tag:blogger.com,1999:blog-31799389231611708662024-02-19T10:33:39.230-08:00Spin, Weave, and Cutnsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.comBlogger129125tag:blogger.com,1999:blog-3179938923161170866.post-83946323063263035942015-05-06T15:44:00.005-07:002015-05-06T15:44:57.705-07:00SpinWeaveandCut Site!!Lots of new reviews and other things as <a href="http://spinweaveandcut.com/unflattening/" target="_blank">Unflattening</a> is getting out into the world. I've got all of that stuff plus my archives up at <a href="http://spinweaveandcut.com/" target="_blank">www.spinweaveandcut.com</a> - my new site! Please join me <a href="http://spinweaveandcut.com/" target="_blank">there</a>!nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com1tag:blogger.com,1999:blog-3179938923161170866.post-8379973158852686092015-04-12T21:36:00.000-07:002015-04-12T21:37:25.361-07:00Arrival! PW Podcast - NEW site<div>
While I've moved my updates, archives, comics, and comics and education resources over to their new home, <a href="http://www.spinweaveandcut.com/">www.spinweaveandcut.com</a>, I know people are still showing up here - so I'm posting a little update and asking visitors to migrate over to <a href="http://www.spinweaveandcut.com/">www.spinweaveandcut.com</a>. (A longer version of <a href="http://spinweaveandcut.com/arrival-pw-podcast-more/">this post is here</a>.)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4v-lBpClvfYZ-R7iZrQluhYufkQirvNB7RtUQ_lpoOQfhZo-OFaEzbl9y3VFG2nLex-pEC3siAzE1rDpPz0NWCB9MMzmu94a52NhyphenhyphenVsNx1kme_yJn5A8cY5OcUlaCJhA1A767eJp3zBA/s1600/Unflattening+book+cover.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4v-lBpClvfYZ-R7iZrQluhYufkQirvNB7RtUQ_lpoOQfhZo-OFaEzbl9y3VFG2nLex-pEC3siAzE1rDpPz0NWCB9MMzmu94a52NhyphenhyphenVsNx1kme_yJn5A8cY5OcUlaCJhA1A767eJp3zBA/s1600/Unflattening+book+cover.JPG" height="320" width="240" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif3NIEUPzmsuUFHoe53mJ6XrqZpUFAZKxzYWrrvM6AX2GffceuHzXaupZ-t1Bg1p_xeG5Wyp2U97WGVhDilKLtGUYL0muQK9Hz-BbcKnENILhgF5icFCs6PeuJGqJV2MiW6dKYvIyDk98/s1600/unflattening+toes.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif3NIEUPzmsuUFHoe53mJ6XrqZpUFAZKxzYWrrvM6AX2GffceuHzXaupZ-t1Bg1p_xeG5Wyp2U97WGVhDilKLtGUYL0muQK9Hz-BbcKnENILhgF5icFCs6PeuJGqJV2MiW6dKYvIyDk98/s1600/unflattening+toes.JPG" height="320" width="240" /></a></div>
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My copy of Unflattening arrived! Nearly a year ago, I defended the dissertation, just after <a data-mce-href="http://spinweaveandcut.com/aera14-and-new-toes/" href="http://spinweaveandcut.com/aera14-and-new-toes/">we welcomed our daughter</a> into the world, and as she turns one and is starting to get up on her feet, it seems fitting that this too is launching. Calvin Reed of Publishers Weekly <a data-mce-href="http://www.publishersweekly.com/pw/podcasts/index.html?channel=2&podcast=396" href="http://www.publishersweekly.com/pw/podcasts/index.html?channel=2&podcast=396" target="_blank">interviewed me about Unflattening</a> for their <a data-mce-href="http://www.publishersweekly.com/pw/podcasts/index.html?channel=2&podcast=396" href="http://www.publishersweekly.com/pw/podcasts/index.html?channel=2&podcast=396" target="_blank">More to Come audio podcast</a>. It's a long conversation on comics, scholarship, and my process - online <a data-mce-href="http://www.publishersweekly.com/pw/podcasts/index.html?channel=2&podcast=396" href="http://www.publishersweekly.com/pw/podcasts/index.html?channel=2&podcast=396" target="_blank">here</a>. (PW also <a data-mce-href="http://www.publishersweekly.com/978-0-67474-443-1" href="http://www.publishersweekly.com/978-0-67474-443-1" target="_blank">reviewed Unflattening here</a> and I did an <a data-mce-href="https://www.insidehighered.com/news/2015/03/17/comic-book-dissertation-demonstrates-capacity-picture-writing" href="https://www.insidehighered.com/news/2015/03/17/comic-book-dissertation-demonstrates-capacity-picture-writing" target="_blank">interview with Inside Higher Education here</a>. I've devoted a <a data-mce-href="http://spinweaveandcut.com/unflattening/" href="http://spinweaveandcut.com/unflattening/">page to compiling all news</a> about the book, and you can see more info on <a data-mce-href="http://www.hup.harvard.edu/catalog.php?isbn=9780674744431" href="http://www.hup.harvard.edu/catalog.php?isbn=9780674744431" target="_blank">Harvard UP's site as well</a>.) </div>
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As part of a series of essays on alt-scholarship (of which
the entire<a href="http://mediacommons.futureofthebook.org/alt-ac/"> collection
is available here</a>), I contributed a piece reflecting on my
experience doing the dissertation in comics, <a href="http://mediacommons.futureofthebook.org/alt-ac/pieces/why-not-partial-postmortem-creating-dissertation-comics-form">online
here</a>, Also this week, I did an <a href="http://www.utpteachingculture.com/unflattening-scholarship-with-comics/">interview</a> with
Anne Brackenbury for the series <a href="http://www.utpteachingculture.com/unflattening-scholarship-with-comics/">Graphic
Adventures in Anthropology</a> - in which we discussed my process, the
intersection of scholarship and art, future possibilities for ethnography in
comics, and collaboration. Have a <a href="http://www.utpteachingculture.com/unflattening-scholarship-with-comics/">look
here</a>. Finally, while it's only been out a few days, <i>Unflattening</i> has
already been used in Professor Steven L. Berg of Schoolcraft College
composition courses! They already took up the concept of <a href="http://spinweaveandcut.com/parallax-and-eratosthenes/">Parallax</a> and Dr.
Berg is planning to use the book in his courses in the fall.<o:p></o:p></div>
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Thanks for the support - please join me at <a href="http://www.spinweaveandcut.com/">www.spinweaveandcut.com</a>! - N</div>
nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com1tag:blogger.com,1999:blog-3179938923161170866.post-60077632052082209892015-03-19T09:53:00.003-07:002015-03-19T09:53:30.874-07:00New site, PW Review!As mentioned in the previous post, I've moved this blog to a proper site <a href="http://www.spinweaveandcut.com/" target="_blank">www.spinweaveandcut.com</a>. I kept all the old archives, plus added resources on comics and education and more. Please join me there! Also - this week, Unflattening got its first review on <a href="http://www.publishersweekly.com/978-0-67474-443-1" target="_blank">Publishers Weekly</a> - and it's fantastic. Check it<a href="http://www.publishersweekly.com/978-0-67474-443-1" target="_blank"> out here</a> and come on over <a href="http://www.spinweaveandcut.com/" target="_blank">to the new site</a>! See you there, thanks! - Nick<br />
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<br />nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com0tag:blogger.com,1999:blog-3179938923161170866.post-28366252235988600882015-03-17T08:01:00.004-07:002015-03-17T08:02:05.939-07:00New Site!With the imminent arrival of <a href="http://www.hup.harvard.edu/catalog.php?isbn=9780674744431" target="_blank">Unflattening</a>, I have a proper site now in place at <a href="http://www.spinweaveandcut.com/" target="">www.spinweaveandcut.com</a>. I've been giving out that address all along, but it's been bouncing to this blog. Going forward, I'll be posting all content on the new site. I brought over all the existing archives of my work and added the former wiki I had of resources related to my course on comics and education as well. Hope you'll join me there!<br />
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Also, just in, a nice feature on the work at <a href="https://www.insidehighered.com/news/2015/03/17/comic-book-dissertation-demonstrates-capacity-picture-writing" target="_blank">Inside Higher Ed</a>. See you at <a href="http://www.spinweaveandcut.com/" target="">www.spinweaveandcut.com</a>. - Nick<br />
<br />nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com2tag:blogger.com,1999:blog-3179938923161170866.post-40326158886755002472015-02-11T23:37:00.005-08:002015-02-11T23:38:44.038-08:00Cover, Reframing Inquiry <div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">About a month to go to the <a href="http://spinweaveandcut.blogspot.com/2014/10/unflattening-harvard-upress.html">release of Unflattening</a>! While I've yet to see all of it bound in one piece, I was pleased to get my hands on the proof of the cover and test prints for the interior pages! More info on <a href="http://www.hup.harvard.edu/catalog.php?isbn=9780674744431" target="_blank">Harvard UP's site here</a>. (Preorder available at <span style="background-color: white; color: #333333; line-height: 20.799999237060547px;">places like </span><a href="http://www.amazon.com/Unflattening-Nick-Sousanis/dp/0674744438/" style="color: #999999; line-height: 20.799999237060547px; text-decoration: none;" target="_blank">Amazon</a><span style="background-color: white; color: #333333; line-height: 20.799999237060547px;">, </span><a href="http://www.barnesandnoble.com/w/unflattening-nick-sousanis/1120608790" style="color: #999999; line-height: 20.799999237060547px; text-decoration: none;" target="_blank">Barnes&Noble</a><span style="background-color: white; color: #333333; line-height: 20.799999237060547px;">, and </span><a href="http://www.powells.com/biblio/62-9780674744431-0" style="color: #999999; line-height: 20.799999237060547px; text-decoration: none;" target="_blank">Powells</a>, or <a href="http://www.chapters.indigo.ca/en-ca/books/unflattening/9780674744431-item.html" target="_blank">Chapters/Indigo</a> in Canada - <span style="background-color: white; color: #333333; line-height: 20.799999237060547px;">or from your local book store or comics shop!)</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In other news, an article I co-authored with professors Anna Smith and Matthew Hall, <a href="http://onlinelibrary.wiley.com/enhanced/doi/10.1111/lit.12050/" target="_blank">"</a><a href="http://onlinelibrary.wiley.com/enhanced/doi/10.1111/lit.12050/" style="line-height: 1.2;" target="_blank">Envisioning possibilities: visualising as enquiry in literacy studies"</a><span style="line-height: 1.2;"> was just </span><span style="line-height: 15px;">published</span><span style="line-height: 1.2;"> in the <a href="http://onlinelibrary.wiley.com/doi/10.1111/lit.v49.1/issuetoc" target="_blank">journal Literacy</a>. We each shared our individual visualization research approaches toward making sense of literacy and learning. I discussed </span><span style="line-height: 15px;">the</span><span style="line-height: 1.2;"> way in which my visual creative practice drove my critical work, and vice versa. Specifically, I focused on a page </span><span style="line-height: 15px;">from</span><span style="line-height: 1.2;"> the dissertation <a href="http://spinweaveandcut.blogspot.ca/2014/02/scheherazade-art-science.html">revolving around stories and Scheherazade (on view here)</a>, and the research journey my </span><span style="line-height: 15px;">comics</span><span style="line-height: 1.2;"> making sent me on. A brief excerpt from my portion of the article:</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 18px;">Employing the multiplicity of meaning-making resources that the comics medium affords has greatly expanded the breadth and dimensionality of my (Nick's) research processes. A brief look at the form: comics function as a kind of network (Groensteen, </span><a class="referenceLink" href="http://onlinelibrary.wiley.com/doi/10.1111/lit.12050/full#lit12050-bib-0007" rel="references:#lit12050-bib-0007" shape="rect" style="background-color: white; border: 0px; color: #007e8a; line-height: 18px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" title="Link to bibliographic citation">2007</a><span style="background-color: white; line-height: 18px;">), braiding together two distinct modes of awareness in a single form – linear, sequential text-like reading (McCloud, </span><a class="referenceLink" href="http://onlinelibrary.wiley.com/doi/10.1111/lit.12050/full#lit12050-bib-0014" rel="references:#lit12050-bib-0014" shape="rect" style="background-color: white; border: 0px; color: #007e8a; line-height: 18px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" title="Link to bibliographic citation">1993</a><span style="background-color: white; line-height: 18px;">) and simultaneous, all-over image-like viewing. These different reading approaches are inherent to the form, and this extends to the specific interaction of words and images, which is described as blended and interdependent (Harvey, </span><a class="referenceLink" href="http://onlinelibrary.wiley.com/doi/10.1111/lit.12050/full#lit12050-bib-0008" rel="references:#lit12050-bib-0008" shape="rect" style="background-color: white; border: 0px; color: #007e8a; line-height: 18px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" title="Link to bibliographic citation">1979</a><span style="background-color: white; line-height: 18px;">), where they exhibit a tension of approaching each other whilst still remaining apart (Hatfield, </span><a class="referenceLink" href="http://onlinelibrary.wiley.com/doi/10.1111/lit.12050/full#lit12050-bib-0009" rel="references:#lit12050-bib-0009" shape="rect" style="background-color: white; border: 0px; color: #007e8a; line-height: 18px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" title="Link to bibliographic citation">2009</a><span style="background-color: white; line-height: 18px;">). It is a multiplicative marriage in which each informs and enriches its partner to produce a resonance (Sousanis, </span><a class="referenceLink" href="http://onlinelibrary.wiley.com/doi/10.1111/lit.12050/full#lit12050-bib-0025" rel="references:#lit12050-bib-0025" shape="rect" style="background-color: white; border: 0px; color: #007e8a; line-height: 18px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" title="Link to bibliographic citation">2012</a><span style="background-color: white; line-height: 18px;">) that exceeds what either can do alone. .... </span></span></blockquote>
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<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 18px;">You can read the </span><a href="http://onlinelibrary.wiley.com/enhanced/doi/10.1111/lit.12050/" style="line-height: 18px;" target="_blank">entire article online here </a><span style="line-height: 18px;">(for free, i believe). Anna and Matt are terrific educators and scholars doing groundbreaking work using music notation and nonlinear visualizations of time - both approaches that I think will be adopted and repurposed by other researchers in their respective settings. The </span><a href="http://onlinelibrary.wiley.com/doi/10.1111/lit.v49.1/issuetoc" style="line-height: 18px;" target="_blank">entire issue of Literacy</a><span style="line-height: 18px;"> is devoted to </span><a href="http://onlinelibrary.wiley.com/doi/10.1111/lit.12047/full" style="line-height: 18px;" target="_blank">exploring new methodologies</a><span style="line-height: 18px;">, as led by co-editors Anna, Rosie Flewitt, and Kate Pahl. Worth a look! (Also, in publishing, if you missed it my comics article </span><a href="http://spinweaveandcut.blogspot.com/2015/01/in-print-threads-postmodern-fable.html" style="line-height: 18px;">"Threads: A Postmodern Fable"</a><span style="line-height: 18px;"> recently appeared in the Journal of Curriculum and Pedagogy's special issue on Arts-Based Educational Research.) </span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This week, I had the opportunity to share my work with Calgary poet laureate <a href="https://derekbeaulieu.wordpress.com/" target="_blank">Derek Beaulieu's</a> class on narrative at the Alberta College of Art & Design. I took them through the abstract comics-making exercise I've been sharing (you can watch a <a href="http://spinweaveandcut.blogspot.ca/2013/07/microsoft-video-vsa-drawing.html">description of it from my talk at Microsoft here</a>). The comics they produced in about 10 minutes were amazing and Derek was kind enough to <a href="https://creativetypewriting.wordpress.com/2015/02/12/engl317-grid-your-day/">share them on his blog here</a>. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Finally, back in December I went to the conference on new <a href="http://www.humlab.umu.se/en/events/archive/genres-of-scholarly-knowledge-production/" target="_blank">genres of scholarly knowledge production</a> hosted by HUMLab at Umeä University in Sweden. The gathering was not only about the modes of production we use, but also concerned with the modes of interaction present in conferences themselves. I had the cool opportunity to present on my work on three wall screens and a giant-sized screen on the floor. I wrote a <a href="https://medium.com/genres-of-scholarly-knowledge-production/reframing-the-discussion-a-brief-reflection-on-genres-of-scholarly-knowledge-production-dde583367018" target="_blank">reflective piece on framing and connecting thinking in comics to the presentation</a> possibilities of this multi-screen format. Here's a little snippet from that: </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">... the composing of a comics page
can be seen as akin to drafting an architectural walkthrough, in the way that
the author is greatly concerned with how the reader moves through the
page — from tightly controlled sequencing to allowing for more non-linear flow.
Rather than simply being a series of illustrations about ideas, I want the form
itself to embody the ideas. The reader’s movements are inextricable from the
experiencing of the ideas. I saw the opportunity to present on multiple screens
simultaneously as resonant with how I make comics — with the added bonus being
that here I could in a way stand in that space. ... Decoupling from the standard powerpoint: slide, slide,
slide… the multi-screen format mirrors the way in which a comic is
significantly different than storyboarding, to which comics are frequently
compared. In comics we are concerned
with not just what is in each frame (panel), but the size, shape, and
orientation of the panel, as well as its relationship to the others around it.
