Sexual Plumbing

Because even though games need sexuality, I don’t want to watch sex in a game. That man (or woman) on-screen – that’s me. I don’t want to just sit there watching myself have intercourse if I can’t control it. And I definitely don’t want to control it, because trying to steer a sex act using a game controller is as ludicrous as ludicrous gets. Human intercourse already breaks down if you focus too much on the plumbing – and in a gameplay context, that’s all there is.

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Sexual Plumbing

Because even though games need sexuality, I don’t want to watch sex in a game. That man (or woman) on-screen – that’s me. I don’t want to just sit there watching myself have intercourse if I can’t control it. And I definitely don’t want to control it, because trying to steer a sex act using a game controller is as ludicrous as ludicrous gets. Human intercourse already breaks down if you focus too much on the plumbing – and in a gameplay context, that’s all there is.

Success

"Our goal should be to help students successfully write in the academy; to the extent they have the power and authority to change academic genres to better meet their needs, we should help them understand how to do so. But we must also be realistic about how much power students have to change those genres, and we must be certain that our analytical genre work will help them succeed, not paralyze them with doubts" (783)

--Elizabeth Wardle, "'Mutt Genres' and the Goal of FYC: Can We Help Students Write the Genres of the University?"

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Success

"Our goal should be to help students successfully write in the academy; to the extent they have the power and authority to change academic genres to better meet their needs, we should help them understand how to do so. But we must also be realistic about how much power students have to change those genres, and we must be certain that our analytical genre work will help them succeed, not paralyze them with doubts" (783)

--Elizabeth Wardle, "'Mutt Genres' and the Goal of FYC: Can We Help Students Write the Genres of the University?"

"notes are hung so effortless"

Last night marked my second time seeing Neko Case in a live setting. The first occurred when the New Pornographers stopped by the Crofoot to plow through "My Rights Versus Yours," "Failsafe" and ELO's "Don't Bring Me Down" and to be upstaged by openers Okkervil River. Such songs were nowhere to be heard at Meijer Gardens in Grand Rapids, though, and Jason Lytle, formerly of Grandaddy, was a solid, but subdued opening act, offering songs from Yours Truly, The Commuter, including the title track and "Brand New Sun." The audience gathered on the grass with blankets and chairs, food and drink, were polite in applauding Lytle's efforts, but it was clear upon Case's entrance that most everyone was in attendance for her.

I do not think she disappointed either as Case's singing was loud, bright and clear, as if attempting to cast her voice over the tree-covered hills and mountains of some distant land. Kelly Hogan provided vocal accompaniment that was more than sufficient and was a ham during onstage banter between songs, going so far as to impersonate the Osmonds at one point. The rest of the band was knowledgeable and tight on their instruments; in particular, though, I liked Paul Rigby's guitar work, which often accentuated Case's vocal.

The evening's setlist included songs from her last three studio albums, including "Things That Scare Me," "Deep Red Bells" and "I Wish I Was The Moon" from Blacklisted, "Margaret vs. Pauline," "Star Witness," "Hold On, Hold On" (which I didn't know was co-written by the Sadies) and "Maybe Sparrow" from Fox Confessor Brings The Flood and "This Tornado Loves You," "People Got A Lotta Nerve, "Prison Girls" and Harry Nilsson's "Don't Forget Me" from her latest effort, Middle Cyclone, as well as the title track from The Tigers Have Spoken.

Dependence

"While teachers may desire to describe themselves as 'expressivist' or 'post-process' or even 'traditionalist,' the pedagogies we actually deploy should depend not only on our own deeply held beliefs, theories, and philosophies, but also on those of our students" (738-739).

--Paul Lynch, "Composition as a Thermostatic Activity"

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Dependence

"While teachers may desire to describe themselves as 'expressivist' or 'post-process' or even 'traditionalist,' the pedagogies we actually deploy should depend not only on our own deeply held beliefs, theories, and philosophies, but also on those of our students" (738-739).

--Paul Lynch, "Composition as a Thermostatic Activity"

Hospitality

"Hospitality therefore encourages a changed view of the teacher: not essentially as an expert offering wisdom to nescients, nor a coach training students to play a game, nor an adept helping students through the gates of the academic or discourse community, nor a proponent or advocate of a postion such as men's or women's rights. The teacher may or may not be any of these things, but will always be a co-sharer with unknown arrivants of an ad-hoc community in which the teacher, as host, offers ease--ease with the unique lives and beliefs of strangers" (716).

--Janis Haswell, Richard Haswell, and Glenn Blalock, "Hospitality in College Composition Courses"

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