relationship between the laboratory and managerial capitalism, and also in how neglected this relationship had been by other scholars, particularly recently. “Management,” I wrote to Rob in proposing my final paper for the course, “is a critical part of laboratory practice, and this preexisting structure allowed laboratories to fit into the structure of managerial corporations (including eventually universities) without modification. The lab could in effect be black-boxed and referred to by the rest of the corporation through a director or PI. The most radical argument to draw from this might be that this facilitated the black-boxing of science as the process and product in which the laboratory was engaged, allowing managers outside the lab to see R&D as a corporate division like any other rather than dealing with research on its own terms as a technical enterprise. I'm not sure if I’ll take it as far as this last bit, though.” I indeed didn’t really get as far as this last bit, but here is what I did write.

• • •

In [an essay on the state of laboratory history](https://doi.org/10.1086/595769), Robert Kohler suggests a reason “why labs and lab science came to have such a prominent place in modern industrial corporations: the analytic categories and practices of lab science were congruent with the new managerial hierarchies and procedures of large-scale industrial capitalism, whereas those of the older shop culture were not.” Taking this assertion as a starting point, I want to argue more specifically that management itself has long been a critical component of laboratory practice, and that this preexisting social structure within laboratories facilitated their integration into managerial corporations and universities. I also want to point out that senior scientists are the default managers in laboratories, but that many managerial tasks are assigned to dedicated staff in particularly large and socially complex labs.

Management itself is a heterogenous activity which involves both planning the finances and operations of an organization and managing people, i.e. hiring and training employees and assigning them to tasks. Management thus involves a number of activities each of which are themselves complicated, but which break down into a couple of dichotomies. Managers both make decisions between known options and design previously unimagined products and corporate structures. More critically to an examination of laboratory science, they both set and communicate an agenda for an organization and administer its staff and operations.

Alfred Chandler defines managerial capitalism as a system in which critical business decisions are made by salaried managers rather than by the owners or directors of corporations. Managerial firms developed in the nineteenth century as firms managed by a family or by financiers grew. “No family or financial institution was large enough to staff the managerial hierarchies required to administer modern multiunit enterprises,” Chandler writes, but they could hire more salaried managers. As these managers developed expertise in the operations of the firm, the role of owners became limited to occasional decisions through a board of directors based on information provided primarily by managers. This analysis focuses on the agenda-setting aspect of management, although a more thorough analysis would probably reveal that managers also derive their power from their ability to build an organization around their own agenda.

Scholars of laboratories have also provided some useful background to an analysis of management in the lab. In *Laboratory Life*, Bruno Latour and Steve Woolgar depict the modern laboratory, exemplified by Roger Guillemin’s at the Salk Institute, as a manufactory for scientific papers with a marked division of labor. The laboratory does not appear to be either a factory or an administrative agency, they write, because it has substantial amounts of space dedicated to both offices, where “individuals referred to as doctors read and write,” and apparatus, where “other staff, known as technicians, spend most of their time handling equipment.” The labor of technicians leads not to tangible products but to inscriptions, especially figures and diagrams, which are passed on to “doctors”—scientists with Ph.D.s—in the office, who employ the information in writing journal articles, the final product of the laboratory. Energy, chemicals, animals, and the labor of technicians and doctors all represent inputs into a manufacturing process that culminates in these articles, texts that carry authority from their origin in the laboratory and their entanglement in a system of chemicals, organisms, and other natural objects. It’s difficult to escape the conclusion, then, that the laboratory is a factory, but one for the production of knowledge rather than tangible goods (and indeed, the authors attribute this thesis to scientists without themselves quite endorsing it).

Latour and Woolgar don’t analyze the relationship between the bench and the office in terms of power relations, or even describe whether and how doctors request information—and thus labor—from technicians. It’s not clear from their analysis who sets the research agenda or who hires whom. Outside of their discussion of the geography and labor of the laboratory, they describe lab directors as investors of social capital, relating laboratory science to business in a way that comes close to an analysis of management.

>He has sufficient capital of credibility to make unnecessary its direct investment in bench work. He is a capitalist par excellence, since he can see his capital increase substantially without having directly to engage in the work himself. His work is that of a full-time investor. Instead of producing data and making points, he tries to ensure that research is pursued in potentially rewarding areas, that credible data are produced, that the laboratory receives the largest possible share of credit, money and collaboration.

The characterization of lab director as investor is limited and imprecise, however. Investors have the option of being entirely absent from the operations of the corporation they hold shares in. Indeed, as Chandler points out, even the investors’ representatives on a board of directors have very limited power in practical terms. While a lab director can avoid “direct investment in bench work,” they cannot distance themselves from the lab entirely, as the authority of research produced in their lab derives partly from their reputation, which is transferred to it through their involvement in setting a research agenda. The director’s efforts to steer the lab in productive directions and bring in resources are a form of labor, focused on maximizing scientific productivity and reputational profit by directing workers. More than investors, lab directors are managers.

This does not mean that a single lab director must take on all the responsibilities of management, however. In [a 1970 paper](https://doi.org/10.1007/BF01553198), Gerald Swatez describes the Alvarez group, the largest research group at the Lawrence Radiation Laboratory, which had 23 Ph.D. physicists, 20 graduate students, and 161 technicians. In this massive high-energy physics laboratory there was a division of managerial labor: senior physicists provided leadership, but “administrative supervision of the entire group is done by one man, not a physicist, relieving the group leader of the task.” Furthermore, the lab employed a coordinator for each experiment, an administrator for the scanning and measuring group, “and under him there are about four supervisors, whose jobs resemble that of a foreman in industry, scheduling the use of machines, shifting users from one machine to another, seeing that the rooms are kept neat.” In the Alvarez lab, Luis Alvarez delegated administrative responsibility to full-time managers. According to Swatez, Alvarez also shared his leadership responsibility, fostering an environment in which any physicist, credentialed with a Ph.D. or a graduate student, could propose an experiment. “If a group leader definitely disapproves of the proposal,” Swatez wrote, “he has the power to say so, but in this group he does not do so if someone wants the experiment badly enough to stand up to him.” Alvarez seems to have been an unusually egalitarian and humble scientist, even apprenticing himself to two graduate students when he felt alienated from basic physics at the age of 40. The distribution of management in his lab makes visible the labor that must be done in administration and agenda-setting, whether by one scientist or by the staff of the lab collectively. Swatez’s article reveals little, however, about the management of people in the Alvarez lab.

In her more recent analysis of the social order of high energy physics in the late-twentieth-century, Sharon Traweek describes some other ways in which senior scientists serve as managers within their laboratories. “It is considered inappropriate,” she writes, “for someone over fifty to be making discoveries.” Instead, the most professionally advanced physicists administer research groups and larger laboratories.

In Japan the leader of each research group administers finances, a “highly prestigious burden of science administration [which] occupies most of the *koza* leader’s time.” In addition, the group leader finds international placements for younger physicists in his lab, rotates them among different tasks so they develop a range of scientific skills, and brings them with him to university, government, and industry meetings to familiarize them with the politics of the research community. Traweek concludes that “the leader has a generative, nurturing role,” but it would be just as apt to say that much of his work consists of fostering professional development.

In the United States, physicists manage labs more informally and leave financial management to an administrative assistant, “a managerial position almost always held by women who are not scientists and who are well versed in institutional regulations and the informal pathways through bureaucratic labyrinths.” Nonetheless, the role of a senior physicist is to “gather about him a team of gifted people whose work he directs and coordinates by means of his example, will, and—some would say—whim.” Although Traweek does not describe either Japanese or American group leaders as commanding the labor of others, it is apparent that they are engaged in management through developing the skills and organizing the labor of other scientists.

These ethnographic works suggest that administration and staff development are important aspects of laboratory practice, but they don’t say much about power relations or argue that management is a defining characteristic of a particular kind of science. In [their more historical work](https://doi.org/10.1177/00732753980360040), though, Steve Sturdy and Roger Cooter argue that laboratories played a key role in “the rise of medical corporatism,” the process by which medicine in Britain came to be “organized as a vertically integrated hierarchy of relatively specialized practitioners and animated more by a managerial concern with collective efficiency than by the pursuit of patronage or individual competitive advantage.” This new system replaced two earlier economic models for medicine: competition of individual physicians for patients, and patronage of physicians by wealthy patients. The new corporate system, which developed between 1870 and 1950, involved a greater degree of cooperation between physicians in treating patients, but also a greater degree of hierarchy within the profession. According to Sturdy and Cooter, laboratories played a critical role in the introduction of this social structure to medicine.

Laboratories entered public health, an “administrative discipline” concerned with the “surveillance and classification” of disease in populations, in the mid nineteenth century. Laboratory science offered public health administrators knowledge based “on systematic and rational investigation of the underlying causes and processes of health and disease” rather than “the narrow empiricism of clinical experience.” Unlike clinical knowledge, laboratory knowledge could be incorporated into an administrative system of expertise which public health officials had based primarily on the discipline of statistics. By abstracting away the specific characteristics of patients’ bodies and isolating specific chemical and biological processes, laboratories manufactured medical knowledge which was legible to administrators focused on the management of disease. More concretely, research on poisons and germs “soon yielded new techniques for identifying disease and its causes in the population and the environment.” Sturdy and Cooter conclude that “laboratory science actually developed as an instrument of scientific management,” in this case the management of disease in populations.

Additionally, though, laboratory science developed as a mode of scientific management. Within the walls of a laboratory, scientists themselves practiced management, which played a crucial role in the production of scientific knowledge and went on to influence the social structure of medicine.

>The laboratory sciences also provided a model of how the work of the hospitals might itself be reorganized in the interests of greater efficiency. It was common for laboratory scientists from different disciplines to collaborate in research and teaching, bringing together complementary skills and expertise to address different aspects of a particular problem. Reformers hoped that the academicization of clinical teaching and research would help to encourage similar forms of teamwork within hospital medicine.

Teamwork between scientists trained in different disciplines is an important social form for production of knowledge in laboratories, but laboratory science often involves hierarchical relationships between researchers as well. Although Sturdy and Cooter do not say so, physicians could leave their experience in laboratory research with a set of management techniques as well as a taste for collaboration, contributing to the hierarchical and managerial development of medicine.

The final argument I want to make is that when laboratories have become incorporated into other managerial organizations the accommodation between the two has been relatively straightforward since both have already had similar social structures. Laboratories have entered corporate environments at a number of times and places. In Germany laboratories were associated with industry before they became formally integrated into the operations of universities; [R. Steven Turner writes](https://doi.org/10.2307/27757508) that in the 1840s “Prussian respondents nearly always equated large laboratories and extensive practical training to technological chemistry and industrial education.” The industry in which they were integrated, though, predated managerial capitalism. Chandler doesn’t cover the German context, but these industrial firms were presumably less structurally complex than later managerial firms and had fewer divisions, suggesting that their laboratories may have been focused less on research than on chemical synthesis. This relationship between industry and universities in Prussia also suggests that the laboratory as an institution developed in German universities from industrial models, travelled to the United States with the research university, and then reentered industry in a new managerial context.

One crucial point at which research laboratories entered industry was the establishment of AT&T’s Research Branch in 1911. This division was based within the existing Western Electric Research Department, and thus within an existing corporate structure, but was devoted to research in physics leading to new repeater technologies rather than to engineering intended to optimize existing technologies. The principal actors in establishing the Research Branch were John J. Carty, a telephone engineer entirely trained on the job, and Frank Jewett, a Ph.D. physicist. Both took on managerial roles, with Jewett hiring additional scientists while Carty developed corporate research policies and “personified Bell research and engineering” to the board of directors.

Early on Jewett recruited Harold D. Arnold to serve as the physicist responsible for laboratory work on the new telephone amplifier. Within three years he had hired 25 researchers and assistants who reported to Arnold. “Jewett made occasional forays into the laboratory and sometimes even offered advice to researchers,” writes Leonard Reich, “but he acted mainly as a recruiter of personnel, a synthesizer of information, a coordinator with other branches of the Engineering Department, and a conduit to Carty and the AT&T staff.” Like the senior scientists Traweek describes, Jewitt facilitated research more than he participated in it, devoting most of his time to managing people and information. As the person at the top of the Research Branch hierarchy, he also became the representative of his division to the rest of the company. The laboratory borrowed conventions from universities, going so far as to sponsor conferences, but the existing laboratory model of the senior scientist as manager facilitated the integration of the laboratory into the hierarchically organized corporation. When the Bell Telephone Laboratories became a separate corporation in 1925, Jewett became president, responsible for managing the labor of 3600 employees.

One important reason why a physicist like Jewett was able to take on the presidency of such a large organization was that he had been a manager throughout his career. The practice of laboratory research in which Jewett had been trained involved the labor of graduate students and technicians, and it was the responsibility of the credentialed scientist to guide this labor toward productive ends. Managing Bell Labs as president was different from running a lab at the University of Chicago or MIT, but it was different primarily in scale. A senior scientist, regardless of his institutional location, was responsible for such tasks as staff development, communicating with funders, and setting a research agenda, and this was no different within a firm such as AT&T. Furthermore, at AT&T research managers such as Carty and Jewett were able to represent their laboratories to the corporation in the same way that a lab director in a university or institute represents their laboratory to their colleagues and the public, and thus to take their place within an existing corporate hierarchy.

