Toward Blogcraft

2013-01-10 08.23.19 pm

I remember somewhere around 50 pages into the first Twilight book thinking I couldn’t possibly bear any more of the writing. I winced at every new appearance of “his perfect marble skin” and though I soldiered through the rest of the chapters I realized the pop culture indulgence had become more of a crappy habit–like drinking bad coffee because it’s there in the pot on the way to the copy machine.

I had that same feeling this morning reading Reality Steve‘s blog. I don’t know why I read Reality Steve. Yes I do: I’m a fan of Survivor and of the gameplay forums on Television Without Pity and sometimes people in those forums mention Reality Steve so I click over to read what he’s saying. Also, he covers The Bachelor–an awful franchise but fascinating for people like me who study the social construction of gender roles. I cannot adequately describe how satisfying it is to juxtapose, say, The Bachelorette‘s Emily Maynard and RuPaul’s Drag Race contestant Willam or Chad Michaels; The Rose Ceremony vs. Lip Sync for Your Life. Endlessly, endlessy edutaining.

Unlike Twilight, which has no socially redeeming value, the Reality Steve blog in its way has seemed worth supporting. He’s a high profile spoiler and the legal cases against him are forcing relevant questions to the surface regarding intellectual property and media coverage and the preservation of “reality” narratives on these programs. I think Reality Steve’s spoilerage is doing important cultural work, actually. He refuses to treat “reality” as reality. There’s something to that.

But, honestly, his writing is so bad–well not “bad” but so very meh. He’s been blogging thousands of words for years and his writing has never improved. He seems to make no effort to be witty or entertaining to anyone but himself. He just rants through otherwise dry, wordy recaps. Reading his latest installment, I remembered an adage from a dance colleague: “practice makes permanent.” Doing lots of crappy writing with no attempt at craft yields lots more crappy writing and might even make you a crappy writer <– which is something I never like to call anyone, so how about “meh” writer. Yes, that’s a fair critique because a lot of meh writing is done by decent writers who are more committed to cranking out text than crafting text.

Yet that’s what I’m doing right now, isn’t it? I’m kvetching and ruminating and don’t intend to take the time to revise this blog posting. I probably blog this way all the time. So the lesson I’m learning from Reality Steve is the lesson I didn’t take the time to learn from Twilight: it’s time to pay more attention to my own blog writing. I don’t want to get hung up on craft to the point I’m too self-critical to post. But I do want to start paying more attention to the blog authors whose writing strikes me as especially well crafted. And I want to spend this semester, alongside my students,  noting and emulating some of the craftsmanlike moves made in blog writing.


disruption as storytelling device

I love this post from my new MOOC colleague for many reasons but perhaps most of all because it has us thinking about the MOOC itself as a narrative. My dear grad school mentor, Jim Corder, said, “Life is a narrative we make, or not, that only exists in our own little fictions.” Our EDC MOOC is an open learning space that we haven’t even entered yet. I don’t even remember how to get there–which will be somewhere in Coursera, though under the auspices of the University of Edinburgh. The MOOC student interaction right now is all over the Web (Facebook, Google+, Twitter, etc.) and the course doesn’t actually begin until the end of this month. We have all just built our own learning community sparked by our signing up for the MOOC and informally agreeing to interact ahead of time. I don’t even know how that started (my friend in the MOOC was doing early interaction and that sounded fun so here I am . . . wherever “here” is).

another space oddity

I was just listing to the radio briefly as I passed between rooms and heard a novelist in interview saying how she (and all creative writers) needs to construct a disruption in a situation in order to be able to go on to tell a story, and of course this rings true – we all know narrative technique well enough to know the importance of the initial ‘crisis’… but what interested me was how that obvious truism suddenly struck me as just as true of the sort of creative writing we are engaging in as students in this course, and how the course itself is an emerging narrative enabled by an initial discourse on how ‘disruptive’ the mooc is to everything and anything in higher education: it’s irrelevant whether we take it as ‘true’ or not, we simply need to suspend disbelief in order to engage in the joys of…

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Color Walks & Documenting Walkabouts

2013-01-05 10.28.39 am

I love working with Keri Smith‘s How to Be An Explorer of the World in my academic research and writing classes because it helps me reinforce the scholar adventurer dimensions of field research and the noticing deeply needed for imaginative learning and  precise writing.

But having the students share their findings can get a little tricky, especially when I try to integrate the explorations into digital kinds of sharing–ePortfolios, blogs, discussion boards. I’m trying to get them outside to practice & cultivate a keener awareness of the often-overlooked details (and potential sources of inspiration and insight) in their everyday surroundings and then to use various tools–sometimes digital (e.g., phone camera), sometimes not (e.g., rubbings with crayons)–to preserve their observations.

