Toward MemeMorial


      » Reminder/Update: com­pose optional exer­cise for extra credit
      (choose either prompt 4/5 or optional prompt) — due 12/6
      » Due (S 07-Dec) Project 3 Prep Notes Inven­tory (see list below)

Stage III   Assem­blage Tes­ti­mony
Project: “MemeMo­r­ial” → part 1: witness/testimonial (assem­blage)
M 01-Dec   Read/discuss: E.M. Chp. 7. “Jus­tice Miranda (A Conceit)”

      Activity/Discuss: toward tes­ti­mo­nial — project focus & method

W 19-Nov   Read/discuss: E.M. Chp. 8 “Soft Wish­ing Y (A Col­lab­o­ra­tion)” & Con­clu­sion “The Web of Changes”

» Blog Entry [optional if already com­posed 10]

    — tes­ti­mo­nial assem­blage process (dis­cuss, toward project); or dis­cuss Papa­gian­nis/Gure­vitch optional article

    net­work wit­ness final update (sug­gested: disaster/event; chor­ag­ra­phy, “sam­pling” [from] pop­cy­cle databases)

F 05-Dec   Read/Discuss: Carter & Arroyo (2011), “Par­tic­i­pa­tory Ped­a­gogy and YouTubeU in 2020” (PDF in D2L)
+ Dig­i­tal media relays (stu­dent examples)

        optional read­ing (relays toward Periph­eral ideas): Papa­gian­nis: “Work­ing towards Defin­ing an Aes­thet­ics of Aug­mented Real­ity” or Gure­vitch: “Google Warm­ing: Google Earth as Eco-Machinima” Con­ver­gence 2014 (PDFs avail­able in D2L)

» Due (S 07-Dec) Project Notes Inven­tory (see list below)

    → prepa­ra­tion for Stu­dio work­shops final week, led by groups

» Update! new dead­line: pro­pose by 12-Dec to present at PWR Diver­sity Con­fer­ence
— Group Emer­A­gency Net-Work (project 2) would make for great presentation/panel (indi­vid­u­ally or as group)!
“Pro­pos­als can be from any dis­ci­pline and in any genre – nar­ra­tive, analy­sis, mul­ti­me­dia, etc.
*Pref­er­ence will be given to pro­pos­als that involve dig­i­tal tech­nol­ogy* 100 word abstracts




» Inven­tory of Notes for Project 3 Preparation

    Due: Sun 07-Dec
    (before/concurrent with group dis­cus­sion for work­shops)
    » Sug­gest: cre­at­e new pages (4 sub­pages) for project 3 inven­tory.
    *Note: as this counts for dou­ble blog credit; be sure to post brief notes for each item (review closely)

I. Method

  • Elec­tronic Mon­u­ments: notes on 8 chap­ters (1 through Con­clu­sion; chp 8 optional)

      two notes per chap­ter (min­i­mum):
      1. key point (instruc­tions, descrip­tion) about MEMo­r­ial or EmerAngecy
      2. new concept/term or exam­ple — which helps/guides method (“decon­sult­ing,” chor­ag­ra­phy, network/online think­ing com­pos­ing in elec­tracy, etc.)
    one note, “instruc­tion” toward MemeMorial:

  • Carter & Arroyo: “Tub­ing the Future: Par­tic­i­pa­tory Ped­a­gogy and YouTubeU in 2020”
  • Bonus (optional): Saper, “The Felt of Mem­ory on YouTube

II. Wit­ness (page)

  1. Spe­cific event (dis­as­ter, news story, etc.) — iden­tify “punc­tum” or “call” (per­sonal resonance?)

  2. Pat­tern (or motif) noticed in your archive of net­work wit­ness (page/entries) and “col­lage engine” (material/cultural sig­nifers) com­piled thus far


III. Net­work (page)

  1. Mediated/Internet social prac­tice observed (net­work ecol­ogy)
    — inter­face link­ing personal/private + collective/public? (note / briefly spec­u­late)

  2. Con­tem­po­rary cul­tural form as relay toward mememo­r­ial (one example)
      — note “sociopo­et­ics” for this form, the way Arroyo & Saper dis­cuss YouTube


  3. One (min­i­mum) idea pro­posed for mememo­r­ial
    — “native” or suited to elec­tracy, “Inter­net pub­lic sphere,” dromosphere/memesphere, attention/image econ­omy — dis­tinct from mon­u­ment (of oral­ity or lit­er­acy), updat­ing com­memo­ri­a­tion for par­tic­i­pa­tory culture.

    • Consider/review all we’ve stud­ied this term plus your observations/experiences…
      (note, this is a task for group dis­cus­sion; sug­gest post­ing to group blog before stu­dio for quick-reference and peer feedback/brainstorming)

IV. Pop­cy­cle (page)

    — for guide see Pap­pen­heimer exam­ples E.M. pp.224–5

» Mate­ri­als (spe­cific details, sig­ni­fiers) from “per­sonal data­bases”:
• Auto­bi­og­ra­phy (Family/Orality):

    Detail (con­crete, mate­r­ial) from child­hood mem­ory –or– loca­tion asso­ci­ated
    (—review Exer­cise 5 prompt/pages; con­sider an object/detail unique to auto­bio. or fam­ily life “pre-” or out­side dis­ci­pline, like Pappenheimer’s cello & tun­ing fork…)
    » what is the “mood of thought” (attune­ment, dis­po­si­tion, sen­si­bil­ity) of this per­sonal database?


