Literature and Media day 1

Course Context and Aims

• Course title: Literature and Media
• Two related aims:
  • Show how literary forms (poetry, fiction, drama) originate in and relate to media
  • Examine how contemporary media (social media, platforms, etc.) relate to society and culture
• Instructor-led overview: Monday/Wednesday lectures; Fridays are tutorials in four groups; rooms listed in the module materials
• Practical logistics: Canvas hosts PowerPoints and course materials; readings are required; PowerPoints are guides, not substitutes for reading
• Emphasis on making connections between media history, theory, and current technologies (AI, surveillance, information culture)

Instructor and Course Structure

• Instructor: Richard, course professor
• TA introductions (in order):
  • Ben: PhD candidate, literature/discipline supervision; ~30 students in his thesis
  • Kamal: PhD student, four-year PhD track, parent of two sons, excited for course
  • Eric: Second-year NA student, first-time attendee
  • Cal: Second-year PhD in English, excited for discussion sections
• Office hours: by appointment; email to arrange; location: Buchanan Tower (the brutalist building on campus); best after 2 PM Monday/Wednesday/Friday; mornings negotiable
• Course ethos: land acknowledgment is foundational; teaching approach integrates discussion and questions rather than pure lectures

Land Acknowledgment and Cultural Context

• Land acknowledgment: site of learning for the Muslim community; learning beyond mere ritual, with meaningful implications
• Central idea: the site is a place of learning for Muslim people, with a long oral tradition that passes culture, history, and tradition across generations
• Core claim about culture: Everything studied at university emerges from oral culture; print replaced much of oral transmission for a long period but is now being complemented/recycled by electronic/digital media
• Historical arc of cultural transmission:
  • Orality: oldest form; still present (oral lectures, etc.)
  • Scribal/writing: emergence of writing
  • Written cultures; print culture begins around 1458 with movable type (Gutenberg)
  • Electronic/digital era: mass media, digital devices; recursive return to oral-like dynamics (e.g., chat widgets, lower-right chat boxes)
  • Singularity (future): theory that media history and human history will coincide as humans increasingly merge with electronic devices; last module discusses this and the last chapter of a creative nonfiction work co-authored by Chaff and GPT
• Framing quote: media studies = what we do with media; media theory = what media does with us

Core Theoretical Framework

• The medium vs. the message: McLuhan’s famous idea reframed as a pun in The Medium is the Massage; the medium shapes the message, and the same message will be altered by the medium (TV, YouTube, smartphone, handwritten page, song, etc.)
• The massage metaphor: media “massages” or mass-produces meaning; media have epigenetic effects on the brain (not changing DNA, but influencing neural activity and cognition)
• The digit era: the present is characterized by digits and digital interfaces; this era returns emphasis to social and cognitive processes similar to oral culture through new formats (e.g., chat boxes, hypertextual interfaces)
• Key historical arc to be covered: orality, scribal writing, print, electronic, with cyclic dynamics rather than linear progression
• Theoretical stance on history and media: media history is not linear; it’s circular and recursive, with each era building anew on prior forms

Indigenous Media and Related Readings

• Indigenous media concept: wampum belts and beaded belts as coded information; acts as hypertext and complex information systems, not mere adornment
• Texts to explore:
  • Marie Clement’s Burning Vision (indigenous media themes in Canadian context)
  • The Territory (conceptual framework for indigenous media and space)
• Practical implications: understanding media through indigenous knowledge systems and non-Western transmission methods; recognition of indigenous voices in media history

Surveillance Capitalism and Information Culture

• Module focus: surveillance capitalism and information culture
• Core concept: data generated by everyday digital activity is monetized; we are both producers and consumers of media data
• Example in everyday life: while listening to a lecture, an online purchase may be targeted by ads based on nearby actions and data trails
• Reference text (as given in class): Shoshanda Zuboff’s work on surveillance capitalism; the lecturer is described as a strong advocate for reading this text, though in one section he notes that in this course the PowerPoint material suffices for the test
• Connections: data as a form of capital; digital platforms monetize user data; crypto economy is a related evolution
• Teaching emphasis: in this module, students are advised to rely primarily on PowerPoints for the required readings, though reading the original book is possible via BBC library or online

Poetry, Drama, and Creative Nonfiction Readings

• The course includes a range of literature forms and explores how media shapes these genres
• Specific texts and concepts:
  • Love and Information by Carol Churchill: a play with no fixed order; reflects non-linear, non-teleological structure akin to contemporary electronic culture
  • Eight Track (poetry collection): explores media nostalgia and how present understanding is colored by past media forms
  • Dream Machine (graphic fiction, MIT Press): critical for understanding media forms; availability described as variable; some copies in bookstores; expects students to locate copies or read where possible
  • The final nonfiction work: last chapter written by Chaff, GPT, not by Lima; illustrates AI involvement in creative nonfiction
• Teaching approach: reading selections are compact; the PowerPoints provide context; some texts may not be available online; students should search for PDFs or library copies

