Sound, Technology, and Power COMS 608/Sound Studies—Winter 2018 Mondays 14:30-17:30, Arts W5 Professor Jonathan Sterne Office: Arts W280 Office hours: by advance appointment, please Office Phone: 398-5852 (I rarely pick up; I check voicemail at least once a day M) Email: [email protected] (I check at least once daily M-F when I’m in town—please allow a couple days for a reply.) Prospectus This year’s iteration of the seminar on sound studies will focus primarily on recent work that deals with sound and power, and sound and technology. Sometimes these themes will be considered explicitly in relation to one another, sometimes they will be considered separately, though as will become clear, power and technology are always interrelated, it’s just a matter of perspective. What can theoretical advances from work on sound offer to the critique of power, especially in a moment of worldwide neo-fascist ferment? Conversely, how can new perspectives on power change the way we understand sound? What can scholarship on sound offer to the analysis of technology in a moment of great technological turnover, real connections between technological and social change, and a high concentration of tech industry bullshit? How does a critique of technology shape our understanding of changing sound media? Some weeks we will do whole books, some weeks we will do articles. Students will write weekly responses focused on improving their skills as academic writers in the humanities and interpretive social sciences; the final project will provide an opportunity to revise and expand one of these short papers. Required Readings Required books will be available at THE WORD bookstore, 469 Milton St. 514-845-5640, http://www.wordbookstore.ca/ . Please note that they take cash or check only. Online sellers obviously will accept credit cards if you go that route. Books are also on 3-hour reserve at the Humanities and Social Sciences Library. For this seminar, it is strongly recommended that you work with paper copies of books, rather than digital copies. Required Books: Alejandra Bronfman, Isles of Noise: Sonic Media in the Caribbean. Chapel Hill: University of North Carolina Press, 2016. 978-1469628691 Michael Denning, Noise Uprising: The Audiopolitics of a World Musical Revolution. New York: Verso, 2015. 978-1781688564
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Sound,Technology,andPowerCOMS608/SoundStudies—Winter2018
Mondays14:30-17:30,ArtsW5ProfessorJonathanSterneOffice:ArtsW280Officehours:byadvanceappointment,pleaseOfficePhone:398-5852(Irarelypickup;IcheckvoicemailatleastonceadayM)Email:[email protected](IcheckatleastoncedailyM-FwhenI’mintown—please
allowacoupledaysforareply.)
ProspectusThisyear’siterationoftheseminaronsoundstudieswillfocusprimarilyonrecentworkthatdealswithsoundandpower,andsoundandtechnology.Sometimesthesethemeswillbeconsideredexplicitlyinrelationtooneanother,sometimestheywillbeconsideredseparately,thoughaswillbecomeclear,powerandtechnologyarealwaysinterrelated,it’sjustamatterofperspective.Whatcantheoreticaladvancesfromworkonsoundoffertothecritiqueofpower,especiallyinamomentofworldwideneo-fascistferment?Conversely,howcannewperspectivesonpowerchangethewayweunderstandsound?Whatcanscholarshiponsoundoffertotheanalysisoftechnologyinamomentofgreattechnologicalturnover,realconnectionsbetweentechnologicalandsocialchange,andahighconcentrationoftechindustrybullshit?Howdoesacritiqueoftechnologyshapeourunderstandingofchangingsoundmedia?Someweekswewilldowholebooks,someweekswewilldoarticles.Studentswillwriteweeklyresponsesfocusedonimprovingtheirskillsasacademicwritersinthehumanitiesandinterpretivesocialsciences;thefinalprojectwillprovideanopportunitytoreviseandexpandoneoftheseshortpapers.
