The University of North Georgia welcomes diversity, free speech, and the free exchange of ideas. Discussion should be held in an environment characterized by openness, tolerance of differences, and civility. The values of an intellectual community are trust, honesty, free inquiry, open debate, respect for diversity, and respect for others’ convictions. Further, the intellectual community always seeks to foster the virtues and characteristics of intelligence, curiosity, discipline, creativity, integrity, clear expression, and the desire to learn from others. It is these that must guide our work and exchanges in this class. These principles are delineated further in the ACE Statement on Academic Rights and Responsibilities.
If these values and principles are breached, students have the right and responsibility to discuss their concerns with the course instructor and, as needed, the department head. Usually, the concerns are addressed at this level, but sometimes the department head may refer students to another resource. In the event that either the student or the instructor is not satisfied after discussion with each other, he/she may take his/her concerns in writing to the Associate Provost for Academic Administration.
The Dean of Students has outlined a Student Code of Conduct, which includes the Honor Code. The Honor Code at the university is: A student will not lie, cheat, steal, plagiarize, evade the truth, conspire to deceive, or tolerate those who do. As described in the UNG Student Honor Code video, the Honor Code is a statement of how we act as a community. This is a philosophic ideal and helps us live out the University's core values. The Honor Code should guide individual behavior and remind each person of the expectations within the community.
Students agree that by taking this course all required papers may be subject to submission for textual similarity review to Turnitin.com for the detection of plagiarism. All submitted papers will be included as source documents in the Turnitin.com reference database solely for the purpose of detecting plagiarism of such papers. Use of the Turnitin.com service is subject to the Terms and Conditions of Use posted on the Turnitin.com site.
Both Federal and State laws forbid the unlawful duplication of copyrighted computer software or other reproductions of copyrighted material. In accordance with these policies, the University of North Georgia expressly forbids the copying of such materials supplied by or used in the university. Unlawful duplication of copyrighted materials by a user may result in disciplinary action by the university under the Student Code of Conduct (Non-Academic Infractions - Prohibitions, Theft), and/or possible criminal action by the owner of the copyright.
UNG has implemented an Academic Success Plan Program to identify and provide assistance to at-risk undergraduate students. Refer to your campus Academic Advising Center for the development of strategies that will enhance your academic success. You will be expected to take advantage of advising and other campus resources to achieve your academic goals.
Class evaluations at UNG are conducted online. Evaluation of the class is considered a component of the course and students will not be permitted to access their course grade until the evaluation has been completed. The evaluations will be accessible beginning one week prior to Final exam week.
CR – Credit (for Military experience)
I (Incomplete grades) - This grade indicates that a student was doing satisfactory work but, for non-academic reasons beyond her/his control, was unable to meet the full requirements of the course. For undergraduate programs, if an I is not satisfactorily removed after one semester (excluding summer), the symbol of I will be changed to the grade of F by the appropriate official. For graduate programs, if an I is not satisfactorily removed after two semesters (excluding summer), the symbol of I will be changed to the grade of F by the appropriate official. Under special circumstances, this period of time can be increased with the approval of the department head and the dean.
IP (In Progress) - This grade is appropriate for thesis hours, project courses, and Learning Support (LS) courses. It is not appropriate for traditional credit courses. If an IP grade isn't satisfactorily removed after 3 semesters, the symbol of IP will be changed to the grade of F by the appropriate official. Under special circumstances, this period of time can be increased with the approval of the dean. However, students who receive a grade of IP in a LS course or an ESL will retain this grade due to the nature of the course.
K - Student was given credit for the course via a credit by examination program
MW – Withdrawal for military exigencies
NR - The grade was not reported by the instructor
S - Student completed the course with satisfactory work
U - Student did not complete the course with satisfactory work
V - The student was given permission to audit the course. Students may not transfer from audit to credit status or vice versa. If an audit student withdraws from a course prior to the end of the term, a grade of W will be assigned as the course grade rather than a grade of V. Any audit student who is dropped by the instructor for excessive absences will be assigned a grade of W.
W or WF - The student was permitted to withdraw without penalty. Students may withdraw from courses prior to the midterm and receive a grade of W. However, instructors have the ability to change a grade of W to WF if the student is failing the course at the time of withdrawal. According to policy, the instructor must include the right to retain this ability in the course syllabus. Withdrawals without penalty will not be permitted after the midpoint of the total grading period except in cases of hardship as determined by the Vice Provost of Academic Affairs or his/her designee.
Students are considered active (eligible to register) if they enroll in both Fall and Spring semesters each year. Failure to do so requires a student to complete a re-enrollment form in Admissions. Summer semester enrollment is not required for active student status.