This spatialization opens up possibilities for making unexpected
connections — we bring together elements with different partners and forge new
arrangements. HUMlab-X’s unique staging area let me play with the presentation
in a similar manner. … <span style="mso-spacerun: yes;"> </span></span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;">It was an extremely generative and invigorating conversation overall and an important challenge to how we think about how we conduct our thinking and how we share it. You can see several of the <a href="https://medium.com/genres-of-scholarly-knowledge-production" target="_blank">different participants' reflections here.</a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Till soon - Nick </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 16px;">(Oh - and randomly, the comic I made a long while back with science-comics writer extraordinaire and all-around good guy </span></span><a href="http://www.gt-labs.com/" style="font-family: Arial, Helvetica, sans-serif; line-height: 16px;" target="_blank">Jim Ottaviani</a><span style="font-family: Arial, Helvetica, sans-serif; line-height: 16px;"> on the </span><a href="http://spinweaveandcut.blogspot.com/2012/08/district-comics.html" style="font-family: Arial, Helvetica, sans-serif; line-height: 16px;">creation of the Washington, D.C. Metro</a><span style="font-family: Arial, Helvetica, sans-serif; line-height: 16px;">, was cited in an article in the Washington Post on the </span><a href="http://greatergreaterwashington.org/post/25576/the-five-best-brutalist-buildings-in-dc/" style="font-family: Arial, Helvetica, sans-serif; line-height: 16px;" target="_blank">Five Best Brutalist Buildings in DC</a><span style="font-family: Arial, Helvetica, sans-serif; line-height: 16px;">. Fun to see it still out in the world a bit.)</span></div>
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nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com0tag:blogger.com,1999:blog-3179938923161170866.post-63364415802123151922015-01-13T21:49:00.001-08:002015-01-13T21:49:51.526-08:00In Print: Threads Postmodern FableWith less than two months to go, I'm eagerly counting down to March 9 and the release of my <a href="http://www.spinweaveandcut.blogspot.com/2014/10/unflattening-harvard-upress.html">comics dissertation-turned book Unflattening</a> - see more details on <a href="http://www.hup.harvard.edu/catalog.php?isbn=9780674744431" target="_blank">Harvard University Press's site here</a>! (And if you can't wait, I see it's up for preorder at places like <a href="http://www.amazon.com/Unflattening-Nick-Sousanis/dp/0674744438/" target="_blank">Amazon</a>, <a href="http://www.barnesandnoble.com/w/unflattening-nick-sousanis/1120608790" target="_blank">Barnes&Noble</a>, and <a href="http://www.powells.com/biblio/62-9780674744431-0" target="_blank">Powells</a>!)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA1qZaVf83wGisbSv8paVv-FUXKF4TC72CrZNbhMQWbJtT0iqyBcQGm6VX3WVFd9ZOdPwDLhZkK4PrAKS6uouOV5GjW7VXkDHWOVSR-forhB4-BzsO2CDOnPsoW7Joz9NGBZE5aGYYUXg/s1600/unflattened+cover+front.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA1qZaVf83wGisbSv8paVv-FUXKF4TC72CrZNbhMQWbJtT0iqyBcQGm6VX3WVFd9ZOdPwDLhZkK4PrAKS6uouOV5GjW7VXkDHWOVSR-forhB4-BzsO2CDOnPsoW7Joz9NGBZE5aGYYUXg/s1600/unflattened+cover+front.jpg" height="200" width="145" /></a></div>
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In the meantime, an essay I made in comics form <a href="http://spinweaveandcut.blogspot.com/2010/02/threads-spinning-fable.html">before the dissertation</a> is now in print in the <a href="http://www.tandfonline.com/toc/ujcp20/11/2#.VLX3ilrZoW8" target="_blank">Journal of Curriculum and Pedagogy's special issue on Arts-Based Educational Research</a> (Vol. 11, Iss. 2). The piece was originally created for my advisor Ruth Vinz's course <i>Postmodern Textual Practices </i>(and <a href="http://spinweaveandcut.blogspot.com/2010/02/threads-spinning-fable.html">shared on my site here</a>), and it examines the move from modernism to postmodernism as constructed from mashups of mythology and fairy tales alongside the philosophical and scientific through the methodology of DJ sampling. Alongside <a href="http://spinweaveandcut.blogspot.com/2011/03/in-print-mind-gaps.html">Mind the Gaps</a> the <a href="http://spinweaveandcut.blogspot.com/2012/09/the-shape-of-our-thoughts-in-visarts.html">Shape of Our Thoughts</a>, and <a href="http://spinweaveandcut.blogspot.ca/2011/02/learning-pathways-untitled.html">Learning Pathways</a>, Threads proved instrumental in shaping my dissertation process - particularly in moving back and forth between whole page compositions and intense panel-construction. This piece also touches on my Spin/Weave/Cut from which my site takes its name (see more on <a href="http://spinweaveandcut.blogspot.com/2012/04/spin-weave-and-cut-gets-logo.html">the meaning behind that here</a>). You can view the piece in the <a href="http://www.tandfonline.com/doi/full/10.1080/15505170.2014.893216#.VLX1pFrZoW8" target="_blank">journal online here</a> and for those without University journal access, the first 50 to click through this link, can <a href="http://www.tandfonline.com/eprint/6bACxGk7ZTJKibntym67/full#.VLX1zlrZoW8" target="_blank">download the PDF of the article for free here</a>. Or you can just read it on my site here and now...<br />
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Due to the diversity of sources woven into this piece, I thought it would be fun and perhaps helpful to show my hand a bit by providing the equivalent to footnotes to some of the imagery and references. So if you're interested in looking behind the curtain, check it out below the comic itself. Wishing all a possibility-filled and expansive 2015. - Nick<br />
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<br />
<span style="color: #262626; font-family: "Times New Roman"; font-size: 11.0pt;">What
follows is not offered as explanation, but a key to some of the imagery referenced
– if you’re so inclined to look behind the curtain. I advise reading only after
you’ve read the comic.<o:p></o:p></span><br />
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Threads
– the Key</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;"><br /></span></b></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Page
1:</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;"> The
opening line is my take on “once upon a time…” The image specifically references
Lee Lawrie’s statue of Atlas at Lincoln Center. The “world” is partially a
reference to the statue itself but also to Kepler’s sketch of the nested
Platonic solids. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Page
2:</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">Panel
1: Greek myths are full of stories of locking away the primal, irrational, and
chaotic in Tartarus (as with the Titans) or as this panel references – in the
Labyrinth. I pull some of my thinking here from Michael Ayrton’s “Maze Maker,”
a novel about the creative process, as told through the story of Daedalus, the
builder of the labyrinth and father of Icarus. The Minotaur is seen less as a
monster in its own right but as some primal aspect of ourselves necessary to
keep down in order to seek a more rational life. Theseus follows Ariadne’s
thread up into the light, and my text also alludes to Plato’s story of the cave
and escaping to enlightenment (here, the radiating ball of string.)<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">P2-5:
Ariadne’s thread becomes Wonder Woman’s lasso of truth, which in turn
transforms into the Yellow Brick Road as a golden path toward truth and
knowledge. This series of connections on threads served as the genesis for this
piece.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">P6:
The text is a reference to Descartes’ separation of mind and body.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">P7:
Continental Drift Theory had a huge impact on how we think of the world and I
sought to depict that here with images of earth as Pangae, Gondwana, and
today’s configuration of the continents. (Also placing them as I did is also a
reference to the way multiple earths are depicted in DC Comics’ “Crisis on
Infinite Earths.”)<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">P8-11:
“No fixed points in space” is a quote from Einstein picked up by Merce
Cunningham as part of his approach to dance. Moving fast to keep in place is a
nearly direct quote from <i style="mso-bidi-font-style: normal;">Through the
Looking Glass</i>. The Cheshire Cat is joined with Schrodinger’s cat – and the
idea of superposition. This would’ve been fun to explore more, and Alice’s cat
playing with a ball of string almost made its way in (only the string stayed in
back up at Panel 1.)<o:p></o:p></span></div>
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<br /></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Page
3:</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;"> </span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">When
the cord is cut, literally, I wanted to show our perspective falling like Alice
down the Rabbit Hole. The fall not only references Alice’s fall, but the Great
Fall text leads into Humpty Dumpty’s fall, which we’ll see the effects of on
the next page.<o:p></o:p></span></div>
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<br /></div>
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<b><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Page
4:</span></b><span style="font-family: "Times New Roman"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">Panel
1: Arriving on the scene to fix up Humpty Dumpty after his fall from the wall,
are all the King’s Horse-Men. Having already decided to use hybrid creatures in
the piece (a Spider-woman and a Mermaid), this compression of all the King’s
horses and all the King’s men into one centaur worked well. Furthermore, I
mashed this story with the Four Horsemen of the apocalypse, whose appearance
here isn’t a fearful ending but something else altogether. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">P2:
Given the theme of threads that emerged early in creating this piece, Arachne
was one of the few players I had in mind from the beginning. (Spiderman stayed
out of it…) I saw Athena’s punishment as a gift instead, one of a number of
reversals of perspective in the piece. “Fabric of relations” comes from
Lyotard’s text on the Postmodern Condition. The image draws on Gustav Dore’s
rendering of Arachne in Dante’s Purgatorio.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">P3:
We see the Three Fates, the Grey Women, or Moirae – maiden, matron, and crone.
Those who spin, measure, and cut the thread that is our lives. Depending on
where you read – their sight is ambiguous. Destiny or fate is often seen as
blind, so while some accounts say that they share one eye between them, I went
with the blind depiction here. (In subsequent pieces where I’ve incorporated
them, I’ve gone with a different interpretation.) <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">P4:
Rapunzel lets down her hair – a braid of DNA connecting us to our past, as
postmodern methods cut up samples of past works to make new. The cycle of the
moon also references the symbolism for the Three Fates – waxing, full, and
waning, as the DNA becomes a coiled spiral, becomes waves – tides caused by the
moon above. The text borrows heavily from Ayrton’s <i style="mso-bidi-font-style: normal;">Maze Maker</i>: “Life is not a circle but a helix.” <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">P5:
Heraclitus’ words connect to the panel previous of past feeding present and the
final panel on Chaos, as the Little Mermaid speaks to the merged creatures
we’ve become, necessary for a world that’s constantly shifting.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">P6:
As this developed, it turned out for the most part I was working with stories
featuring women – even when Theseus is depicted, it’s Ariadne that saves the
day. Keeping with that, I brought in Pandora who definitely got a bad rap as
patriarchal cultures took hold. Pandora’s name properly translated means
“all-giving” and the “box” is actually a mis-translation for something more
akin to a jar. I used the image of a jar and hoped by referencing “box” in the
text that the connection was clear. I wanted to connect what’s in the jar/box
back to things locked away in the Labyrinth, and in taking a different look at
Pandora, take a different look at Chaos theory as well. And so what comes out
is the fluid, nonlinear stuff that makes this world, and butterflies – symbols
of metamorphosis and the butterfly effect – “a sensitive dependence on initial
conditions.” Even the smallest of things can have an effect in a connected
system. I think it’s a beautiful thought, and from the physics referenced by
Alice to Chaos theory here, all of the narrative speaks to a world shrugging
off a search for certainty and perhaps embracing complexity as complexity. And
perhaps by undertaking this tapestry of ideas in visual form, it allows that
complexity to stay present. (Thus you probably shouldn’t have read this.) –
Nick <o:p></o:p></span></div>
nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com0tag:blogger.com,1999:blog-3179938923161170866.post-15621096932678064302014-12-18T23:08:00.001-08:002014-12-18T23:08:10.378-08:00Final Page and International Talks<div class="separator" style="clear: both; text-align: center;">
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As we continue to get <a href="http://spinweaveandcut.blogspot.com/2014/11/thanks-nyc-hello-calgary-maxine.html">settled in Calgary</a>, I ended up drawing one final page for my book Unflattening (formerly-known-as-my-dissertation) due out from <a href="http://spinweaveandcut.blogspot.com/2014/10/unflattening-harvard-upress.html">Harvard University Press in March of 2015.</a> While with the exception of the cover, some additional title images, and cleanup, the drawing has been done since i defended in the spring, circumstances required a last minute additional page to solve a pagination issue with how I intended the other pages to be laid out. I share the thumbnails i made for the layout and a vine video of my process here. The finished piece along with all the rest of the work will be out in just three short months (and already available for preorder)! Excited to be able to share it in one whole piece and see it that way for myself! (See more <a href="http://www.hup.harvard.edu/catalog.php?isbn=9780674744431" target="_blank">info on Unflattening on HUP's site</a>.)</div>
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Days after arriving in Calgary, I had the opportunity to make a quick trip to Umeå, Sweden, and present on my work at the <a href="http://www.humlab.umu.se/en/events/archive/genres-of-scholarly-knowledge-production/" target="_blank">conference on Genres of Scholarly Knowledge Production</a> organized by Patrik Svensson. It was a thought-provoking event all around, and I had the privilege of being one of the first to present on their new 3 screens on the wall and one on the floor presentation space. It was a fun challenge to think through presentation as more than one slide at a time and particularly interesting for me to consider in terms of making comics and how one could use that spatial dimension to engage with the audience in different fashion. I'm sharing two virtual images from how I prepared the talk beforehand and one live image where i got to stand on all the <a href="http://spinweaveandcut.blogspot.com/2014/06/thank-yous-foot-project-winners.html">feet that I'd gathered with the put your foot in my dissertation contest</a>. Thanks to Patrik and all who gathered there for such a stimulating adventure and warm reception! </div>
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Finally, <a href="http://www.spinweaveandcut.blogspot.ca/2014/11/talking-visual-lit-toledo-princeton.html">back in November I gave a keynote address</a> at the <a href="http://www.vislit.org/" target="_blank">International Visual Literacy Association's conference</a> held at the Toledo Museum of Art. It was a terrific gathering and I got to present in the grand venue that hosts the Toledo Symphony. The museum has just made videos from the conference available - you can see mine and others <a href="https://www.youtube.com/watch?v=zfQ0V_cWDkI" target="_blank">on YouTube here</a> or embedded below. Note, should you wish to watch it but find yourself intimidated by the video's length - I speak only for about the first 20 minutes or so, and then lead participants in a comics-making exercise, which takes up most of the rest of the video until a final Q&A.<br />
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Wishing you well as we approach the shortest day of the year and the approach of the days getting longer again. (My two days in Sweden were nearly sunless - with the sunset that far north happening around 1:30!) Best to all over the holidays and in the new year. - Nick </div>
nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com0tag:blogger.com,1999:blog-3179938923161170866.post-86792882614747642072014-11-26T11:43:00.000-08:002014-12-09T07:52:33.682-08:00Thanks NYC hello Calgary + Maxine<i>UPDATED with more info about my presentation at <a href="http://www.humlab.umu.se/en/events/genres-of-scholarly-knowledge-production/goskp-program/" target="_blank">Genres of Scholarly Knowledge Production</a> in Umeå, Sweden (below). </i><br />
<br />
This week my wife, our nearly 8 month old daughter, and I packed up and said goodbye to New York City. From the educational community at Teachers College and the springboard it offered in making colleagues from all over to coming to know the comics community at large (in great part due to participating in the a <a href="https://nycomicssymposium.wordpress.com/" target="_blank">NY comics symposium</a> organized by Ben Katchor - check it out if you haven't!) to all the friends and neighbors we've met along the way, New York has been good to us. It's hard to move on from such a supportive and dynamic home, but we're excited for the journey ahead - which is taking us far west and north to Calgary!<br />
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<br />
This new adventure is precipitated by my accepting the Eyes High Postdoctoral Fellowship in comics studies at the University of Calgary. They are doing amazing things around comics studies there under the leadership of comics scholar extraordinaire <a href="https://english.ucalgary.ca/profiles/bart-beaty" target="_blank">Professor Bart Beaty</a> (see an interview with <a href="http://blog.comicsgrid.com/2012/08/comics-vs-art-interview-bart-beaty/" target="_blank">Bart here)</a>. I'm thrilled to have such tremendous support to continue my research in comics and push on the possibilities for the form! And we're looking forward to coming to know and be apart of a new community as we begin this next chapter...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmItms4zSOSQvCk5p83u0T9eTBMiJ-ohxg5UkAa4S92RexyzoH7Vq3AbnxRJS3b_UTezQ4q3bHpzkqx0Ke8xNh6eSiAttLo4eIQA8vFyNJRgv1rc06eUAaSmR1CKu0i0mrsBPK19OD3YM/s1600/IMG_9979.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmItms4zSOSQvCk5p83u0T9eTBMiJ-ohxg5UkAa4S92RexyzoH7Vq3AbnxRJS3b_UTezQ4q3bHpzkqx0Ke8xNh6eSiAttLo4eIQA8vFyNJRgv1rc06eUAaSmR1CKu0i0mrsBPK19OD3YM/s1600/IMG_9979.jpg" height="320" width="240" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSTLQnI_qfbZEyd7-Xv2WIa_9nxPN4qQTYWIwAwebipt68-njw4rpnnHUnIJfa9fiqAlfvLlgtsp6UBzhGh0xuKCjJFB5qt86kmPMmmDliOs3XMXMZqedGqxLJERgUUuBSP152Wbu68Ck/s1600/IMG_9981.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSTLQnI_qfbZEyd7-Xv2WIa_9nxPN4qQTYWIwAwebipt68-njw4rpnnHUnIJfa9fiqAlfvLlgtsp6UBzhGh0xuKCjJFB5qt86kmPMmmDliOs3XMXMZqedGqxLJERgUUuBSP152Wbu68Ck/s1600/IMG_9981.jpg" height="320" width="240" /></a><br />
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In the meantime, final preparations are nearly complete for the <a href="http://spinweaveandcut.blogspot.com/2014/10/unflattening-harvard-upress.html">March release of the book version of my dissertation</a>. Excited to see it alongside the roster of Spring/Summer releases in <a href="http://www.hup.harvard.edu/catalog.php?isbn=9780674744431" target="_blank">Harvard's catalog!</a><br />