RequiredReadingsRequiredbookswillbeavailableatTHEWORDbookstore,469MiltonSt.514-845-5640,http://www.wordbookstore.ca/.Pleasenotethattheytakecashorcheckonly.Onlinesellersobviouslywillacceptcreditcardsifyougothatroute.Booksarealsoon3-hourreserveattheHumanitiesandSocialSciencesLibrary.Forthisseminar,itisstronglyrecommendedthatyouworkwithpapercopiesofbooks,ratherthandigitalcopies.RequiredBooks:AlejandraBronfman,IslesofNoise:SonicMediaintheCaribbean.ChapelHill:Universityof
NorthCarolinaPress,2016.978-1469628691MichaelDenning,NoiseUprising:TheAudiopoliticsofaWorldMusicalRevolution.NewYork:
Verso,2015.978-1781688564
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LouiseMeintjes,SoundofAfrica!:MakingMusicZuluinaSouthAfricanStudio.Durham:DukeUniversityPress,2003.978-0-8223-3014-1
AlexanderRehding,Beethoven’sSymphonyNo.9.NewYork:OxfordUniversityPress,2017.9780190299705
JenniferStoever,TheSonicColorLine:RaceandtheCulturalPoliticsofListening.NewYork:NewYorkUniversityPress,2016.978-1479889341
PeterSzendy,AllEars:TheAestheticsofEspionage,translatedbyRolandVégsö.NewYork:FordhamUniversityPress,2017.978-0823273966
Inaddition,allrequiredandrecommendedarticlesandchapterswillbemadeavailabletostudentsthroughthecoursewebsiteorothermeans.
ClassSchedule
BringprintedcopiesofreadingstoclassAlinktohelpyoudothereadings:PaulEdwards,HowtoReadaBook,http://pne.people.si.umich.edu/PDF/howtoread.pdf8Jan: ApologiaRecommended(aka,“whatistheprof’sdeal?”):JonathanSterne,“Hello.”TheAudiblePast:CulturalOriginsofSoundReproduction,1-30(notes:
353-360).Durham:DukeUniversityPress,2003.______,“FormatTheory.”MP3:TheMeaningofaFormat,1-30(notes247-258).Durham:Duke
UniversityPress,2012.______,“SonicImaginations.”TheSoundStudiesReader,1-17.London:Routledge,2012.Nowritingdue.15Jan: TheRecordingStudioLouiseMeintjes,SoundofAfrica:MakingMusicZuluinaSouthAfricanStudio.Durham:Duke
UniversityPress,2003.22Jan: TheListeningEarofPowerJenniferStoever,TheSonicColorLine:RaceandtheCulturalPoliticsofListening.NewYork:
NewYorkUniversityPress,2016.29Jan: EarlyModernity
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BonnieGordon,“WhatMr.JeffersonDidn’tHear.”InRethinkingDifferenceinMusicScholarship,editedbyOliviaBloechl,MelanieLowe,andJeffreyKallberg,108–32.Cambridge:CambridgeUniversityPress,2015.
BonnieGordon,“It’sNotAbouttheCut:TheCastrato’sInstrumentalizedSong.”NewLiteraryHistory46,no.4(autumn2015):647–87.
RichardCullenRath,“TheHowlingWilderness,”HowEarlyAmericaSounded,145-172(notes213-217).Ithaca:CornellUniversityPress,2003.
5Feb: Circulation1MichaelDenning,NoiseUprising:TheAudiopoliticsofaWorldMusicalRevolution.NewYork:
Verso,2015.12Feb: Circulation2AlejandraBronfman,IslesofNoise:SonicMediaintheCaribbean.ChapelHill:Universityof
NorthCarolinaPress,2016.19Feb: Surveillance,TwoWaysPeterSzendy,AllEars:AnAestheticsofEspionage,translatedbyRolandVégsö.NewYork:
FordhamUniversityPress,2017.StefanHelmreich,“Gravity’sReverb:ListeningtoSpace-Time,orArticulatingtheSoundsof
Gravitational-WaveDetection.”CulturalAnthropology31,no.4(2016):464–92.Also:Votefortechnologymenuweek.26Feb: FascismandItsFalloutCarolynBirdsall,Chapters1-3(31-139)ofNaziSoundscapes:Sound,TechnologyandUrban
SpaceinGermany,1933-1945.Amsterdam:AmsterdamUniversityPress,2012.Therestisrecommended.
LilianRadovac,“MutingDissent:NewYorkCity’sSoundDeviceOrdinanceandtheLiberalizationofthePublicSphere.”RadicalHistoryReview,no.121(January2015):32-50.
RolandWittje,“AcousticsGoesBacktoWar:MassMobilizationandRemilitarizationofAcousticsResearch.”TheAgeofElectroacoustics:TransformingScienceandSound,173-188(notes244-247).Cambridge:MITPress,2016.
BrycePeake,“ListeningLikeWhiteNationalistsataCivilRightsRally.”JournalofSonicStudies,no.14(2017).https://www.researchcatalogue.net/view/375960/375961.
TechMenubookswillbeannounced.Orderyours.5March:ReadingWeek!Postpicturesofpalmtreestothecoursewebsite.
