English
157 | MALAS 600A | Fall 2024
#RoboticEroticElectric24 Comix, Cinema, and Literature
in the Age of AI
Tuesdays and Thursday @11am
GMCS 333, aka "The Cyborg Hive"
e are
already part-cyborg. Part robot. Part machine.
From that phone throbbing in your pocket (ostensibly
providing you contact with the planet, but also,
simultaneously, allowing the planet to surveil you in
real time), to the metal and teflon apparatuses nestled
in our bodies from operations, to the microplastics
surging through our bloodstream, we are already, in a
way, machine. Not yet truly cyborg, but getting there
sooner than we think!
In other words, we are already something we
could call organic+ -- the
plus (+) being the manufactured substances that flood
our bodies, supplementing and supplanting what we used
to think of as our "human essence."
Need a doctor? There's an app for that! Hungry? UberEats
to the rescue. Horny? Hinge, Tinder, and Grindr stand at
the ready to assist. The digital and technological
prosthetic supplants the hunter and gathering species of
yore. Technology on the brink of supplanting
Biology. The mind reels.
Inspired by our current moment of bio/techno symbiosis,
we aim then to make the body human, the body politic,
the body robotic (or cyborg, or android) the focus of
our semester-long adventure studying the history of
comics, the legacy texts of artists, writers, animators,
and illustrators trying to tell stories about our
peculiar species!
The SDSU catalog says that this class is concerned with
"[a]esthetics, [the] interplay of texts and images,
visual communication, and changes over time."
And to a certain extent that is what we will deliver.
But
this class will be much much more. In our
special experimental collective called
#roboticeroticelectric24, we will concern ourselves with
comics, of course -- but we will be most
focused on the intersection between technology and the
"human" -- between the consequences of smartphones and
AI and the categories we call psychology. Technology
always already alters the dimensions of the human.
Just as hookup apps changed the nature of
sexuality and dating in the present, so too will
technological evolution touch every part of our lives --
including the way we touch, they we think, the way we
evolve.
Our class is very much also focused on the impact of
machine/human interaction on the psyche, on the mind,
and on the libido. That old cigar
smoking father of psychoanalysis, Sigmund Freud, had a
theory of the human mind that suggests there are dark,
essential corridors of our consciousness we don't have
direct access to -- he called this undiscovered country,
"the unconscious." The
comics, books, movies, performances, and streaming media
we will encounter this semester are all associated in
some way with an exploration of this submerged,
electric, hidden world. Make sure your batteries are
fully charged as we begin this odyssey.
From Westworld to Black Mirror,
from Ex-Machina to Futurama, the world
of entertainment is mesmerized by our ongoing revolution
in artificial intelligence, robotics, and AI. In honor
of this machine-dominating turn of events (where even
your innocent smartphone knows more about you than you
do) our playful, experimental and improvisational Fall
2024 section of ECL 157 Comics and History will be a
digital/cyborg wonderland filled with bizarre, alluring
fictional bodies (some robots masquerading as humans;
some humans with little humanity at all). Along the way
we will read and witness some incredible storytelling.
We will prowl the remarkable and haunting nightmares of
Ira Levin's THE STEPFORD WIVES to the haunting
hallucinations of Franz Kafka; the madness-laced comix
of the Hernandez Brothers in MR. X will beguile us even
as the psychologically complex (both hilarious and sad)
paintings of Jean-Michel Basquiat tempt us to see beyond
machines to the bad wiring that has always infected what
we call "the human." But we will only have 15 weeks to
introduce ourselves to the range of artifacts that
masquerade as “Comics” at the dawn of the 21st Century,
so things will zip along at an amphetamine-laced pace!
Make no mistake about it: this is NOT a survey of long,
white-haired, sedate, upper-crust, high literature
folks--we will be as obsessed with art, film,
photography, and the internet, as we will the trappings
of traditional literature.
More an introduction to Cultural Studies than a history
of superheroes in spandex, our multimedia exercise in
fictional fetishism will try to set itself apart with
vivacious books, paintings, and film filled with
tortured, robotic, broken imaginations. We will
strive to be eccentric (ex-centric, outside the circle)
as we explore the world of alternative subjectivities,
"televisual" constructions (think TicTok and Instagram)
where individuals make and remake themselves on a daily
basis.
Daily Trigger Warning -- Click to enlarge
REQUIRED
BOOKS
Please Avoid DIGITAL BOOKS* --all
students should bring their delicious literary
jewels made of paper, ink, and glue to our
robot hive imagination laboratory / classroom
for discussion! Also--note that the book links
provided below are included to ensure you pick
up the correct edition of the required books,
NOT to make Jeff Bezos more money at Amazon.
All the correct editions are available from
Aztec Shops Bookstore* Are used
books ok? Of course they are and so are
the rentals--but beware the notes and
scrawls you find in these discarded
receptacles of knowledge may not always
come from the most dedicated of former
students. Last
question: should you rent or
buy? That is up to you! But
remember, your personal
bookshelf is like a mirror of
the journey of
your psyche--a snapshot of the
evolution of your
imagination.
*Unlike
other un-named classes here at SDSU, you
actually have to read the books each week for
the class to have any meaning at all.
Appignanesi & Zarate
Mairowitz &
Crumb
Thorogood
Katzenstein
Levin
Yehya
Murakami
Cain & Niemczyk
Emmerling
Luna & Vaughn
Kaneko
Required Movies, Screened FREE in
Class!
Be Right Back
Director: Owen Harris Writer: Charlie Brooker 2013, 48 minutes
Lars and the
Real Girl
Director: Craig Gillespie
Writer: Nancy Oliver 2007, 1hr 46 minutes
Ex_Machina
Director: Alex Garland
Writer: Alex Garland
2014, 1hr 48 minutes
Graduate Teaching Assistants!
The
Sagacious Automatons
TA Bonnie Palos (A'Martine to
Crow) Hola! My name is Bonnie Palos. I'm a 1st Gen Mexican-American and the first person to attend college and even grad school in my family. I received my BA in Comparative Literature here at SDSU along with a certificate in creative publishing and editing. At first, I thought I wanted to be a writer and I had a few jobs here and there but ultimately I knew my true calling was teaching. Feeling like I was missing something in my life, it appeared to be a sign from fate that I had a message from the MALAS program to extend my studies. By virtue of that message, I happily returned to SDSU for my MALAS MA focused on Comparative Literature so that I can share my knowledge and spread the good word on Literature and how awesome it is to be AN SDSU MALAS Graduate! (hopefully, amongst mi gente Latina). I experienced many amazing professors during my journey and I hope I can provide that same support to a future student in my shoes someday. Currently, I am working on applications for PhD programs as well as working on publications so that I can one day be of service and wisdom for all of the future literature students. My areas of focus are horror, Latin American studies and gender and sexuality studies. Props to SDSU for having quite a strong selection of Horror Literature, Horror genre classes and of course to Profe Nericcio giving us the space, encouragement and tools to properly and productively express ourselves. If you have any questions/ comments for me or if you just want to have a really cool discussion feel free to meet with me whether its my office hours Tuesdays and Thursdays 1-2pm at the cafe across from the GMCS building or scheduling some time with me at more convenient time in person or even zoom! You can reach me at bonniepalos@gmail.com
The
Cybernetic Droids
Izzy Ferrea Curran to
Gonzalez
Hi
everyone! My name is Izzy Ferrea and I am a
fourth year psychology major from Carlsbad, CA.