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And, I have been doing new work - I just completed a comic in tribute to legendary <a href="http://spinweaveandcut.blogspot.com/2014/06/reflecting-on-maxine.html">philosopher of education Maxine Greene, who passed away early this summer</a>. I made my <a href="http://spinweaveandcut.blogspot.com/2011/03/in-print-maxine-says.html">first comic for school in Maxine's class</a> and it seems fitting that my final one in departing reflects on her teaching. I had the good fortune to be able to have regular visits with Maxine and share chapters of my comics dissertation with her along the way. This piece began life as an intended collaboration on imagination between Maxine and I that would focus on the tree outside her window. It never had a chance to develop beyond conversations and initial sketches. After hearing my colleague Daiyu Suzuki's memorial at her funeral, I invited him to collaborate, and this piece is a means of continuing our conversation with her. The entire piece will be published in the Teachers College Record in a few months and I'll share it in full then. But for now, I wanted to put up a little excerpt.<br />
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Finally, shortly after arriving in Calgary in early December, I'll be making a quick trip to Umeå, Sweden for a conference on <a href="http://www.humlab.umu.se/sv/event/genres-of-scholarly-knowledge-production/" target="_blank">Genres of Scholarly Knowledge Production</a>. It looks to be <a href="http://www.humlab.umu.se/en/events/genres-of-scholarly-knowledge-production/goskp-program/" target="_blank">a terrific gathering</a> and I'm looking forward to sharing my work and learning <a href="http://www.humlab.umu.se/en/events/genres-of-scholarly-knowledge-production/goskp-program/" target="_blank">from all assembled</a>. Additionally, the lab there is experimenting with multi-screen presentation technology, which I think will lend itself well to talking on comics - and should be fascinating to explore. Update: Along with Franco Moretti, Johanna Drucker, and others, I'm delighted to be giving one of <a href="http://www.humlab.umu.se/en/events/genres-of-scholarly-knowledge-production/open-talks/" target="_blank">six open to the broader public talks during the conference</a>. The four screens proved to be quite a challenge to think through, but I'm pleased with how they've come together. Excited to see how it works live! Conversation from the conference will be shared on twitter at #goskp2014<br />
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Thanks for everything, New York, hello soon, Calgary. Thanks to all for all the support - wishing everyone a safe and happy Thanksgiving (belatedly in Canada...). - Nick<br />
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P.S. A picture of Maxine reading an early chapter, a photo of her tree, and a sketch I made of it while visiting with her accompanied by notes I jotted down of her words then: "The tree gets more and more wonderful the more I look at it..." - N<br />
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nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com2tag:blogger.com,1999:blog-3179938923161170866.post-23751811396493267602014-11-05T17:44:00.005-08:002014-11-06T05:37:49.417-08:00Talking Visual Lit @ Toledo & Princeton <div class="separator" style="clear: both; text-align: center;">
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This Friday, November 7, I'm pleased to be giving a <a href="http://www.vislit.org/speakers" target="_blank">keynote session</a> at the <a href="http://www.vislit.org/" target="_blank">International Visual Literacy Association's annual conference</a>, held at the Toledo Museum of Art. As the organization puts it - "visual thinking is a form of critical thinking," "the ability to derive meaning from images of everything that we see - to read and write visual language." It is to, to be sure, a great fit for my work, and i'm excited to be a part of it! I'll be talking about my comics dissertation, what I mean by Unflattening, and what happens when we do research through the visual - giving equal weight to both visual and textual elements, where the whole meaning only emerges from their interaction. In my session, i will also be making comics with those in attendance - so should be a lot of fun all around!<br />
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If you're in the Toledo area - all the keynote talks are free and open to the public (there are fees to attend the entire conference). Check out details about the <a href="http://www.vislit.org/" target="_blank">conference here</a> and <a href="http://www.vislit.org/speakers" target="_blank">info about invited speakers here</a>. Also, my hometown Detroit radio station AM760 WJR interviewed several of those involved with the conference, including me, for a <a href="http://www.utoledo.edu/therelevantuniversity/10282014.html" target="_blank">special program on the Trend of Visual Literacy</a>. You can listen to the audio of that here on <a href="http://www.utoledo.edu/therelevantuniversity/10282014.html" target="_blank">the Relevant University show with host Larry Burns</a> out of the University of Toledo. Updates about the conference on twitter will be at #IVLA2014<br />
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Immediately following that, Monday the 10th, I'll be <a href="https://english.princeton.edu/events/unflattening-how-dissertation-comics-form-reimagined-scholarship-and-academic-writing" target="_blank">speaking at Princeton University</a>, in their Department of English, a guest of <a href="https://english.princeton.edu/people/kinohi-nishikawa" target="_blank">professor Kinohi Nishikawa</a>. The focus will be somewhat more specifically on <a href="https://english.princeton.edu/events/unflattening-how-dissertation-comics-form-reimagined-scholarship-and-academic-writing" target="_blank">the dissertation and reimagining scholarship and academic writing</a> (as with the <a href="http://spinweaveandcut.blogspot.com/2014/10/upcoming-talks-process-sketches.html">recent #remixthediss event at CUNY</a>) - but I will also be taking attendees through hands on theory through practice with some comics-making explorations. If you're in the Princeton neighborhood - come on out!<br />
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And, as I mentioned <a href="http://www.spinweaveandcut.blogspot.com/2014/10/unflattening-harvard-upress.html">in some detail in my last post</a>, my dissertation is coming out March 9, 2015 in <a href="http://www.hup.harvard.edu/catalog.php?isbn=9780674744431" target="_blank">book form from Harvard University Press</a>! I am to say the least, excited to be able to share it <a href="http://www.spinweaveandcut.blogspot.com/2014/10/unflattening-harvard-upress.html" target="_blank">all in one volume</a> - and to work with such a supportive editor and publisher to realize this work in published form. I'll be sharing many images from the dissertation/book in all these talks and giving away, as I do, mini-comics excerpts from the work.<br />
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To close this post, I want to share a few excerpts directly referring to concepts of visual literacy and perception (and eyes) - key themes that run through the work and that I'll be addressing in the coming talks. (These excerpts came from pages that have appeared previously on my site. You can see the entire pages by clicking on the respective links for <a href="http://spinweaveandcut.blogspot.com/2012/12/ch-2-finished-odyssey-final-sequence.html">the Odyssey</a>, <a href="http://spinweaveandcut.blogspot.com/2012/09/parallax-and-eratosthenes.html">Parallax</a>, <a href="http://spinweaveandcut.blogspot.com/2012/10/rhizomatic-kaleidoscopic.html">Kaleidoscopic vision</a>, and <a href="http://spinweaveandcut.blogspot.com/2013/12/ch5-saccades-superheroes.html">Saccadic Motion</a>, to see the entire sequences.) Look forward to conversations to come at these gathering. Thanks for the support! - Nick </div>
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nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com0tag:blogger.com,1999:blog-3179938923161170866.post-57431209300784819122014-10-21T22:16:00.000-07:002014-10-21T22:44:16.353-07:00Unflattening Harvard UPressI'm pleased to announce that my comics dissertation will be <a href="http://www.hup.harvard.edu/catalog.php?isbn=9780674744431">published by Harvard University Press in March of 2015</a>! Check out <a href="http://www.hup.harvard.edu/catalog.php?isbn=9780674744431">HUP's catalog here</a> to see all the specifics about <i>Unflattening</i>. <span style="font-family: Times, Times New Roman, serif;"><br /></span>
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This has been in the works for over a year now and I'm thrilled to be able to officially share the news! I've been extremely fortunate to work with a wonderful editor in Sharmila Sen and just a great team at HUP all around. Since defending and handing in the dissertation back in May, with their input I've been plugging away on prepping the book version. The most prominent addition to the dissertation version is the cover - displayed here. (The full cover wraps around the back and onto the flaps as well.) The cover is based on the interior pages that emerged from <a href="http://spinweaveandcut.blogspot.com/2014/06/thank-yous-foot-project-winners.html">the "put your feet in my dissertation" invitation</a> and features the outlines of feet from people around the world.<br />
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One of the most exciting things for me in seeing this come to fruition is to look back over all my sketches (I've been scanning them as something that will be shared in the notes section) and look at the genesis of ideas scrawled out onto sheets of newsprint as early as 2011 and see how much of what the final work looks like was present in those earliest notes, what changed along the way, never made it in, and only came about much later on. I see it a bit as revealing that our <a href="http://spinweaveandcut.blogspot.com/2010/01/cosmology-of-ideas-text.html">ideas don't emerge like Athena, fully formed from Zeus's brow</a>, rather our thinking coalesces from initial inklings and may take on many forms before the finished appearance in which most people encounter it. Many of these will be in the book, and I plan to share more on my site in the coming months. (The page shown here is the very first page of notes when I started on the project.) </div>
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(Upcoming: I'll be a <a href="http://www.vislit.org/speakers" target="_blank">featured speaker</a> at the <a href="http://www.vislit.org/welcome/" target="_blank">International Visual Literacy conference</a> at the Toledo Museum of Art November 7th and all <a href="http://www.vislit.org/speakers" target="_blank">the keynote talks</a> will be open to the public. New to this work? The <a href="http://chroniclevitae.com/news/361-the-amazing-adventures-of-the-comic-book-dissertator" target="_blank">Chronicle's recent profile</a> is a good way to get up to speed quickly, or click the <a href="http://www.spinweaveandcut.blogspot.com/search/label/dissertation">dissertation label</a> on the upper right for excerpts.) </div>
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Thanks to all for the support over the last several years - it's been a great privilege to develop this work in public conversations - both in person and virtual. Looking forward to being able to share the complete work in just a few short months! - Nick </div>
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<i>From the jacket copy on <a href="http://www.hup.harvard.edu/catalog.php?isbn=9780674744431" target="_blank">Harvard University Press's website</a>:</i></div>
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<span style="color: #3f3f3f; font-family: inherit; line-height: 1.6;">The primacy of words over images has deep roots in Western culture. But what if the two are inextricably linked, equal partners in meaning-making? Written and drawn entirely as comics, </span><i style="color: #3f3f3f; font-family: inherit; line-height: 1.6;">Unflattening</i><span style="color: #3f3f3f; font-family: inherit; line-height: 1.6;"> </span><span style="color: #3f3f3f; font-family: inherit; line-height: 1.6;">is an experiment in visual thinking.</span><span style="color: #3f3f3f; font-family: inherit; line-height: 1.6;"> </span><b style="color: #3f3f3f; font-family: inherit; line-height: 1.6;">Nick Sousanis</b><span style="color: #3f3f3f; font-family: inherit; line-height: 1.6;"> </span><span style="color: #3f3f3f; font-family: inherit; line-height: 1.6;">defies conventional forms of scholarly discourse to offer readers both a stunning work of graphic art and a serious inquiry into the ways humans construct knowledge.</span></div>
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<span style="font-family: inherit;"><i>Unflattening</i> is an insurrection against the fixed viewpoint. Weaving together diverse ways of seeing drawn from science, philosophy, art, literature, and mythology, it uses the collage-like capacity of comics to show that perception is always an active process of incorporating and reevaluating different vantage points. While its vibrant, constantly morphing images occasionally serve as illustrations of text, they more often connect in nonlinear fashion to other visual references throughout the book. They become allusions, allegories, and motifs, pitting realism against abstraction and making us aware that more meets the eye than is presented on the page.</span></div>
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<span style="font-family: inherit;">In its graphic innovations and restless shape-shifting, <i>Unflattening</i> is meant to counteract the type of narrow, rigid thinking that Sousanis calls “flatness.” Just as the two-dimensional inhabitants of Edwin A. Abbott’s novella <i>Flatland</i> could not fathom the concept of “upwards,” Sousanis says, we are often unable to see past the boundaries of our current frame of mind. Fusing words and images to produce new forms of knowledge, <i>Unflattening</i> teaches us how to access modes of understanding beyond what we normally apprehend.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">“<b>Nick Sousanis</b>’s <i>Unflattening</i> is a complex, beautiful, delirious meditation on just about everything under the sun; a unique and bracing read.”—<i>Scott McCloud, author of Understanding Comics</i> and <i>Making Comics</i></span></blockquote>
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<span style="font-family: Times, Times New Roman, serif;">“An important book, <i>Unflattening</i> is consistently innovative, using abstraction alongside realism, using framing and the (dis)organization of the page to represent different modes of thought. The words and images speak for themselves and succeed on their own terms. I couldn’t stop reading it.”<cite>—Henry Jenkins, author of <i>Spreadable Media: Creating Value and Meaning in a Networked Society</i></cite></span></blockquote>
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nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com3tag:blogger.com,1999:blog-3179938923161170866.post-65648095468138785172014-10-14T21:12:00.000-07:002014-12-31T20:22:23.158-08:00Upcoming Talks & Process Sketches (Multimodality)<div style="font-family: Helvetica; font-size: 13px;">
Last week (10/10/14), I participated in the #remixthediss event on <a href="http://www.hastac.org/blogs/cathy-davidson/2014/08/28/what-dissertation-new-models-methods-media" target="_blank">New Dissertation Models at the CUNY Graduate Center</a> here in NYC. It was a terrific gathering, invigorated live audience, and it was live-streamed to audiences around the country and the globe - and in many sites they hosted their own parallel discussions. Primary organizer, Professor Cathy Davidson now of CUNY called it not an event but the start of a movement. And as part of that, a <a href="https://docs.google.com/document/d/1kz9y95M9Aqn5TCSa8GzJVpoayNAJiu_eHQa55daEZ6Y/edit?usp=sharing" target="_blank">publicly editable document</a> was made available for listeners to ask questions and presenters answered them live and have continued to build on the document since. You can see that <a href="https://docs.google.com/document/d/1kz9y95M9Aqn5TCSa8GzJVpoayNAJiu_eHQa55daEZ6Y/edit?usp=sharing" target="_blank">document here</a>, and watch the recorded <a href="https://www.youtube.com/watch?v=0mK4dmUmyVI" target="_blank">video of it right here</a>. (If you came to here me, I'm around the 50 minute mark). Reflections and resources from it are <a href="http://www.hastac.org/blogs/katina-rogers/2014/10/31/remixthediss-resources-and-reflections" target="_blank">posted on HASTAC's site here</a>. Cathy Davidson was featured in <a href="https://www.insidehighered.com/news/2014/10/14/cathy-davidsons-new-big-idea" target="_blank">Inside Higher Ed this week</a> and speaks about the <strike>event</strike> movement <a href="https://www.insidehighered.com/news/2014/10/14/cathy-davidsons-new-big-idea" target="_blank">in the interview</a>. (This resonates with previous panels on new forms of scholarship that i've been involved in from <a href="http://expandscholarship.selfloud.net/?page_id=8" target="_blank">Expanding Forms of Scholarship</a> to <a href="http://beyondtheprotomonograph.commons.mla.org/presentation-topics/" target="_blank">Beyond the Protomonograph</a>).<br />
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This week, I'm off to Michigan State University to present at the <a href="http://lbc.msu.edu/aisconference2014/" target="_blank">Association for Interdisciplinary Studies annual conference</a>. I've been fortunate to participate with this inclusive organization for about six years now, and this time around I've been invited to give a few remarks about my work at the opening, as well as my individual session, which will also include a comics-making workshop! </div>
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And in early November, I've been invited to give a <a href="http://www.vislit.org/speakers" target="_blank">keynote talk/workshop</a> at the <a href="http://www.vislit.org/welcome/" target="_blank">International Visual Literacy Association's conference</a> at the Toledo Museum of Art. Looks like a fascinating gathering and I'm honored to be partaking in it. You can get a little sense of some of the things I'll be talking on from this poster I made for the <a href="http://spinweaveandcut.blogspot.com/2013/11/oxford-squared-science-and-arts.html">Oxford Illustration Symposium</a> last year. The <a href="http://spinweaveandcut.blogspot.com/2013/11/oxford-squared-science-and-arts.html" target="_blank">Chronicle's feature on my work</a> is another good way for those unfamiliar to get up to speed. </div>
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I want to close this post by sharing some process sketches. I've been scanning all the sketches that went into the dissertation (for inclusion in the book version!), and that's led me to reflect further on my process and how ideas emerge between the collaboration of thoughts in our heads and sketches on paper. It's something i find that makes my work in comics smarter than I am on my own. Anyhow, what follows are a slew of sketches that went into making a page on <a href="http://spinweaveandcut.blogspot.com/2013/06/multimodality-and-microsoft-exhibition.html">comics and multi modality</a> from the <a href="http://spinweaveandcut.blogspot.com/2013/07/ch3-finale.html">third chapter of the dissertation</a>, which sets out to theorize on how comics do their work. I posted them here in what in pretty close to the order they were made. You can see that my initial idea was going in a totally different direction (though i still like the idea of talking about omelets as a kind of multimodal process). I then came up with a concept that is more or less what i went with, but then you see all the attempts to get the composition to flow correctly. This culminates in transforming the large hand on the "keyboard" into an arrow of sorts that helps move the reading eye back up after going down for the initial content. Anyhow, I think this offers a sense of the thinking that goes into a page. I'm frequently asked how long pages take to make - and while the drawing in many cases can take a long time - for me, it's always the thinking, how to orchestrate the page to embody the ideas. It's a journey of wrong turns and surprising discoveries. Which is what I feel research always ought to be. - Nick </div>
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<br />nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com0tag:blogger.com,1999:blog-3179938923161170866.post-85699679776654283602014-09-17T21:57:00.000-07:002014-09-17T22:43:25.743-07:00Remix Diss and McGee at 90<div style="font-family: Helvetica; font-size: 13px;">
