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.

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Revisiting Remix Through #CLMOOC

Though we brainstorm, labor, arrange, and perfect, our texts are not finished when we hit publish. Instead, we are throwing our words and images to the world in hopes that they will live beyond our hard drives, memory cards, and web space. Like our children, when the leave the house, our control fades. We may have created the initial shape, but the world will permeate their structures and alter the perspective we instilled. Excluding the murky world of copyright law, how do we feel about this?

For the Make Cycle #2, the #clmooc community used remix to reciprocate “with generosity and gratitude.”  I intended to select quotes from other blog posts and Tweets to overlay with #silentsunday images, as I enjoy the interplay of image and text. However, when I looked at the images, I realized I could make a (mostly) visual remix.

clmooc 2016 Found Poetry

I created this image solely to express gratitude to those who shared weekly snapshots from their life. Together, these snapshots create a new, imaginative world, richer for each perspective contributed. In general, I have enjoyed the tapestries people have woven using other people’s work to express what they found meaningful.

The why is key in remixing. The topic of plagiarism was trending last week due to Melania Trump taking words and structures from Michelle Obama’s 2008 speech to use in her own. It was not a purposeful remix to pay homage to the great work Michelle has done as first lady. Instead, it was speech that missed a step in the writing process.

The reaction to Melania’s speech and the various concerns and questions #clmooc raised regarding remix/plagiarism/ownership indicates it is a discussion that would be fruitful in a writing class. I am visualizing breaking up a class into groups to each analyze a different text to determine whether or not it is a remix protected under fair use or a plagiarized text with no artistic merit. They will then defend their standpoint.

Key questions from other blog posts:

“What does it mean to “own” something composed we’ve composed? If we are remixing someone’s composition, then where does that ownership begin and end? Does it matter? (If not, why is intellectual property law such a booming field?) Is ownership in the intention or act of communicating? In the product?” (Karen LaBonte)

“If I use someone else’s words for a remix, am I a writer or remixer? Is it writing if the words are not my own? (I prefer: composer)…. If the writer asks the remixer to stop/halt/remove, does the remixer have an obligation to do so? (legal, moral, etc.)” (Kevin Hodgson)

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.