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"

Dr. William “Memo” Nericcio
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We
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
guy
                                                          carrying
                                                          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.

Empty bookshelf?  =  Erased  intellectual legacy


*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 at iferrea0605@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 at agarcia0584@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!

The Dembots
TA Demree McGhee

(Lopez to Partida)
dfmcghee@sdsu.edu

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 TERMS for 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:

https://www.anxioustoddlers.com/help-teens-with-ocd/  

Will it be on the exam? This interview?

No.

Then why should you follow the link?

Follow it and read it and you'll find out why.


Thursday, September 5, 2024


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. 


Read : https://www.forbes.com/sites/neilsahota/2024/01/22/ai-and-emotion-imagining-a-world-where-machines-feel/ 


Izzy Ferrea

AI’s Moral Algorithm and the Debate of Free Will

Please come to class having read this article: 

Immanuel Kant's perspective on AI

It’s a measly 4-minute read!

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)


Homework 

Come to class having read the following articles:

https://www.nature.com/articles/s41586-024-07856-5


https://www.forbes.com/sites/jeffraikes/2023/04/21/ai-can-be-racist-lets-make-sure-it-works-for-everyone/



Luis Torres


Review sections 2 and 3 of the following page on J. Derrida:


https://plato.stanford.edu/entries/derrida/#BasArgImpTimHeaOneSpeSecSov


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:



Tuesday, October 15, 2024

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 host Dr. 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!

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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!)

Before class, you will want to listen to and thrill to the sizzling wit of SPO here:

https://www.satanicpuppeteer.com/studyguide/

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!

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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!).

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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 our seminar, 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:


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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.

So please bypass no more than three classes during the semester -- you are responsible for any work/notes you miss when you are absent and can PRESUME that what you missed that day was important!

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 to sdsu.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: The Family 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 the Writing Center and Math Learning Center is available on the Student Affairs Academic 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 the Student 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 the Student 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 emailing SASCinfo@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 visit titleix.sdsu.edu or sdsutalks.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 the Economic 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.
Skin photo by Wilhelm Gunkel on Unsplash; Robot photo by Possessed Photography on Unsplash
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