This site has been quiet for a little bit. But that's not to say I haven't been busy. I'm looking forward to sharing a few announcement as to what I've been up to in just a few weeks. But in the meantime, I wanted to share an upcoming event I'm participating in and a non-comics/education work. </div>
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<span style="font-family: Helvetica;">First up, on October 10 at the CUNY Graduate Center from 4-5:30 pm, I'll be participating in a panel called <a href="http://www.hastac.org/blogs/cathy-davidson/2014/08/28/what-dissertation-new-models-methods-media" target="_blank">"What is a dissertation? New Models, Methods, Media." </a>As the name indicates, it'll feature doc students and recent grads talking about their experimental and innovative scholarly forms including digital, multimedia, and, in my case, comics! It's</span><span style="font-family: Arial, Helvetica, sans-serif;"> hosted by the super awesome Cathy Davidson, director of the Futures Initiative and founder of HASTAC. I'll be paneling alongside Jade E. Davis of University of North Carolina, Dwayne Dixon of Duke, Gregory T. Donova</span><span style="font-family: Helvetica;">n of Fordham, and Amanda Licastro of the CUNY Graduate Center. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The event will be <a href="http://videostreaming.gc.cuny.edu/videos/" target="_blank">live streamed here</a> and <a href="http://twitter.com/search?f=realtime&q=%23remixthediss&src=typd" target="_blank">live tweeted at #remixthediss</a>. Virtual partners are invited and there'll be a <a href="https://docs.google.com/document/d/1hLdruyTB-r7cEnljv2m1U7mzqrQyyeAiazbSO3ELZaw/edit" target="_blank">collaborative component on google docs</a>. In putting this on, the hope is to gather information and resources about other alternative forms that have been achieved beyond the panelists. (For a past post I did on other <a href="http://spinweaveandcut.blogspot.com/2013/10/varoom-drawing-comics-research-roundup.html">researchers working in comics form, see here</a>.) See more <a href="http://www.hastac.org/blogs/cathy-davidson/2014/08/28/what-dissertation-new-models-methods-media" target="_blank">details on the HASTAC website here</a> or <a href="http://www.westerling.nu/hastac/remixthediss-final/flyer-final.pdf" target="_blank">click here for an interactive version of the poster</a>. It'll be in the English Department Lounge (Rm 4409) ad the CUNY Graduate Center, 365 Fifth Ave, NYC. Hop</span><span style="font-family: Helvetica;">e to see some of you there - and please spread the word! (For the Chronicle's look at my and Dani Spinosa's <a href="https://chroniclevitae.com/news/361-the-amazing-adventures-of-the-comic-book-dissertator" target="_blank">dissertation work, see here</a>. This came out of a <a href="http://spinweaveandcut.blogspot.com/2014/01/stories-mla-microsoft.html">session at MLA called Beyond the Protomonograph</a>.)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">On a different front, I'm the biographer of legendary Detroit artist Charles McGee. Charles turns 90 this year and is being featured with an <a href="http://www.mongersongallery.com/news/" target="_blank">exhibition at Mongerson Gallery in Chicago</a>. I wrote a brief exhibition essay for the show, and share that below. If you're in that city - definitely recommend checking it out. And to learn more about Charles, you can see my <a href="http://www.thedetroiter.com/nov04/mcgee.html" target="_blank">earliest interview with him from 2004 here</a>, a 2006 inter<a href="http://www.metrotimes.com/detroit/the-art-of-seeing-art/Content?oid=2183585" target="_blank">view in Detroit's MetroTimes here</a>, an interview we did for an <a href="http://whyproject.blogspot.com/2007/11/charles-mcgee.html" target="_blank">exhibition on process here</a>, and the <a href="http://spinweaveandcut.blogspot.com/2009/02/conversation-with-charles.html">comic I made about him here</a>. Charles is ever an inspiration.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">More news and new works soon. Thanks for following along. Onward! - Nick </span></div>
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<i>Charles McGee at 90: Mongerson Gallery Chicago exhibition essay</i></div>
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An exhibition celebrating the 90<sup>th</sup> year of an
artist’s life might suggest looking back. For Charles McGee, however, making
art is always an attempt to speak the language of the time and explore new
means for expression. Thus, this milestone marks simply another day on his
journey toward “what’s next?” His eye on tomorrow is not a disregard for what
came before. On the contrary, McGee folds past into present, transforming and
evolving in a continuity of growth. In some sense, each piece is
autobiographical as it evokes the full continuum of his accumulated
experiences. </div>
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For this exhibition, McGee’s masterful handling of charcoal
that first brought him to prominence in Detroit is once again on display. In
“Jazz Shouts and Whispers,” his rich textures accompany the patterned surfaces
of the amorphic dancing figures that have populated his compositions for the
past decade. Layers of experience mingle together as these distinct elements
are joined in new conversation. In “Lineage,” the vibrant red highlighting of
jagged edges glows against the black and white line work and brings to mind his
explorations of neon from the late 1970s – which in turn hearkens his earliest
experiences of being dazzled by the signs and lights he saw upon arriving in
Detroit, a visual shock for a farm boy from South Carolina. The electricity of
that formative moment still burns strongly. </div>
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McGee insists that art is necessarily informed by life, and
the changes in the work reflect his own changes. Although he recovered his
strength and spirits following the stroke he suffered in 2011, his mobility
remains hampered. Embarking on new large-scale painting and assemblage pieces
became untenable. But as ever, out of a limitation McGee has brought forth a
new set of possibilities. McGee’s true affliction, he will tell you, is a life
committed to making this work, to obeying his calling. Forging ahead has meant
leaving his cavernous studio to work on his dining room table or a board on his
lap in bed. Spartan conditions not so different from his young adult
explorations into serious art making in a tiny basement apartment where he used
a dresser drawer as an easel. By turning to the computer and industrial
processes, he harnesses the power of technology to achieve the scale his work
demands. His imagination is only emboldened by what these new tools and
materials can offer as he translates his sketches into three-dimensional space.<br />
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For McGee, art is a sustaining force – a means for him to
learn something new each day. And time has been his greatest teacher,
continually enriching his quest and providing him with a thirst for greater
understanding that he can never quench. In McGee’s words, “I came into art
asking questions and I’ll go out asking questions.” - Nick Sousanis, August 2014</div>
nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com0tag:blogger.com,1999:blog-3179938923161170866.post-64600562414162725182014-07-08T21:33:00.002-07:002014-07-08T21:49:20.675-07:00RSCON5, Visualizing References, and behind-the-scenes sketches<div class="MsoNormal">
<span style="font-family: 'Times New Roman'; font-size: 11pt;">This
Friday, July 12 at 5pm EST, I’ll be doing an online presentation of my work and
the educational promise of comics as a keynote for the </span><a href="http://www.futureofeducation.com/page/rscon-2014" style="font-family: 'Times New Roman'; font-size: 11pt;" target="_blank">Reform Symposium Free Online Conference (RSCON5)</a><span style="font-family: 'Times New Roman'; font-size: 11pt;">. This annual virtual gathering is put on by an
</span><a href="http://www.futureofeducation.com/" style="font-family: 'Times New Roman'; font-size: 11pt;" target="_blank">organization of educators called “The Future of Education,”</a><span style="font-family: 'Times New Roman'; font-size: 11pt;"> and I offer my
thanks to organizer Shelly Terrell for the kind invitation to share my work
with this community. I'm pleased to be among such a </span><a href="http://www.futureofeducation.com/page/keynotes-2014" style="font-family: 'Times New Roman'; font-size: 11pt;" target="_blank">strong and diverse field of educators</a><span style="font-family: 'Times New Roman'; font-size: 11pt;">, and I recommend </span><a href="http://www.futureofeducation.com/page/rscon-2014" style="font-family: 'Times New Roman'; font-size: 11pt;" target="_blank">checking out the programming</a><span style="font-family: 'Times New Roman'; font-size: 11pt;"> and tuning in.</span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">If
you can’t attend virtually, I hit some similar points at my talk at <a href="http://spinweaveandcut.blogspot.com/2013/07/microsoft-video-vsa-drawing.html">Microsoft Research last summer, which was recorded</a>. I also turned an even earlier <a href="http://spinweaveandcut.blogspot.com/2013/04/image-text-talk-comics-as-tool-for.html">talk from the Sequential Smart conference</a> into an illustrated article (the <a href="http://www.juniata.edu/services/jcpress/voices/pdf/2012/jv_2012_162-172.pdf" target="_blank">pdf of which is available here</a>). (And if you're new to this work, <a href="https://chroniclevitae.com/news/361-the-amazing-adventures-of-the-comic-book-dissertator" target="_blank">the Chronicle of Higher Ed's recent interview</a> serves as a good primer.)</span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">As
the dissertation is complete, I’m now in the process of prepping the work for
its next phase (about which I’ll speak more of later). One of the things I
couldn’t do for the dissertation, but intend to do in its forthcoming iteration,
is to take the text-only parts – my acknowledgments, references, and endnotes –
and give them more visual form as befitting the rest of the work. I’m dreaming
up approaches at the moment – but I’m also seeking suggestions for good
examples of what’s out there. I welcome your dialogue on this – drop me a line
at nsousanis @ gmail.com – I’d love to hear from anyone with thoughts along
these lines. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">Since
there aren’t new pages that I can post, I thought I’d share a page I’d posted
earlier, from Chapter 3, and offer a behind the scenes look at the progression
of sketches that led to its creation. This page set up an <a href="http://spinweaveandcut.blogspot.com/2013/07/ch3-finale.html">indepth discussion of the workings of comics</a> and addresses the trouble of the form’s name. I think
this is one of the few examples where the development from start to finish, in all its twists and turns, is
relatively easy to follow along by looking at my dated sketches. My comments
from the endnotes section accompany the images below. Onward! – Nick</span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">From the end notes: </span></div>
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<span style="font-family: "Times New Roman"; font-size: 11.0pt;">Page
53: Various alternative names for comics are listed or integrated into the
imagery here (for a list of alternative names for comics, see Duncan &
Smith, 2009, p. 18). <i style="mso-bidi-font-style: normal;">Manga</i>, <i style="mso-bidi-font-style: normal;">bandes dessinées</i>, and <i style="mso-bidi-font-style: normal;">fumetti</i> are terms for comics
respectively in Japan, France, and Italy (specifically of the photo-comics
variety). McCloud (1993) and Hogben (1949) connect comics back in time to a
lineage that began with the cave paintings at Lascaux. “<span style="mso-bidi-font-weight: bold;">A rose by any other name would smell as sweet</span>” stems (ha!) from <i style="mso-bidi-font-style: normal;">Romeo and Juliet</i>, in which Juliet argues
that the names of things do not matter, only what things are.</span></blockquote>
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<br />nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com1tag:blogger.com,1999:blog-3179938923161170866.post-11460078600809383672014-06-11T21:27:00.001-07:002014-06-15T22:37:14.312-07:00Thank yous & Foot Project winnersSo the dissertation is defended, finished, and I
graduated. But as I prepare to move on to next steps, I thought it was important to pause here
and publicly acknowledge all those whose support has helped make this possible.
I’ve not only had a good team backing me on the home front, but also, as I said
in the opening of<a href="http://spinweaveandcut.blogspot.com/2014/05/ucla-and-fabric.html"> my talk at UCLA a couple weeks back</a> (my first
post-graduation(!)), I’ve been extremely fortunate to be able to engage in an
ongoing public conversation around the work – this includes people I met at talks around
the country and all whom I've interacted with right here on the web and social media spaces. It’s all helped
shape the work as I went along.<br />
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<o:p></o:p></div>
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Of the many things that this virtual space made possible
was <a href="http://www.spinweaveandcut.blogspot.com/2014/03/foot-work.html">my “put your foot in my dissertation project”</a> – and the support of all the
participants from around the globe who willingly (and eagerly) shared their feet
with me! So before I list the dissertation acknowledgements, I want to get to
announcing the winners of my foot project contest. In addition to getting a
credit in the dissertation (as well as its future published form…),
participants were entered into a random drawing to win a signed 11by17 inch
print of one page from the dissertation, with three runners-up receiving a
signed-mini excerpt. I ended up with just shy of 100 feet from the individuals,
families, and groups listed below. I’m both grateful to have gotten all of these and
also grateful to not have gotten more! For not only did I end up retracing all
of them for clarity of line quality, I then turned each of those tracings into
brushes, which I used to then draw the distinct footpaths that make up these
trio of pages. (While this sequence was not displayed as a triptych in the
dissertation, I’m hopeful there will be a way to display it properly in its
next form.) Every SINGLE one of the feet submitted appear on these pages –
though I understand if you can’t identify your own easily! There is also a different
sequence with only men’s 10.5s overlaid on top of my foot outline, which perhaps
I’ll share at another point. I was really pleased with the tremendous variety
in foot shapes – and I think it helped make my visual argument – if our feet
are this distinct – then how different must be the ways in which we learn… (Note, this is a screenshot of three separate, still unlettered pages in low-res.) <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh93UCayC9e2gXOsJvW-skf9ncubssC5pKNKoatCLrp86AIo0GVsNc6yJlVbsbs11Bjq86I-LYQkhYJFBaWILCV4LLM06TXjvQFSOjE5nY3rWqOfGDpCbI3JZiwRUrpCsiPmrG6D3g4jWE/s1600/Ch8+Fields+of+feet.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh93UCayC9e2gXOsJvW-skf9ncubssC5pKNKoatCLrp86AIo0GVsNc6yJlVbsbs11Bjq86I-LYQkhYJFBaWILCV4LLM06TXjvQFSOjE5nY3rWqOfGDpCbI3JZiwRUrpCsiPmrG6D3g4jWE/s1600/Ch8+Fields+of+feet.png" height="210" width="400" /></a></div>
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<b>Contest winners, randomly drawn:<span style="mso-spacerun: yes;"> </span></b><o:p></o:p></div>
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<b>Runners-up:</b> Cathy Peet, Sue Uhlig, Steph<o:p></o:p></div>
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<b>Grand prize winner: </b>A. David Lewis <o:p></o:p></div>
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Since I knew all of the
opening round of winners to some degree or another, I decided to spread rewards around further and drew
again, and then one final time for good measure. And so: <o:p></o:p></div>
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<b>2<sup>nd</sup> Runners-up: </b>Cathy Rosamond, Devin Berg, Tracy
Dawson & Parkes High School, NSW Australia<o:p></o:p></div>
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<b>2<sup>nd</sup> Grand Prize Winner: </b>Edgar Castro<o:p></o:p></div>
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<b>3<sup>rd</sup> Runners-up: </b>Ronelle Kallman, Donald
Davenport, @cogdog<o:p></o:p></div>
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<b>3<sup>rd</sup> Grand Prize Winner: </b>Sean Kleefeld<o:p></o:p></div>
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Special prize goes to Hattie Kennedy and Damon Herd for
sending their feet in from the UK within 20 minutes of my posting it! Winners
will be notified by email and I will mail rewards to provided addresses. <o:p></o:p></div>
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All have my gratitude for their contribution and for all
the support of this project. The roll call: <o:p></o:p></div>
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Hattie Kennedy, Damon Herd, Carly Piirainen Davis and
family, Ruud Cox, Maudi Cox, Alyssa Niccolini, Linda Allen, Marta Cabral &
anonymous, Sarah Chauncey, Paddy Johnston, Leigh Graves Wolf, A. David Lewis,
J. Nathan Mattias, Devin Berg, Cathy Peet, Russell Willerton, Chris Moffett,
Paul Tritter, Charles Shryock IV, Cathy Rosamond & Family, Adam Bush,
Marcus Weaver-Hightower and family, Kathleen Moore, +M, Jennifer, Louis Bury,
Rebecca Kuhlmann Taylor, Gray Evelyn Taylor, Remi Holden, Marcelle, Marcos,
Tim, Steph, Anna Smith, Sharon Farb, Leslie M, Todd Grappone, Eliza Lamb,
Donald Davenport, Vanessa Chang, Sean Kleefeld, Lauren Albert, Ivory Kris,
Maggie Whitten, Kurt Hozak, @cogdog, Edgar Castro, Ronelle Kallman, Sue Uhlig,
Pedro Cabral, Adele Holoch & boys, Tracy Dawson & Parkes High School,
NSW Australia, Elizabeth Branch Dyson, <span style="mso-bidi-font-family: Helvetica;">Samantha
Cooper, Jesse Carbonaro, Tracy Scholz, </span>Michael Hoffman, and Dean
Sousanis.</div>
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<o:p><br /></o:p></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiulzbtQxv_zLndt6wasXB7wUgcVTVxKNt6iY9Rvm9D7027t1fX0lDdjHjf-sGo-3AwiQfxHuKiy0xkNLJp1Ogz2iyG35wZk3VNKNxgIaKjmAINUDofuuyFPR-k8-5pry4_PdmqwzKAL9I/s1600/All+feet.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiulzbtQxv_zLndt6wasXB7wUgcVTVxKNt6iY9Rvm9D7027t1fX0lDdjHjf-sGo-3AwiQfxHuKiy0xkNLJp1Ogz2iyG35wZk3VNKNxgIaKjmAINUDofuuyFPR-k8-5pry4_PdmqwzKAL9I/s1600/All+feet.jpg" height="320" width="247" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A first test of all the feet re-traced on a single page</td></tr>
</tbody></table>
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Below, you’ll find acknowledgments from my dissertation,
more or less as they appear. (I'm thinking to do a more visual version of this for its post-dissertation form.) Since it isn’t readily available anywhere else
just yet, I thought it was important to share my words of gratitude in full here. I can say that the next steps for this work have been determined and that it will
be available in published form not too far off, of which I will speak of much more
at a later time. As for my own next steps? Those remain to be determined... </div>
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Thanks to all mentioned below and thanks to all who’ve been supporting this
project all along or just visiting for the first time… Onward! – Nick <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPQ-mog2FsNy3Yzgoz-bDI4Yg57HHqu2YbDibWZSiT7inM597vQED9H5aA1OQ0OLAK6JTJ4IraohpFm07_0RJK0pr1LlbGJO_PPVFpWijXzSMlkmdrZMDYIKOz7xjVACMryCQCEJQUXW0/s1600/diss+cover.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPQ-mog2FsNy3Yzgoz-bDI4Yg57HHqu2YbDibWZSiT7inM597vQED9H5aA1OQ0OLAK6JTJ4IraohpFm07_0RJK0pr1LlbGJO_PPVFpWijXzSMlkmdrZMDYIKOz7xjVACMryCQCEJQUXW0/s1600/diss+cover.JPG" height="320" width="240" /></a></div>
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ACKNOWLEDGMENTS<o:p></o:p></div>
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We don’t get where we’re going alone. The journey that
has been making this work has emerged from the conversations, advice,
inspiration, and support of those mentioned here, to whom I express my deep
gratitude.<o:p></o:p></div>
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I am moved by the openness from the outset with which my
advisor Professor Ruth Vinz embraced the decidedly unfamiliar territory that is
my work, and for her wise understanding that meaning making takes many forms.
