The Remix of Professional Development and Classroom Experiences

The following is an excerpt from my promotion packet “Education and Growth Statement”:

The beauty of working in the community college environment is the breadth of exploration one can do within a discipline rather than working within a niche. In the course of a year, my various roles and teaching interests led to me a journalism conference, a developmental education conference, and a conference for writing program administrators (WPA). Instead of working within an academic silo, I am able to approach the same concerns and topics from multiple angles. For example, the Fake News era was addressed at both the journalism and WPA conference in different ways – one through the professional lens and one through the academic lens. Taken together I was able to develop a more holistic lesson in content curation and media literacy.

In the particular academic niche I explored for my dissertation, digital rhetoric and writing in new media environments, remix is an important concept. A simple example would be a meme, which adds a particular message with a previously unassociated image, such as feminist theory and Ryan Gosling movie clips. Separately, there are both great, but together they create a memorable message. As those of us who have studied composition know, everything we create is a remix of our past influences and experiences. What I like about this concept in relation to new media writing is that to be successful, it requires a degree of openness – an openness to let new ideas and influences reshape our perspectives and creations, an openness to let go of authorial intent and let our messages take on new paths with new collaborators.

The value of my doctoral studies is not simply contained within the pages of my dissertation. The value is all the unexpected ways the knowledge I have gained has reshaped the way I teach. One line of inquiry I explored was how the work of John Dewey can relate to new media writing. One of his concepts I focused heavily on was experiential learning. For those of us looking to help students move beyond limiting mindsets, experiences are much more persuasive than verbal arguments when it comes to expanding one’s viewpoint. This strand of my dissertation helped me reinvent a common Composition I essay, the I-Search Essay. My students now use research to design a plan of action for themselves and then go through the experience of enacting that plan. It also informed the way I teach the problem-solution essay to my Composition II students, which is in conjunction with online activism.

My goal when I design my classes is to create educative experiences. An experience is educative if it “arouses curiosity, strengthens initiative, and sets up desires and purposes that are sufficiently intense to carry a person over dead places in the future” (Dewey). To create such an experience, I must be open to changing my plans in order to suit my students and whatever current events may arise. Again, the concept of remix come to mind, as my expertise and course outcomes and objectives come into contact with a new audience. At the beginning of the semester and prior to every class, I make a plan. However, when I walk into the classroom, I am always prepared to have it be modified by my students. Whenever possible, I offer choices and collaborate with students about the direction we would like to take, whether it be for the day or for the next major assignment.

The added bonus is that when students have choices when it comes to the presentation of their assignment, the class can have a meaningful discussion about genres. In my Winter 2018 section of Composition I, I let my students choose between a traditional thesis-driven essay or a presentation for their final reflection. This allowed us to have a discussion of presentation slides versus paragraphs, which also gave us a new way to explore the concept of outlining.

After the semester ends, I get to reconceive my courses again – this time in light of the student feedback I have received. The journey to bring together my doctoral studies and my Delta classes has been a long one. What works conceptually does not always work practically. Also, what our online students can achieve at home with older computers and spotty Wi-fi is much different than what face-to-face university students can achieve in high-tech media labs. Finding the right level of technological difficulty and the right way to sell students on non-traditional assignments took some trial and error. In my Composition II sections, I found students have had the greatest level of buy-in when I tied the assignments to the Kiva Program. Twice I have been able to acquire a grant from Kiva U so that my students have been able to give $25 microloans. Having our online efforts tied to an established organization and being able to tangibly contribute to this organization increased my students’ level of engagement.

One of the key lessons I try to impart to my students is that all learning and all experiences are of value. We are building a network of connections in our mind, which enable us to better grasp and relate to a variety of people and materials. I am a better teacher for having read research essays on cross training, on artificial wombs, on the Palestinian conflict, on feminine products and third-world countries, etc. It is why it is hard to consider a time when I am not working and not growing as an educator, as everything has the potential to impact my class: pop culture, parenting, travel, etc.

