CCR 633: Multimodality, Part 2

Chapter three begins with the “prosumer,” an idea that Alexander and Rhodes borrow from Daniel Anderson. The “prosumer,” they describe, is “a convergence of the consumer and the professional in terms of new media tools” (106). Many new media tools allow consumers, formerly just receivers, to produce products, thereby acting as professionals. This, in turn, allows a more critical focus on production, as it is no longer black-boxed behind the usual channels, but in the hands of the consumer.

This similar idea–that of consumer as professional or producer–also connects with the Situationalist notion of “détournement,” a form of “pillaging or appropriation,” as Frances Stracey describes (qtd. in Alexander and Rhodes 112).  The Situationalists argued that capitalism had the constant need to project a “spectacle” of needs that inspire consumers to thirst after products, so people should critically produce to counter this.

Alexander and Rhodes connect these ideas to current DIY movements, but emphasize the “critical” dimension of this production. In other words, it’s not simply enough to be critical, in a humanities sense, or to produce; one must use production in a critical way, engaging in multimodal production through new media tools. They provide the example of images that grew in “excess” from their work that argue their work or ethos as “queer rhetoric” scholars in different ways.

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ENG 730: Auteurs and Capital

In composition studies, a recent move to designer over author has started to take place in some areas of the field, and I think the readings present and interesting addition to this, as in composition studies this shift is often made in terms of “marketable skills,” reflecting the role of labor and capital in education.

But more to the readings. I find the notion of author or designer often has a tension with the Romantic creator view and the skillful rhetor responding to an situation. In this context, I feel like Miyamoto presents a nice case study. On the one end, as diWinter seems to argue, he has particular views or focuses that flow through his work, presenting a more Romantic, or expressivist, author function:

  • “The strong connection to childhood and joy;
  • The influences of nature and the natural world; and
  • A desire to share a common feeling— kyokan— so that designers can feel closeness with players and players can be immersed in the experience of the game.” (1)

One can see, for example, how the “violence” in Super Smash Brothers, is rendered in the more contest-oriented approach like Sumo and not in terms of the violence of other games, or how Mario’s “violence” is more cartoonish and comical. This reflects the connection to joy and fun. And the abundance of caves and wonder that stud Miyamoto’s work reflect his own childhood experiences, as his own quotes argue, with childhood and the natural world. Regarding the last point, diWinter argues how Miyamoto, especially later on, uses experiences from his everyday life, like fitness or gardening, to inspire his work.

All of these design traits do seem to have a rhetorical deliberateness, even with the team-oriented approach, as John points out, that games have.

But on the other end, the market also informs design. Constructing Mario based on the Game and Watch controller not only presented a design constraint and philosophy; it also made good market sense. When Miyamoto was recruited to save the Wii, that was market-based pressure. And while his own experience of exercise informed Wii Fit, reflecting his design philosophy, it also opened up an important market and was framed in this way.

These market and labor forces are even more strongly articulated in the other works. For example, as Dyer-Witherford and de Peuter argue, “The ‘militainment’ of America’s Army and the ‘ludocapitalism’ of Second Life display the interaction of videogames and actual power in the context of Empire, an apparatus whose two pillars are the military and the market” (xiv).  Videogames grew up in a strongly capitalist network, with strongly entrenched notions of modern empire. Past economies, like the clay tablets of Mesopotamia or the scribes of medieval Europe, operated through different trends and affordances of labor and circulation–and different views of autuer–though it’d be reductive to say that threads don’t carry through multiple periods.

This takes me back to my initial focus–author as Romantic creator or situationally astute rhetor–and the role this has in our current market. I increasingly think that designer and author works in a more networked process, and these networking skills are key literacies for work in the modern age; but the “innovators” are the ones who tend to get the most credit. In my current project, for example, Will Wright is considered to be genius behind The Sims, SimCity, etc., but his notebooks are threaded with phone numbers, questions and answers from meetings, user-testing notes, more signs of orchestration and teamwork. And, for another example, some books, like Doom or Console Wars, treat teams of people with an almost hagiographic aura, while technology and markets also play a major role.

