The Joy of Gymnastics: OU Meets Arkansas at Norman - Joscelyn Roberson, Faith Torrez, Jordan Bowers, Frankie Price shine

I had an amazing experience!  I had the chance to attend the OU-Arkansas women’s gymnastics meet at Lloyd Noble on Friday, January 31. 

University of Oklahoma gymnast getting ready for floor exercise.

I love OU’s women’s gymnastics, and I was really excited to see that now that we’re in the SEC, we would have a meet against the University of Arkansas where World Cup Floor Ex champion and Olympics alternate, Joscelyn Roberson, is competing.  I purchased great seats for myself, Shandell, and little 3-year-old Brielle and 7-year-old Monty, in order to see Joscelyn Roberson in person.  What would she be like in person?  I’ve certainly seen her in videos, but do they do her justice? 

Three-year-old aspiring gymnast wearing her OU Sooners leo and dress.

It was so amazing to see Texarkana born and raised Joscelyn Roberson compete in person.  I first became aware of her during the 2023 Pan American Games and also the Cairo World Cup where she earned a Gold in Floor Exercise.  Her coaches in Texarkana should receive huge credit for developing such a great athlete and sportsman as well.  At any rate, when I first saw her, she was 16, and at 4 ft 8 inches, a little powerhouse.  Her music and her tumbling passes were incredible.  She did receive criticism for “lack of artistry,” but honestly, I think it’s only because she does not have the sylph-like appearance of a rhythmic gymnast.  Also the code of points privileges difficulty, so tumbling passes become superhuman in difficulty, along with floor-based wolf turns. I followed her career with avid interest, really disagreeing with her detractors, and I think they have no idea whatsoever about Joscelyn’s true “provenance.”  This is just a theory, but I suspect her tumbling prowess is due to the depth and breadth of tumbling talent and coaching in Texarkana, thanks to Cheer.  Texarkana high schools, such as Arkansas High School regularly rank in the top 10 nationally.  They are stunning!  Granted, their technique is quite different than gymnastics, but many of the tumbling passes require tucks, twists, and more.  

Joscelyn Roberson (far left) getting ready for vault. 

I was sad to see Joscelyn suffer a serious ankle injury during a warm-up for the vault.  She came back, better than ever, and earned a spot as an alternate for the U.S. Olympic Team going to Paris. I was secretly hoping that she would sign a Letter of Intent with the University of Oklahoma.  OU has earned a reputation as a team with tremendous concentration, discipline, mental toughness, and consistency.  They did not advance to the National Championships last year, but there were injuries, and they were rebuilding.  This year, OU’s women gymnasts are ranked #1 in the nation. It was exciting to see Jordan Bowers and Faith Torres (tied for all-around in this meet) along with teammates Lily Pederson, Audrey Davis, Addison Fatta, Danae Fletcher, and more.  I am incredibly impressed with OU’s coaching and the support behind the scenes.  I used to see the women’s gymnastics team at 6 am at Murray Case Sells doing low-impact cardio in the diving well and it was all I could do to restrain myself from going totally “fan-girl” on them and asking for autographs (on what?  My swim cap?).  I was a huge fan of the now graduated Ragan Smith, Madison Snook, and many others.  One true hero who led Oklahoma to national championships in 2017 and 2018 was Maggie Nichols (who was in the audience!!).  Maggie wrote about her experiences in a book. Her courage always stunned me – she was one of the gymnasts who testified against Larry Nassar.  In fact, she was “Athlete A,” who was the first to report to U.S. Gymnastics what Nassar had been doing to the gymnasts.  That took incalculable courage!! Instead of continuing to pursue elite gymnastics, she chose to go the college route.  When she was competing, it was almost unheard of for an elite gymnast to leave their club and to compete in college, where the rules are different, and the routines do not have the same degree of difficulty (or at least, didn’t).  This was before Jade Carey and Sunisa Lee broke that mold.  Apparently, Joscelyn Roberson is following in the tradition of Jade and Sunisa and is on the U.S. Nationals team.  I don’t know about members of the OU gymnastics team. 

The scoreboard after OU's final rotation on the floor. Their consistency is truly remarkable. 

It was reported that Joscelyn had been battling the flu earlier in the week, but she looked really strong. Her first event was the vault.  I could see her on the monitors, and more or less from our seats, but we were next to the floor, and away from the vault.  She did not seem to get the distance off the table that she has in the past, and there was a bit of a hop.  But – wow – what a difficult vault! She did a twist onto the vault before she blocked with her hands, and her hands where perfectly squared so she was able to push up high and get energy to do even more twists off the table.  It was really impressive. 

Her floor routine was really interesting to me. She still used the song “Stanga,” which OU gymnast Olivia Trautman had used in the past.  Sagi Abitbul & Guy Haliva recorded “Stanga” which has been remixed to infinity.  The first time I heard it, I literally had chills.  I used to listen to my CD-ROM of the “Le Mystere des Voix Bulgares” on my way to work in Oklahoma City for Kerr-McGee.  I would park in the parking lot east of the railroad tracks which is now Bricktown, and be really pumped up by it.  I had both collections, Vols, I and II, and just loved them.  “Stanga” borrows heavily, and is in my opinion, perfect floor ex music.  When I was in gymnastics, I had a routine choreographed to a literal bullfighting music from a record my mom had treasured, and it exuded pure passion as well. 

At any rate, Joscelyn is still incorporating “Stanga” (wonderful!).  Her routine has changed a bit.  Her first tumbling pass was incredibly high and she just totally stuck it.  I was a bit surprised because I thought that in college gymnastics you had to step back onto the back foot.  Perhaps she did, and I did not notice.  It went quickly and that is something I can review in recordings. The biggest change is that she took out the floor wolf turns (no wolf turns on beam, either).  She did have a great deal of sass in the dance elements, along with lots of playfulness and gestures to the crowd, encouraging them to pick up the volume of cheering.  I was going to say entreat, but it there was definitely a feel of play at work. The coaches at Arkansas are great for her. Jordyn Wieber is their head coach, and she is a champ.  She looked very elegant in a white flowing pants suit a drapy jacket (turns out she is expecting), and high heels.  OU’s coach was also elegant in black. Joscelyn totally stuck her second pass (which she always did in her elite performances) and the execution elicited gasps of admiration. Her floor flexibility moves were serviceable, but I think they could be more original.  Her split leaps have really come a long way, and she has made impressive improvements with turning her feet out and making sure her feet are all the way up.  Her final tumbling pass was a triumph.  I know I’m a bit at a loss for descriptors – my hands-on gymnastics experience was at a very rudimentary level, although I did take gymnastics classes for years that were offered to children through the City of Norman and OU, and then later, I had gymnastics every day in 9th grade at West.  I did not take gymnastics in tenth grade.  I’m not sure why. I focused more on swimming. 