### Works Cited
- Alfred D. Chandler, Jr., “The United States: Seedbed of Managerial Capitalism,” in *Managerial Hierarchies: Comparative Perspectives on the Rise of the Modern Industrial Enterprise*, edited by Alfred D. Chandler, Jr. and Herman Daems (Cambridge, Mass.: Harvard University Press, 1980).
- Robert E. Kohler, “[Lab History: Reflections](https://doi.org/10.1086/595769),” *Isis* 99 (2008).
- Bruno Latour and Steve Woolgar, *Laboratory Life: The Construction of Scientific Facts*, second edition (Princeton: Princeton University Press, 1986).
- Leonard S. Reich, *The Making of American Industrial Research: Science and Business at GE and Bell, 1876–1926* (Cambridge: Cambridge University Press, 1985).
- Steve Sturdy and Roger Cooter, “[Science, Scientific Management, and the Transformation of Medicine in Britain, c. 1870–1950](https://doi.org/10.1177/00732753980360040),” *History of Science* 36 (1998).
- Gerald M. Swatez, “[The Social Organization of a University Laboratory](https://doi.org/10.1007/BF01553198),” *Minerva* 8 (1970).
- Sharon Traweek, *Beamtimes and Lifetimes: The World of High Energy Physicists* (Cambridge, Mass.: Harvard University Press, 1988).
- R. Steven Turner, “[Justus Liebig versus Prussian Chemistry: Reflection on Early Institute-Building in Germany](https://doi.org/10.2307/27757508),” *Historical Studies in the Physical Sciences* 13 (1982): 137.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="science" /><category term="laboratories" /><category term="capitalism" /><summary type="html"><![CDATA[In 2010, I took a course on “The Modern Origins of Science”—placing those origins more in the 19th century development of the industrial chemistry laboratory than in the early modern Scientific Revolution—with Rob Kohler. Although Rob had officially retired, he was still teaching about one graduate seminar a year; I think this was his last. In perhaps my most institutionalist moment (and also one following in my father’s footsteps as a management scholar), I got interested in an argument Rob himself had made about the relationship between the laboratory and managerial capitalism, and also in how neglected this relationship had been by other scholars, particularly recently. “Management,” I wrote to Rob in proposing my final paper for the course, “is a critical part of laboratory practice, and this preexisting structure allowed laboratories to fit into the structure of managerial corporations (including eventually universities) without modification. The lab could in effect be black-boxed and referred to by the rest of the corporation through a director or PI. The most radical argument to draw from this might be that this facilitated the black-boxing of science as the process and product in which the laboratory was engaged, allowing managers outside the lab to see R&amp;D as a corporate division like any other rather than dealing with research on its own terms as a technical enterprise. I’m not sure if I’ll take it as far as this last bit, though.” I indeed didn’t really get as far as this last bit, but here is what I did write. • • • In an essay on the state of laboratory history, Robert Kohler suggests a reason “why labs and lab science came to have such a prominent place in modern industrial corporations: the analytic categories and practices of lab science were congruent with the new managerial hierarchies and procedures of large-scale industrial capitalism, whereas those of the older shop culture were not.” Taking this assertion as a starting point, I want to argue more specifically that management itself has long been a critical component of laboratory practice, and that this preexisting social structure within laboratories facilitated their integration into managerial corporations and universities. I also want to point out that senior scientists are the default managers in laboratories, but that many managerial tasks are assigned to dedicated staff in particularly large and socially complex labs. Management itself is a heterogenous activity which involves both planning the finances and operations of an organization and managing people, i.e. hiring and training employees and assigning them to tasks. Management thus involves a number of activities each of which are themselves complicated, but which break down into a couple of dichotomies. Managers both make decisions between known options and design previously unimagined products and corporate structures. More critically to an examination of laboratory science, they both set and communicate an agenda for an organization and administer its staff and operations. Alfred Chandler defines managerial capitalism as a system in which critical business decisions are made by salaried managers rather than by the owners or directors of corporations. Managerial firms developed in the nineteenth century as firms managed by a family or by financiers grew. “No family or financial institution was large enough to staff the managerial hierarchies required to administer modern multiunit enterprises,” Chandler writes, but they could hire more salaried managers. As these managers developed expertise in the operations of the firm, the role of owners became limited to occasional decisions through a board of directors based on information provided primarily by managers. This analysis focuses on the agenda-setting aspect of management, although a more thorough analysis would probably reveal that managers also derive their power from their ability to build an organization around their own agenda. Scholars of laboratories have also provided some useful background to an analysis of management in the lab. In Laboratory Life, Bruno Latour and Steve Woolgar depict the modern laboratory, exemplified by Roger Guillemin’s at the Salk Institute, as a manufactory for scientific papers with a marked division of labor. The laboratory does not appear to be either a factory or an administrative agency, they write, because it has substantial amounts of space dedicated to both offices, where “individuals referred to as doctors read and write,” and apparatus, where “other staff, known as technicians, spend most of their time handling equipment.” The labor of technicians leads not to tangible products but to inscriptions, especially figures and diagrams, which are passed on to “doctors”—scientists with Ph.D.s—in the office, who employ the information in writing journal articles, the final product of the laboratory. Energy, chemicals, animals, and the labor of technicians and doctors all represent inputs into a manufacturing process that culminates in these articles, texts that carry authority from their origin in the laboratory and their entanglement in a system of chemicals, organisms, and other natural objects. It’s difficult to escape the conclusion, then, that the laboratory is a factory, but one for the production of knowledge rather than tangible goods (and indeed, the authors attribute this thesis to scientists without themselves quite endorsing it). Latour and Woolgar don’t analyze the relationship between the bench and the office in terms of power relations, or even describe whether and how doctors request information—and thus labor—from technicians. It’s not clear from their analysis who sets the research agenda or who hires whom. Outside of their discussion of the geography and labor of the laboratory, they describe lab directors as investors of social capital, relating laboratory science to business in a way that comes close to an analysis of management. He has sufficient capital of credibility to make unnecessary its direct investment in bench work. He is a capitalist par excellence, since he can see his capital increase substantially without having directly to engage in the work himself. His work is that of a full-time investor. Instead of producing data and making points, he tries to ensure that research is pursued in potentially rewarding areas, that credible data are produced, that the laboratory receives the largest possible share of credit, money and collaboration. The characterization of lab director as investor is limited and imprecise, however. Investors have the option of being entirely absent from the operations of the corporation they hold shares in. Indeed, as Chandler points out, even the investors’ representatives on a board of directors have very limited power in practical terms. While a lab director can avoid “direct investment in bench work,” they cannot distance themselves from the lab entirely, as the authority of research produced in their lab derives partly from their reputation, which is transferred to it through their involvement in setting a research agenda. The director’s efforts to steer the lab in productive directions and bring in resources are a form of labor, focused on maximizing scientific productivity and reputational profit by directing workers. More than investors, lab directors are managers. This does not mean that a single lab director must take on all the responsibilities of management, however. In a 1970 paper, Gerald Swatez describes the Alvarez group, the largest research group at the Lawrence Radiation Laboratory, which had 23 Ph.D. physicists, 20 graduate students, and 161 technicians. In this massive high-energy physics laboratory there was a division of managerial labor: senior physicists provided leadership, but “administrative supervision of the entire group is done by one man, not a physicist, relieving the group leader of the task.” Furthermore, the lab employed a coordinator for each experiment, an administrator for the scanning and measuring group, “and under him there are about four supervisors, whose jobs resemble that of a foreman in industry, scheduling the use of machines, shifting users from one machine to another, seeing that the rooms are kept neat.” In the Alvarez lab, Luis Alvarez delegated administrative responsibility to full-time managers. According to Swatez, Alvarez also shared his leadership responsibility, fostering an environment in which any physicist, credentialed with a Ph.D. or a graduate student, could propose an experiment. “If a group leader definitely disapproves of the proposal,” Swatez wrote, “he has the power to say so, but in this group he does not do so if someone wants the experiment badly enough to stand up to him.” Alvarez seems to have been an unusually egalitarian and humble scientist, even apprenticing himself to two graduate students when he felt alienated from basic physics at the age of 40. The distribution of management in his lab makes visible the labor that must be done in administration and agenda-setting, whether by one scientist or by the staff of the lab collectively. Swatez’s article reveals little, however, about the management of people in the Alvarez lab. In her more recent analysis of the social order of high energy physics in the late-twentieth-century, Sharon Traweek describes some other ways in which senior scientists serve as managers within their laboratories. “It is considered inappropriate,” she writes, “for someone over fifty to be making discoveries.” Instead, the most professionally advanced physicists administer research groups and larger laboratories. In Japan the leader of each research group administers finances, a “highly prestigious burden of science administration [which] occupies most of the koza leader’s time.” In addition, the group leader finds international placements for younger physicists in his lab, rotates them among different tasks so they develop a range of scientific skills, and brings them with him to university, government, and industry meetings to familiarize them with the politics of the research community. Traweek concludes that “the leader has a generative, nurturing role,” but it would be just as apt to say that much of his work consists of fostering professional development. In the United States, physicists manage labs more informally and leave financial management to an administrative assistant, “a managerial position almost always held by women who are not scientists and who are well versed in institutional regulations and the informal pathways through bureaucratic labyrinths.” Nonetheless, the role of a senior physicist is to “gather about him a team of gifted people whose work he directs and coordinates by means of his example, will, and—some would say—whim.” Although Traweek does not describe either Japanese or American group leaders as commanding the labor of others, it is apparent that they are engaged in management through developing the skills and organizing the labor of other scientists. These ethnographic works suggest that administration and staff development are important aspects of laboratory practice, but they don’t say much about power relations or argue that management is a defining characteristic of a particular kind of science. In their more historical work, though, Steve Sturdy and Roger Cooter argue that laboratories played a key role in “the rise of medical corporatism,” the process by which medicine in Britain came to be “organized as a vertically integrated hierarchy of relatively specialized practitioners and animated more by a managerial concern with collective efficiency than by the pursuit of patronage or individual competitive advantage.” This new system replaced two earlier economic models for medicine: competition of individual physicians for patients, and patronage of physicians by wealthy patients. The new corporate system, which developed between 1870 and 1950, involved a greater degree of cooperation between physicians in treating patients, but also a greater degree of hierarchy within the profession. According to Sturdy and Cooter, laboratories played a critical role in the introduction of this social structure to medicine. Laboratories entered public health, an “administrative discipline” concerned with the “surveillance and classification” of disease in populations, in the mid nineteenth century. Laboratory science offered public health administrators knowledge based “on systematic and rational investigation of the underlying causes and processes of health and disease” rather than “the narrow empiricism of clinical experience.” Unlike clinical knowledge, laboratory knowledge could be incorporated into an administrative system of expertise which public health officials had based primarily on the discipline of statistics. By abstracting away the specific characteristics of patients’ bodies and isolating specific chemical and biological processes, laboratories manufactured medical knowledge which was legible to administrators focused on the management of disease. More concretely, research on poisons and germs “soon yielded new techniques for identifying disease and its causes in the population and the environment.” Sturdy and Cooter conclude that “laboratory science actually developed as an instrument of scientific management,” in this case the management of disease in populations. Additionally, though, laboratory science developed as a mode of scientific management. Within the walls of a laboratory, scientists themselves practiced management, which played a crucial role in the production of scientific knowledge and went on to influence the social structure of medicine. The laboratory sciences also provided a model of how the work of the hospitals might itself be reorganized in the interests of greater efficiency. It was common for laboratory scientists from different disciplines to collaborate in research and teaching, bringing together complementary skills and expertise to address different aspects of a particular problem. Reformers hoped that the academicization of clinical teaching and research would help to encourage similar forms of teamwork within hospital medicine. Teamwork between scientists trained in different disciplines is an important social form for production of knowledge in laboratories, but laboratory science often involves hierarchical relationships between researchers as well. Although Sturdy and Cooter do not say so, physicians could leave their experience in laboratory research with a set of management techniques as well as a taste for collaboration, contributing to the hierarchical and managerial development of medicine. The final argument I want to make is that when laboratories have become incorporated into other managerial organizations the accommodation between the two has been relatively straightforward since both have already had similar social structures. Laboratories have entered corporate environments at a number of times and places. In Germany laboratories were associated with industry before they became formally integrated into the operations of universities; R. Steven Turner writes that in the 1840s “Prussian respondents nearly always equated large laboratories and extensive practical training to technological chemistry and industrial education.” The industry in which they were integrated, though, predated managerial capitalism. Chandler doesn’t cover the German context, but these industrial firms were presumably less structurally complex than later managerial firms and had fewer divisions, suggesting that their laboratories may have been focused less on research than on chemical synthesis. This relationship between industry and universities in Prussia also suggests that the laboratory as an institution developed in German universities from industrial models, travelled to the United States with the research university, and then reentered industry in a new managerial context. One crucial point at which research laboratories entered industry was the establishment of AT&amp;T’s Research Branch in 1911. This division was based within the existing Western Electric Research Department, and thus within an existing corporate structure, but was devoted to research in physics leading to new repeater technologies rather than to engineering intended to optimize existing technologies. The principal actors in establishing the Research Branch were John J. Carty, a telephone engineer entirely trained on the job, and Frank Jewett, a Ph.D. physicist. Both took on managerial roles, with Jewett hiring additional scientists while Carty developed corporate research policies and “personified Bell research and engineering” to the board of directors. Early on Jewett recruited Harold D. Arnold to serve as the physicist responsible for laboratory work on the new telephone amplifier. Within three years he had hired 25 researchers and assistants who reported to Arnold. “Jewett made occasional forays into the laboratory and sometimes even offered advice to researchers,” writes Leonard Reich, “but he acted mainly as a recruiter of personnel, a synthesizer of information, a coordinator with other branches of the Engineering Department, and a conduit to Carty and the AT&amp;T staff.” Like the senior scientists Traweek describes, Jewitt facilitated research more than he participated in it, devoting most of his time to managing people and information. As the person at the top of the Research Branch hierarchy, he also became the representative of his division to the rest of the company. The laboratory borrowed conventions from universities, going so far as to sponsor conferences, but the existing laboratory model of the senior scientist as manager facilitated the integration of the laboratory into the hierarchically organized corporation. When the Bell Telephone Laboratories became a separate corporation in 1925, Jewett became president, responsible for managing the labor of 3600 employees. One important reason why a physicist like Jewett was able to take on the presidency of such a large organization was that he had been a manager throughout his career. The practice of laboratory research in which Jewett had been trained involved the labor of graduate students and technicians, and it was the responsibility of the credentialed scientist to guide this labor toward productive ends. Managing Bell Labs as president was different from running a lab at the University of Chicago or MIT, but it was different primarily in scale. A senior scientist, regardless of his institutional location, was responsible for such tasks as staff development, communicating with funders, and setting a research agenda, and this was no different within a firm such as AT&amp;T. Furthermore, at AT&amp;T research managers such as Carty and Jewett were able to represent their laboratories to the corporation in the same way that a lab director in a university or institute represents their laboratory to their colleagues and the public, and thus to take their place within an existing corporate hierarchy. Works Cited Alfred D. Chandler, Jr., “The United States: Seedbed of Managerial Capitalism,” in Managerial Hierarchies: Comparative Perspectives on the Rise of the Modern Industrial Enterprise, edited by Alfred D. Chandler, Jr. and Herman Daems (Cambridge, Mass.: Harvard University Press, 1980). Robert E. Kohler, “Lab History: Reflections,” Isis 99 (2008). Bruno Latour and Steve Woolgar, Laboratory Life: The Construction of Scientific Facts, second edition (Princeton: Princeton University Press, 1986). Leonard S. Reich, The Making of American Industrial Research: Science and Business at GE and Bell, 1876–1926 (Cambridge: Cambridge University Press, 1985). Steve Sturdy and Roger Cooter, “Science, Scientific Management, and the Transformation of Medicine in Britain, c. 1870–1950,” History of Science 36 (1998). Gerald M. Swatez, “The Social Organization of a University Laboratory,” Minerva 8 (1970). Sharon Traweek, Beamtimes and Lifetimes: The World of High Energy Physicists (Cambridge, Mass.: Harvard University Press, 1988). R. Steven Turner, “Justus Liebig versus Prussian Chemistry: Reflection on Early Institute-Building in Germany,” Historical Studies in the Physical Sciences 13 (1982): 137.]]></summary></entry><entry><title type="html">Technology Education</title><link href="https://collopy.net/writing/2009/technology-education/" rel="alternate" type="text/html" title="Technology Education" /><published>2009-04-27T00:00:00-07:00</published><updated>2009-04-27T00:00:00-07:00</updated><id>https://collopy.net/writing/2009/technology-education</id><content type="html" xml:base="https://collopy.net/writing/2009/technology-education/"><![CDATA[<p>This is the most brilliant thought I’ve ever read on technology education:</p>

<blockquote>
	<p><cite>The Second Self</cite> portrays a time of relative innocence [in the early 1980s]. There was not much talk of screen violence and there seemed to be so much time. The fact that “regular” people, from home computer hobbyists to fifth-grade teachers, were still discussing the merits of computer programming as an intellectual pastime gave the sense that there was time to think, time to experiment with new forms, time to look at effects. Today, the computer culture acts on the individual with new speed and ferocity.</p>
	<div style="text-align: right;">
		Sherry Turkle, “Epilogue (2004),” <cite>The Second Self</cite> 20th Anniversary Edition
	</div>
</blockquote>
	
<p>This paragraph prompted me to reread David Brin’s 2006 essay “<a href="https://www.salon.com/2006/09/14/basic_2/">Why Johnny Can’t Code</a>,” another attempt to answer the  question of why kids don’t learn to program like they did in the 1980s. It’s a stirring essay, but it’s conclusion is merely that no one is providing “tools that teach creative thinking and technological mastery.” This begs another level of analysis—why aren’t these tools available to kids?—and Turkle provides part of it. I’m going to try to take her conclusion a step further.</p>
	
<p>We’ve come to see computers as tools for efficiency, not exploration. Sure, “surfing the web” has seen a resurgence in Wikipedia link-hopping, but I suspect even this is a minority activity. And even this is not an exploration of the computer. The meaning of the computer is less contested now than it was in decades past: computers are tools now, not worlds and certainly not the “mathland” Seymour Papert saw in them. It is as tools that teachers see computers, that managers see computers, that the developers at Microsoft and Apple see the interfaces they’re giving us. And they’re <i>developers</i>, not <i>programmers</i>, because they’re focused on the product of software, not the practice of programming.</p>
	
<p>Is there room in this world for programming as an intellectual pastime? Of course there is. That spirit is with us in free software and in other hacker communities. But hacking has become countercultural again, like it was in the 1970s. The idea that programming is worthwhile for the lessons it provides about logic, math, systems, and philosophy is as marginal now as it has ever been. The idea that it’s the best way for kids to learn these lessons is even more marginal.</p>
	
<p>All of this, Turkle hints, is not because computers themselves are marginal but precisely because they’re central to our lives. We have to learn so much just to use them—and we think that we have to teach so much to kids—that there’s no time for thinking, for experimenting with new forms, for looking at effects. If the geeky among us, adult and child alike, do find a spare hour, our “information consumption devices”—Brin’s phrase—rush to fill it. The personal computer has become less so, a device for listening like the radio before it.</p>

<p>Brin’s essay is structured around a quest for a tool his son can use to learn to program. He and his son eventually conclude that this tool is not, as they expected, some software that they can install on their Mac OS X or Windows machines; it is, instead, a used Commodore 64, released in 1982. It is a machine that does not connect to the internet and the web, a machine for which it has become a challenge to find software (not to mention that their floppy drive doesn’t really work). It’s a computer built with a set of purposes almost entirely different from those of a 2005 Dell box. Tinkerers, hobbyists, and gamers bought the Commodore 64; everyone buys Dells, which are supposed to have a practical function. The Commodore 64 boots to a BASIC prompt; any modern machine boots to a GUI. There is very little about computers built in the last twenty years that invites experimentation.</p>

<h4>Epilogue</h4>

<p>I’m bothered by Brin’s preference for BASIC over other programming languages his son could learn. There are two options that strike me as superior. The first is Logo. It was actually designed for education, and depending on the implementation it can do lots of exciting things. (The technology education consulting company I used to work for endorses Terrapin Logo, which looks pretty cool.) The second is Ruby. There’s a <a href="http://tryruby.hobix.com/">Ruby interpreter</a> you can try without even leaving your browser, with a really amazing built-in tutorial. It’s at least a way to discover how a command line feels, which is pretty cool.</p>