Learning Activities, Schedule, and Access

• Schedule overview:
  • Lectures: Mondays and Wednesdays
  • Tutorials: Fridays; four groups; rooms listed in the course materials; students must know their tutorial number
• Materials access:
  • All PowerPoints are on Canvas; they guide reading but do not replace it
  • The primary course text is available at the UBC bookstore, in used bookstores, or online; local Vancouver stores are recommended for affordability and variety (e.g., MacLeod’s Books, Pulp Fiction, The Paper Clown)
  • A local reference: Don Stewart at MacLeod’s Books can help locate titles within large used-book stores
• Reading strategy: the course emphasizes finishing readings before class; not all texts are long; some readings may be graphic or short
• Course content relationships: fixed text list; you will encounter multimedia formats and discussions; the professor avoids lengthy monologues and includes question breaks to promote discussion

Assessments, Attendance, and Accommodations

• Assessments:
  • Quizzes on theory components
  • A couple of analyses of literary texts
  • Final exam: two hours; two analyses; scheduled during the December exam period
• Attendance and accommodations:
  • Attendance in tutorials earns about 10% of grade
  • If you are ill or cannot attend, contact the instructor or your TA to arrange accommodations
• Interim concessions:
  • If you must be away for a quiz, discuss with the instructor/TA for possible accommodations
• Exam logistics:
  • Final exam window: December 9 to December 20 (the exact date is set by the university’s exam schedule and not by the course instructor)
  • Students may need to navigate potential conflicts with Workday; the instructor jokes that a non-working Workday could be costly, but emphasizes planning and communication to avoid issues
• Writing support:
  • The course is not a writing course; basic English writing ability is assumed
  • On-campus writing support is available (IP Barber Library) from senior graduate students; these tutors offer guidance but not basic grammar instruction
  • The instructor offers tailored feedback and guidance for writing-related concerns

Course Texts, Access, and Resources

• Core texts mentioned:
  • The Medium is the Massage (McLuhan) – widely available; the book is text-and-image driven and has a playful title; the lecturer notes multiple copies in bookstores and online
  • The Territory and Indigenous Theory texts (Marie Clement’s Burning Vision) – explore indigenous media and cultural transmission
  • Love and Information (Carol Churchill)
  • Eight Track (poems about media nostalgia)
  • Dream Machine (graphic novel; MIT Press)
• Access notes:
  • The book The Medium is the Massage is sometimes available via Project Gutenberg or other online sources, but some publishers remove PDFs when identified online
  • For McLuhan’s work: search widely; used bookstores are a practical option (e.g., MacLeod’s, Pulp Fiction, The Paper Clown)
  • Many titles have electronic availability; the lecturer notes that several texts are accessible electronically, while others may only be found in book form

Practical Guidance and Tips

• Platform and study tools:
  • Use Canvas as a companion to readings; PowerPoints are to guide reading, not replace it
  • If readings become challenging, contact the instructor or TA for tailored guidance
• Reading approach:
  • Reading whole texts is encouraged when feasible; the seminar may cover specific portions, but having context is valuable
  • Some texts may be shorter or visually oriented (graphic novels or plays); be prepared to engage with non-traditional formats
• Engagement and participation:
  • Expect discussion-based class sessions and interactive question breaks
  • Ask questions during class to clarify concepts like “the medium shapes the message,” or “surveillance capitalism” mechanisms

Key Concepts and Terms (Glossary)

• Orality: ancient form of cultural transmission through spoken word; still present in oral traditions and live lectures
• Scribal writing: transition from oral to written forms
• Written cultures: broader development of writing and textual transmission
• Print culture: Gutenberg’s movable type; mass production of text around 1458; linear, end-oriented structure
• Electronic/digital era: interactive, non-linear, all-at-once information flow; chat boxes; hyperlinks; multi-modal media
• The Singularity: stage where human and machine converge; media history becomes interwoven with human history
• The Medium is the Massage: concept that the medium massagess meaning; media shape cognition and perception; digits and digital culture emphasize this effect
• Epigenetic effects: media influence on neural processes without changing DNA; cognitive and behavioral impacts of media exposure
• Indigenous media: belts (e.g., wampum) as coded information; hypertext-like function in material culture
• Surveillance capitalism: data exhaust and monetization of user data by platforms (e.g., ads tailored to online behavior)
• Information culture: the broader shift toward data-centric, platform-driven knowledge economies

Module Roadmap and Final Thoughts

• Early modules: overview of literature and media; foundational theories
• Core modules include:
  • Indigenous media and territory
  • Surveillance capitalism and information culture
  • AI and its implications for media and culture
• Final module: convergence of human and media history; reading of a creative nonfiction piece with AI involvement (Chaff, GPT)
• Emphasis on critical reading and discussion; occasional reliance on PowerPoints for core material, but readings remain essential
• The instructor’s philosophy on writing: not primarily a writing course; if you need writing assistance, seek campus resources and keep the professor informed about your needs

Quick Reminders for Success

• Attend tutorials to secure the 10% attendance component; contact instructors if you miss sessions
• Read assigned materials before class; use PowerPoints as a guide, not a substitute
• Explore local bookstores for affordable texts; MacLeod's Books, Pulp Fiction, The Paper Clown; Don Stewart can help locate titles
• If you’re unsure about readings or schedules, email early to secure accommodations or clarify timelines
• Engage with the ideas of the course by connecting historical media shifts to contemporary digital practices, surveillance dynamics, and AI developments