Joscelyn was her team’s anchor on the beam, and she totally nailed all the skills. She did not have all the different skills that she had in her elite routine (no wolf turns), but she had really complicated combinations, and her dismount was a twisting one, with a blind landing.  Dangerous!  Her precision and confidence were palpable, and her team cheered her on.  She received her team’s highest score on the beam – I think it was a 9.925.

Scoreboard after the Arkansas Razorback's rotation. 

The scoring has been really stringent this year, especially after complaints about too many 10.0s and scoring inflation helping certain teams.  I guess it’s a good idea to reserve the 10s for the truly remarkable performances, and not succumb to the idea of going to a very complicated code of points that contains multipliers based on degree of difficulty.  With such an emphasis on dangerous skills, I’m actually surprised there have not been more tragic accidents.  Perhaps there have been, but we are just not hearing about it.  

Joscelyn Roberson congratulated by fellow Razorback after a great performance on the beam. The atmosphere is truly joyous and supportive. (photo Susan Nash)

I was expecting to appreciate the meet, but I did not expect to absolutely love it, which I did!  Wow.  The overall feeling is joyous and participatory, and I think it’s very healthy.  It’s a far cry from the gymnastics events I attended in the past where the waves of nervousness combined with parental obsession and coaches’ ambition created something pretty unpleasant.  I think I’d prefer electroconvulsive shock therapy to attending one of those kinds of meets. It reminds me of when I swam on the swim team as a 12-year-old and  saw a parent spank his little daughters at a swim meet in Enid for not getting their best times.  Perhaps his daughters were horsing around and merited some firm talk but that?  I was glad my parents did not like attending swim meets.  Competing is scary enough – why add aversion therapy??  

The meet concluded with a score of 197.828-195.975 as Oklahoma continued its winning streak against ranked opponents and remained the No. 1 program in the nation.  The Arkansas team was very impressive, and it is really thrilling to have the chance to see such high-level performances.  

Unsung Hero: My Mother-in-Law

 Myrtle Juanita Robertson was born July 16, 1924 at the Central State Hospital in Norman, Oklahoma.  Despite its name, Central State was no ordinary hospital. It was, in fact, the State of Oklahoma’s largest hospital for the mentally ill and the criminally insane. Her mother had been institutionalized after the death of her husband, but there are no remaining stories of why she was institutionalized, nor why her 11 children were all given up for adoption. Myrtle Juanita, who always went by “Juanita” did not realize that she was adopted until much later in life, and then, when she learned about it, she looked desperately for her brothers and sisters. She found one, Charles, who had lived a very difficult life. I met Charles and immediately liked him.  He was a small man with a wry sense of humor.  He had bleeding ulcers, however, and I think that the end was already near when I met him.

But, to back up a bit. Why on earth was Mary Etta (Shields) DeWitt treated in such a harsh way? The answer has to do with a hidden history of mental institutions.  Juanita’s parents were members of the Citizens Band Potawatomi, removed from Illinois to Kansas and Oklahoma, and then given allotments.  The DeWitts had land near Little Axe, Oklahoma.  After Juanita’s father died and her mother was institutionalized, something happened and it appears that the mother lost all her rights to anything at all.  This dark, shameful history is not acknowledged.  Juanita was raised by a family in the same town as the mental hospital, and she never had any notion that her mother was in the rather terrifying mental hospital on the east side of town, nor did she have any idea that she had 10 brothers and sisters.

https://fringejournal.blogspot.com/2022/11/oklahoma-sanitarium-company-1895.html

Juanita graduated from Norman High School and then went on to attend the University of Oklahoma, where she majored in education. She continued with her education and became a social worker for the State of Oklahoma.  Years passed, and she was contacted by the Bureau of Indian Affairs to let her know that she had inherited land from her parents, and that she had at least one surviving sibling.  This was a shock to Juanita, who did not realize that she had been adopted, nor did she have any knowledge of her Potawatomi heritage.

 

Ironically, at the University of Oklahoma, at the same time that Juanita’s mother was institutionalized and her children taken from her, the University of Oklahoma, literally 2 miles from Central State Hospital, efforts were made to preserve Native American culture at the Western History Collection. There are many harsh ironies in this situation, which will be the subject of a later, more detailed meditation.

Finding out that she was adopted, and then, the tragic circumstances, put Juanita in a state of shock, and she started to piece together all the things that had never made sense from her childhood, and also the deep sense of trauma, rupture, and horror that she could never shake off.

She immediately dug into her past and also into Potawatomi heritage, customs, and language. More than anything, she felt a deep, searing pain when she thought of those who were overwhelmed and helpless, who ended up losing everything, and dying alone, destitute, and sad. She could never change the past. There was nothing she could do to rectify the wrongs done to her mother and her 10 brothers and sisters.  However, she could fight for better conditions for the Elders.

 

Juanita was able to work with the State of Oklahoma, and in doing so, she worked on programs to benefit the elderly.  At the end of her career, she could look back and see all the programs she had helped shape that had to do with providing nutrition as well as emotional support to senior citizens in the State of Oklahoma.

Juanita died at the age of 90, an unsung hero, a Potawatomi who was able to reclaim her heritage and to fight for meals, companionship, and human dignity for elders.