Thanks to one of my MOOC colleagues, I just found this blog post on Color Walking from RadioLab‘s episode on Color. Their multisensory exploration was inspired by William S. Burroughs’ Color Walking; Keri Smith  recommends it also. What I’m loving especially is the way they used the timeline tool to plot their findings. This is so much better than attaching a photo to a discussion board posting, in so many ways. The timeline communicates the journey so much better and the inclusion of multiple images and short textual descriptions of each encounter with the image/color-source captures the interpersonal aspect of the trek. Sometimes the color is on a person, not an object, so they don’t just snap the photo but ask permission first and include a snippet of that discussion (or an acknowledgement of it) in their caption–reinforcing so many important learning objectives regarding citation and scholarship as conversation and so forth. I’m really jazzed.

I was already planning to use a timeline tool in one of my classes–Tiki-Toki–but now I’m also going to look at the tool RadioLab used: Timeline JS. I can see the color walk assignment as a way to get the students comfortable with the timeline software in preparation for a larger, collaborative timeline we’ll be doing as a class.

I’m also thinking about how the timeline tool might work with one of my favorite ice breaker assignments, a mad libs style exercise based on George Ella Lyon’s poem, “Where I’m From.” In it, students compose poems that are litanies of significant artifacts and names from their personal histories. I’m wondering what it might look like to translate those metaphors into images on a timeline–what would be lost and gained through that translation or remediation.

Learning as Networking as Learning


As I watched Dave Cormier’s Success in a MOOC video I found myself making mental notes about how I might translate the learning-as-networking principles back into a f2f classroom. In so many ways I think these principles for online learning get overlooked in bricks-and-mortar classes. Despite all our efforts at engaged and experiential learning it seems to me that we don’t do a good enough job helping students experience networked learning in conventional on-campus environments.

For example, Cormier explains that once you’ve begun learning something in an online class the next step is to declare yourself by writing something about what you’ve learned in, say, a posting to your blog; then you deepen your learning by finding and making a connection to someone else’s learning by, e.g., posting a thoughtful reply to their blog.

In f2f and hybrid classes many of us try to do this through in-class conversation, short writing assignments, and/or postings outside class to an online discussion board or blog. The actions are analogous but relatively superficial. It’s just homework, in other words. Just an activity.  What’s missing is the [social] networking energy–the thing that makes it satisfying and even addictive to repeatedly visit, read, and comment on someone else’s thoughts. That’s the hook I’m wanting to activate, somehow, in all my courses–f2f, hybrid, and wholly online.

Also, when we declare ourselves online there’s an underlying assumption that we’re inviting a response–and, increasingly, that we’re not just saying one thing (i.e., one blog posting, one YouTube video) but sharing a body of work and inviting others to consider and respond to some or all of it. So Cormier’s MOOC video is the thing I’m looking at now, but YouTube tells me there are 118 more videos in his library, and I can subscribe to updates and comment on what I’m seeing. But in a f2f class a student composes one text at a time and the rest of us may never see anything else she has created on a kindred topic in the past nor in the future. We may glean some of her insights through class discussion but her body of work is invisible. I’m looking for ways to make all that other significant thinking and making more a part of the person we meet during our f2f semester. Like a multimodal portfolio of thoughts and experiences or a D&D style avatar that summarizes the diverse skills and traits likely to be activated during the course. Something that helps us better appreciate who is in the room (literally or figuratively) and how they have come to think and know what/as they do.

Digital Convergence (pun intended)

Rhetorical Gestures Mug

Despite our semesters apart this blog has remained my touchstone because in so many ways it is about the intersections of digital and material culture. I’ve decided to make it my home base for this month’s participation in a MOOC (a massively open online course) on e-learning and digital culture facilitated through the University of Edinburgh. Last I heard there were 32,000 people enrolled in this course, with a few dozen of us interacting on facebook and now quad-blogging together. I’ll get into all that later.

For now I just wanted to pause and mark my return.

In the past year I’ve done a lot of hands-on exploring–learning much more about the materiality of literacy by making books, paper, and other fiber arts in OKC and, most wonderfully, at the Penland School of Crafts; messing around with clay; experimenting with more digital storytelling tools (had a great experience at the Center for Digital Storytelling). I spent more time pounding the pavement and pondering the relationship between artifacts and public memory in Singapore, NYC, and OKC. 2012 was an interesting year. In 2013 I’d like to bring more of it into focus–for myself, for my students, and for anyone else who might make use of what we’re learning.

Going [Nearly] Non-Verbal

Wesch clip - A Vision of Students Today
As much as I genuinely appreciate the digital ethnography work done by Wesch and his students, I’m irritated by the smugness of this video–the sense that it’s somehow OK for students to dismiss books and classroom lectures as irrelevant so long as antiquated pedagogies take the blame.