Students may only attempt a course three times at UNG regardless of whether a “W” or a grade was assigned to the course (except for Learning Support and ESL courses).
The Registrar’s Office will withdraw (W grade on transcript) students whose names are marked as non-attending by faculty during the Roll/Attendance Verification periods.
The University of North Georgia is committed to equal access to its programs, services, and activities, and welcomes otherwise qualified students with disabilities. (Disabilities include but are not limited to: learning barriers, medical concerns, or mobility concerns). Students who require accommodations and services must register with Student Accessibility Services. Student Accessibility Services provides accommodation memos for eligible students to deliver to their instructors. Students are responsible for providing the “Accommodations Letter” to the instructors and must deliver reasonable prior notice of the need for accommodation.
Students who exhibit behaviors that are considered to obstruct or disrupt the class or its learning activities are subject to sanctions under the Board of Regents Policy on Disruptive Behavior. Behaviors which may be considered inappropriate in the classroom include, but are not limited to, sleeping, coming in late, talking out of turn, inappropriate use of laptops or mobile devices, verbal behavior that is disrespectful of other students or the faculty member, non-compliance with the health and safety guidelines of the university, or other behaviors that may be disruptive. Students who exhibit such behavior may be temporarily dismissed from the class by the instructor and will be subject to disciplinary procedures outlined in the Student Handbook.
In the event of inclement weather that causes a campus closure or delayed opening, an announcement will be distributed first through the university’s Emergency Notification System. In the event of emergencies, closures or delayed openings, this system will provide important information regarding university operations or emergency actions. You can also find the status of each campus and more information on the UNG Emergency Information page.
Inclement weather notifications are likely to be segmented by campus location, as weather conditions may vary widely in the university’s five-campus area. Students will receive alerts for only the campus(es) where they are taking classes.
The Office of University Relations will also disseminate information through local media outlets.
Is your contact information correct?
If you do not have access to Banner, contact the Emergency Preparedness Coordinator at 678-717-3719 to have your information updated.
Student-focus - Facilitating success and educational goal attainment for all students and fostering a welcoming environment that values and reflects diversity and inclusion.
Integrity - Cultivating in ourselves and in others the willingness and steadfastness to act honestly and ethically
Engagement - Promoting active involvement, intellectual inquiry and creativity, collaboration, and community partnership
Service - Giving of oneself to enhance the life and richness of the university and all of its members, as well as the larger community
UNG Alert is the primary emergency messaging system that delivers text messages, voice calls, e-mails and desktop computer alerts in the event of severe weather, campus emergency, emergency evacuation, or other campus emergency.
All UNG emails are added into the system automatically. In addition, you may enter a phone number so that emergency announcements can be sent to you via voice and text message.
If you have questions, please contact Public Safety at 706-864-1500 or send an e-mail to email@example.com.
Is your contact information correct?
If you do not have access to Banner, contact the Emergency Preparedness Coordinator at 678-717-3719 to have your information updated.
Nathan McGinty started writing in 1995. He has a Bachelor of Science in communications from the University of Texas at Austin and a Master of Arts in international journalism from City University, London. He has worked in the technology industry for more than 20 years, in positions ranging from tech support to marketing.
Preparing any sort of pitch can be nerve-wracking enough, whether it's for funding or a publishing deal. That's why the GamesIndustry.biz Academy has an entire family of guides dedicated to pitching.
But when you're pitching for the chance to develop a game around an established intellectual property – especially one that's already popular around the world – there can be an added level of intensity.
Fortunately, one studio that has been through this process multiple times has shared its secrets.
Speaking at last month's GI Live: London, Dlala Studios' CEO Aj Grand-Scrutton offered a step-by-step guide to the process of pitching to an IP holder – a process he and his team have used to secure deals to revive Rare classic Battletoads and work on a Mickey Mouse game (twice).
We've collated Grand-Scrutton's advice in one handy guide, covering:
As a foundation for the rest of his talk, Grand-Scrutton broke down the two types of pitches: the 'request for proposal' or RFP, and the 'cold' pitch.
An RFP is where either an IP holder will reach out to you as a developer (or your agent or representative, if you have one) and ask you to prepare a pitch for a specific brand.
There will normally be specific requirements and parts of the IP they wish for you to include in your pitch. This might include elements to avoid, or aspects they would like developers to modernise.
"Try to find out if IP holders are even willing to listen to pitches, [before] working on a 60-page deck"
They will also likely specify the format of proposal they're looking for, ranging from a one-page document to a full concept with game mock-ups. In Grand-Scrutton's experience, this is often a multi-stage process that's laid out in advance, with submission deadlines and details on when each step of the conversation will take place.