• Dis­ci­pline — School/major and/or Career Field (Literacy):

    “style of thought” (or dis­po­si­tion) char­ac­ter­ized by or respec­tive to this dis­ci­pline? (think in terms of method, dis­course, world­view, etc.)
    Optional: how would your dis­ci­pline “explain” your project topic/problem?
    (for exam­ple, the “investigator”/detective model in chap­ter 7)


• Com­mu­nity (includ­ing “church,” “street,” social net­works online):

    Story, event, pub­lic dis­course about problem/topic (briefly note; need not sum­ma­rize).
    — val­ues, beliefs, ideals (whether explicit or implied)?


• Media (Entertainment/PopCulture + Digital/Networked):

    Cul­tural depic­tion of pub­lic prob­lem? (see Ulmer’s exam­ples of “wreck­work”)
    — note, can ref­er­ence your “col­lage engine” archive in-progress
    — include media instance (image, video clip, gif, etc)
    → iden­tify promi­nent sen­sory detail(s); what is expressed? (sen­sa­tion, affect, per­spec­tive, sub­jec­tive con­di­tion)
    Bonus: Cul­tural form related to (depicting/referencing?) issue in net­work ecol­ogy? (online/Web)
    include exam­ple if possible


    *Obser­va­tion (self-reflexive): pat­tern and/or “attune­ment” (your mood of thought) noticed, review­ing the items you’ve listed from your popcycle?


About GHink

-- Gary Hink, Ph.D. Digital Composition Faculty Program for Writing & Rhetoric
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  1. Ch.7 Notes:

    Infer­ence does not com­mu­ni­cate mes­sages, it ori­ents me in a cer­tain direc­tion by means of evocation.”

    There is no cen­tral proces­sor, no fixed set of rules but a dis­trib­uted mem­ory, a mem­ory trig­gered by a cue that spreads through the ency­clo­pe­dia, the library, the database…”

    A chora gath­ers infor­ma­tion at the level of images by the means of the rep­e­ti­tion of signifiers.The accu­mu­la­tion of sig­ni­fiers expresses a mood.”

    Is the Miranda deci­sion well named.”

  2. –Image Logic: Reasoneon

    Adver­tis­ing Emblems
    -“I attempt to fill the infer­en­tial gap cre­ated by the ad between ‘com­put­ing’ and ‘the third degree’ test­ing the premise that adver­tis­ing is one of the prac­tices most com­mit­ted to invent­ing the dis­course of elec­tracy“
    –Every­time we look at an ad we have infer­en­tial logic
    -“The task is to fill the gaps, con­struct­ing the two series evoked by jux­ta­posed seman­tic fields. The assign­ment is to find the point of con­duc­tion (elec­trate infer­ence) where the two series cross.” (183)
    -“The inter­fer­ence is a work of images rather than con­cepts, of asso­ci­ated sig­ni­fiers rather than argu­ments.” (183)
    –We design with “remem­ber­ing,“
    -“Oro­duce the sub­ject expe­ri­ence elec­tracy that has been called ter­mi­nal iden­tity, both the end of self­hood as iden­tity and a new cyborg expe­ri­ence of the spec­ta­cle in which the bor­der between me and tech­nol­ogy begins to blur.” (183)

    Social machine
    –For a net­work to be intel­li­gent it must be able to gen­er­al­ize
    -“The point is not to adapt con­cepts to elec­tracy but to dis­cover the cat­e­gories native to the new appa­ra­tus.” (188)
    -“The path between the per­sonal and polit­i­cal, between the pri­vate and the col­lec­tive passes through the dis­courses of the pop­cy­cle. We are build­ing this path as we go (mys­tory).” (189)
    –Col­lec­tive val­ues are part of think­ing, even if it is subconscious

  3. We need to have mean­ing­ful rea­son­ing on our page in order to adver­tise our emblem for our topic. We don’t lack the issue that there is a sig­nif­i­cant prob­lem but we lack the engage­ment from our audi­ence and the pub­lic that makes them want to par­tic­i­pate. We need a pat­tern of com­pil­ing for our issue and con­nect it to pop cul­ture, the news, the facts, enter­tain­ment, etc. There should be a vari­ety of ideas from each sphere that is per­son­ally engag­ing to our­selves. There are two sides to our project, the mood, atmos­phere, and spirit behind the topic and then the actual phys­i­cal pic­tures, videos, and news arti­cles. We need to make vis­i­ble this prob­lem as a sac­ri­fice. We don’t want our prob­lem to be abstract, it needs to be spe­cific that shows how you as an indi­vid­ual is per­son­ally engaged.