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12March:TiiiiiiiiimmmmmmmeeeeeeeeStrrrrrrrrrreeeeeeettttttttchchchchchchiiiiiiiiinnnnnnnnnggggggggggggDddddddddddddaaaaaaaaaaaayyyyyyyyyyyyAlexanderRehding,Beethoven’sSymphonyNo.9.NewYork:OxfordUniversityPress,2017.Plus:Profprojectshowandtell.19March:TechnologyMenuOptionsTBAThisweekgroupsofstudentswillpresentthebookstooneanother.Nowritingisduebut
everyonemustcontributetolessonprep.
26March: orWhatMakesforaGoodCritique?RobinJames,“PhilosophiesorPhonographies?:OnthePoliticalStakesofTheorizingAboutand
Through‘Music.’”PaperpresentedattheSocietyforPhenomenologyandExistentialPhilosophy(2017):http://www.its-her-factory.com/2017/10/spep-2017-talk-philosophies-or-phonographies-on-the-political-stakes-of-theorizing-about-and-through-music/
_____,“AffectiveResonance:OntheUsesandAbusesofMusicInandForPhilosophy.”PhaenEx7,no.2(December16,2012):59–95.
GavinSteingoandJimSykes,“Introduction:RemappingSoundStudiesintheGlobalSouth,”RemappingSoundStudies,eds.GavinSteingoandJimSykes.Durham:DukeUniversityPress,forthcoming2018.
PaulGilroy,“‘JewelsBroughtfromBondage’:BlackMusicandthePoliticsofAuthenticity,”TheBlackAtlantic:ModernityandDoubleConsciousness,72-110(notes235-239).Cambridge:HarvardUniversityPress,1995.
Also:revisittheaudiovisuallitanydiscussionfromtheintrotoAudiblePastorSoundStudiesReader.
2April:NOCLASS.Universityholiday.Takeanextradayoff.9April: Workinprogress:Masculinity,StandpointAcoustemologyandthePoliticsof
Geography(BrycePeake,specialgueststar)BrycePeake,MediaCitizens:StandpointAcoustemologyandtheMediaSciencesthatMade
GibraltarianMenBritish.Bookmanuscriptinprogress.Everyonemustcompletethewritingassignmentforthisweek.16April:Finalmeeting:studentprojects.
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Writingassignment:decidewhatyourfinalprojectwillbe.Writea500-750wordproposalCometoclassandwewilldiscussinsmallgroups.Wewillalsodiscusswhatwelearnedaboutsoundthisterm.CourseRequirementsandExpectationsEtiquette:1.Fullandcompleteattendance,attention,participation,listeningandreading(ofrequiredtexts).Iexpecttheverybestyoucangive.2.Goodfaithandgoodhumortowardyourcolleaguesintheclassroom.Forboth:disagreementsareexpectedandencouraged,butpleasekeepnitpickingtoaminimum;personalattacksandintimidationarenotacceptableunderanycircumstances.Ifyouhavesomethingcriticaltosay,bepreparedtoexplainhowthepiececouldbeimprovedgivenwhattheauthorhopedtoachieve.FollowtheGoldenRule.Encouragebasicquestionsaswellasadvancedones.Ifyoudon’tknowsomething,admitit.Youareprobablynotalone.Finally,wewanttoavoidseek-and-destroyhermeneutics.Therefore,studentsareallowedone(1)seek-and-destroyanalysisofareadingperterm,forwhenyoujustcan’tstandit.Butchoosewisely.Onceyou’veusedit,you’veusedit.3.Yourjobasaparticipantistolistenactivelytowhatothershavetosayandadvancethediscussion.Ifyouareconfidentcontributoruseyourconfidenceforgoodandnotevil.Helpbringothersintodiscussion,refertoyourclassmatesbyname,andbepositiveaboutthecontributionsofthosewhodonotsayasmuch.4.Whilepersonalanecdotesareallowed,keepinmindthisisaPhDseminar.Othersmaydisagreewithyourinterpretationofyourexperience.Thisisencouragedandallowed.Ifyouarenotcomfortablewiththis,donotshareyourstory.5.Awkwardsilencesandhesitationareokay.Don’tfeelyouneedtorushtospeakanddon’tworryifyouneedalittletimetoarticulatesomething.Contributingtoclassdiscussionismorethanthefrequencyofthetimesyourhandgoesupandthenumberofwordsyousay.Ifyouarestrugglingtoarticulatesomething,that’sprobablyasignthatyouaresayingsomethingthatisnewandnotobvious.6.Difficultcontent:There’sbeenalotoftalkinthepressaboutcontentwarningsandstudentcomfortintheclassroom.Asyourprof,Iwillneverdoanythingintentionallytoshockortraumatizestudents.Atthesametime,it’sourjobtodiscussdifficultsubjectsinclass,andnobodycanpredicttheeffectsomematerialsmayhaveonsomeone.Iwilltryandgivepreviewsofthekindsofcontentyouwillencounterbeforeyouencounterit.IfIforget,feelfreetoask.Ifyouarehavingdifficultydealingwithaclassdiscussionorareadingorrecording,youmayraisetheissueaspartofthediscussion(keepinginmind#4above),oryoumaysimply