Grand-Scrutton notes a cold pitch "isn't cold necessarily." Instead, he uses the term to refer to non-specified pitches where the developer may have reached out to the IP holder directly or heard through the grapevine that they are interested in pitches.
There is no specific brief before a cold pitch – no particular format, no details on what type of genre or experience the IP holder is looking for. The majority of pitches Dlala makes are cold, and what the bulk of Grand-Scrutton's talk is in preparation for.
There are four things Grand-Scrutton advises studios to do before preparing their pitch for an IP holder.
Using Google and Wikipedia are a "fine starting point" when investigating who you're even going to be pitching to, Grand-Scrutton says. But he adds that it can get complicated and that "you'll often find that the rights for the digital product might have been already licensed to someone else."
Finding a contact at these companies can be difficult, but even generic contacts or email addresses can be a start.
"Please don't harass people on LinkedIn -- no one wants to be harassed on LinkedIn," Grand-Scrutton says. "Try to find out if they're even willing to listen to pitches, [before] working on a 60-page deck."
Finally, Grand-Scrutton observes that many people target franchises that are successful or that they think are going to help them make money. And while that helps, it has to be an IP that is personally important to you. Being genuinely passionate about that IP will make the experience, and ultimately the game, better.
Research is key to improving your chances of winning a deal with an IP holder. Your own knowledge as a fan of the franchise is not enough – it's a start, but you need to know more than you ever knew before if you want to convince IP holders that you're the right studio for the job.
"You need to be at least temporarily the Wikipedia for that IP," says Grand-Scrutton. "That doesn't mean you have to know everything, but it has to mean you've done your best to absorb all you can.
"Before pitching this to Disney, I went and I watched all the cartoons on Disney+, I read the comics, I've read the Bible-length '90-year History of Mickey Mouse.' I went back and played the old games, I went into the Disney fandom Wiki. I made sure that my passion for Mickey was supported by my knowledge of Mickey."
The reason for this level of research boils down to a simple question: can you live in this world for years of your life?
"Because that is what you will be doing," says Grand-Scrutton. "I pitched [Illusion Island] in October 2019, and it's not out yet – three years later. If you're going to do good IP stuff, this is the question you have to be willing to answer. And if the answer is 'no,' then I just wouldn't bother."
He adds that IP holders "deserve the respect of you honouring [their creation]" and that existing franchises have existing fanbases who have expectations for any product based on their IP of choice.
Grand-Scrutton said there are three key goals you need to accomplish with your pitch:
All three are important, but Grand-Scrutton placed a particular emphasis on the first goal.
"If you've got a weak game idea, then it doesn't matter how great all the rest of this pitch is because it's a weak game idea," he says. "This has got to be your foundational starting point. Make sure you're doing something awesome. It doesn't even have to be something new and completely innovative. If it's something super fun and awesome, it's a great foundational point."
Deciding exactly which aspects of an IP – whether it's a character, a story or a setting – that you're pitching around is vital.
Smaller franchises, or ones that have not existed for very long, are easier to pitch for because "you're basically pitching for the whole thing." But when you think about all the facets involved in the Star Wars universe or Marvel, you need to start being a lot more specific.
"Don't tell storytellers that you know how to write stories better than them"
Grand-Scrutton suggested a number of questions to ask yourself when deciding what to pitch for:
The latter, says Grand-Scrutton, can be a dangerous question and he recommends that 99% of the time, developers should try to avoid pitching something that would be canonical.
"It's just risky because at that point you're then going to be involved with a lot of people who aren't involved normally," he explains, referring to the fact that everything in your game will need to align with all other past products in that universe, as well as those in the works – even in other media.
Instead, he recommends making things that are in extended or alternative universes. Insomniac Games, for example, has done a solid job of this with its Spider-Man and Miles Morales games.
There are two key ways in which your pitch needs to make it clear how much you know and have researched about this IP: tone and theme. These two ideas need to be at the forefront of your entire presentation at all time.
Make sure you reflect the tone of the IP in how you're presenting the deck, and remember that the slides must always fit the brand. This can encompass everything from making sure you use the same colours the IP holder does when promoting its brand – and, if you can find them online, the same or at least similar fonts – to writing the text of your slides in a way that fits with the tone of the IP. All of this will help to demonstrate your knowledge of the franchise.
There are several areas your pitch needs to cover in order to convince IP holders to hand over the reins to their beloved brand.