<p>There is another path Brin and his son could have followed. They could have installed Linux, or Cygwin, or resorted to the Terminal application on their Mac, and turned their machine into one that does invite experimentation. It would have taken some tinkering to get it to work how they wanted it to, of course, but that too is a learning experience—one about which Brin seems strangely unenthusiastic. They could have closed their browsers and the other ethereal apparatus of computing as consumption, even booted the machine to a command line and vanished the distractions of the GUI. Our polished, functional information consumption devices are flexible; they can still be subverted and used like the messy, hobbyist learning machines of the early 1980s.</p>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="computing" /><category term="education" /><category term="technology" /><category term="media" /><summary type="html"><![CDATA[This is the most brilliant thought I’ve ever read on technology education: The Second Self portrays a time of relative innocence [in the early 1980s]. There was not much talk of screen violence and there seemed to be so much time. The fact that “regular” people, from home computer hobbyists to fifth-grade teachers, were still discussing the merits of computer programming as an intellectual pastime gave the sense that there was time to think, time to experiment with new forms, time to look at effects. Today, the computer culture acts on the individual with new speed and ferocity. Sherry Turkle, “Epilogue (2004),” The Second Self 20th Anniversary Edition This paragraph prompted me to reread David Brin’s 2006 essay “Why Johnny Can’t Code,” another attempt to answer the question of why kids don’t learn to program like they did in the 1980s. It’s a stirring essay, but it’s conclusion is merely that no one is providing “tools that teach creative thinking and technological mastery.” This begs another level of analysis—why aren’t these tools available to kids?—and Turkle provides part of it. I’m going to try to take her conclusion a step further. We’ve come to see computers as tools for efficiency, not exploration. Sure, “surfing the web” has seen a resurgence in Wikipedia link-hopping, but I suspect even this is a minority activity. And even this is not an exploration of the computer. The meaning of the computer is less contested now than it was in decades past: computers are tools now, not worlds and certainly not the “mathland” Seymour Papert saw in them. It is as tools that teachers see computers, that managers see computers, that the developers at Microsoft and Apple see the interfaces they’re giving us. And they’re developers, not programmers, because they’re focused on the product of software, not the practice of programming. Is there room in this world for programming as an intellectual pastime? Of course there is. That spirit is with us in free software and in other hacker communities. But hacking has become countercultural again, like it was in the 1970s. The idea that programming is worthwhile for the lessons it provides about logic, math, systems, and philosophy is as marginal now as it has ever been. The idea that it’s the best way for kids to learn these lessons is even more marginal. All of this, Turkle hints, is not because computers themselves are marginal but precisely because they’re central to our lives. We have to learn so much just to use them—and we think that we have to teach so much to kids—that there’s no time for thinking, for experimenting with new forms, for looking at effects. If the geeky among us, adult and child alike, do find a spare hour, our “information consumption devices”—Brin’s phrase—rush to fill it. The personal computer has become less so, a device for listening like the radio before it. Brin’s essay is structured around a quest for a tool his son can use to learn to program. He and his son eventually conclude that this tool is not, as they expected, some software that they can install on their Mac OS X or Windows machines; it is, instead, a used Commodore 64, released in 1982. It is a machine that does not connect to the internet and the web, a machine for which it has become a challenge to find software (not to mention that their floppy drive doesn’t really work). It’s a computer built with a set of purposes almost entirely different from those of a 2005 Dell box. Tinkerers, hobbyists, and gamers bought the Commodore 64; everyone buys Dells, which are supposed to have a practical function. The Commodore 64 boots to a BASIC prompt; any modern machine boots to a GUI. There is very little about computers built in the last twenty years that invites experimentation. Epilogue I’m bothered by Brin’s preference for BASIC over other programming languages his son could learn. There are two options that strike me as superior. The first is Logo. It was actually designed for education, and depending on the implementation it can do lots of exciting things. (The technology education consulting company I used to work for endorses Terrapin Logo, which looks pretty cool.) The second is Ruby. There’s a Ruby interpreter you can try without even leaving your browser, with a really amazing built-in tutorial. It’s at least a way to discover how a command line feels, which is pretty cool. There is another path Brin and his son could have followed. They could have installed Linux, or Cygwin, or resorted to the Terminal application on their Mac, and turned their machine into one that does invite experimentation. It would have taken some tinkering to get it to work how they wanted it to, of course, but that too is a learning experience—one about which Brin seems strangely unenthusiastic. They could have closed their browsers and the other ethereal apparatus of computing as consumption, even booted the machine to a command line and vanished the distractions of the GUI. Our polished, functional information consumption devices are flexible; they can still be subverted and used like the messy, hobbyist learning machines of the early 1980s.]]></summary></entry><entry><title type="html">Wikipedia for Educators</title><link href="https://collopy.net/writing/2008/wikipedia-for-educators/" rel="alternate" type="text/html" title="Wikipedia for Educators" /><published>2008-02-04T00:00:00-08:00</published><updated>2008-02-04T00:00:00-08:00</updated><id>https://collopy.net/writing/2008/wikipedia-for-educators</id><content type="html" xml:base="https://collopy.net/writing/2008/wikipedia-for-educators/"><![CDATA[<p><i>I gave this presentation on February 4, 2008 at the <a href="http://www.etech.ohio.gov/conference/">eTech Ohio Conference</a> under the title “Can We Use Wikipedia Appropriately?”</i></p>

<p>To begin with the basics, <a href="http://en.wikipedia.org/">Wikipedia</a> is an online encyclopedia that anyone can write and edit. It’s an ambitious project, and one with both positive and negative aspects. Ideally, Wikipedia will help democratize education, providing the same information for free to everyone with an internet connection. In the worst case, this will be misinformation, and the site will miseducate.</p>

<p>The vast majority of Wikipedia articles can actually be changed by anyone. If you go to any article, you’ll find an “edit this page” link at the top, allowing you to do exactly that. Because anyone can add to or change Wikipedia entries, there’s no guarentee that information will be accurate. For the very same reason, though, anyone who finds a mistake, lie, or even grammatical error in an article can correct in themselves, making it easy to improve articles. I’m convinced that the vast majority of information on Wikipedia is accurate, and that it deserves some role in educational institutions. I also believe, however, that this role should be carefully considered and limited, and that educators should understand the process by which Wikipedia functions, not only the articles that result from it.</p>

<p>One reason I think that educators should learn about Wikipedia is that students already are. Bill Tancer, a researcher for Hitwise who studies consumer behavior online, notes that many of the popular search terms that bring users to Wikipedia from sites like Google “bear a close resemblance to elementary school homework and research projects.”</p>

<blockquote><p>During the month of February, which is also Black History month, three of the top 20 terms sending traffic to Wikipedia were for prominent black historical figures, while two other searches were likely motivated by Presidents Day. In fact, changing timeframes to any other month during the school year reveals a similar result.</p>
<div style="text-align: right;">Bill Tancer, “<a href="http://www.time.com/time/business/article/0,8599,1595184,00.html">Look Who’s Using Wikipedia</a>,”<br>
<cite>Time</cite>, March 1, 2007.</div></blockquote>

<p>If students are already using Wikipedia as a resource, it’s important that teachers understand it. You might find more to like than you expect. I’ll tell you a bit about three attractive features of Wikipedia, though I’ll mention some negative aspects along the way too. These will be citations, comprehensiveness, and the site’s history and discussion tools.</p>

<p>The topic of Wikipedia and education has already received some press, though it’s mostly dealt with higher education. The most discussed event was a decision by the history department at Middlebury College to ban citing of Wikipedia in student papers. What’s interesting to me about this decision is that it actually reflects a consensus of educators and Wikipedians that the site is best used as a starting place for research rather than as a student’s only source. The following quotation is from Wikipedia cofounder Jimmy Wales.</p>

<blockquote><p>The advice I would give to students is be careful how you use Wikipedia. It really isn’t a trusted source. It really is edited real-time and it could be full of mistakes.… I think it basically should be fine in schools… to add a footnote saying I did a lot of my preliminary research in Wikipedia, just to acknowledge where you got a lot of knowledge. But in terms of citing specific facts, you really should go to the sources and look it up there, because that’s what you’re supposed to be doing. The encyclopedia is supposed to give you the broad overview, not be a primary research tool…. I would say the same thing about Brittanica, by the way.</p>
<div style="text-align: right;">Jimmy Wales, <a href="http://twit.tv/natn13">net@nite 13</a>,<br>
February 13, 2007.</div></blockquote>

<h2>Citations</h2>

<p>Fortunately, Wikipedia can be very helpful to those looking to find other sources on a subject. Articles generally have superscript links to endnotes interspersed throughout their text. There are many articles on the site without citations, but they are viewed by regular users as unpolished and in need of substantiation, while numerous citations are a hallmark of a good article. <a href="http://en.wikipedia.org/wiki/Knut_%28polar_bear%29">Today’s featured article</a> on the site, about a polar bear named Knut, has 41 citations in a few pages of text. (Because Wikipedia is always changing, this might be different when you visit the article; you can <a href="http://en.wikipedia.org/w/index.php?title=Knut_%28polar_bear%29&oldid=189143337">see it as I did</a>.) Because it’s about recent events, these citations all include links to stories in traditional news media, but articles also frequently cite books, academic journals, and other authoritative sources. The role of citations is so central on Wikipedia that they have come to be identified with the site.</p>

<blockquote style="width: 500px; margin: 0 auto"><div><img src="http://imgs.xkcd.com/comics/wikipedian_protester.png" width="500" height="271" alt="Wikipedian Protester" /></div>
<div style="text-align: right;">Randall Munroe, “<a href="http://xkcd.com/285/">Wikipedian Protester</a>,”<br>
xkcd, 2007.</div></blockquote>

<h2>Comprehensiveness</h2>

<p>Another attractive feature of Wikipedia is its comprehensiveness. The English language site has over two million articles, many of them quite long and thorough. There have been a few studies comparing the coverage and accuract of Wikipedia to traditionally edited commercial encyclopedias.</p>

<p>The historian Roy Rosenzweig published an article on Wikipedia a year and a half ago in which he compared the site to both Encarta and American National Biography Online.</p>

<blockquote><p>To find 4 entries with errors in 25 biographies may seem a source for concern, but in fact it is exceptionally difficult to get every fact correct in reference works.… I checked 10 <cite>Encarta</cite> biographies for figures that also appear in <cite>Wikipedia</cite>, and in the commercial product I found at least 3 biographies with factual mistakes. Even the carefully edited <cite>American National Biography Online</cite>, whose biographies are written by experts, contains at least one factual error in the 25 entries I examined closely, the date of Nobel Prize winner I. I. Rabi’s doctoral degree—a date that <cite>Wikipedia</cite> gets right.…</p>
<p><cite>Wikipedia</cite>, then, beats <cite>Encarta</cite> but not <cite>American National Biography Online</cite> in coverage and roughly matches <cite>Encarta</cite> in accuracy.</p>
<div style="text-align: right;">Roy Rosenzweig, “<a href="http://chnm.gmu.edu/resources/essays/d/42">Can History be Open Source? Wikipedia and the Future of the Past</a>,”<br>
<cite>The Journal of American History</cite>, June 2006.</div></blockquote>

<p>American National Biography Online is a subscription service generally used by professional historians rather than students, so the performance of the free Wikipedia is pretty impressive. Also, Wikipedia generally improves in both accuracy and coverage as more people use and edit it, so Rosenzweig’s conclusions might be even more positive were he writing now.</p>

<p>The journal <cite>Nature</cite>, one of the two most prestigious in the sciences, published a similar comparison of Wikipedia and <cite>Encyclopedia Britannica</cite>’s web edition. They printed out copies of articles on the same topics from both websites without the source identified and sent them to experts. Their conclusions may be surprising:</p>

<blockquote><p>Among 42 entries tested, the difference in accuracy was not particularly great: the average science entry in Wikipedia contained around four inaccuracies; Britannica, about three.…</p>
<p><cite>Nature</cite>’s investigation suggests that Britannica’s advantage may not be great, at least when it comes to science entries. In the study, entries were chosen from the websites of Wikipedia and Encyclopaedia Britannica on a broad range of scientific disciplines and sent to a relevant expert for peer review. Each reviewer examined the entry on a single subject from the two encyclopaedias; they were not told which article came from which encyclopaedia.…</p>
<p>Only eight serious errors, such as misinterpretations of important concepts, were detected in the pairs of articles reviewed, four from each encyclopaedia. But reviewers also found many factual errors, omissions or misleading statements: 162 and 123 in Wikipedia and Britannica, respectively.</p>
<div style="text-align: right;">Jim Giles, “<a href="http://www.nature.com/nature/journal/v438/n7070/full/438900a.html">Internet encyclopaedias go head to head</a>,”<br>
<cite>Nature</cite>, December 15, 2005.</div></blockquote>

<p>Note that the <cite>Nature</cite> article is a couple of years old. I haven’t been able to find more recent such studies of the English language Wikipedia, though the magazine <cite>Stern</cite> did just publish an article on the German one under the heading “Wie gut ist Wikipedia?”</p>

<blockquote><p>Stern said the Wikipedia’s average rating was 1.7 on a scale where 1 is best and 6 is worst. The Brockhaus rated 2.7 on the same measure.</p>
<p>The articles were assessed for accuracy, completeness, how up to date they were and how easy they were to read.</p>
<p>In 43 matches [out of 50], the Wikipedia article was judged the winner.</p>
<div style="text-align: right;">“<a href="http://tech.monstersandcritics.com/news/article_1378822.php/Magazine_hails_German_Wikipedia_as_better_than_encyclopaedia">Magazine hails German Wikipedia as better than encyclopaedia</a>,”<br>
Deutsche Presse-Agentur, December 5, 2007.</div></blockquote>

<h2>History and Discussion</h2>

<p>The third attractive feature of Wikipedia is actually two features, the discussion and history pages. Every article has a set of links along the top. One of these links to the history of an article, which takes the form of a list of all the revisions that have been made. Because Wikipedia articles generally improve as more people edit them, simply looking at the number or frequency of these revisions can tell you something about the article. It's also possible, though, to click on the date of any one of these revisions and see how the article looked at that point in time. One can trace the development of an article all the way back to its original form, which is often only a sentence or two.</p>

<p>Another of these tabs at the top of an article to that article’s discussion page, also called the talk page. Fernanda Viégas and Martin Wattenberg, researchers at the IBM Visual Communication Lab, describe it this way.</p>

<blockquote><p>The talk page is where the writers for an article hash out their differences, plan future edits, and come to agreement about tricky rhetorical points. This kind of debate doubtless happens in the <cite>New York Times</cite> and <cite>Britannica</cite> as well, but behind the scenes. Wikipedia readers can see it all, and understand how choices were made.</p>
<div style="text-align: right;">Fernanda Viégas and Martin Wattenberg, “<a href="http://edge.org/discourse/digital_maoism.html#viegas">The Hive Mind Ain’t What It Used To Be</a>,”<br>
Edge, 2006.</div></blockquote>

<p>The talk page is a great way to learn more about how an article is put together and decide how much to trust it. One can easily imagine a writer and editor at the <cite>New York Times</cite> arguing about whether an individual sentence or idea should appear in an article, but most of us never get to see this process in action. Wikipedia allows us to peel back the veil and see how our reference source is produced.</p>

<p>The article on Knut that I mentioned earlier is a “featured article,” selected because it’s particularly good. The range of article quality on Wikipedia is enormous, so now we’ll now look at an article that, while not exactly bad, isn’t up to the same standard. Garrett Morgan was an African American inventor who lived in Cleveland and is best known for his work on gas masks and traffic signals. <a href="http://en.wikipedia.org/wiki/Garrett_A._Morgan">His article on Wikipedia</a>, unlike many websites run by museums and schools, does not claim that Morgan was the first to invent either the gas mask or the traffic signal. (The article has probably changed since I wrote this; you can <a href="http://en.wikipedia.org/w/index.php?title=Garrett_A._Morgan&oldid=189286669">see it as I did</a>.) Most of the discussion page deals with these questions of priority, and specifically with whether to cite a website that provides apparently accurate descriptions of earlier inventions similar to Morgan’s, but appears to be motivated by racism. This is the sort of discussion from which one can learn a great deal, both about history and about how people use and learn from history.</p>

<p>The Garrett Morgan article also demonstrates something completely different: that the quality of writing on Wikipedia is often very poor. This is partly because of “writing by committee” and partly because many contributors are independently poor writers. Any user can take an article and improve its structure and grammer, but users are often more excited about writing new material. Below is an excerpt from the Morgan article:</p>

<blockquote><p>It has often been claimed that Morgan invented the first “gas mask”, however, the first gas mask was invented by Scottish chemist John Stenhouse in 1854. A precursor to the “gas mask” had been invented by Lewis Haslett in 1847 and granted US Patent no. 6529 in 1859. Numerous other inventors, including, Charles Anthony Deane (1823), John Tyndall (1871), Samuel Barton (1874), George Neally (1877), Henry Fleuss (1878), before Morgan’s invention that was patented in 1914 (US Patent numbers 1090936 and 1113675), but does not diminish Morgan’s heroism in using his mask to rescue the men trapped in the tunnel explosion, which was undertaken at considerable personal risk.</p>
<p>Some claim that Morgan did not invent the first “gas mask”, however, those references are usually in reference to the “respirator.” Morgan invented the safety hood and later revised it, which was used to save trapped workers in the Lake Erie Crib Disaster of 1917. His safety hood eventually evolved to become a type of gas mask.</p>
<div style="text-align: right;">Wikipedia, “<a href="http://en.wikipedia.org/w/index.php?title=Garrett_A._Morgan&oldid=189286669">Garrett A. Morgan</a>.”</div></blockquote>

<p>I’ll leave finding the grammatical errors as an exercise to the reader, but it’s worth noticing that both paragraphs begin similarly but seem to be written without a clear awareness of each other. The writing does not flow, a common problem on Wikipedia. It’s also worth noticing, though, that the excerpt is not particularly hard to understand. It communicates sufficiently without doing so elegantly or grammatically. Wikipedia is a bad place to learn about writing style, but poor writing detracts only a little from its purpose as an encyclopedia.</p>

<p>Wikipedia should be looked at by educators as more than just a nuisance or a free encyclopedia. It's a potentially complicated tool, but one worth grappling with. I’ll close with the perspective of the researcher danah boyd, who studies relationships between youth and the internet:</p>

