I wrote about analog devices as luxury goods.
Listening to Joni Mitchell’s 1974 album Miles of Aisles on the remastered vinyl released by Acoustic Sounds. A wonderful record, and performed by Joni and her band at a level of musicianship that’s pretty much unimaginable today. ♫
Re: my previous post: If I discovered that anyone in my university was changing the grades I had assigned to students, I’d say: “Excellent. You do the grading from now on — I’ll forward all my students’ work to you for evaluation. Now if you’ll excuse me, I’ll get back to my teaching.”
It was late, the end of an exhausting term at a public university in the Midwest. I logged into our learning-management system (LMS) to answer a routine student email. The gradebook — rows and columns I had populated myself — should have been familiar. But one number was wrong.
A student who had failed my course after submitting a final exam composed almost entirely of AI-generated text now showed as having passed. The F I had entered, following my syllabus and the university’s academic integrity policy, had become a D. […]
Once I understood what had happened to my grades, I did what professors are supposed to do. I raised the matter internally. I tried to work through existing channels. I invoked the language of policy, accreditation, and Title IV compliance. I was told, politely, that the system was working as intended.
Wow.
My friend and colleague Philip Jenkins is pursuing a late Roman Welsh mystery. [UPDATE: after posting that I realized that it sounds like I’m talking about one of the last novels by a detective-story writer named Roman Welsh. But let it stand, just for fun.]
My buddy Austin Kleon on the glories of RSS. As Austin notes, I’ve been promoting RSS for years to no avail. People can easily use RSS to see only what they want to see, but instead spend their days prowling through the wreckage of social media like raccoons in a dumpster. I don’t get it.
The outpouring of new recordings prompted by tape and the LP (and, in pop music, the 45) makes it easy to overlook the fact that, in many ways, the new formats were limiting forces. They gave control of the market to big companies, which licensed the formats to smaller companies. They crowded out “amateur” performers and raised the bar for “professional” ones. They placed the responsibility for choosing which music would be recorded and made public with record-company executives, many of whom had extramusical motives in the front of their minds. And they proved so attractive that they drove the existing format — the 78 — into oblivion, and, with it, the thousands of recordings that existed only as 78s. This would be the pattern of progress for recordings in the postwar period. The new formats were advanced forms of mechanical memory, and they entered experience into the record with ever greater fidelity. Yet they were not means of revival so much as of forgetting.
Finished reading: Reinventing Bach by Paul Elie. Just re-read this for the first time since it came out, fourteen years ago. What an extraordinary book. 📚