I took Comics and History my first year and it
is still my favorite class yet! I also work as a
Community Assistant for SDSU Residential
Education and am a research assistant at SHAN
Laboratory on campus. I’m ecstatic to be one of
your TAs this semester! I hope y’all love the
class as much as I did. If you have any
questions, comments or just want to chat, my
office hours are Tuesdays
12:30-1:30 at the Turtle Pond by Scripps Cottage or
you can reach me atiferrea0605@sdsu.edu.
The cyberLUSTERS
TA Angelina Garcia (Goonatilaka
to Loi)
Well hey!
I am Angelina! I am a second year graduate student
with the MALAS program where my interests fall in the
realms of literature, ethnic studies, cultural
studies, and education. This semester, I get to
experience ECL 157 for the THIRD time under a
different name! The first, I was a freshman
undergraduate at SDSU in 2020 when this party was
called #theviruseye and held entirely on zoom; the
second, I was a first year graduate student taking
#nakedsouls as a graduate seminar! I am so thrilled to
get to sit in yet another seat in this chamber of
robots and go on another wild ride. A little bit about
me, I am a native San Diegan! As I alluded to earlier,
I did my undergraduate degree here at SDSU in English
and Comparative Literature. I am a BIG reader. I love
classic lit ranging from 19th century brit lit
romances to 20th century dystopian mindbenders, but I
have recently learned to set aside my literary
snobbery and enjoy some popular booktok authors
like Sarah J. Maas, Rebecca Yarros, and Ashley Poston!
I follow the Padres very closely, and I love working
out and implementing select bodybuilding practices in
my life. I also love getting outdoors whether it is to
hike or explore a new area, I like getting out
anywhere that my pup, Pilot, can come along!
Please feel free to reach out to
me atagarcia0584@sdsu.edu.
I check this email regularly and will be sure to get
back to you quickly! Also feel free to join me in
office hours right outside the Engineering BCB on
Thursdays after class from 12:30-2:30 to chat about
class, books, or whatever your heart desires--I am
here for you!
My
name is Demree McGhee. I'm a 2nd year MFA fiction
student, a TA for the Rhetoric and Writing Studies
Department, and a GA for the English
and Comparative Literature Department. I went to
UCSD for my undergraduate degree in Literature and
Writing. I was born in Lawton, Oklahoma but I've lived
in San Diego since I was six.
My favorite genre to read and
write is magical realism. In my work I tend to focus
on Blackness, femininity, and queerness and how these
identities converge. I've published several short
stories and poems in various online literary journals
and my first book comes out in early 2025 from
Feminist Press.
My
office hours are in AL 242 (Arts and Letters) from
1:15 - 2:15pm, Wednesdays and Thursdays. We
can also meet at another time through Zoom. Just email
me and let me know if you'd like to schedule an
appointment outside my normal office hours. I look
forward to working with you
The Automatic Crystals
TA Luis Torres (Pau-Mendoza to Streit) ltorres7547@sdsu.edu Hello all,
My name is Luis Torres and I'm excited beyond words
to be working alongside you in this
thrilling, intellectually stimulating course on
robots, cyborgs, AIs, and comics. I was born and
raised in Portland, Oregon, home of interminable rains
and old growth forests. After graduating from Emory
University with honors, where I studied at the
intersection of philosophy and economics, I
worked at a financial services firm for a year. Over
the course of the pandemic, I turned to the world of
arts and letters to pursue writing. Currently, I am a
third year student in the Creative Writing program at
SDSU, and am working towards an M.F.A. in poetry. More
importantly, I am here at SDSU to expand my knowledge,
to think critically, to question, to be questioned, to
grow and become an impactful individual alongside you
all. Office Hours: Tues/Thurs after class, in
Starbucks by the Aztec Student Union,2-3pm(or by
appointment). Let me know if you have any questions,
comments or concerns.
Best, Luis
The Bordered Cyborgs
TA Bill Nericcio (Tanaka-Viz. to Zimmerman) Office Hours,
Tuesdays 12:30 to 3:30 in AL 273, and by
appointment email: either memo@sdsu.edu
or bnericci@sdsu.edu
A notorious Mexican-American public intellectual, San Diego State University Literature and Film Studies Professor (and sometime troublemaker), William Nericcio was born in the fabled "Streets of Laredo," Texas, or at Mercy Hospital, at any rate, in 1961.
For thirteen years there he labored under the watchful, at times sinister, eyes of sisters, brothers, and priests at Blessed Sacrament Elementary School and St. Augustine High School—no doubt this contributes to the rumors that he was "raised by nuns" whispered on the internets. With an undergraduate degree in English honors from the University of Texas at Austin and an MA/Ph.D. in Comparative Literature from Cornell University, Nericcio now works as the Director of the Master of Arts in Liberal Arts & Sciences and Professor of English & Comparative Literature at San Diego State University—these postings followed a stint as an assistant professor at the University of Connecticut from 1988 to 1991 after his years freezing in Ithaca, New York (it also follows on his years as a bartender/barrista in Austin, Texas at the famous Cactus Cafe and defunct Texas Tavern).
Day to Day Calendar
Tuesday,
August 27, 2024
It's the first day of class as you
stumble into GMCS 333 also known as "The
Chamber of Robots." You are relieved as you
have one tangible bit of homework for today
-- you will download, print, and fill out
with your own pens, crayons, markers, etc,
this infosheet
about yourself.
The first part of class will be a lecture
explaining just what this hashtag means:
#roboticeroticelectric24. I mentioned this
in email sent to the class before the
semester started, but you may want to have a
special notebook for the class to take notes
during our sessions. "Notes," you might
respond, "how medieval," but yes, NOTES, as
that's the only way our primate brains etch
stuff onto our synapses. (It's why many of
us draw even before we can speak).
After that, we will plunge into our first
three required works of the semester and
screen and discuss their implications for a
world where biology is morphing into
technology, where the human animal becomes
(or at least cavorts with) machine!
First
class "homework" done in GMCS 333
together:
Together, in the dark, we will screen
these three videos. We will talk
together about many things but one
thing we want to consider is which
short feature is more pertinent to our
culture(s) today, in 2024 and why?
1. ALL IS FULL OF LOVE, from 1997 by
Bjork, directed by Chris Cunningham:
2. This one, WE
GOT MORE by Eskmo, from 2010 directed by
Cyriak Harris.