<blockquote><p>If educators would shift their thinking about Wikipedia, so much critical thinking could take place. The key value of Wikipedia is its transparency. You can understand how a page is constructed, who is invested, what their other investments are. You can see when people disagree about content and how, in the discussion, the disagreement was resolved. None of our traditional print media make such information available. Understanding Wikipedia means knowing how to:</p>
<ol>
	<li>Understand the assembly of data and information into publications</li>
	<li>Interpret knowledge</li>
	<li>Question purported truths and vet sources</li>
	<li>Analyze apparent contradictions in facts</li>
	<li>Productively contribute to the large body of collective knowledge</li>
</ol>
<div style="text-align: right;">danah boyd, “<a href="http://www.danah.org/papers/talks/Pearson2007.html">Information Access in a Networked World</a>,”<br>
talk presented to Pearson Publishing, November 2, 2007.</div></blockquote>

<p>For further reading, I recommend the articles linked from my citations above, as well as <a href="http://del.icio.us/zephoria/wikipedia">danah boyd’s small bookmark collection on Wikipedia</a>.</p>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="computing" /><category term="internet" /><category term="education" /><category term="technology" /><category term="media" /><summary type="html"><![CDATA[I gave this presentation on February 4, 2008 at the eTech Ohio Conference under the title “Can We Use Wikipedia Appropriately?” To begin with the basics, Wikipedia is an online encyclopedia that anyone can write and edit. It’s an ambitious project, and one with both positive and negative aspects. Ideally, Wikipedia will help democratize education, providing the same information for free to everyone with an internet connection. In the worst case, this will be misinformation, and the site will miseducate. The vast majority of Wikipedia articles can actually be changed by anyone. If you go to any article, you’ll find an “edit this page” link at the top, allowing you to do exactly that. Because anyone can add to or change Wikipedia entries, there’s no guarentee that information will be accurate. For the very same reason, though, anyone who finds a mistake, lie, or even grammatical error in an article can correct in themselves, making it easy to improve articles. I’m convinced that the vast majority of information on Wikipedia is accurate, and that it deserves some role in educational institutions. I also believe, however, that this role should be carefully considered and limited, and that educators should understand the process by which Wikipedia functions, not only the articles that result from it. One reason I think that educators should learn about Wikipedia is that students already are. Bill Tancer, a researcher for Hitwise who studies consumer behavior online, notes that many of the popular search terms that bring users to Wikipedia from sites like Google “bear a close resemblance to elementary school homework and research projects.” During the month of February, which is also Black History month, three of the top 20 terms sending traffic to Wikipedia were for prominent black historical figures, while two other searches were likely motivated by Presidents Day. In fact, changing timeframes to any other month during the school year reveals a similar result. Bill Tancer, “Look Who’s Using Wikipedia,” Time, March 1, 2007. If students are already using Wikipedia as a resource, it’s important that teachers understand it. You might find more to like than you expect. I’ll tell you a bit about three attractive features of Wikipedia, though I’ll mention some negative aspects along the way too. These will be citations, comprehensiveness, and the site’s history and discussion tools. The topic of Wikipedia and education has already received some press, though it’s mostly dealt with higher education. The most discussed event was a decision by the history department at Middlebury College to ban citing of Wikipedia in student papers. What’s interesting to me about this decision is that it actually reflects a consensus of educators and Wikipedians that the site is best used as a starting place for research rather than as a student’s only source. The following quotation is from Wikipedia cofounder Jimmy Wales. The advice I would give to students is be careful how you use Wikipedia. It really isn’t a trusted source. It really is edited real-time and it could be full of mistakes.… I think it basically should be fine in schools… to add a footnote saying I did a lot of my preliminary research in Wikipedia, just to acknowledge where you got a lot of knowledge. But in terms of citing specific facts, you really should go to the sources and look it up there, because that’s what you’re supposed to be doing. The encyclopedia is supposed to give you the broad overview, not be a primary research tool…. I would say the same thing about Brittanica, by the way. Jimmy Wales, net@nite 13, February 13, 2007. Citations Fortunately, Wikipedia can be very helpful to those looking to find other sources on a subject. Articles generally have superscript links to endnotes interspersed throughout their text. There are many articles on the site without citations, but they are viewed by regular users as unpolished and in need of substantiation, while numerous citations are a hallmark of a good article. Today’s featured article on the site, about a polar bear named Knut, has 41 citations in a few pages of text. (Because Wikipedia is always changing, this might be different when you visit the article; you can see it as I did.) Because it’s about recent events, these citations all include links to stories in traditional news media, but articles also frequently cite books, academic journals, and other authoritative sources. The role of citations is so central on Wikipedia that they have come to be identified with the site. Randall Munroe, “Wikipedian Protester,” xkcd, 2007. Comprehensiveness Another attractive feature of Wikipedia is its comprehensiveness. The English language site has over two million articles, many of them quite long and thorough. There have been a few studies comparing the coverage and accuract of Wikipedia to traditionally edited commercial encyclopedias. The historian Roy Rosenzweig published an article on Wikipedia a year and a half ago in which he compared the site to both Encarta and American National Biography Online. To find 4 entries with errors in 25 biographies may seem a source for concern, but in fact it is exceptionally difficult to get every fact correct in reference works.… I checked 10 Encarta biographies for figures that also appear in Wikipedia, and in the commercial product I found at least 3 biographies with factual mistakes. Even the carefully edited American National Biography Online, whose biographies are written by experts, contains at least one factual error in the 25 entries I examined closely, the date of Nobel Prize winner I. I. Rabi’s doctoral degree—a date that Wikipedia gets right.… Wikipedia, then, beats Encarta but not American National Biography Online in coverage and roughly matches Encarta in accuracy. Roy Rosenzweig, “Can History be Open Source? Wikipedia and the Future of the Past,” The Journal of American History, June 2006. American National Biography Online is a subscription service generally used by professional historians rather than students, so the performance of the free Wikipedia is pretty impressive. Also, Wikipedia generally improves in both accuracy and coverage as more people use and edit it, so Rosenzweig’s conclusions might be even more positive were he writing now. The journal Nature, one of the two most prestigious in the sciences, published a similar comparison of Wikipedia and Encyclopedia Britannica’s web edition. They printed out copies of articles on the same topics from both websites without the source identified and sent them to experts. Their conclusions may be surprising: Among 42 entries tested, the difference in accuracy was not particularly great: the average science entry in Wikipedia contained around four inaccuracies; Britannica, about three.… Nature’s investigation suggests that Britannica’s advantage may not be great, at least when it comes to science entries. In the study, entries were chosen from the websites of Wikipedia and Encyclopaedia Britannica on a broad range of scientific disciplines and sent to a relevant expert for peer review. Each reviewer examined the entry on a single subject from the two encyclopaedias; they were not told which article came from which encyclopaedia.… Only eight serious errors, such as misinterpretations of important concepts, were detected in the pairs of articles reviewed, four from each encyclopaedia. But reviewers also found many factual errors, omissions or misleading statements: 162 and 123 in Wikipedia and Britannica, respectively. Jim Giles, “Internet encyclopaedias go head to head,” Nature, December 15, 2005. Note that the Nature article is a couple of years old. I haven’t been able to find more recent such studies of the English language Wikipedia, though the magazine Stern did just publish an article on the German one under the heading “Wie gut ist Wikipedia?” Stern said the Wikipedia’s average rating was 1.7 on a scale where 1 is best and 6 is worst. The Brockhaus rated 2.7 on the same measure. The articles were assessed for accuracy, completeness, how up to date they were and how easy they were to read. In 43 matches [out of 50], the Wikipedia article was judged the winner. “Magazine hails German Wikipedia as better than encyclopaedia,” Deutsche Presse-Agentur, December 5, 2007. History and Discussion The third attractive feature of Wikipedia is actually two features, the discussion and history pages. Every article has a set of links along the top. One of these links to the history of an article, which takes the form of a list of all the revisions that have been made. Because Wikipedia articles generally improve as more people edit them, simply looking at the number or frequency of these revisions can tell you something about the article. It's also possible, though, to click on the date of any one of these revisions and see how the article looked at that point in time. One can trace the development of an article all the way back to its original form, which is often only a sentence or two. Another of these tabs at the top of an article to that article’s discussion page, also called the talk page. Fernanda Viégas and Martin Wattenberg, researchers at the IBM Visual Communication Lab, describe it this way. The talk page is where the writers for an article hash out their differences, plan future edits, and come to agreement about tricky rhetorical points. This kind of debate doubtless happens in the New York Times and Britannica as well, but behind the scenes. Wikipedia readers can see it all, and understand how choices were made. Fernanda Viégas and Martin Wattenberg, “The Hive Mind Ain’t What It Used To Be,” Edge, 2006. The talk page is a great way to learn more about how an article is put together and decide how much to trust it. One can easily imagine a writer and editor at the New York Times arguing about whether an individual sentence or idea should appear in an article, but most of us never get to see this process in action. Wikipedia allows us to peel back the veil and see how our reference source is produced. The article on Knut that I mentioned earlier is a “featured article,” selected because it’s particularly good. The range of article quality on Wikipedia is enormous, so now we’ll now look at an article that, while not exactly bad, isn’t up to the same standard. Garrett Morgan was an African American inventor who lived in Cleveland and is best known for his work on gas masks and traffic signals. His article on Wikipedia, unlike many websites run by museums and schools, does not claim that Morgan was the first to invent either the gas mask or the traffic signal. (The article has probably changed since I wrote this; you can see it as I did.) Most of the discussion page deals with these questions of priority, and specifically with whether to cite a website that provides apparently accurate descriptions of earlier inventions similar to Morgan’s, but appears to be motivated by racism. This is the sort of discussion from which one can learn a great deal, both about history and about how people use and learn from history. The Garrett Morgan article also demonstrates something completely different: that the quality of writing on Wikipedia is often very poor. This is partly because of “writing by committee” and partly because many contributors are independently poor writers. Any user can take an article and improve its structure and grammer, but users are often more excited about writing new material. Below is an excerpt from the Morgan article: It has often been claimed that Morgan invented the first “gas mask”, however, the first gas mask was invented by Scottish chemist John Stenhouse in 1854. A precursor to the “gas mask” had been invented by Lewis Haslett in 1847 and granted US Patent no. 6529 in 1859. Numerous other inventors, including, Charles Anthony Deane (1823), John Tyndall (1871), Samuel Barton (1874), George Neally (1877), Henry Fleuss (1878), before Morgan’s invention that was patented in 1914 (US Patent numbers 1090936 and 1113675), but does not diminish Morgan’s heroism in using his mask to rescue the men trapped in the tunnel explosion, which was undertaken at considerable personal risk. Some claim that Morgan did not invent the first “gas mask”, however, those references are usually in reference to the “respirator.” Morgan invented the safety hood and later revised it, which was used to save trapped workers in the Lake Erie Crib Disaster of 1917. His safety hood eventually evolved to become a type of gas mask. Wikipedia, “Garrett A. Morgan.” I’ll leave finding the grammatical errors as an exercise to the reader, but it’s worth noticing that both paragraphs begin similarly but seem to be written without a clear awareness of each other. The writing does not flow, a common problem on Wikipedia. It’s also worth noticing, though, that the excerpt is not particularly hard to understand. It communicates sufficiently without doing so elegantly or grammatically. Wikipedia is a bad place to learn about writing style, but poor writing detracts only a little from its purpose as an encyclopedia. Wikipedia should be looked at by educators as more than just a nuisance or a free encyclopedia. It's a potentially complicated tool, but one worth grappling with. I’ll close with the perspective of the researcher danah boyd, who studies relationships between youth and the internet: If educators would shift their thinking about Wikipedia, so much critical thinking could take place. The key value of Wikipedia is its transparency. You can understand how a page is constructed, who is invested, what their other investments are. You can see when people disagree about content and how, in the discussion, the disagreement was resolved. None of our traditional print media make such information available. Understanding Wikipedia means knowing how to: Understand the assembly of data and information into publications Interpret knowledge Question purported truths and vet sources Analyze apparent contradictions in facts Productively contribute to the large body of collective knowledge danah boyd, “Information Access in a Networked World,” talk presented to Pearson Publishing, November 2, 2007. For further reading, I recommend the articles linked from my citations above, as well as danah boyd’s small bookmark collection on Wikipedia.]]></summary></entry><entry><title type="html">Social Network Sites and the High Fidelity Model of Identity</title><link href="https://collopy.net/writing/2008/high-fidelity/" rel="alternate" type="text/html" title="Social Network Sites and the High Fidelity Model of Identity" /><published>2008-01-08T00:00:00-08:00</published><updated>2008-01-08T00:00:00-08:00</updated><id>https://collopy.net/writing/2008/high-fidelity</id><content type="html" xml:base="https://collopy.net/writing/2008/high-fidelity/"><![CDATA[<blockquote>
	<p>When you’re filling out your Friendster profile, it says “Give other people a chance to find out how you’re unique,” and the second question in that list is “What’s your favorite television program?”</p>
	<div style="text-align: right">—Ze Frank, “<a href="http://www.zefrank.com/smallworld/">small world</a>,” 2004</div>
</blockquote>
<p>Although 2007 brought a great deal of change with the opening of Facebook to outside developers, its original components have stayed remarkably fixed for three years. Among these initial features are some based on what I will term the <cite>High Fidelity</cite> model of identity, after a passage in Nick Hornby’s novel in which Rob, his narrator, explains that “what really matters is what you like, not what you are like.” Few of us would admit to basing our social lives on this principle, but it doesn’t seem to have hindered Facebook and other social network sites.</p>
<!--more-->
<p>The locus of the <cite>High Fidelity</cite> model on Facebook is a box on each profile with the bland and unhelpful title “Information.” The Information box holds two categories of, well, information: Contact Info and Personal Info. Oddly, sexual orientation and relationship status, the most personal info on the profile, don’t go under the Personal Info heading; they’re important enough to be trumpeted at the top of the page. The information listed in Personal Info is much more broadly social and contextual: activities and interests, as well as favorite music, TV shows, movies, books, and quotes. The most expressive element, a freeform “about me” space, comes last, appearing <a href="http://motive.co.nz/glossary/fold.php">below the fold</a> on the profile.</p>
<p>So Facebook doesn’t draw much attention to the most flexible portion of the profile, but it does draw attention to the lists of favorite things, which tend to visually dominate the Information box. Each favorite thing is a convenient link to a list of other users who share a love of that particular cultural phenomenon. From the perspective of interface design, these links appear to be a key feature of Facebook, an obvious way of finding others. In practice, however, they’re little used, and their value, which is based on the <cite>High Fidelity</cite> principle, is limited.</p>
<p><a href="http://msu.edu/~lampecli/papers/chi2007_slashdot.pdf">According to social network researchers Cliff Lampe, Nicole Ellison, and Charles Steinfield</a>, users who list many favorite things have no more friends than those who list few. (Those who list none do have fewer friends, perhaps because they spend less time on Facebook generally.) This suggests that users don’t find each other on the site through shared cultural preferences. Indeed, the links may be present less for any particular purpose and more just because they can be; even birthdays are links on Facebook, though there’s little value in a list of others with the same birthday. (Birthday links also suggest, though, that features which seem useless if unobtrusive to some may be useful to others: believers in astrology and planners of joint birthday parties might disagree with my judgment against them.)</p>
<p>It turns out that social network sites, especially Facebook, are generally used to articulate existing friendships rather than to create new ones. (Lampe, Ellison, and Steinfield have also done <a href="http://msu.edu/~lampecli/papers/cscw2006.pdf">research on this point</a> with regard to Facebook.) Lists of favorite things, though, originated in a world where users were trying to create new relationships, on dating websites like Match.com. The value of these lists on dating websites was clear: as Hornby wrote of a hypothetical questionnaire for prospective dates, “it was intended a) to dispense with awkward conversation, and b) to prevent a chap from leaping into bed with someone who might, at a later date, turn out to have every Julio Iglesias record ever made.” I suspect the effects of using such lists on dating websites are not entirely positive—there’s a reason why the questionnaire idea is somewhere between absurd and offensive in print, and we shouldn’t ignore that reaction just because computers are involved.</p>
<p>Friendster, originally designed as a more sophisticated dating site, brought these lists into the new world of social network sites in 2002. The role of lists of favorite things on social network sites is a lot less clear, though. Facebook’s founder <a href="http://businessweek.com/innovate/NussbaumOnDesign/archives/2007/06/ceos_must_be_de.html">Mark Zuckerberg has said</a> that “the other guys think the purpose of communication is to get information. We think the purpose of information is to get communication.” The information Facebook profiles provide can contribute to communication; in his webcomic xkcd, for instance, Randall Munroe depicts “<a href="http://xkcd.com/300/">looking up someone’s profile before introducing yourself so you know which of your favorite bands to mention</a>.” In general, though, lists of favorite things contribute little to communication.</p>
<p>Their greatest role might instead be in identity formation. To the extent that these lists matter, it is because they allow users to present themselves to an audience, and perhaps more importantly to themselves, in terms of their tastes. <a href="http://jcmc.indiana.edu/vol13/issue1/liu.html">Hugo Liu has studied this phenomenon in depth on MySpace</a>, <a href="http://jcmc.indiana.edu/vol13/issue1/liu.html#conclusions">concluding</a> that “the social network profile’s lists of interests might actually be more useful as an indicator of one’s aesthetics than as a factual declaration of interests.” Social network sites may not help us make friends, but they do provide us with new ways to express how we see ourselves.</p>
<hr />
<p>Both <cite>High Fidelity</cite> quotations are from page 117 in <a href="http://worldcat.org/oclc/35211299">the first Riverhead trade paperback edition</a>, and probably in other Riverhead editions as well.</p>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="computing" /><category term="internet" /><category term="consciousness" /><category term="technology" /><category term="media" /><summary type="html"><![CDATA[When you’re filling out your Friendster profile, it says “Give other people a chance to find out how you’re unique,” and the second question in that list is “What’s your favorite television program?” —Ze Frank, “small world,” 2004 Although 2007 brought a great deal of change with the opening of Facebook to outside developers, its original components have stayed remarkably fixed for three years. Among these initial features are some based on what I will term the High Fidelity model of identity, after a passage in Nick Hornby’s novel in which Rob, his narrator, explains that “what really matters is what you like, not what you are like.” Few of us would admit to basing our social lives on this principle, but it doesn’t seem to have hindered Facebook and other social network sites.]]></summary></entry><entry><title type="html">George Frederick Wright and the Harmony of Science and Revelation</title><link href="https://collopy.net/writing/2007/george-frederick-wright/" rel="alternate" type="text/html" title="George Frederick Wright and the Harmony of Science and Revelation" /><published>2007-05-02T00:00:00-07:00</published><updated>2007-05-02T00:00:00-07:00</updated><id>https://collopy.net/writing/2007/george-frederick-wright</id><content type="html" xml:base="https://collopy.net/writing/2007/george-frederick-wright/"><![CDATA[George Frederick Wright was an Oberlin-educated theologian and self-taught geologist who lived from 1838 to 1921. He was among the most influential Christian interpreters of Darwinism as Americans began to debate the theory in the 1870s and 1880s. In his writings, Wright illustrated a method for reconciling evolutionary theory with Christianity. Wright himself was a Calvinist, and he argued that his own conservative theological tradition shared important characteristics with Darwinism.