As Kline, Dyer-Witheford, and de Peutur, articulate, games exist within a complex intersection of circuits. I reckon a designer is part of this, seizing on the kairos and tools of production when producing a game, but authorship is quite diffuse among the humans and nonhumans of the rhetorical situation. The magic circle isn’t really that separated from “ordinary life.”

CCR 633: Labels, Emergency, and Ontology

Early on in her introduction for Scripts, Grooves, and Writing Machines, Lisa Gitelman states a thesis that also expresses a methodology and worldview regarding textual machines:

Edison identified his phonograph as a textual device, primarily for taking dictation. With this mandate, the invention emerged from Edison’s laboratory into and amid a cluster of mutually defining literacy practices, texts, and technologies, among them shorthand reporting, typescripts, printing telegraphs, and silent motion pictures. Even Edison’s own famous light bulb, now a universal icon for “I have an idea,” had to make sense within an ambient climate of textual and other representational practices, a climate it would, in fact, have an ample share in modifying. (1)

In many ways, this connects to many of the questions already taken up in the class, like the role of sociotechnical systems or alphabets as technologies  or the notion of ambience and complexity. Here, in particular, I am definitely feeling Rickert and Heidegger: that the phonograph emerged from and became intelligible through a “world” [Welt] of already existing relations. For example, as Gitelman argues, shorthand, or “phonography,” as a technology set the stage for the phonograph. Without this already circulating ambience, the phonograph would not have had the same intelligible impact.

On the one had, this sort of claim reminds me a bit of Steven Johnson’s “adjacent possible,” an idea that certain networks, ideas, and materials need to be in place in order for an idea to take root. Often, as he points out with Charles Babbage’s  “computer,” an idea that is ahead of its time dies out. It needs to still be in stage of possibility, but such a possibility must be “adjacent” to the present and the local.

But the role of labels, as Gitelman details, provides an interesting complication. As she writes, “The label is a vital cultural nexus, a point where producers meet consumers, where owners meet spectators, where novelty and originality enter the commonplace of the market and commodities perform” (151). I want to spend some time with this idea.

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CCR 633: Anderson, Publics, and Simultaneity

One of the main things that struck me about this reading was the importance of simultaneity. Anderson discusses this through literature, then newspapers, and even connects it to the practice of naming places like “New Orleans” after places from the old world. Essentially this connects to the “empty time” of a situation and the sense of community, that other people–people in a community or country, in Anderson’s example–are going about their daily lives as I do.

Coupled with this, one has the printing press and newspapers. For newspapers, Anderson notes how it represents “the secular, historically clocked community” (35), and creates a daily or half-daily ritual, which again is connected to simultaneity, the paper acting as a technology of synchronizing.

For printing, Anderson stresses a few elements. “First,” he writes, “they created unified fields of exchange and communication below Latin and above the spoken vernacular” (44).  Similar to what Thorton says about print v. handwriting, printing creates a public connotation, and though it’s been a while since I’ve read Habermas, I imagine a link with his public sphere as well. Along with these “unified fields of exchange,” print technology, argues Anderson, creates fixity, much as Eisenstein notes. And third, it created “languages of power” (45), privileging some forms of language over the other.

I was thinking about how digital technologies connect to these similar qualities, i.e. how internet publics connect to their own technology.

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CCR: Fixity, Preservation, and Circulation

Although a lot of the elements in the Eisenstein reading were interesting, for whatever reason, the opening sections on textual drift and preservation through multiplication–quantity of copies over quality–struck me, especially in regards to circulation.

As Eisenstein writes, “No manuscript, however useful as a reference guide, could be preserved for long without undergoing corruption by copyists, and even this sort of ‘preservation’ rested on the shifting demands of local élites and a fluctuating incidence of trained scribal labor” (113-14). Later on, she terms this corruption through copying “textual drift” and notes how “preservation could be achieved by using abundant supplies of paper rather than scarce and costly skin” (114). Here, then, the fixity of this preservation is not just its material longevity, which is achieved through multiple copies, but the precision of its copies. Each copy is more fixed and less idiosyncratic once the type gets set, reducing the “textual drift” of multiple hand copies.