As I meet others whose efforts to forge their own paths were stopped short by
those who possessed a narrow concept of what research can look like, I’m
particularly grateful for Ruth’s trust and encouragement for me to follow my
curiosity in the directions I needed to go. My advisor Professor Robbie
McClintock’s courses with his colleague Frank Moretti were a wellspring of
edification, and the thoughtfulness and humanity that both modeled in their
teaching have left a lasting impact on my thinking. I have a sense that Robbie
understood where I was headed before I did, and with a few thoughtful words
that stayed with me throughout the entire process, he helped me stay on track
and deepen my exploration between our ways of seeing and ways of learning.<o:p></o:p></div>
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I had the good fortune to happen upon Professor Maxine
Greene’s 90th birthday talk as my first outing at Teachers College. That
unexpected occurrence was a jolt of inspiration, which led me to her class, and
has since spiraled into an ongoing conversation that I cherish. Maxine’s
commentary as she read over my pages has been a constant source of delight, and
I’m extremely fortunate to have that opportunity to <a href="http://spinweaveandcut.blogspot.com/2011/03/in-print-maxine-says.html">engage with her spinning,whirling mind</a>. (Sadly, Maxine passed away two weeks ago, just a few
weeks after the defense. I <a href="http://www.spinweaveandcut.blogspot.com/2014/06/reflecting-on-maxine.html">wrote about her here</a>.) </div>
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Professor Mary Hafeli came on board near the end of this
journey as final reader but immediately brought with her tremendous insight,
support, and encouragement for which I am grateful and eager for conversations to
come. <i>(Please note, while university formatting requirements allow only a
candidate’s first two committee members to appear on the title page, both
professors Greene and Hafeli also served on my committee, and I want to make
special note of that here.) </i>Even at a distance, Professor Graeme Sullivan has
been a steady and extremely generous rock of support and counsel. His work and
dedication are ever an inspiration to keep pushing forward. And to Mary
Sullivan, for all her kindness, warmth, and encouragement. <o:p></o:p></div>
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There are many faculty members at Teachers College whose
contributions have helped shape and buoy this work throughout. This includes
courses and conversations with Judy Burton and Barbara Tversky, conversations
and boundless encouragement from Yolanda Sealey-Ruiz, Lalitha Vasudevan, Olga
Hubbard, Sheridan Blau, and the aforementioned Frank Moretti, whose absence is
a tremendous loss to the intellectual and human community of Teachers College.<o:p></o:p></div>
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I’m grateful for the support and advice from Vice Provost
William Baldwin and Provost Thomas James, and additionally grateful to them and
the award committee for the support and recognition of the Provost’s Doctoral
Dissertation Grant. A big thank you to Rocky Schwarz along with his team at TC’s
Business Services Center, including Aklilu, Michael, Isaac, and Chan, for their
generous support and dealing with my difficult and usually nearly last-minute
printing requests. Margaret Scanlon and Carey Reed in the English Ed office
were a bit of sunshine and a big help sorting through things throughout my time
at Teachers College. To Russell Gulizia for ensuring this all came together
properly. <o:p></o:p></div>
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I’m indebted to the conversations over the years between
my friend and collaborator Professor Fred Goodman, who is always prompting me
to turn things over and look from other sides. My <a href="http://spinweaveandcut.blogspot.com/2009/02/conversation-with-charles.html">conversations with CharlesMcGee</a> serve as a constant source of inspiration and are ever present in my
thinking and my voice. <o:p></o:p></div>
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I cannot emphasize enough what the impact of <a href="http://hastac.org/blogs/cathy-davidson/2012/03/05/dissertation-about-comics-comic-great-interview-nick-sousanis" target="_blank">Professor CathyDavidson’s championing of this work early on</a> has meant, and I am deeply
grateful for her support and that of the HASTAC community all along.</div>
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I’ve benefited from terrific, inspiring, and supportive
colleagues at Teachers College, including Andrea Kantrowitz, Marta Cabral, Tara
Thompson, Daiyu Suzuki, and Razia Sadik. I can’t say enough about Suzanne Choo,
the best partner I could have in navigating graduate school – our
collaborations and spirited bickering made this adventure so much the better. Ryan
Goble got me into this in the first place, and our conversations and his humor
have helped sustain me over the years. I am grateful to list Timothy K. Eatman,
Adam Bush, Donald Blumenfeld-Jones, Bill Ayers, Jim Hall, Anastasia Salter, and
Adam Bessie as colleagues and collaborators. I’ve been fortunate to draw
together wonderful colleagues in comics and education from across the country,
including Christy Blanch, Yen Yen Woo, Stergios Botzakis, Jarod Roselló, Marcus
Weaver-Hightower, and Andrew Wales. Friends old and new whose counsel and
insight have helped broaden my thinking: Susanne Beechey, Andy Malone, Matt
Sikora, Sambuddha Saha, Andrew Butler, Adam McGovern, Remi Holden, Alexander
Rothman, Andrea Tsurumi, Paul Hirsch, Lou Bury, Daniel Powell, Mark D. White, and
Meg Lemke. A special shout out to Leo Tarantino and Stephanie Huffaker, who
read chapters as I finished them and kindly shared their insight.<o:p></o:p></div>
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The support of REDACTED and the team at REDACTED Press
has been incredible, and I’m eager for our next steps together.<o:p></o:p></div>
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Thank you to Donald Brinkman for supreme generosity and
boundless curiosity, and for putting on an <a href="http://spinweaveandcut.blogspot.com/2013/07/microsoft-exhibition-wrap.html">amazing solo exhibition at MicrosoftResearch</a>! (<a href="http://spinweaveandcut.blogspot.com/2014/01/stories-mla-microsoft.html">Video interview from that occasion</a>.)<o:p></o:p></div>
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So much of this work has grown from conversations I’ve
had in public forums. Thanks for sharing the work to <a href="https://chroniclevitae.com/news/361-the-amazing-adventures-of-the-comic-book-dissertator" target="_blank">Sydni Dunn</a> and <a href="http://chronicle.com/article/A-Comic-Dissertation/131393/" target="_blank">NickDeSantis</a> respectively, at <i style="mso-bidi-font-style: normal;">The Chronicle for Higher
Education</i>, Katya Korableva for <a href="http://spinweaveandcut.blogspot.com/2012/10/interview-in-russian-journal-theory-and.html">Russia’s <i style="mso-bidi-font-style: normal;">Theory&Practice</i></a>,
John O’Reilly of the <a href="http://spinweaveandcut.blogspot.com/2013/10/varoom-drawing-comics-research-roundup.html">UK’s <i style="mso-bidi-font-style: normal;">Varoom Magazine</i></a>,
<a href="http://www.diamondbookshelf.com/Home/1/1/20/835?articleID=117751" target="_blank">Maureen Bakis</a>, <a href="http://civic.mit.edu/blog/natematias/unflattening-thinking-through-comics-nick-sousanis-at-microsoft-research" target="_blank">Nate Matias</a>, <a href="http://spinweaveandcut.blogspot.com/2013/04/beat-review-and-arts-journalism.html">Hannah Means-Shannon</a>, <a href="http://spinweaveandcut.blogspot.com/2013/01/dim-sum-descartes.html">Patrick Cox</a>, <a href="http://spinweaveandcut.blogspot.com/2013/01/talking-comics-as-way-of-thinking.html">Brooke Sheridan,Chris Malmberg</a>, Anthony Salcito of <a href="http://dailyedventures.com/?p=3837" target="_blank">Microsoft’s <i style="mso-bidi-font-style: normal;">Daily Edventures</i></a>, <a href="http://www.hybridpedagogy.com/journal/beyond-rigor/" target="_blank">Hybrid Pedagogy & Jesse Stommel</a>, <a href="http://5by5.tv/systematic/51" target="_blank">Brett Terpstra</a>, <a href="http://culturevisuelle.org/essaysincomics/?p=32" target="_blank">Nicolas Labarre</a>, <a href="http://educationalchemy.com/2012/07/30/escape-from-flatness/" target="_blank">Morna McDermott</a>,
<a href="http://radicalscholarship.wordpress.com/2013/08/06/thank-you-ken-lindblom-and-others/" target="_blank">Paul Thomas</a>, <a href="http://chronicle.com/blogs/profhacker/comics-in-the-classroom-and-beyond/40931" target="_blank">Anastasia Salter</a>, <a href="http://matthewfinch.me/2012/06/14/comics-in-the-classroom-guest-post-nick-sousanis-of-teachers-college-new-york/" target="_blank">Matt Finch</a>, and <a href="http://www.tc.columbia.edu/news.htm?articleID=8406&pub=6&issue=287" target="_blank">Siddhartha Mitter</a>. A big thanks
to Professor Jill A. Perry of the Carnegie Project on the Education Doctorate
who has been a rock of support and counsel all along. <o:p></o:p></div>
<br />
I am grateful for my involvement with the Association for
Interdisciplinary Studies and its similarly difficult-to-define membership,
including Bill Newell, Julie Klein, Roz Schindler, Rick Szostak, Angus
McMurtry, Tanya Augsburg, Jennifer Dellner, and James Welch, III. A similar
shout out goes to the folks of Imagining America and their PAGE graduate
fellows for welcoming me and their vision for and dedication to intersecting
arts and scholarship, academia and the larger public. Thanks to the support of
the Stanford Graphic Narrative Project/Ideograph Journal and my new friends and colleagues there:
Angela Becerra Vidergar, Vanessa Chang, and Haerin Shin.<br />
<div class="MsoNoSpacing">
<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
To my students at Teachers College, Parsons, back at
Wayne State University, and on the tennis courts, from whom I have learned so
much from about learning and teaching, and whose interactions have inspired me
to constantly expand my thinking.<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
In the comics world, I’ve benefited greatly from the
support and camaraderie from Scott McCloud, David Small, Ben Katchor, Lynda
Barry, Matt Madden, R. Sikoryak, Karen Green, Kent Worcester, Gene Kannenberg,
Jr., and Charles Hatfield.<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
For the inspiration and all that their work has made
possible for comics: Alan Moore, Scott McCloud, Art Spiegelman, Françoise
Mouly, Will Eisner, David Mazzucchelli, Frank Miller, Marjane Satrapi, Lynda
Barry, and Chris Ware.<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
A special thank you to my earliest comics collaborators:
Joe Jokinen, Matt Kaspari, Kyle Roberts, and Tim Newell.<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
Thanks to Russell Willerton and Everett Maroon, who
responded to my call for help in sentence diagramming!<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
To my dear departed <a href="http://spinweaveandcut.blogspot.com/2012/11/a-dogs-view.html">dog Sledge and his ways of seeing</a>
that stick with me and run through this work.</div>
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<br /></div>
<div class="MsoNoSpacing">
To my brother John, his wife Autumn, and their growing
family – a kaleidoscope of different eyes to learn from. A conversation with
Aurora Sousanis about testing day at school followed by watching her learn a
new skill on the monkey bars has served as an essential lesson to me about
what’s important in learning. To my brother Dan, with great appreciation for
opening my eyes to distinct ways of making in the world. <o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
To my parents Dean and Anne Sousanis, educators in the
best sense of the word, for their inspiration and endless support for my
explorations, and for instilling in me through their example the importance of
keeping one’s eyes open.<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
And of course, to my wife Leah. Having a partner who
understands you and can articulate your work better than you can is monumental.
From her tireless support and belief in me to her passionate editorial input
(!), her presence enriches everything I do. – W. N. S.<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing" style="text-align: center;">
DEDICATION<o:p></o:p></div>
<div class="MsoNoSpacing" style="text-align: center;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: center;">
For Rosalie Anne Goodbear Sousanis – and all the
possibilities that lay ahead for her…<u><o:p></o:p></u></div>
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nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com2tag:blogger.com,1999:blog-3179938923161170866.post-62463859639563978402014-06-04T22:04:00.002-07:002014-06-12T07:34:43.420-07:00Reflecting on MaxineThis day, I’ll sadly be attending the funeral of professor
<a href="http://www.tc.columbia.edu/news.htm?articleID=9496" target="_blank">Maxine Greene</a>. A <a href="http://www.tc.columbia.edu/news.htm?articleID=9496" target="_blank">legendary educator and philosopher,</a> Maxine was to me my
teacher, an advisor, and most importantly my friend. I wanted to share a few
thoughts on my time with her here. <br />
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I had the good fortune to happen upon Maxine’s lecture in
celebration of her 90<sup>th</sup> birthday at Teachers College shortly after moving
to NYC. I hadn’t known of her work beforehand and was absolutely thrilled with all that
I heard. I knew I’d found the right place to be a student – hearing Maxine
resonated strongly with my past years in ongoing conversation with celebrated
Detroit artist Charles McGee (only in his early 80s at the time). Despite all
his accomplishments, Charles has never been able to sit still, and is always
seeking new frontiers, guided by the mantra of “what’s next?” Deeply missing
our regular conversations, I now found myself in the presence of someone who
preached “I am what I am not yet,” and stated the importance of unanswered
questions. Where Charles spoke of there being no separation between art and
life, Maxine was getting at learning and by that, living, through the arts. (See <a href="http://www.thedetroiter.com/nov04/mcgee.html" target="_blank">here</a> and <a href="http://www2.metrotimes.com/arts/story.asp?id=8694" target="_blank">here for past interviews</a> with Charles, and here for <a href="http://spinweaveandcut.blogspot.com/2009/02/conversation-with-charles.html">my comic on him</a>.)</div>
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And so I made sure I’d be in her class when school started
up that fall. Sitting in the back of her living room classroom, I started
dreaming of how to capture her in comics. I quickly opted not to draw her
appearance, but rather her presence. And for me that came out as a top –
something that at times was motionless, seemingly lifeless, and when set spinning
had a dynamism to it that was unstoppable. This was Maxine – seemingly frail in
one moment and in the next like lightning in a bottle, bursting forth. I <a href="http://spinweaveandcut.blogspot.com/2011/03/in-print-maxine-says.html">turned in the comic for my main project</a> for class. Making a comic about your professor
may always be risky and depicting her as a top perhaps even more so. But I
suppose, I needn’t have worried. As Charles would have said, “I love the new!”
and similarly, Maxine quickly embraced a form of which she was more or less
unfamiliar and one that was dismissed over her long career within academia. (And
apparently she enjoyed the top metaphor enough that she gifted one to my wife
and me for our wedding…)<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdNMGKfgLewP229OIOeGRAeSn-wrS9Q9fQ5JsABallP-HeqSiswFKu3EBK8-BEftLEcGYqRYgLJHa1lTAUHZlhIDecCrSkxYyXvp8gWn2FbfXb39x4Q2Rp5tSX-1NAAGFvXfTq6kcI0Yg/s1600/Maxine+pull+cord.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdNMGKfgLewP229OIOeGRAeSn-wrS9Q9fQ5JsABallP-HeqSiswFKu3EBK8-BEftLEcGYqRYgLJHa1lTAUHZlhIDecCrSkxYyXvp8gWn2FbfXb39x4Q2Rp5tSX-1NAAGFvXfTq6kcI0Yg/s1600/Maxine+pull+cord.jpg" height="173" width="400" /></a></div>
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Of course, for those who knew her, this will not come as a
surprise in the least. <o:p></o:p></div>
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Fast forward a bit, as I was deep in the dissertation, any
time I’d accumulated a decent stack of new pages I’d visit Maxine to share the
work. And she’d read them forwards and backwards, commenting, asking questions
about the drawing, and always giving great intensity of attention. If her memory sometimes slipped in these last years, when it came to thinking about ideas –
she was still as sharp as anyone I’ve ever known – and able to make connections
across fields in a way that’s hard to describe. On many occasions, she’d talk
of wanting to draw, particularly the tree outside her window across Fifth Avenue
on the edge of Central Park. I did get her to draw in my notebook once, but not
sure she ever took to drawing the tree. I’d hoped to make a piece about the
tree and its forking branches with her, but that may be left to remain only in my
imagination.<o:p></o:p></div>
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On April 21<sup>st</sup> of this year, I had my dissertation
defense at Maxine’s home, where we were joined by my advisors Ruth Vinz and
Robbie McClintock, committee member professor Mary Hafeli, professor Yolanda
Sealey-Ruiz serving as witness, Daiyu Suzuki, my cohort, who’d been helping
run Maxine’s classes the last few years, and Maxine's devoted caretaker Anna. It was a lovely gathering all around,
but what stands out to me is the fact that at its end, my wife Leah brought our
then three-week-old daughter Rosalie by to join the celebration. Maxine was
transfixed and tickled by this new life and her wide eyes. Rosalie for her part
was silent and absorbed in looking around at this room of books and paintings.
