tag:blogger.com,1999:blog-17580185927247408882024-02-07T00:11:38.539-08:00another white heterosexual dude on the internetmuffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.comBlogger41125tag:blogger.com,1999:blog-1758018592724740888.post-57120994945258240672015-11-02T16:05:00.000-08:002015-11-02T18:42:21.991-08:00Same Bat Time, Same Bat Channel<b>Rhetorical Analysis of Multimodal Texts:</b><br />
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https://www.pinterest.com/pin/182606959861376899/<br />
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http://allrecipes.com/recipe/219164/the-best-parmesan-chicken-bake/?internalSource=popular&referringContentType=home%20page<br />
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https://www.youtube.com/watch?v=sVa7TAxS1Hw<br />
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<b>Researching Your Project Idea:</b><br />
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Aasa, Maja, et al. <i>Editing Havana: Stories of Popular Housing</i>. Copenhagen: Aristo Publishing, 2011. Print.<br />
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Aponte-García, Maribel. "Foreign Investment and Trade in Cuban Development: A 50-Year Reassessment with Emphasis on the Post-1990 Period. <i>Bulletin of Latin American Research</i> 28.4 (Oct. 2009): 480-496. Web. 2 Nov. 2015.<br />
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Carpenter, Craig C. "Copyright Infringement and the Second Generation of Social Media: Why Pinterest Users Should be Protected from Copyright Infringement by the Fair Use Defense." <i>Journal of Internet Law</i> 16.7 (Jan. 2013): 1-21. Web. 2 Nov. 2015.<br />
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<i>Con Nuestros Propios Esfuerzos: Algunas Experiencias Para Enfrentar el Periodo Especial en Tiempo de Paz</i> <i>(With Our Own Efforts: Some Experiences to Face the Special Period in Time of Peace)</i><br />
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Cunha, Miguel Pina, and Rita Campos Cunha. "The Role of Mediatory Myths in Sustaining Ideology: The Case of Cuba after the 'Special Period.'" <i>Culture & Organization</i> 14.3 (Sept. 2008): 207-223. Web. 2 Nov. 2015.<i> </i><br />
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Gold, Marina. "Peasant, Patriot, Environmentalist: Sustainable Development in Havana." <i>Bulletin of Latin American Research</i> 33.4 (Oct. 2014): 405-418. Web. 2 Nov. 2015.<br />
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Londo<span class="selflink">ño, Johana. "The Latino-ness of Type: Making Design Identities Socially Significant." <i>Social Semiotics</i> 25.2 (April 2015): 142-150. Web. 2 Nov. 2015.</span><br />
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Oroza, Ernesto. <i>Statement of Necessity</i>. Miami: Alonzo Art, 2008. Print.<br />
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Piercy, Emma, et al. "Planning for Peak Oil: Learning from Cuba's 'Special Period.'" <i>Engineering Sustainability </i>(163.4): 169-176. Web. 2 Nov. 2015. <br />
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Powell, Kathy. "Neoliberalism, the Special Period and Solidarity in Cuba. <i>Critique of Anthropology</i> 28.2 (June 2008): 177-197. Web. 2 Nov. 2015. <br />
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Sevitt, David, and Alexandra Samuel. "How Pinterest Puts People in Stores." <i>Harvard Business Review</i> 91.7/8 (Jul./Aug. 2013): 26-27. Web. 2 Nov. 2015. <br />
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I'll have to keep my comments about the ways in which the two exercises from <i>Writer/Designer</i> might inform the work I do for the final project short, because, as you can see, I got a bit carried away with the research process. There are a whole lot of interesting takeaways from these two assignments, particularly when you juxtapose the prospects for design against research considerations. The multimodal "texts" that I found were interesting to me in terms of the way the materials that were needed to compose another object were represented and, in many cases, taken for granted. For example, the multimodal "text" from Pinterest did not list materials; it just included photographs that provided a step-by-step guide for composing the "pop bottle idea." The "allrecipes" example was generally sensitive about the specific ingredients that were needed while the tools that were required to bring the recipe to fruition were subsumed by and in the instructions. The "Dry Wall Patch Repair" video was generally clear about the tools that were needed, but I found it interesting that it didn't linger on these details in the beginning stages of the video; rather, the gentleman who provided instructions simply launched into how to approach the matter of dry wall patch repair. (It's also important to note that the video was sponsored by Craftsman, a company that obviously manufactures the specific tools that were being used in the video.) These examples are in stark contrast to the DIY solutions articulated in <i>Con Nuestros Propios Esfuerzos: Algunas Experiencias Para Enfrentar el Periodo Especial en Tiempo de Paz</i>, something I will have to keep in mind as I attempt to represent these issues through design in potent and compelling ways. More on this later.muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com0tag:blogger.com,1999:blog-1758018592724740888.post-38570599695571954992015-11-01T18:32:00.000-08:002015-11-01T18:33:37.439-08:00(Re) Contextualizing Computer Literacy: A Call for Multiliteracies and Systemic Change in Writing and CommunicationIn <i>Multiliteracies for a Digital Age</i>, Stuart Selber argues for a more robust framework by which to understand and articulate the dynamics of computer literacy. Insofar as existing computer literacy frameworks seem to offer rather narrow definitions of computer literacy as pertaining exclusively to the acquisition of technical skills, Selber attempts to answer the call of these decontextualized frameworks with more dedicated efforts to "account for local social forces and material conditions" (23). Selber's framework seeks to increase the prospects for more responsible and responsive iterations of computer literacy that explore the complex and dynamic interplay between matters of functional literacy, critical literacy, and rhetorical literacy. Ultimately, this complex and dynamic interplay begins to address the panoply of considerations that comprise theories of computer literacy by framing and juxtaposing representations of computers as tools, cultural artifacts, and hypertextual media, a move that potently and productively challenges the one-dimensional theories that have come to dominate debates and conversations about the use of computers.<br />
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Throughout <i>Multiliteracies for a Digital Age</i>, Selber emphasizes the ways in which instructors in writing and communication departments have neither been deferred to nor taken enough interest in expanding the scope of computer literacy in the ways he proposes with his multiliteracies framework. By arguing for more systemic changes in and around computer literacy, Selber acknowledges that advocacy must pass through a number of different layers of requirements in order to institute real change. Much like his arguments regarding the complex and dynamic interplay between matters of functional literacy, critical literacy, and rhetorical literacy, individual systemic requirements for change cannot be approached in isolation; rather, one ought to consider matters of technical, pedagogical, curricular, departmental, and institutional concerns simultaneously and in conversation with one another.<br />
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In my mind, Selber's arguments resonate with many of the other readings we have engaged with throughout the semester. By predicating his multiliteracies framework on efforts to challenge the manner in which existing iterations of computer literacy have remained decidedly decontextualized in nature, Selber rehearses many of the theories that comprise multimodality. In<i> On Multimodality</i>, Jonathan Alexander and Jacqueline Rhodes suggest that conceptualizations of mediated action and
multimodal practices require deeper consideration into "specific sociocultural contexts" and "intricacies of location,
access, ability, and ideology" in order to better understand the manner in which the mediational means employed by composers
emerge and acquire meaning.<i> </i>Similarly, Jody Shipka's "mediated-action framework" in <i>A Composition Made Whole</i> pushes back against a sort of "highly decontextualized skills and drills, linear,
single-mode approach to writing instruction," challenging instructors to develop approaches that "offer participants . . . a richer and more intricately textured
understanding of how communicative practices are socially, historically,
and technologically mediated." In many ways, multiliteracies and multimodality are linked by an impulse to see writing and communication as more than rote or formulaic attempts to express oneself, but, rather, richly-textured, dynamic, and nuanced ontological and epistemological processes, in which composers contribute to the existing wheelhouse, so to speak, of information and subjectivities.muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com0tag:blogger.com,1999:blog-1758018592724740888.post-31265786142731259452015-10-25T23:38:00.001-07:002015-10-25T23:40:06.737-07:00Wax On, Wax Off: Anything You Can Say I Can Say Nether1) In "awaywithwords: On the Possibilities in Unavailable Designs," Anne Frances Wysocki extols the virtues of navigating and discovering "unavailable designs." "Unavailable designs," Wysocki suggests, are those that "have been rendered unavailable by naturalized, unquestioned practice" (304), so the sorts of foundational elements of composing, like the "color of paper and technologies of print typography" (302), that have remained innocuous or salient to existing composing practices.<br />
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<img alt="" src="http://deterritorialinvestigations.files.wordpress.com/2013/06/map-is-not-territory.jpg" height="273" id="yui_3_5_1_2_1445841014569_729" style="height: 273px; width: 365px;" width="365" /> </div>
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Wysocki's general approach to composition resonates with me insofar as she treats "conventionalized design" in more nuanced ways, I feel, than some of the other theorists we have read up to this point. While theorists like Shipka and Alexander & Rhodes hark to compelling and important opportunities for granting "analytic primacy" to mediated action and resisting the ways in which composing has been effectively hijacked or "colonized" by traditional compositional frameworks, respectively, these approaches in some ways (inadvertently, of course) remain so committed to interrogating and problematizing text-based composing that they perhaps underestimate the extent to which <i>all</i> modalities (not just technologies of print technology) are fundamentally prescriptive according to the ways in which "available designs" have been socially, culturally, and historically constructed. <br />
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That being said, this raises questions about the sort of responsibility we assume as instructors in pushing back against the infrastructures of <i>all</i> or <i>some</i> of the modalities in which our students are composing. In composing my own final project, I will have to really consider not just the relationship between and among the modalities I am using, but also the specific ways in which I may or may not be altering the proverbial landscape of <i>each </i>of said modalities through my purportedly unique and personalized applications or practices.<br />
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2) In "The Rhetorical Work of Multimedia Production Practices: It's More than Just Technical Skill," Jennifer Shappard juxtaposes the prospects for imparting technical skills to students engaging in multimedia production against helping to facilitate the development of diverse and significant literacies. In so doing, Sheppard seeks to showcase the ways in which multimedia production is a meaningful, dynamic, and iterative process through which students (as composers) learn to be sensitive to and aware of "technological rhetorical considerations," considerations that must be navigated carefully and consciously, in order to participate in and "interact with the world in thoughtful, informative, and persuasive ways" (403).<br />
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Sheppard's efforts to expand (and honor) the scope of what constitutes multimedia production beyond the realm of mere "technical skills" interest me immensely because they begin to drive at the sorts of challenges and obstacles that inhere in activities, assignments, and major inquiry projects that ask students to not only navigate a particular rhetorical situation but to do so in genres and media that exacerbate the rhetorical demands and expectations that are placed on them as composers.<br />
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<img alt="" src="http://www.bcs.org/upload/img/keyboard-www.jpg" height="200" id="yui_3_5_1_2_1445841221063_970" style="height: 200px; width: 450px;" width="450" /> </div>
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By design, all of the theorists we have read up to this point share Sheppard's philosophy in terms of honoring the rich and rigorous set of rhetorical choices that students (as composers) make in the course of multimedia production. What distinguishes Sheppard, though, is her commitment to sharing the theoretical promise of multimedia production and its "technological rhetorical considerations" with administrators and colleagues.<br />