Advertisements

Decades of Play with Digital Technology #CCCWrite

This marks my third blog post for the Reflective Writing Club sponsored by the Online Network of Educators. The writing prompt asks us to reflect on the impact of digital technologies, specifically:

  • Compare your current professional experiences with your professional experiences at the beginning of your career.
  • Discuss how digital technologies have impacted what you do professionally and how you do it.
  • Has your professional identity shifted at all as a result of the emergence of digital technologies? What about who you interact with and how you interact with them?

Because I have so much to say about this topic, I am only focusing on the first bullet… And yes, I am starting at the very beginning of my journey with technology because how I learned is important to how I teach.

My relationship with computer technology began in the late 80s when my father brought home an IBM computer that weighed roughly the same as I did at the time. Instead of the vivid blue graphical interface of today’s Microsoft Windows (version 17 or whatever), our IBM ran through DOS prompt commands. At the age of 10, I was typing out elaborate lines of code to eek out line drawings and shapes that were reminiscent of Spirograph creations, and I loved every minute. My parents never reaped the rewards from the computer. Their technological prowess peaked with the VCR and even then their knowledge was limited. To this day, I am the one who programs their cell phones and accesses information from the Internet for them. My father, who operates high-tech farm machinery, cannot master home electronics.

Like few children of my generation, I had the opportunity to grow up with computers and, therefore, had a natural affinity for them. I bought my first computer before I bought my first car. I built my first website on this computer, discovered alternative music before Napster became illegal, typed the first of pages of the novel which would later become my master’s thesis in fiction writing, and kept in touch with friends via email (there was no Facebook at the time). A few years later, I would build my own computer from scratch with the help of some computer engineering friends.

The most important skill I learned from my technological endeavors is discovery through play. I became a graphic designer mostly through hands-on, trial and error training — much like those early days of writing code under a dos prompt. I remember the first week of my internship at a newspaper, trying to figure out the logic of QuarkXpress. In my interview, I said I could do page layouts, because the best professional advice I ever received was to always say “yes.” Luckily, years of trouble-shooting made me a bit of a software interface savant. Three years later I was the periodicals editor at a liberal arts college, overseeing all the publications and running my own freelance graphic design business on the side.

Even after I abandoned graphic design to become a graduate student in English, I still found value in my technical skills. As I moved from my master’s in fiction writing to my doctorate in rhetoric, I found myself continuously drawn to new media ecologies. I became fascinated by the cultural ramifications of search engine algorithms, the phenomenon of “going viral,” and the potential for online activism. These explorations of the relationship between composition, rhetoric, and technology are what gave me an edge when it came to job applications. It also led to the completion of my Ph.D.

When it comes to reflecting on my professional experience with technology, there really is no then versus now, as much as there is a layering of literacy. While we have many more apps and programs today, these apps much more graphical and user friendly. Plus, most come with Youtube tutorials. I really value those early years where I needed to figure out the inner workings and logic of a program on my own. In my New Media Writing class, I refer to Henry Jenkins’ proposed new media literacies, which includes the concept of play: “the capacity to experiment with one’s surroundings as a form of problem-solving.” I do not teach specific pieces of technology as much as approaches to using technology.

As an academic, what I have gained over the years is a deeper understanding of how the medium and tool shapes the message. As we move into multimodal digital composition, technology becomes a co-author of our productions. We build webpages with templates. We make presentations with a set selection of designs and features. Technology determines where we can publish, which determines how large our audience will be. This is all endlessly fascinating to me.

I look forward to continuing to build my relationship with technology, as I continue to build my professional network. This is currently what is new to me. Networking, offline or on, does not come naturally to me.

Aesthetics, Authorship, and GIFs

What is the theoretical value of a short clip of Tina Fey “high-fiving a million angels”? What does a GIF say about new media aesthetics and how we conceive of authorship/ownership? The now ubiquitous GIFs and memes are what Henry Jenkins defines as spreadable media. The prototypical word used for media that moves virally through an online network is meme, a term that was coined by Richard Dawkins to explain how cultural ideas, practices, and symbols are transmitted “by leaping brain to brain via a process which, in the broad sense, can be called imitation” (Dawkins 189). Unlike the cultural memes Dawkins theorized, Internet memes do not maintain fidelity or an unaltered state as they pass from “brain to brain.” In their study of online memes, Michael Knobel and Colin Lankshear discovered that many were altered, “the meme ‘vehicle’ was changed, modified, mixed with other referential and expressive resources, and regularly given idiosyncratic spins by participants” (208).