Her funeral took place on a rainy, cool afternoon at a funeral home in Purcell, Oklahoma, where I had attended the funeral of my dear mother, just three years before.  I signed the guestbook and fought back tears until I looked out the window and saw my ex-husband running across the parking lot in a downpour, clutching a cardboard box.  Instantly, I knew what it was.  He was carrying the urn with the ashes of little Ricky, Juanita’s beloved white cat.  I remembered Ricky well. Ricky was the meanest cat you could possibly imagine. Ricky loved to hide under a sofa and then lash out with his razor-sharp claws.  I lost many a pair of tights to that crazy cat! But, Ricky loved Juanita, and Juanita loved Ricky.  Later, I wondered if somehow Juanita’s mom, Mary Etta DeWitt, had shared her spirit with Ricky, and she was there to do everything she could to protect her little lost baby.

Little Ricky, the cat, and his adored owner, Juanita DeWitt Robertson, are unsung heroes.

 

 

Unsung Hero: Susan LaFlesche Picotte (1865 - 1915)

 In July 2024, I had the chance to participate in an event at the National Academies of Science in Washington, D. C.   The topic was how best to clean up the orphan oil and gas wells that can pollute the air and groundwater, and thus improve the living conditions for many people, especially those who suffer from socio-economic hardship.

 

The building was a majestic example of intricate Art Nouveau with stained glass, wrought iron, and lovely nooks and hidden galleries where tributes to the nation’s most visionary scientists could be found.

 

I was excited and inspired to happen upon a tribute to women scientists.  I was deeply moved.  One of the first to really catch my eye was Susan La Flesche Picotte.  La Flesche was the first Native American woman to earn a degree as a medical doctor, returned home to build a system to provide medical care for the people of the Omaha nation, and to institute practices that would dramatically reduce communicable diseases.  

 

She was born in June 1865 on the Omaha Reservation in what is now Nebraska.  Her father, Joseph La Flesche (Iron Eyes) was chief of the Omaha tribe and her mother, Mary Gale (One Woman), encouraged their daughters to get an education. So Susan studied at a missionary school on the reservation before being accepted to study at the Elizabeth Institute for Young Ladies in New Jersey.  From there, she matriculated at the Women’s Medical College of Pennsylvania, where she graduated as valedictorian in 1889.

 

After returning to the Omaha Reservation, La Flesche instituted a number of changes:  She advocated the construction of a hospital and European-style frame houses to provide more ways to keep the patients in as sterile facilities as possible. She was a huge advocate of public health and encouraged families to install screens on doors and windows to keep disease-spreading flies and mosquitoes from entering. She discouraged the use of shared drinking cups at village wells, and was a dedicated physician, traveling great distances to see patients.  She was able to achieve her great dream of having a hospital built in Walthill, Nebraska, on reservation land.

La Flesche often spoke out against the great physical and mental toll that contact with European settlers and the Office of Indian Affairs had taken on the health of indigenous peoples.

 

To me, La Flesche is an inspiring figure for many reasons. The most obvious is that of overcoming the odds to become a doctor and go back home to fight for better conditions and treatment for her people. She never gave up, even when her own poor health made it difficult.

 

While Susan La Flesche Picotte has had the great fortune to have been remembered for her efforts, it is very important to keep in mind that there are many unsung heroes, especially within communities that are under-represented, isolated, and historically under-served.  It is a good idea to take a moment to think about those who made contributions, no matter how large or small, and to thank them.

A Philosophy of Teaching using AI

 Sharing my own thoughts and philosophy on teaching

With the advent of ubiquitous AI tools, I’ve renewed my emphasis on connections to real-world experiences as a way to both learn and to communicate the attainment of knowledge, and demonstrating achievement of learning objectives.

It is interesting to see how people use Large Language Model generative AI.  They may enter a prompt from the discussion board into AI to see what it delivers. It usually delivers information in the form of short lists, which are either bulleted or are bold-face in the topic or subject. When entire papers are constructed, they are very clearly structured.  The thesis statement is often very clear, but the introduction is unengaging. The body paragraphs have good topic sentences (as though from an outline), but any reference to relevant information is not cited properly (no in-text citations, no reference section at the end). If the topic is a common one (Write a paper about Hamlet’s conflicts in Shakespeare’s Hamlet), the information is likely to be pretty reliable, given that there are so many easily accessible papers on the topic.  However, it could be unreliable if the Large Language Model is using student papers, websites, and places like Course Hero for the data used to train the model.

My philosophy of teaching has to do with making emotional and cognitive connections to the topic and igniting a fire of curiosity and personal connection so that they feel real curiosity and a need to know about the topic because it could inform them of what could be a future path to a fulfilled and meaningful life.

I think back to my own experiences in life – when I was an undergraduate, I had dreams and there were aspects of life that really fascinated me.  I kept changing majors because the world around me kept changing, and I constantly wrestled with perfectionism, which made me feel either euphoric or in a pit of despair.  It took me many years to learn how to self-regulate, and now I think I may do it too much – if something negative happens, I immediately reframe it as something else, and my mind starts churning out affirmations as I seek “win-win” situations within my sphere of influence.

 

It's a lot of work, and it requires a steely resolve to maintain a positive outlook.  When I was a graduate student and had a part-time job, I was fascinated by emotional and cognitive “limit experiences” that would push me to the edge and inform me about the nature of reality.  I guess that proclivity was what inspired me to write my dissertation on mad messiahs and the apocalyptic narrative. It was the gift that keeps on giving, and I automatically process the day’s headlines through a debunking narrative mechanism that identifies key apocalyptic words and then classifies the narratives into apocalyptic genres and sub-genres. I’ve been doing it so long it’s automatic. These are good days for apocalypse, I must say.

That said, my world view has changed over the years to help me feel a sense of self-determination and well, joy & happiness, even in the face of clear chaos and uncertainty in the world. It helps that the world is always chaotic and so the panic-dread I felt the first five or six times economic meltdown and social discord were proffered up has dissipated into a “well, fortunately, no one has to live forever” mode.  What is that about?  I think  it is, ultimately, a recognition that there are things I can do to make life better.  But, I can’t control the world. Good grief – I can’t even get the information needed to be able to control the world. If I did have that key information, would I be able to interpret it?  Who knows….

And so, the world I view is one of the joy of discovery and the deep satisfaction of new connections to people, cultures, ways of thinking and living.

We can live.  We can live together. The more we know about the past, the magical intersections of history, art, and culture, the more joyous and open our futures can be.