One slide Grand-Scrutton recommends including in your deck is examples of your inspirations. This can be really useful when talking to non-games people as it gives them points of comparison. In fact, if the person you're presenting to knows nothing else about your deck, this single slide can help get across the core mechanics. It's also worth adding some popular games in there, Grand-Scrutton says.
The above example is from the slide deck that helped Dlala secure the Battletoads deal.
"We knew we wanted side-scrolling combat, and we wanted it to be a playable cartoon, so Castle Crashes was a great reference," Grand-Scrutton explains. "We weren't making a AAA God of War-style game but what God of War did really well was fluidity. Even the older games, they felt very fluid, the experience and the action was fluid, they did setpieces. This was stuff we wanted in our Battletoads.
"Obviously it's a no-brainer if you're pitching for a Battletoads game, you mention Battletoads. If you're pitching for any IP, I would always recommend you put that IP as one of your inspirations. It sounds corny, but it is important. We also wanted to show which part of the franchise was the important one. We weren't making a new Battletoads Arcade game, we were making a new Battletoads."
Grand-Scrutton emphasises this slide should be tailored to your audience's understanding, perhaps more so than your genuine inspirations.
"If your game is influenced by a quirky Japanese title that sold 10,000 copies in the UK, it's not going to be good enough to put on there – even if it is your biggest inspiration," he says. "The people signing off on this stuff want to see a game that they can type in and see the words ‘sold 500,000 copies.'
"I'm not telling you to lie. What I'm saying is make sure you try and find a way to root your truth in something that has had financial success, because let's be honest, a lot of the time that's all the people are looking for on the other end."
Almost every game you pitch will have a narrative element, and it's important you discuss this in the original pitch, summarising the premise of the game in a single slide.
This is also a chance to demonstrate you understand your audience – not just the end users who will play the game, but also the people you're pitching to.
"If you're pitching to a visually-driven company, showing how you would achieve your vision of their art is important but expensive"
"For instance, when I pitched to Disney, I didn't claim for a second that I can tell stories better than Disney, because no one can," Grand-Scrutton says. "Instead, I said 'Here's a story in a concept but we want to work with you to really develop this.' If you're pitching for something that isn't necessarily a story-driven IP, then sure, you can show off your storytelling skills, but this [story slide] isn't about showing off, it's about the conceit for which the game sits in.
"Don't tell storytellers that you know how to write stories better than them, but deliver those people who aren't natural storytellers the faith that you can bring something to the IP."
Grand-Scrutton also encourages developers to ask whether they will be able to write the story with their own writers. That might not be decided during the pitch meeting, but it's worth broaching early.
You need to convey what the finished game will look like – but Grand-Scrutton says to avoid saying it will recreate the visual quality of the property in question.
"That's very unlikely and you probably don't want it to, and they don't want it to," he explains.
He suggests making a simple slide to deliver an idea of the visual style, using reference images if you have them or drawing some new ones.
"You don't have to have bespoke art necessarily, but it will help at times," Grand-Scrutton adds. "If you're pitching to a very visually-driven company, being able to show how you would achieve your vision of their art is important, but it's expensive."
It's also worth including some concept art in, and a gameplay mock-up so you can better describe it to anyone in the room that isn't a games person.
Developers need to ask themselves, 'Who is the game for?' And there's one answer Grand-Scrutton says you need to avoid.
"Do not say 'Everyone'," he says. "It's a lie. You know you want everyone in the world to play it, but you're not making a game for everyone. If you demonstrate you know who the audience is and what part of that audience you're targeting, it makes you look good."
With the most popular, broader franchises, you need to be even more specific. Think about age brackets, or whether you're targeting people who enjoy the television shows vs the comics or books, or perhaps younger fans who prefer the cartoons. If you're pitching a Star Wars game, think about which Star Wars fans you're targeting.
Grand-Scrutton says: "I'm a big Star Wars fan but I'm not a Jar-Jar Binks fan, so if you've got a Jar-Jar Binks game, I won't play it. Have an understanding of who your audience is."
Developers should include a slide that explains why their pitched game should be made for today's market. Why is now the right time for you to develop this? You should also think about existing games based on this IP, and how yours will fill a need that has not been met yet.
Think about gaps in the market and on popular platforms for the type of title you want to make. PlayStation, for example, has enjoyed great success with Insomniac's Spider-Man games, and Grand-Scrutton suggests Xbox would love a similar title on its own platform.
"If no one's made a Battletoads game in 26 years, you have to explain why it makes sense to do one now"
Another consideration might be when you're pitching for a dormant IP, why should it get a revival?