At the turn of the century, however, Wright began to criticize both Darwinism in particular and evolutionary thought generally. A decade later, he was among the authors of a series of pamphlets entitled <cite>The Fundamentals</cite>, and thus a standard bearer for the conservative wing of American Protestantism that soon developed into the fundamentalist movement. Furthermore, one of the three articles he contributed to <cite>The Fundamentals</cite>, “The Passing of Evolution,” was a forceful attack on evolutionary thought.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="science" /><category term="biology" /><category term="geology" /><category term="evolution" /><category term="religion" /><category term="Christianity" /><category term="conservatism" /><summary type="html"><![CDATA[George Frederick Wright was an Oberlin-educated theologian and self-taught geologist who lived from 1838 to 1921. He was among the most influential Christian interpreters of Darwinism as Americans began to debate the theory in the 1870s and 1880s. In his writings, Wright illustrated a method for reconciling evolutionary theory with Christianity. Wright himself was a Calvinist, and he argued that his own conservative theological tradition shared important characteristics with Darwinism. At the turn of the century, however, Wright began to criticize both Darwinism in particular and evolutionary thought generally. A decade later, he was among the authors of a series of pamphlets entitled The Fundamentals, and thus a standard bearer for the conservative wing of American Protestantism that soon developed into the fundamentalist movement. Furthermore, one of the three articles he contributed to The Fundamentals, “The Passing of Evolution,” was a forceful attack on evolutionary thought.]]></summary></entry><entry><title type="html">Educational Choice “on the Side of the Child”: Liberalism and Libertarian Education</title><link href="https://collopy.net/writing/2006/libertarian-education/" rel="alternate" type="text/html" title="Educational Choice “on the Side of the Child”: Liberalism and Libertarian Education" /><published>2006-06-01T00:00:00-07:00</published><updated>2006-06-01T00:00:00-07:00</updated><id>https://collopy.net/writing/2006/libertarian-education</id><content type="html" xml:base="https://collopy.net/writing/2006/libertarian-education/"><![CDATA[<p>
	Over the last few centuries states have taken on increasing responsibility for the education of children. This trend is often characterized as one of making formal education available to more children. The institutionalization of education has other ramifications, however. As states have made schools available to their entire populations, they have also made attendance compulsory, raising a number of questions about the rights and liberties of states, parents, and children as they relate to education. 
</p>
<!--more-->
<p>
	In this paper, I will begin by exploring the dominant views on <a href="#choice">educational liberty in contemporary America</a>. I will then explore the libertarian educational philosophies of <a href="#neill">A.S. Neill</a> and <a href="#holt">John Holt</a>, first with overviews and then with a more focused investigation of their views on <a href="#freedom">freedom in education</a>. Finally, I will draw upon the writings of Neill and Holt to analyze the concept of <a href="#compulsory">compulsory education</a>, illustrating the depth of their critiques of schooling and the extent to which they challenge liberal and conservative ideas about the nature of education. As a historical conclusion, I will briefly summarize the <a href="#influence">influence of libertarian educational theory</a> in America. 
</p>
<h2 id="choice">School Choice in America</h2> 
<p>
	In contemporary America, the most vocal parties on the so-called “school choice” issue have been adherents of the streams of thought best represented in American politics. Conservatives with a libertarian bent, for example, have argued that parents have the right to choose how to educate their children. <a href="http://cato.org/" title="The Cato Institute">The Cato Institute</a>, for instance, has a <a href="http://cato.org/research/education/" title="Cato Institute, “Education and Child Policy”.">Center for Education Freedom</a> “founded on the principle that parents are best suited to make important decisions regarding the care and education of their children.” Terming educational choice “the fundamental right of parents,” the Center prescribes capitalist markets as the solution to educational problems, foreseeing “a future when state-run schools give way to a dynamic, independent system of schools competing to meet the needs of American children.” 
</p>
<p>
	Religious conservatives have also supported legislation that gives parents more control over where their children are educated. Many have enrolled their children in religious schools or homeschooled them in order to give them a pervasive religious education. Political organizations like the <a href="http://cc.org/" title="Christian Coalition of America">Christian Coalition of America</a> <a href="http://cc.org/content.cfm?id=22" title="Christian Coalition of America, “Supreme Court Decision Marks Victory for School Choice”." class="cite">favor</a> government vouchers that pay part or all of private and religious school tuition for families that opt out of the public school system. 
</p>
<p>
	American liberals, on the other hand, have tended to support the public school system and the ideal of equal education for all to the exclusion of alternatives. They have generally argued that allocating public funding to private school tuition weakens the public school system. <a href="http://www.pfaw.org/pfaw/general/" title="People for the American Way">People for the American Way</a>, for instance, <a href="http://www.pfaw.org/pfaw/general/default.aspx?oid=12074" title="People for the American Way, “Vouchers and Tuition Tax Credits”." class="cite">states</a> that it “has consistently opposed school vouchers and tuition tax credit programs that divert scarce education funding away from public schools.” Liberals often favor improving public schools, which are available to all Americans, rather than funding alternatives which will only be utilized by some. 
</p>
<p>
	Despite their respective adoption in this debate by Americans who call themselves conservatives and liberals, liberty and equality are both ideals of liberalism broadly defined. Debates over American education thus often appear to involve a conflict between two liberal ideals. To frame the debate in these simplistic terms, however, is to adopt a number of prior assumptions. Because educational choice in the United States involves several (sometimes overlapping) parties—not only parents and the state, but students, teachers, administrators, voters, and taxpayers—any educational policy must involve judgments not only about the balance between liberty and equality but about whose liberty and equality are important. (Furthermore, “the state” is itself not monolithic. Federal, state, and local governments all play roles in educational policy and funding, complicating the issue further.) These assumptions can be unearthed and questioned through comparison with rival theories. 
</p>
<p>
	Mainstream American political discourse tends to emphasize the rights of parents and the equality of children’s educations. Conservatives argue that <em>parents</em> ought to be able to choose how to educate their children, not that children ought to shape their own educations. Liberals argue that children should have equal educations, and often emphasize the socializing function of public schooling. 
</p>
<p>
	The voice of the libertarian left is less prominent in contemporary America than those of the liberal left and the conservative/libertarian right. In the last century, however, it has been from this political perspective that the educational innovations of the free school and unschooling movements have originated. The most prominent leaders of these movements, <a href="#neill">A.S. Neill</a> and <a href="#holt">John Holt</a>, thought and wrote about the same issues of freedom, democracy, and equality now addressed in the school choice debate. In divorcing responsibility for the education of children from the state, Neill and Holt developed complex relationships with the ideal of equality. Each also emphasized the freedom of children, rather than parents, presenting a perspective today’s debates often lack. These educators reached a conclusion previously proposed by Jean-Jacques Rousseau: that the best education for a free person is one that integrally involves freedom. 
</p>
<h2 id="neill">A.S. Neill</h2> 
<p>
	In his children’s book <cite>The Last Man Alive</cite>, the Scottish educator A.S. Neill recounts a story he told to his students in 1938. Its characters are Neill and the children themselves, who are among the few to survive a green cloud that turns people to stone. In his preface, Neill <a href="http://worldcat.org/oclc/74596" title="A.S. Neill, The Last Man Alive (1969), 8." class="cite">describes</a> his school and his attitude towards authority. 
</p>
<blockquote>
	<p>
		To readers who never heard of Summerhill School, I explain that it is a school where children are free in a self-governing system where the laws are made by general vote. The staff hasn’t, and never has had, any dignity: in real life, as in the story, I am just Neill without the <i>Mister</i>. Fathers reading this book aloud can substitute <i>Daddy</i> for <i>Neill</i> all the way; but only fathers who inspire no fear, fathers who are on equal terms with their children. 
	</p>
</blockquote>
<p>
	Neill was the man who gave the free school movement its canonical expression in his 1960 book <cite>Summerhill: A Radical Approach to Child Rearing</cite>. In <cite>Summerhill</cite>, Neill describes how he put his philosophy of education, which focused on freedom and happiness, into practice at his school. The book was in fact <a href="http://worldcat.org/oclc/1175417" title="A.S. Neill, Summerhill (1960), vii." class="cite">compiled</a> by its editor, Harold H. Hart, from four of Neill’s earlier books, as well as some new material. The result is considered shallow by some critics. In order to adequately describe “the Summerhill idea” in this paper, I rely not only upon <cite>Summerhill</cite> but upon Neill’s other related books as well. <cite>Summerhill</cite> itself represents the later thoughts of a man who had been writing about education for 45 years, and is based largely on his experiences as headmaster of its namesake, which he founded in 1921. 
</p>
<h3>Early Years</h3> 
<p>
	Alexander Sutherland Neill <a href="http://worldcat.org/oclc/9576063" title="Jonathan Croall, Neill of Summerhill: The Permanent Rebel (1983), 8." class="cite">was born</a> in 1883 and so was already in his late 70s when <cite>Summerhill</cite> was published. He was the son of a traditional schoolmaster, and <a href="http://worldcat.org/oclc/403087" title="“Neill! Neill! Orange Peel!”: An Autobiography (1972), 35." class="cite">was</a> in fact among his father’s students in primary school. George Neill’s school was a loud and chaotic place, but, as Alexander <a href="http://worldcat.org/oclc/403087" title="“Neill! Neill! Orange Peel!”: An Autobiography (1972), 37." class="cite">wrote</a> in his autobiography, “in the main a happy school.” Alexander <a href="http://worldcat.org/oclc/9576063" title="Jonathan Croall, Neill of Summerhill: The Permanent Rebel (1983), 25." class="cite">was not</a> a good student, and was more interested in machinery and invention than in books, priorities he held throughout his life. His transition from unsuccessful student to influential educator had a profound impact on his educational philosophy. In order to shed some light on the younger Neill’s development as an educator, a brief review of his professional life before Summerhill is in order. 
</p>
<p>
	Neill’s father—who, as he <a href="http://worldcat.org/oclc/403087" title="“Neill! Neill! Orange Peel!”: An Autobiography (1972), 31." class="cite">later wrote</a>, “did not care for me when I was a boy”—<a href="http://worldcat.org/oclc/403087" title="“Neill! Neill! Orange Peel!”: An Autobiography (1972), 83." class="cite">made him</a> get a job at 14 rather than going to boarding school as his siblings did. After Neill worked briefly as an office clerk and a draper’s apprentice and studied for the Civil Service exam but was unable to focus, his father <a href="http://worldcat.org/oclc/403087" title="“Neill! Neill! Orange Peel!”: An Autobiography (1972), 84–89." class="cite">made him</a> his apprentice. This was a gesture inspired more by despair at Neill’s failures than by confidence in his teaching ability, and as a student teacher Neill was again a failure: after his four-year apprenticeship he <a href="http://worldcat.org/oclc/9576063" title="Jonathan Croall, Neill of Summerhill: The Permanent Rebel (1983), 30." class="cite">received</a> the second worst score of 104 candidates on a college entry examination for teacher training. Nonetheless, he was able to find work as an assistant teacher, and while teaching <a href="http://worldcat.org/oclc/9576063" title="Jonathan Croall, Neill of Summerhill: The Permanent Rebel (1983), 34." class="cite">met</a> a minister, Aeneas Gunn Gordon, who befriended and tutored him. Gordon kindled in Neill a new interest in academics, and particularly in literature. 
</p>
<p>
	Thus inspired, Neill <a href="http://worldcat.org/oclc/9576063" title="Jonathan Croall, Neill of Summerhill: The Permanent Rebel (1983), 39." class="cite">entered</a> Edinburgh University at the age of 24. He <a href="http://worldcat.org/oclc/403087" title="“Neill! Neill! Orange Peel!”: An Autobiography (1972), 120." class="cite">edited</a> the university magazine, <cite>The Student</cite>, and graduated with an M.A. in Honors English. After college Neill <a href="http://worldcat.org/oclc/9576063" title="Jonathan Croall, Neill of Summerhill: The Permanent Rebel (1983), 52–55." class="cite">worked</a> for a while as an editor, then, when World War I began in 1914, <a href="http://worldcat.org/oclc/9576063" title="Jonathan Croall, Neill of Summerhill: The Permanent Rebel (1983), 58." class="cite">took</a> a job as a schoolmaster in the village of Gretna. 
</p>
<h3>Politics and Educational Theory</h3> 
<p>
	Neill began to develop his views on politics and education while at college. He began his written critique of the educational system with <a href="http://worldcat.org/oclc/9576063" title="Jonathan Croall, Neill of Summerhill: The Permanent Rebel (1983), 46." class="cite">editorials</a> in <cite>The Student</cite> entitled “The Cursed Exam System” and “In Which We Criticise Our Professors.” Neill <a href="http://worldcat.org/oclc/9576063" title="Jonathan Croall, Neill of Summerhill: The Permanent Rebel (1983), 47." class="cite">developed</a> socialist political views while at college as well, in part due to the influence of H.G. Wells, George Bernard Shaw, and Henrik Ibsen. These views <a href="http://worldcat.org/oclc/9576063" title="Roy Hemmings, Children’s Freedom: A. S. Neill and the Evolution of the Summerhill Idea (1973), 13." class="cite">took the form</a> of a somewhat cynical utopian socialism: Neill was clearly an anti-capitalist, but found British socialists “bureaucratic” and frequently quoted Ibsen’s anti-democratic maxim that “The Majority <em>never</em> has right on its side.” Among his utopian influences <a href="http://worldcat.org/oclc/9576063" title="Jonathan Croall, Neill of Summerhill: The Permanent Rebel (1983), 75." class="cite">was</a> William Morris’ <cite>News from Nowhere</cite>. 
</p>
<p>
	Once he became a schoolmaster, Neill’s pedagogy quickly became radical as well. It was at Gretna that Neill <a href="http://worldcat.org/oclc/9576063" title="Jonathan Croall, Neill of Summerhill: The Permanent Rebel (1983), 60." class="cite">wrote</a> his first book, <cite>A Dominie’s Log</cite>. This 1915 book chronicled his attempt to develop an educational philosophy from scratch as he taught, for he <a href="http://worldcat.org/oclc/1858724" title="A.S. Neill, The Dominie Books of A.S. Neill (1975), 13." class="cite">believed</a> that “there has been no real authority on education, and I do not know of any book from which I can crib.” Neill quickly established his goal: “I want these boys and girls,” he <a href="http://worldcat.org/oclc/1858724" title="A.S. Neill, The Dominie Books of A.S. Neill (1975), 15." class="cite">wrote</a>, “to acquire the habit of looking honestly at life.” Other aspects of his philosophy soon followed. Neill developed some of the educational theories and practices he later implemented at Summerhill during this period; in particular, he <a href="http://worldcat.org/oclc/9576063" title="Jonathan Croall, Neill of Summerhill: The Permanent Rebel (1983), 60." class="cite">began</a> to have class periods during which students could do as they wished, and attempted to abdicate his authority as teacher. 
</p>
<p>
	The basic principles of Neill’s thought are manifestly political; his ideals are often simply the politics of the libertarian left applied to children. Neill opposed authority, for instance, and thus the authority of teachers. He opposed oppression, and thus the oppression of schoolchildren. He valued happiness, and thus children’s happiness. He was skeptical of traditional notions of morality, particularly sexual morality, and eventually came to argue that children should not be shackled by them. (Neill was particularly concerned with sexual freedom, and attributed many of society’s flaws to the “masturbation prohibition.” In his foreword to <cite>Summerhill</cite>, supporter Erich Fromm expressed some “reservations” about Neill’s fixation on sex, <a href="http://worldcat.org/oclc/1175417" title="A.S. Neill, Summerhill (1960), xv." class="cite">writing</a> that “the author is steeped in the assumptions of Freud; and as I see it, he somewhat overestimates the significance of sex, as Freudians tend to do.”) 
</p>
<p>
	Neill did not claim that his primary goal was to educate well in an academic sense. Indeed, he opposed the idea that the quality of education should be judged by the academic success of students, <a href="http://worldcat.org/oclc/1175417" title="A.S. Neill, Summerhill (1960), 29." class="cite">writing</a> that “my own criterion of success is the <em>ability to work joyfully and to live positively</em>.” This criterion too fit into Neill’s broader philosophy, for he <a href="http://worldcat.org/oclc/1175417" title="A.S. Neill, Summerhill (1960), 24." class="cite">held</a> that “that the aim of life is to find happiness” and that “education should be a preparation for life.” Neill’s philosophy was thus hedonistic but not shortsighted; he believed that the best preparation for a free and happy adult life was a free and happy education. 
</p>
<p>
	Though Neill’s earliest educational thought was highly independent, and though he read little of others’ theories on education until well after his own had cemented, he did give a great deal of credit for his ideas and techniques to one other educator, Homer Lane. (Neill sometimes gave Lane too much credit. For example, Neill <a href="http://worldcat.org/oclc/403087" title="“Neill! Neill! Orange Peel!”: An Autobiography (1972), 120." class="cite">attributed</a> the phrase “on the side of the child,” often associated with him, to Lane, but he had himself <a href="http://worldcat.org/oclc/9576063" title="Roy Hemmings, Children’s Freedom: A. S. Neill and the Evolution of the Summerhill Idea (1973), 16." class="cite">written</a> that he was “on the side of the bairns” before meeting Lane.) Lane <a href="http://worldcat.org/oclc/9576063" title="Jonathan Croall, Neill of Summerhill: The Permanent Rebel (1983), 81–83." class="cite">ran</a> The Little Commonwealth, a school for juvenile delinquents that practiced self-government, a concept which Neill adopted for Summerhill. Lane was also a practitioner of Freudian psychoanalysis who introduced Neill to the world of psychology. 
</p>
<p>