3. and this one, from 2022, by
NO ONE DIES FROM LOVE, by Tove Lo, Directed
by Alaska, starring Inés Valderas as Annie
3000, Creative Director: Charlie Twaddle and
Director of Photography: Pierre De Kerchove
We
had TWO #roboticeroticelectric24
TOOLKIT TERMS during our
lecture: DYSTOPIA
and DIALECTIC.
Make sure you keep an ear out for more #roboticeroticelectric24
TOOLKIT TERMS as
the semester progresses.
Also,
we saw a fourth short video at the end
of class: Jon Klassen and Dan
Rodrigues's AN
EYE FOR ANNAI. Make sure to
screen it if you missed class.
Thursday,
August 29, 2024
It's
the second day of class and you are saying to
yourself, "Where's
the reading, Prof!"
Well, relax today, as you have NO READING at
all (as the semester progresses you will look
back on these days with unmitigated bliss!)
Today we are in for a treat as we gorge our
throbbing optical synapses on a wonder-filled
piece of film making --> Be Right Back
by director Owen Harris and
screenwriter Charlie Brooker. It's part of the
excellent BLACK MIRROR series, conjured by
Brooker for Netflix. In class, we will screen
the mini-epic and then plunge into a
discussion! Those of you wanting to get ahead
on your reading, go ahead and read Jason Adam
Katzenstein's EVERYTHING IS
AN EMERGENCY for next week--and
remember, don't come to class next Tuesday
without your book. Yes, book!
Tuesday,
September 3, 2024
Our first book is a marvelous feat of
robot-antithesis-amazingness! EVERYTHING IS
AN EMERGENCY by JAK, aka, Jason Adam
Katzenstein. Come to class having read to page
84 (no worries for those of you who find books
to be a pain in the backside -- this is a
comic book class, so it's mostly pictures!).
As you read, take notes or use post-its to
mark pages you want to explore and talk about
in class.
Katzenstein's book is a memoir, that is, while
a comic book in the strict sense, it is also
an autobiography, so we will spend a little
time in class figuring out what an
autobiography is and why that genre of
literature is special.
Genre?
That's one of our super sublime#roboticeroticelectric24
TOOLKIT TERMSfor the day
as well!
If you have time or any interest in the book
and the author and OCD, please check out this
recent interview:
Noting the absence of robots (but the motifs
of machines) you plunge back into JAK's
EVERYTHING IS AN EMERGENCY and finish reading
the book. As you read, be sure to select and
mark at least two of the pages that you want
to see discussed in class. What is Katzenstein
goal in authoring this moving memoir?!
Do you do the 'gram!? Check
out Jason's Instagram feed! Try to find
both connections and disconnects between
Katzenstein's memoir and his work as a
cartoonist.
Tuesday,
September 10, 2024
We plunge right back into cinema studies mode
with Alex Garland's electric EX-MACHINA. A
dystopic allegory set in the near future,
Garland's opus treats to a thinking through of
the consequences of a very particular
fusion--a nexus where human desires, avarice,
ambition, money, and technology fuse in an
orgy explosion of calm madness.
Set in the peaceful domain of a forest, we
meet "Eva," a female AI/Cyborg robot -- Eve in
the forest, all this missing is the snake and
the apple (and Adam! In Garland's masterpiece,
we get two of them: a gentle naive
love-smitten geek; and a ruthless Elon
Musk-style asshat genius). Stay tuned.
Remember, in class, no phones -- take notes in
the dark!
Thursday,
September 12, 2024
If you want to get ahead, you can start
reading Mairowitz & Crumb's KAFKA and/or Richard Appignanesi and
illustrator Oscar Zarate's FREUD
FOR BEGINNERS.
In class today, we will finish our screening
of EX-MACHINA by Alex Garland. What does
"robot" mean? What is "artificial
intelligence?" These are some of the basic
questions encountered in this fabulous
cinematic allegory. Is a robot a tool? or a
companion? Is your phone a tool? or a mirror
and a companion as well. What happens when we
plunge into the labyrinth of discovery and
desire at the foundations of technology and
progress?
Tuesday, September 17, 2024
Oh no! This is worse than a takeover by
warped androids! More terrible than a mob
of mutant cyborgs kidnaping the class. My
TAs have fomented a revolution and are
running #roboticeroticelectric24 this
week. Here are their instructions! Do as
they say or I may be torn apart by a
deranged gaggle of AI drones!
Angelina Garcia
Even an
Android Can CRY: Finding the Line Between
Artificial Intelligence and Humanity
You
signed up for this class because you LOVE
spandex, and you have no doubt wondered when
your superhero itch was going to be
scratched. Well, never fear, Angelina is
here! Please read Avengers
#58 in preparation for class.
This edition was published in 1968, and
covers the origin of Vision, an AI you have
likely already met. While you read, consider
what sets humans apart from AI. Note page
numbers of panels that stick out to you! We
will have time for a brief discussion during
class.
Bonnie Palos
Error
404 : The Human Experience Translated in
Java
Recalling
from several sci-fi movies (including some
we watched in class) What it means to create
a CONSCIOUS being. AI that has feelings. How
close are we and what could it mean to be
able to harness the HUMAN EXPERIENCE and
program it into a machine. Drawing from
movies like Vanilla Sky, Interstellar, Her,
etc.
A
lecture building on how the human experience
cannot be constructed or taught and just
like we saw in the film [EX-MACHINA], how
the human mind is complex and
unorganized. As well as bringing up
modern day scenarios on how a few people
have made it possible to find affection and
love from AI.
Additionally,
prepare some ideas on human morality as an
algorithm that can be potentially recreated
by AI. Could it be possible? What aspects of
morality would an AI be capable of, and
which elements might it struggle with? In
class we’ll watch this 12-minute Kurzgesagt
video, “Do You Have a Free Will?”. After
watching the video, be prepared for a
lightning-fast discussion arguing either
side: free will or determinism. Can’t wait
to hear your thoughts.
Thursday,
September 19, 2024
The digital plague continues -- I have been
incarcerated in digital form inside a
discarded thumbdrive as the
Android/Robot GTA rebellion continues:
Demree McGhee Lecture: Analysis of the
film Please Hold (2020)
Reflect
on some ways you may be in your day-to-day
“machine-like” or “spontaneous”: I myself am
machine-like each time I open instagram and
scroll thoughtlessly and am most spontaneous
when I go to write a poem.
Tuesday,
September 24, 2024
Mesmerized
by Alex Garland, delighted by Cyriak
Harris, astounded by Charlie Brooker,
enchanted by Jason Katzenstein, we move
forward and plunge this week into the
realm of graphic biography.
This time our subject is Franz Kafka and
our tour guides are the author, David
Mairowitz and the grandfather of American
underground comics, Robert
Crumb. Walk into GMCS 333 having
read to page 108 in this vibrant,
sometimes disturbing volume.