We train our minds to see.

Classically Sublime: The University of Oklahoma Sooners' Upset of #7-Ranked Alabama

 A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful was published in 1757, and it quickly became a cornerstone of Romanticism. The “sublime” is supposed to inspire awe but also shock, even horror. 

“The passion caused by the great and sublime in nature, when those causes operate most powerfully,  is  astonishment:  and astonishment is that state of the soul in which all its motions are suspended,  with some degree of horror.”

Samuel Taylor Coleridge’s Biographia Literaria incorporates the ideas of Friedrich Schelling, who privileged the irrational and the subjective in interpreting experience and understanding Nature (and thus reality).

The idea of a subversive, subjective, emotionally intense and deep emotion-producing art is perfectly illustrated in the works of Turner and Goya, especially in the idea that it could be horror-producing. The extreme idealization of Nature, especially when viewed in retrospect, ties in with German Idealism, which was championed by Kant, and then radicalized by Fichte, Schelling, and Hegel. https://iep.utm.edu/germidea/ 

Right now, I’m listening to the sounds from the University of Oklahoma’s Gaylord Stadium as the game approaches kick-off.  I can hear crowd noises, music and general game energy from inside my house, despite the fact I have double-paned windows and foam insulation. I’m five blocks away from the stadium.  The announcer is literally shouting, and the marching band is playing as the crowd cheers.  White Stripes’ “Seven Nation Army” launches and I know that for the rest of the evening, I won’t be able to get the lyrics and the riff out of my head for at least the duration of the game. 

I'm gonna fight 'em off

A seven nation army couldn't hold me back

They're gonna rip it off

Takin' their time right behind my back

OU is now a part of the SEC and I have to set out traffic cones earlier than before so people won’t park in my driveway.  There is a roar and the Pride of Oklahoma charges into BOOMER – SOONER and White Stripes are now fierce rivals for the Boomer-Sooner riff.  I’m a half a mile from the stadium, sitting in my bedroom checking on the score and looking at Ezra Pound’s The Pisan Cantos and Julio Cortazar’s Hopscotch (English translation of Rayuela, pronounced rye-zhwayla in Argentina). Suddenly it is quiet.  There must be an injury on the field. Oh no, oh no, oh no.  Just checked.  It’s half-time. That explains it.  Well. The excitement will pick up, that’s for sure.  If I want to run over to OnCue, I need to do it now. It will be tricky. They rent out parking spaces for $20 a pop. Braum’s, thankfully, keeps their parking for customers only.

Darude “Sandstorm” is playing.  I feel my adrenaline going again - and I’m five blocks away. I can only imagine what it’s like to be in the stadium right now.  

Totally SUBLIME. 

Rosa Bonheur's The Horse Fair: Representations of the Fight for Freedom - Revolutions and Rights of Women?

 Over a three-year period, 1852 – 1855, French painter Rosa Bonheur filled a massive canvas, 8 feet tall and 17 feet wide, with a group of gorgeous white Lippizaner stallions, a dark black horse, and other brown horses, passionately in motion in a field surrounded by trees and bordered by a dirt road, ostensibly a horse market. Now, Bonheur’s The Horse Fair is housed at the Metropolitan Museum of Art in New York City.  It is remarkable for a number of reasons.  First, it is by a woman artist, one who was classically trained, but who was not allowed in the studios for “life art” with nudes. So, she painted animals, even dead ones at the butcher shop.  Second, its size is quite large, on par with Rembrandt’s The Night Watch and Tintoretto’s Gloria del Paradiso (1588-1592).  

However, instead of depicting a religious scene or memorializing the wealthy members of society, Bonheur dedicates the large canvas to animals. They are not even in battle or doing anything heroic; they’re simply behaving as spirited horses will at a horse fair. Men are trying to handle and control them, but the horses are winning. According to the conventions, there were four genres of painting, and they had a hierarchy.  First, were the historical paintings which would feature important battles, scenes from religious stories, allegorical or other subjects of overweening importance.  Next were portraits, which were supposed to be of aristocracy, religious figures, or members of the upper class. Next came genre painting, which would include scenes of everyday life.  Fourth in the hierarchy was landscape painting, which could also include cityscapes. Animal painting was fifth, and the final and lowest on the list was still life.

 

Rosa Bonheur, The Horse Fair (source: Wikipedia)

One example of historical paintings from the Renaissance makes one aware of the way they convey culturally normative messages. Gloria del Paradiso (1588-1592) by Tintoretto which is the largest painting of the Renaissance at around 28 high and 80 feet wide.  It depicts Dante’s Divine Comedy, and all the characters one finds in Dante’s Paradiso. When it comes to depicting a whole cast of characters, and a cosmology, give me Hieronymus Bosch. His Garden of Earthly Delights and also Ship of Fools are so complex and filled with visual metaphors and stories, that one could stay and contemplate them for hours.

What made Bonheur’s painting so shocking in terms of genre?  She made an animal painting in the same size and format as a history painting, with the battle being between the handlers and the horses. What were some of the underlying thoughts that would come to mind?  The first that come to mind are those of freedom and liberty – the horses are struggling to be liberated from their bits and ropes. In this sense, the canvas is definitely allegorical, particularly given that moment in history, with anti-monarchist sentiment in Europe.  Given that interpretation, Bonheur’s painting could have been dangerous. The Revolutions of 1848 spread through Europe, starting in Sicily, the going to Italy, Germany, and France, where the repressive, authoritarian “July Monarchy” was toppled.  In the other countries, the revolutions failed, and the miserable conditions of the people continued, with poverty, income inequality, brutal authoritarianism, and lavish / wasteful spending by the monarchies and nobility. Bonheur’s rebellious horses rise and writhe, but they are in the process of being brought back under control.

How to Effectively Design Good Generative AI-Using Student Assignments: Steps, Strategy, and an Example

If it were not bad enough to combat essays purchased from Course Hero, GradeSaver, or one of the other paper mills that purchase student essays, now one has to worry about papers generated by large language models such as ChatGPT, Scribe, Google Gemini, CoPilot or others.  Generative AI tools are being developed for specific topics or domains, and the assumption is, at least from a student’s perspective, that the product will be well written and accurate, or at least well written and accurate enough to merit a passing grade. 