A recent example of an online meme that has propagated due to modifications is the “Ryan Gosling says Hey Girl” meme. The meme began on a Tumblr feed entitled Fuck Yeah! Ryan Gosling when a captioned picture was posted that stated, “Hey girl, No Shoes, Clear Eyes, Full Heart, Can’t Wait to Kiss You” (Jezebel). This led to a circulation of a whole series of captioned Ryan Gosling photos that began with the words “Hey girl.” It spawned a derivative blog entitled, Feminist Ryan Gosling, where after the opening of “Hey girl,” the captioned Ryan Gosling delivers musings/statements related to feminist theory and literature, such as “Derrida thinks language is fluid enough to break the gender divide, but nothing will split us apart” (Henderson). At the point of this most recent iteration, who is the creator of this text? Tumblr user Jezebel wrote a caption on a photo she did not take and uploaded it to a site that she did not create. Danielle Henderson parodied the original meme to promote a feminist agenda and perhaps promote herself as an academic and writer, as her feminist Ryan Gosling Tumblr led to a book contract. Analysis of her usage led me to create my own Ryan Gosling meme, which I used in my dissertation defense, which was the final step to earning my doctorate.

1920x1080_ryan_gosling_in_black_and_white-1516898 copy

If we consider aesthetics as a way of judging the value of art, then the aesthetics of online media/art involves how easily and likely a text is to be “appropriated and reworked by a range of different communities” (Jenkins et al 2). Because viral media and memes rely on the audience to transform and repurpose the original text, the value of a piece is co-determined by the audience. To reach an audience and elicit their participation, pathos is needed. According to Jenkins, Ford, and Green, spreadable media most commonly contain: “absurd humor or parody,” “puzzles or enigmas which encourage us to seek out other information,” a need for audience participation to be complete, and “themes of community and nostalgia” (6). As Micciche argued, emotions bind a social body together. Online, emotions are the catalyst behind likes, shares, and posts. We are not only circulating images and information, but emotions.

Understanding the aesthetics of new media texts should be recognized as a form of literacy. “Literacies call us to generate and communicate meanings and to invite others to make meaning from our texts in turn,” explain Lankshear and Knobel, “This, however, can only be done by having something to make meaning from—namely, a kind of content that is carried as ‘potential’ by the text and that is actualized through interaction with the text by its recipients” (4). Whether this type of literacy should be referred to as digital literacy, electracy, aesthetic literacy, or critical literacy is up for grabs. What is clear is that we must reconceptualize literacy, authorship/ownership, and aesthetics to glean the most from the affordances of new media.

Works Cited:

Dawkins, Richard. The Selfish Gene. Oxford University Press, 1990.

Henderson, Danielle. Feminist Ryan Gosling. Tumblr, 2013.

Jenkins, Henry, Sam Ford, and Joshua Green. Spreadable Media: Creating Value and Meaning in a Networked Culture. NYU Press, 2013.

Jezebel. “Hey girl, No Shoes, Clear Eyes, Full Heart, Can’t Wait to Kiss You.” Fuck Yeah! Ryan Gosling. Tumblr, 2012.

Knobel, Michael and Colin Lankshear. A New Literacies Sampler. Peter Lang, 2007.

Micciche, Laura. Doing Emotion: Rhetoric, Writing, Teaching. Heinemann, 2007.

Make a Good Impression in my Inbox: Writing Emails for Your Rhetorical Purpose

new-piktochart_15569406_6e8b5ba15d35172dfe31418e0a2ebb3227470e3d

For my upcoming students 

Last year, one student’s email became famous online, not because he wrote the most beautiful note of gratitude or delivered the most persuasive request for a paper extension, but because he wrote a drunken, profanity laced message to let his professor know: 1. He is sorry that he is bald, 2. He can “hook him up,” and 3. He will need an extension on a paper due to his upcoming hangover. If you are curious to learn more, all you need to do is Google “drunk student email.” I mention this because in an English class we would refer to this as a failure to meet the rhetorical situation. The rhetorical situation refers to how our purpose, audience, stance, genre, and medium shape the construction of our texts.