I’m guessing she won’t remember it, but I will, and I will always be grateful
my daughter got to be in the presence of this powerfully bright spirit. Maxine
was always alive and awake to this world with a curiosity for exploration akin to a
newborn. I see the message in her work as reminding us of the wide-awakeness
that we enter this world with and something that burned strong in her over her
entire life. <o:p></o:p></div>
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I got the news of Maxine’s passing just before <a href="http://www.spinweaveandcut.blogspot.com/2014/05/ucla-and-fabric.html">speaking at UCLA last week</a>. Near the front of my slides was <a href="http://spinweaveandcut.blogspot.com/2011/03/in-print-maxine-says.html">that piece I’d made on Maxine</a>,
one of the first comics I made as a doctoral student and a work that set the metaphorical
tone for my explorations to come. It was a heavy pause, and one I hope I used
to open a new audience to her work. Even seeing Maxine in the hospital a few
weeks before her death, she still lit up, marveled at baby pictures, fretted
about not being able to host me properly, and wanted to talk ideas. I left
thinking she might be down for the moment but would be up and spinning again
before long. And we’d be back at her dining room table talking about education,
art, and what it’s like to be a baby or a tree once again.<o:p></o:p></div>
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It’s hard to imagine that I can’t stop by again, that I can't laugh with her again, that I
won’t hear her electrify another audience of educators. But I suppose I have to
accept it, as we all must, and what we can do is hold a part of that spirit
inside ourselves, and keep asking questions and being courageous in the way
Maxine that was. And in that, her energy keeps spinning through us, as we
impart it further outward. – Nick <o:p></o:p></div>
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(I’d promised a follow up on the foot project this week. Due
to this unforeseen event, I’ll address that next time around. Thank you. – N)</div>
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<ul>
<li>TC’s Timothy Ignaffo <a href="http://artsandhumanities.pressible.org/ahofc/profile-of-maxine-greene-professor-emerita" target="_blank">published a wonderful interview with Maxine</a> shortly before her passing. Grateful this conversation was captured.</li>
<li>Her former student and prominent educator Bill Ayers
reflected on his time with <a href="http://billayers.org/2014/05/31/247/8/" target="_blank">Maxine here</a>. </li>
<li>Educator professor Paul Thomas reflects on the impact of <a href="http://radicalscholarship.wordpress.com/2014/06/01/maxine-greene-released-to-a-new-landscape/" target="_blank">her legacy here</a>. </li>
<li>My colleague & Maxine's student <a href="http://daiyusuzuki.blogspot.com/2014/06/maxine-greene-there-are-no-final-words.html" target="_blank">Daiyu Suzuki's eulogy to Maxine</a>.</li>
<li>The New York Times' <a href="http://www.nytimes.com/2014/06/05/nyregion/maxine-greene-teacher-and-educational-theorist-dies-at-96.html" target="_blank">profile of Maxine</a>.</li>
<li>My <a href="http://spinweaveandcut.blogspot.com/2011/03/in-print-maxine-says.html">comic on Maxine which ended up</a> in the book <i>Dear Maxine: Letters from the Unfinished Conversation</i>.</li>
</ul>
nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com7tag:blogger.com,1999:blog-3179938923161170866.post-33377709283278511602014-05-27T21:44:00.000-07:002014-05-27T21:44:37.957-07:00UCLA and FabricThis week I'm taking a quick trip to Los Angeles to give a talk at UCLA's Charles E. Young Research Library. The talk is free and open to the public, Thursday May 29 at noon. See <a href="http://gsa.asucla.ucla.edu/briefing-room/calendar/2014-05-29/unflattening-dissertation-comics-form-reimagines-scholarship-prese" target="_blank">here for further details</a> if you're in the area or know folks who'd like to check it out. I'll be talking on and sharing from the now-completed dissertation (!) and we will be spending some time drawing together as well. Should be fun, and I'm grateful for the kind invitation and support from Sharon Farb and other members of the UCLA community.<br />
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<span style="font-size: small;">While this site has been a bit silent of late, life here has been anything but. Our daughter arrived just over two months ago(!) (you can <a href="http://www.spinweaveandcut.blogspot.com/2014/04/aera14-and-new-toes.html">see her toes here</a>). Five weeks ago, I defended the dissertation at the home of <a href="http://spinweaveandcut.blogspot.com/2011/03/in-print-maxine-says.html">Professor Maxine Greene</a> - with my supervisor professor Ruth Vinz, Robbie McClintock, Maxine, and Mary Hafeli. A celebratory gathering. But - despite having passed that milestone, I still had some drawings I wanted to do for the final version. So back to the drawing board before a narrowing date. And then - my hard drive failed - which would have been only a major annoyance and terrible slowdown, were it not for the fact that my external backup failed at the same time. Fortunately, the dissertation was intact on a flash drive, and I was able to get back to work not too long after, though the rest of my data from the last several years ultimately had to be restored via the elaborate and justifiably expensive data recovery process performed by the good folks at TekServ. Some advice - triple backups, don't use a Western Digital backup drive (if it fails, it can't be repaired), and paranoia is your friend when it comes to ensuring you don't lose your data! Anyhow, somewhere in there was graduation, as well as the graduation of many of students from my comics class at Parsons, and finally, yesterday - the final submission of the dissertation. And now that's put to bed. I thought I'd share one sneak peek from the seventh chapter - this deals with the threads - evolutionarily and biological - that make us who we are. The central figure is my redrawing from
Vesalius's classic anatomy drawings - which coincidentally and rather appropriately is titled “On the Fabric of Human Body.” This page was rather intense in the research that went into it not to mention its execution, and required some persistence - as it was begun before my defense, fortunately survived the subsequent hard drive crash unscathed, and I </span>finished it some time afterwards. </div>
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With all that's been going on, I've yet to announce the winners of my <a href="http://www.spinweaveandcut.blogspot.com/2014/03/foot-work.html">"put your foot in my dissertation"</a> contest. It's all done, I'm excited about how the pages came out, and I promise to share a look at it, and hope to notify winners and acknowledge all of you that participated from around the globe by next week. For those new to this work, this <a href="https://chroniclevitae.com/news/361-the-amazing-adventures-of-the-comic-book-dissertator" target="_blank">recent profile in the Chronicle of Higher Education</a> offers a good way to get up to speed quickly. Thanks for following along. Onward - Nick </div>
nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com0tag:blogger.com,1999:blog-3179938923161170866.post-57615876888934846522014-04-02T22:22:00.000-07:002014-04-03T20:26:26.994-07:00AERA14 and New Toes<div>
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<span style="font-family: Georgia, Times New Roman, serif;">This weekend, I'm off to Philadelphia for the American Education Research Association's (AERA) annual conference. I was to participate in three sessions, but because of exciting news on the home front (See below), I will be making a shorter trip of it and only making the Saturday and Sunday ones. I'll be giving away comics excerpts from my dissertation at my sessions - and if you want one and can't make the session - track me down while i'm at the conference. My colleagues at the Thursday session will kindly be sharing a <a href="http://spinweaveandcut.blogspot.com/2013/11/oxford-squared-science-and-arts.html">poster excerpting the work</a> (pictured) as well... </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">A quick rundown of the schedule for AERA: </span></div>
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<b><span style="font-family: Georgia, Times New Roman, serif;">Session 1: <a href="http://tinyurl.com/owxqo99" target="_blank">Comics in Education</a>: Innovating Research and Curriculum (roundtable) </span></b></div>
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<i><span style="font-family: Georgia, Times New Roman, serif;">Thu, April 3, 12:00 to 1:30pm, Convention Center, 400 Level, Terrace IV</span></i></div>
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<span style="font-family: Georgia, Times New Roman, serif;">This was to be a reunion with slight changes of a <a href="http://spinweaveandcut.blogspot.com/2013/04/five-talks-six-days.html">really enjoyable session from last year's AERA</a>, featuring <a href="http://graphicnovelresources.blogspot.com/" target="_blank">Stergios Botzakis</a>, <a href="http://www.supermooc.org/" target="_blank">Christy Blanch</a>, <a href="http://www.jarodrosello.com/" target="_blank">Jarod Roselló</a> , myself, and new member <a href="http://brooke.community.uaf.edu/" target="_blank">Brooke Sheridan</a>, who I first connected to through her <a href="http://brooke.community.uaf.edu/2012/12/" target="_blank">podcast on comics and education</a>, and <a href="http://spinweaveandcut.blogspot.com/2013/01/talking-comics-as-way-of-thinking.html">subsequent interview</a>. Due to a number of circumstances - it'll just be Stergios and Brooke - but their combined experiences teaching comics and teaching with comics should make for a great session for educators. Check them out!</span></div>
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<span style="color: windowtext;"><span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;">This session brings together scholars and researchers who teach with comics and on comics, practitioners who make comics as a form of research, and those who synthesize all these practices. Recent attempts to create a singular discipline of comics studies have neglected the curricular or educational possibilities presented by the medium. By building on existing scholarship and from our own research and teaching around comics, we showcase a range of possibilities for using comics, offering attendees a sense of existing research, emerging practices, and the ways we’ve all found this medium to be rewarding in our teaching and studies.</span></span></blockquote>
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<b><span style="font-family: Georgia, Times New Roman, serif;">Session 2: <a href="http://tinyurl.com/lfu5rh9" target="_blank">Aesthetics and Analysis: Method in the Practice of Arts-Based Educational Research</a> (demonstration/performance) </span></b></div>
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<i><span style="font-family: Georgia, Times New Roman, serif;">Sat, April 5, 2:45 to 4:15pm, Marriott, Fourth Level, 409</span></i></div>
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<span style="font-family: Georgia, Times New Roman, serif;">This session features Arizona State University professor Donald Blumenfeld-Jones and me discussing the feedback between analysis and aesthetics that drives the process of our arts-based research. A <a href="http://spinweaveandcut.blogspot.com/2013/05/aesthetics-and-analysis-conference-wrap.html">question from Donald in a session I was in last year resonated with me about the nature of my work</a>, and that led to us planning what I expect to be a dynamic conversation. Donald will be sharing dance and poetry and the process, and I'll be sharing pages from the dissertation, and reflecting on the feedback between image and text, aesthetics and analysis, form and content, and more from which the work emerges.<br />
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<b>Session 3: <a href="http://tinyurl.com/lsldm6d" target="_blank">In Symposium: Comics as Research:</a> Toward an Imaginative Methodology (workshop)</b></span><br />
<i><span style="font-family: Georgia, Times New Roman, serif;">Sun, April 6, 4:05 to 5:35pm, Marriott, Fourth Level, Franklin 13</span></i><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><a href="http://www.jarodrosello.com/" style="font-weight: normal;" target="_blank">Jarod Roselló</a> <span style="font-weight: normal;">and I discuss our comics dissertation projects, and then will lead participants through exercises in comics-making that reflect our particular ways of working and jump-start attendees into thinking about how to engage in this medium. I'll be doing the exercise I call "grids & gestures," a </span><a href="http://spinweaveandcut.blogspot.com/2013/07/microsoft-video-vsa-drawing.html" style="font-weight: normal;">sample of which can be seen here from my talk at Microsoft</a><span style="font-weight: normal;">. I'm pretty sure Jarod will have comics to give away, and I will for all sessions. (Page above from Ch6.5 - blank grid and resulting final page.)</span></span></h4>
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<span style="font-family: Georgia, Times New Roman, serif;"><b>Meanwhile</b>, you still have a few days left to <a href="http://spinweaveandcut.blogspot.com/2014/03/foot-work.html">leave your footprints in my dissertation</a>! I'm seeking tracings of feet of all shapes and sizes for inclusion in my final chapter. I've already gotten feet from across the US and Europe, but I'm still looking for a few more. See <a href="http://spinweaveandcut.blogspot.com/2014/03/foot-work.html">details here</a> - deadline Tuesday, April 8!</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b>Finally</b>, on a personal note - at 2:14am Thursday, March 27 - my wife Leah and I welcomed our daughter Rosalie Anne Goodbear Sousanis into the world. It's been a thrill watching her open her eyes to the world and each day we marvel more at her. A few years ago, my mom gave me her dog eared copy of Caroline Pratt's wonderful book on education, "I Learn from Children." Yes. Wonderful to experience the world alongside her. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">A few weeks to go to the dissertation defense and plenty of pages left to be drawn! But I welcome the chance to share in public forums and form new ideas from the conversation. New to this work? This <a href="https://chroniclevitae.com/news/361-the-amazing-adventures-of-the-comic-book-dissertator" target="_blank">recent interview in the Chronicle gives a good overview</a> of what i'm up to, and you can find excerpts to the dissertation by clicking the <a href="http://www.spinweaveandcut.blogspot.com/search/label/dissertation">dissertation label to the right</a>. Onward - Nick</span></div>
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nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com2tag:blogger.com,1999:blog-3179938923161170866.post-16395003786949244222014-03-20T05:36:00.003-07:002014-03-25T06:48:25.891-07:00Foot Work<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: start;">Leave your footprints on my dissertation – and win a signed page! (UPDATED w/deadline below)</span></div>
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5lKn-uHNVcoxL2282RCMOoGeZd1lyqwfVDwQRm4tiCGE0emb_vneiQMU-fEX-ixq6JS0_VRf3_pfl4lqT9lpQtp-JKtAKAvJRb9RsJ858j1PLM1Kom3ucf9QCDC_yycIcFwf_R4N8sBg/s1600/foot+stream.jpg" height="229" width="320" /></div>
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I’m nearing the finale of the dissertation, and for the
final chapter I’m seeking a little help from you – specifically in the form of
your feet. <o:p></o:p></div>
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Throughout the work, there have been a number of significant
scenes involving feet and shoes, in terms of the paths we tread and the
possibility of stepping out. (U of Wisconsin <a href="http://spinweaveandcut.blogspot.com/2012/08/flatland-interlude-conclues.html">graduate candidate Remi Holden</a>
used this particular three-panel sequence <a href="http://spinweaveandcut.blogspot.com/2013/08/new-horizons.html">from early in the dissertation</a> as <a href="http://vimeo.com/71452866" target="_blank">themantra of his keynote at the University of Michigan</a> last summer.)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEowCrmIiWu3f6ozdaaIu30a7fo390vNhYGmZy2gJv4Lqfmr73_V_YIxpxdkK21XN1m2eAZFMTsGP-IehtVevj4aUlFvuLdg-uMk6Wio9BVqWA0yY2sj7N3BBNwx6NmfLOW_kbT6EfSwQ/s1600/step+out.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEowCrmIiWu3f6ozdaaIu30a7fo390vNhYGmZy2gJv4Lqfmr73_V_YIxpxdkK21XN1m2eAZFMTsGP-IehtVevj4aUlFvuLdg-uMk6Wio9BVqWA0yY2sj7N3BBNwx6NmfLOW_kbT6EfSwQ/s1600/step+out.jpg" height="146" width="320" /></a></div>
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In the final chapter, I’ll be bringing some of these threads
together to reflect on education. Consider that my size 10 1/2s don’t look a
lot like someone else’s who happens to wear the same shoe size. And so if our
feet when held to the same standard are that different, how different must be
our ways of thinking… <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgw-zUadcRdWv8Bi-Mn8G0kM7CrTngtGA0cjpsjaFRPy5isc9L4oNcuhIM9P-a4pMZu41xdpwtdFA2_Z2wqlTlI-ZwaDj1CZyTuxabDuF7bKKpIZKiChfTNdWsLWbX7_7_ONb-dOIyBbo/s1600/baby+feet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgw-zUadcRdWv8Bi-Mn8G0kM7CrTngtGA0cjpsjaFRPy5isc9L4oNcuhIM9P-a4pMZu41xdpwtdFA2_Z2wqlTlI-ZwaDj1CZyTuxabDuF7bKKpIZKiChfTNdWsLWbX7_7_ONb-dOIyBbo/s1600/baby+feet.jpg" height="217" width="320" /></a></div>
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This is where you come in. Rather than making up distinct
foot shapes, I’m seeking a lot of outlines of people’s feet to use as visual
information for a sequence tackling this. I’m not exactly sure how the page or
pages will unfold, but I’m willing to embrace that uncertainty and see what
comes of this.<o:p></o:p></div>
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I’ll be looking broadly at two general categories – feet
comparable to my own, US M 10-11 and then ANY shoe sizes, to look at the
differences even between the shape of left and right. If I happen to get a ton
of one particular size, I may use that as my main focus instead. So that’ll be
up in the air till I see what comes in and start to play with it all. I welcome
the unexpected discoveries that surface. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd4JEKlX1roOnDlhQOuAkfYeMIo57gPxpz4dwyfqwBNFhcSPP9ARMbVqDLy0I3Q_evVyyKJCe3TSsIkYb90euIXqI4ltlPSX4FOhZWLKuGLiG_vljCrllrWGKyQr0oCesNLJuk9pbfW_w/s1600/my+feet+v2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd4JEKlX1roOnDlhQOuAkfYeMIo57gPxpz4dwyfqwBNFhcSPP9ARMbVqDLy0I3Q_evVyyKJCe3TSsIkYb90euIXqI4ltlPSX4FOhZWLKuGLiG_vljCrllrWGKyQr0oCesNLJuk9pbfW_w/s1600/my+feet+v2.jpg" height="217" width="320" /></a></div>
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If you’re up for it – what I need from you is simply this: trace
the outline of each one of your feet and then label it <i style="mso-bidi-font-style: normal;">right/left, male/female </i>(what shoe you wear, not your gender), and <i style="mso-bidi-font-style: normal;">US shoe size</i>. In my case, this looks like
<i style="mso-bidi-font-style: normal;">R, M, 10.5</i>, and <i style="mso-bidi-font-style: normal;">L, M 10.5</i>.<span style="mso-spacerun: yes;"> </span>Then scan or take
a digital photo of the tracing, low-resolution is fine (and preferred), as all
I need is a clear outline. Label the picture/scan as above without any
additional identifying information. Send it to me at nsousanis @ gmail.com with
subject heading “foot project” (or some clever pun if you’d prefer).<o:p></o:p></div>
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I will not identify your feet in any way in the work, and
will save all the image files in a folder without retaining the sender’s
information. I’ll be redrawing the outlines, for visual clarity and consistency
as well. <o:p></o:p></div>
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In appreciation of your support, I would like to credit you in
the acknowledgments of the dissertation – either your full name, if you choose,
or first name and last initial, or anonymous if you prefer. So let me know
which: “John Smith,” “John S,” or “please leave me anonymous”. <o:p></o:p></div>
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Additionally, for being such good sports, everyone who
submits a pair of outlines will be entered into a drawing to win a signed
11by17 inch print of one page from the dissertation. Three runners-up will
receive a signed-mini excerpt from the work. (Winners will be randomly
selected.) All will have my gratitude for the contribution and for all the
support of this project that I’ve been fortunate to receive. <o:p></o:p></div>
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UPDATE: To be eligible for the contest, foot outlines must be received by Tuesday, April 8!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfXsV0cGEJC1UfJE75By0je0Ba5trvK14PyoXLGWNBGcBdhPZfx2-9vFL1K7ZkFAZAQZSxA1uT4QtCGHIBjEc9YeKveXozCBuKgYFx1IKRSWgBorVHnG5kC9Aoj5pyHbCUSnAnp0Z1zEA/s1600/baby+shoes.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfXsV0cGEJC1UfJE75By0je0Ba5trvK14PyoXLGWNBGcBdhPZfx2-9vFL1K7ZkFAZAQZSxA1uT4QtCGHIBjEc9YeKveXozCBuKgYFx1IKRSWgBorVHnG5kC9Aoj5pyHbCUSnAnp0Z1zEA/s1600/baby+shoes.JPG" height="182" width="320" /></a></div>
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Lastly, this site may go particularly quiet as I’m in that
last push to finish and defend in late April. And any day now, my wife and I
will be welcoming our first child – and with her a whole new set of feet… <o:p></o:p></div>
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Thanks for the support! Onward – Nick <o:p></o:p></div>
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For folks new to the work, you can get up to speed quickly
in <a href="https://chroniclevitae.com/news/361-the-amazing-adventures-of-the-comic-book-dissertator" target="_blank">this recent profile in the Chronicle</a>, or click the dissertation link to the
upper right for more <a href="http://www.spinweaveandcut.blogspot.com/search/label/dissertation">excerpts from the dissertation</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxT02ZuixiK0lOyz9JcBXFgFkdup9_q5BNvmdOmCb3ue4k1glThb0SZ7dOPyxQQoFEC21wKgwGej6MJBNpk9pyaooUyXoTyifCVtgQz2OWiyPO21Gmq9OgZVqiirOKS0HgXEGdNJUKfGA/s1600/clockwork+feet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxT02ZuixiK0lOyz9JcBXFgFkdup9_q5BNvmdOmCb3ue4k1glThb0SZ7dOPyxQQoFEC21wKgwGej6MJBNpk9pyaooUyXoTyifCVtgQz2OWiyPO21Gmq9OgZVqiirOKS0HgXEGdNJUKfGA/s1600/clockwork+feet.jpg" height="116" width="320" /></a></div>
nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com1tag:blogger.com,1999:blog-3179938923161170866.post-14728268319060711422014-03-07T05:48:00.000-08:002014-03-07T05:56:45.770-08:00Coverage in the Chronicle and new page on Commuting This past week, the <a href="https://chroniclevitae.com/news/361-the-amazing-adventures-of-the-comic-book-dissertator" target="_blank">Chronicle of Higher Education kindly featured my dissertation work</a> alongside <a href="http://genericpronoun.com/" target="_blank">Dani Spinosa’s publicly-blogged</a> dissertation in-progress.