As an instructor who develops, teaches, and grades courses and coursework for online courses hosted on Canvas, Moodle, Blackboard, or even Google Classroom, this is a challenge you can’t afford to ignore, and an opportunity that can transform your entire teaching philosophy. 

https://www.amazon.com/Moodle-Learning-Course-Development-instructional/dp/180107903X 

WHAT INFORMATION IS USED TO TRAIN THE AI LARGE LANGUAGE MODEL?

What data sets are used to train the generative AI algorithms?  Let’s take the case of American literature. I would automatically assume that the first repositories to be ingested would be open access repositories such as Project Gutenberg and Archive.com.  Those would be primary texts for the most part. Then, secondary texts would be incorporated, which would consist of journal articles. Tertiary texts would also be used, which would include encyclopedias. While there may be some question about intellectual property and the right to use the materials, there would be few questions about the integrity of such materials, gleaned as it were, from peer-reviewed and quality assured primary sources, peer-reviewed journals and monographs, and peer-reviewed encyclopedias. 

However, this is just the tip of the iceberg when it comes to materials about American literature that one can access through the Internet. There are blog posts, online magazines, repositories of articles from study guide providers such as Study.com, Sophia Learning, Shmoop.com, and many more. These resources may be a bit repetitive and not particularly original, but perhaps harmless in the overall scheme of things.  If anything, they may skew the results to bland and formulaic papers. 

LOTS OF BAD APPLES

What happens, however, when these AI bots ingest the massive repositories of essays which have been compiled by companies such as Course Hero, Grade Saver, and others?  Is there any quality control at all? Some of the sites encourage students to sell their term papers for $5 each. Is there any quality control?  Would the evaluator or screener check for accuracy, bias, originality, and innovative thinking? Would the screener be able to differentiate between a tired, flat, biased, inaccurate paper and a fresh, innovative, and accurate one? 

It is quite possible that the sheer volume of low-quality term papers, biased or error-riddled blog posts, student-shared material, unrefereed conference proceedings and “gray” literature could exceed the high-quality, peer-reviewed material by many orders of magnitude. 

REQUIRING STUDENTS TO USE CHAT GPT, KNOWING THE RESULTS COULD BE ROTTEN? 

Learning how to use generative AI as a helpful tool and understanding its limitations and pitfalls is probably a more pragmatic and useful approach than trying to ban it altogether. Further, if students learn how to use AI tools in their coursework where they receive feedback and guidance, it is likely that they will be able to more effectively use the tool in their professional lives. 

Instructional designers and instructors who understand how results are likely to be generated can design assignments that require students to incorporate their own unique vantage points, prior knowledge, experience, and insights rather than simply producing a bland summary or compendium of the blandest, least thought-provoking or original material that responds to the prompt. 

FERRETING OUT THE FLAWS WHILE ASKING, “WHAT’S GOOD IN HERE?”

Instructors can develop assignments that actually require students to use a generative AI tool, and then they can ask them to critique the response.  

Here’s a sample assignment: 

Please write an essay that identifies the possible themes in Emerson’s essay, “Circles,” and explains how they relate to American Transcendentalism. 

When I fed the prompt to ChatGPT, it churned out a six-paragraph essay in about 3 seconds. It sported a nice, clear thesis statement, a clear definition of American Transcendentalism, and then proposed several themes, and provided evidence, including quotes. On first glance, it seemed to be a very serviceable essay. 

However, upon closer examination, it was clear that the essay was pretty facile, and felt very derivative. It did not provide citations for the quotes, and the explanations around each of the quotes and the themes did not go into any depth and tended to repeat each other. There was no deeper probing of American Transcendentalism, nor was there any historical context. 

One could argue that the prompt should have asked for historical context, and could even be interesting and ask for connections to a darker, more ominous underbelly of what seemed, on the face of it, to be an expansive, all-encompassing dream of harmony and unity. However, there is no investigation of the philosophical or ideological underpinnings, nor any sense of how American Transcendentalism was popular because it uniquely reinforced and even expanded the authority of those who already possessed it.  

The students could be asked to identify the weaknesses of the Chat GPT essay, and to explain when and how the responses were cliché, facile, or derivative of what one would expect to see in an encyclopedia or generic study guide, and they do not encourage critical thinking or a look at “Circles” through a new and innovative vantage point. 

It would be very nice for students to work on the critique in a collaborative workspace – for example, in a shared document, where each could highlight and comment on the ChatGPT-generated essay. 

AN INSTRUCTOR CHALLENGE: ASSIGNMENTS THAT DEVELOP CRITICAL THINKING SKILLS AND CREATIVITY

It is possible to write assignments and paper prompts that encourage students to incorporate their unique views, experiences, and prior knowledge.  While some may think that this subjectivity would make it difficult to assess the work, in reality, just the opposite is the case. 

For example, for an essay on American literature, a rubric would require the student to accurately describe what the text is about and also the main themes and characters as required by the prompt.  The prompt should also, however, require the student to think critically and ask questions that would relate to their own experiences and perceptions. They could also be asked to apply the concepts to a current situation. The students would be evaluated on their creativity and problem-solving skills as well as critical thinking. 

To apply this to the case of Ralph Waldo Emerson’s essay, “Circles,” a prompt could look something like this: 

Evaluate the strengths and weaknesses of Emerson’s ideas about agency as expressed in his essay, “Circles,” and describe how you’ve seen examples of the thinking expressed in your own life or the world at large.  Describe mid 19th-century American Transcendentalism and how it must have sounded to different groups of Americans: wealthy land owners, men wanting to move West for wealth and adventure, women in America, Native Americans, African-American slaves and freedmen, Irish indentured servants, Mexicans living in parts of Texas that were a part of Mexico before the War of 1848, and children. 

Granted, the new prompt is much, much more complex, but you probably get the picture, and can see how writing prompts to outwit the  AI bot is fun and engaging, while also encouraging collaborative activities and deeper learning. 