If you have the time, compare the Kafka
you meet through Mairowitz's writing and
Crumb's illustrations with the "real"
Kafka you find in
these love letters!
Thursday,
September 26, 2024
Before you walk into the room,
you finish reading Mairowitz and Crumb's
treatise on the life and times of Europe's
most famous neurotic, Franz Kafka. As a side
note and additional treat, here's a brief
two-page autobiographical tale of
record-collecting by Robert Crumb.
Tuesday,
October 1, 2024
It's early in the semester, but we now run
headlong into the first major theoretical work
of the semester -- a masterpiece of
comics/graphics narrative achievement by
Uruguayan illustrator, Oscar Zarate, and
writer/Freud-junkie, Richard Appignanesi. The
work? FREUD FOR BEGINNERS. Walk into class
having read a little more than the first half
of the book--you can stop around page 100 for
today (or keep on reading if you are digging
it). For many today (I am looking at you,
"Professors of Psychology!") Freud is a joke,
a sex-obsessed charlatan with a cocaine-habit.
This meme is typical:
But, along with Darwin, Freud was a late 19nth
century researcher whose findings transformed
the Western world, a dazzling theorist and
experimenter whose probings and musings
concerning the human mind
transformed the world as we know it.
However, for our class, we are
not here to worship at the fountain of Freud
with sycophantish devotion. Instead, we will
use him to probe the inner mechanics of apps
like Instagram: high-tech narcissim machines
that shape our lives even as we think that we
are controlling them! Freud's best when he
explores the nature of our various addictions,
narcotic and electronic -- he also hands us, HERMENEUTIC
tools (#roboticeroticelectric24
TOOLKIT TERM) we
can adapt and expand as we become better
agents of visual cultural exploration. Not
astronauts, but hermenauts!
Thursday,
October 3, 2024
Enter the room
having finished FREUD FOR BEGINNERS. You
really ought to read the book twice: the
first time reading words + images; and a
second time just looking at the pictures.
Is it possible that Zarate and Appignanesi
might even be perceived to be at odds with
each other at times. Do drawings
communicate Freud's theories in ways that
Appignanesi's clever summaries do not?
NOTE: the assignment that appeared here
previously -->
Come to class
with a Xeroxed printout of a page near the
beginning of the book that you believe
RESONATES or CORRESPONDS directly to a
page nearer to the end of the book --
bring a printout of BOTH these pages
<-- Has BEEN CANCELLED.
Too many of you do not have access to
the book and we, your GTAteamROBOTS,
have decided to cancel the in-class
writing assignment. That does not mean
you are totally off the hook -- you must
carefully read this book for the final
(if it ever arrives at the bookstore).
If you already completed the assignment,
bring your work to class so you can be
assigned some bonus "ScoobySnack" robot
points! Your name and group name should
appear on the back of the assignment so
that proper credit can be allocated.
Tuesday,
October 8, 2024
Enter our lair of Cyborg and
Android and Robot conspiracies having read
ALEX + ADA by Jonathan Luna and Sara Vaughn.
Sara Vaughn in in charge of the story and
the script, while Jonathan Luna worked on
the script, but also oversees all the
illustrations and lettering. And, with ALEX
+ Ada, we are in for a treat. For once, and
finally this semester, we are treated to an
actual graphic novel, a piece of comix
fiction. The last few weeks we have been
immersed in graphic memoir (Katzenstein),
graphic biography (Appignanesi & Zarate
on FREUD; Mairowitz and Crumb on KAFKA). Is
there a difference between reading a fiction
and reading a book fueled by history and
facts? If so, how does that alter your
approach to the book?
On the surface, ALEX + ADA presents us with
a heterosexual fantasy. But as I asked in
class about Ava in EX-MACHINA, is this a
heterosexual fantasy or a mechanosexual
hallucination? Come to class prepared to
juxtapose Alex Garland's project with Luna
and Vaughn's!
Thursday, October 10, 2024
Enter
our cavernous auditorium having devoured
MANEATERS written by
Chelsea Cain and with art by Kate
Niemczyk. Most of the semester will find
us focused on technology, robots, AI,
etc. But MANEATERS is more a post-Covid
SciFi meditation on disease and the
female body. Cain and Niemczyk conjure a
delicious and horror-stained allegory
that would seem to be a werewolf rehash
story, but is something much much more.
What's really remarkable is that they
create a book that is a world unto
itself, one where even the advertisement
are part of the tale being told. When an
artist and writer play with conventions
in this manner, it is as if they are
weaving the audience into the telling of
the tale. These "postmodern"
or metafiction or self reflexive
narrative tactics add to the power of the
text as the space between fiction and
frame, story and context become more and
more blurred. Here's a painting by
Banksy that achieves the same:
Today we begin dealing with the phenomena that
is THE STEPFORD WIVES, the novella. Better
known these days for the two motion picture
versions it spawned (the first, epic; the
second, "meh!"), Ira Levin's meditation on
West Coast engines of culture (the military
industrial complex; Disney Inc.) is one of the
tightest, compelling short works from American
20th century literary history. Enter of our
Cyborg Hive, GMCS 333, having read to the top
of page 78 -- roughly two thirds of this
fast-moving short work. Our lecture today will
be led by Mount San Antonio College Professor
(and SDSU English and Comparative Literature
MA Program alum) Michael Wyatt Harper. More to
come!
Event Poster:
Thursday, October 17, 2024 We are
not just a gaggle of machines! We are an
auditorium of intellectual audacity hosting
public intellectuals that matter! Today, we
welcome a dynamic thinker whose work at
Princeton, Stanford, and UCSD, precedes him!
--> that's right, we hostDr.
Seth Lerer in d'a house!
Come into class having competed reading
Ira Levin's thrilling novella, pp
78-123. Dr. Lerer zapped me these notes
electronically (without AI assistance)
to share with thee: The
Stepford Syndrome Dr. Seth Lerer
How does The
Stepford Wives fit into a
larger narrative of male fantasy of
submissive women? How do other Science
Fiction narratives of the 60s and 70s
resonate with Stepford: for example, the
Star Trek Original Series episode, "What are
Little Girls Made Of." And the female
figures in Philip K. Dick's Do
Androids Dream of Electric Sheep
(and ultimately, Blade Runner).
How does the cultural legacy of
Levin's The Stepford Wives
fit into recent social movements such as the
"tradwife"? What is there about our cultural
fascination with wives that creates a kind
of voyeuristic thrill? For example: the
"Real Housewives" series; the fascination
with Mormon polygamy; the figure of Melania
Trump?
