CCR 611: Multimodality, Tinkering, and the Craft/Comp Border

When I was younger, I built things. Rolling out an industrial-sized roll of thick, white paper onto the cold floor of my parent’s glassed-in back porch, I drew grassy fields, rivers, mountains, and beaches that gave way to scribbled-on seas. But that was just the first step. Soon I took out slender wooden train tracks and blocks, building a set of towns and rail networks across my paper countryside.

In the summer, my neighbor and I made paper planes, folding for hours on my grandfathers weather-grayed table in the backyard. We also drew designs in notebooks: go carts, forts, a zip line to deliver notes between houses. My basement table was covered with LEGO models, K’Nex, Tinker-Tots–whatever sets I could find.

As we got older, we built robots, using a kit to construct and program them.  Inspired by the show Robot Wars, we mostly had them fight, filming them on my parent’s VHS camera. But they had other uses, like taking care of my rabbit or trying to go up and down a particularly difficult hill.

These days, I don’t build much. Except with my nephews. But even they often prefer videogames, kickball, and playing with their instruments.

So, considering multimodal composition–through both digital architecture and tactile 3-D printing–brought back a spirit of play and tinkering. The pieces also brought some helpful elements to draw from for concrete teaching moments and larger teaching philosophies.

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CCR 611: Materiality, Medium, and Voice(s) of History

Reading Gold’s Rhetoric at the Margins and Mailloux’s “Reception Histories” proved to be a somewhat refreshing contrast to the big picture histories of Berlin, Harris, and Gold et al. Considering these readings, I was thinking harder about the way medium, materiality, and genre affects the telling of history, drawing somewhat from my last response on the subject. Regarding this, I was somewhat inspired by Gold’s framing of the narrative, Mailloux’s use of quotes, and a recent project with Vani regarding a timeline with SWR. 

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The Telling of History and its Absences

Encountering the readings–Berlin’s Rhetoric and Reality and David Gold, Catherine L. Hobbs, and James A. Berlin’s “Writing Instruction in School and College English”–I was thinking about the role that history plays. As someone who is new to the discipline, the past few readings have been helpful at giving some definitions and names. And with a few of them under my belt, I can start making connections and noticing absences.

But more broadly, I was thinking of these histories along four different frameworks: as genealogy, progress story, hagiography, and catalog.

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Specialization and Openness

Something that rings through David Russell’s “Nineteenth Century Backgrounds” and Clay Spinuzzi’s All Edge and “Symmetry as Methodological Move” is the tension between specialization and openness.

For Russell, the changing demographic of students entering higher education and their educational needs and expectations created a conflict between more general education and the specialized training of a discipline. On the one extreme, outlines Russell, one has the elitist liberal arts curriculum, “a single required course, identical for all students, regardless of abilities, interests, or career paths” (37). In this model, departments were flexible, and each educator could change roles easily. Schools were small and communal.

This unified, homogeneous education broke down amid increased discipline-specific and technical needs, though vestiges sometimes remained–like Harvard’s “forensic system”–as a general writing requirement.

Often, this general requirement has seemed to gain power from serving some need, ranging from civic or moral formation in its early years to solving the 1970s literacy crisis more recently. Thus, a compromise often took place between the two extremes: a school empty of general requirements, and one with a substantial one. In Russell’s history discipline-specific training has seemed to push out much of the general requirement.

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Harris, Dartmouth, and Composition

One of the more helpful elements in Harris’ Teaching Subject and his introduction to “updating Dartmouth” is his insistence on the perennial nature of issues he outlines and the fact that either side has much to other.

For example, he outlines the tension from the 1966 Dartmouth Summit between English as a discipline and content area (like Albert Kitzhaber’s approach) and the more lived out, experience-driven role of language that James Britton, James Moffett, and others argued for. As Harris writes in the introduction to “updating Dartmouth, “there is something to both sides of the argument. There are real things to teach students about literary genres, figures, and traditions. . . But those things become valuable only when students put them to use in their own work” (xxii).

In writing studies and composition, I think a further tension presents itself. Composition models, terms, theories, heuristics, histories, and paradigms—in short, a field of content knowledge—now comprise the field. But as Harris right points out in A Teaching Subject, many people in the field—including himself—see “teaching as an integral part of (and not just a kind of report on)” their scholarship (xv-xvi). Thus, this scholarship is always tested in light of the student and the classroom, with pedagogy acting as a desired end, not a byproduct.

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Ontology of revision

editing

For most freshmen, revision seems like an afterthought. But in more process-heavy writing, it’s central. Revising the argument, the thinking behind the argument, the organization of the argument, and the grammar and syntax that laces and threads these thoughts together.

Revision, as its name suggests, is a “re-vision,” a re-seeing, and re-consideration of the work.  (Before one turns it in, presumably).

Lately, I’ve been thinking about the ontology of revision. Phrased another way, what mode of being does revision cultivate–or vise versa?

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