iPads and Schools: Turnitin

One of the challenges with using tablet devices in a school setting is integrating with things such as Blackboard and Turnitin. These services needed things to be uploaded through a web browser, which was pretty much impossible from a tablet device. But now Blackboard and Turnitin feature Dropbox and Google Drive integration. Now you really can type a paper and submit it all on an iPad. With instructors able to grade through the Turnitin app, with full access to marking papers, rubrics, and even voice comments, the move to mobile computing seems more and more certain.

What continues to challenge schools in terms of mobile computing is strong, consistent wifi, since these tablets don't have corded options to the internet, printing (AirPrint is fairly unusual and even impossible in a school setting), and backups. If an iPad is your only device, you are facing a world of pain if you lose your photos, work, emails, and so on.

The Many Faces of St. Paul

Stephen Prothero's argument in American Jesus  is that Jesus is, in America, something of a cipher. Since he is "the many that nobody hates," since he is such an American institution due to the power of American revivalism, every group has a take on Jesus: Christians, Black Muslims, Jews, Hindus, Buddhists, Mormons, and so on. Part of conforming to America is finding a place for, and a version of, Jesus. He is a mirror, a cipher for ourselves and every group that calls America home.

I think the same argument can be made for the Apostle Paul, but with a bit of nuance. Paul has been the upholder of slavery (decreeing that slaves be obedient in Ephesians, or that Onesimus should return to Philemon), the imposer of laws (that women should not speak in church, or should not cut their hair), the dogmatician who develops a theology of the cross, the Apostate Jew who includes the Gentiles in the Christian religion and disregards the law. Paul is often a whipping boy for those who want to uphold a vision of a righteous, humble, and moral Jesus; instead, Paul is the systematizer who turns Jesus into a religion. Paul introduces the Christ, ending the religion of Jesus and replacing it with the religion about Jesus; in him, the Proclaimer is the Proclaimed. For all those who dislike rules and laws, Paul is the enemy to Jesus who taught a gentle spirit of the law.

Much of this is simply unfair to Paul, though. His radical mind was steeped in Judaism and apocalypticism, and his vision of a united church of Jew and Gentile is breathtaking and egalitarian, especially in Galatians. His radical message of grace and acceptance shows he is not a systematizer but someone who introduces a new and perhaps inevitable theme to Christianity. Yet he refuses to allow for a complete antinomianism and quietism, as he instructs about appropriate behavior and ethics. HIs vision is a gospel that frees and a church that is unified in Christ (not the law or Jewish tradition). His is the gospel matured and distilled.

Like the Biblical Jesus, we would do well to read the Biblical Paul, instead of making him into the cipher for our own hopes, fears, dreams, and despairs. 

Thoughts on iOS 7

Let's face it, iOS is fun. It feels like a new phone once you've installed it. Things zip, zoom, and ooze around, and most things feel more spacious and clean. 

My favorite bits of iOS 7: I like how, after typing a text message and hitting send, the text bubble sort of spills from the entry box to the field above. It is a small, organic touch. I also love the slide finger down to do a global search. I've always found global searches to be key to being fast and effective; it's the genius of google (one search box) and a launcher like LaunchBar or Alfred. The swipe down gesture brings this search anywhere. I have always used Spotlight a lot on my iOS devices, and it took a while to unlearn the swipe swipe swipe left gestures and replace them with swipe down, but it's great. I also find working menus much easier in iOS 7, as the clean lines make it fairly clear (for example, a contact's information is easier to scan for the right number or email address).

Disappointments for me are battery life and the zooming bits. I got used to the zoom effect within a few days, but I still find it excessive visual noise. I also had hoped a noticeable battery improvement, but maybe that will take app updates. 

But my favorite part of iOS 7 is actually outside of iOS 7 proper: it's OmniFocus 2 for the iPhone. It rivals Day One for greatest app ever. It's perfect.  The circles, colors, images, buttons: the delight and the efficiency, the fun and the geekery, are one.