THE ROAD AHEAD

Colleges and universities are grappling with ChatGPT, Scribe, Google Gemini, CoPilot, and other generative AI platforms and tools.  While there is the chance of rampant violations of academic integrity, we are in the early stages of development and now is the time to envision new and productive pedagogical approaches that are ideal for adult learners and can help develop creativity, critical thinking skills and confidence.  

Exploring Ian Wild's Moodle 4 Security (Packt Publications, 2024)

Ian Wild’s new book, Moodle 4 Security (Packt Publications, 2024), equips the Moodle administrator and the IT team to protect all aspects of Moodle, from Moodle server security to Moodle application security, including Moodle infrastructure modeling, and strategies for educating the weakest security links – the individual users. 

 

Link to the text: https://www.amazon.com/Moodle-Security-administrators-regulating-infrastructure/dp/1804611662 

 The book begins by describing the depth and the scope of the problem, while providing a short history of hacking, understanding the nature of cybersecurity risk with Moodle, and the consequences of doing nothing. It moves to a section that explains how to identify threats, and how to use programs such as STRIDE and other Open Web Application Security projects that can be used to defend against many types of cybersecurity threats. 

 

A large section of the book is devoted to Moodle server security.  Wild guides the reader through a step-by-step process of building a secure Linux server which includes enabling TTS/SSL to have a secure SSL certificate, selecting the best firewalls, and exploring server immutability.  The process of assuring Moodle server security also involves endpoint protection, denial of service protection, and also making sure to have a backup and disaster recovery. Wild clearly presents options for each level of protection and gives clear, easy-to-implement selections. 

 

Another important section of the book deals with Moodle Application security. This aspect has to do with privacy concerns, a data integrity plan, and a review of the various types and functionalities of Moodle applications with an end to helping the user avoid fall into any pitfalls. 

 

Ian Wild, a technologist and developer of simulations for AVEVA, has many years of experience with Moodle and thoroughly understands the reasons why having a good security solution for the organization’s Moodle installation is imperative in today’s world.  The information and solutions presented in this book could not have come out at a better time. 

 

 

A 2024 Video Performance of Chucky’s Hunch by Rochelle Owens

May The Future be alive

Like apple seeds with the promise 

         Of The forbidden Fruit 

That Eve Mother of All Living ate--

        Thus, the world gained

 Knowledge and Frightful Liberty!

                           ---Rochelle Owens

In Your skull reigns anarchy... 

                           ---Rochelle Owens

When Rochelle Owens’s play, Chucky’s Hunch, was first performed Off-Broadway in 1981, critics lauded what they expressed as a tour-de-force performance by the actor playing Chucky, and they took the plot at face value.  The play, which is a long dramatic monologue by an aging man triggered by the news that the second of his three ex-wives has won the lottery, takes the audience into a fascinating psychological odyssey.  On the face of it, the play is simply about the embittered rantings of a failed Abstract Expressionist artist whose grandiose plans took him nowhere except into penury and bad health, as he lives with his 85-year-old mother somewhere in upstate New York.  He reads his letters to Elly, his ex-wife, to the audience, and in doing so, expresses a range of thoughts and feelings, ranging from rageful recriminations to sentimental recounting of the times that he and Elly spent together, and his observations of her behavior. The narrative is a straightforward epistolary one, punctuated by a framed tale (The Snake and the Porcupine).  

Chucky's Hunch is featured in this anthology.

However, when looking more closely at the structure of the play, and then relating it to her other works, particularly her long poems, it becomes clear that the structure is one of repetition and interweaving, just as she has done in her brilliant “Black Chalk,” “Patterns of Animus” and “The Aardvark Venus.”  As in those poems and others, there is an apocalyptic intensity that envelopes the reader with a sense of creeping horror at observing the protagonist’s existential nihilism that insists on destructive behavior and an ineluctable journey toward self-erasure. It is good to note that one can read the play for free via the Internet Archive (https://archive.org/details/wordplays200perf/mode/2up) although it is necessary to create an account and borrow it online.

The release of a video version in 2024, with Charles Berliner as Chucky, music by Marcia Kravis, video editing by Ellen Reynolds, and produced by Rochelle Owens, enables the audience to see a darker and more intimate version (https://youtu.be/OZdRLyXTNbI?si=F5wzMoBLzhhjwnYu).  As a narrator, Chucky could not possibly be more unreliable.  He flings words like the Abstract Expressionist flings paint, and it is necessary for the reader to find the patterns that make the deeper meaning, which is not really about Elly and her perceived slights to Chucky, but more about fatal “dances” (like the fabled Tarantella) of those who fall in love with each other, and in their dance of love, they toy with the parallels between love and death. Eros is held up as a life force in popular culture, but for Owens, Eros gives way to Thanatos, and the death-drive animates the various love dances / erotic tarantellas that weave in and out of the play. 

Love-Death Dance 1:  Chucky and Elly.  Chucky reminisces about his time with Elly and the items of clothing he purchased for her. Their life together was something he now views with a combination of sweetness and bitterness, a relatable pain for anyone reflecting on failed relationships of the past.  Images of a bright-white smile framed by carmine-red lipsticked lips further eroticize the narrative. 

Love-Death Dance 2:  Characterized as an impecunious and unmotivated bum, Chucky mooches off his 85-year-old mother, who horrifies him with the relations she has with Chester, her 82-year-old boyfriend.  Depicted in graphic terms, the discordant notion of a couple approaching death carrying on as though they were teenagers is deeply unsettling to Chucky. 

Love-Death Dance 3:  Mother and son have a close relationship, one fraught with contradictions. Chucky describes how he chews his mother’s food for her as an Eskimo mother would chew food for her baby, which may seem potentially kind-hearted except that she lost her teeth because he hit her. 

Love-Death Dance 4:  Chucky’s only friend is his dog.  The dog was killed, however, because it came between the amorous and deadly contortions of a porcupine and a snake.  Their passion killed not only Chucky’s only living friend, but also each other.  As a female voice narrates the frame-tale, images of a snake about to strike and a young porcupine fill the screen. 

Love-Death Dance 5:  Chucky’s tarantella with his own mind starts at the beginning of the play, and it weaves in and out of a kaleidoscope of emotions.  They take him around in colorful, expressive effusions of emotion and reminiscences, but ultimately, the audience sees him as on a path to madness.  When he disappears without a trace, the tarantella takes its final frenzied spin.  The impressions are emphasized by the juxtaposition of images of seagulls feeding on trash piles. 