    • Great recap of key instruc­tions from today’s class, Mikki!
      (re: using our “net­work wit­ness archive” as mate­ri­als for chor­ag­ra­phy, com­pos­ing the tes­ti­mo­nial with pat­tern + “mood of thought” across var­i­ous ready­made signifiers/emblems that call out to us…)

  4. Ch 8 “Soft Wish­ing Y (A Collaboration)”

    p211 “A relay rather than a model, these doc­u­ments form a par­tial map of a machinic assemblage…demonstrates how to use the impresa ver­sion of the emblem con­cetto: con­sult­ing by adopt­ing a pub­lic prob­lem as a guide for per­sonal action”

    p214 “Our hybrid… cul­tural archive, and the mys­tory prac­tice as the chance pro­ce­dure used to con­nect the per­sonal sit­u­a­tion with col­lec­tive wis­dom. Here was an answer to the ques­tion of exactly how to use the impresa prin­ci­ple of the emblem as a solu­tion to the prob­lem of the civic sphere. The disaster…reciprocates by serv­ing as oracle”

    p215 “Div­ina­tion offers a relay for com­pos­ing cog­ni­tive maps con­nect­ing indi­vid­ual exis­ten­tial prob­lems with col­lec­tive infor­ma­tion resources”

    p230 “Pun­cepts do not replace con­cepts but trace alter­na­tive paths through lan­guage and across lan­guages (mac­a­ronic puns)”

    Vocabulary/concepts: choramancy(critical div­ina­tion), mys­tory, ATH (fool­ish­ness), con­duc­tion, elec­tracy: periph­eral and tes­ti­mo­nial, pun­cept, “wish”, “oracle”

  5. Soft Wish­ing Y:

    Div­ina­tion as an inter­face for con­sult­ing makes mys­tory intu­itively intel­li­gi­ble. A per­son with an intractable prob­lem con­sults with a diviner, who uses a chance pro­ce­dure to con­nect the per­sonal prob­lem with the col­lec­tive cul­tural archive, which is also what mys­tory does (via the pop­cy­cle map­ping).” (213)

    –tun­ing fork to the Y-tour: adap­ta­tion of tun­ing fork idea from the auto­bi­og­ra­phy to the career as an artist who could have been the vic­tim in 9/11.

    Pap­pen­heimer pop-cycle (224)

    drift vs. rit­ual procession

    In dev­ina­tion, attune­ment between the indi­vid­ual and the col­lec­tive is achieved by pos­ing a per­sonal ques­tion to the ora­cle. In either case, the effect of “sit­u­a­tion” is the expe­ri­ence of respon­si­bil­ity that makes the events in the world per­son­ally rel­e­vant”. (215)

    Pun­cept” — Why Y? (230) — a cat­e­gory gath­er­ing and relat­ing a seman­tic field based on sim­i­lar­ity of sig­ni­fier rather than of sig­ni­fied. Pun­cepts do not replace con­cepts but trace alter­na­tive paths through lan­guage across languages.

    - Done in order to find the answer to the “burn­ing ques­tion”
    – “Will’s burn­ing ques­tion: ‘what is the sit­u­a­tion of my art­work?’” (237)

    Some detail of the pub­lic dis­as­ter out­side is rec­og­nized (appor­pri­ated) as a fig­ure for the egents’ inner expe­ri­ence (the dis­as­ter in me). The pom-pom Y Pap­pen­heimer traced on the streets near Ground Zero is a periph­eral (it adds com­mem­o­ra­tive func­tion­al­ity to the offi­cial memorial).”(217)

    Will senses the anal­ogy to con­di­tions his own biog­ra­phy and this image/site becomes a back­ground to burn­ing ques­tions in both pri­vate and civic spheres” (237)

  6. Ulmer begins chap­ter eight by dis­cussing the impor­tance of the issue’s impreza which is not only an emblem but a motto for the issue as well. This sym­bol­ogy allows oth­ers clues as to the mean­ing of the issue but also how to com­pose it for themselves.

    In the “Chora­mancy” sec­tion it appears Ulmer is say­ing that div­ina­tion as tool for cog­ni­tive can be amaz­ingly use­ful because it draws on pre­vi­ously exist­ing “cul­tural archive”

    Again, In the Theo­ria sec­tion Ulmer con­tin­ues to say that the research ensem­ble is key for an indi­vid­ual or a group mem­ber to come into aware­ness of a given issue.

    In dis­cussing the for­ma­tion and use of “mys­tory” Ulmer asserts that per­sonal asso­ci­a­tion is key com­mem­o­rat­ing the issue, cre­at­ing a relat­able tes­ti­mo­nial, and mak­ing larger con­nec­tions between the issue and aspects of society.

