No Telescope Except Our Attention

I shouldn’t pick back up here before first acknowledging head bow hands folded and humbly that Earth Wide Moth received the John Lovas Award from Kairos last Friday evening at the 2025 Computers & Writing Conference. I learned about the award early that week, so I drove to Athens, Ga. to accept the award on Earth Wide Moth’s behalf. Striking to realize this event as punctuation, a pause EWM—dash to notice simultaneously how much and how little a two-decade-plus installation of this serial variety holds. The nomination was co-signed by sixteen or so brilliant, generous, and ever-supportive colleagues; some of them even wrote brief rationale, testimony to the value of what happens here from time to time. I’m grateful for the twenty-one years of write-living, a variation on life-living (Manning), the sorts of activation and articulation loops that, come what meandering-may, dances as moth to flame and flame to moth.

Figure 1. Athena statue, Athens, Ga., stony and still before the Classics Center at the University of Georgia.

While in Georgia, I attended a few sessions, the opening reception, the Kairos-Digital Rhetoric Collaborative karaoke event, a meeting, Saturday’s keynote by Jen Sano-Franchini, titled “What’s Critical about Critical Interface Analysis? A Recommitment to Humanistic Inquiry In the March to Hyper-Automation,” and the social gathering at Creature Comforts. I drove home on Sunday, on the road by 8 a.m. ET, 370 miles, four states, giant peach water towers and turbulent speed differentials from one lane to the other along I-85, and as I drove I kept thinking about conferences and bandwidths, about desires for disciplinary community and mutual attention. It’s not such a surprise that Computers & Writing was saturated with polemics, gestures, and questions revolving heavily around generative AI. What are we, 2.5 years on since the November 2022 release of Chat GPT? 

Many have turned sharply to AI; love AI or hate AI, the polemic casts triumphalists and refusalists in sometimes-heated exchanges, though much of the time we are nevertheless grasping for context and honing definitions that eventually return us to earth.

Returning to Earth Wide Moth, I happened across an entry from a decade ago, “Overlooking,” the entire entry consisting of a quotation from Oliver Sacks’ book, A Leg to Stand On (1994). Here it is:

I thought of a dream related by Leibniz, in which he found himself at a great height overlooking the world–with provinces, towns, lakes, fields, villages, hamlets, all spread beneath him. If he wished to see a single person–a peasant tilling, an old woman washing clothes–he had only to direct and concentrate his gaze: “I needed no telescope except my attention.”

It helps to remember that dreams, though they are not the same as windows, shake up monadic tendencies. There was a time, too bad it has elapsed, when the digital opened up a comparable sense of possibility. Byung-Chul Han writes in Hyperculture about how the hypertextual world roils with “possibilit[ies] of choice” (43), its windowing refrains inviting inhabitants–hypercultural tourists–to experience the vastness of boundless opening. Yet, as Han continues, screens akin to windows, the possibilities of choice run their course, and the “Being-before-a-window” resembles “the old windowless monads” (45).

I understand why there is so much wrapped up in generative AI, its swift onset flaring as it has across every sector, informational and communicative, industrial and material. Academics are thrashing AI for its promises and pitfalls, separating out its big-tech-pushed inevitabilities and coming to terms with its consequences. Monadic routines, or call them turtles, lurk all the way down. Post-C&W 2025, though, I don’t harbor any particularly renewed perspective on AI, digitality, or the panacea of a World Brain, impressively omnipotent. Something about a cheaper (seeming) writing tutorbot who never sleeps. Something about assessment magic and administrators raising course caps because automation frees up your time. Is the hype gaining? Fading by now? Still-glinty gewgaw, I don’t know. But I have returned from the conference uneasy about the hype cycle, for in the event of swivel-necking toward AI, what are we turning away from, abandoning, suspending mid-gesture as unsuspecting mortals covered over by volcanic ash. Almost had that last slurp of ramen, almost gathered that last fleck of pollen, almost fetched today’s eggs from the nesting box, almost sighted something marvelous through the telescope, almost, almost, but for AI’s dooming and dominant gusts.

Living Portrait

I suppose The Johnny Cash Project is as close as I will come to a Grammy nomination. Seems the crowdsourced sketch-video put to Cash’s “Ain’t No Grave” has been nominated for Best Short Form Music Video at the 53rd annual Grammy event coming up in February. In case you haven’t heard of it, here’s a bit of background on The Johnny Cash Project, including a recent version of the piecemeal video.

As far as I can tell, the video is continuously redrawn, with new frames entering into circulation and with old frames dropping in rank as participants assign a five-star rating to existing frames. Many months ago I spent a whopping thirteen-plus minutes sketching frame #1271. Whether or not it was my finest (or even a remarkable) artistic moment may take many more years to determine. My efforts have been rewarded with an average rating of two out of five stars (.400 is kicking butt in baseball and in drawing, right?). Anyway, ratings are not what is important here (ignoring momentarily that the Grammys are a contest).

Grammy win or no, the Cash Project has a pedagogical double that I remember each time it turns up again in this or that RSS stream–the class-drawn music video pieced together from snippets of lyrics and whatever drawings they motivate, all spliced flip-book-style into an on the fly music video. The rawness of DIY; the investment of “I did that.” D. has done this a couple of times with first and second graders who illustrated “What A Wonderful World.” Before the Cash Project, I hadn’t given too much earnest thought to a corresponding compositional project worth pursuing in the classes I typically teach. The Cash Project is a far more mature (i.e., serious-seeming) digital monument, and, that being the case, it has pushed me to reconsider possibilities for small-crowdsourced projects, maybe by adapting something like this and incorporating Google Docs-Drawing (with placeholder images and layers).  I like the way these music video projects link (implicitly collaborative) crowdsourcing and gestalt; the summative experience is more forceful than, say, reading a wiki entry, although, ideally, their logics could be linked–with one used to illuminate the other. Maybe.

Undoubtedly, I’ll be too tired to stay up and watch the Grammys. And that’s if I even remember when it is on TV. But I’m hopeful that The Cash Project gets its due. Here’s a glimpse of the competition.