Chucky complains that Elly never answers his letters, and he resents the fact that she is not only surviving, but is prospering, thanks to winning the lottery. She has gone on to live and thrive in the modern, changing world.  Chucky’s world is one that resonates with medieval times – with echoes of the earthiness of Chaucer’s Canterbury Tales and the resignation of Boethius in The Consolation of Philosophy, and the aleatory movements of the Wheel of Fortune. The still photos and collages in the film form a backdrop behind the performer, and they resonate with the words, not so much depictions but visual metaphors. The soundtrack, featuring sombre music, seagull cries, and more. 

In the end, Chucky psychologically juxtaposes himself in a final dance with the memory of the successful Elly, and in that final dance, he generates more self-destructive energy and pathos, leaving the audience staring into the “filthy maw” of an oblivion of one’s own devising, forged from the dances of “love-death” which left him with little more than shame and regret about his life. And thus Chucky hits home.  Chucky is Everyman. 

---Susan Smith Nash, Ph.D. 

Kim Lonzo on Two Poems by Carlos Hiraldo and Susan Smith Nash

 The two poems that I have chosen deal with the basic question, does our technological progress represent true human progress. Susan Smith Nash’s poem, “The Nature of Poetics,” (https://marshhawkpress.org/wp-content/uploads/2021/10/Marsh-Hawk-Review-fall-2021.pdf) explores the subjects of modern work aided by technology, traditional work aided by tools, and our possible disconnection as a society as the nature of work becomes more ephemeral. Nash uses Aristotelian analysis to search for her answers. This is a much different approach than the second poem. Carlos Hiraldo, in his work, “The Revolution Will Not Be Facebooked,” cleverly creates a sequel poem which updates and brilliantly plays off Gil Scott Heron’s seminal spoken word piece set to music, “The Revolution Will Not Be Televised.” Hiraldo mirrors Heron’s meter and style to call attention to how our modern life holds similar ills as the latter’s poem illustrates. The consensus of Nash’s and Hiraldo’s poems are that technology has not improved the human condition and has possibly added to the disconnections between us.

Nash immediately sets the mood by easing us into a state of relaxation. She opens: “No Zoom meetings this morning / so taking advantage / laptop on lap / leaning back in rocking chair.”  By contrasting the images of the laptop positioned on her lap and the recumbent rocking chair, she foreshadows the theme of her poem. Not only is she reflecting on the nature of work but also the implications of technology on the quality of our lives. She continues: “feet propped up / sipping coffee.”  Already in a position of relaxation, Nash adds an extra layer of cozy with the added action of the propping up of the feet. This coupled with the sipping of coffee conjures a sense that a moment of introspection is about to begin. She is at peace in this moment save for a repetitive sound that calls her attention. She continues: “thoughts punctuated by the sound of roofers pounding away the uncertainty of leaky surfaces.” This seemingly, clumsy sentence breaks from the gentle scene she has crafted. Suddenly, an uncertainty creeps into this idyllic setting. She uses evocative words like “punctuated” and “pounding” because this distraction is significant. She must investigate her own uncertainty. She acknowledges this here: “we dread getting wet / whether by water or fear / I respect the sheathed decking, nails, and composition shingles.” Now the uncertainty begins to take shape. She uses the word “dread” to express that the task before her will be difficult. She is afraid. She references safety when she speaks of the sheathed deck or a protected structure. She deconstructs what makes it safe almost as if to say that she must deconstruct or analyze her fear. In the next part, she muses: “where plans meet hands / the work is real / Aristotle’s Nicomachean Ethics.” Finally, she arrives at the point where the soul searching begins. She acknowledges that roofing is real work and references Aristotle’s most well-known book about discovering the meaning of life, “Nicomachean Ethics.” She asks the reader to go on a journey with her to determine if what she contributes to society is work.

Nash continues,

What is the reality of work in a world of coordinated communication? This is the work of developing documents, tasks, programs                     meetings, conventions, projects ,plans, maps ,diagrams—                         infinite conversations and archived files;

And then there are the invoices, accounting, the back office-

And yet, I sit here imagining                                                                          since I’m not perched on a roof                                                                            I have no nail gun in my hand,                                                                         no risk of slipping off onto a hard pavement;

I’m not really working;                                                                                         all my efforts are ephemeral. (Nash)

Now Nash begins to do a classical analytical dissection of the elements of the argument she is attempting to make. She defines the parameters. What is work in the setting she exists within and how does it compare to the traditional concepts of work? She proposes since she has no tangible risks like say a workman on a roof and her efforts are fleeting that it is possible her work is something other. 

She concludes,

At least back when we printed and piled our paper files there was tangible evidence of work;                                                                      External validation that mind and words had an objective correlative

And we could comfort ourselves that reality and life could be empirically affirmed.

But in my heart of hearts                                                                                       I don’t believe it, and I doubt myself just as I doubt this set of lines on paper is anything                                                                              approximating a poem (Nash)

As Nash reaches her resolution, we similarly reach a catharsis. Her self-doubt about her own work throughout the poem countered with her admission that she believes tangible output with some element of real risks equals true work illustrates the objective correlative she references. In choosing her title, Nash calls to mind Aristotle’s “Poetics”, which first delves into defining poetry as an art and posits that art imitates life. Here the artist attempts to define the nature of a poem by comparing elements of the work of one who uses their hands versus one who uses words and ideas. Whether she considers her work a poem or not though is ultimately up to the reader. An artist’s intentions aside, the nature of any work of art is evident in its effect on its audience and not in its creators vision.

Hiraldo introduces the reader to his work by referencing the source inspiration which is the powerfully poignant, “The Revolution Will Not Be Televised,” by Gil Scott-Heron. It is my opinion that Hiraldo wants his reader to be familiar with this piece to fully understand his message. He is tacitly teasing the point that if you are ignorant of the past, you may repeat it. This poem uses repetition and emulation of Scott-Heron’s master work to interplay themes of “old and new,” “mundane and absurd” in a very sharp, satirical tone.