Most commonly, students will email their professor when life interferes with their ability to complete their work or if they have questions about an upcoming assignment. In either case, the student should remember their purpose is to solicit help, whether that help is to be given more direction or more time. To best achieve your purpose, you must consider your audience.

Your audience is your professor, who is (despite any rumors) human. Humans respond best to polite requests, not frustration-driven demands. Accusations or negative comments usually result in feelings of defensiveness, so be careful of the stance you present. Also, remember you have a professional relationship with your professor. This means you do not address them as “Hey” and write a collection of fragments, typos, and LOLs.

Remember the medium. With emails there are no take backs when you hit send, unlike on social media when better judgment may cause you to delete a post or Tweet. It is good to remember an email message is a particular genre. It may even be an unfamiliar genre. Do not treat it like a text message or social media chat. It is more akin to a writing a letter. The example below fails to meet the expectations of the genre, utilize the features of the medium, or consider the audience.

badexample

Lately I have been reading how periods should not be used in text messages, as recipients perceive this as less sincere. This is not the case with emails. It is actually good to think of text messages and emails comparatively. Text messages to friends tend to be an informal form of communication. Email messages to professors and professional contacts are written formally. Like letters, emails usually include salutations and closings, at least when beginning a formal thread of conversation. Like business memos, they include a subject line, letting the reader immediately know what the email is about. This allows individuals to prioritize messages in their inbox.

The example below meets the expectations of the genre, utilizes the features of the medium, and is written in a manner that fulfills the purpose and considers the audience.

goodexample

The example above has all the proper formatting and information. The subject line succinctly tells the recipient what the email is about. It begins with a formal, respectful salutation. The content is polite, succinct, and grammatical.

TIP: You may not know whether or not your professor holds a Ph.D. If you do not know, it is best to use the honorific “Professor” rather than “Dr.” Often in higher education, we avoid gendered honorifics (Mr., Ms., and Mrs.).

Remix – The Art of Juxtaposition

One of the featured assignments in my dissertation was the Remix Video. The Remix best illustrates what it means to be a new media writer. We gather, we curate, we link, we comment, and we create. Our social media identities are remixes of shares, posts, retweets, likes, etc. As we move forward in our digital era, we are leaving behind the myth of the self-contained author, who extracts brilliance from his own mind in isolation.

As Thomas Rickert in his book Ambient Rhetoric explains:

“The writer writing is not so much in the middle as extended into the very dynamics of ambience. The ‘writer’ writing cannot be understood as a discrete, individualized entity bounded by skin and self-image, wielding external tools and thoughts (which, by being external, can ‘alienate’ us), for in writing we can entwine ourselves with the accouterment of writing—pen, paper, keyboard, typewriter, computer, books, ideas, sounds, furniture, food, beverage, interruption, serendipity, the things dotting the local environment and the environment itself, the larger infrastructure, other people, even our own bodies—and lose ourselves in this immersion. Ideas emerge in the complexity of interaction beyond our individual control, since the ambient situation worlds us. We contribute, of course, but as catalyst and site of disclosure, not as sole producer and controller.”

What he is saying is that when we write and create we are synthesizing a collection of influences to respond to a certain rhetoric situation. Essentially we are remixing.

Remix and Fair Use

Now how do you deal with copyright in a world of remix? I imagine copyright lawyers will always wrangle with this issue. However, as of now, Fair Use offers new media writers a good deal of protection, especially in educational settings.

There are many great resources online discussing what the four statutory factors of Fair Use are, such as this one from University of Minnesota Library: https://www.lib.umn.edu/copyright/fairuse. Our remixes will most likely contain commentary and criticism of published media clips/shows. We won’t be stealing the main argument or heart of another work or taking a large portion of the original. All the clips we take will be transformed into our own creation. Hence, what we do will fall under the umbrella of Fair Use.