I’m overwhelmed by and grateful for all the support and enthusiasm this article
has generated. Writer Sydni Dunn provided <a href="https://chroniclevitae.com/news/361-the-amazing-adventures-of-the-comic-book-dissertator" target="_blank">an indepth look into some of the backstory</a> of how this came to be and its significance in pushing on the forms
for scholarship. She also went so far as to get the perspective of my advisors
<a href="http://spinweaveandcut.blogspot.com/2011/03/in-print-mind-gaps.html">Ruth Vinz</a> and <a href="http://spinweaveandcut.blogspot.com/2011/02/learning-pathways-untitled.html">Robbie McClintock</a>, whose openness to this work, I’m realizing I
take somewhat for granted as I hear stories of others trying to tread
alternative terrain of their own stopped short. I also appreciated the
inclusion of the question of “what’s next?” As I find myself in this moment
feeling quite fortunate to be doing work I want to do, to share it, and to
teach courses I am thrilled to be teaching (comics for educators at Teachers
College and a comics readings course at Parsons), I’m also particularly aware
that finding an institutional home going forward is a less than straightforward
proposition. You can find <a href="https://chroniclevitae.com/news/361-the-amazing-adventures-of-the-comic-book-dissertator" target="_blank">the article on the Chronicle's site here</a>.<br />
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Over the last few years, I’ve been extremely fortunate to
have had an ongoing public conversation as I developed this work through conferences
and talks. This has also included previous <a href="http://www.spinweaveandcut.blogspot.com/search/label/interviews">interviews</a>, including in venues based
in <a href="http://www.spinweaveandcut.blogspot.com/2012/10/interview-in-russian-journal-theory-and.html">Russia</a>, <a href="http://www.spinweaveandcut.blogspot.com/2013/01/talking-comics-as-way-of-thinking.html">Alaska</a>, <a href="http://www.spinweaveandcut.blogspot.com/2014/01/stories-mla-microsoft.html">Microsoft</a> (which also put on an exhibition of the work), <a href="http://www.spinweaveandcut.blogspot.com/2013/10/varoom-drawing-comics-research-roundup.html">the UK</a>, and in the <a href="http://chronicle.com/article/A-Comic-Dissertation/131393/" target="_blank">Chronicle before</a> I'd drawn anything. This most recent article, sprang from a feature <a href="http://chronicle.com/article/4-Years-Is-Enough-and/144767/" target="_blank">mentioning the work in the Chronicle</a> on this year's MLA meeting. Also, in the interest of completeness, <a href="http://www.bedfordstmartins.com/catalog/Product/understandingrhetoric-firstedition-losh" target="_blank">Liz Losh, author of Understanding Rhetoric</a> in comics form, included the work in her recent post on <a href="http://blogs.bedfordstmartins.com/bits/elizabeth-losh/comics-and-scholarship/loshalex/" target="_blank">comics and scholarship</a>. </div>
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I was particularly delighted to see my dear, <a href="http://spinweaveandcut.blogspot.com/2012/11/a-dogs-view.html">departed dog prominently</a> in the Chronicle of all places! This page began as an aside and has
in many ways come to summarize the core of the work – that we make sense of our
world by many different and diverse modes. And as I said in the interview, my approach from the start
to do my doctoral work in comics form was “why not?” – of course one can do
smart thinking in comics. Why does any form/mode have a claim on what thinking
looks like and what counts? Because that’s how it’s been and stuck in that mindset,
we only recognize thinking that looks like thinking that has come before. Which
of course influences what learning looks like and how it is constructed.<br />
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Along these lines, lately I’ve been talking about how when I
studied mathematics (my undergraduate work), people would say to me, ‘oh, you’re
so smart.’ When they know about my work in comics, they’ll say, ‘you’re so
talented.’ As I reflect on it now, I think I was talented at <a href="http://www.spinweaveandcut.blogspot.com/2014/02/scheherazade-art-science.html">mathematics</a>, whereas
I see the art I do as smart – and as I said in the article, by collaborating
with the visual, my comics are smarter than the work I do in text alone. These
arbitrary labels, these <a href="http://spinweaveandcut.blogspot.com/2012/06/boxes-dissertation-pages.html">boxes we divide ourselves</a> into, that put a limit on what we
can be. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIqqT0CZWB2qnn-vCD8e0KOsd1EjkQKpuvvnxcMY6JhgZYaapoE974JRU-bj_W6v-LcYbpfxlZSyo3RyTIypYKzFMqu3nz50vyTarzoh9Xf3XPIwpYrJuu6L8obe7sGmR88px3h7_juCg/s1600/Jsmall+Ch6+Routes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIqqT0CZWB2qnn-vCD8e0KOsd1EjkQKpuvvnxcMY6JhgZYaapoE974JRU-bj_W6v-LcYbpfxlZSyo3RyTIypYKzFMqu3nz50vyTarzoh9Xf3XPIwpYrJuu6L8obe7sGmR88px3h7_juCg/s1600/Jsmall+Ch6+Routes.jpg" height="320" width="247" /></a></div>
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In relation to all this, I want to share one new page here
that speaks to the <a href="http://spinweaveandcut.blogspot.com/2013/07/ch3-finale.html">unique quality of comics to do two things</a> at once – hold two
ideas in a single space – which is also very much where my <a href="http://spinweaveandcut.blogspot.com/2012/09/parallax-and-eratosthenes.html">philosophical concept of unflattening</a> evolved from. In this page from the chapter “Ruts” (regarding the patterns of behavior, the ways of seeing in which we find ourselves entrenched), I
wanted to demonstrate commuting as a kind of rut, and contrast it with <a href="http://www.expecttobefit.com/" target="_blank">my wife’s commute</a> – a non-repeating dance around the city taking her to various locations
in unique configurations each day. I connected this to the Situationist’s idea
of the dérive – literally to drift. Most likely I will talk about this page as
part of one of my sessions at the upcoming AERA conference, and my thoughts on
it grow out of a <a href="http://spinweaveandcut.blogspot.com/2013/05/aesthetics-and-analysis-conference-wrap.html">presentation there last year on how the work isn’t about illustrating ideas rather it’s having the visual embody</a> the ideas. Here, I thought about how
my wife’s paths mapped onto the NYC map could drift across the page while
statically in the background, the repetitive commute becomes pattern. It’s a
simple enough of an idea – but one I think is richer in comics form in the ways
that the two visually contrast and speak to one another. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmlB1DkgHTknCY2HesKVRDgIPQxIJrUpsZJ2sC8EhIzFpKOR-0Ge6eYDRy9DLZCaxQdU-TOJifHtIe9kZXuRLjctE1EExJLvsI728jbCmmLK2nwMvK4bB-XOJ-wwWwwYd09Yd6Uf3r420/s1600/sousanis+diss+outline.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmlB1DkgHTknCY2HesKVRDgIPQxIJrUpsZJ2sC8EhIzFpKOR-0Ge6eYDRy9DLZCaxQdU-TOJifHtIe9kZXuRLjctE1EExJLvsI728jbCmmLK2nwMvK4bB-XOJ-wwWwwYd09Yd6Uf3r420/s1600/sousanis+diss+outline.JPG" height="320" width="240" /></a></div>
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Finally, on a more personal note, I’m buying yogurt now with
use-by dates beyond the expected arrival of my wife’s and my first child, so this
site will likely be a bit silent as we welcome that new experience and I try to
bring the dissertation to a close. (I'm sharing my original outline here, I've got the final two columns to draw!) I do have one more
post planned before then – a request for some crowdsourcing legwork (or
footwork!) for something for the final chapter. Stay tuned and thanks for the
support. Onward. – Nick <o:p></o:p></div>
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nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com5tag:blogger.com,1999:blog-3179938923161170866.post-72721393694273417972014-02-06T05:46:00.001-08:002014-02-06T07:01:42.898-08:00Scheherazade, Art & Science<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: inherit;">Finished <a href="http://www.spinweaveandcut.blogspot.com/2013/12/ch5-saccades-superheroes.html">Chapter Five</a> a little while back and now racing through
Chapter Six, and wanted to share the page on stories I <a href="http://www.spinweaveandcut.blogspot.com/2014/01/stories-mla-microsoft.html">teased an excerpt of earlier</a>.