He opens,

You will not be able to man your posts from the comfort of your offices or homes. You will not be able to sign in, rant, and log out.                           You will not be able to friend and unfriend your way into community, share your way to the communist utopia,                                                     like your way to power, brothers and sisters, because the revolution will not be facebooked. (Hiraldo)

By simulating Scott-Heron’s opening and updating from television to Facebook, Hiraldo introduces us to wonderful wordplay and humor, he will be using throughout. The puns on the words “posts”, “friend”, “unfriend”, “share”, and “like” force the reader to interpret at every twist and turn. The brilliant use of the oxymoron “communist utopia”(Hiraldo) illustrates this will be a fun journey into an intellectual discourse on how our technology has improved or possibly impeded us. When he hits his rallying cry, “The revolution will not be facebooked” (Hiraldo), which he will repeat throughout, he is attempting to show us that a new medium reigns and his emphasis attempts to refocus us on the fact that it is a medium.

He continues, 

The revolution will not be brought to you by book length, newsfeed articles telling you everything you already know                                         The revolution will not show you videos of cowardly officers shooting brothers at point blank range because they move too fast or they move too slow

The revolution will be no Onion repost                                                            The revolution will be front page news, brothers and sisters. The revolution will not be facebooked

There will be no smiley selfies of you and colleagues you never talk to at the Global Warming march,                                                                         CNN will not be able to file an entire report based on your social media posts of events because the revolution will not be facebooked (Hiraldo)

Here Hiraldo departs from Scott-Heron who takes a strong political tone. His message rooted in the Black Liberation Movement informed all his work. Hiraldo continues to have echoes of the former’s poem and acknowledges that violence against Black men by law enforcement is still newsworthy in the social media world. He then pivots to question what news in our new digital landscape is. He mentions the satirical website “The Onion” which is a well-known news parody site that is widely shared and often mistaken for real news. He uses the expression “front page news”, an old-fashioned way of saying something was particularly important, to show that our social media advancements aren’t themselves the agents of our change. Further, Hiraldo slyly takes aim at the state of protests by pointing out the vanity aspects of modern activism and the rise of news network coverage of citizen journalists.

He continues,

There will be no soft-porn pictures of meals to be shared                          There will be no soft-porn pictures of meals to be shared                         There will be no kooky anti-government conspiracy theory discrediting all opposition because the conspiracy to be attacked will be what they call reality                                                                                                                  The revolution will not be facebooked.

The revolution will not be brought to you by an old closeted celebrity or a nubile brainy hot thing giving brilliantly obvious quips 

The revolution will not sell you Doc Martens boots                                       The revolution will not give you flattering easy IQ tests (Hiraldo)

Interestingly, Hiraldo launches into an unflattering critique of two major uses of social media which are the sharing of food pictures and the dissemination of conspiracy theories. The tropes of “soft-porn pictures of meals” and “anti-government conspiracies” are used to show the prevalence of and importance placed on indifference and ignorance. Moreover, he juxtaposes the tropes of “an old closeted celebrity” and “a nubile brainy hot thing” to address that fact that our information is packaged in the form of entertainment or infotainment. With a wink, Hiraldo teases the rise of consumerism by mentioning the preferred boot of the anti-capitalist punk movement of the 1970’s. He drives his point even further with a nod to the “flattering easy IQ tests” which is an oxymoron laying bare how little we value integrity and intelligence.

Hiraldo concludes,

The revolution will not tell you what country you should have been born in because the revolution will make the country you were born in the country you should have been born in                                                           The revolution will not be facebooked.

The revolution will not be facebooked                                                           The revolution will not be facebooked                                                          The revolution will not be facebooked                                                          The revolution will be no parody, brothers and sisters, The revolution will be an original work of art. (Hiraldo)

The metaphor of “The Revolution” that Hiraldo has repeated throughout finally takes form here. He has been alluding to the meaning with examples of elements that are not endemic to this revolution. By defining what it is not, Hiraldo has been implying what it is all along this journey. His strongest statement is telling the reader the ultimate result of the revolution will be universal equity. Instead of going to a “promised land” somewhere else , the revolution will have made this unnecessary and no one will question if the grass is greener. For me as the reader, my absolute favorite line is the last. The wit is on full display as Hiraldo takes us home by subtly poking fun at his own work which is a parody. He does this because he is ingeniously showing us that his work like Facebook is a medium for a message and not itself the agent of change. The revolution after all is the movement towards universal equity and this requires active participation not passive acknowledgment.

Our technology has led to fascinating advances in our world. The benefits of which seem to have made our daily lives more comfortable even simpler. We now have a shared digital space that has ushered in a new era of virtual citizenship. Both Nash and Hiraldo question whether our advances in tech have advanced us as people in this modern landscape. Nash embraces her unease at creating a product or work that feels fugacious. She contrasts elements of the new (Zoom Meetings and laptops) versus the old (nail gun or rocking chairs) and decides to use Aristotelian analysis (literally old school thinking) to determine if “work” in an increasingly more digital world remains relevant. By embracing this trope of “new vs old,” she ultimately concludes that minus a tangible or real element, work, like her poem, may not be what it seems anymore. 

Hiraldo too echoes this as he shows us that Facebook as a medium, like television in “The Revolution Will Not Be Televised” (Scott-Heron) has not been an agent of change but merely mistaken as one.  By mimicking the structure and meter of Scott-Heron’s poem and comparing similar relevant issues in an update to this work, Hiraldo shows that the new medium of Facebook has merely replaced television and this time we are creating the soulless content. His novel approach with a nod to the “Old School” of critical analysis seems to arrive at the same destination as Nash with her traditional reasoning. The measure of our true progress is in how much or how little the individual physically contributes to the real world and not the virtual one. 

Works Cited

Nash, Susan Smith. “The Nature of Poetics.” Marsh Hawk Review, Spring, 2021

Hiraldo, Carlos. “The Revolution Will Not Be Facebooked.” Marsh Hawk Review, Fall/Winter,2019

Scott-Heron, Gil. “The Revolution Will Not Be Televised.” Pieces of a Man, Flying Dutchman, 1971

Aristotle. Aristotle’s Poetics. New York; Hill and Wang, 1961.