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My final project is predicated on surveying the landscape of students' previous experiences and preference with regard to being required to use mobile devices to complete in- and out-of-class course activities, so Sheppard's approach to multimedia production will likely play an important role in how I represent my findings from the questionnaire I am distributing to students in writing-intensive courses. Indeed, the questionnaire is designed in some ways to better understand how students are internalizing the instructions and technologies instructors are explicitly (or implicitly) prescribing to students in their activities, assignments, and major inquiry projects, which will hopefully help speculate about the role that both "technical skills" and "technological rhetorical considerations" play in terms of the work that they compose.<br />
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3) In "Composing for Recomposition: Rhetorical Velocity and Delivery," Jim Ridolfo and Dànielle Nicole DeVoss explore the extent to which considerations of delivery have infiltrated conversations and practices of rhetoric in digital spaces. Ridolfo and DeVoss are particularly interested in what they dub, "rhetorical velocity," a term that drives at the speed at which content that is delivered digitally is actually re-mixed and appropriated in many ways by users in their efforts to communicate their own compositions, compositions that re-work components of existing compositions and extend them to new (and perhaps unintended) contexts or communicative landscapes. "Rhetorical velocity" is significant, they argue, because composers are responding in particular ways to the prospect of such re-mixing and appropriating.<br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/0CRX_mqpzdU/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/0CRX_mqpzdU?feature=player_embedded" width="320"></iframe> </div>
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Ridolfo and DeVoss' ideas are important to keep in mind in terms of the ways in which we theorize and define production and composition. I was reminded in many ways of Kress and van Leuwen's attempt to articulate a schema for multimodality in <i>Multimodal Discourse: The Modes and Media of Contemporary Communication</i>. Kress and van Leuwen design their schema to speak to the unique and personalized ways that composers actually enrich existing
debates and conversations about communicative action in the ways that
they navigate and acknowledge matters of discourse, design, production,
and distribution, in the course of developing and delivering content. Yet, as we discussed issues of distribution in class, it was difficult <i>not</i> <i>to</i> gesture to the prospects for re-mixing and/or appropriating in varying degrees of heavy-handedness. Which is to say, militating (and/or guarding) against efforts to extend existing content into new (and perhaps unintended) contexts can only go so far, even if these efforts include severe legal implications.<br />
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Ridolfo and DeVoss' notion of "rhetorical velocity" was incredibly interesting to me in terms of considering ways in which I might invite re-mixing and/or appropriation in the content I compose for my final project. I wonder, too, whether calling direct attention to these opportunities will cheapen or somehow delimit the transgressive potential embedded in users' efforts to extend existing content into new (and perhaps unintended) contexts of their own choosing.muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com0tag:blogger.com,1999:blog-1758018592724740888.post-21611330782810768782015-10-12T14:01:00.000-07:002015-10-12T14:02:02.905-07:00Composer <===> Audience: Communication, or the Twice-Social-Semiotic ExchangeIn the first half of <i>Multimodality: A Social Semiotic Approach to Contemporary Communication</i>, Gunther Kress attempts to articulate a "social-semiotic theory of multimodality" through which composers and audiences might make productive distinctions between design practices, insofar as they do or do not promote "competence," on the one hand, or "critique," on the other. For Kress, the current media and communication landscape is far less stable and immutable than previous generations. The act of meaning-making therefore requires composers and audiences alike to navigate and respond to differing distributions of power. In so doing, the composer's interests are juxtaposed alongside those of their audience, therefore creating important spaces in which knowledge can be produced as opposed to merely acquired.<br />
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Kress' emphasis on the prospects for producing and/or fashioning knowledge is integral to understanding his overall project in <i>Multimodality</i>. Indeed, his entire schema seems predicated on the idea that the rhetorical choices that both composers as well as audiences make in the course of their representative and interpretative acts, denote or communicate a sort of agency and style that is indispensable to understanding the scope and tenor of the ways in which social spaces might produce communicational and semiotic change at the level of culture and identity politics. Leaving the possibility for this sort of negotiation open, then, accentuates the ways in which both composers as well as audiences might circumvent the "grooves of convention" and perhaps even realize the political and semiotic aspirations of their communicative acts. In so doing, the semiotic work that they engage in serves as a potent and realistic forum through which to re-think the existing epistemologies and ontologies that comprise communication writ large.muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com0tag:blogger.com,1999:blog-1758018592724740888.post-54212023865523495722015-10-05T10:49:00.002-07:002015-10-05T10:49:29.428-07:00Affordances and Limitations of Culture and/as Affordances and Limitations of Media<u><b>A Summary </b></u><br />
In <i>Multimodal Discourse: The Modes and Media of Contemporary Communication</i>, Gunther Kress and Theo Van Leeuwen attempt to articulate a set of "common semiotic principles [that] operate in and across different modes" (2). Their focus on multimodal <i>practices</i> is significant insofar as it accentuates the unique and personalized ways in which composers actually enrich existing debates and conversations about communicative action in the ways that they navigate and acknowledge matters of discourse, design, production, and distribution, in the course of developing and delivering content. This approach, however, is as much concerned with the affordances and limitations that comprise various modes and media as the affordances and limitations imposed by particular cultures.<br />
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<b><u>A Synthesis </u></b><br />
As a great deal of my reading of Gunther Kress and Theo Van Leeuwen's <i>Multimodal Discourse: The Modes and Media of Contemporary Communication</i> resonated with many of the ideas articulated in previous readings this semester, I felt it might be productive at this stage in the semester, to briefly touch on some of these resonances. Throughout <i>Multimodal Discourse</i>, Kress and Van Leeuwen comment on the changing landscape of communicative action, a landscape in which the seemingly exclusive and predominant practice of monomodality has been demystified in favor of a more fluid and variable landscape in which one can and does manipulate the semiotic components and mediational means available to them. In so doing, Kress and Van Leeuwen, like Jody Shipka in <i>A Composition Made Whole</i>, grant "analytic primacy" to mediated action, a move that very much extols the virtues of the profound rhetorical and cultural work accomplished by the "individual-interacting-with-mediational-means." Yet, for Kress and Van Leeuwen and Shipka, as well as for Jonathan Alexander and Jacqueline Rhodes in <i>On Multimodality</i>, placing an emphasis on the scope and breadth of mediated action and multimodal practices requires a more nuanced understanding of the "specific sociocultural contexts, bounded by intricacies of location, access, ability, and ideology," through which the mediational means emerge and acquire meaning. Without this sort of contextualized approch, Kress and Van Leeuwen remind us, we risk undermining and occluding the very real and profound ways in which composers add to the existing repertoire of available "grammars of design."<br />
<br />muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com0tag:blogger.com,1999:blog-1758018592724740888.post-9589398866187731872015-09-28T14:32:00.000-07:002015-09-28T14:40:41.974-07:00The Ontologies of Microsoft Word: A Noir Storyboard with Captions<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://flann4.files.wordpress.com/2007/10/noir.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="179" src="https://flann4.files.wordpress.com/2007/10/noir.jpg" width="320" /><span id="goog_428806849"></span><span id="goog_428806850"></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">He knew something was up when it told him "interpellate" isn't a word.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinQFohvD68ssNqSwThDO-yKaM2ErRsuWRbADmh0mXMlFHItQjrH6SUUNQD8N58qJRu7avuu5m6tnaXI8I0KwBQWSZuG2lCDosuc-1iV4kGJqk4dNb9rlKVFxtfsEMZBb3Ja-OKoNDwIbA/s1600/interpellate.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="76" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinQFohvD68ssNqSwThDO-yKaM2ErRsuWRbADmh0mXMlFHItQjrH6SUUNQD8N58qJRu7avuu5m6tnaXI8I0KwBQWSZuG2lCDosuc-1iV4kGJqk4dNb9rlKVFxtfsEMZBb3Ja-OKoNDwIbA/s320/interpellate.png" style="cursor: move;" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">He didn't know who it was that was underlining all of those "misspelled" words . . . </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxC1S6JLl69bJYbvnn0tvOOzCOkYACmACR1JavIyUmdtISBvJ6hWN1cBr84FuabnbVWha6ELBitx6xx3uR8FMjRd__lYFj2ftPjcV0raH7jON7jBepFHdXGbqMgmdsact95jPxqXdxibs/s1600/Film+Noir+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxC1S6JLl69bJYbvnn0tvOOzCOkYACmACR1JavIyUmdtISBvJ6hWN1cBr84FuabnbVWha6ELBitx6xx3uR8FMjRd__lYFj2ftPjcV0raH7jON7jBepFHdXGbqMgmdsact95jPxqXdxibs/s1600/Film+Noir+3.jpg" width="286" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">who it was that was lurking in the shadows, equal parts architect and gatekeeper, correcting and disciplining . . .</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR-7rZhUeXMdiUOR-D_lQ2hee0xy1N93M36VgjsKH_5LD04jkyDr152-Xt8cLnfCEjtfd_4oaLvIiwEzBwHJZmHm0Se6ktAeTRQxGfgqwGVfDuzRPwPHacTaYg0hP7W9gZZd-ZHt4JRBY/s1600/interpolate+def.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR-7rZhUeXMdiUOR-D_lQ2hee0xy1N93M36VgjsKH_5LD04jkyDr152-Xt8cLnfCEjtfd_4oaLvIiwEzBwHJZmHm0Se6ktAeTRQxGfgqwGVfDuzRPwPHacTaYg0hP7W9gZZd-ZHt4JRBY/s640/interpolate+def.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">but he knew there had to be a reason they preferred that he use "interpolate" . . .<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW730NaAtrRTtL0clUu2r_CN5Or79mlb9EOoZ14S4Mx8wyLonsts2iSboJzhQ17mT7JUEZ_RsER6rQNunW6Zjy6XpPuuPMUNjceNXPdgolX9Xv4JhnV56v6P3Siu8onI_1oGIJwM4_XM4/s1600/interpellate+def.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW730NaAtrRTtL0clUu2r_CN5Or79mlb9EOoZ14S4Mx8wyLonsts2iSboJzhQ17mT7JUEZ_RsER6rQNunW6Zjy6XpPuuPMUNjceNXPdgolX9Xv4JhnV56v6P3Siu8onI_1oGIJwM4_XM4/s640/interpellate+def.png" width="640" /></a></div>
in lieu of using "interpellate."<br />
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Whatever their reasons, he knew he didn't trust them . . .<br />
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but he also knew that no matter how hard he tried to get away . . .<br />
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or defer to someone or something else . . .<br />
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<a href="https://upload.wikimedia.org/wikipedia/commons/2/25/BigComboTrailer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="392" src="https://upload.wikimedia.org/wikipedia/commons/2/25/BigComboTrailer.jpg" width="640" /></a><br />
they would be there, waiting.<br />
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<img border="0" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjziN2YKccqsmKwp8Gu0L4U1VPIgNSViR5S_FQqIBGWDCgNEr_3-uCNUZ9X_FpwEQZjL8S_B3bDY-ZMRHvcwJoQ0EAnVa3BpX15LurGmd4WZ0keNcLbQEp6WRYcDnbqcE5ZrRrj4wwgIuY/s640/question.png" width="640" /> He knew this was about more than just words, though . . .</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggKXt1xckWjhSULQ6qXsN7pNIikywpTGtCj0-NuMgdXiDJgnnTYczaSb0LjUjRisPmpWVdqAoHwD8PIl_Vjis1j_dVlWTGBm-XGnoG3ztwpHKF5-hcV1lb7emC-TEIQLgPmGqdSBDC50o/s1600/Film+Noir+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggKXt1xckWjhSULQ6qXsN7pNIikywpTGtCj0-NuMgdXiDJgnnTYczaSb0LjUjRisPmpWVdqAoHwD8PIl_Vjis1j_dVlWTGBm-XGnoG3ztwpHKF5-hcV1lb7emC-TEIQLgPmGqdSBDC50o/s1600/Film+Noir+2.jpg" width="400" /></a></div>
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that it was about more than just being followed or corrected or disciplined.</div>
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<a href="http://www.pxleyes.com/images/contests/film-noir-2/fullsize/Planning---the-hit---50fd9e86cae97_hires.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.pxleyes.com/images/contests/film-noir-2/fullsize/Planning---the-hit---50fd9e86cae97_hires.jpg" height="285" width="400" /></a></div>
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He began to wonder who he was in relation to them . . .</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWVYxEdMSI1H-piTvtfcqBU9CqQ0lJKhIjMB1N9pJ1Pyuoxd7s44rzV93rOKI7AchTJIKEI1R2g_0wSrLEOZAdZB2ww3xCfr9RBLYC6_jQ5HZ-O6u5ieovFSRetTp-xpzYgnhAStICeGI/s1600/question+mediated.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWVYxEdMSI1H-piTvtfcqBU9CqQ0lJKhIjMB1N9pJ1Pyuoxd7s44rzV93rOKI7AchTJIKEI1R2g_0wSrLEOZAdZB2ww3xCfr9RBLYC6_jQ5HZ-O6u5ieovFSRetTp-xpzYgnhAStICeGI/s640/question+mediated.png" width="640" /></a></div>
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and who they wanted him to be.</div>
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<a href="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQ1mNNIaXaqWJxW2xuSL7nLRDuwJLO-nJIPsj2eGAvh3SNx6KsB" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQ1mNNIaXaqWJxW2xuSL7nLRDuwJLO-nJIPsj2eGAvh3SNx6KsB" width="640" /></a></div>
