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Each of these types reveals the extension of Houellebecq’s worlds across media, contesting teleological interpretations of text as closed and autonomous.

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In addition to his use of a network of multimedia references in his novels (intermediality) in order to inhabit “the skin of the ordinary spectator” (Houellebecq 2008: 17), 2 Houellebecq participates in three main types of multimedia activity: plurimedial combination, expansive adaptation and post-textual work. 1 This contributes to a broader understanding of Houellebecq while also shedding light on the media and technology-obsessed context.

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This article seeks to consider Houellebecq as more than a writer so as not to “render invisible a swathe of the measures that he has set up in the media spotlight (songs, poems, films, exhibitions, published correspondence, radio and TV shows, websites, etc.)” (Meizoz 2016). Despite an evident and purposeful engagement with media other than text, there is no substantial critical analysis of this aspect of Houellebecq’s work or investigation into the methods, reasons and consequences. As this paper will uncover, Houellebecq has already conquered several media forms and continues to do so as part of a process of transmediality. In this way, he destabilises the boundaries between media, mobilising the edges of his texts. Furthermore, Houellebecq adapts his texts, expanding them into film, exhibitions, comics, and music, spreading his influence across media. In this technological and mediatised context, Houellebecq directs and stars in films, participates on music albums, collaborates with artists and saturates his novels with photographs and multimedia references. Such developments have transformed the limitations, pressures and possibilities of artistic production. The resulting transmedial œuvre (Saint-Gelais 2011) reflects the passage of literature into the Digital Age, a period recognised for the imbricated rise of the Internet and mass media.

3 “J’en ai à peu près fini avec le monde comme narration – le monde des romans et des films, le monde (.)ġAs indicated by the Rester vivant exhibition at the Palais de Tokyo in Summer 2016, contemporary author Michel Houellebecq refuses to restrict his work to the medium of text but rather embraces multimedia interplays, references and fusions, extending the realms of his creative interventions.

1 All translations my own: “rendre invisible tout un pan du dispositif qu’il a mis en place dans la l (.).

Third, there are some remarks concerning Quantum Learning method that (a) the fitness with overall scenario, (b) student’s assistantship process regarding learning materials, (c) some initial questions raised before lecture, (d) inserting applause during lecture and presentation session, and (e) sequence of seating. Second, the Quantum Learning gives better learning achievement significantly (represented by p < 0.05).

It is indicated by the improvement of student’s learning activity, the coordination within workgroup, the improvement of learning motivation, and the avoidance of being fed up with learning materials.

The result reveals that: First, the Quantum Learning has better quality significantly (represented by p < 0.05) than the conventional method. Some strategies used in implementing the Quantum Learning is set out related to classroom arrangement, teacher’s and student’s activities, selected learning methods, and teaching general form. This research, which is conducted under Teaching Grant Program, uses quantitative and qualitative approaches with Action Research Method. Abstract: The objective of this research is to (1) improve the student’s learning quality in the lecture of Site Mapping, and (2) improve the quality of student’s learning achievement through the Quantum Learning.