  7. Soft wish­ing Y is a relay rather than a model these documents…”(211)

    A relay rather than a model these doc­u­ments form a par­tial map of machinic assem­blage. “(211)
    “This project demon­strates how to use the impresa ver­sion of the emblem con­cetto con­sult­ing by adopt­ing a pub­lic prob­lem as a guide for per­sonal action.” (211)

    Wishbone/Y from your wish­ing why project might be the per­fect sym­bol
    This is idea is. “ Large enough to be seen from the sky for a few moments of pos­si­bil­ity.” (211)

    The Y sym­bol “ The sym­bol would then bring into play all of the the­o­ret­i­cal and con­cep­tual issues that your project of the Wish­ing Why implies in rela­tion to this event (not to men­tion the issues of “Mon­u­men­tal­ity”) it would be impor­tant to pro­vide a key per­haps a web site that would develop the sur­round­ing the­o­ret­i­cal issues.”(213)

    Div­ina­tion as an inter­face for con­sult­ing makes mys­tory intu­itively intel­li­gi­ble.
    A per­son with an intractable prob­lem con­sults a din­viner who uses a chance pro­ce­dure with an intractable prob­lem con­sults a diviner, who uses a chance pro­ce­dure to con­nect the per­sonal prob­lem with the col­lec­tive cul­tural archive, which is also what mys­tory does (via the pop­cy­cle map­ping).” (213)

    The dis­as­ter adopted as a per­sonal emblem now rec­i­p­ro­cates by serv­ing as ora­cle. “(213)

    Theo­ria– The pol­icy issue becomes a mon­tages of inter­ac­tions is trans­formed from indif­fer­ent cir­cum­stances into as sit­u­a­tion by pos­ing to it per­sonal prob­lem for­mu­lated as a burn­ing ques­tion. (214)

    The remain parts of the pop­cy­cle are doc­u­mented as fol­lows: enter­tain­ment = some aspect of pop­u­lar cul­ture includ­ing tourism; com­mu­nity =details of the pol­icy dis­as­ter; career=FRE the­ory (chor­ag­ra­phy) The FRE act­ing as diviner selects the range of the answer and the quer­ent (the mem­ber pos­ing the ques­tion) makes the final deci­sion on the answer and the quer­ent (the mem­ber pos­ing the ques­tion)
    Makes the final deci­sion on the answer based on an emo­tional expe­ri­ence of recog­ni­tion” (214)

    Egents are self-appointed inven­tional con­sul­tants who sup­ple­ment con­ven­tional util­i­tar­ian con­sul­tan­cies by apply­ing arts and let­ters imag­ing method­olo­gies to pub­lic pol­icy issues. (215)

    ATH means “fool­ish­ness” when applied to indi­vid­ual actions and “calamity” when applied to col­lec­tive actions. (215)
    Post­struc­tual … a mid­dle real­ity and ignore the macro and micro­cos­mic dimen­sions of dis­as­ter” (215)
    “Con­sult­ing” thus refers not only to applied expert knowl­edge but also div­ina­tion prac­tices. Div­ina­tion offers a relay for com­pos­ing cog­ni­tive maps col­lec­tive infor­ma­tion resources.
    The switch or pivot between the­ory and wis­dom is the expe­ri­ence and notion of “sit­u­a­tion” (215)
    Cyber­pid­gin– “code of oral wis­dom capa­ble of sup­port­ing cross cul­tural under­stand­ing and com­mu­ni­ca­tion (216)

    THi wish­bone images a vir­tual dia­logue with the scene of two wish mak­ers each one hold­ing an end of a “wish­bone” evok­ing a many to many col­lab­o­ra­tion in global hope and desire.” (216)

    Con­duc­tion “fourth mode of infer­ence con­duc­tion (after abduc­tion deduc­tion induc­tion the rea­son­ing spe­cific to image. – Moves from the given to the unknown along an asso­cia­tive chains of shapes” (216)

    The appa­ra­tus that is to dig­i­tal media what lit­er­acy is to print and alpha­betic writ­ing). (217)
    Inter­est as a liv­ing or inhab­it­able monument.”(217)
    To form a quin­tes­tate … whose pur­pose is to tes­tify and pro­vide wit­nesses for pub­lic pol­icy deci­sions. (217)

    Perpheral-“…as sac­ri­fices on behalf of abject value…” (217)

    Tes­ti­mo­nial “Some detail of the pub­lic dis­as­ter out­side is rec­og­nized (appro­pri­ated) as a fig­ure for the egents inner expe­ri­ence (the dis­as­ter in me) (217)
    “ We will project an image of our­selves onto a field of study and rec­og­nize our reflec­tion in it”(219)
    “ Com­pas­sion fatigue is elim­i­nated since Will’s own des­tiny is inscribed within the details of the dis­as­ter (dis­as­ter mat­ters) (221)
    222–223– pom pom talk
    The pap­pen­heimer Pop­cy­cle – Fam­ily, Com­mu­nity (School), Career Dis­course, Enter­tain­ment
    Pap­pen­heimer– Fam­ily becom­ing– (225)

    If prob­lems are depen­dent on cat­e­gory for­ma­tion
    Ten the decon­sul­tancy goes out­side the prob­lems to frame of cat­e­go­riza­tion itself. (227)