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He wondered how <i>he</i> could be in the driver's seat . . . </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYuB6A5cN5mLKl7qKDz7Afe7SoDkzQzZvRLOmpQM-AQpgIi4MOfXXYsu_XnocbOzyJSuTDzR76opPah6dHx9dYEg1NS3VRjzDhYpPzXWkkQiModGVRv-3WXwmUb2ffLgZjNJZ24BtbxKA/s1600/question+remediated.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYuB6A5cN5mLKl7qKDz7Afe7SoDkzQzZvRLOmpQM-AQpgIi4MOfXXYsu_XnocbOzyJSuTDzR76opPah6dHx9dYEg1NS3VRjzDhYpPzXWkkQiModGVRv-3WXwmUb2ffLgZjNJZ24BtbxKA/s640/question+remediated.png" width="640" /></a></div>
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how <i>he</i> could manage to work within the constraints they imposed and possibilities they offered while realizing some semblance of the identity and message he sought to deliver all the while.</div>
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<a href="http://uffilmanalysisfive.pbworks.com/f/noir3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://uffilmanalysisfive.pbworks.com/f/noir3.jpg" height="266" width="400" /></a></div>
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And even if that identity and that message weren't exactly what he expected or desired . . .</div>
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<br /></div>
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<a href="http://melissalovephotography.com/files/gimgs/21_noir062-b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://melissalovephotography.com/files/gimgs/21_noir062-b.jpg" height="123" width="200" /></a></div>
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at least he came away from it all with a better understanding of the figure in the shadows . . .</div>
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<br /></div>
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<a href="http://i.ytimg.com/vi/O-pp6WD89JU/hqdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://i.ytimg.com/vi/O-pp6WD89JU/hqdefault.jpg" height="240" width="320" /></a></div>
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and the network of affordances and limitations he was working in as he composed his life in this place.</div>
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<br /></div>
<div class="separator" style="text-align: left;">
<b>Reflections on "The Ontologies of Microsoft Word: A Noir Storyboard with Captions":</b></div>
<div class="separator" style="text-align: left;">
<b> </b> </div>
<div class="separator" style="text-align: left;">
In <i>A Composition Made Whole</i>, Jody Shipka discusses
the ways in which representational systems and technologies outside or
supplemental to the purview of textual production tend to be undervalued,
derided, and/or ridiculed as playful, uncritical, and unsophisticated gestures
that merely distract from the "real work" of higher education. Shipka
places a great deal of emphasis on having compositionists work to facilitate an
understanding of the "complex ways that texts come to be," a habit of
mind that celebrates the “complex and highly distributed processes associated
with the production of texts" (13). In my multimodal representation, I
sought to elucidate the process by which texts are produced by harking to moments
where users might work with writing technologies, like Microsoft Word, and bump
up against the affordances and limitations of the medium they’re working in when they attempt to convey meaning. I represented all of this through the Noir
genre, because it underscored the insidious, elusive, and mysterious character
of the unique affordances and limitations that comprise mediational means and their capacity to become
naturalized, common, and neutral without adequate critical attention. The shadowy figure
that hangs over efforts to convey meaning like a specter serves as a reminder of the constraints that <i>all</i> media impose. Though this shadowy figure cannot necessarily be done away with entirely by users, like Shipka, I attempt to extol the virtues of creatively and critically navigating these obstacles by representing this particular user as a prospective "individual-interacting-with-mediational-means," a user who is beginning to form a sort of media ecology around their nascent understandings of the network of affordances and limitations they are working in when using a particular medium.</div>
</td></tr>
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muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com0tag:blogger.com,1999:blog-1758018592724740888.post-35046744234966625102015-09-28T10:55:00.002-07:002015-09-28T10:55:15.123-07:00(Re) Mediating Composition: The Case for Sociohistorical and Contextualized Approaches to First-year (Multimodal) CompositionIn <i>Toward a Composition Made Whole</i>, Jody Shipka articulates a "mediated action framework" through which compositionists might rethink the epistemological and ontological underpinnings of traditional composition pedagogies, in order to speak more directly to the demands that inhere in the growth of available and existing technologies and the virtues of facilitating the sort of rhetorical and material awareness that might help students negotiate situations and contexts that may or may not lie within the narrow confines of curricular environments. The "individual-interacting-with-mediational-means" serves as the protagonist of Shipka's "mediated action framework," a sort of "promiscuous" figure who extols and performs the virtues and meaning-making potentialities of various representational systems and technologies, systems and technologies that are ultimately not restricted to or defined by strict textual production. In so doing, Shipka productively re-hashes debates and conversations within composition studies about distinctions between product- and process-oriented approaches to the work that students do in the classroom.<br />
<br />
Despite the sorts of mandates and expectations that inhere in these debates and conversations, though, by design the "mediated action framework" does not neatly or conveniently align itself with one camp or another, it seeks in many ways to problematize efforts to "too quickly dismiss the highly purposeful and rigorous dimensions of unfamiliar-looking texts." This move, Shipka goes on to suggest, "involves directing . . . attention away from the look, sound, or feel of a final product and toward a consideration of that product <i>in relation to</i> the complex processes composers employed while producing that text" (134). By granting "analytic primacy" to mediated action, then, she does not so much endeavor to frame either a product- or process-oriented approach as much as demystify this binary and, perhaps more important, unmoor traditional composition pedagogies from the sorts of prescriptive and uncritical postures that seem to comprise strict textual production.<br />
<br />
Unilaterally determining the choices and contexts and situations and tools that are available to students, in this sense, merely provides students with a "highly decontextualized skills and drills, linear, single-mode approach to writing instruction" rather than one that "offers participants . . . a richer and more intricately textured understanding of how communicative practices are socially, historically, and technologically mediated" (85). Shipka's "mediated action framework," therefore, places more of the onus and responsibility on students themselves to navigate the complex and dynamic miasma of variables that serve as both affordances and limitations to the manner in which they invent, compose, deliver, and revise their approaches to projects. Ultimately, the goals associated with the "mediated action framework" have less to do with "pleasing the teacher" or arbitrarily "doing whatever one feels like doing," than helping students "learn to view tasks as problems, the solutions to which must be carefully negotiated" (106).<br />
<br />
I know my question for Jody Shipka is coming in a bit late, seeming as how class is today, but it really has/is taken/taking me some time to really digest all of the ideas in <i>A Composition Made Whole</i>. There are so many parts of what I read that resonated with my larger research interests in conceptualizing Cuban digital literacies and understanding DIY cultures that I spent much of my time scrawling "CUBA" and "DIY" in the margin and trying to find points of convergence between the composition pedagogies I aspire to and my continued work in the aforementioned areas. I hope that the question that follows begins to drive at the sorts of intersections and nuances that I am at least attempting to flesh out and actualize in all of the work I do.<br />
<br />
Throughout <i>A Composition Made Whole</i>, you call for "a richer and more intricately textured understanding of how
communicative practices are socially, historically, and technologically
mediated" (85). This implies that the sociohistorical aspects of students' unique and personalized composing processes ought to remain central to their understandings and articulations of the work they do throughout the semester. While the "Lost and Found" (LF) task seems to express some sensitivity towards limiting the added economic pressures that students incur as they navigate assignments and course activities that in many ways require them to purchase or acquire additional materials, I found myself wondering about the role that "critical consciousness" and "prosumerism" ought to play as students invent, compose, revise, and deliver their projects. This is not to say that there are necessarily "ideal" or requisite conditions in which "critical consciousness" and "prosumerism" can or should take place; rather, I guess I am asking how we as compositionists might continue to make them more central as we construct multimodal assignments and curricula.muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com0tag:blogger.com,1999:blog-1758018592724740888.post-50016638754714990162015-09-21T13:25:00.001-07:002015-09-21T13:26:31.228-07:00Re-mixing Multi-modalityBelow you will find a link to the Prezi that Sam Herriot, Lacy Hope, and I composed last week in response to our reading of Jason Palmeri's <i>Remixing Composition: A History of Multimodal Writing Pedagogy</i>.
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<iframe src="https://prezi.com/embed/enbi_umripd_/?bgcolor=ffffff&lock_to_path=0&autoplay=0&autohide_ctrls=0&landing_data=bHVZZmNaNDBIWkRDVE93YVVDTVN5dWF2eDNlZVpKd2dWVUU2aXZHWXNTWlorbUw3b1RsTlZuODhJZkJQb3RIVEtpSTRDZz09&landing_sign=VK5xC86WV5ReDi7QBEjHwujk0V9Ue7wEYOSnJOe3gao" allowfullscreen="" mozallowfullscreen="" webkitallowfullscreen="" id="iframe_container" frameborder="0" height="400" width="550"></iframe>
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Later in this post, I will look to revise this Prezi in order to integrate Jonathan Alexander and Jacqueline Rhodes' ideas from <i>On Multimodality: New Media in Composition Studies</i> into a sort of layered multimodal response that weaves both texts together.
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In <i>On Multimodality</i>, Alexander and Rhodes problematize existing applications of multimodality in composition studies, exploring many of the problematic and reductive ways in which multimodal composition has been both theorized and extended to the classroom in the past. For Alexander and Rhodes, multimodal pedagogies remain rather flat and almost formulaic insofar as they seem to disregard the breadth of rhetorical capabilities and affordances that comprise the media in which compositionists ask students to compose in favor of narrow iterations of multimodal composition that seem to perpetuate (rather than challenge) standard print-based literacies and practices. In this sense, multimodal composition is effectively hijacked or "colonized" by traditional compositional frameworks, frameworks that filter technologies, new media, and literacy practices through a sort of crucible of textual communication. Which is all to say that seemingly innocent (even transgressive) "techno-inclusionist" attempts to integrate new media and multimedia projects into the composition classroom ultimately undermine efforts to realize the prospects for agency, advocacy, and/or informed subjectivity if compositionists do not take the time to prepare students "to take full advantage of the specific rhetorical affordances of the media they are using" (19).
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Alexander and Rhodes therefore seek to articulate a theory and practice of multimodal composition that looks beyond narrow conceptualizations of new media as a mere tool or thrall at the altar of traditional composition, a one-dimensional vacuum in which "appropriate and productive uses" might be unilaterally imposed or determined; rather, they seem to suggest that the virtues of multimodal composition are best realized when students (and everyone for that matter) understands the extent to which their unique and personalized uses of different modalities--whether in isolation or in conversation with one another--take place in and around "specific sociocultural contexts, bounded by intricacies of location, access, ability, and ideology" (34). In many ways, the will to contextualize serves as the coda through which Alexander and Rhodes' vision of multimodal composition can be understood. Indeed, much of <i>On Multimodality</i> seems committed to interrogating the myriad ways in which the dynamic interplay of new media and identity politics continue to rework and transform notions of ethos and subjectivity in ways that really demand more sensitive, concerted, and comprehensive approaches to multimodal composition, approaches that are more in touch with the critical and rhetorical possibilities of new media and the "soft infrastructure," so to speak, of the interfaces and ideologies that students might creatively navigate and manipulate as a way of interrogating the discursive underpinnings of identity in an increasingly multimodal "world."