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discretelystepoutofclass.Anotetotheprofwouldbehelpfulafterthefactsothatweknowwhathappenedanddon’tthinkyoujustgotupandleft. TechnologyPolicy Thiscoursewillencouragethethoughtfuluseofscholarlytechnologiessuchastalkingandreading,computersandtheinternet,penandpaper,projectionandchalkboards,etc.Forour“talkingaboutideas”components,youwilluseawritingutensilandpaper(unlessyoubringmeanotefromtheOfficeforStudentsWithDisabilities).Theclassroomwillnotbeanenvironmentof“ambientcomputing.”Ifyouneedtoopenacomputer(oranydevicewithascreen,microprocessorandinternetconnection)tolookstuffup,youwilldothatandthenclosethedevice. Ifwehavegroupactivities,computingdevicesmaybeinvolved,dependingontheactivity.Wewilldiscussthistechnologypolicyonthefirstdayofclass. Product(and%ofsemestergrade):I. Participation(20%,assessedcumulatively)Iexpecteveryonetoparticipateregularlyinclass.Youshouldcomeeveryweekreadytodiscussthereadings.Inotice(andappreciateit)whenstudentsmakegoodcontributionstothecourseonlineorinotherwaysbesidesspeakingupinclass.PleasenotethatIdistinguishbetweenquantityandquality.Ialsonoticewhenstudentsareroutinelylateand/orabsent.Requirementsforclassdiscussionareasfollows:goodfaith,attentiontothereadings,andrelevancetothecourse.Wewanttoavoid“seekanddestroy”sessions.Ifyouhavesomethingcriticaltosay,bereadytoexplainhowthepiececouldbeimproved.Ifyoudisagreewiththepremiseofthepiece,thenreadforwhatmotivatestheargument.Ifnecessary,Iwillkeepaspeakerslistandcallonpeople.II. Weeklyexercises(20%,dueweekly)Mostweeks,studentswillbeaskedtowriteaboutsoundinaparticularway.Yourproductwillbea500-800wordpaperpostedonthecoursewebsite.Oneormoreexamplesofprimarysourceswillbeprovidedmostweeks,butstudentsmaychooseothersourcesastheylikesolongastheyfulfilthespiritoftheassignment.Ifyou’reunsure,checkwithme.Eachassignmentisdesignedtohelpyoua)developasawriterandb)developyourskillsforthinkingandwritingaboutsoundintandem.SinceclassmeetsonMondaythisterm,responsesshouldbepostedontheMyCoursessiteby5pmtheFridaybeforeclass,howeveryouhaveanautomaticextensionuntil5pmSundaybeforeclassshouldyouneedit.Itisphrasedthisway
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becauseIwanttoallowforthepossibilitythatyoumighttaketimeoffduringtheweekend,butIwon’tneedtheresponsesbeforeSundayevening.Iexpectthatthewritingexerciseswillbetakenseriouslyontheirowntermsandfollowedthroughtothebestofyourability.Studentsoftenfeelliketheyneedtodevelopadistinctivewritingstyle,“schtick,”setofpreferredmethodsoraproaches,ortheoreticalpositionstheyneedtodefend.Idonotwantyoutowriteas“yourself”;Iwantyoutowritelikeamusicianmightlearnsomeoneelse’smusicasaformofpractice.Thiswillbeexplainedmorefullyonthefirstdayofclass.Inclass,studentsmaybeaskedtoreadtheirexercisealoudasaspringboardtodiscussion.Ifyouareparticularlyuncomfortablereadingaloudinaparticularweek,youmaysaysoinaprivateemailtomebeforehand(butnoteveryweek).Ifyoujustcan’tstandtheideaofreadingyourworkaloudinclass,youcanalsoasksomeoneelsetoreaditaloudforyou.Orwecanpassitaroundandhavedifferentpeoplereaditaloud.Escapehatches:mostweeksyouareexpectedtodowhatyouareasked(thereisalotofroomforinterpretation).Withexceptionsnotedabove,youmay(1)skipwritingoneweek(aweekoff!Oryoucangetsick),and(2)youmaycreateandexecuteanalternativeassignmentoneweeksolongasitisinthespiritofthecourse,andotherwisematchesthespiritoftheassignment(e.g.,notadvancingyour“schtick”).Myadvice:getthehangoftheassignments,thendo#2whenyouareparticularlyinspired.III. PortfolioandExtension(60%,due23April)Attheendoftheterm,youwillhaveaportfolioofmaterialsyouhaveproduced.Yourfinalassignmenthastwoparts.Thesetwodocumentsarebothdueon23Aprilat5pm,onMyCourses.PleasenotethatIplantobetravelingbetween18Apriland1May,soifyouwanttomeetwithmeaboutyourproject,pleasedosobeforethe18th.PartI:Ashortreflectionpaper(approximately1000-1300wordsbutI’mnotactuallycounting)thatdiscussesthevariouswritingassignments.Questionsyoucouldaddressinclude:Whatwouldyouliketoworkonasawriterinthefuture?Whatdidyoudiscoverintheprocessofasingleweekoroverthecourseoftheterm?Whatdoyouseeasyoureadacrosstheworkfromsomedistance?Whatdidyoulearnaboutsound?Whatdidyoulearnaboutbeingascholar?PartII:cantakeoneofthreeforms.
1. Extendoneofyourshortpapersintoanapproximately2500-3000wordpaper(7-8ppdoublespaced“spoken”textplusnotes/bib);roughlythelengthofa15-20minuteconferencetalk.Buildinmorematerialfromthecourse,morethinking,moresecondarymaterial.Youarealsowelcometoputitinyourvoiceandconnectittoyourschtick.
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2. Youcan’tstopwriting!Sameas#1exceptitcanbethefull20pagedouble-spacedseminarpaper.ThisoptionexistsbecauseIalwayswritedoubletheamountofproseItrytowrite.Soyoucantoo,ifthat’syourparticularproblem.
3. Proposeanalternative.Thisneedstobewithinthespiritofthecourse,soIambiasedtowardanacademicwritingassignmentbecausethewholecourseisgearedtowardhelpingyouimproveasawriter.Iwillentertainresearch-creation,digitalhumanitiesandcuratorialproposalsiftheyaresmall-scale,didacticandgoal-oriented(asopposedto“exploratory”)andmeetthesamegoals#1or#2above,whichistoproduceapieceofscholarlywritingthatyoucanthenusesomewheredowntheroadasaspringboardforsomething.Ifyouwanttogothroughwiththisoption,a750-1250wordproposalisduetomeon23Marchat5pm(we’llfigureoutwhattodoforthelastclassifyougothisroute).Itshouldclearlyexplainwhatyouplantodo,howandwhyyoucanaccomplishitbytheduedate,andhowitfulfillsthespiritoftheassignment.PleasenotethatIwon’tgiveincompletesforoverambitiousprojects,eventhoughIloveoverambitiousprojects.
OtherPoliciesFrench:YouhavetherighttosubmityourwrittenworkinFrenchandsomeyearsoneormorestudentsinmyseminarschoosetodoso.IfyouplantowriteinFrench,pleasegetintouchwithmeduringadd-dropsowecantalkabouthowtohandleit,asIamnotparticularlygoodatFrench.Normallyit’snotaproblembutweshoulddiscusshowitwillwork.ClassdiscussionsareinEnglish,butyouareencouragedtoresorttoFrenchifyoucan’tfindtherightwordinEnglishandwe’llfigureitouttogether.YouarealsowelcometoreadcoursematerialsinFrench(wheretheyareavailableinFrench).Discussionsoflinguisticandtranslationdifferencesareawelcomepartoftheseminar.Accommodation:Ifyourequirespecialaccommodationsorclassroommodificationsofanykind,pleasenotifyboththeprofessorandOfficeforStudentswithDisabilitiesbytheendofthefirstweekinwhichyouareenrolledinthecourse.TheyarelocatedinRoomRS56,RedpathLibrary,398-6009(voice),398-8198(TDD),[http://www.mcgill.ca/osd/].Nondiscrimination:IfthereissomethingIcandotomaketheclassmorehospitable,pleaseletmeknow.Ivalueequalityofopportunity,andhumandignityanddiversity.InaccordancewithUniversitypolicy,Iwillnottoleratediscriminationorharassmentonthebasisofrace,color,ethnicornationalorigin,civilstatus,religion,creed,politicalconvictions,language,sex,sexualorientation,socialcondition,age,personaldifferenceortheuseofassistivetechnologyinnegotiatingthatdifference.Amongotherthings,thismeansthatyoudonothavetoagreewithyourteacher,theassignedreadings,orthemajorityofyourclassmatesinordertodowellinthiscourse.Youare,however,obligatedtodemonstrateanunderstandingofthecoursematerialwhetherornotyouagreewithit.