    The rep­e­ti­tion of the tun­ing fork shape in the wish­ing Y medi­a­tion was revealed by the mys­tory as a con­fir­ma­tion of Will’s deci­sion to use the div­ina­tion rit­ual. — (227)

    229 – impor­tant para­graph ref­er­enc­ing detail in the emblem

    Why Y?
    “ In the con­di­tions of prob­lem it is pos­si­ble to move from apo­ria (dilemma) through the dialec­ti­cial stages of dia­po­ria and eupo­ria to untan­gle the knot in which the ten­sion cre­ated by a ques­tion (why) is released and resolved” (230)
    Some con­di­tions exceed to frame of “prob­lem” (230)

    This page is impor­tant to rec­og­nize because the artist uses oth­ers to con­sult and gain new per­spec­tives. “ I could add the ele­ment of time and fate” – Sal Ran­dolph (235)

    “…. But notices of an abject sac­ri­fice on behalf of an unrec­og­nized or unap­pre­ci­ated value whose impor­tance to Amer­i­can iden­tity is made acces­si­ble through its association/ jux­ta­po­si­tion with the pub­lic com­mem­o­ra­tion” (243)

    Soft Y is adopted as an impersa asso­ci­ated with the under­tak­ing a con­sul­ta­tion on an abject value. “ (243)

    The Memo­r­ial remem­bers that our val­ues are con­flicted, struc­tured by inescapable con­tra­dic­tions. “ (245)

    We are not revulsed, mak­ing a shout but map­ping a value.” (246)

    Noth­ing is hid­den. The phys­i­cal smell evokes a spir­i­tual smell.”(247)

    Here is the col­lu­sion between clar­ity and obscu­rity that we must learn to nego­ti­ate.” (247)

    This prob­lem of the screen replac­ing win­dow returns to us to the edu­ca­tional chal­lenge to replace the per­spec­tive win­dow of the tourist-guide essay form of lit­er­acy with the Memo­r­ial sim­u­lacrum of ele­tracy.” (248)

    A short­hand way to under­stand rea­so­neon… the rela­tion­ship between the clas­si­cal and baroque world­views (aes­thet­ics.) (248)

    As this descrip­tion of Lyotards fig­ural indi­cates, MEmo­r­ial does not oppose or aban­don the clar­ity of the idea, but it “blocks” (over­prints) the obscu­rity of the scene (event) (248)

  8. Ch. 8 Notes:
    – vari­ety of details
    –crit­i­cal think­ing plus the arts to com­pose our assem­blage
    – the emblem will guide us to what the tes­ti­mo­nial is refer­ring to
    – per­sonal engage­ment with the tes­ti­mony
    –pat­tern think­ing
    –emblem serves as an ora­cle
    –con­nec­tion of emo­tions that relates to per­son­ally and to the issue you are address­ing
    –Why do we tol­er­ate cer­tain prob­lems at the col­lec­tive level? What is my role within this prob­lem? Why do we con­tinue to let this hap­pen? What alter­na­tives are there?

  9. In order to fully cap­ture the event of a dis­as­ter for our project, com­plex­ity to match the com­plex­ity of real­ity should be used. Being clear for the audi­ence is insignif­i­cant, your pat­tern and paths of the ora­cle should lead to the mood that the audi­ence feels vs. an expla­na­tion of what they should feel. This mood should be an unex­pected feel­ing com­ing from the periphial and blind spot that acti­vates engage­ment from the audi­ence spark­ing a want to par­tic­i­pate. This dis­as­ter needs to be spe­cific so as to show off the true chora of the emblem. The burn­ing ques­tion posed to the ora­cle is the con­nec­tion to the tun­ing fork along with the div­ina­tion con­nec­tion between the indi­vid­ual and the col­lec­tive. This burn­ing ques­tion doesn’t need an answer within our project, the dis­as­ter we dis­play should answer this ques­tion on its own. The tac­tic of aes­thetic and sen­sory details to rep­re­sent the dis­as­ter vs. writ­ing about it dra­ma­tizes blind­ness and cre­ates a feel­ing for col­lec­tive safety. This is how we should com­pose our project in order to let the dis­as­ter com­pil­ing talk for itself.

  10. Arti­cle looks at the video shar­ing poten­tial of today and makes pre­dic­tions about how video shar­ing with effect cul­ture and soci­ety in the year 2020.

    Ped­a­gogy: the method and prac­tice of teach­ing, espe­cially as an aca­d­e­mic sub­ject or the­o­ret­i­cal con­cept. Learn­ing through an infor­mal set­ting, learn­ing by experience.

    Par­tic­i­pa­tion Ped­a­gogy: focus­ing on prop­a­ga­tion of inter­net memes and the inven­tion pos­si­bil­i­ties found in the every­day prac­tices of video cul­ture. This cre­ates a his­tor­i­cal archive, repos­i­tory (a place where things are stored) of cul­tural pat­terns, and demands pub­lic participation.