This page takes up the importance of stories, with Scheherazade as point of
inspiration I build around. I had in mind book pages, frames that expanded from
one another, snaking back and forth across the page, with the idea that like
the stories within stories that make up the 1,001 Arabian Nights, each panel
contains an element of the prior one, either zoom-like (ala the classic Eames’
film/book <a href="http://www.powersof10.com/" target="_blank">“Powers of 10”</a>) or via more metaphorical links. But it was important idea-wise for me to talk
about stories as not only fanciful tales, but the imagination of scientists –
and so in seeking an appropriate example, I came across the work of Columbia
University Professor of Arabic and Islamic science George Saliba, who has shown
that <a href="http://www.columbia.edu/~gas1/project/visions/case1/sci.2.html" target="_blank">astronomers working in the Arab Golden Age</a> whose relatively unknown
contributions made the revolutionary work of Copernicus possible (and
<a href="http://www.spinweaveandcut.blogspot.com/2012/09/copernican-revolutions.html">Copernicus was taken up in an earlier chapter</a>). Specifically, I ended up reading about Nasir al-Din al-Tusi and his
explanation for a particular kind of observed planetary motion now called the
Tusi Couple.</span></div>
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<span style="font-family: inherit;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizaYrVxYnVrCTAfib8IBZwpqi9YGbyPLVXWgjOA0CfTJ8kG0S6kjIeYguk3P1bVuETEUv_DyOUGH-7xjI-kiKHxQxNd5DkZT7BgUtGCGoo5mTq91TUuyWP4ranhXaiUyA9ni6MIfxhfIM/s1600/Jsmall+Ch5+Stories.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizaYrVxYnVrCTAfib8IBZwpqi9YGbyPLVXWgjOA0CfTJ8kG0S6kjIeYguk3P1bVuETEUv_DyOUGH-7xjI-kiKHxQxNd5DkZT7BgUtGCGoo5mTq91TUuyWP4ranhXaiUyA9ni6MIfxhfIM/s1600/Jsmall+Ch5+Stories.jpg" height="320" width="247" /></span></a></div>
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<o:p><span style="font-family: inherit;"><br /></span></o:p></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: inherit;">It ended up being an intense search trying to make sense of the
history and mathematics well enough to use it for essentially all of three panels
that tied into the series of transitions. Not great for finishing this all on
my increasingly tighter deadline, but rather a thrill as ideas swirled together
and the collision of my aesthetic decisions and research took me unexpected
places. Had I been doing this only in text – I might’ve mentioned that by
stories I meant science too – and moved on. But because of the visual schema I
set forth, I had to find ways to hold it together visually, which made me
search further. Those two forces conspired to make a stronger page than I had
any inkling of doing otherwise. <o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: inherit;">In talks of late, I’ve been saying that my comics are smarter than I
am. It’s not meant to be cheeky. In engaging spatially with image and text,
ideas and aesthetics, I find I’ve got a powerful cohort of collaborators, that
in some sense, as I said at MLA recently, “have their way with me.” <o:p></o:p></span></div>
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<o:p><span style="font-family: inherit;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMH41-ADlZxu-nVmBp4ytCOFyU3L307Wv0pnDY8YrJ0YcZN8mKfiCB_HfQhl_VS4-wkT9Y8BiQ-dM-uCDImMyOpXwwWhEIL3u_zp3QM2kFixIBGwAVhowcpgoUYao5jiUAVgSZMplSqOc/s1600/Sousanis+PAGE+on+college.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMH41-ADlZxu-nVmBp4ytCOFyU3L307Wv0pnDY8YrJ0YcZN8mKfiCB_HfQhl_VS4-wkT9Y8BiQ-dM-uCDImMyOpXwwWhEIL3u_zp3QM2kFixIBGwAVhowcpgoUYao5jiUAVgSZMplSqOc/s1600/Sousanis+PAGE+on+college.jpg" height="114" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Comic strip on <a href="http://www.spinweaveandcut.blogspot.com/2012/06/arts-humanities.html">arts and humanities</a></td></tr>
</tbody></table>
</span></o:p></div>
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<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">And so that makes me think of the <a href="http://www.insidehighered.com/news/2014/01/31/obama-becomes-latest-politician-criticize-liberal-arts-discipline" target="_blank">President’s recent careless dissing of the humanities</a> (art history taking the biggest hit)
– which I don’t believe he meant nor would he agree with the statement if
pushed. (Columbia U art history doc student <a href="http://the-toast.net/2014/02/04/in-defense-of-art-history/" target="_blank">Tina Rivers had a great response here</a>.) But it points to a larger problem: the tendency to divide into
factions, to set up us versus them in this case, arts versus sciences (the
divide CP Snow identified way back as “The Two Cultures”). And in some sense
this is at the heart of what I’m getting at with “unflattening” in the
dissertation and maybe throughout all of my work. My <a href="http://www.spinweaveandcut.blogspot.com/search/label/political">political comics</a> sprang
from the idea of needing to <a href="http://www.spinweaveandcut.blogspot.com/2008/10/seeing-red-feeling-blue.html">talk to one another across artificial boundaries</a>
and get <a href="http://www.spinweaveandcut.blogspot.com/2012/11/labels.html">beyond labels</a>. Consider the simple fact that in seeing through two eyes we gain perspective and access to depth. Lacking that, our world is somewhat more flat. To engage
with our world in a different way, we need multiple viewpoints, multiple modes
and ways of seeing. And we need these <a href="http://www.spinweaveandcut.blogspot.com/2012/10/discussions-of-interdisciplinarity.html">vantage points to both be a decent distance apart</a>, so that they offer us distinct views, but also that they continue to communicate. Separate yet strongly connected.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSG9lXVNM7XQ4nZCNwKCjei45hNAlSIFbZGJMi705sKPW1-Yf2u3oM5g6qo9PIqxDKY-UlCN-MBaVZw_eeiIIhs9f2wsRjhH4CCebmpJ7R_VausVRkVghpmyRfdslQagfI_Nhc1V8X-60/s1600/Jsmall+Across+the+Gaps.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSG9lXVNM7XQ4nZCNwKCjei45hNAlSIFbZGJMi705sKPW1-Yf2u3oM5g6qo9PIqxDKY-UlCN-MBaVZw_eeiIIhs9f2wsRjhH4CCebmpJ7R_VausVRkVghpmyRfdslQagfI_Nhc1V8X-60/s1600/Jsmall+Across+the+Gaps.jpg" height="320" width="247" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From <a href="http://www.spinweaveandcut.blogspot.com/2012/10/discussions-of-interdisciplinarity.html">Chapter Two</a> - The Importance of Seeing Double and then some...</td></tr>
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<span style="font-family: inherit;">To be better thinkers, to be more whole in our
thinking, we need engage the various viewpoints, the </span><a href="http://www.spinweaveandcut.blogspot.com/2012/11/a-dogs-view.html" style="font-family: inherit;">different ways of seeing</a><span style="font-family: inherit;">, that we have
at our disposal. In a grand sense, this means not </span><a href="http://www.spinweaveandcut.blogspot.com/2012/06/arts-humanities.html" style="font-family: inherit;">building barriers between the arts and the sciences</a><span style="font-family: inherit;">. My page as described above, speaks to keeping communication </span>open<span style="font-family: inherit;"> between the arts and sciences and respecting the different views they each make possible. The stories we fashion - of all types - are essential. We need to be many-eyed to tackle challenges in a
more dimensional way – and need to cultivate the multitudes of approaches of which we all possess. <o:p></o:p></span></div>
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<span style="font-family: inherit;">Onward! – Nick</span></div>
nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com8tag:blogger.com,1999:blog-3179938923161170866.post-91094818416890099432014-01-08T05:28:00.005-08:002014-01-28T19:22:52.396-08:00Stories, MLA, & Microsoft<div class="separator" style="clear: both; text-align: center;">
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I'm nearly finished with chapter <a href="http://www.spinweaveandcut.blogspot.com/2013/12/ch5-saccades-superheroes.html">Five, which takes up the imagination</a>, and sharing a small excerpt from a page here. It's about stories, and stories within stories - thus Scheherazade makes an appearance. Visually, i'm playing with something like the book Zoom or Powers of 10, but as the page continues to snake along, it does some different tricks as well. For the part unseen, I switch from fanciful tales to astronomers, specifically work done by astronomers working in the Arab Golden Age, whose works played a significant role in providing a crucial piece for Copernicus to construct his heliocentric <a href="http://www.spinweaveandcut.blogspot.com/2012/09/copernican-revolutions.html">Revolution, which was discussed earlier here</a>. So, time-wise, three days of tangential research for what amounts to about three or four small panels, seems crazy, but I had a blast learning the history and the mathematics that went into this, and it transformed the entire page into something richer and unexpected for me to say the least!<br />
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This week, I'm off to Chicago for the convening of the Modern Language Association (MLA) conference. There I'll be participating in session #S173 titled "<a href="http://beyondtheprotomonograph.commons.mla.org/presentation-topics/" target="_blank">Beyond the Protomonograph</a>." The session organized by Daniel Powell at the University of Victoria, BC, looks at different forms of scholarly research, those reimagining how dissertations can be presented. I'll be sharing from my dissertation and talking comics and visual thinking more broadly, as a legitimate form of scholarship. (<a href="http://beyondtheprotomonograph.commons.mla.org/presentation-topics/#nicksousanis" target="_blank">Session abstract here</a>.) You can get a sneak peek at some of the ideas and images, with a look at the poster I made for <a href="http://www.spinweaveandcut.blogspot.com/2013/11/oxford-squared-science-and-arts.html">Oxford Illustration conference</a>, which I'm sharing again here. If you're coming to MLA - swing by, I'll have free comics samples! And if you can't make the talk - track me down - you can still have a sample... Looking forward to meeting and learning about my fellow panelists - a wide range of different approaches will be explored! Thursday from 7- 8:15 in the Northwestern-Ohio State room, Chicago Marriott, S173.<br />
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There is a whole category devoted to comics studies at MLA, which Charles Hatfield has listed on the <a href="http://graphicnarratives.org/2013/09/22/mla2014overview/" target="_blank">comics and graphic narratives site here</a>, as well as some unofficial panels with comics featured, including mine, <a href="http://graphicnarratives.org/2013/10/28/othercomicsstudies2014/" target="_blank">listed here</a>.<br />
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<span style="font-family: inherit;">Finally, last summer I had an exhibition and gave a talk at Microsoft research. I documented a <a href="http://www.spinweaveandcut.blogspot.com/2013/07/microsoft-exhibition-wrap.html">bit of that here</a>, and <a href="http://www.spinweaveandcut.blogspot.com/2013/07/microsoft-video-vsa-drawing.html">posted a video from the talk itself here</a>. Donald Brinkman, my host there and his team created a video taking a look at the show, and featuring an interview of me talking comics, education, and interdisciplinarity. It's neat - and it's short, and I'm grateful for the documentation of the show. It's on <a href="http://www.youtube.com/watch?v=j5SicXrnOYU&feature=youtu.be" target="_blank">YouTube here</a>, and if the embed worked, should be below. (Update, embed sort of works, seems to truncate the left side - probably best to watch on <a href="http://www.youtube.com/watch?v=j5SicXrnOYU&feature=youtu.be" target="_blank">YouTube</a>.)</span></div>
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<span style="font-family: inherit;">Thanks for following along! - Nick </span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/j5SicXrnOYU?rel=0" width="560"></iframe>nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com0tag:blogger.com,1999:blog-3179938923161170866.post-63484268472436815042013-12-19T05:47:00.000-08:002014-01-28T19:23:05.818-08:00Ch5 Saccades and SuperheroesPlugging away at Chapter 5, addressing the imagination as way of seeing. (I posted the <a href="http://www.spinweaveandcut.blogspot.com/2013/12/ch5-pointland-plus-rumpus.html">opening to the Chapter here</a>.) Given that the entire work is taking up the ways in which we see as metaphors for how we think and how we learn, for this chapter I want to explore the link between perception and imagination. I'd almost introduced <a href="http://en.wikipedia.org/wiki/Saccade" target="_blank">saccadic motion</a> in the previous chapter, but it didn't quite work, and it fit neatly into what I was exploring here. Briefly, saccades are the rapid movements are eyes make several times a second, where they fix on a target and then zip off and focus on another. As Pelaprat and Cole (and others) surmise, it is the imagination that fills in the gaps, that creates a seamless whole from all these disconnected fragments. (I recommend their article "Minding the Gaps", which also discusses <a href="http://scottmccloud.com/" target="_blank">Scott McCloud's</a> idea of the gaps in comics! It's <a href="http://xlchc.ucsd.edu/assets/media/13255595974f026f2dd3f81815186418.pdf" target="_blank">available in its entirety here</a>.) (Also, I did discuss saccadic motion in a piece I did a few years back, coincidentally titled <a href="http://www.spinweaveandcut.blogspot.com/2011/03/in-print-mind-gaps.html">"Mind the Gaps"</a> as well.) Anyhow, I wanted to draw the link between the work on eye movements, touched off by <a href="http://www.cabinetmagazine.org/issues/30/archibald.php" target="_blank">Alfred L. Yarbus</a>, and transform the map of tracked eye movements into a picture. I did my best to estimate the sequence of movements Yarbus had tracked and overlaid them on a rather famous face, and proceeded to draw sixty separate little squares from there, before building it up into the single image at bottom. As a side note, I'd like to see this animated, with the map of movements alongside the developing picture. Perhaps...<br />
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Also, what's a chapter on Imagination without words from Maxine Greene? Well, she's actually on the page prior, which I didn't post, though the words on this page "to encounter" reach back to what I cited "Is it not imagination that allows us to encounter the other as disclosed through the image of that other's face?" The reason for using this famous face here, is also a call back to Maxine's passage. Click <a href="http://www.spinweaveandcut.blogspot.com/2011/03/in-print-maxine-says.html">here for my comic on Maxine</a>.<br />
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The second excerpt here (and note that these are not consecutive pages), is a rare directly personal note in this narrative, (a previous one introduced my <a href="http://www.spinweaveandcut.blogspot.com/2012/11/a-dogs-view.html">dog's sense of smell as a way of seeing</a>). Here I give Lockerman, the superhero I created in junior high, a brief cameo, to discuss a different aspect of the imagination, and eventually these seemingly separate views will weave together. He appeared also briefly <a href="http://www.spinweaveandcut.blogspot.com/2009/09/bibliography-final-version.html">in my piece "Bi(bli)ography"</a> and some similar themes will crop up here. And what's a dissertation if you can't draw at least one superhero in it!? A curious note, in his earliest outings, Lockerman often referred to his rather outlandish headgear as originating from a windmill he'd met, and despite my not having read Quixote at the time, those early adventures were rather Quixotic. Also, I'm frequently asked what my next project will be after the dissertation - to which I occasionally respond - to draw a superhero comic. While that may not end up being the case, it's fun to revisit an old friend. Onward - Nick </div>
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nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com0tag:blogger.com,1999:blog-3179938923161170866.post-8677705616165271762013-12-05T05:42:00.001-08:002013-12-05T05:42:15.431-08:00Ch5 Pointland plus RumpusSo I'm plugging away on drawing Chapter Five, and wanted to share a little preview. In this excerpt, we make a return to EA Abbott's <i>Flatland</i>, which was initially <a href="http://spinweaveandcut.blogspot.com/2012/08/visiting-ea-abbotts-flatland.html">introduced in the Interlude between Ch1 and Ch2</a>, and has subsequently been referenced throughout. But I'm using this two-dimensional world here, and the even more bizarre situation of the zero-dimensional realm of Pointland as a way of introducing this chapter that takes up the imagination. You'll see a call back as well to the earlier definition of <i>unflattening</i>, and the symbol for it, which was first <a href="http://www.spinweaveandcut.blogspot.com/2012/09/parallax-and-eratosthenes.html">introduced in Ch2</a>, emerging from thinking of <a href="http://www.spinweaveandcut.blogspot.com/2012/09/parallax-and-eratosthenes.html">Eratosthenes's calculation of the circumference of the earth</a>.<br />
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Also, my recent <a href="http://nycomicssymposium.wordpress.com/2013/11/19/68th-meeting-nov-25-at-7pm/" target="_blank">NYComics Symposium talk</a>, alongside cartoonist and author of <a href="http://iknowashortcut.com/" target="_blank"><i>Iron Bound, </i>Brendan Leach</a>, was written up by <a href="http://andreatsurumi.com/" target="_blank">terrific artist Andrea Tsurumi</a>, for the ongoing feature on the symposium on <a href="http://therumpus.net/2013/11/the-new-york-comics-symposium-brendan-leach-and-nick-sousanis/" target="_blank">the Rumpus - check it out here</a>. (Past <a href="http://spinweaveandcut.blogspot.com/search/label/Talks">talks here</a>.) It was a great night at the symposium, Brendan's talk featured live music from the soundtrack accompanying his graphic novel, and I had some of the most engaging questions I've had - i'm still thinking about! If you're in NYC, definitely recommend coming by for a symposium session sometime.<br />
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Ok, Chapter Five isn't going to draw itself, and I need to start on Ch6 in a few days... Onward - Nick<br />
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nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com4tag:blogger.com,1999:blog-3179938923161170866.post-55249467241921421642013-11-20T05:50:00.001-08:002013-11-20T10:51:11.893-08:00Classes and Symposium talkI'm pleased to report that this spring I'll be teaching my comics for educators course once again, at Teachers College, Columbia U. This will be the fourth time we've offered this course, and each one has been a rewarding experience and I'm eager to connect with the next group of students. We talk theory, explore a range of titles, authors, and genres, all while doing a lot of hands-on making. Ultimately my students create plans for what they'll do using comics (and visual thinking more broadly) with their students in their own classrooms and other educational contexts. I find it rather amazing to have begun my own post-highschool education at a time when doing comics was definitely not something one did in school, and to now be working with teachers to integrate comics into their classrooms (and then there's the matter of dissertation as well). It's a sea change and exciting times! For more info about the class, please <a href="http://comicsclassroom.wikispaces.com/" target="_blank">see the wiki I maintain, which is full of resources around comics and education</a>. While it was made to serve the class, I've made the resources available for anyone out there interested in similarly incorporating comics into education. <a href="http://comicsclassroom.wikispaces.com/" target="_blank">Check it out</a>!<br />
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At the same time, I'll be once again teaching the Reading Graphic Novels course at Parsons. I had a wonderful crew of students for my first time there last spring, and thrilled to be back again. As the title indicates, this class is more focused on getting to know a lot of texts - but at the same time, I've had them make creative responses to each of the works we've read (many of which we've then shared with the authors themselves - including Ellen Forney, David Small, and Art Spiegelman). For their finals, they went in all sorts of directions that connected comics to their personal work interests - and produced some terrific projects, which I plan to share here in the near future. <i>(This is potentially my last time teaching at these particular institutions, due to that little thing called graduating - and being encouraged to leave the nest, or find another home. But, I look forward to bringing this work to a new home in the coming year.) </i><br />
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Also, next monday, November 25, I'll be presenting on my dissertation at the <a href="http://nycomicssymposium.wordpress.com/2013/11/19/68th-meeting-nov-25-at-7pm/" target="_blank">68th meeting of the NY Comics and Picture-Stories Symposium</a>. This weekly meet up was set in motion by legendary New York cartoonist Ben Katchor, and i was fortunate to attend the first session and ended up presenting the next meeting. As a comics-maker in academia - I end up talking comics to a lot of folks for whom comics are a new thing, so attending this symposium frequently over the last year and a half has been a wonderful opportunity to expand my cohort and get to know and learn from a wide range of established and emerging cartoonists/artists/scholars. Brooklyn cartoonist <a href="http://iknowashortcut.com/" target="_blank">Brendan Leach will be speaking the first hour about his new book "Iron Bound"</a> from Secret Acres press (which includes a super-cool flexi-disk audio soundtrack to accompany his gritty tale of Jersey street gangs in the early 60s). I'll be sharing images and talking ideas on comics and perception as a way of thinking from my dissertation. For a little overview of some of this, I <a href="http://spinweaveandcut.blogspot.com/2013/11/oxford-squared-science-and-arts.html">recently made a poster for a conference</a> out of clips from the dissertation accompanied by additional narration. Please note, this poster is not my dissertation - it's simply a poster! If you want to see the comics pages from the dissertation itself - please <a href="http://www.spinweaveandcut.blogspot.com/search/label/dissertation">click the "dissertation" tab/label at the upper right</a>.<br />
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<a href="http://nycomicssymposium.wordpress.com/2013/11/19/68th-meeting-nov-25-at-7pm/" target="_blank">NY Comics Symposium meets Monday, November 25th at 7pm</a> at Parsons, the New School. Hope to see some of you there! - Nick <br />
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<br />nsousanishttp://www.blogger.com/profile/17429425918129367802noreply@blogger.com0tag:blogger.com,1999:blog-3179938923161170866.post-51672239968197419882013-11-15T06:33:00.002-08:002013-11-15T15:34:42.339-08:00Ch4 Finished<div class="separator" style="clear: both; text-align: left;">
Chapter Four is finished!! After <a href="http://spinweaveandcut.blogspot.com/2013/07/ch3-finale.html">Chapter Three</a> dealt heavily with the distinction between visual and verbal modes, and some theorizing on the capacities of the comics form, this chapter dealt with perception, how drawing works, the creative process in general (and mine more particularly), and sought to expand the notion of what thinking is. I've only shared little excerpts from it <a href="http://www.spinweaveandcut.blogspot.com/2013/08/new-horizons.html">here</a> and <a href="http://www.spinweaveandcut.blogspot.com/2013/09/marks.html">here</a>, and going forward in my sprint to the finish - that'll likely continue to be the case. You can get a little <a href="http://www.spinweaveandcut.blogspot.com/2013/11/oxford-squared-science-and-arts.html">overview of the whole project in the poster I made for the Oxford Illustration conference</a> (also shared again below). </div>
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The first excerpt here, takes on some of the specifics of my conception of my creative process. This was somewhat discussed <a href="http://spinweaveandcut.blogspot.com/2012/04/spin-weave-and-cut-gets-logo.html">earlier in regards to the genesis of the Spin/Weave/Cut logo</a>, and I delve a bit deeper into it colliding ideas about DJ process, weaving, and DNA. I was stuck (for a couple weeks) finishing a page about how the creative process takes on a life of its own, until reflecting on the ultrasound I'd seen of our expectant arrival, I made a sketch from that that just made all the other pieces come together. And demonstrated what I was trying to force all that time. Thus, at T- 5 months, my unborn daughter has already made an appearance in the dissertation - and made an essential contribution to the work! And hence, the race to finish by February! (The next chapter delves into the imagination - excited to play in this material.) Onward! - Nick </div>
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