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A "next generation" textbook for online writing and design, Internet Invention supplements existing print and web primers on HTML and graphics production with a program that puts these tools and techniques to work with a purpose. Designed as a passage from the more familiar rhetoric of the page to the less familiar one of the screen, this text is a hybrid workbook-reader-theory with chapters divided into the following sub-genres: Studio, Remakes, Lectures, The Ulmer File, and Office. These sections offer a sequence of interconnected Web writing assignments, rhetorical meditations, scholarly discussions, case studies, and pedagogical metacommentary, which together combine to form a truly unique contribution to the body of rhetorical theory and practice in the age of the digital text. Ulmer uses the invention of literacy by the Ancient Greeks as a model for the invention of "electracy" (which is to digital media what literacy is to print). Internet Invention brings the students into the process of invention, in every sense of the word. The book takes students through a series of Web assignments and exercises designed to organize their creative imagination, using a virtual consulting agency - "The EmerAgency" - as a vehicle for students to discover the potential for the Web to act as a setting for community problem solving.
Like. Share. Comment. Subscribe. Embed. Upload. Check in. The commands of the modern online world relentlessly prompt participation and encourage collaboration, connecting people in ways not possible even five years ago. This connectedness no doubt influences college writing courses in both form and content, creating possibilities for investigating new forms of writing and student participation. In this innovative volume, Sarah J. Arroyo argues for a “participatory composition,” inspired by the culture of online video sharing and framed by theorist Gregory Ulmer’s concept of electracy. Electracy, according to Ulmer, “is to digital media what literacy is to alphabetic writing.” Although electracy can be compared to digital literacy, it is not something shut on and off with the power buttons on computers or mobile devices. Rather, electracy encompasses the cultural, institutional, pedagogical, and ideological implications inherent in the transition from a culture of print literacy to a culture saturated with electronic media, regardless of the presence of actual machines. Arroyo explores the apparatus of electracy in many of its manifestations while focusing on the participatory practices found in online video culture, particularly on YouTube. Chapters are devoted to questions of subjectivity, definition, authorship, and pedagogy. Utilizing theory and incorporating practical examples from YouTube, classrooms, and other social sites, Arroyo presents accessible and practical approaches for writing instruction. Additionally, she outlines the concept of participatory composition by highlighting how it manifests in online video culture, offers student examples of engagement with the concept, and advocates participatory approaches throughout the book. Arroyo presents accessible and practical possibilities for teaching and learning that will benefit scholars of rhetoric and composition, media studies, and anyone interested in the cultural and instructional implications of the digital age.
The essays in New Media/New Methods: The Academic Turn from Literacy to Electracy pose an invention-based approach to new media studies. They represent a specific school of theory that has emerged from the work of graduates of the University of Florida. Working from the concept of electracy, as opposed to literacy, contributors pose various heuristics for new media rhetoric and theory.
In THE INTERNET AS A GAME, Jill Anne Morris proposes that by defining internet arguments as games, we can analyze ad hominem and ad baculum arguments coming from online mobs and trolls using procedural rhetoric. Building upon and extending Ian Bogost's definition of procedural rhetoric and Jesper Juul's definition of games, Morris extends the usage of the term into human systems and groups that have proceduralized their arguments online. By studying the development of online adhocracies such as 4Chan, Anonymous, and even Reddit during their early development (roughly 2006 to 2014), Morris shows how these groups have proceduralized rhetoric so that thousands of group members can ìspeakî with a single voice and singular name that they call "anonymous." Morris examines these techniques to reveal their function and purpose as rhetoric. Understanding how internet arguments work can also positively affect pedagogy, especially now as social media and memes have been used to influence national elections, our views of the news, and our views of each other. Can we continue to teach only traditional rhetoric in classrooms when students will face arhetorical tropes and logic in their personal and professional lives? THE INTERNET AS A GAME shows why the stakes are high and the answer to this question is "no."
lay/Write: Digital Rhetoric, Writing, Games is an edited collection of essays that examines the relationship between games and writing – examining how writing functions both within games and the networks of activity that surround games and gameplay. The collection is organized based on the primary location and function of the game-writing relationship, examining writing about games (games as objects of critique and sites of rhetorical action), ancillary and instructional writing that takes place around games, the writing that takes place within the game, using games as persuasive forms of communication (writing through games), and writing that goes into the production of games. While not every chapter focuses exclusively on pedagogy, the collection includes many selections that consider the possibilities of using computer games in writing instruction. However, it also provides a bridge between academic views of games as contexts for writing and industry approaches to the writing process in game design, as well as an examination of a variety of game-related genres that could be used in composition courses.