	As Neill’s interests shifted from politics to psychology, he made an effort to understand the psychology of the children with whom he worked. He concluded that children are born good and corrupted by society, agreeing with both Lane and Jean-Jacques Rousseau, who had begun his work on education, <cite><a href="http://www.ilt.columbia.edu/pedagogies/rousseau/">&Eacute;mile</a></cite>, with the statement that “God makes all things good; man meddles with them and they become evil.” This marks a sharp break from the view that formal education is necessary for the socialization of children. In its most radical forms, which Rousseau approaches, this view suggests that children should ideally be isolated from the world. Neill took a more moderate view, arguing that children would be more free if protected from adult influence, but that contact with other children was a good thing. His great confidence in the virtue of the free child was reinforced by Lane who, he <a href="http://worldcat.org/oclc/1175417" title="A.S. Neill, Summerhill (1960), 274." class="cite">wrote</a>, “gave delinquent children the freedom to be themselves, and they became good.” 
</p>
<p>
	Much of Neill’s work consists of advice on child-rearing for parents, but here I draw primarily on his educational philosophy and his implementation of it as he describes it. (As Neill believed that adults generally corrupt children, his child-rearing advice can be summarized as “leave your children alone.”) Though Neill died in 1973, Summerhill is still running. I nonetheless refer to the operations of the school in the past tense because my source on them are decades old and—even though the school seems to cleave to Neill’s philosophy—policies may have changed. 
</p>
<h2 id="holt">John Holt</h2> 
<p>
	During the 1960s, a number of teachers began writing about educational philosophies that focused on children’s freedom. Among the most original was John Holt, an American teacher who became first an influential critic of American educational institutions and then an advocate of homeschooling. Holt was born in 1923, forty years after Neill. His own education was both elite and traditional: he <a href="http://worldcat.org/oclc/47696625" title="Ron Miller, Free Schools, Free People: Education and Democracy After the 1960s (2002), 79." class="cite">attended</a> Exeter Academy and an Ivy League university. He <a href="http://worldcat.org/oclc/21328733" title="John Holt, A Life Worth Living: Selected Letters of John Holt, edited by Susannah Sheffer (1990), 1." class="cite">held</a> that “a person’s schooling is as much a part of his private business as his politics or religion,” and never identified his undergraduate alma mater. Holt served in a submarine during World War II, then began teaching at elite private schools. With his first book, <cite>How Children Fail</cite>, he began to build a reputation as a commentator on schooling who cared deeply about children. Holt was known as a practical thinker and school reformer, so he surprised other educators when he began to write more theoretically with <cite>Freedom and Beyond</cite> in 1972. Holt <a href="http://worldcat.org/oclc/21328733" title="John Holt, A Life Worth Living: Selected Letters of John Holt, edited by Susannah Sheffer (1990), 1." class="cite">died</a> in 1985. 
</p>
<h3>Politics and Educational Theory</h3> 
<p>
	Holt is sometimes <a href="http://worldcat.org/oclc/49872009" title="Debra M. Freedman and J. Dan Marshall, “Holt, John (1923–1985),” Encyclopedia of Education, 2nd edition, James W. Guthrie, editor in chief (2003), 1059." class="cite">described</a> by more mainstream, institutionalist scholars of education as “a conservative libertarian,” or words to that effect, but this characterization reflects only a narrow understanding of his political interests. Holt <a href="http://worldcat.org/oclc/47696625" title="John Holt, quoted in Ron Miller, Free Schools, Free People: Education and Democracy After the 1960s (2002), 85." class="cite">described himself</a> as a “decentralist” and said that he “leaned in the direction of anarchism.” His politics were both conservative and libertarian, but not in the common American senses of the words. 
</p>
<p>
	Holt was conservative in that he believed that the idea of “progress” was dangerous. He was particularly concerned about the environmental and social effects of economic growth, which he <a href="http://worldcat.org/oclc/47696625" title="John Holt, quoted in Ron Miller, Free Schools, Free People: Education and Democracy After the 1960s (2002), 84." class="cite">thought</a> “dehumanizes and trivializes people.” Holt was also a libertarian in that he saw a free democratic society without concentrations of power as the solution to America’s problems. His ultimate concern <a href="http://worldcat.org/oclc/47696625" title="John Holt, quoted in Ron Miller, Free Schools, Free People: Education and Democracy After the 1960s (2002), 85." class="cite">was</a> that capitalism and political centralization were linked and—in the names of “science, bigness, efficiency, growth, progress”—were leading to a more hierarchical society and eventually to fascism. Holt began, but never published, a book entitled <cite>Progress: The Road to Fascism</cite>, which he <a href="http://worldcat.org/oclc/47696625" title="John Holt, quoted in Ron Miller, Free Schools, Free People: Education and Democracy After the 1960s (2002), 85." class="cite">said</a> would describe an alternative “society of much smaller scale institutions, smaller scale tools with very drastic limits on the uses of energy and growth.” He saw his educational work as a form of resistance to a centralization of power that threatened both democracy and freedom. 
</p>
<p>
	Holt was thus conservative and libertarian in substantial ways, but his opposition to capitalism makes clear that his ideology was not that implied in American politics by the phrase “conservative libertarian.” Furthermore, Holt’s views outside the realm of political economy generally had more in common with the American left than with the right. Holt <a href="http://worldcat.org/oclc/47696625" title="Ron Miller, Free Schools, Free People: Education and Democracy After the 1960s (2002), 80–81." class="cite">became</a> a pacifist at the end of World War II after serving as a submarine officer. He then <a href="http://worldcat.org/oclc/47696625" title="Ron Miller, Free Schools, Free People: Education and Democracy After the 1960s (2002), 80." class="cite">worked</a> as an organizer for the World Federalists—an organization promoting world government—for six years before becoming a teacher in private schools in 1953. Holt’s pacifism <a href="http://worldcat.org/oclc/47696625" title="Ron Miller, Free Schools, Free People: Education and Democracy After the 1960s (2002), 81." class="cite">was</a> a major force in his life during the Vietnam War, when he didn’t pay taxes and assisted draft resisters. He <a href="http://worldcat.org/oclc/47696625" title="Ron Miller, Free Schools, Free People: Education and Democracy After the 1960s (2002), 84." class="cite">campaigned</a> for George McGovern’s bid for the presidency in 1972 and wrote a controversial <cite>New York Times Magazine</cite> essay in 1970 that supported protesters in Berkeley. 
</p>
<p>
	Like Neill, Holt was concerned more with the quality of people’s lives than with academic success. In a letter to Susannah Sheffer, who eventually became in a sense his successor as a leader of the unschooling movement, Holt <a href="http://worldcat.org/oclc/21328733" title="John Holt, A Life Worth Living: Selected Letters of John Holt, edited by Susannah Sheffer (1990)." class="cite">wrote</a>, “A life worth living and work worth doing—that is what I want for children (and all people), not just, or not even, something called ‘a better education.’” Holt was not concerned only about the quality of <em>individual</em> lives, but about community as well. Indeed, his interest in <i>unschooling</i>—the educational freedom of individuals—developed from an interest in <i><a href="http://worldcat.org/oclc/154591" title="Ivan Illich, Deschooling Society (1971), 11." class="cite">deschooling</a></i>, Ivan Illich’s term for “the disestablishment of the monopoly of school,” or the educational freedom of society as a whole. Holt’s argument for unschooling as a form of resistance to institutionalization in education paralleled Illich’s argument against the placement of educational resources overwhelmingly in the realm of compulsory education. 
</p>
<p>
	Though Holt <a href="http://worldcat.org/oclc/21328733" title="John Holt, A Life Worth Living: Selected Letters of John Holt, edited by Susannah Sheffer (1990), 246." class="cite">later said</a> that Neill had not influenced his work, one stream of Holt’s thought was directly inspired by Neill and Summerhill. Holt’s writing on the issues raised by Summerhill began with <a href="http://worldcat.org/oclc/77774" title="[Harold H. Hart, editor], Summerhill: For &amp; Against (1970), 84–97." class="cite">a chapter</a> of the anthology <cite>Summerhill: For &amp; Against</cite>, compiled by Neill’s American editor Harold H. Hart. It continued in <cite>Freedom and Beyond</cite>, which he originally <a href="http://worldcat.org/oclc/349705" title="John Holt, Freedom and Beyond (1972), 3." class="cite">considered</a> calling <cite>Summerhill and Beyond</cite>, and which marked the beginning of his theoretical work. 
</p>
<h2 id="freedom">The Educational Politics of Freedom</h2> 
<p>
	Freedom is perhaps the most important conceptual element of both the free school and unschooling movements. These movements define themselves by their opposition to institutionalized schooling, in which they identify the great fault of restricting children. At the same time, they raise questions about the relationship between the freedom of children and the freedom of parents. 
</p>
<p>
	A.S. Neill became interested in children’s freedom when he taught at Gretna. “I am against law and discipline,” he <a href="http://worldcat.org/oclc/9576063" title="A.S. Neill, quoted in Roy Hemmings, Children’s Freedom: A. S. Neill and the Evolution of the Summerhill Idea (1973), 16." class="cite">wrote</a>. “I am all for freedom of action.” The parallels between Neill’s political and educational philosophies are clear in his ambiguity, for though he was writing about the classroom, Neill could just as well have been writing about the politics of adults. The obvious implication of allowing freedom in schools—and one of the major reasons why adults who favor freedom elsewhere oppose it in schools—is that children might choose not to study. Neill accepted this as an implication, <a href="http://worldcat.org/oclc/9576063" title="A.S. Neill, quoted in Roy Hemmings, Children’s Freedom: A. S. Neill and the Evolution of the Summerhill Idea (1973), 16." class="cite">writing</a> that “I force no bairn to learn in my school.” This is a provocative sentence. If children go to school and do not learn, what purpose is the school serving? Is not the entire purpose of school to educate—to teach students? 
</p>
<p>
	There are a number of ways to address this question. One is to answer that education is the purpose of schools, but that education—whatever that may be—depends on freedom as a prerequisite and is useless without it. This position comes close to that of Rousseau, but also that of Neill’s friend Bertrand Russell, who <a href="http://worldcat.org/oclc/9576063" title="Roy Hemmings, Children’s Freedom: A. S. Neill and the Evolution of the Summerhill Idea (1973), 77." class="cite">founded</a> the progressive Beacon Hill School soon after Neill founded Summerhill. Russell believed that students would learn more if they learned voluntarily, but <a href="http://worldcat.org/oclc/9576063" title="Bertrand Russell, quoted in Roy Hemmings, Children’s Freedom: A. S. Neill and the Evolution of the Summerhill Idea (1973), 79." class="cite">wrote</a> that “I should see to it that they were bored if they were absent during lesson-time.” 
</p>
<p>
	Neill’s answer is both more radical and more interesting. He thought that the value of freedom was greater than that of education, or at least of education defined so narrowly as to include only that which is taught. He didn’t claim that one must sacrifice knowledge for freedom, however; instead he <a href="http://worldcat.org/oclc/2765089" title="A.S. Neill, Hearts Not Heads in the School (1944), 48." class="cite">asserted</a> that “if the emotions are free the intellect will look after itself.” Unlike Russell, who clearly disapproved of his students skipping classes, Neill trusted that children have a better idea than adults do of what they should learn, and that the correlation between the things that interest children and the things useful to them is high. (Interestingly, even though Neill’s writings on freedom form a theory of education, they rarely deal directly with the methods of pedagogy. The teachers at Summerhill generally taught using traditional methods, and Neill <a href="http://worldcat.org/oclc/2804823" title="A.S. Neill, That Dreadful School (1937), 34." class="cite">wrote</a> that “we do not have new methods of teaching because we do not consider that teaching very much matters.”) 
</p>
<p>
	Neill claimed that Summerhill provided empirical support for his belief that children can learn well without being told what to do. In his books, he occasionally mentions his students who went on to academic success as professors of mathematics and history, but is most interested in describing those who challenge traditional notions of success. These include, for instance, a boy who <a href="http://worldcat.org/oclc/1175417" title="A.S. Neill, Summerhill (1960), 29." class="cite">was</a> a student at Summerhill for twelve years and never attended a lesson, instead spending his time “in the workshop making things.” He <a href="http://worldcat.org/oclc/1175417" title="A.S. Neill, Summerhill (1960), 30." class="cite">went on</a> to work as a “camera boy” in a film studio, which he enjoyed so much that he tried to work on weekends. Neill <a href="http://worldcat.org/oclc/1175417" title="A.S. Neill, Summerhill (1960), 31–32." class="cite">claims</a> that in contrast his only failures were those who found nothing to interest them at Summerhill, and these were uniformly students who came there already teenagers, already corrupted by a traditional education. 
</p>
<h3>The Nature of Freedom</h3> 
<p>
	The claim that a school such as Summerhill is free of course raises the question of the nature of freedom. The definitions and characteristics of freedom have been a central topic in the writings of twentieth century progressive educators. At the core of Neill’s theory of freedom is his distinction between <i>freedom</i>, which everyone should have, and <i>license</i>, which no one should. “Freedom,” he <a href="http://worldcat.org/oclc/934206" title="A.S. Neill, Freedom—Not License! (1966), 13." class="cite">writes</a>, “is doing what you like so long as you do not interfere with the freedom of others.” License <a href="http://worldcat.org/oclc/934206" title="A.S. Neill, Freedom—Not License! (1966), 7." class="cite">is</a> “interfering with another’s freedom.” Neill was constantly frustrated by two categories of parents: those who read his books and objected to freedom on the grounds that free children would be destructive, and those who raised their children according to their understanding of his philosophy, but in fact allowed them license as well as freedom. He <a href="http://worldcat.org/oclc/934206" title="A.S. Neill, Freedom—Not License! (1966), 7." class="cite">wrote</a> of Summerhill that “a child is free to go to lessons or stay away from lessons because that is his own affair, but he is not free to play a trumpet when others want to study or sleep.” 
</p>
<p>
	Neill placed great value on this freedom of action, but he thought another sort of freedom even more important. In addition to exercising the outer freedom of doing what one likes, Neill <a href="http://worldcat.org/oclc/224932" title="A.S. Neill, Talking of Summerhill (1967), 19." class="cite">believed</a> that one should strive to be “free internally, free from fear, free from hypocrisy, from hate, from intolerance.” If children are in fact born good—and by good both Rousseau and Neill meant not only virtuous in the modern sense but virtuous in the medieval sense, strong and courageous—then the uncorrupted child will be free internally as well as externally. 
</p>
<p>
	Neill often viewed freedom as an ideal somewhat separate from education, but he also related the two concepts sometimes. Indeed, both he and Holt sometimes echoed Homer Lane when describing an important but somewhat complex link between freedom and education. “<em>Freedom cannot be given</em>,” <a href="http://worldcat.org/oclc/9576063" title="Homer Lane, quoted in Roy Hemmings, Children’s Freedom: A. S. Neill and the Evolution of the Summerhill Idea (1973), 25." class="cite">wrote</a> Lane. “It is taken by the child.&hellip; Freedom involves discovery and invention, neither of which, by their nature, can be embodied in any system. Freedom demands the privilege of conscious wrong-doing.” 
</p>
<p>
	Lane makes a number of rather enigmatic claims here. He is perhaps more easily understood if he is interpreted as describing a particular sort of freedom that operates in education, rather than providing a universal analysis of freedom. In this case, Lane here argues that the rigidity of an educational system is antithetical to discovery and thus to true learning. In order to truly understand the world, one must be able to experiment with it, and thus sometimes to make mistakes. If children learn best when free, they also learn best when unguided, when allowed to fail sometimes. The sort of freedom described by Rousseau and Russell, in which a child is <em>given</em> freedom but guided as to how to use it, is to Lane not freedom at all but merely the illusion thereof. 
</p>
<p>
	Both Lane and Neill believed that true freedom also depends on self-governance. One of the most unusual aspects of Summerhill <a href="http://worldcat.org/oclc/1175417" title="A.S. Neill, Summerhill (1960), 45." class="cite">was</a> its General School Meetings, at which teachers and students alike voted on “laws,” most of which then applied to both students and teachers. The meetings were also the jury that heard the cases of those who broke the laws. Neill <a href="http://worldcat.org/oclc/1175417" title="A.S. Neill, Summerhill (1960), 50, 52." class="cite">developed</a> a number of good arguments for giving democracy a role in schools, including the educational value of actually debating and governing, but the reason to which he devotes the most attention is the relationship between democracy and freedom. “You cannot have freedom,” he <a href="http://worldcat.org/oclc/1175417" title="A.S. Neill, Summerhill (1960), 52." class="cite">wrote</a>, “unless children feel completely free to govern their own social life. When there is a boss, there is no real freedom.” 
</p>
<p>
	Neill <a href="http://worldcat.org/oclc/2804823" title="A.S. Neill, That Dreadful School (1937), 61." class="cite">believed</a> for much of his life that “the future of the world is obviously one of socialism of some kind,” and thought that the educational hierarchy of schools involved many of the same injustices as the economic hierarchy of capitalism. Indeed, as he became more skeptical about whether a democratic socialist society was possible, he <a href="http://worldcat.org/oclc/2765089" title="A.S. Neill, Hearts Not Heads in the School (1944), 145." class="cite">expressed</a> his skepticism in terms of similarities between the structures of schools and nations. 
</p>
<blockquote>
	<p>
		Only the people, led by the people, can succeed. Politically that is the greatest problem in Socialism. Bureaucracy will arise, and the bureaucratic class will draw away from the people, and democracy proper will die. The situation in the school is the same in miniature. Teacher&nbsp;=&nbsp;Bureaucrat:&nbsp;Pupil&nbsp;=&nbsp;People. A class society again. 
	</p>
</blockquote>
<p>
	Holt began his writings on freedom from a similar position, arguing that true freedom depends not only on absence of restraints on speech, religion, association, and so on, but on absence of hierarchy. He <a href="http://worldcat.org/oclc/349705" title="John Holt, Freedom and Beyond (1972), 3." class="cite">wrote</a> that “a large part of our problem is that few of us really believe in freedom” in this sense. Holt became convinced that school reformers who tried to bring more freedom into schools, himself included, couldn’t really substantively improve education as long as society as a whole was unfree, because education does not take place only or even mostly in schools. 