"If no one's made a Battletoads game in 26 years, you have to explain why it makes sense to do one," Grand-Scrutton said. "When I pitched to Rare, I said I presumed a third of the original Battletoads audience were dead, a third of them probably haven't got time to play games because they have kids, and then, at most, we could probably target a third of that original audience. That's not a good opportunity. The opportunity was to re-engage some people, but focus on bringing Battletoads to a wider new audience. So why is the audience ready for a title like this?"
Thinking beyond the games market will also help identify opportunities. What's happening in pop culture and trends in general that shows there's a need for your game?
This is perhaps one of the most important slides in your deck: explain to the IP holder how they and their property will benefit from your game.
Again, you need to think about who your audience is and what they can already do without you; Grand-Scrutton says he did not suggest Illusion Island would help sell Mickey Mouse toys, as Disney isn't exactly struggling in that department.
"The big thing for us with Battletoads, and to an extent with Mickey, is we're trying to bring a new audience in," he explained. "We're trying to invigorate brands that haven't necessarily connected with the gaming audience for a while."
For other pitches, Dlala has suggested a video game can help connect an audience with the core aspects of an IP, such as a comic, by onboarding them into the franchise.
"You are effectively sitting in a room asking the IP holder to deliver you their baby, right? So justify why it makes sense from their perspective."
Your pitch should also demonstrate why you are the right studio to make a video game based on the target IP. Grand-Scrutton emphasised the importance of conveying your team's strengths through your deck. For this he offered the following advice:
Don't be modest
"Straight out the bat, just put your biggest accomplishments there," Grand-Scrutton says. "Don't lie, but don't be modest – you are there to sell yourself."
Show your strengths
Grand-Scrutton suggests slides showing the credits of key team members. He stresses this does not mean you undervalue the rest of your staff, but builds the IP holder's confidence in who's going to leading development.
Show your specialties
An example slide points to how Dlala has extensive experience in hand-drawn 2D games, has worked with established franchises, and so on.
Show your combined experience
"Don't just include what the studio's done," Grand-Scrutton says. "Dlala has never made a SpongeBob, Star Wars, Aladdin or Merlin game -- but the people on our team have, so we put that in our deck. We don't lie about it, but it's better to lead with this and explain later."
Keep it up to date
Grand-Scrutton says he has actually made three or four variations of every studio-centric slide in his deck, and he selects the one he's going to use depending on who he's pitching to.
Concluding his talk, there are two words Grand-Scrutton emphasised the importance of, ones that you need to demonstrate in order to secure the deal.
The most important word, he says, is respect. Show the IP holder how you will respect their brand, because that is what they will be most panic about.
"Make sure you are very sincere that you're not here to make a quick buck off the IP. You are here to deliver it love and care, treat it as if it's your own"
"Most developers here probably worked on original IP – think about somebody taking that and doing stuff with it that you don't have control of. It's probably terrifying, right? That's effectively what you're saying. I said to the Walt Disney Company, ‘Hey, I want to take your 96-year-old IP and do some stuff with it' – I had to show them I was going to respect Mickey & Friends. I always was, but they don't know that, so just make sure you demonstrate that.
"Make sure you are very sincere that you're not here to make a quick buck off the IP. You are here to deliver it love and care, treat it as if it's your own, and do something really awesome with it that maybe they can't do internally, and that's why you provide value."
While Grand-Scrutton acknowledges this can be a dirty word in some instances across the games industry, you need a genuine passion for the IP you're pitching – and you need to show the IP holder how much you love their brand. Again, he points to the abundance of Mickey Mouse merchandise in his office.
"When I pitched for Illusion Island, there was no one that left that room -- no one that left any room ever with me – that doesn't know how much I love Mickey. I mean, I'm a grown man so maybe I shouldn't love Mickey quite as much, but this is important.
"You're pitching for IP, show them how much you love it. And like I said at the start, only pitch for the IP you love. Only pitch for the stuff you're willing to absorb, that you're willing to live in, because especially as leaders, not everyone on your team is going to be that into the IP. Those people will be influenced and feel inspired if they see how much you love it. They'll feel like they're doing something special."
You can watch Grand-Scrutton's talk in full below:
You can find all our pitching guides here, including:
What really is a syllabus? Is it a tool or a manifesto? A machine or a plan? What are its limits? Its horizon? And who is it really for? And what would happen if you took the syllabus as seriously as you take the most serious forms of writing in your own discipline?
It’s so familiar. The first day, the first class meeting, the noises, the competing interests of choosing seats and choosing neighbors, the geometry of students and backpacks, tools, food, books. For you, it’s curtain up. You’ve brought with you a set of handouts, the ones you quickly say are also and always available online in the course learning module. You distribute the handouts, making eye contact as you do it—everyone is so young, and the class is more diverse each time you steal a glance. You’re looking for their response, even before they’ve read a word of what you’ve set down.