How do supporters of the environmental movement manipulate and promote images of "nature" to achieve support and sympathy? From the Sierra Club's use of Ansel Adams's stark and pristine portraits of the western United States to close-ups of plastic bottles and dead fish floating in Rust Belt waterways, visual depictions of landscapes and the degradation caused by humans have profoundly shaped popular notions of environmentalism and the environment. Despite the rhetorical power of images connected with the environmental movement over the past forty years, scholarship in environmental communication has focused almost exclusively on verbal rather than visual rhetoric. Ecosee offers a deeper and fuller understanding of the communicative strategies and power of the environmental movement by looking closely at the visual rhetorics involved in photographs, paintings, television and filmic images, video games, and other forms of image-based media.
A proposal that electracy—the special skills needed to navigate and understand our digital world—can be developed through play. In today's complex digital world, we must understand new media expressions and digital experiences not simply as more technologically advanced forms of “writing” that can be understood and analyzed as “texts” but as artifacts in their own right that require a unique skill set. Just as agents seeking to express themselves in alphabetic writing need to be literate, “egents” who seek to express themselves in digital media need to be—to use a term coined by cybertheorist Gregory Ulmer—electrate. In Inter/vention, Jan Holmevik helps to invent electracy. He does so by tracing its path across the digital and rhetorical landscape—informatics, hacker heuretics, ethics, pedagogy, virtual space, and monumentality—and by introducing play as a new genre of electracy. Play, he argues, is the electrate ludic transversal. Holmevik contributes to the repertoire of electrate practices in order to understand and demonstrate how play invents electracy. Holmevik's argument straddles two divergences: in rhetoric, between how we study rhetoric as play and how we play rhetorically; and in game studies, between ludology and narratology. Games studies has forged ludology practice by distinguishing it from literate practice (and often allying itself with the scientific tradition). Holmevik is able to link ludology and rhetoric through electracy. Play can and does facilitate invention: play invented the field of ludology. Holmevik proposes a new heuretic in which play acts as a conductor for the invention of electracy. Play is a meta behavior that touches on every aspect of Ulmer's concept of electracy.
A motto guiding Gregory L. Ulmer's career is from the poet Basho: not to follow in the footsteps of the masters, but to seek what they sought. The responsibility of humanities disciplines today is to do for the digital apparatus (social machine) what the classical Greeks did for alphabetic writing. Ulmer frames online learning as a mode of invention (heuretics), beginning with the invention of konsult itself. Konsult: Theopraxesis describes the invention of a genre of learning that is to digital media what Plato's dialogue was to alphabetic writing. The Greeks invented the practices of writing (rhetoric and logic) native to the new institution of school (the Academy), fostering a new behavior of selfhood (Socrates). Ulmer adopts this historical precedent as a relay, an inventory for what must be invented again today: a genre of learning, an educational institution, identity behavior. The insight of electracy is that each apparatus augments and institutionalizes one of the primary faculties of human intelligence: theoria in literacy; praxis in orality; poiesis in electracy. Needed today are not practices of writing, but "theopraxesis" of media. The analytical information economy of literacy required separation and isolation (siloing) of institutionalized intelligence. The multimodality of electracy enables syncretism of faculties into holistic performance: thinking-doing-making; knowledge-purpose-affect. The interface metaphor of Plato's dialogue was an oral conversation during which the illiterate interlocutor is introduced to dialectical reason as Idea. The interface metaphor of konsult is scientific consulting during which anelectrate students encounter plasmatic desire as simulacrum. This new learning is organized around an updating of Justice native to electracy.
The Routledge Companion to Experimental Literature maps this expansive and multifaceted field, with essays on: the history of literary experiment from the beginning of the twentieth century to the present the impact of new media on literature, including multimodal literature, digital fiction and code poetry the development of experimental genres from graphic narratives and found poetry through to gaming and interactive fiction experimental movements from Futurism and Surrealism to Postmodernism, Avant-Pop and Flarf. Shedding new light on often critically neglected terrain, the contributors introduce this vibrant area, define its current state, and offer exciting new perspectives on its future.