</p>
<p>
	Neill was able to create a truly free environment in a boarding school only because he had the ability to form a community as well as a school. This success, though, could not be replicated at day schools within existing communities unless the community as a whole could be freed. Furthermore, even schools like Summerhill can only impact some children as long as their parents live within a hierarchical society, <a href="http://worldcat.org/oclc/349705" title="John Holt, Freedom and Beyond (1972), 5." class="cite">because</a> “most adults will not tolerate too great a difference between the way they experience their own lives and the way their children live their lives in school.” 
</p>
<h3>Children and Adults</h3> 
<p>
	Despite this rather cynical view of parents, Holt thought much more highly of them than did Neill. Indeed, the nature of the relationship between children and adults is the point of greatest divergence between the philosophies of Neill and Holt. Neill <a href="http://worldcat.org/oclc/2804823" title="A.S. Neill, That Dreadful School (1937), 148." class="cite">wrote</a> that “children are not young adults; they are a different species.” He believed that adults corrupt children and that children should be protected from them, and thus approved of the school’s effect of separating children from their families. “It is better to send a child to a bad school,” he <a href="http://worldcat.org/oclc/2804823" title="A.S. Neill, That Dreadful School (1937), 193." class="cite">wrote</a>, “that to educate it at home.” 
</p>
<p>
	Holt came to disagree with this position, <a href="http://worldcat.org/oclc/730847" title="John Holt, Escape from Childhood (1974), 25." class="cite">arguing</a> that people develop continuously, not discretely, and that “we do not, like some insects, suddenly turn from one kind of creature into another that is very different.” He also thought that children should be allowed, though not required, to integrate into the dominant adult society. In order to make this possible society must eliminate “the institution of childhood,” the most central tenet of which is that “children” are categorically distinct from “adults.” Holt <a href="http://worldcat.org/oclc/730847" title="John Holt, Escape from Childhood (1974), 25–26." class="cite">defines</a> this institution as 
</p>
<blockquote>
	<p>
		all those attitudes and feelings, and also customs and laws, that put a great gulf or barrier between the young and their elders, and the world of their elders; that make it difficult or impossible for young people to make contact with the larger society around them, and, even more, to play any kind of active, responsible, useful part in it; that lock the young into eighteen years or more of subserviency and dependency, and make of them&hellip; a mixture of expensive nuisance, fragile treasure, slave, and super-pet. 
	</p>
</blockquote>
<p>
	In the book in which he develops his critique of the institution of childhood, <cite>Escape from Childhood</cite>, Holt argues that children should be treated first and foremost as people and granted the same rights society grants to older people. His <a href="http://worldcat.org/oclc/730847" title="John Holt, Escape from Childhood (1974), 27–28." class="cite">challenge</a> to traditional views of childhood is rooted in the claim that, while there is one category of people who experience childhood as a valuable and happy part of their lives, there is also a category of people who find it dangerous and painful, either because they do not have families or because they are “exploited, bullied, humiliated, and mistreated by their families.” Furthermore, there is an intermediate category of children whose childhood “simply goes on too long,” who become rebellious because they long for independence from their parents. The most oppressed children might want to escape their families or caretakers altogether, while others might simply want to live independently sometimes. 
</p>
<p>
	This is not possible, however, because our society has a rigid conception of childhood that requires people to rely on parents and the state in various ways—including to make decisions about their education, social life, and environment—as they mature. Decentralist Holt <a href="http://worldcat.org/oclc/730847" title="John Holt, Escape from Childhood (1974), 8." class="cite">predicts</a> that many young people would live happier lives if legally granted a number of rights adults already have, including the rights to vote, work, own property, travel, hold legal and financial responsibility, “control one’s own learning,” and drive. Holt also argues for “the right to choose one’s guardian” and, for people of all ages, the right to a guaranteed minimum income from the state, which he <a href="http://worldcat.org/oclc/730847" title="John Holt, Escape from Childhood (1974), 220–221." class="cite">argues</a> is necessary for independence in a society with more people than jobs. Young people would not each exercise all of these rights, but each would have the protection of the state if she decided to live on her own, for instance, or to leave school and become an apprentice. The rights Holt describes are complexly interrelated, and he devotes his book not only to arguing for them but to explaining the ways in which they are interdependent. 
</p>
<p>
	It is in this book, his most radical, that Holt most clearly distinguishes his political position from both liberalism and conservatism. He writes that the power of parents over children should be limited, disagreeing with conservatives, but he also favors diminished state power, disagreeing with liberals. The contrast between Holt and American liberalism is most stark in his rejection of compulsory education, which he describes as a violation of fundamental human rights. 
</p>
<h2 id="compulsory">Compulsory Education</h2> 
<p>
	The strange thing about public education in contemporary liberal societies is not that it is available but that it is <em>compulsory</em>. Compulsory education is in a way merely the other side of the universal education coin, for in order to ensure that everyone attend school one must require them to do so. It is nonetheless something of an anomaly in liberal societies in which citizens generally resist compulsion in order to remain free. A society of free adults can compel their unfree children to attend school. 
</p>
<p>
	There are multiple ways in which education can be compulsory. Students can be compelled to attend a specific school, or there can be a choice of several schools. If there are several, parents might choose which school their child should attend—making the parents as well as the state a force of compulsion on them—or the student might choose. The phrase <i>compulsory education</i> could even have a meaning distinct from that of <i>compulsory schooling</i> and mean simply that one must learn somehow, though given that people universally learn without being compelled the term would become meaningless. 
</p>
<p>
	The <a href="http://www.unhchr.ch/udhr/lang/eng.htm" title="United Nations, “Universal Declaration of Human Rights” (1948), article 26.">Universal Declaration of Human Rights</a> provides a concrete example of how the concept of compulsory education is discussed. It states the following on the topic of education in article 26. 
</p>
<blockquote>
	<p>
		Everyone has the right to education. Education shall be free, at least in the elementary and fundamental stages. Elementary education shall be compulsory.&hellip; Parents have a prior right to choose the kind of education that shall be given to their children. 
	</p>
</blockquote>
<p>
	The nature of the right to elementary education in the Declaration is somewhat strange. It is the only right that involves compulsion; indeed, this is the only use of the work <i>compulsory</i> in the document. (There are two uses of the word compel, both of which frame it negatively. One, in the preamble, cautions that when human rights are not protected by law, “man” may “be compelled to have recourse&hellip; to rebellion.” The other, in article 20, states simply that “no one may be compelled to belong to an association.”) This right to compulsory education is an oft-repeated component of international law, and in each document in which it appears—the <a href="http://www.ohchr.org/english/law/education.htm#wp1006470" title="United Nations, “Convention against Discrimination in Education” (1960), article 4.">Convention against Discrimination in Education</a>, the <a href="http://www.ohchr.org/english/law/cescr.htm" title="United Nations, “International Covenant on Economic, Social and Cultural Rights” (1966), article 13.">International Covenant on Economic, Social and Cultural Rights</a>, and the <a href="http://www.ohchr.org/english/law/crc.htm#art28" title="United Nations, “Convention on the Rights of the Child” (1989), article 28">Convention on the Rights of the Child</a>—it is the only compulsory right. 
</p>
<p>
	The Declaration also provides parents with a “prior right” to determine their children’s education, but this right is restricted to determining the “kind of education,” and thus does not allow parents to decide that their children will not be educated. Neill <a href="http://worldcat.org/oclc/403087" title="“Neill! Neill! Orange Peel!”: An Autobiography (1972), 337–338." class="cite">points out</a> that in the world of British party politics liberals tend to oppose this right of parents, while conservatives tend to support it, leaving the socialist Neill with strange bedfellows. 
</p>
<blockquote>
	<p>
		The Labour Party is against private enterprise in business and in schools; and when again in power, it may well sat about abolishing private schools altogether. One result would be the end of pioneering in education. A teacher is a State school can experiment with methods of teaching history or maths, but he cannot experiment with methods of living.&hellip; It is ironic to say that Summerhill is safer under a Tory government than under a Labour government. So, in my own interests, I should really vote Tory; for as long as Eton and Harrow exist, Summerhill is safe. 
	</p>
</blockquote>
<p>
	Leftist homeschoolers following Holt’s philosophy of unschooling have found themselves in a similar political situation, allied with religious conservatives who want to indoctrinate their children and wealthy families who hire private tutors. The very idea of a “prior right” of parents, however, is in opposition to Holt’s agenda. It implies that children should be controlled by parents, that they can be thought of like property. It is an implication of the institution of childhood. 
</p>
<p>
	Holt argues for a right entirely contrary to the internationally-recognized right to compulsory education. He <a href="http://worldcat.org/oclc/730847" title="John Holt, Escape from Childhood (1974), 243." class="cite">opposes</a> “not just compulsory schooling but compulsory Education”—being “made to learn what someone else thinks would be good for you”—by arguing that compulsory education would necessarily involve an official canon of knowledge worth learning even if it took place outside of schools. Compulsory education stands in violation of a human right never written in law, a right so deep that Holt <a href="http://worldcat.org/oclc/730847" title="John Holt, Escape from Childhood (1974), 240–241." class="cite">speculates</a> the framers of the American Constitution did not imagine it might be violated. 
</p>
<blockquote>
	<p>
		No human right, except the right to life itself, is more fundamental than this. A person’s freedom of learning is part of his freedom of thought, even more basic than his freedom of speech. If we take from someone his right to decide what he will be curious about, we destroy his freedom of thought. We say, in effect, you must think not about what interests you and concerns you, but about what interests and concerns us. 
	</p>
</blockquote>
<p>
	Schooling <a href="http://worldcat.org/oclc/730847" title="John Holt, Escape from Childhood (1974), 242." class="cite">infringes</a> on “the right <em>to decide what goes into our minds</em>.” It infringes on this right not only a little bit but drastically; as schooling consumes an ever greater portion of Americans’ time, we have less and less time to follow our own interests. An educational system in the hands of experts does not exist in addition to self-education; as Ivan Illich argued, educational resources are monopolized in schools, but our time as learners is monopolized by schools as well. It was the former teacher Holt who <a href="http://worldcat.org/oclc/730847" title="John Holt, Escape from Childhood (1974), 247–248." class="cite">wrote</a> the following impassioned sentences. 
</p>
<blockquote>
	<p>
		Schools seem to me among the most anti-democratic, most authoritarian, most destructive, and most dangerous institutions of modern society. No other institution does more harm or more lasting harm to more people or destroys so much of their curiosity, independence, trust, dignity, and sense of identity and worth.&hellip; It is in school that most people learn to expect and accept that some expert can always place them in some sort of rank or hierarchy. It is in school that we meet, become used to, and learn to believe in the totally controlled society.&hellip; The school is the closest we have yet been able to come to Huxley’s <cite>Brave New World</cite>, with its alphas and betas, deltas and epsilons—and now it even has its soma. Everyone, including children, should have the right to say “No!” to it. 
	</p>
</blockquote>
<p>
	In writing this, Holt was consciously <a href="http://worldcat.org/oclc/21328733" title="John Holt, A Life Worth Living: Selected Letters of John Holt, edited by Susannah Sheffer (1990), 243." class="cite">repudiating</a> not only mainstream theories of education and children’s rights but the ideas of other radical educators, including Neill. Holt realized that he was placing himself on the fringe of the fringe libertarian education movement, but despite his harsh rhetoric <a href="http://worldcat.org/oclc/7283665" title="John Holt, Teach Your Own: A Hopeful Path for Education (1981), 66–67." class="cite">argued</a> not for revolution but for gradual social change. Holt advocated unschooling as a political cause as opposed to an individualist cause—he <a href="http://worldcat.org/oclc/7283665" title="John Holt, Teach Your Own: A Hopeful Path for Education (1981), 66–68." class="cite">believed</a> that unschooling was something that “many others, not rich nor powerful nor otherwise unusual” could discover through books and the examples of those already engaging in it, and “<em>could</em> do if they wanted, without undue risk or sacrifice.” 
</p>
<h2 id="influence">Influence of Libertarian Educational Theory</h2> 
<p>
	As education became more institutionalized, centralized, and mandatory over the course of the twentieth century, the anti-institutional libertarian left produced educators who argued that children should have greater freedom in non-coercive environments. Though libertarian theories of education were presented by several notable figures, including Homer Lane, Bertrand Russell, and Ivan Illich, A.S. Neill and John Holt were the most prolific writers on the topic and achieved the greatest prominence in the field of education. 
</p>
<p>
	Recently conservative libertarians have adopted many of the educational ideas pioneered by libertarian leftists. A leading figure in the conservative adoption of unschooling is <a href="http://johntaylorgatto.com/aboutus/john.htm" title="John Taylor Gatto bio">John Taylor Gatto</a>, a New York State Teacher of the Year who, upon quitting his job in 1991, submitted <a href="http://johntaylorgatto.com/underground/prologue2.htm" title="John Taylor Gatto, “I Quit, I Think” (1991).">an essay</a> to <cite>The Wall Street Journal</cite> that began,“Government schooling is the most radical adventure in history. It kills the family by monopolizing the best times of childhood and by teaching disrespect for home and parents.” Gatto’s essay ended by promoting “real free-market choices, variety that speaks to every need and runs risks.” Though he brushed aside Holt’s anti-capitalist and arguably anti-family conclusions, as well as Neill’s attack on the concept of respect, Gatto adopted Holt’s arguments about the negative consequences of schools. “If you hear of a job where I don’t have to hurt kids to make a living,” he wrote, “let me know.” 
</p>
<p>
	At the same time, the decentralist, anti-“progress” ideas that Holt applied to education are being applied to topics such as globalization and environmental sustainability by Holt’s anarchist successors. Among unschooling advocates it is <a href="http://www.gracellewellyn.com/bio.htm" title="Grace Llewellyn bio">Grace Llewellyn</a>, another former teacher and the author of the bold <cite>Teenage Liberation Handbook</cite>, who most shares the place of Neill and Holt in the libertarian left, <a href="http://worldcat.org/oclc/39778436" title="Grace Llewellyn, The Teenage Liberation Handbook: How to Quit School and Get a Real Life and Education, revised edition (1998), 38." class="cite">writing</a> that it is “strange and self-defeating that a supposedly free country should train its young for life in totalitarianism.” Other educators who borrow from the ideas of Neill and Holt are often close to the mainstream of American liberalism. 
</p>
<p>
	The impact of Neill’s ideas has largely been through teachers at traditional and alternative public and private schools who have been inspired by him to restrict their students’ behavior less. The impact of Holt’s ideas has spread across the ideological breadth of the homeschooling movement. Both have brought into the field of education a focus on the importance of freedom that continues to provide valuable contrast with today’s dominant educational philosophies and practices. 
</p>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="education" /><category term="anarchism" /><category term="utopianism" /><category term="liberalism" /><category term="conservatism" /><summary type="html"><![CDATA[Over the last few centuries states have taken on increasing responsibility for the education of children. This trend is often characterized as one of making formal education available to more children. The institutionalization of education has other ramifications, however. As states have made schools available to their entire populations, they have also made attendance compulsory, raising a number of questions about the rights and liberties of states, parents, and children as they relate to education.]]></summary></entry><entry><title type="html">Writing Technologies and Processes, or An Exploration of the Relationships between Technology, Structure, Linearity, Revision, and Metaphor</title><link href="https://collopy.net/writing/2005/writing-technologies/" rel="alternate" type="text/html" title="Writing Technologies and Processes, or An Exploration of the Relationships between Technology, Structure, Linearity, Revision, and Metaphor" /><published>2005-12-01T00:00:00-08:00</published><updated>2005-12-01T00:00:00-08:00</updated><id>https://collopy.net/writing/2005/writing-technologies</id><content type="html" xml:base="https://collopy.net/writing/2005/writing-technologies/"><![CDATA[The tools which writers use affect their work. I have long described my own chaotic revision strategy as arising largely from the facts that I have written on computers for most of my literary life and that word processing seems to have a substantial impact on my writing process; the machine in front of me makes it easy to move sentences or paragraphs that seem to be in the wrong order, for instance, even if I’m not confident that the new order will be an improvement. “We often lose sight of writing as technology”[^1]; it is typically taught and discussed as a medium-neutral skill, when in fact the process of writing, and particularly the linearity of this process, varies depending on the technologies one employs.