BIOGRAPHY | SETH LERER
In a career of
over 40 years, Seth Lerer has taught at
Princeton University, Stanford University,
and the University of California, San Diego,
where he also served as Dean of Arts and
Humanities. Lerer has lectured and published
widely on Medieval and Renaissance
literature, the history of the English
language, children’s literature, and
literary and cultural criticism. Among his
published books are Children’s
Literature: A Reader’s History from Aesop
to Harry Potter(Chicago,
2008), which won the National Book Critics
Circle Award and the Truman Capote Prize in
Criticism;Inventing
English: A Portable History of the
Language (revised edition,
Columbia 2015); and the memoir,Prospero’s
Son(Chicago,
2013). His latest book,Introducing
the History of the English Language,
appeared from Routledge in 2024.
Lerer is currently writing a biography of
the philosopher Boethius for the Yale
University Press Ancient Lives Series, and
he continues to research and write on
Children's Literature and the History of the
English Language. After retiring from UCSD,
he has been teaching as Visiting Professor
of Literature at Claremont-McKenna College.
Event Poster
Tuesday,
October 22, 2024
Jean-Michel Basquiat
is with us in our Robotic Erotic Electric
Festival of delights.
And we could choose no better artist, no
better agent of 20th century artistic
amazingness (maybe Warhol, maybe Kahlo,
maybe Dali) than Jean-Michel Basquiat, whose
radical experimentation upended the East
Coast art establishment with innovative
revolutionary canvases that altered the
course of American art history and more.
Drawing from
animation, comic books, television, cinema,
and literature, Basquiat's works appear at
first glance like madness, like a cacophony
of unruly chaos, but the more you look, the
more you learn, and see.
This champion of analog arts gives us the
tools to re-see our AI-infected futures with
new lenses, new superpowers. Enter our class
having completed your reading of Leonard
Emmerling's thoughtful study -- read as much
as you can, attempting to finish the
thoughtfully curated picturebook.
Come to class with two photocopied pages
(hard, xeroxed copy) that show works by
Basquiat that you view to be LEAST ROBOTIC,
that you view to be the most important
paintings included in your book.
Also, read this brief piece on Basquiat --
come on, make the time:
We will also do a brief review for the
MIDTERM!
Check out samples here!
Thursday, October 24, 2024
Mid-Term in class today!
Enter GMCS 333, aka, robotHIVE, and have a
seat. Be sure to read your email this
morning to ensure you walk into the room
prepared to ace your examination. Bring
two working pens or markers -- no pencils
please and write legibly!
Tuesday,
October 29, 2024
You enter our robotPRISON zone having
read half of Zoe Thorogood, IT'S LONELY
AT THE CENTER OF THE EARTH. Today we
spend a whirlwinde lecture/discussion in
class focused on the major themes of
Thorogood's memoir masterwork. One of
the best books we will devour this
semester!
Thursday,
October 31, 2024
Walk into our ROBOThive having
finished Zoe Thorogood's evocative memoir.
Be sure to check out Thorogood's Instagram
feed here:
Extra credit, +10 on your lowest quiz for
any and all students that come to class IN
FULL COSTUME!
click to enlarge
Tuesday,
November 5, 2024
ATSUSHI KANEKO,
TRANSLATED BY BEN APPLEGATE
It is Tuesday and we plunge into our AI
pool saturated, exhausted, thrilled, and
perplexed by SEARCH AND DESTROY.
Drained and puzzled by our deep dive into
classic MANGA, classic
manga reimagined by Atsushi Keneko
(and translated by Ben Applegate) in this
dynamic piece of Graphic Narrative, SEARCH
AND DESTROY, volume 1.
Keneko has remade a well-known work of
Japanese Manga, Osamu Tezuka’s DORORO,
1967. The publisher, Fantagraphics,
breathless description is apt!
From the cinematic mind
of Atsushi Kaneko (Bambi and Her Pink Gun)
comes a contemporary reimagining of the
timeless- Eisner Award-winning Dororo- by
'God of Manga' Osamu Tezuka (Buddha- Astro
Boy)
If you have trouble reading it,
remember that with MANGA, the book reads for
Western eyes, from back to front! A primer
lives here.
Thursday,
November 7, 2024
YOU ARE WARNED! A wise-ass
robot and his inventor, will be invading our
classroom! We are in for an amazing treat,
an in-class concert by the one and only
SATANIC PUPPETEER ORCHESTRA (fundamentalists
relax, nothing actually satanic about SPO,
unless you find robots the embodiment of all
things evil!)
Here's a description from
"The Professor," inventor of his unruly,
sassy-mouthed robot:
When robots
sing, who pulls the strings? The Satanic
Puppeteer Orchestra, led by a robot
vocalist, weaves unsettling, synth-laden
melodies that blend sardonic humor with the
cold grip of technology. Their sound
resembles a digital funhouse
mirror—distorted and sharp—warping the
familiar comfort of pop into a biting
critique. The robotic vocals, evocative of
auto-tune pushed beyond its
logical conclusion, create a chilling
parody of contemporary music, serving as a
soundtrack for a world where robots hold the
reins, mocking humanity’s loss of control
with every pulse.
In
addition to their popular hits, we will
highlight the themed album Have an
Existential Crisis. This vinyl record is
pressed as a Rando-phonic™ recording with
parallel grooves, allowing listeners to
choose between experiences featuring either
Robot or Human vocals. As they drop the
needle, listeners relinquish control and
enter a realm dictated by the vinyl itself,
adding an element of surprise and intrigue
to the mesmerizing compositions.
Studying the
Satanic Puppeteer Orchestra
offers a unique lens to
examine the interplay between
technology and humanity. Their
experimental sound and themes
of irony and satire encourage
critical reflection on the
impact of artificial
intelligence and mechanization
in our lives. The band will
perform live in the classroom,
providing an immersive
experience, and will answer
questions afterward, allowing
for a deeper exploration of
their music and the evolving
relationship between
technology, psychology, and
culture.
Yes, this is a
"required text" for the class
and will likely appear on the
final!
Click to
enlarge!
Tuesday,
November 12, 2024
Read to page 107 of Naief Yehya's DRONE
VISIONS -- while I want you to read his
visionary critical essay carefully, I want to
focus on the movies you have seen before,
especially EX-MACHINA.
Thursday,
November 14, 2024
Finish your reading of DRONE VISIONS. Naief
Yehya is IN THE HOUSE all the way from New
York City (by way of Mexico). A fabulous
cultural critic of the Americas (all of it),
Yehya drops into our classroom to lecture
about Drones, AI, DRONE VISIONS, our Robot
Future, and more. More to come!
click to enlarge
Tuesday,
November 19, 2024
AFTER DARK by
Haruki Murakami -- Read to page 129 for
today's lecture and discussion! In
addition to your reading for today -- no
worries, the pages will turn fast --it
might help to get a "feel" for the
televisually obsessed novel by seeing the
trailer (previews) for the film ALPHAVILLE
by Jean Luc Godard. See the whole
movie here.
See a brief preview here.
Another way to surf the vibe of the novel,
which is NOT about robots, but is eerily
electric, is to listen to this music as
you read the book. Here's a
Spotify playlist of works alluded to
(*allusion!) in the novel. Here, too, is
a brief medium.com piece on the
importance of these songs to the novel.
