- The Quitting Tale That Suckered the Whole Internet – hoax fyc newmedia – (none)
- girl quits job on dry erase board exposes farmville boss called her hopa theCHIVE – New media, used dangerously. – (newmedia fyc erhetoric rhetoric )
- Brian Lamb calls for open access to academic knowledge – Comments on Brian Lamb's comments on OER at London conference. It's criminal, not to share. – (OER education openeducation wikihandbook )
- Ben Davis on social media art – artnet Magazine – "Is there any more interesting way to think about the topic than the loose and impressionistic manner that it is currently framed?" Of course there is. And the doscussion is just getting started. – (semiotics social_art socialmedia newmedia rhetoric )
- IPCC Rainforest eco-tastrophe claim confirmed as bunk • The Register – – (Rhetoric Fyc Scaremongering )
- Shirky: Broadcast Institutions, Community Values – "The order of things in broadcast is "filter, then publish." The order in communities is "publish, then filter." If you go to a dinner party, you don't submit your potential comments to the hosts, so that they can tell you which ones are good enough to air before the group, but this is how broadcast works every day. Writers submit their stories in advance, to be edited or rejected before the public ever sees them. Participants in a community, by contrast, say what they have to say, and the good is sorted from the mediocre after the fact." – (publishing2.0 socialpractices editing filters freelancing )
- Tales of a MD/PhD student: What’s the Deal with Neuromarketing? – A brief critique of neuromarketing with links to others. In brief, marketers may be making claims about the funtioning of the brain with no evidence. The bicameral brain, part 2. – (neuromarketing rhetoric )
- How Online Retailers Read Your Mind – Gadgetwise Blog – NYTimes.com – Color and design don't persuade but make the mind receptive to an aspect of a message. – (rhetoric fyc visualrhetoric visualliteracy erhetoric neuromarketing )
- Restaurants Use Menu Psychology to Entice Diners – NYTimes.com – Light reading for FYC. Assignment: List five ways you could revise the menu to make even more profit – without alienating diners. Extra points for emerging with your ethos intact. – (rhetoric socialpractices fyc )
- if:book: when we get what we want – End of year, communal reading of FW, social media. – (reading socialmedia en3177 books FW )
- A Speculative Post on the Idea of Algorithmic Authority « Clay Shirky – A consideration on a spectrum of authority from "good enough" to "cite it in the diss." – (authority wikipedia rhetoric )
- 500 Internal Server Error – 500 Internal Server Error – (none)
- Lifehacker – Microsoft’s Browser Comparison Chart Offends Anyone Who’s Ever Used Another Browser – Internet Explorer 8 – – (rhetoric )
- The Intermittent Kevin – Find My iPhone works, and it is awesome. – Story of how a Lego-Geek lost and then found his iPhone in Chicago. A good story well told. – (socialpractices iPhone )
Kathleen Black Yancey in her recent NCTE report Writing in the 21st Century (pdf) touched a chord for mobile teaching of writing.
Yancey sketches a 19th and 20th century history of writing in America, and mentions the changing spaces of composing, from pen and ink, to pencil, to ballpoint, to typewriter, to stand-alone PC, to networked PC/camera.
Here, she centers on a few observations that take me into mobile learning and mobile learning software.
- Our current model(s) of composing are located largely in print, and it’s a model that culminates in publication. When composers blog as a form of invention or prewriting, rather than as a form of publication (which I did in composing this text: see email@example.com ), what does that do to our print-based model(s) of composing that universally culminate in publication?
- How do we define a composing practice that is interlaced and interwoven with email, text-messaging, and web-browsing? As Mark Poster observes, composing at the screen today isn’t composing alone: it’s composing in the company of others. How does that change our model(s) of composing?
- How does access to the vast amount and kinds of resources on the web alter our model(s)?
Composing is ubiquitous, Yancey claims in a statement designed to redefine the teaching of composing from K – 12 on. And so sites of composing are open for teaching and learning on the fly. But on the fly doesn’t mean without pedagogy. It means that because we can’t control the environment for composing or teaching composing, we need a strong, well-grounded pedagogy
I’m all for saying goodbye to the print-based aims and means of composing, but people are still heavily invested in it. It’s safe, known, bounded, academic. I watch students draft and edit in Word then paste a finished version into the wiki for presentation. They love that grammar checker, spelling checker, and word count; they love that double spacing; they love that paper. They love it because they have developed writing practices suited to paper from working with paper – like interlinear editing – and have yet to become deft at online and networked versions of those practices.
Anyway, a few points for mobile teaching and learning, starting from Yancey:
- Where in a composing process based on paper (the model students bring with them) would a second or third person enter – and how? By IM, txt, email, comment? a look over the shoulder? Where in the process is the trial balloon of posting ideas and chunks to a blog or wiki for feedback from others? What does the text look like at that point? It might be ThreadMode on a wiki, or something less structured, or (yikes) something more structured. (Going to articulated sentences too early in the process make it difficult to rip them down to restructure.)
- What has to be unlearned or challenged as the site of composing changes?
- Look to how txt poetry has been composed for a start, and look to how people compose txts. The other morning, I watched a woman compose and send a 3 line txt msg on her qwerty phone between ordering, paying for, waiting for a coffee. On other mornings, when the coffee line was long, I composed and snapped a pic, annotated it with a note – about waiting in line – and posted it to Brightkite for whoever was looking in. What’s the process engaged there? What’s the exigence?
- Composing goes on between other activites in the same composing space. Even as I compose this blog post, I’m doing some directory maintenance on a server, flipping between composing in ecto and deleting files in Transmit – and still having time on my hands while wait. Not two writing tasks, but two tasks. Walking and chewing gum.
- To teach composing open to mobile learning, we may have to start with writing that stays online, that is not meant for print. Change the ends – the delivery – and the means might have to change.
- Look at the physical, social, and cognitive activities that people engage and draw on when composing in the interlaced social space – composing in the company of others – to develop a model of composing. Start with the environs.
And then consider what a mobile course in 21st century composing might look like.
I found the note that SJU was going to hold a debate in SL underwhelming at first.
This week Stephen Llano, the director of debate at St. John’s University, in New York, announced what is billed as the first tournament debate held in Second Life. It will take place on February 4 at 8 p.m. Eastern Time in the university’s virtual campus (shown below).
But, as The Chronicle points out, the event will test how effective debate modeled on face to face exchange works when mediated by SL:
College debate matches can be physically intense — with participants rattling off arguments at top speed and gesturing dramatically. So it will be interesting to see if a debate contest can work in Second Life, the virtual world.
What they find might inform our ideas about how lectures, student exchanges, and even guide-on-the-side mentoring work in SL.
My sense is that the debaters will adapt their vocal delivery to the 2D cartoon world, and I’d bet they’ll find that the appearance of the avatar is going to be pretty significant to the effectiveness of the argument. It’s not just canned gestures here. Gender, wardrobe, hair, height and weight and body shape are all rhetorical affordances in SL.