    The arti­cle is talk­ing about YouTube

    tub­ing” as a term for video shar­ing, remix­ing ele­ments of the net­work and uploaded in vary­ing forms.

    aca­d­e­mic turn from lit­er­acy to elec­tracy (pg 1)

    learn­ers [who] are­ac­tively attempt­ing to cre­ate mean­ing,” (pg 2)

    A par­tic­i­pa­tory ped­a­gogy is one that does not fully define all cur­ric­u­lar needs in advance of inter­act­ing with learn­ers. Learn­ers are able to con­tribute to exist­ing cur­ric­ula. The orga­ni­za­tional work of fac­ulty mem­bers does not com­prise the entirety of the course con­tent and does not con­sist of the sole per­spec­tive used to fil­ter con­tent. Mul­ti­ple per­spec­tives, opin­ions, and active cre­ation on the part of learn­ers all con­tribute to the final con­tent of the learner expe­ri­ence (p. 12).
    – Goes back to writ­ing “with” an issue not “about” it
    Cri­tique → Learn­ing Pat­terns are too loose – learn­ing process can­not be cap­tured coherently.

    1. Proairetic inven­tion: Cre­at­ing the con­di­tions for tub­ing
    – ““In order to oper­ate effec­tively as a par­tic­i­pant in the YouTube com­mu­nity, it is not pos­si­ble sim­ply to import learned con­ven­tions for cre­ative prac­tice, and the cul­tural com­pe­ten­cies required to enact them, from else­where” (p. 69).
    – Elec­tracy does not just encom­pass a set of skills. Rather, it is part of a larger shift in what Ulmer called “the appa­ra­tus”: a social machine that pro­duces iden­ti­ties, com­mu­ni­ties, rela­tion­ships, laws, and con­ven­tions in a given his­tor­i­cal era
    → In other words: elec­tracy and par­tic­i­pa­tory ped­a­gogy are inter­twined. Ulmer pre­dicted that video shar­ing and watch­ing would be a legit­i­mate form of learn­ing in the year 2020
    – Pat­terns, per­spec­tives, per­sis­tence, and performance

    2. From sets to memes: Tubes in motion
    – Opened-endedness of tubes
    – Our future vision of com­pos­ing quite often bor­rows from the past (pg. 4)
    – Broeren argued that users tend to “align them­selves less with some tra­di­tion of nar­ra­tive inte­gra­tion, and more with the tra­di­tion of the music video, the movie trailer, and the tele­vi­sion advertisement—in short, with the mode of attrac­tional dis­play” (pg. 4)
    → Inter­rupted rou­tine of view­ers, catch­ing atten­tion, dis­rupt­ing repet­i­tive thought.
    – Com­ments as a cru­cial part of Youtube par­tic­i­pa­tion and social inter­ac­tion.
    – “Memes dif­fer from dia­logue in that the goal is not to come to con­sen­sus or resolve a prob­lem; rather, the goal is to cre­ate more con­tent with which other users will con­nect and invest time in re-purposing, thus par­tic­i­pat­ing in spread­ing ideas and mak­ing them more com­plex.” (pg. 5)

    3. Rally to remix: From the “I” of Isom to the “You” of YouTube
    – The MEMEmo­r­ial exists to be repur­posed and con­tin­u­ously re-assembled, which cre­ates a dynamic and par­tic­i­pa­tory model within which seri­ous issues can be both cri­tiqued and per­formed.
    – Memes raise aware­ness, and elicit mas­sive cul­tural par­tic­i­pa­tion that expands in a mal­leable net­work.
    – “stage two remix or social remix”: a process where one remix inspires inter­ested par­tic­i­pants to invent sim­i­lar remixes (what we did for our group emblems) which con­tain nuanced, dif­fer­ent con­tent and, thus, diver­gent lines of com­mu­ni­ca­tion.
    – Videos used a plat­form to illus­trate cul­tural dif­fer­ences. Spread­able media can influ­ence par­tic­i­pa­tion, but world­wide inter­ac­tion, com­mu­ni­ca­tion, and collaboration.

    4. Re-sets: Par­tic­i­pa­tory ped­a­gogy and a (world) ‘series of tubes’
    – Par­tic­i­pa­tory ped­a­gogy offers a way to cri­tique and per­form simul­ta­ne­ously
    → Nearly instan­ta­neous feed­back and putting on a per­for­mance: con­structed medi­ated iden­tity.
    – Memes func­tion as counter-narratives, simul­ta­ne­ously out­raged by their overtly enter­tain­ing spin on seri­ous sto­ries and cap­tured by a desire to return to a seri­ous­ness tone.
    – A “tran­si­tion from literary/textual object to inter­face” (pg. 8)