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<iframe src="https://prezi.com/embed/ecz8pigrmlzr/?bgcolor=ffffff&lock_to_path=0&autoplay=0&autohide_ctrls=0&landing_data=bHVZZmNaNDBIWkRDVE93YVVDTVN5dWF2eDNlZVpKd2dWVUU2aXZHWXNTWlorbVpzbG94RWU4dGRGSDRhWVdia0JOTUZ6QT09&landing_sign=SNXVE43tXOD9kwFGbE5g9H95nWuNwnN771LCt5KDmLE" allowfullscreen="" mozallowfullscreen="" webkitallowfullscreen="" id="iframe_container" frameborder="0" height="400" width="550"></iframe>muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com0tag:blogger.com,1999:blog-1758018592724740888.post-10501604084291273962015-09-14T09:35:00.003-07:002015-09-14T11:43:08.149-07:00Re-miiiiiiiiiix, or "Where I'm Calling From"As I was reading Jason Palmeri's <em>Remixing Composition: A History of Multimodal Writing Pedagogy</em>, I realized something very important about my relationship to composition studies: namely, that I've reached a point in my young academic career where I'm clamoring to define "where I'm calling from," as Raymond Carver would have it, where I'm grasping for a pedagogy (or pedagogies) that in some way, shape, or form symbiotically match up to my general research interests in identity politics, digital literacies, political economy, and social justice. Throughout <em>Remixing Composition </em>Palmeri speaks to so many of the unanswered questions and stultifying anxieties that have comprised my efforts to integrate multimodal composing into my pedagogies while remaining committed to inclusivity, situated learning, and, perhaps most important, rhetorical theory and practice.<br />
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For Palmeri, "the study and teaching of multimodal composing must necessarily be an <em>interdisciplinary</em> endeavor" (155). Though effectively extolling the virtues (and, of course, the necessities) of approaching multimodal composing in an interdisciplinary manner and collaborating with scholars in different disciplines to study the creative process, he also makes it a point to articulate the specific ways in which compositionists might contribute to conversations about writing and education reform. By juxtaposing misguided and one-dimensional efforts to simply "teach students to become professional 'new media' producers" against the creative and productive tension that inheres in pedagogies that "engage [students] in reflectively considering how theories of rhetoric and process can travel across modalities" (153), Palmeri elucidates upon and appeals to a brand of multimodal composition that effectively and fervently contests "the rigid compartmentalization of knowledge in the modern university" (132). Indeed, much of what Palmeri discusses in <em>Remixing Composition</em> seems predicated on the notion that "considerations of new media should not be left to 'computers-and-writing' or 'technical communication' specialists alone" (94), a claim that he supports by framing multimodal composition as a practice (or practices) entrenched in the need to acquire dynamic understandings of audience and purpose and a recognition of the affordances and limitations of various media and genres.<br />
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Yet, what I found most compelling and important about Palmeri's project in <i>Remixing Composition</i>, was his general commitment to answering the enthusiasm and supposed liberatory potential of multimodal composition with an important challenge to the "field's tendency to fetishize 'new' technologies," a move that he suggests, "problematically works to reinforce racist and colonialist narratives of progress" (12). In this sense, efforts to locate "transferable composing skills" that speak to school, civic, and workplace contexts are always tempered by a call for trepidation, a call for <i>teaching</i> methodologies that integrate matters of racism, classism, sexism, and so forth into the very infrastructure of multimodal composition pedagogies. This seeming call for <i>teaching</i> methodologies resonates with me, because it accentuates multivalent issues of access, literacy, social justice, and stakeholders, not as an after-thought or sub-section to multimodal composition theory and practice but as the very metric by which compositionists organize and students engage with assigned/required technologies, course content, and major inquiry projects.<br />
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<strong><u>Questions for Jason Palmeri about <em>Remixing Composition</em></u></strong><br />
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1) Much of <em>Remixing Composition </em>seems to extol the virtues (and historical precedents in the field) of compositionists being promiscuous, so to speak, in their efforts to form multimodal composition pedagogies around productive intersections between composition and the allied arts. You even go so far as to say that "considerations of new media should not be left to 'computers-and-writing' or 'technical communication' specialists alone" (94). As English departments (or universities), like that of WSU, continue to maintain and/or develop rather prominent programs in digital, technology, and culture, and technical writing (courses that many instructors are granted opportunities to teach in addition to FYW) alongside their composition program, of course, how might instructors who are interested in multimodal composition go about crafting pedagogies and approaches to new media/multimedia composing in a way that will embrace the liberatory potential of multimodal composition while also remaining sensitive and hyper-aware of the different rhetorical and disciplinary demands/expectations that comprise these programs and their respective courses?<br />
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<strong>(Note: I do not necessarily ask this question with the intention of keeping these programs and courses in compartmentalized discursive and pedagogical spaces; rather, I approach this issue from the perspective of a graduate student and instructor whose research and pedagogical interests stretch across a disciplinary continuum ranging from FYW to digital, technology, and culture to technical writing (and beyond). As opportunities to teach different courses across these disciplines emerge in the future, I will certainly my enthusiasm for multimodal composition and new media/multimedia writing to the fore of my pedagogies, though I wonder, too, how I might make enough distinctions between these pedagogies where I am not simply exporting or re-tooling activities and major inquiry projects from one course to another.)</strong><br />
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2) In Chapter 3 of <em>Remixing Composition</em>, you caution compositionists against "painting all young students with the same broad brush" (114) in making assumptions about their existing functional, rhetorical, and critical literacies in using new media in and around prospective classroom activities. Beyond the prospects for assigning literacy narratives and/or "video documentaries," what other measures can compositionists take to speak to the obstacles that students face with material limitations, physical or mental impairments, and/or developing literacies?<br />
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<strong>(Note: In asking this question, I don't pre-suppose that a "purified" or "all-inclusive" pedagogy exists in which all of these and other obstacles are answered; rather, I hope to gain more insight into the ways in which compositionists might better tailor their classrooms, assignments, curricula, etc. to increase the prospects for dynamic learning opportunities and robust forms of participation among the broadest, most diverse student population possible.)</strong>muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com0tag:blogger.com,1999:blog-1758018592724740888.post-32373401324415336652015-08-31T14:45:00.001-07:002015-08-31T14:45:19.587-07:00Defining a (Sub-)Field: Multimodal Composition in Six KeysIn "NCTE Position Statement on Multimodal Literacies," the authors who composed the statement at the National Council of Teachers of English attempt to at least begin to formalize discursive and learning spaces in which instructors and students alike might value multimodal composition as "the interplay of meaning-making systems" (17). According to the position statement, framing multimodal composition in this way requires that instructors and students buy into the notion that "all modes of communication are codependent" (17) and that more stock is placed in "read[ing] critically and writ[ing] functionally, no matter what the medium" (Kist qtd in. 18). In order for multimodal composition to flourish, though, the position statement insists that instructors ought to develop curricula standards and assessment practices in collaboration with their students, who are "often more literate in the technical aspects of digital production than many of their teachers" (19).<br />
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In "Contending with Terms: 'Multimodal' and 'Multimedia' in the Academic and Public Spheres," Claire Lauer illustrates the ways in which "[d]efining terms is a situated activity" (22) by making important distinctions between "multimodal" and "multimedia" as they are applied in "academic," "professional," and/or "hybrid spaces." For Lauer, these terms exist on a continuum between "design/process" and "production/distribution," a continuum that dictates how a term and its attendant meanings will or will not be valued in different spaces. The term "multimodal" generally finds a home in academic spaces, where "design/process" is a focal point of the work that students do, a point of emphasis that represents a move away from "grammatical correctness and rigid, formulaic structures for writing" (38). The term "multimedia," on the other hand, remains integral to spaces outside of academia, where "production/distribution" are "most valued because it is only by way of production that companies are able to meet the needs of their clients and stay economically viable" (38). Ultimately, Lauer urges instructors to avoid using these terms interchangeably, and to help students understand the rhetorical dimensions that dictate how terms like "multimodal" and "multimedia" are used, thus using "multimedia" as a "gateway term" of sorts.<br />
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In "The Still-Unbuilt Hacienda," Geoffrey Sirc juxtaposes Composition's seeming conservatism and its willingness to serve as a sort of "pre-professional discourse" or "Corporate Seminar" since the 1980s against the more fluid, indeterminate, and liberatory potential that inhered in Composition during the late-1960s. Sirc draws on a contingent of Composition theorists and experimental artists in and around the late-1960s, in order to answer Composition's "narrowing bandwidth" with a call for instructors to imbue their teaching with a more potent and creative approach that speaks to Composition's roots as a decidedly avant-garde discipline. Ultimately, Sirc seems to suggest that the prospects for realizing "Composition's Hacienda" rests on "a crucial need to understand the irreverence, the disgust, for old forms, as well as the passion for rethinking forms" (58).<br />
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In "Made Not Only in Words: Composition in a New Key," Kathleen Blake Yancey narrates a moment in composition studies in which discourses around literacy have attempted to move beyond the narrow and stultified annals of strictly written and textual literacies. Indeed, Yancey urges compositionists to embrace and create unique and personalized discursive spaces that are sensitive to shifts in our understanding of literacy, and accommodates the electronic and "screen literacies" that comprise Web 2.0. Ultimately, Yancey's call for curriculum reform rests on a model of composition in which students can reflect more astutely and critically about the role that "real world" genres and different media play in communicating ideas and entering into conversation with a writing public.<br />
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In "A Pedagogy of Multiliteracies: Designing Social Futures," The New London Group problematizes existing conceptualizations of literacy pedagogy that seem to ignore the prospects for effective and legitimate forms of communication outside of textuality and language. For The New London Group, the notion of "multiliteracies" is therefore predicated on recognizing these different forms of communication as unique and potent gateways for advocacy and social participation. They propose designing literacy pedagogy around four components: Situated Practice, Overt Instruction, Critical Framing, and Transformed Practice. For The New London Group, the notion of "multiliteracies" remains an indispensable concept to enact in its capacity to create a "productive diversity" in and around combined literacy practices, a forum for "learners [to] juxtapose different languages, discourses, styles, and approaches [in such a way that] they gain substantively in meta-cognitive and meta-linguistic abilities and in their ability to reflect critically on complex systems and their interactions" (69).<br />
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In "From Analysis to Design: Visual Communication in the Teaching of Writing," Diana George extols the virtues of extending literacy pedagogy to include visual literacies in a more robust and meaningful way. For George, existing literacy pedagogies fall short in their seeming incapacity to more explicitly include visual rhetorics in their understandings of the notion of communication and design. Though she is certainly interested in making the relationship between text and image more central to literacy pedagogies in the composition classroom, she seems to meditate on and/or entertain the prospects of re-framing visual literacies as a legitimate and pregnant form of communication in its own right.<br />
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<strong>[I will post my visualization a bit later when I can get the image function in blogger to work.]</strong>muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com0tag:blogger.com,1999:blog-1758018592724740888.post-38988775625993296652015-08-31T09:25:00.002-07:002015-08-31T09:25:31.458-07:00A Multimodal Representation of My Relationship to WritingLet me preface all of this by saying that the images featured in this post of the multimodal representation of my relationship to writing do not necessarily encapsulate the multimodal representation that I created during class last week. I will explain the implications of these transformations a little later in my post, but it would make more sense to describe the thrust of my multimodal representation and how, specifically, it evokes my relationship to writing.<br />