You remind yourself that your students are there for one of two reasons. Either they have to be there, or they want to be there. Either your course is a) required of everyone or maybe required in some specific track, or b) it’s an elective. You know that neither category guarantees an easy ride, and you wouldn’t want it any other way. Teaching is hard. One of your goals is to have the students who have to be there want to be there. Another goal is surely to make students who choose your course tell others that it was amazing, that you were terrific. Teaching is hard, you tell yourself again. Knowing that is part of being a teacher.
You feel the electricity of performance, the responsibility of winning students over to your discipline. You run through what you’re going to say this hour in a distracted, internal monologue. A few moments later, and the class has settled down into what looks like an attentive memorizing of the handout. It feels as if it’s your moment to lose: students poring over the little world you’ve created for them, a place where the hierarchy of the university—your mastery, their innocent but open-minded ignorance—is mediated by a simple document and the set of rules to which it conforms. Their eyes turn to you. Electronics are stowed. You pick up a piece of chalk. House lights down. You begin. You will be at that blackboard, chalk in hand, for sixteen weeks, and during that time your voice, and your brilliance, will fill the space.
You begin talking, but something strange is happening. All your expertise seems to have left you, and you’re jabbering on in what you recognize as a steady stream of amateurish nonsense. But that’s not the most horrifying part. What’s truly frightening is that the students are looking at you as if you’re making perfect sense—or, more accurately, as if it doesn’t matter whether you’re brilliant or banal.
Then the alarm clock goes off and you wake up. It’s four a.m., still dark, and you don’t have to be on campus for another two weeks. You spent last night fine-tuning your syllabus one last time and in the process ratcheting up your own anxiety.
You’ve just awakened from one version of the Academic’s Performance Dream. In the dream-class, you were about to tell the students something for sixteen weeks, which might be fine if your course were a one-way transmission to an adoring audience and nothing more. You wouldn’t really teach a class that way.
And yet you’re beginning to concede that the dream that woke you is more or less a critique—your critique—of your own teaching, your unconscious mind accusing you of a particular kind of earnest, hardworking—what to call it?—laziness. You’re half-awake now and recognize too much of your own teaching style. It isn’t a horror show—far from it. Reasonably genial, largely inert, a series of solos in which you enacted knowledge of the subject, underscoring memorable points with chalk, points dutifully copied by a silent room of students whose own thoughts remained locked away for the semester or at least until the final exam.
The sun’s coming up, and your morning resolution is not to teach that way again. You’re not even sure what kind of teaching that was, but it felt deeply incomplete. You’re awake now and, breaking the rules you’ve set for yourself, you’ve got your laptop open in bed. You’re anxiously looking over that syllabus one more time. Is it too much, too little, too complicated, too filled with arrows that point the student to side roads? Could you read your own syllabus and make a reasonable guess as to what the course wants to accomplish, as opposed to what your department’s course catalogue says that the course studies or describes? Could you recognize what the course challenges students to do? And how exactly would you, the teacher who wrote that syllabus, follow through on your own expectations for students?
Dreaming or waking, these questions never seem to go away. Teachers aim high. Big targets, big goals. A class that sings with intellectual engagement. Rigorous but fair grading, and each student doing better than you had hoped. The gratification of giving the exemplary lecture to a room of attentive students. Your own delight in the difficulty that comes with thinking seriously about things that count. All good goals, which, taken together, add up to an ideal of the teacher-focused class. “You’re a star!” says somebody in the hallway, possibly without irony.
But stars are bright, distant things, and the light they throw off is old, old news. What might it mean to teach now, to shine now, in the present, close to the moment and our students? This question is about more than diversity or age or ethnic sensitivity or a sympathetic engagement with the complexities of gender, or disability, or any of the other qualities that distinguish person from person. First or last, teaching is inevitably about all of these things.3 But to be present asks that we do so much more. Our students, hungry for something that starry light can’t provide by itself, need from us not just knowledge—even knowledge tempered by sensitivity—but craft.
The myth of Prometheus—the Greek name means “forethought”—tells us that this most generous of Titans stole fire from the gods and brought it to us clay-built human creatures, functionally kindling life in our dark world. Teaching in the present is a bit like stealing fire. Here, o starry teacher, the fire is your own but briefly. Teaching is renouncing the glamour and assurance of the well-executed solo and sharing that light with your students, moving the focus from something we’ve long called teaching and giving the torch to learning. You can teach by yourself, or at least tell yourself that you can, but you can’t learn (let’s for a moment allow it to be a transitive verb meaning “to make them learn”) by yourself.