  11. Tub­ing the Future Notes

    arti­cle focuses on learn­ing through dig­i­tal and video cul­tures
    “tubing”-participatory prac­tices found in online video cul­ture
    “par­tic­i­pa­tory pedagogy”-focuses on pro­duc­tion in every writ­ing ges­ture
    -“does not fully define all cur­ric­u­lar needs in advance of inter­act­ing with learn­ers” (Siemens)
    1) Proairetic inven­tion: Cre­at­ing the con­di­tions for tub­ing
    “proairetic invention”-open ended approach to new media inven­tion
    –online video cul­ture relies on proairetic inven­tion and elec­torate which are impor­tant to par­tic­i­pa­tory ped­a­go­gies
    –By bring­ing “videocy” back but re-envisioning it through the tech­no­log­i­cal capa­bil­i­ties avail­able for video online, we can again, and per­haps more prac­ti­cally, look to video for its inven­tional and par­tic­i­pa­tory pos­si­bil­i­ties.
    2) From sets to memes: Tubes in motion
    –views and viewer com­ments add ele­ments of par­tic­i­pa­tion and cre­ates “tub­ing” or par­tic­i­pa­tory col­lab­o­ra­tion
    –memes-“To par­tic­i­pate is to act as if your pres­ence mat­ters, as if, when you see some­thing or hear some­thing, your response is part of the event.” (Clay Shirky)
    3) Rally to remix: From the “I” of Isom to the “You” of YouTube
    -“stage two remix or social remix”-process where one remix inspires par­tic­i­pants to invent sim­i­lar remixes, con­tain­ing dif­fer­ent con­tent and thus diver­gent lines of com­mu­ni­ca­tion
    4) Re-sets: Par­tic­i­pa­tory ped­a­gogy and a (world) ‘series of tubes’
    “crowd accel­er­ated innovation”-voluntary, par­tic­i­pa­tory prac­tices are directly caus­ing behav­iors to evolve.
    –works only through allow­ing one­self to open up in sev­eral ways

  12. Tub­ing the Future: Par­tic­i­pa­tory Ped­a­gogy and YouTube U in 2020
    By: Geof­frey V. Carter & Sarah J. Arroyo
    –Tub­ing: term based off prac­tices found on YouTube
    ➢ Explains cur­rent phe­nom­ena helps to explain con­cept of “par­tic­i­pa­tory ped­a­gogy”
    ➢ Prac­tice found in online video cul­ture
    ➢ “explains many of the shifts tak­ing place as acts of writ­ing expand to include par­tic­i­pa­tion in online video shar­ing” (p.1)
    –Carter & Arroyo’s notion of “par­tic­i­pa­tory ped­a­gogy” evolves from Siemen’s (2005) idea
    ➢ “A par­tic­i­pa­tory ped­a­gogy is one that does not fully define all cur­ric­u­lar needs in advance of inter­act­ing with learn­ers. Learn­ers are able to con­tribute to exist­ing cur­ric­ula” (Siemens)

    1)Proairetic inven­tion: Cre­at­ing the con­di­tions for tub­ing
    – Elec­tracy and elec­trate rea­son­ing inter­sect with par­tic­i­pa­tory pede­a­gogy
    ➢ Allows inter­ac­tion with dig­i­tal cul­ture that cant be achieved in print-based lit­er­acy
    – Elec­trate rea­son­ing: cru­cial to the world of online video cul­ture
    – “Video and par­tic­i­pa­tory cul­tures pro­vide new ways of elic­it­ing par­tic­i­pa­tion, remix­ing, and shar­ing these gen­res, not sim­ply at the level of mak­ing video ver­sions of per­sonal MyS­to­ries or MEmo­ri­als, but also by trans­form­ing the genre by tap­ping into the par­tic­i­pa­tory prac­tices we call MEMEmo­ri­als” (P.4)

    2) From sets to memes: Tubes in motion:
    – “Tubes”: rich his­tory cru­cial for under­stand­ing cur­rent con­cep­tions
    – YouTube videos through idea of par­tic­i­pa­tion
    ➢ See­ing the amount of view­ers and com­ments allows one to par­t­i­capte in the video
    •this cre­ates “tub­ing” or par­tic­i­pa­tory col­lab­o­ra­tion
    –Lange’s find­ings
    ➢ She reported that nearly all inter­vie­wees in her study of YouTube “expressed the view that it was desir­able to rec­i­p­ro­cate and com­ment on the com­ments that peo­ple posted to their videos.” (P.4)
    –Video shar­ing sites are cru­cial to the cre­ation of inter­net memes
    ➢ memes cre­ate more con­tent, users con­nect and make them more com­plex
    -“spread­abil­ity”: Term pre­ferred over “memes” by Jenk­ins (p.5)
    ➢ Spread­able media, among other things, “maps the flow of ideas through social net­works,” (p.5)

    3)Rally to remix: From the “I” of Isom to the “You” of YouTube
    –Bed Intruder Meme: one of the most provoca­tive memes
    ➢ approaches some­thing of Ulmers EMemo­r­ial: deals with trau­matic sit­u­a­tion
    -“stage one remix”
    ➢ which involves “indi­vid­u­als using our shared cul­ture as a kind of lan­guage to com­mu­ni­cate some­thing to an audi­ence” (p.7)
    • cre­ates the con­di­tions for proairetic inven­tion and elec­trate rea­son­ing to occur
    -“stage two remix or social remix”
    ➢ “a process whereby one remix inspires inter­ested par­tic­i­pants to invent sim­i­lar remixes” (p.7)
    –Videos: have the poten­tial to expose cul­tural dif­fer­ences, and world­wide events