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On either side of a divider is a "Hello Kitty" sticker that represents me as a student, on the one hand, and an instructor, on the other. Both student as well as instructor are being urged to "run," highlighting in many ways the manner in which the demands and expectations of each role are dictated by a pace that is not always comfortable for me to follow. On either side of the divider are eyes and reminders about completing assignments, paying bills, attending events, etc., nodding to the role that audience perpetually plays in and around the work I compose, and the looming deadlines and obligations that comprise balancing academics, professionalism, and economic realities. Underneath the divider, you will find two blown-up balloons that represent "family" and "friends." While these balloons in some ways threaten to collapse the careful and precarious balance that comprises my relationship to writing, they are also that which I seek to be closest to, the constituencies that seem to always hang in the balance as I work to enact and maintain my relationship to writing.<br />
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Though the first iteration of my multimodal representation included blown-up balloons that further accentuated the precariousness of my relationship to writing, the once-prominent balloons are now virtually deflated in the iteration this is featured in this post, looking more like dried-up grapes than the vibrant and vital constituencies that they are supposed to represent. Previous to my composing this post, I had plans to purchase new balloons, in order to restore my multimodal representation to its original form. However, many of the demands and expectations that materialized this past week prevented me from doing so. Perhaps, though, I think that is what my relationship to writing is all about: making time to perpetually resuscitate my relationship to my family and friends.<br />
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[I am having trouble inserting images on my browser, so I will have to insert my images later on a different computer.]muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com0tag:blogger.com,1999:blog-1758018592724740888.post-86503063026102001042015-05-12T12:47:00.002-07:002015-05-12T12:47:13.178-07:00Final Project Proposal and DTC 101 SyllabusBelow you will find links to both my Final Project Proposal as well as my DTC 101 Syllabus. Both projects were composed using wix, which, I;m finding now, is a truly incredible platform for hosting Web sites.<br />
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Composing the Final Project Proposal was more difficult than I anticipated. While I thought that my Final Project Presentation was pretty solid, shifting my ideas to a different interface was a challenge. Regardless, I am very happy with the product that emerged from all of this.<br />
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Composing the DTC 101 Syllabus, surprisingly enough, was actually easier than I anticipated. While I certainly struggled earlier on in the semester with composing assignments, I actually had quite a bit of fun putting them together. I chalk most of this up to composing on wix.<br />
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At any rate, thank you so much for all of your support. I hope you enjoy my Final Project Proposal and DTC 101 Syllabus!<br />
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<a href="http://marktriana.wix.com/whispersandglances" target="_blank">Final Project Proposal</a><br />
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<a href="http://marktriana.wix.com/dtc101" target="_blank">DTC 101 Syllabus</a>muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com0tag:blogger.com,1999:blog-1758018592724740888.post-8285353242340755962015-05-01T22:58:00.000-07:002015-05-01T22:58:17.339-07:00Reflecting on My Development of Digital Humanities LiteraciesIn a lot of ways, I feel as if the trajectory of my engagement with the digital humanities has been marked by my attempts to understand the relationship between theory and practice within the discipline. In my first presentation of the semester, I was still struggling in many ways with how to translate digital humanities theory into digital humanities practice, recognizing more instances in which this process "failed" subjects, artifacts, and end-users than those that adequately and meaningfully engaged content. Which is not to say that I necessarily saw (or see) theory and practice as compartmentalized discursive spaces, but I just needed to really believe in the digital humanities and discover digital humanities practices that spoke more directly to my own sensibilities and those sensibilities articulated by Tara McPherson and Matthew Kirschbaum and Alan Liu, Olin Bjork and Melanie Kill, N. Katherine Hayles and Jason Farman, and so forth. In short, I really needed to engage in digital humanities practice myself before I could really see and understand all of the ways in which theory and practice are entangled and overlapping within the digital humanities.<br />
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In my most recent presentation regarding my final project proposal, though, I feel as if I finally got it. In predicating much of my presentation on the social, cultural, and historical context in which Cuba generally developed into an insular and surveiled geographical space, and relating these circumstances to the emergence and relative inaccessibility of digital technologies in Cuba, I finally found what I was looking for in the digital humanities: a unique and profound performance of digital humanities theory. Indeed, I argued in my presentation that the manner in which Cubans navigated obstacles in and around material access, in order to actually use digital technologies, escape surveillance, shirk hardware and infrastructure limitations, and exchange information, constituted a form of (h)ac(k)tivism that embodied digital humanities theory. Cubans in Cuba, I found, were performing the digital humanities by virtue of their very acquisition of unique and personalized digital literacies.<br />
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It was not until after my presentation, though, when Doctor Christen Withey indicated that my social, cultural, and historical context was, in fact, my project, that I truly understood that I, too, was performing the digital humanities, and that I had unearthed and revealed that point of contact between theory and practice that I longed for at the beginning of the semester. My own digital humanities literacy is still in development, but I am excited to really take ownership of my contextualized approach to my project on the topic of Cuban digital literacies, not as a "brief and reductive timeline," but as the very fabric of an important and timely project in the digital humanities.muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com1tag:blogger.com,1999:blog-1758018592724740888.post-86865905334967858482015-04-20T14:14:00.000-07:002015-04-20T14:15:34.588-07:00In Whispers and Furtive Glances: Assessing Digital Literacies and (H)ac(k)tivism in Post-Embargo Cuba<iframe src="https://www.haikudeck.com/e/U86Me2LF7M/?isUrlHashEnabled=false&isPreviewEnabled=false&isHeaderVisible=false" width="640" height="541" frameborder="0" marginheight="0" marginwidth="0"></iframe><br/><span style="font-family: arial, sans-serif; font-size: 8pt;"><a title="In Whispers and Furtive Glances Presentation" href="https://www.haikudeck.com/p/U86Me2LF7M/in-whispers-and-furtive-glances?utm_campaign=embed&utm_source=webapp&utm_medium=text-link">In Whispers and Furtive Glances</a> - Created with Haiku Deck, presentation software that inspires</span>muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com0tag:blogger.com,1999:blog-1758018592724740888.post-89761169626142064682015-04-17T21:17:00.001-07:002015-04-17T21:17:02.503-07:00Data Storage and/as "Mobile Interface Theory"?In <i>Mobile Interface Theory: Embodied Space and Locative Media</i>, Jason Farman discusses the ways in which mobile technologies serve as intermediaries that help to negotiate between material and digital spaces. For Farman, mobile technologies demystify existing binary relationships between material and digital spaces insofar as they are imbued with the capacity for unique and personalized movement across contexts, therefore investing users with profound embodied possibilities.<br />
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<a href="https://ict4bop.files.wordpress.com/2012/04/internetcensorship061208.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="201" src="https://ict4bop.files.wordpress.com/2012/04/internetcensorship061208.gif" width="320" /></a>Admittedly, my current research about Cuban digital literacies has yet to really broach the emergence of mobile technologies in Cuba. That being said, it is important to address the manner in which Farman's tacit celebration of mobile technologies in <i>Mobile Interface Theory</i> may fall short of addressing unique cultural contexts--like Cuba--where the vast majority of Cuban citizens either do not have access to digital spaces or they are subjected to a level of surveillance and restriction that actively prevents them from seeking out sources that conflict with the Cuban government's ideological apparatus. Cubans, in this sense, are less concerned with reconciling material and digital spaces--as Farman suggests mobile technologies might accomplish--than merely gaining access to digital spaces and locating Cuba and its cultural heritage within a more global context.<br />
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<a href="http://stech4.firstpost.com/tech2images/640x359/proportional/jpeg/2014/06/internetcensorship_251141195412_640x360-624x351.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://stech4.firstpost.com/tech2images/640x359/proportional/jpeg/2014/06/internetcensorship_251141195412_640x360-624x351.jpg" height="178" width="320" /></a>Interestingly enough, though, over the last several years Cubans have taken advantage of advancements in data storage--namely, thumb drives--to facilitate data transfer of sources that would otherwise be unavailable to users on the Internet. In so doing, they have mitigated many of the restrictions imposed by the Cuban government on prospective users while delivering content freely and ubiquitously to more and more Cubans who would have otherwise <i>not</i> had the level of access or the resources to receive and engage with such content.<br />
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<a href="http://www.newzilla.net/wp-content/uploads/2011/12/Cuba-gets-the-internet.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.newzilla.net/wp-content/uploads/2011/12/Cuba-gets-the-internet.jpeg" height="295" width="320" /></a>In gesturing to the prospects for data storage to actively circumvent existing restrictions to digital spaces in Cuba, this raises important questions about what constitutes a mobile technology or a mobile interface. It also highlights the ways in which the scope or Farman's notion of "mobile interface theory" may be limited or hampered by assumptions that distinctions between material and digital spaces may be uniformly exported to different social, cultural, and political contexts. Of course, expanding "mobile interface theory" to include data storage and the like may at the very least begin to speak to a multitude of different contexts, but this is just one example in one context.muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com2tag:blogger.com,1999:blog-1758018592724740888.post-8452271776916506902015-04-11T10:27:00.001-07:002015-04-11T10:27:24.687-07:00Some New Directions in My Project on Cuban Digital RhetoricsThis passed week, I've had a number of conversations and discoveries that have really helped me further develop the digital humanities project I've been working on the past few months. In a brief conversation with Matt Frye about his own research he mentioned the term, "<a href="http://www.worldchanging.com/archives/001743.html" target="_blank">leapfrogging</a>." "Leapfrogging" communicates the idea that areas that have <i>not</i> developed "stable" or "up-to-date" technological and economic infrastructures might rapidly move themselves forward through the adoption of contemporary systems without going through a series of intermediary steps of development. With <a href="http://www.usatoday.com/story/money/2015/03/01/cuba-us-banking-A-challenges/24124895/" target="_blank">purveyors of hardware, technology, telecommunications, etc. lining up to "update" Cuba's existing technological infrastructure</a> in the wake of <a href="http://www.wsj.com/articles/u-s-eases-trade-travel-rules-for-cuba-1421332704" target="_blank">an agreement between President Obama and Raul Castro to relax trade and travel restrictions between the U.S. and Cuba</a>,<br />
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Cuba purportedly stands to experience an unprecedented amount of growth in terms of material access, or at the very least an influx of material contexts in which users <i>could</i> perhaps own or operate digital technologies and participate as users on the Internet and Web 2.0. This "influx of material contexts" is very important to keep in mind given the various economic realities and debilitating restrictions imposed on Cuban citizens attempting to own or operate digital technologies regardless of the setting in which such use actually takes place. Indeed, according to <a href="https://fusiondotnet.files.wordpress.com/2015/04/fusion_cuba-poll-charts-1.pdf" target="_blank">a recent Bendixen & Amandi Poll for Univision Noticias - Fusion in collaboration with <i>The Washington Post</i></a>, it was reported that only 16% of Cubans living in Cuba have access to the Internet. And while these poll results might lead some to simply assume that Cubans living in Cuba as a whole would stand to benefit from a surge in material access, it is still important to keep in mind the manner in which the aforementioned economic realities and restrictions have tempered the use of digital technologies and the Internet in profoundly different ways for various populations.<br />
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In the past couple of years, <a href="http://www.rootsofhope.org/" target="_blank">Roots of Hope</a>, an organization comprised of students and young professionals seeking to empower youth in Cuba to become authors of their own futures, have organized events in which <a href="http://america.aljazeera.com/articles/2014/2/1/hackathon-cuban-miami.html" target="_blank">computer programmers and coders from all over the globe are invited to explore the prospects for combating Internet restrictions in Cuba</a> and <a href="http://thesource.com/2015/04/10/code-for-cuba-hackathon-combats-cubas-online-restrictions/" target="_blank">to develop ideas, applications, and "innovative technology solutions" that speak directly to the existing hardware, literacy, and access limitations that serve as the foundation for the relationship between Cuba and technology</a>.<br />
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These are very important contexts for me to consider as I move forward with my project in the digital humanities, in that they challenge me to re-consider the approach I am taking to the notion of digital rhetorics among Cubans living in Cuba. With all of these and more interested parties vying to enter the conversation around Cuba's digital and telecommunications future, I remain focused on how we might imagine and enact these futures in conversation with Cubans living in Cuba themselves.muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com2tag:blogger.com,1999:blog-1758018592724740888.post-9746020373380317072015-04-05T15:38:00.000-07:002015-04-05T15:40:53.712-07:00StoryCorps, or how to integrate digital storytelling and infrastructural critique into the DTC 101 classroom<iframe width="640" height="401" src="http://www.powtoon.com/embed/focBGcRersM/" frameborder="0"></iframe>muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com0tag:blogger.com,1999:blog-1758018592724740888.post-27991839522310518702015-04-04T22:48:00.000-07:002015-04-04T22:48:04.285-07:00StoryCorps, a Mobile Application and a Web site<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheCF0GA1KH8sF5uyzhf4wekJvMvS8dauP1KNikMP78gAiXJZMpDNK-EGRD1BeY46BqodoZBlRk38RPSnRgXgfGLfWeLatDih5nYRU2nqp5v8Xcjs5egQT_dYV9fyS5otOBX68eeQtoaZM/s1600/2015-04-05+05.14.26.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheCF0GA1KH8sF5uyzhf4wekJvMvS8dauP1KNikMP78gAiXJZMpDNK-EGRD1BeY46BqodoZBlRk38RPSnRgXgfGLfWeLatDih5nYRU2nqp5v8Xcjs5egQT_dYV9fyS5otOBX68eeQtoaZM/s1600/2015-04-05+05.14.26.png" height="320" width="200" /></a>This past week I explored StoryCorps, a digital storytelling application designed for multiple mobile platforms (Personally, I used my Samsung Galaxy Tab 4 to navigate the application). StoryCorps allows users to conduct interviews with individuals and share them in a vast and burgeoning archive of other interviews collected within the application itself. Overall, it was relatively easy to find (I used the Google Play Store), download (It was only 37.5 MB), and sign up for (It only asks for a Username, Email, and Password, with other optional information). The interface is user-friendly and easy to navigate, with a rather simplified drop-down menu that includes just six options (including logging out). Below I will provide a brief narrative of my specific "user experience" of StoryCorps. Many of the observations that I make in my brief narrative will be expanded further when I articulate the terms of prospective pedagogical applications of StoryCorps in a DTC 101 course or otherwise.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLGbFd1oQLstecYd1BRdPCxRmXedbCSIteek9lwRsmdvl_0WT5QKN4ypYBivK0ZoR5Yd5RjSgTrjL1X6Ce-fmAFYfmjVFIAIBtpEo8G2p3MufTbt9LnSX9xBmSxlaceratXT8I6nsuhFg/s1600/2015-04-04+23.55.47.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLGbFd1oQLstecYd1BRdPCxRmXedbCSIteek9lwRsmdvl_0WT5QKN4ypYBivK0ZoR5Yd5RjSgTrjL1X6Ce-fmAFYfmjVFIAIBtpEo8G2p3MufTbt9LnSX9xBmSxlaceratXT8I6nsuhFg/s1600/2015-04-04+23.55.47.png" height="320" width="200" /></a></div>
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In the "About StoryCorps" tab, they announce that their mission is to "provide Americans of all backgrounds and beliefs with the opportunity to record, share, and preserve the stories of our lives." They also indicate that interviews that are recorded with StoryCorps are preserved at the American Folklife Center at the Library of Congress. The language used throughout the application itself is exclusively English without any recognizable options for alternative language or access options.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBjvNUSbmYGUni5GrFjjIy_i7JyAkR8W8nq2lKR2M6GeWYr-ibn31BXD_nTsWxgrp21L-KXUJn3MWtBFyOz1Q_MFGhxXBl5VJ_QSoXPucCKPNsEl15YMTRIVFpgGXkLGx-hVekRFSfwo8/s1600/2015-04-04+23.56.01.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBjvNUSbmYGUni5GrFjjIy_i7JyAkR8W8nq2lKR2M6GeWYr-ibn31BXD_nTsWxgrp21L-KXUJn3MWtBFyOz1Q_MFGhxXBl5VJ_QSoXPucCKPNsEl15YMTRIVFpgGXkLGx-hVekRFSfwo8/s1600/2015-04-04+23.56.01.png" height="320" width="200" /></a><br />
In looking at the interviews that were archived in the "Browse" tab, I was a bit dismayed by the lack of options available for users to somehow conduct more dedicated and specific keyword searches, thus making it a bit difficult to understand or manipulate the logic of how interviews were initially organized. However, users do have the option to "like" (indicated by the heart) or "friend" (indicated by the plus sign beside the outline of a human body) other users. In this sense, users can personalize their own "People I Follow" pages, though there were no options available to comment on or interact with these same or other users on the mobile application.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheB4n7qH14iEDYhqr2KATg2mAsXGgubKHsSHKXFNgU8DB_mBGik2NHj49rlcdZ7MSDTESrva9HgafvTa14ckXjtzLEgtmvjTHVhQqArM9eMSrdrErv_FjdbKinlxpQjo2oX4J_4YCm1rQ/s1600/2015-04-05+00.14.04.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheB4n7qH14iEDYhqr2KATg2mAsXGgubKHsSHKXFNgU8DB_mBGik2NHj49rlcdZ7MSDTESrva9HgafvTa14ckXjtzLEgtmvjTHVhQqArM9eMSrdrErv_FjdbKinlxpQjo2oX4J_4YCm1rQ/s1600/2015-04-05+00.14.04.png" height="320" width="200" /></a>Though I did not myself conduct and record an interview with the StoryCorps mobile application, I was very much intrigued by what Melanie Kill dubs, the "hard and soft infrastructure" ("Teaching Digital Rhetoric") of the application in terms of how users are limited in many ways by the existing infrastructure and design components imposed within the platform ("hard infrastructure"), yet also offered unique and important avenues within the platform with which to carve out spaces for more personalized manipulation and agency ("soft infrastructure").<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf-78JwsGIKRdV1H400i-X_kBYZDgE7zyQpMa9rAO33H4DKiIFH-Xd-_p33pk_y2H0KvIuZPG2GivtWvIlzd4pEszxkVZgd79C36m_fKVQVcdrUcqOcyRQL7mjxtJ2vrvhs0nE65X2H2o/s1600/2015-04-05+00.25.25.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf-78JwsGIKRdV1H400i-X_kBYZDgE7zyQpMa9rAO33H4DKiIFH-Xd-_p33pk_y2H0KvIuZPG2GivtWvIlzd4pEszxkVZgd79C36m_fKVQVcdrUcqOcyRQL7mjxtJ2vrvhs0nE65X2H2o/s1600/2015-04-05+00.25.25.png" height="320" width="200" /></a>As it stands, StoryCorps generally requires that interviewer(s) and interviewee(s) occupy the same physical space, therefore limiting interview options based on mobility and geographical proximity. While StoryCorps does provide rather extensive and generally categorized lists (ranging from "Family Heritage" to "Love & Relationships" to "War") of sample questions with which to organize and conduct interviews, they also provide options to "Write your own question" as well. What is more, after users complete their interviews they are also invited to provide a title, summary, keywords (which includes keywords that are: "General (ex. birth, marriage, war)"; tied to an "Organization (ex. TED, YMCA)"; and/or related to specific "Places (ex. Chicago, IL)"), participant information (which includes: "First Name (required)", "Last Name (optional)," and Email (optional)"), and location ("City," "State/Region/Province," and "Select Country"). Though I certainly appreciated and valued the capacity with which users might generate and include all of this sort of personalized information, it was unclear how this information could actually be used by users of the StoryCorps mobile application themselves if that information if it is neither made available for perusal in the "Browse" tab nor made searchable with any kind of search field.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkZ-EeKRRkrIJ7Riu5Wax7TDGK2c7jiEtHsYkCY-31uqdOhG5xazCJnDcRVxUPb5b15eCNersIBJXaioKm_Pczbw4UBJXzyi1IJuhoeA4T1NgyRmcFMK_fBbq4BAy6tg1MqOfRY95ZlE4/s1600/2015-04-05+00.26.44.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkZ-EeKRRkrIJ7Riu5Wax7TDGK2c7jiEtHsYkCY-31uqdOhG5xazCJnDcRVxUPb5b15eCNersIBJXaioKm_Pczbw4UBJXzyi1IJuhoeA4T1NgyRmcFMK_fBbq4BAy6tg1MqOfRY95ZlE4/s1600/2015-04-05+00.26.44.png" height="320" width="200" /></a><br />
Many of the limitations I've described above with regard to the lack of search options available in the StoryCorps web application vexed and gave me enough pause to the extent that I decided to visit the StoryCorps Web site itself. Without engaging in an exhaustive study of the affordances and capabilities available to users on the StoryCorps Web site, I will certainly say that it is far more complex and dynamic than its counterpart, the mobile application. For example, it offers: playlists, recording locations, programs and initiatives, and, most importantly, a search field in which users can find other interviews in accordance with their own keywords and search criteria. The distinctions that I recognized between the mobile application and the Web site really helped me to develop some provisional and half baked activities and assignments which might be used in a DTC 101 course.<br />
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While I see quite a bit of value in actually composing with StoryCorps, though, I was primarily interested in the varied levels of affordances and design features that distinguished the mobile application from the Web site. This line of inquiry is intriguing to me, because it highlights the ways in which mobile applications are not simply digital surrogates of the Web sites that they emerge from but profoundly different platforms with which to accomplish comparable tasks. Which is to say, I could certainly imagine a longer sequence of assignments that use StoryCorps, a sequence that begins at the level of "listening to" and recognizing design features and affordances between and among the Web site and mobile application and then moving to actually using the platform itself to conduct and archive interviews. With StoryCorps providing a number of sample questions that users can use in the course of their interviews, it would be valuable to have students perhaps conduct a series of interviews in which they use these sample questions for some interviews and others where they design their own questions. Having students use as well as reflect on their use of StoryCorps in these different registers would go a long way in really simulating the "hard and soft infrastructure" of the digital storytelling platform. I also see quite a bit of potential in asking students to consider the rhetorical implications of the choices they elect to make in the course of their composing the title, summary, keywords, participant information, and location. This is all food for thought, though I am sure I will continue to flesh this out in the days that come.muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com3tag:blogger.com,1999:blog-1758018592724740888.post-29407469505916650102015-03-30T14:59:00.004-07:002015-03-30T16:00:34.526-07:00Answering "the why DH question": Cuban Digital Rhetorics and the Emergence of a Broader Ecology of Interactional ProspectsAs I move closer and closer to composing, revising, and submitting a proposal for my digital humanities project regarding the topic of Cuban digital rhetorics, it is important to also pause at this stage in order to meditate on how and why, specifically, the digital humanities might serve as an appropriate platform for my particular project. In once again broaching the concerns, readings, and topics that emerge from existing digital humanities projects, scholarship, and pedagogies, I begin to understand that my prospective efforts to explore Cuban digital rhetorics is embroiled in the sorts of questions and conversations about language, literacy, and culture that comprise what has come to constitute the digital humanities as a deeply-sensitive and incisive platform for organizing, delivering, and welcoming content or information in digital spaces. Indeed, the aforementioned questions and conversations within my particular project crop up issues ranging from access (in all of its varieties) all the way to collaboration and critical engagement. In what follows, I hope to provide a brief and exploratory snapshot of the manner in which a majority of the primary concerns espoused within the digital humanities also inhere in the work that I aim to engage in with my own digital humanities project regarding the topic of Cuban digital rhetorics.<br />
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In order to help situate my ultimate claim that the digital humanities are ultimately indispensable to conversations about Cuban digital rhetorics, it is first important to understand the role that access and surveillance have played within interpersonal rhetorics between and among Cuban peoples inside and outside of Cuba itself. Interpersonal rhetorics are an integral context through which to analyze all of these issues because of the ongoing and general (but not complete) absence of interactional prospects between Cuban citizens and those who reside outside of Cuba. In many ways, these diverse but interrelated Cuban populations and their interactional prospects have been shaped and re-organized by revolutions, diasporas, and discontent. Having experienced at least three major waves of diasporic and migrational activity away from Cuba for various political, religious, economic, and familial reasons since the late-1950s, the Cuban population has generally experienced the sorts of fractures and traumas that problematize efforts to articulate and deliver a stable conceptualization of what constitutes Cuban identity or Cuban rhetoric writ large. Made all the more extreme by the broad and inescapable ideological underpinnings that have informed the United States governments' long-standing embargo against Cuba and the ever-palpable stink of enmity that has inhered in the relationship between these nations, interactional prospects among Cuban peoples inside and outside of Cuba have been dictated and surveilled to the extent that little or no direct or productive interaction has taken place between these Cuban populations following the aforementioned diasporic and migrational activity. Despite even the most recent and unprecedented developments within diplomatic relations between the nations, interactional prospects as a whole have remained rather limited by virtually insurmountable issues of access and surveillance, foregrounded and in effect maintained by the Cuban government itself.<br />
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Though the number of Cuban citizens who currently have even temporary material access to digital technologies, including cellular phones, personal computers, and other related digital media still remains paltry compared to much of those Cuban populations residing outside of Cuba, as these numbers continue to rise more and more Cuban citizens are making their digital presence felt by extending their interactional prospects into platforms ranging from e-mail, blogs, social media, Wikipedia, and so forth. These Cuban citizens have therefore taken to and operated digital media and digital technologies in rather profound, creative, and important ways, ways that cannot necessarily be reduced to an umbrella term, like "digital literacy." Rather, they have carved out unique and personalized digital spaces in which new and exciting rhetorics and interactional prospects have emerged, many of which have been used to establish a generalized digital presence that aims to reach as wide and robust an audience as possible.<br />