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Auditors:Iwouldlikeauditorstoparticipateintheweeklywritingexercisesfortheweekstheywillattend,sothateveryoneintheroomisonequalfooting.IfIgrantyoupermissiontoaudit,youareboundbythesameettiquetterulesastheenrolledstudents.Therewillbeexeptionstothispolicyfordayswhenwehaveoutoftownvisitors.HowtoInterpretMcGill’sInflatedGraduate-LevelGrades:A: GoodworkA-: SatisfactoryB+: ThereisaproblemwithwhatyousubmittedB: ThereisasubstantialproblemwithwhatyousubmittedB-: Lowestpossiblepassinggradeinagraduatecourse;indicatesamajorproblem
butnotafailureC+orlower: Officiallyconsidereda“fail”bytheGraduateStudiesOffice.Inrarecases,ifyourperformanceonanyassignmentisnotsatisfactory,Imayaskyoutodoitagain.Youmustcompleteallthemajorassignmentstopassthecourse.Lateassignmentsmaynotreceivewrittencommentsandwillearnareducedgrade(oneincrementoflettergradeforthefirsttwodays,thenanincrementperday,includingweekends).Lateweeklypaperswillnotbeusefulforclassandwillreceiveadiminishedgradeimmediately.ItisyourresponsibilitytomakesureIreceiveanyassignmentyouturnin.Activitiesforwhichyoumustbepresentcannotbemadeup.Itisalsoyourresponsibilitytoproperlybackupyourwork:keepmorethanonedigitalcopyofyourwork.Inthecaseofwriting,keepapapercopyaswell.Irecommendsyncingyourimportantdocumentstoacloudstorageservice.TheKcontract:AtMcGill,gradesofincompletearecalled“K”gradesandtheyareonlysupposedtobeassignedafterthestudentandprofessorhaveagreeduponacontract.Idonotgiveincompletes(“K”grades)exceptintrulyextraordinarypersonalcircumstancesthatcanbedocumented.Kgradesrevertto“F”gradesattheendofthenexttermunlessacontractextensionissignedbybothprofessorandstudent.Extensionsalsowillnotbegrantedexceptintrulyextraordinarycircumstances.ThePassive-AggressiveK:Shouldastudentfailtocompletetherequirementsforthecourseandfailtocontactmewellbeforemydeadlineforsubmissionofgrades,IwillissueaKgradewithoutacontract.Graduatestudies,however,stillexpectsacontracttobefiledanditwillbethestudent’sresponsibilitytomakesureoneissubmitted.Inthesecircumstances,shouldthepaperbecompletedatalaterdate,itwillreceiveamark.However,studentswhoreceivea“K”inthisfashionwillnotbeeligibletoreceivean“A”or“A-”forthecourse.IwillnotsignanextensionforaKgradethatwasgrantedwithoutacontract,andnolatepaperwillbegraded
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withoutaKcontractbeinginplacebeforehand.Ialsocannotpromisecommentsonapapersubmittedafterapassive-aggressiveK.RequiredAcademicIntegrityStatement:McGillUniversityvaluesacademicintegrity.Therefore,allstudentsmustunderstandthemeaningandconsequencesofcheating,plagiarismandotheracademicoffencesundertheCodeofStudentConductandDisciplinaryProcedures(seewww.mcgill.ca/integrityformoreinformation).SpecialRequiredEmergencySyllabus-EraserClause:IntheeventofextraordinarycircumstancesbeyondtheUniversity’scontrol,thecontentand/orevaluationschemeinthiscourseissubjecttochange.Meta:
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