 

Excerpt from Hans Urs von Balthasar and the Question of Tragedy in the Novels of Thomas Hardy

"Thus a vital thread in Balthasar’s theological aesthetics is tragedy, in its varied meanings—as an art form, as a theory, and as the human existential crisis. He consistently explores and references tragedy throughout his writings, often approaching theological issues and Biblical passages through a tragic lens. Balthasar has read deeply tragic literature and pondered its insights, and he has been greatly influenced by it. As Christian theology has borrowed from Greek philosophy, so Balthasar borrows and shapes his theology according to tragedy. This is not to argue that this is the only influence on Balthasar, or that it forms a sort of Ariadne’s thread to his work. Rather, it is to argue that tragedy forms a vital element of his thought, as he finds that it has a revelatory power regarding human existence and God. Yet, in the end, Balthasar’s particular approach to tragedy—that it must be dramatic in form and aristocratic in content—has serious and problematic ramifications for his theology, as the following chapters establish." 

– Hans Urs von Balthasar and the Question of Tragedy in the Novels of Thomas Hardy (Edinburgh: T&T Clark, 2013), p. 11 (Chapter 1).

Jonathan Coulton's Bourgeois Melancholia

There is a mad, bourgeois sadness to some of Jonathan Coulton's music. Weird Al Yankovic's music is parody and manic. Frank Zappa is just zany. Coulton, however, is a middle-class existentialist, where yuppies, monsters, and mad scientists mourn their decisions, lives, and madness.

A classic in this vein is "Shop Vac," whose yuppie protagonist brags on his suburban home with its separate bathrooms from his wife, his basement workshop, nearby gourmet grocery store, and multiple Starbucks, but he mourns the sad distance between himself and his wife, whom he can't hear crying upstairs. He emptily spends time in his basement, working his shop vacuum. They have no real friends in this place, which is hellish despite its outward appearances of middle class success.

In "The Future Soon," a school age boy mourns how the girl he has a crush on has rejected and embarrassed him, and he will have no time for her in his future as a mad scientist and world dictator. After he becomes a cyborg due to the robot war he initiates, she will reject him but he will always love her, and there are tones of regret at his inevitable actions. This theme gets repeated in "Skullcrusher Mountain," where the schizophrenic Dr. Moreau protagonist makes monsters. For the pretty girl he has kidnapped, he has made her a gift, this half-pony, half-monkey pet, so why is she screaming? Both this protagonist and the mad scientist in "The Future Soon" will destroy the world, and yet find themselves in love.

With "Code Monkey," a simian computer coder desperately wants a middle class life with a secretary from work, but it's all quite hopeless because, after all, he's some sort of monkey programmer. The protagonist in "Nemeses" is pleased at being trapped in a battle with his arch-nemesis throughout their normal lives. "Good Morning Tucson" shows the sadness of a weather reporter. "Ikea" sells "furniture for college kids and divorced men." "Chiron Beta Prime" features a trapped and dying family on a far-flung asteroid that tells of their sad Christmases there and begs for someone to visit them. "Mr. Fancy Pants" features a man who fights to have the best pants in the parade and loses. "I'm Your Moon" is the sad love story of Charon and Pluto, who orbit around each other in the dark end of our galaxy, misunderstood by our scientists. In perhaps the saddest of all, the giant sea monster of "I Crush Everything" lives a lonely life in deep parts of the ocean, watching the boats above and crushing everything it wants or loves, and never actually making contact with others.

This melancholic theme repeats in many of Coulton's songs where monsters, scientists, and the insane want a quasi-normal life and a person to love, or where a bourgeois protagonist mourns the emptinesses of his existence. (Walker Percy would approve.) There is this desperate nerdy need to fit into a normal life that Coulton returns to, and many of his fans deeply connect with this theme.

This melancholia culminates in what is something of an anthem for Coulton in his "A Talk with George," one of his own favorites from his many songs. Here the protagonist meets with George Plimpton, an American writer and mad adventurer who took mad chances in his zest for life. He is a cipher for Coulton himself, as Coulton left behind a computer programming job to be a full-time musician. As one who himself lived a middle-class, conformist life, gambled, and escaped it, Coulton's deepest sadness is this lost time, this misalignment of yourself in the world, and his melancholia is ultimately rooted in this bourgeois, conforming defeat. So if "there's someone else that you're supposed to be," then "shame on you if you don't set it free."