I say all this, yet supposedly I’m one of the “good guys”: I teach small classes where we mostly sit in circles and discuss current events and view wacky-but-insightful websites and interrogate visual literacy and collaborate with community organizations doing field work and hands-on curatorial work and writing and arts-integrated experimental learning . . . yadda yadda yadda . . . . Like I said, my classroom is not the sort directly critiqued by the video.

And yet . . . And yet I just spent 3 hours reading a book on metaphor theory–a densely written, scholarly text with almost no pictures. I had to retrain my brain to concentrate on the writing, sometimes reading passages to my slumbering dog and using colored pencils to sketch out the complex ideas unfolding in the text. And it was glorious. If I assigned this book my students might not read it unless I somehow coaxed them through it and helped them read it page by page. My personal techniques with the colored pencils and so forth could serve as models but ultimately learning from the reading of dense text is about sitting down and wanting to figure out your own methods for learning from words. According to Wesch’s students (and they’re probably right) most of my students would not read the book just because I assigned it–even if class discussions and reading responses were part of the assignment my students might not read the whole book but rather just enough portions to get the gist of it. Does that mean my students are lazy or does it mean that they’re savvy consumers of text?  Neither. That’s my point. That’s my dilemma.

Of course, I could assign more interesting texts. And shorter texts. And texts composed as comic books. And podcasts. Yes I do all those things. But I’m still not convinced that reading 8 or fewer books per year is OK, or that I’m a good teacher if I exhibit empathy for students who believe books are an outdated source of relevant knowledge or entertainment.

We’re living in this transitional phase where highly motivated teachers are doing everything we can imagine to navigate the space between how students want to learn and what we believe they need to learn. (Notice I didn’t say the gap is between how they want to learn and how we want to teach. I’m operating under the assumption that we want to teach in whatever way will help them learn. An attachment to a particular pedagogy is not necessarily the problem here. I also didn’t say the gap is between what they want to learn and what we want to teach–though I do believe that’s part of the dilemma.)

One of the things I believe they need to learn is how to actively (not passively) learn–and active learning doesn’t only mean being entertained and engaged by the learning; it also means deliberately doing the learning. Among the things teachers like me need to learn are: how to teach them to be (and to want to be) active, deliberate learners of things–even things that might not appear to be immediately relevant to their personal lives; also we need to learn what is most important for them to learn–what things will spark their desire to learn more on their own, and how can we best equip them (intellectually, personally, and otherwise) to do that digging on their own?

So what does any of this have to do with books? A lot.

My background is in rhetoric and composition studies. I believe that writing helps us learn. I believe that reading helps us learn. For a dozen-odd years I’ve taught writing in ways that I hoped would help students learn. The raison d’etre of academic writing is that it helps students to learn what they’re studying and to communicate they’ve learned it. We don’t teach academic writing so that students will do academic writing for the rest of their lives (unless they become academicians). We teach academic writing because it helps students synthesize, interrogate, articulate, and otherwise engage and demonstrate what they’re learning. Reading good scholarly writing helps them get better at it. Reading any kind of writing generally helps them get at least somewhat better at doing their own writing. In turn, getting better at writing typically entails getting better at thinking through one’s ideas, composing them coherently, demonstrating knowledge. Our great hope is that compulsive Facebooking and texting will somehow also enable students to remain sufficiently literate (as readers and as writers and thinkers) to continue strengthening their abilities to digest, interrogate, communicate, and demonstrate knowledge derived from non-Facebook sources.

I’m a reasonably optimistic person. I’m willing to set aside my Postman-esque concerns about Farmville and Twilight and so forth for now.

So it’s within that context that I’m beginning this thought experiment: What if the purpose of first-year composition isn’t to teach academic writing? This isn’t a new question, really. Lots of us in rhet/comp do multimodal composition pedagogy–meaning we have integrated visual literacy and digital composition into our writing courses. What might be different about my thought experiment is that I’m removing the words altogether. If the purpose of the first-year composition course is to help students locate, synthesize, and demonstrate knowledge, could that be done entirely through the kinds of 3D assemblage my visual rhetoric students did last spring? Or via a primarily visual composition with a spoken or written explanation? Or via a community-engaged, applied learning project accompanied by reflection that might be spoken or written or sung?

The answer is No, to the extent that first-year composition is a service course to other academic disciplines expecting us to teach MLA/APA citation formats and grammar and the writing of literature reviews. But if our goal is to teach the acquisition of knowledge and the synthesis of ideas–would it become our job to teach composition as a cognitive act as well as a communication task? Would it require us all to learn how composition–the arrangement of information–connects with the acquisition and transmission of knowledge in all its forms?

What then?

And shouldn’t we already be teaching that?