Modern English learn has as one of its antecedents the Old English form gelaeran, which meant “to teach.” This etymological paradox isn’t a paradox at all, of course. If teaching is the thing that happens when students are learning, subject and object come to be bound together, like Aristophanes’s conception of the sexes balled up inseparably in The Symposium, a Möbius-like continuum of teaching and learning, enacted by teacher and student.
We begin to discern the contours of this perplexing space of learning when we awake from the dream (it was always only a dream, never a solid reality) of the masterful teacher delivering knowledge. We can map out something so complex only by making a concerted effort to describe its nuances, conundrums, its areas of density and lightness. We perform this mapping and engage in this forethought when we compose a syllabus, but only if it is indeed an attempt to map the space of learning. Which means that, as we’ll say in several ways throughout this book, a syllabus isn’t so much about what you will do. It’s about what your students will do.
This essay is an excerpt from Syllabus: The Remarkable, Unremarkable Document That Changes Everything by William Germano and Kit Nicholls.
William Germano is professor of English at Cooper Union. His books include Getting It Published and From Dissertation to Book. Twitter @WmGermano Kit Nicholls is director of the Center for Writing at Cooper Union, where he teaches writing, literature, and cultural studies.
HP laptops offer something for you, whether you're a creative looking to edit photos, a gamer in search of aor a student in need of a small, lightweight laptop.
Many of the best HP laptops have features designed for remote or hybrid work such asand microphones, , longer battery life, and the .
Like other PC makers such as Dell, Lenovo, Acer and Asus, HP is in the midst of updating the processors in its laptops and two-in-ones. That means Intel-based models are moving from 11th-gen to 12th-gen CPUs, while AMD Ryzen systems are switching from 5000-series chips to 6000-series. It also means it's generally a good time to look for deals on older models of the best HP laptops. However, we've also seen big performance improvements with the new processors. An updated model might cost a little more but will add to the overall longevity.
Spectre is HP's top consumer laptop line so you're getting the best of the best with this 16-inch two-in-one.
Of course, a premium two-in-one like the Spectre x360 comes at a relatively high price; it starts at around $1,200. The top-end configuration we reviewed was good but not great considering its $2,030 price. This is definitely one we recommend getting with the 12th-gen Intel processors and Intel Arc graphics if you're going to go all-in. Read our HP Spectre x360 16 review.
HP's Victus 16 is a surprisingly robust and powerful gaming laptop that keeps up with the latest games at a more affordable price. Compared to HP's high-end Omen gaming laptop line, the Victus is more of an all-purpose laptop but still configured for gaming with a price starting at less than $1,000. HP offers several configurations with graphics chip options ranging from Nvidia's entry-level GeForce GTX 1650 up to a midrange RTX 3060 or AMD Radeon RX 6500M. We like almost everything about it except for its flimsy display hinge and underwhelming speakers. Read our HP Victus 16 review.
There are plenty of convertible Chromebooks, where the screen flips around to the back of the keyboard so you can use it as a tablet. But Chrome tablets with removable keyboards like the HP Chromebook x2 11 are still a rarity. It offers long battery life and performance that rises (slightly) above the competition. The main downside is that it's expensive; the model we reviewed is $599. However, that price did include both the keyboard cover and USI pen and it's regularly on sale for $200. If you're interested make sure to wait for one of those deals. Read our HP Chromebook x2 11 review.
If you're making a laptop aimed at creatives, it's not enough to just put discrete graphics and a strong processor in a slim body. The extra performance really should be paired with a good screen, and that's what you get with the HP Envy 14. The laptop's 16:10 14-inch 1,920x1,200-pixel display not only gives you more vertical room to work, but is color-calibrated at the factory and covers 100% of the sRGB color gamut. The result: a well-rounded option for creatives looking for on-the-go performance at a reasonable price. This model is due for a refresh, though, so keep an eye out for updated models. Read our HP Envy 14 review.
HP has put forward a small robot it says can dramatically speed up construction work, by autonomously printing guidelines straight from the blueprints onto the floor. Rugged, roadworthy and extremely accurate, Siteprint is a super-quick layout tool.
The robot replaces the time-consuming manual process of site layout, using a variety of different inks to place precise lines, exact curves and faithful reproductions of complex shapes on all kinds of floors, from porous surfaces like concrete and plywood to terrazzo, vinyl or epoxy.
It doesn't require a perfectly smooth or clean floor – indeed, it can handle a certain degree of surface irregularity and obstacles up to 2 cm (0.8 in) high. It runs built-in obstacle and cliff drop sensors for fully autonomous operation, and will work around barriers even if they're not in the plans.