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My interests within my own digital humanities project about Cuban digital rhetorics is certainly concerned and cognizant of the ways in which increased levels of material access have allowed some (not all) Cuban citizens more opportunities to expand their wheelhouse house of interactional prospects and to construct more public and socially-visible identities within various digital media and digital technologies. However, I am perhaps even more interested in how these emerging trends towards increased material access to digital media and digital technologies have prompted many Cuban citizens to expand their interactional prospects in the direction of more private, dedicated, and interpersonal rhetorics, rhetorics that have led many-a-Cuban back to the friends, families, and communities they lost complete touch with following the diasporic and migrational activity that followed from the events of the late-1950s onward. Considering the deafening silences and perhaps even enmities that existed between and among the Cuban populations residing inside and outside of Cuba, these interpersonal contexts ought to play a more significant role in how we consider, discuss, and circulate information about Cuban rhetorics, digital or otherwise.<br />
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The digital humanities serves as an appropriate and timely platform for doing work in and around Cuban digital rhetorics, because it offers unique and important opportunities to really explain and situate this push towards increased interactional prospects within the very medium that seems to be expanding these prospects in many different (yet interrelated) directions at once. In order to construct, frame, and preserve the space that might host this sort of digital humanities project as one that might facilitate collaboration and participation between and among the Cuban populations residing inside and outside of Cuba, though, it will at the very least be important to ensure that the terms and coding that organize this space are designed in accordance with much of the existing hardware and software in Cuba. While this might not resolve issues of material access in the short- or long-term, it might allow content contributors, coders, software developers, etc. in Cuba to co-construct and (hopefully) co-habit this digital space. In giving deep consideration to seemingly "micro-level" concerns with development, though, these methods will also impact opportunities for end-users as well. Moreover, locating this digital space within concerted efforts to speak more directly to minimal hardware and software requirements or capabilities will frame this digital humanities project as one that is deeply concerned with the sort of critical engagement with existing digital technologies that constitutes much of what theorists dub, "creating," as opposed to its swift and uncritical counterpart, "making." Ultimately, I see a great deal of potential in the marriage between my project about Cuban digital rhetorics and the sorts of affordances and possibilities inherent to the digital humanities, affordances and possibilities that I hope to continue to expand on as I massage and refine my proposal.muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com3tag:blogger.com,1999:blog-1758018592724740888.post-47135613449927575672015-03-22T22:42:00.002-07:002015-03-22T22:44:20.811-07:00What's Your "Hack"?: A Presentation on Teaching and the Review Process<div style="text-align: center;">
<a href="https://www.haikudeck.com/p/5zH8JM43s0/whats-your-hack" target="_blank">Mark's My "Hack" Presentation</a></div>
muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com3tag:blogger.com,1999:blog-1758018592724740888.post-6800269043894078602015-03-13T20:23:00.002-07:002015-03-13T20:23:29.288-07:00Dear Instructor . . .Dear Instructor,<br />
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I am writing to you in response to Mark Sample and Kelly Schrum's article, "What's Wrong With Writing Essays: A Conversation." Seeming as how you've assigned this article in the context of the ENGLISH 101 curriculum, I am inclined to believe that at least some of what Sample and Schrum are discussing here could play an important role in the work that we do throughout the semester.<br />
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Up to this point in my academic career much of my experience as a composer has taken place within "conventional" text-based genres and media, which inspires both excitement and anxieties as I come into contact with this new communicative frontier. On the one hand, there is quite a bit of value in "integrat[ing] more and more public writing" (87) into the ENGLISH 101 curriculum. This move to further underscore the social implications involved in the act of composing is very important to me. It not only raises the stakes for the work I will engage in throughout my composing processes, it might also serve as a generative space in which my readership is not only limited to the confines of the ENGLISH 101 classroom or the academy writ large. Indeed, this sort of "public writing" problematizes my own anxieties about academic writing acting as the equivalent of playing for an empty auditorium, so to speak. For this reason, the prospect of "moving away from asking students to write toward asking them to <i>weave</i>. To build, to fabricate, to design" (89; italics in original), is something I welcome with open arms.<br />
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However, while I agree with Sample and Schrum when they suggest that "the only thing a student essay measures is how well a student can conform to the rigid thesis/defense model" (87), I am also quite tentative and anxious about completely embracing unfamiliar genres and media that I am not entirely prepared to use and navigate critically. I trust that these sorts of assigned projects will not be foisted on we unsuspecting students, and that there will be a measure of course scaffolding in which you help us construct bridges between our existing knowledge base about text-based conventions and the alternative genres and media that might allow us to communicate more thoroughly and creatively with a wider public audience.<br />
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In their article, Sample and Schrum extol the virtues of making students uncomfortable but not paralyzed (96). I am hoping that as the semester progresses I will be able to strike a comfortable balance between these feelings of discomfort and paralysis. I am more than happy and willing to step outside of my comfort zone and "try on" new ways of thinking and being. I hope that both my excitement and anxieties are well taken, but please feel free to contact me if you have any further questions, comments, or concerns about anything I have said here. Thank you so much for your willingness to think outside of the box in terms of the work that we do inside and outside of the ENGLISH 101 curriculum. This will certainly make all of us more versatile and socially-conscious composers as we engage with new and exciting genres and media. Have a wonderful day!<br />
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Sincerely,<br />
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Mark Daniel Triana<br />
Washington State University Studentmuffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com2tag:blogger.com,1999:blog-1758018592724740888.post-49394111994211609152015-02-27T22:45:00.002-08:002015-02-28T07:18:31.121-08:00Making Ground on a Prospective Project in the Digital HumanitiesA couple of months back I posted <a href="http://anotherwhiteheterosexualdude.blogspot.com/2015/01/after-reading-trevor-owens-blog-on.html" target="_blank">a blog entry</a> in which I started to map out a prospective project in the digital humanities regarding issues of language, literacy, and culture and their intersections with Cuban digital practices and uneven access to technologies in Cuba. At the time I used <a href="http://www.trevorowens.org/2014/08/where-to-start-on-research-questions-in-the-digital-humanities/" target="_blank">Trevor Owens' blog on where to start on research questions in the digital humanities</a>, particularly his emphasis on <a href="http://www.amazon.com/Qualitative-Research-Design-Interactive-Approach/dp/1412981190" target="_blank">Joe Maxwell's ideas about the interactive components of research design</a>. In this blog entry I will once again use the five distinct moves/stages/elements that Maxwell articulates in his approach, which includes:<br />
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1) goals, which clarifies the purpose for doing research;<br />
2) conceptual framework, which refers to the specific literature(s), field(s), and experience(s) one is drawing on;<br />
3) research questions, which clearly disseminates the statement(s) and question(s) one is working with in their project;<br />
4) methods, which provides insight into the ways in which one will address and/or answer the aforementioned statement(s) and question(s); and<br />
5) validity concerns, which address the limitations and biases that might inform one's approach to the project.<br />
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Below you will find my revised responses to Maxwell's five distinct moves/stages/elements, responses that are further informed by the readings I have engaged with regarding the digital humanities and my independent research on my specific topic. My hope is that my work in this blog entry reflects my willingness to adopt and practice Owens' iterative approach to bringing personalized projects in the digital humanities to fruition within the context of a sustained and thorough process.<br />
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1) Goals:<br />
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I still remain committed to carving out spaces in which to discuss Cuban digital practices, but I have also become very interested in how my project might provide unique opportunities to collaborate across Cuban populations, be they from Cuba, the United States, Puerto Rico, Spain, or otherwise. In considering BOTH end users as well as coders, programmers, and other collaborators I would very much like for my project to somehow represent not only Cuban digital practices in terms of citizens of and in Cuba but also those Cubans residing outside of Cuba. My hope is to illustrate the ways in which the major Cuban diasporas that took place in the wake of the Cuban Revolution have marked and had an impact on digital practices for ALL Cubans. In this sense, matters of identity, geopolitics, surveillance, paranoia, kinship, etc. will play a prominent role in the shape that my project will eventually take. Ultimately, though, this requires deeper consideration of what or who qualifies as a collaborator and what or who qualifies as the subject for content. Which is to say I have become more and more uncomfortable about directing the Western and "diasporic" gaze at the Cuban population in Cuba.<br />
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2) Conceptual Framework:<br />
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As you will see, I have expanded the scope of my research considerably. This will be a rather long list of prospective sources I might use to form the conceptual framework for my project and it will surely become even more robust as time goes on. That being said, I will do my best to rein myself in and be careful about the sources I decide to give precedence. What follows is the list of prospective sources that I am considering:<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">1) Banks, Adam J. Race, Rhetoric, and Technology:
Searching for Higher Ground.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">2) Coté, John. “Cubans Log On behind Castro’s Back.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">3) Edwards, Charlie. “The Digital Humanities and Its
Users”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">4) Hernandez-Reguant, Ariana. “Radio Taino and the
Cuban Quest for Identi . . . que?”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">5) Hoffman, Bert. The Politics of the Internet in Third
World Development: Challenges in Contrasting Regimes, with Case Studies with
Costa Rica and Cuba.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">6) Junqueira, Eduardo S., and Marcelo E. K. Buzato. New
Literacies, New Agencies?: A Brazilian Persepctive on Mindsets, Digital
Practices and Tools for Social Action in and Out of School.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">7) Liu, Alan. “Where is Cultural Criticism in the
Digital Humanities?”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">8) McPherson, Tara. “Why Are the Digital Humanities So
White? or Thinking the Histories of Race and Computation.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">9) Pedrazza, Silvia. Political Disaff ection in Cuba’s
Revolution and Exodus.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">10) Press, Larry. “Cuba, Communism, and Computing.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">11) Press, Larry and Joel Snyder. “A Look at Cuban
Networks.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">12) Rubira, Rainer, and Gisela Gil-Egui. "Political
Communication in the Cuban Blogosphere: A Case Study of Generation Y."<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">13) Valdés, Nelson P. and Mario A. Rivera, “The
Political Economy of the Internet in Cuba.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">14) Vazquez, Naghim. “Cuba in the Window of the
Internet.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">15) Venegas, Cristina. Digital Dilemmas The State, the
Individual, and Digital Media in Cuba<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">16) Vicari, Stefania. Blogging politics in Cuba: the
framing of political discourse in the Cuban blogosphere<o:p></o:p></span></div>
<span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;">17) Voeux, Claire, and Julien Pain. “Going Online in
Cuba: Internet under Surveillance.”</span><br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">3) Research Questions:</span></div>