I want to look at these ideas of drift and fixity.

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CCR 633: Archives, Scribes, and History

Doing readings that draw from history, particularly history connected to literacy, always makes me more reflective about my own practices and assumptions.

In Trithimius’ “In Praise of Scribes,” he comments that parchment lasts longer than paper (35), that copying is a form of manual labor (49), that one who cannot write should still read (85), that books should be protected (93), and that the copyist gets some level of longevity and fame beyond the author alone (97). Many of these are things that I don’t really think about as my current print/writing culture differs.

As a teacher and scholar, I often glibly talk about literacy, particularly drawing from the idea of multi-literacies from the New London Group: the role of circulating languages, shifting modalities, new genres and materials, etc. I often get stuck in a contemporary tunnel-vision and forget the socio-technical systems that underscore literacy.

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CCR 633: Memory and Platonic Print

One of the main things I get from reading Walter Ong’s “Writing is a Technology that Restructures Thought” is his primary thesis: that writing–particularly non-oral alphabetic discursive literacies–not only offer tools for communication but change how we think and communicate in fundamentally “noetic” way. As he writes, “Without writing, the literate mind would not and could not think as it does, not only when engaged in writing but even when it is composing its thoughts in oral form” (24).

Ong’s point connects to the ongoing discussion of whether technology or artifacts have politics, though in this case, it focuses more on the way that technology affects our thinking.

One way writing changes us is through memory. As we noted from Rickert–who drew from Hayles–people have tended to build “smarter” technology to help with memory. This could include the early tokens of Mesopotamia, as Denise Schmandt-Besserat discussed, and their capacity to track goods. It could also include the various  reminder and calendar apps that populate smart phones and computers. All of these keep track of other things so we don’t have to.

On the one hand, this is positive. Answering a few Doodle polls this past week to schedule meetings, I’ve consulted the calendar on my smart phone. I also use a more low-tech near-daily inventory of general to-dos. All of these keep my working memory from getting too cluttered.

But Socrates, via Plato–whom Ong cites–criticizes these technologies, particularly the technology of writing. As Socrates says, in the apparent voice of King Thamus, “You have not discovered a potion for remembering, but for reminding; you provide your students with the appearance of wisdom, not with its reality.” The person who writes something down, he goes on, is relying on extrinsic things–an extrinsic system of signs, materials outside the body, etc.–and is only creating a later sign-post to return to an earlier thought. The writer is not actually holding onto and engaging with the thought. They can’t defend it either. The thought is orphaned, isolated, and silent.

This leads Socrates to characterize writing as something static, like a visual image. As he  says, “The offsprings of painting stand there as if they are alive, but anyone asks them anything, they remain most solemnly silent. The this is true of written words. You’d think they were speaking as if they had some understanding, but if you question anything that has been because you want to learn more, it continues to signify just that very same thing forever.” I find the turn to the visual to be an interesting shift, but it makes sense, as visuals are more static if we take an oral view of language.

This characterization made more sense as Ong took it up, connecting the static quality that Socrates ascribes to print to the static “being” of Platonic forms.  As Ong argues, “Platonic form was form conceived of by analogy precisely with visible form. Despite his touting of logos and speech, the Platonic ideas in effect modelled intelligence not so much on hearing as on seeing” (29). We see this with his discussion in the Protagorus, as they dissect a poem, which would be hard to do without a static referent.

Indeed, print is a visual medium, a series of squiggles carried through some medium–captured through handwriting, type-faces, or pixels. It is silent, like a fresco, and in a Platonic sense, it’s non-material. But this silent, non-material Being of writing, as Ong notes, “assures its endurance and its potential for being resurrected into limitless living contexts by a limitless number of living readers” (31). It gets “spoken” in our heads or through bodies and machines, but as the word-iself, it feels permanent.  Parmenides has triumphed over Heraclitus.

This non-material sense of writing brings me back to one of my teachers in Classical Philosophy who drew a triangle on the board. “What is this?” he asked. “A triangle,” we said. “No,” he replied, “it’s some chalk dust smudged a certain way.” He then wrote out the definition; we fell into the same trap. “No,” he replied, “it’s the definition of a triangle.” The triangle-in-itself is only mediated into existence, never actually existing as a material being.