Thursday,
November 21, 2024
AFTER
DARK, by Haruki Murakami. Amazing!
Enter our chamber of electricity, GMCS 333
having completed the novel!
Today, #roboticeroticelectric goes
Hollywood with our last featured guest
lecture of the semester, Writer and
Producer, Ralph Inzunza (and yet another
SDSU Alum!).
click to enlarge
Tuesday November 26, 2024
Happy Thanksgiving
No Class
Thursday November
28, 2024
Happy Thanksgiving
No class
Tuesday,
December 3, 2024
In class, we will screen and discuss the first
part of Craig Gillespie (director) and Nancy
Oliver (writer) collaborative masterpiece LARS
AND THE REAL GIRL, featuring the outstanding
acting of Ryan Gosling. Though the movie does
not feature a robot, cyborg, or android it
does actually work as a comprehensive review
of all the things we have experienced together
this semester. I look forward to sharing it
with the class -- if you have seen it before,
don't think you have experienced the film yet.
Seeing it through the lens of Garland,
Brooker, Freud, Kafka, Crumb, Katzenstein,
Cain, and Murakami changes everything!
Thursday, December 5, 2024
LARS AND THE REAL GIRL -- our last class
experience for the semester. Come to class
with a couple of discussion questions you have
typed and printed based on your screening of
the first part of Gillespie and Oliver's work.
Tuesday,
December 10, 2024
It is Tuesday, December
10, 2024, and you enter GMCS 333, your home
away from home this semester filled with
angst and sadness? Is it because you are
here early or on time for your final exam.
NO, it's because our semester-long
adventure has come to an end. Bring
kleenex for your barrels of tears!
TUESDAY, Dec. 17, 2023
As your SDSU Canvas system will
nicely tell you, your final exam is
scheduled for TUESDAY,
Dec. 17, 2024, from 10:30am to 12:30pm in
GMCS 333. You can see it here:
But the good news is that you HAVE ALREADY
TAKEN THE FINAL EXAM and are free and in the
clear.
However, I will be around in GMCS 333 today
to show you your grades and tell you what is
the final outcome of your efforts this term.
THIS IS NOT REQUIRED but I will make clear
that in the past I have caught a lot of
errors during these one on one meetings so
if you are still around and have not jetted
off home, it might be in your best interest
to drop by to pick up your graded final, get
your final grade, and ride off into the
sunset.
Right after this gathering, Thursday,
December 17, 2024, at around 2pm, your final
grades will be released to the my.SDSU
system.
But DON'T FREAK OUT if the grades don't show
up right away -- SDSU has doled out barrels
of cash to purchase a computer system that
seems to always let you down when it matters
most. So be patient!
Passport
aka the Utterly Reasonable Laws and Statutes of
ECL 157, Comics & History
#roboticeroticelectric24
This section of
your online syllabus documents how your work will be
evaluated Fall 2024. Here you will find all the little
gates, cages, locks, statutes, ordinances, edicts, and
formulas that allow our innovative comics and history
collective to thrive. Let me
underscore that you have absolute
intellectual freedom in ourseminar, BUT to receive
these awesome rights, you must also follow the serious
but reasonable (and fair) responsibilities outlined in
this part of your syllabus.
After all, we want to have a great time, to be the best
literature/cultural studies class on the West Coast,
even! Take that USC! Eat my dust UCLA!And it will be
easier to achieve this semester as they, like us, are
online all the time!
But to do that, we need room for intellectual play--a
safe asylum within which to forge our
comics-laced, history-filled wanderlust. So, then, read
these laws carefully and thoroughly, so when you enter
our cyborg-designed empire of comics, GMCS 333 on
Tuesday, August 27, 2024, you will know what to expect!
PASSPORT
RULE 1 BOOKS_BOOKS_BOOKS
BUY THE BOOKS AND READ
THEM--DON'T COME TO SEMINAR WITHOUT YOUR BOOK! Though we very much adore
living in the 21st century, we will, for the most
part use ANALOG, printed books in this class. So check out each one
and buy them or rent them now!
PASSPORT RULE 2 READ_READ_READ!
When you enter
this room for class you will have FINISHED the reading that appears
on the day-to-day class roster, aka the
Day to Day Calendar! Please note how I
used the word "finished" (not "started," not
"skimmed," not "glanced," and most decidedly NOT "I
read the Cliffs/Sparks Notes and a review of the
damned thing online!").
Coming to a
university literature / film /cultural studies class without
doing the reading is like a gardener trying to raise
roses without getting her/his hands filthy with shit,
a surgeon trying to operate without a scalpel, a
fireman without her/his ax, a prostitute without ...
-- I will stop there; you get the gist of it.
Do
the readings!
Do
them twice if you can MAKE the time! I know, you are
saying to yourself, "they don't make me read in my
other classes" or some other sort of nonsense...
well here, you must! Think twice about joining us if
you have not finished the readings -- the quality of
our class depends upon your dedicated work and your
relentless and independent curiosity. Without your
periodic intellectual donations, the class is likely
to evolve into a boring, even painful waste of
time.
PASSPORT RULE 3 PUT
THE MONSTERS TO SLEEP!
Your
laptop will be asleep IN YOUR BAGS during class --
or, still better, resting in your dorm room.
Have you noticed
how anytime a student uses a laptop in an
auditorium there is a "cone of distraction" alongside and
behind the student using a computer?
This
is usually due to said student surfing the web via
wi-fi perusing erotic delights or god knows what. I
was recently at a cool (ok, it was slightly boring,
I confess) lecture by a noted writer -- as I tried
to listen to her, in front of me, a diverted student
(attending the lecture, no doubt, for extra-credit)
was perusing sites like these (nsfw or school).
So, laptops are GREAT for
entering your notes AFTER class, but they will
not be allowed in our lecture hall. If you have an issue
with this, schedule a meeting with me during
office hours to chat the first week of
class.
PASSPORT
RULE 4 PARALYZE
THE SMARTPHONE!
Your
beloved magnificent iPhone, your cherished Galaxy,
your fetishized Pixel, or even your
primordial pager will be off, off, OFF during
class meetings.
If for
some reason you are expecting an emergency call, set
it on VIBRATE (for privacy, pleasure, or both!) and
sit in the back near an exit after letting me know
in advance before class that you are expecting an
emergency phone-call.
Cellphones
KILL collective spaces of learning with their
ill-timed, annoying clattering rings, bongs,
squeaks, chirps, and themes.
Yes, the
trauma of that delayed text, yes, the horror of that
missed hook-up call, yes, the loss of the buzz of
that random Tinder swipe will no doubt doom you to
years and years on an psychoanalyst's couch, but we,
the rest of us, will gain some silence, a kind of
sanctuary without which ideas wither on the vine. We
are NOT joking about this unthinkable edict! Don't
end up like this former student from another ECL 157
I taught back in the day:
click to enlarge
PASSPORT
RULE 5 Charlie-Delta_Thief
PLAGIARISM is for
cads, thieves, and idiots who desire an "F" for the
class.