    4) Re-sets: Par­tic­i­pa­tory ped­a­gogy and a (world) ‘series of tubes’
    -“crowd accel­er­ated inno­va­tion.” (Ander­son 2010)
    ➢“Ander­son sug­gested that vol­un­tary, par­tic­i­pa­tory prac­tices, not unlike what we have described in this arti­cle, are directly caus­ing behav­iors and ideas to evolve.” (p.9)
    • From expand­ing the cur­rent state of the open Web, to open­ing up inven­tive pos­si­bil­i­ties, stu­dents and teach­ers will recre­ate the YouTube U. class­room: a class­room in which inno­va­tion, accel­er­ated by crowds, pro­pels dis­cov­ery and inven­tion by and through par­tic­i­pa­tory ped­a­gogy.” (p.9)

    » Ten­ta­tive Work­shop Groups

    Mon­day (08-Dec)

    Sec­tion 028
    Alex Den­ton
    Jenna Wasser­man
    Tyler Hutton

    Mea­gan John­son
    Say­oni Nyakoon
    Dylan Cromwell

    Sec­tion 034
    Con­nor Don­ahue
    Jeremy Heffner
    Michaela Weber
    Mikki Sachs

    Chelsey Hill
    Colin Weber
    Dave Dziallo
    Iris Ebert
    Luke Paulus

    Wednes­day (10-Dec)

    Sec­tion 028
    Con­nor Drost
    Tama­rah Howard
    Jerome Seitz
    Whit­ney Schauer
    Zach Vargas

    Sec­tion 034
    Garima Bhan­dari
    Han­nah Sachse
    Ken­neth Buch­ler
    Vince Buzzanca

    Juliet Jung
    Rachael Janich
    Shelby Kopf
    Zach Palmer

  14. Arti­cle from D2L Notes:
    –video shar­ing within cul­ture
    –video shar­ing cre­ates a “cul­tural archive“
    –par­tic­i­pa­tion is key
    –video shar­ing is part of cog­ni­tive learn­ing
    -“we learn through doing“
    –story needs to be in motion (method)
    –MEmo­r­ial cre­ates a sense of aware­ness with dif­fer­ent issues
    –cul­tural form plus social prac­tice (social remix) to cre­ate a
    par­tic­i­pa­tory cul­ture
    –inno­va­tion is key
    –learn from other pop­u­lar forms to com­pose project (sam­pling and repur­pos­ing)
    –this invites users to do some­thing with it and to participate

  15. Punc­tum
    –The obtuse or indi­rect sig­nif­i­cance of an image or scene. It is the abil­ity of a news item pr image to pro­voke feel­ing
    –Opens up a per­sonal net­work or asso­ci­a­tions or mem­o­ries
    –The 3rd mean­ing, the indi­rect sig­nif­i­cance of an image or scene
    –Ex) New arti­cle can pro­voke a feel­ing of jus­tice or injustice

    –Rela­tion to its ori­gins and to the var­i­ous ties and spaces it tra­verses through its rep­e­ti­tions
    –orig­i­nal and copy merge to ren­der the lit­er­ate truth
    –cat­e­gor­i­cal images acti­vated in a memo­r­ial – they emerge from rep­e­ti­tion, with­out a ref­er­ence to or ground­ing in an ori­gin
    –unde­cid­able rela­tion to its ori­gin and var­i­ous ties
    –repeats image dif­fer­ently as a func­tion of its own form of expres­sion
    –The sim­u­lacrum often appears…as a means of map­ping the rela­tion between dis­tinct spheres of dis­cur­sive and social prac­tice, each of which ‘repeats’ the image dif­fer­ently
    –There is a blind spot at the very core of clar­ity, whose effects it is the task of the memo­r­ial to doc­u­ment
    –rela­tion with Rea­so­neon
    –related to the trans­ver­sal assem­blage of abstract machines
    Mechanic Assem­blage
    –a set of doc­u­ments that are exam­ples of the kind of story/problem that trig­gers the punc­tum or a dis­avowal (defense) – feel­ing of sig­nif­i­cance
    –MEmo­r­ial is an approach to accom­plish “cog­ni­tive map­ping” which helps a com­mu­nity to grasp their posi­tion within a his­tor­i­cal field
    –cyber­space as being a place where it is a vir­tual real­ity
    –Ex) news­pa­per story about a trans­sex­ual – trig­gers a punc­tum for some peo­ple and a defense for oth­ers
    –the most recent of the appli­ca­tion of dream to prac­tice
    –attempt at tran­scen­dence of the body has led to efforts to pro­duce vir­tual real­ity – an inhab­it­able image, a lucid dream­ing as the inter­face that accesses uni­ver­sal info
    –blurs iden­tity
    –dream to prac­tice – a way to leave the body
    –blurs gen­der roles and ques­tions all bound­aries
    –pro­vides insight into the trans­for­ma­tion of the human expe­ri­ence in electracy

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