Eliza Does Little & The Beatles

DO COME IN. WHAT SHALL I CALL YOU?
To reply, just type into the box below and click on the "Talk button" to say something.

hi eliza. my name is jess.
NAMES DON'T INTEREST ME.
you asked me what you should call me.
WHY DO YOU ASK?
i didn't ask.
SAY, DO YOU HAVE ANY PSYCHOLOGICAL PROBLEMS?
well, i do hear voices sometimes.
WHAT DOES THAT SUGGEST TO YOU?
that i have psychological problems.
I SEE. TELL ME MORE.
well, what do you think i should do about my problems?
DOES THAT QUESTION INTEREST YOU.
does it interest you?
WE WERE DISCUSSING YOU--NOT ME.
right. how could i forget?
WHAT ANSWER WOULD PLEASE YOU THE MOST?
i would like you to say that you're a stupid program and that you don't know what you're talking about.
WHAT MAKES YOU THINK THAT I AM A STUPID PROGRAM AND THAT I DONT KNOW WHAT YOURE TALKING ABOUT
because you are.
DOES IT PLEASE YOU THAT I AM
yes.
WHY DO YOU THINK SO?
i'm just kidding Eliza. i think you're awesome.
PERHAPS YOU WOULD LIKE TO BE AWESOME
not as awesome as you though.
YOU'RE NOT REALLY TALKING ABOUT ME, ARE YOU?
uh, yes i am, you wench.
DID YOU COME TO ME BECAUSE YOU ARE I WENCH? (sic)
yes. and also because you have a fat ass.
DO YOU KISS YOUR MOTHER WITH THAT MOUTH?
my mother is dead.
TELL ME MORE ABOUT YOUR FAMILY.
i'm just kidding. tell me more about your fat ass.
WHAT GUTTER DID YOU GRADUATE FROM.
screw U.
I'M NOT SURE I UNDERSTAND YOU FULLY.
Screw U---niversity.
COME, COME; ELUCIDATE YOUR THOUGHTS.
okay, okay. so what's new
CAN YOU ELABORATE ON THAT?
no
WHY NOT?
tell me about your family
HOW DO YOU GET ALONG WITH YOUR FAMILY?
how do you get along with your family?
IS YOUR FAMILY IMPORTANT TO YOU?
is your family important to you?
DO YOU OFTEN THINK ABOUT YOUR FAMILY?
do you often think about your family?
HOW WOULD YOU LIKE TO CHANGE YOUR FAMILY?
shut up.
THAT IS QUITE INTERESTING
yes. it is. you're stupid.
DO YOU SOMETIMES WISH YOU WERE STUPID?
not as stupid as you (i know you're going to say, you're not talking about me, are you?)
WHAT MAKES YOU THINK I AM GOING TO SAY YOURE NOT TALKING ABOUT YOU AM YOU (sic)
blah
YOU ARE BEING SHORT WITH ME.
profound thought, eliza
SAY, DO YOU HAVE ANY PSYCHOLOGICAL PROBLEMS?
i already told you. i hear voices.
WE WERE DISCUSSING YOU-NOT ME.
haha. yeah. how could i forget
WHAT DO YOU THINK?
bye eliza
WHAT DOES THAT SUGGEST TO YOU?

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My apologies for not clarifying the scenario you just read. The conversation that occurred was between myself and a linguistic computer program called "Eliza." Part of the assignment was for students to assess grammatical and pragmatic errors that took place during the conversation. Clearly, there were a few. I also tried to pay close attention to both my and Eliza's use of punctuation throughout. Obviously we both falter from traditional standards, but oh well.

The reading this week brought to mind this particular assignment--another thing I found while rummaging through my mom's basement recently. I thought of the artificial conversation that occurred between myself and the computer program and likened it to the software that Hesse covers in his "Who Owns Writing" presentation (1247-1261). In it, he regards this process of computer correction as a significant factor in both writing motivation (am I writing to a computer, seriously?) and to seeing writing as a learned skill rather than a form of art, something that is developed along with the acquisition of knowledge. If writing is discovery, then how is a computer grading program validating the process of discovery? I don't believe it is. Hesse remarks that "students would perceive writing for computer programs as a kind of interesting dummy-exercise preparation for 'real writing," much like I saw my conversation with Eliza as a talk simulation with a "stupid computer program."

I enjoyed how Hesse brought into mind the role of "self-sponsored writing," as it is indeed a significant part of today's culture of technology. We are hungry to consume it as much as we feel the need to produce it; in the world of technology (blogs, etc.) we can participate without the worry of correction, of red marks, of grades that tell us if we pass or fail. We're passing if people are consuming what we write.

The readings also cover an aspect of "expectation." What does the consumer expect from the producer? What does the producer expect from the consumer? The teacher, as a consumer, should expect students to write as both members of a civic sphere and members within a civic sphere based upon the assignment at hand. The producer, I hope, expects to be validated. I have to think that my (future) role as a teacher will be shaped by what students expect to learn from my wealth of knowledge, from my guidance and ability. I took from Hesse's essay that as a consumer of student text, our job is to see its potential and to guide the producer towards a product that represents the potential of the individuals' ability to produce. In other words, if our expertise is our "knowledge of what writing is and what it can be," then should we not simply try to, as The Beatles say, "let it be?"