Plagiarism comes from the Latin word, "plagiarius"
which means kidnapper, plunderer, or (get this!)
thief--not a GOOD thing.
In the
university, plagiarism refers to the art and crime of
presenting other people's work under your own
signature, aka cutting and pasting copied crap from
Wikipedia--definitely a BAD thing. While your
professor is forbidden by CSU/SDSU code from tattooing
the word LOSER on the foreheads of guilty students, he
can promise that felonious students will be remanded
to the state-authorized
SDSU
executioners. Read THIS as well--SDSU is
SERIOUS about this shit, so don't take any
chances! Rely on your own singular mind and
imagination!
Major Course Requirements
GRADING
INFORMATION
40%
Attendance, Quizzes, In-class "Panic-Inducing
Challenges", In-class participation, In-class
writing, roboTREKS, office hour visits, etc.
-- note that "in-class" means "in-class" that is you
can expect assignments to magically appear without
warning.
30%
Your Mid-Term, aka the Mid-Semester
#roboticeroticelectric24 Mid Term Challenge
30% #roboticeroticelectric24
Final Exam
QUIZZES & ATTENDANCE
Coming
to class for each seminar session is NOT optional -- the whole point
of this class is to work together, the idea being
that we creatively and magicly convert our classroom
into a chaotic, unpredictable, and exciting
intellectual laboratory.
Missing class,
you miss, as well, the whole point of the
adventure.
If you miss MORE than three
classes during the term and your grade will decay in
an ugly way.
EXAMPLES: your hard-earned A- will
morph into a B-; your "gentleman's C" will appear on
the your my.sdsu grade machine as a "D," etc. etc.
Ditching this class too often will
be as fun as a case of flesh-eating virus.
During the semester, you can
expect several In-class Panic-Inducing Challenges
otherwise known as CHECK-YOU-DID-THE-READING
QUIZZES. You can expect these miserable
quizzes from time to time, the number of quizzes
depending on how many of you are nostalgic for high
school. In other words, if everyone acts like a
talented university student, we will enjoy FEW if any
quizzes during our semester.
DIGITAL/VIRTUAL
CONTRIBUTIONS
(Voluntary NOT Mandatory)
We spend a fair amount of time
online and as such we will, in the course of the
semester, run into stuff online that resonates with
something we read, screen, or talk about in class.
Most social media sites are basically electronic
surveillance machines tracking your movements in order
to sell other companies your consumer profile. So, in
this class, we use an old site called Tumblr -- you
don't even have to be logged there to see my
class-related postings and notes; nor even to
contribute. You can see our #roboticeroticelectric
tumblr site already here
-- https://roboticeroticelectric.tumblr.com/
Your Mid-Term, aka the
Mid-Semester #roboticeroticelectric24 Challenge, and
Your Final Examination Extravaganza!
There
will be both a Mid-Term Challenge, 11am in GMCS 333,
Thursday, October 24, 2024 and a Final Challenge (aka, the FINAL
EXAM) on the last regularly scheduled
day of class: Thursday, December 10, 2024 at 11am in
GMCS 333. Your Mid-Term and
Final are absolutely comprehensive; it assumes
you have read all the books and screened all
the movies that are part of our required work.
If you do the work, the final is a
breeze--even "fun" if you can believe it.
OFFICE HOURS
What are office hours is the
first question some of you may ask. Here are two quick
reviews, here
and here.
Most successful undergraduates visit My office hours
are Tuesdays, right after class from 12:30pm to 3 or
so. My office is located in Arts and Letters 273. Why
visit me during 'office hours'? Why not? If only to
experience the chaos of my
inner chamber! You are warmly invited to
visit me in office hours at least once during the
semester if you can.
At SDSU,
it's easy to fall through the cracks, to feel that you
are nothing but a Red ID# or some warm pile of
sentient flesh filling a seat. In order to convince
you that the Professor teaching you is
occasionally human, please make a point during
the semester to take the time to introduce yourself
whether it be by piping up in class, zapping me an
email, or posting on one of our social media channels.
Regardless
of how we end up arranging things, if you find my
posted office hours are inconvenient, do not hesitate
to email me for a phone appointment bnericci@sdsu.edu
You
can also call me at 619.594.1524 via telephone, but keep
in mind I don't check my medieval office landline very
often!
SDSU Policies and Procedures | Key
info here!
Land
acknowledgement :For millennia, the Kumeyaay people have been a
part of this land. This land has nourished, healed,
protected and embraced them for many generations in a
relationship of balance and harmony. As members of the
San Diego State University community, we acknowledge
this legacy. We promote this balance and harmony. We
find inspiration from this land, the land of the
Kumeyaay.
Accommodations: If
you are a student with a disability and are in need of
accommodations for this class, please contact Student
Ability Success Center at sascinfo@sdsu.edu (or go tosdsu.edu/sasc) as soon as possible. Please know
accommodations are not retroactive, and I cannot
provide accommodations based upon disability until I
have received an accommodation letter from Student
Ability Success Center. SASC registration and
accommodation approvals may take up to 10–14 business
days, so please plan accordingly.
Academic honesty: The
University adheres to a strict policy prohibiting
cheating and plagiarism, including
● Copying, in part or
in whole, from another's test or other examination.
● Obtaining copies of
a test, an examination, or other course material
without the permission of the
instructor.
● Collaborating with
another or others in coursework without the permission
of the instructor.
● Falsifying records,
laboratory work, or other course data.
● Submitting work
previously presented in another course, if contrary to
the policies of the course.
● Altering or
interfering with grading procedures.
● Assisting another
student in any of the above.
● Using sources
verbatim or paraphrasing without giving proper
attribution (this can include phrases, sentences,
paragraphs and/or pages of work).
● Copying and pasting
work from an online or offline source directly and
calling it one's own.
● Using information
found from an online or offline source without giving
the author credit.
● Replacing words or
phrases from another source and inserting one's own
words or phrases.
Under CSU policy, instructors
must report instances of academic misconduct to the
Center for Student Rights and Responsibilities for
disciplinary review by the University, which may lead
to probation, suspension, or expulsion. Instructors
may also, at their discretion, penalize student grades
on any assignment or assessment discovered to have
been produced in an academically dishonest manner.
Classroom Conduct Standards and
Netiquette: SDSU students are expected to
abide by the terms of the Student Conduct Code in
classrooms and other instructional settings. Violation
of these standards will result in referral to
appropriate campus authorities. Prohibited conduct
includes:
●
Willful, material and substantial
disruption or obstruction of a University-related
activity or any on-campus activity.
●
Participating in an activity that
substantially and materially disrupts the normal
operations of the University or infringes on the
rights of members of the University community. This
includes not following established Covid-related
protocol in class and on campus.