As well as layout lines, it's capable of printing more or less whatever else you need on the floor too, including text notes. Operators set it up using cloud-based tools for job preparation, fleet management and tracking, and can run it on site with a touch-screen tablet and a tripod-mounted "totalstation."
“The existing manual layout process can be slow and labor intensive,” said Albert Zulps, Director of Emerging Technology at Skanska - a global construction and development company currently using the SitePrint system for two of its US projects. "Despite being done by specialists, there is always the risk of human error, which can result in costly reworks. Layout experts are a scarce resource who add a lot of value in terms of planning and strategy, but often end up dedicating most of their time to manual execution. HP SitePrint lets us do more with less, helping reduce schedules thanks to a much faster layout process, and allowing senior operators to focus on other critical activities like quality control.”
While HP hasn't announced pricing, we assume the printer robot itself will be surprisingly cheap, but the ink's gonna be a killer. Yuk yuk.
Check out Siteprint in the video below.
HP SitePrint Skanska testimonial | HP
Redeeming an HP voucher code is simple. All you need to do is follow these straightforward steps:
Select which HP voucher you would like to use and copy the promo code.
Head over to the HP website and add all of the items that you would like to buy to your shopping bag.
Once you’ve finished shopping, go to the checkout section and locate the promo code box.
Paste your HP discount code into the box and click “apply" to add it to your order.
Have you made sure that your HP voucher code has been entered in full, including with the proper formatting and correct digits?
Have you checked to see if your HP discount code is still valid and in date?
Have you made sure that your order meets any requirements that may apply to your code?
Have you checked to see if your discount code has any restrictions or limitations to its use?
HP business club: If you are a business owner, you can make savings on computers and equipment by joining the HP business club. The club offers members exclusive offers and promotions as well as expert advice and support. You can join the HP business club for free by following the instructions on their website.
HP discount codes: Want to save on your tech but can’t quite find the right sale to fit what you want? Why not take a look through our HP voucher codes to see if you can save. Simply add the code at the checkout and watch your price drop.
Summer sale event: Save up to £300 on the latest tech with the HP summer sale! Be quick, though, as this sale doesn’t last long.
If there are no HP vocher codes online right now, here are some things to try:
Test some of our expired codes - sometimes these still work!
Pop back to this page regularly to see when new voucher codes are uploaded.
Browse our coupons for other shops.
HP Black Friday sale
The Black Friday sale is one of the best yearly opportunities to save money when shopping at HP. The sale usually takes place in November and features a wide range of HP discounts and deals across the range. You can see exactly when the next HP Black Friday sale will begin by visiting the countdown page on the website.
HP seasonal sale
The HP Boxing Day sale is a fantastic time of year to make huge savings on computers, printers and more. Typically, HP starts its Boxing Day sale in late December and runs it until mid to late January. HP discounts during the Boxing Day sales often feature reductions of up to 50% off as well bundle deals on computing accessories.
HP Back to School deals
Each year, HP typically offers special Back to School deals in late August and early September. Past Back to School HP discounts have included reductions on laptops as well as free gaming packs with selected purchases. You can sign up to the HP newsletter to be notified about any upcoming Back to School offers and deals.
The periodic HP sales events and HP clearance deals are a great way to make savings on computers and computer accessories throughout the year.
Orders over £25 qualify for free delivery. Delivery on orders under £25 costs £3.
You can get a HP student discount of up to 35% off by joining the student store.
There is currently no deal or offer for signing up to the HP newsletter.
HP does not currently operate a cashback scheme at this time.
Grab your tech friend a HP gift voucher for their special occasion. These start from £10 and are sent directly to the recipient’s email address. You can even personalise them!
Before attempting a HP return, you have to contact the HP store you bought the items from. Items must be confirmed as a return before you can begin the process. Here are some other things to note:
Items should be returned in their original packaging with a proof of purchase attached.
Refunds may be reduced to align with any damages caused while the item was in your care.
All components that were delivered with the item must eb returned with it (e.g software and hardware).
Although you are unable to specify that you’d like a next day delivery, if they already have the item in stock, they aim to dispatch it on the next working day. Typically, though, you can expect to receive your order within 2 working days.
New customers are able to benefit from many of the voucher codes on this page! Why not take a look to find if there are any that could save you money on your next tech purchase.
The HP price match promise is eligible on select products, like laptops, online. If you find a retailer offering a bigger discount, just contact the support team. You must make your request before making an genuine purchase. In so doing, HP aims to provide the best possible price online.