With this Platonic view of writing, I think we are somewhat trapped in all the distancing that Ong ascribes to writing. It’s a somewhat long litany, but he often focuses on the growing divide between the “lifeworld” and the abstract, as writing makes our own thinking more abstracted from everyday life. We discuss more the idea of things than the things in themselves. Time and space also distance. We become more artificial in out being, though, as Ong paradoxically notes, it’s natural for humans to be artificial through technology. Technology, itself, is natural.

But I don’t think we need to be Platonic. As Heidegger argues–and Rickert–regarding the fourfold, dwelling assumes a lifeworld of both matter and meaning. “Hammer,” as word, is deeply stitched into the material of the hammer-object and the action of human-hammering, and in-turn, this layered ontology of the object, withdrawing and presencing as the situation changes, fits into the broader world of relations. So, to me, there is nothing Platonic about a hammer or the word hammer.

The same for visuals. I think here of Lauri Gries’ work. Following the Obama Hope image with a New Materialist underpinning, she highlights the “vital materiality” of the image. As she writes, “rhetoric transforms and transcends across genres, media, and forms as it circulates and intra-acts with other human and nonhuman entities. Rhetoric also moves in nonlinear, inconsistent, and often unpredictable ways within and across multiple networks of associations” (7).  Seeing the networked and networking threads and ripples of beings–both human and nonhuman, concrete and nonmaterial–something that feels “distant” or “dead” is very much alive.

IST 700: Ecologies, Spheres, and Messy Research

“We conceptualize a web sphere as not simply a collection of web sites, but as a site of dynamically defined digital resources spanning multiple web sites deemed relevant or related to a central event event, concept or theme, and often connected by hyperlinks.” -Steven M. Schneider and Kirsten A. Foot

“That the web arrived as infrastructure awaiting content, as opposed to content awaiting infrastructure, is often not appreciated.” -Richard Rogers

I was feeling a lot of synthesis with this week’s readings. Not just among texts but also with past reading–especially the readings on bounding–and readings from my other classes, like this piece by Jody Shipka on lower-case “a” archiving. These notions of archive and “websphere” also connect to my larger interests in networks, authorship, ambience, and intertextuality.

Rogers’ distinction between “infrastructure” and “content” captures one of the elements of Internet research that fascinates me: the role in the the ever-changing infrastructures in this ever-changing content. For example, Rogers as well as Schneider and Foot point out the role that linking has or advertisements in composing a website, and archiving a page as pure content–basic texts, images, sounds, etc.–does not capture this infrastructure.

Early on in my interest in composition and rhetorical studies, the “ecological” thinking of Marylin Cooper, Sidney Dobrin, Thomas Rickert, Nathaniel Rivers, Jody Shipka, Jenny Rice, etc., proved particularly illuminating. Especially Rice’s piece on rhetorical ecologies. The way texts circulate, get re-purposed, get buried or dug up, acted on by different authors in different genres with different exingencies and audiences–all of this ecological richness spoke to my outlook on the complex ontologies of textuality, digital or otherwise.

More concretely, I think that fanfiction has a dynamic websphere surrounding a given fandom, ranging from site-archived pieces, fanwiki pages, author pages and social media outlets, the texts themselves, the comment section. Both context (text, artwork, and Podcasts) and infrastructure (links, searches, folksonomies) inform practice and community, which is likely why many studies take an ethnographic approach. One can study texts and artifacts (through content, rhetorical, or discourse analysis), but these are entwined with fan practice. The artifacts have hand prints and metadata, and the users with these hands and metadata are part of this ecology, along with the nonhuman structures.

These fascinating linkages and the social practices they bolster and bound, like the 9/11 Memorializing, challenge the potential boundary between users, content, artifacts, offline, online, time, space, etc. I think this is why a clear question–and a well-steered method–are worth thinking over as much as the potential results. Phrased another way, the hows, the whats, the whos, and the whys of research need to be in close communion.

This complexity, as Jason might say, is messy.

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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