In order to examine the ways in which this is the case I conducted interviews of Oberlin College students in which we discussed their writing processes, technologies, and techniques.[^2] I developed this revision of this essay from an earlier, more theoretical version. Here I maintain and expand some of the theory I described and developed in the previous revision, comparing my thoughts about writing processes and technologies with the experiences of others. I focus as much as possible on writing technologies, given the relative homogeneity of writing technology utilization at Oberlin, where the vast majority of students have and use computers. Technology is not, however, the only determining factor of writing process, so I describe other writing methods utilized by my interviewees as well, emphasizing the diversity of writing technique among Oberlin students.

<!--more-->

## Pens and Structured Prewriting

Because pens and similar instruments have been the primary writing tools for millennia, the ways in which people write with a pen are still often viewed as the only ways people write. The chief characteristic of writing with a pen is linearity: words cannot be moved, so the obvious thing to do after writing a word is to write the next word. Rewriting requires either crossing out and writing in margins or between lines or writing another draft altogether. Traditional revision processes are thus highly structured, because while it takes a substantial amount of time to write out a new draft, there is little alternative once one’s paper becomes covered with corrections and changes.

This necessity of producing multiple distinct drafts, physically rewriting one’s paper each time, has a profound impact on how students are taught the process of writing. Students are often instructed to write in regimented and distinct stages such as outlining and the creation of rough and final drafts. Alternately, they are taught very little about revision processes and embrace the linearity of paper, revising only as an afterthought and thus only at the most detail-oriented levels of word choice and grammar.[^3]

The writing and prewriting processes of Oberlin students vary a great deal on these dimensions. Some view structures such as outlines as the foundations of their writing processes, for instance, while others shun them. Sally, a junior, handwrites a detailed outline laying out the paragraph structure of her essay, including her thesis at the head. Sandra, a first-year student, also handwrites a detailed outline if she has a clear idea of what she’s going to write, but develops a less precise mental outline if she does not. Jenny also keeps an outline in her head, and says that this process is precise enough that she can estimate the length of her paper based on the mental outline. These writers plan their essay structures before they write, and view writing primarily as a way to explain to others ideas that are already clear to them.

## Word Processors and Nonlinearity

Beginning to write without structure is just as common, however. Divya, for instance, begins “by writing a sentence here and there” in word processing software, then moves the sentences around and fills the gaps in between them. It was not until the invention of computerized word processing that writing became so nonlinear. It did so because word processing allows one to jump around within a document, adding a paragraph in one place and editing a sentence in another. Indeed, chaotic revision becomes as natural with a computer as it is unnatural with ink. One of the fundamental functions of a computer is to move data between locations within its memory. Just as fundamental is the tendency of ink to stay where it is, to be unmoving and relatively unchanging.

This suggests that the availability of word processors marked a revolution in writing revision; though in some ways it did, it did not entirely. There is reason to suspect that the impact of new technologies on the writing of experienced writers, for instance, is small. In 1980, when few writers used word processors, Nancy Sommers studied the revision processes of experienced writers, who often reported that they did not work in discrete drafts, but rather shaped their works organically, following processes not much different from those they would probably use today with computers.[^4] The impact upon student writers seems to be greater, however. In an early comparative study of revision in 1983, Richard Collier found that his subjects revised more and produced longer documents with text editing software, though the writing was not itself subjectively better.[^5]

Later studies generally found that students taught using word processors “improved the quality of their writing.”[^6] This improvement is due in part to the more positive attitudes many students had toward writing with a computer, but in a few studies most students reported negative views towards word processing. It is also thus likely due to the greater amount of revision done by the students using computers. Computers are not necessary for revision, but they make it a more obvious and central part of the writing process.

## Anti-Revision Technologies

This raises the question of whether computers sometimes provide distractions to writers more than they aid them. Oberlin writers to whom I spoke are sufficiently seduced by technology that none avoid word processing entirely, but many find that revision distracts them from writing their thoughts when they use a computer enough to use other technologies as well. Some of these writers are thus attracted to anti-revision technologies, including writing by hand and typewriting.

For instance, Sally writes her first drafts longhand from beginning to end, then types and revises them. We discussed her reasons for avoiding computers when writing her first draft. When she uses a computer, “I just lose track of everything,” she said. “I don't have any direction.” Sally find the nonlinearity of word processing frustrating, preferring to work only on one passage of her paper at a time. When typing, she spends time changing things she has already written, whereas when she handwrites she simply marks such flaws for later revision. It is only with the linearity of writing that she feels she can “keep a sense of… structure, direction, and flow.”

## ``Typewriters``

A second student to whom I spoke also found the distractions of computer revision bothersome enough to partially avoid them. Zoe, an Oberlin Conservatory of Music junior, wrote some of her short papers on a typewriter made in the 1930s. Zoe described how the typewriter slows down her writing process, forcing her to think more about the words she puts down on paper in two ways: the typewriter jams if she types quickly, and it makes fixing mistakes much more difficult. She told me that she thus often writes things the way she wants the first time. Writing on a typewriter also saves her the distractions provided by the internet and other capabilities of her computer, as well as those described by Sally of continually second-guessing that which one has just written. Zoe writes only short reading response papers on her typewriter, but writes more or less in one draft on computers as well, reflecting the same skills that allow her to use a typewriter effectively.

The similarities between Sally’s and Zoe’s writing processes demonstrate how the invention of the typewriter did little to change writing processes, as typewriters too utilize paper as a medium and are bound to its linear qualities. Typewriters also force their users to input one word after another even more strictly than do pen and paper, reinforcing the linearity of the writing process. It is harder to cross out or whiteout and edit typewritten text while writing than to do the same with a pen. Furthermore, it is not as feasible to insert additional text into a document with a typewriter as in the margins or between the lines of a handwritten text. Such amendments can be added to the typewritten document with a pen, but typewriters themselves compound the difficulty of revision.

The typewriter did introduce the keyboard, however, making it possible to generate multiple drafts in less time than with a pen. Writers who are capable of touch-typing can typically type much faster than they can write, and the ability to get words onto paper quickly accelerates the writing process. Because typewriters and personal computers share the technology of keyboards, there is some similarity of this sort between their uses.

## Metaphor I: Computers and Paper

Ted Nelson, most famous for coining the term *hypertext* in 1963 and beginning a project to implement it, argues that typewriters and computers are far more similar than they should be. One of his main arguments against the paradigms used to handle text on computers, including the word processor, is that they operate on metaphors drawn from our pre-computerized lives, metaphors that limit the range of things we can do with a computer. “Today’s arbitrarily constructed computer world,” writes Nelson, “is also based on paper simulation.… Paper is the flat heart of most of today’s software concepts.”[^7]

The word processor interface I am using to type this essay is intentionally designed to look like a paper page, in part because I am expected to print this out on paper. I have greater control over my writing process than I would on a typewriter, as I am able to move text around and edit at any point in the document. This too is often done through metaphor, though, as I cut, copy, and paste text. The metaphors relating to what is sometimes termed the clipboard—the virtual space in which text is stored after it has been cut or copied—are deliberately imprecise; in particular, I am not left with disturbing holes in my page after cutting. It is often such imprecise metaphors that lead to effective interface structures, and it is clear that a more literal cut function, for instance, would be less useful.

These imprecise metaphors often allow us to easily do things that would be much more challenging with the referenced media. Cecilia, for instance, uses numerous word processing windows to keep track of notes and ideas as she writes. According to the dominant metaphor, these represent “documents” placed in an overlapping manner on a “desktop.” She can in fact do more with her computerized documents than with real ones, however, such as moving text from one to another without rewriting it.

## Metaphor II: Text and Speech

Computing is not the only context in which metaphor is relevant to composition, however; the role of metaphor in writing actually applies at multiple levels. Were I typing on a typewriter or writing with a pen rather than using a word processor, for instance, I would still be using a metaphorical interface. Linearity makes writing with these tools similar to speech, but the relationship between speech and writing is stronger than mere similarity. Sommers writes that prescribed linear writing processes are “based on traditional rhetorical models… created to serve the spoken art of oratory.”[^8] The organization of ideas into a document, whether it be an essay, a story, or a poem, makes it fit the constraints of speech. The space of a page on which one writes replaces the time through which one might talk. The linear model of writing is imposed not only by the medium of paper, but also by the metaphor of speech. 

Historically, the transition from oratory to composition was a gradual one, and literate people read only out loud well into the medieval period. The deep basis of writing in the metaphor of speech sheds some light on the importance of speech in writing—the value, for instance, of reading one’s compositions aloud. It also restrains writing, however, restricting arrangement with the demand that a document be read linearly and given only one structure by its author.

Revision, whether implemented with a pen or more conveniently with a computer, is a “recursive shaping of thought by language” that breaks this metaphor with regard to process.[^9] As Roland Barthes cleverly explains, “paradoxically, it is ephemeral speech which is indelible, not monumental writing.”[^10] Nonetheless, as long as writers think in terms of the concept of a final and linear version of a document, written text draws heavily on its metaphorical relationship with speech.

These metaphors are forgotten with time, however, and consideration of the similarities and differences between a medium and the medium on which it is conceptually grounded becomes rare. Writers think only occasionally about the importance of the media in which they write because we have become so used to using them in static ways. A look at the variety of approaches people have to writing technologies helps to shake us from this state.

## Reliance

One concern about writing technology that is recurring and constant is that about reliance. The concern that we will lose our ability to do something once we have technology to do it for us is a concern that applies to all technologies, but it is particularly strong in technologies that relate to thought, since thought is widely viewed as the characteristic that makes us human. Dennis Baron describes how when he tried to write a memo on a pad of paper, “I found that I had become so used to composing virtual prose at the keyboard I could no longer draft anything coherent directly onto a piece of paper.”[^11]

This passage reminded me of the Isaac Asimov story “The Feeling of Power,” in which the people of the future have become so reliant on computers to perform mathematics that the techniques of arithmetic become lost knowledge.[^12] Skills that are lost due to dependence on technology are not truly obsoleted if situations remain which demand their use, and writing by hand is still, as Baron explains, a useful skill. While concerns of educators and intellectuals about the diminishing skill of students utilizing new technologies are often unfounded — I’ve heard about opposition to the pencil in the late 19th century because it allowed for revision — there are also legitimate reasons for concern. If we are unable to keep track of the interweaving of metaphor and new technique that forms a new writing technology, for instance, we cannot remain native users of both the new and the old technology; we cannot write with pen and computer with equal ease unless we have some understanding of the differences between them.

Baron continues, writing that “it wasn't so much that I couldn't think of the words, but the physical effort of handwriting, crossing out, revising, cutting and pasting… now seemed to overwhelm and constrict me, and I longed for the flexibility of digitized text.”[^13] This passage, and its context, which implies that Baron once wrote with these techniques, raises some questions to me: I can easily believe that Baron used to handwrite, cross out, and revise in order to produce written documents, but did he really cut and paste? Does the metaphor used in computing refer to a literal practice that was once widespread? Though I have not spoken with anyone who relies on scissors and glue in essay writing, Divya told me that a friend prints out drafts of her essays, cuts them into paragraphs, and experiments with paragraph order by laying out the individual paragraphs in various ways. As we gradually lose track of the metaphors that underlie our technologies, we lose track of how real and common the practices to which they refer were. I am genuinely uncertain whether the practice of physically cutting and pasting text to form a document was widespread and influenced the developers of computer interfaces; it seems an unlikely way of writing, but also perhaps a useful one.

Some of my interviewees engage in fiction writing and journaling, and tend to write creatively and journal in handwriting but write academically on a computer. They recognize the value of fluid revision for essays in which they focus upon an argument, but prefer linear writing when telling a story that takes place in linear time. Developing this kind of balance between the strengths of the different technologies available to us seems a sensible way to act in a world of multiple writing technologies.

[^1]: Dennis Baron, “From Pencils to Pixels: The Stages of Literacy Technologies,” in Gail E. Hawisher and Cynthia L. Selfe, *Passions, Pedagogies, and 21st Century Technologies* (1999), 16.

[^2]: Interviews took place in December 2005 and are not individually cited below.

[^3]: Nancy Sommers, “Revision Strategies of Student Writers and Experienced Adult Writers,” in Victor Villanueva, ed., *Cross-Talk in Comp Theory: A Reader*, 2nd ed. (2003), 46­–49.

[^4]: Sommers, “Revision Strategies,” 52­–53.

[^5]: Gail E. Hawisher and Cynthia L. Selfe, “Reflection on Computers and Composition Studies at the Century’s End,” in Ilana Snyder, ed., *Page to Screen: Taking Literacy into the Electronic Era* (1998), 4.

[^6]: Robert L. Bangert-Drowns, “The Word Processor as an Instructional Tool: A Meta-Analysis of Word Processing in Writing Instruction,” *Review of Education Research* 63, no. 1 (1993): 69; see also Hawisher and Selfe, “Reflection,” 77.

[^7]: Theodore Holm Nelson, “[Way Out of the Box](http://ted.hyperland.com/TQdox/zifty.d9-TQframer.html)” (1999), Ted Nelson Home Page.

[^8]: Sommers, “Revision Strategies,” 44.

[^9]: Sommers, “Revision Strategies,” 43.

[^10]: Roland Barthes, “Writers, Intellectuals, Teachers,” in *Image-Music-Text*, trans. Stephen Heath (1977), 190–191, quoted in Sommers, “Revision Strategies,” 44.

[^11]: Baron, “From Pencils to Pixels,” 16.

[^12]: Isaac Asimov, “The Feeling of Power,” in *The Complete Stories*, vol. 1 (1990), 208–216.

[^13]: Baron, “From Pencils to Pixels,” 16.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="education" /><category term="media" /><category term="technology" /><category term="computing" /><summary type="html"><![CDATA[The tools which writers use affect their work. I have long described my own chaotic revision strategy as arising largely from the facts that I have written on computers for most of my literary life and that word processing seems to have a substantial impact on my writing process; the machine in front of me makes it easy to move sentences or paragraphs that seem to be in the wrong order, for instance, even if I’m not confident that the new order will be an improvement. “We often lose sight of writing as technology”1; it is typically taught and discussed as a medium-neutral skill, when in fact the process of writing, and particularly the linearity of this process, varies depending on the technologies one employs. In order to examine the ways in which this is the case I conducted interviews of Oberlin College students in which we discussed their writing processes, technologies, and techniques.2 I developed this revision of this essay from an earlier, more theoretical version. Here I maintain and expand some of the theory I described and developed in the previous revision, comparing my thoughts about writing processes and technologies with the experiences of others. I focus as much as possible on writing technologies, given the relative homogeneity of writing technology utilization at Oberlin, where the vast majority of students have and use computers. Technology is not, however, the only determining factor of writing process, so I describe other writing methods utilized by my interviewees as well, emphasizing the diversity of writing technique among Oberlin students. Dennis Baron, “From Pencils to Pixels: The Stages of Literacy Technologies,” in Gail E. Hawisher and Cynthia L. Selfe, Passions, Pedagogies, and 21st Century Technologies (1999), 16. &#8617; Interviews took place in December 2005 and are not individually cited below. &#8617;]]></summary></entry><entry><title type="html">The Value of Role-Playing Games</title><link href="https://collopy.net/writing/1999/value-of-role-playing-games/" rel="alternate" type="text/html" title="The Value of Role-Playing Games" /><published>1999-03-01T00:00:00-08:00</published><updated>1999-03-01T00:00:00-08:00</updated><id>https://collopy.net/writing/1999/value-of-role-playing-games</id><content type="html" xml:base="https://collopy.net/writing/1999/value-of-role-playing-games/"><![CDATA[Five friends and I get together once a week to play role-playing games. A role-playing game is a game in which the players control characters, usually in a fantasy or science fiction setting. One player, called the gamemaster, controls all of the external effects on the players’ characters, including other characters, monsters, animals, and even the weather. The other players each control one or more player characters who, in almost all role-playing games, go through various adventures.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="education" /><summary type="html"><![CDATA[Five friends and I get together once a week to play role-playing games. A role-playing game is a game in which the players control characters, usually in a fantasy or science fiction setting. One player, called the gamemaster, controls all of the external effects on the players’ characters, including other characters, monsters, animals, and even the weather. The other players each control one or more player characters who, in almost all role-playing games, go through various adventures.]]></summary></entry></feed>