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<span style="font-family: Times New Roman, serif;"><span style="line-height: 18.3999996185303px;">1) To what extent have various populations and demographics in Cuba had material access to digital technologies over past decade or so?</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="line-height: 18.3999996185303px;">2) In what capacity are Cuban citizens introduced to and/or given free reign to use digital technologies?</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="line-height: 18.3999996185303px;">3) How do those engaging with various interfaces and digital technologies in Cuba compare to other "Western" societies, whether "democratic," "communist," or otherwise?</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="line-height: 18.3999996185303px;">4) How have the major Cuban diasporas that have taken place since the Cuban Revolution helped shape communicative, digital, and rhetorical practices for Cubans within and outside of Cuba?</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="line-height: 18.3999996185303px;">5) How might Cubans within and outside of Cuba create safe and collaborative spaces in which the "gaze" and focus is better distributed, transforming collaborator into subject for content, and vice versa?</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="line-height: 18.3999996185303px;"><br /></span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="line-height: 18.3999996185303px;">4) Methods:</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="line-height: 18.3999996185303px;">This project will certainly require that quite a bit of qualitative research actually take place within and outside of Cuba. However, I would first like to review more of the literature on issues of access to technology and digital literacy as they pertain to all Cubans to get a better sense of the social and critical landscape I am working in. It would also be helpful to get more information about the sorts of projects that academics throughout the world might be conducting in and around Cuba as of now. The Cuban government does grant "educational" visas, so it will be important to see where my project might fall in the miasma of research being conducted in and around various Cuban populations. It will be imperative that I engage with sources that are in both English and Spanish, and that I cast a rather wide net in terms of collaboration across contexts and Cuban populations.</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="line-height: 18.3999996185303px;"><br /></span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="line-height: 18.3999996185303px;">5) Validity Concerns:</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="line-height: 18.3999996185303px;"><br /></span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="line-height: 18.3999996185303px;">As much of the substance of this project will likely emerge in the context of qualitative research, there is certainly potential for my findings to be both limited as well as biased. I am generally working off of the presumption that digital literacies and digital practices in Cuba are fundamentally different and unique, so it will be important for me to rein myself in and not project these notions onto my findings. In line with this idea that digital literacies and digital practices in Cuba are different and unique, I must also be cautious and suspicious about the terms, vocabularies, and assumptions that I use and make as I articulate my findings. I believe that expanding my project to include Cuban populations (in the plural) whether residing inside or outside of Cuba will certainly help to temper some of the limitations and biases of my project. Ultimately, I will have to think a bit more about what this will look like and how I will be able to collaborate with others to make the project work and be both fruitful and accessible for most if not all Cuban populations inside and outside of Cuba.</span></span></div>
muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com2tag:blogger.com,1999:blog-1758018592724740888.post-47330470881458881012015-02-13T18:57:00.002-08:002015-02-13T18:57:54.328-08:00Pass the HammerAs I continue to develop the theoretical and conceptual framework for my project in the digital humanities, it is imperative that I consider in more detail the sorts of tools that might aid me in: 1) actually doing my project; and 2) presenting data or information to users. My particular project involves carving out unique spaces in which to represent and tenuously define the intersection between identity politics and Cuban digital practices, so it has particular linguistic and cultural demands that must be attended to before making a resource available to a larger audience. In searching for tools on the <a href="http://dirtdirectory.org/" target="_blank">DIRT Directory Web site for digital research tools</a> to help facilitate what I am attempting to accomplish in my project, I targeted tools that could be used in multiple platforms; supported multilingual users; had minimal system requirements; contained little (or no) overhead costs; and offered dedicated spaces in which users and project developers might collaborate to help develop and edit content included in the project. In this blog entry, I will focus on two digital research tools that I feel might push my project forward in ways I have yet to consider up to this point: <a href="http://www.debugmode.com/wink/" target="_blank">Wink </a>and <a href="http://beta.fromthepage.com/" target="_blank">FromThePage</a>.<br />
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<a href="http://www.debugmode.com/wink/" target="_blank">Wink </a>is a Tutorial and Presentation creation software with a rather simple and user-friendly interface and design structure. In keeping end-users in and around Cuban populations within and outside of Cuba at the forefront of my considerations, I feel that Wink will serve as a useful tool for my project in its capacity to help project developers create and maintain tutorials that will allow users to understand and navigate the platform that will host the content of the project as well as the content itself. In terms of its limitations, I feel that it would be even more useful if I could find a single tool that caters to individuals with severe physical and/or sensory impairments. I will also have to consider how I might organize and where I might locate these tutorials within the project so as not to obscure the content itself. Language, literacy, and culture serve as integral lenses through which to develop, evaluate, and deliver content to users. The prospect of integrating this tool into my project might go a rather long way in constructing the terms and resources for all users--regardless of their relative languages, literacies, and cultural capital--to understand and engage with the content included in my project.<br />
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<a href="http://beta.fromthepage.com/" target="_blank">FromThePage</a> is a piece of software that allows users to transcribe handwritten documents online. It allows users to collaborate in discussing difficult writing or obscure words within the document itself. With issues of design and accessibility at stake for prospective users, I feel that <a href="http://beta.fromthepage.com/" target="_blank">FromThePage</a> might go a long way in helping project developers as well as users across various linguistic, geographic, and cultural divides to collaborate with one another in transcribing and transliterating documents, artifacts, and conversations to speak more directly to their own particular contexts and perspectives. Using the software itself requires that those using the software are multilingual, though I wouldn't say that this is a considerable drawback. I would, however, like to find a more inclusive software that also provides options for visual and oral media. The goal of my project is to offer spaces in which to further discuss and define Cuban digital practices, so I see a lot of value in this sort of crowdsourcing within the context of project development as well as user interactivity.muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com3tag:blogger.com,1999:blog-1758018592724740888.post-76356777621422605482015-02-07T21:57:00.002-08:002015-02-07T22:26:24.248-08:00Texty TextyIn this blog entry, I would like to respond to <a href="http://vectors.usc.edu/projects/index.php?project=74" target="_blank">Jeffrey T. Schnapp's "Crowds,"</a> a research project in the digital humanities that was included in <a href="http://vectors.usc.edu/issues/index.php?issue=3" target="_blank">Volume 2 Issue 1 of<i> Vectors Journal</i>, a Special Issue on "Ephemera."</a> In first navigating to "Crowds," I was really grateful for the statements by the author and the designer. While it's always good policy in projects of this magnitude to acknowledge your collaborators (and Schnapp does just that with the Project Credits page), it was interesting to get some insight from the designers themselves about their general perspective and design choices in "Crowds."<br />
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As I opened the project, I really liked the incorporation of sound to the project with the squabble of overlapping voices. It offered a nice aural representation of the project's subject, crowds, and it set a precedent for matching subject with other sensory data throughout the project. Sadly, that wasn't necessarily the case. While the images and videos from the various galleries were embedded and presented in very creative and interesting ways, perhaps I was expecting a bit more insofar as extending these galleries to the idea of "crowds" in more creative (or meaningful?) ways. I might be a bit too harsh or demanding in that critique, though, because I was sincerely blown away with the breadth and comprehensiveness of the project as a whole.<br />
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The pages for Crowd Theorists and Semantic Histories offer insight into the conceptual framework that informs Schnapp's approach to "Crowds." It was certainly important to complement the case studies from the Galleries page with this theoretical backdrop, but I did feel a bit overwhelmed by the sheer number of theorists and histories included in these pages. In approaching a subject as robust and fraught with meaning(s), I see all sorts of value in both gaining and demonstrating an understanding of the conversations surrounding the subject in question, but I may have liked for the overwhelming amount of text from these theorists and histories to be supplemented by and with a section that attempted to synthesize this information and/or connect the dots, so to speak. Which is not to say that I wasn't grateful for how comprehensive all of these entries actually were, but I would've really liked to have understood the selection process Schnapp engaged in as well as the correlations he saw or made in putting all of these entries into conversation. While Schnapp does some of this in his Author's Statement, I felt that each of the components of his projects might have benefited from this sort of synthesis.<br />
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The Testimonies page itself also provides more personalized and context-specific lenses into various crowd movements. This was a welcoming and vital component of his project and it offered a nice complement to the rest of "Crowds." That being said, I might have liked for this section to be less text-heavy and to perhaps be distinguished in a significant way from the other pages included in Schnapp's project. Honestly, I guess I would've liked to have seen more variation in the manner and media in which text and information was presented. In my mind, this would've lent a great deal more personality and depth to Schnapp's project.<br />
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In terms of what I took from Schnapp's approach to "Crowds" and how I might apply it to my own work, I would really like to keep the following in mind:<br />
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1) Give voice(s) to collaborators AND subjects: As I said before, I really appreciated the fact that Schnapp gave the designers space in which to articulate their general perspective and design choices in "Spaces." I would like to extend that gesture as much to my own collaborators as my own subjects, as I found myself kind of discouraged by the seeming lack of personality in the Testimonies page as compared to the entries in the pages for Crowd Theorists and Semantic Histories.<br />
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2) Find creative ways to match the presentation of content with the subject itself: I'd really like to do some interesting things with the digital tools I am using to create my project, things that might help crystallize and complement what I've already researched and organized into contained components for my particular project.<br />
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3) Employ different manners and media in presenting text and information: As collaborators, subjects, and end-users are incredibly important to me in terms of how I organize content into my particular project, I would really like for the media I use to introduce and expand upon content to be as varied and context-specific as possible. Simply put, I don't want to make these rhetorical and design choices unilaterally, so I will try to make it a point to draw on my collaborators, subjects, and prospective end-users in making these decisions and/or have different media be featured for the same content. This might perhaps sound insane on the surface, but it's something I will place a lot of stock as I shift towards becoming more of a practitioner in the digital humanities.muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com2tag:blogger.com,1999:blog-1758018592724740888.post-89069451976176735882015-02-06T21:19:00.000-08:002015-02-06T21:19:03.173-08:00DTC Presentation (Post-Peer Review Thoughts)So, generally speaking, my DTC Presentation was pretty well received by Lucy and Lacy during our peer review session. Both of them applauded my ability to transition between concepts and slides and they appreciated the ways in which I represented all of the ideas in my presentation visually. I had expressed to them that I was interested in adding a "Hacktivism" slide, but I was struggling to find something that worked for me in Pixton. They had recommended that the Hacktivism slide be more representative of my own conflicted identity and heritage in order to convey how difficult issues about Cuba are to discuss in any forum, considering how fractured the relationship is between many Cubans and their generally hyper-conservative Cuban-American counterparts. Lucy mentioned that the presentation seemed as if it was two separate conversations in the sense that I did not integrate my own project in the digital humanities until after I had discussed the definition and the stakes, so I will likely refer more directly to concrete examples within my particular project throughout my presentation. This will help flesh out what is at stake while giving my audience a sense of the discursive terrain I intend to work in, in the future. I will also place more of an emphasis on the question of the end-user in Cuba, discussing how the design of my particular project will not be a one-to-one translation from Spanish to English and vice versa, but wildly different design schemes that speak more directly to the literacies that emerge from different cultural and geopolitical contexts. Lastly, I will be much clearer in my mapping out the manner in which my conceptualizations of the digital humanities present unique theoretical and methodological implications for my particular project on digital practices unique to the Cuban context.
<iframe src="//www.pixton.com/embed/0v5f4tvt" frameborder="0" width="100%" height="384" allowfullscreen></iframe>muffin_zer012http://www.blogger.com/profile/09374347096183447245noreply@blogger.com1