●
Unauthorized recording, dissemination, or
publication (including on websites or social media) of
lectures or other course materials.
●
Conduct that threatens or endangers the
health or safety of any person within or related to
the University community, including physical abuse,
threats, intimidation, harassment, or sexual
misconduct.
Student Privacy and Intellectual
Property: TheFamily
Educational Rights and Privacy Act (FERPA)
mandates the protection of student information,
including contact information, grades, and graded
assignments. I will use Canvas to communicate with
you, and I will not post grades or leave graded
assignments in public places. Students will be
notified at the time of an assignment if copies of
student work will be retained beyond the end of the
semester or used as examples for future students or
the wider public. Students maintain intellectual
property rights to work products they create as part
of this course unless they are formally notified
otherwise.
Religious Observances:According
to the University Policy File, students should notify
the instructors of affected courses of planned
absences for religious observances by the end of the
second week of classes (4 February).
Academic Support Services:
A complete list of all academic support services
including theWriting
Center andMath
Learning Center is available on
the Student AffairsAcademic
Success website.Counseling &
Psychological Services (619-594-5220,sdsu.edu/cps) offers
a range of psychological services for students.
Emergency support is available after hours at the same
phone number. The San Diego Access and Crisis Line can
also be accessed 24 hours/day (1-888-724-7240).
Academic arrangements for students
with covid-related risks: SDSU via theStudent
Ability Success Center (SASC) provides
academic accommodations for students with documented
disabilities or medical conditions. Following their
typical process, SASC will provide accommodations for
students who are identified by a medical provider as
having a condition which would present a COVID-related
risk in a face-to-face instructional setting. In the
context of the pandemic, SDSU will also provide
academic arrangements for students who are unable to
participate in face-to-face instruction due to a
COVID-19-related concern that is not specific to the
student’s medical condition, for example, having an
immunocompromised family member at home. Students
seeking accommodations or arrangements should contact
theStudent
Ability Success Center (SASC).
Documentation from a medical provider may be required.
In cases where students are seeking
accommodations in connection with their own disability
or medical condition or where students are seeking an
arrangement in connection with another
COVID-19-related concern (for example, an having
immunocompromised family member at home), SASC will
provide a PDF letter documenting the student’s needs.
The letter will indicate that: 1) Arrangements should
be provided in connection with COVID-19 due to
potential risks associated with face-to-face
instructional settings and 2) that the arrangement is
temporary and only for the period that it is required.
Students are responsible for providing the letter to
their instructors, advisors, and assistant deans.
Faculty, advisors, and
assistant deans will work together to provide
reasonable accommodations or arrangements, including
exploring options for course substitution or, in the
case of face-to-face lab and clinical courses,
deferral. If there are concerns about the newly
established process for arrangements and/or the
academic accommodation process, faculty, advisors,
assistant deans and others can contact SASC by
emailingSASCinfo@sdsu.edu.
Sexual violence/Title IX mandated
reporting:As
an instructor, one of my responsibilities is to help
create a safe learning environment on our campus. I am
a mandated reporter in my role as an SDSU employee. It
is my goal that you feel able to share information
related to your life experiences in classroom
discussions in your written work and in our one-on-one
meetings. I will seek to keep the information you
share private to the greatest extent possible. I am,
however, required to share information regarding
sexual violence on SDSU’s campus with the Title IX
coordinator, Jessica Rentto 619-594-6017. She (or her
designee) will contact you to let you know about
accommodations and support services at SDSU and
possibilities for holding accountable the person who
harmed you. Know that you will not be forced to share
information you do not wish to disclose and your level
of involvement will be your choice. If you do not want
the Title IX Officer notified, you can speak
confidentially with the following people on campus and
in the community; they can connect you with support
services and discuss options for pursuing a university
or criminal investigation: Sexual Violence Victim
Advocate 619-594-0210 or Counseling and Psychological
Services 619-594-5220,psycserv@sdsu.edu.
For more information regarding your university rights
and options as a survivor of sexual misconduct or
sexual violence, please visittitleix.sdsu.edu orsdsutalks.sdsu.edu.
SDSU Economic Crisis Response Team:
If you or a friend are experiencing food or housing
insecurity, technology concerns, or any unforeseen
financial crisis, it is easy to get help! Visit sdsu.edu/ecrt for
more information or to submit a request for assistance.
SDSU’s Economic Crisis
Response Team (ECRT) aims to bridge the gap in
resources for students experiencing immediate food,
housing, or unforeseen financial crises that impacts
student success. Using a holistic approach to
well-being, ECRT supports students through crisis by
leveraging a campus-wide collaboration that utilizes
on and off-campus partnerships and provides direct
referrals based on each student’s unique
circumstances. ECRT empowers students to identify and
access long term, sustainable solutions in an effort
to successfully graduate from SDSU. Within 24 to 72
hours of submitting a referral, students are contacted
by the ECRT Coordinator and are quickly connected to
the appropriate resources and services. For students
who need assistance accessing technology for their
classes, visit our ECRT website (sdsu.edu/ecrt)
to be connected with the SDSU library’s technology
checkout program. The technology checkout program is
available to both SDSU and Imperial Valley students.
Help control the covid-19 pandemic:
Addressing the COVID-19 pandemic is a shared
responsibility. Each of us has a role to play in
keeping our learning environments and campus as safe
as possible. To that effect, it is critical students
are aware that SDSU policy requires the wearing of
face coverings by faculty, staff, and students on
campus except if you are alone in a private office or
eating outside while maintaining physical distancing
of at least 6 feet. All individuals on campus must
also practice physical distancing, stay home if ill,
care for common work spaces if you use them, and
report if you receive a positive COVID-19 test.
Instructions for caring for instructional spaces will
be posted in each lab, clinic, or classroom; supplies
will be available. Individuals are required to provide
their own facial coverings. If students need
assistance purchasing facial coverings, please contact
the Economic
Crisis Response Team.
Our class is a face-to-face
class. Students shall be required to bring or purchase
PPE as part of their class supplies. Students who need
financial assistance may contact theEconomic
Crisis Response Team for support. The
modality of this course is subject to change in
connection with evolving public health conditions and
recommendations. Students with medical conditions that
would present a COVID-related risk and a face-to-face
instructional setting should contact the Student
Ability Success Center (https://sdsu.edu/sasc)
to begin the process of getting support. Students who
do not adhere to the Covid19
Student Policies and do not
comply with the directives of their faculty will be
directed to leave the classroom and will be referred
to the Center for Student Rights and Responsibilities.
All SDSU students, faculty, staff, independent
contractors and vendors must stay home if they are
unwell.
Do not come to campus if you do not feel good.
Remain home and monitor your symptoms and seek
medical attention as needed.
Contact your instructors to notify them of
your absence.
All SDSU community
members are encouraged to make a commitment to
health and safety, please consider signing the SDSU
Health Commitment. For additional COVID-19 information, visit
the university’s COVID
website.