Mics, Cameras, Symbolic Action

Bump Halbritter

Description

Mics, Cameras, Symbolic Action: Audio-Visual Rhetoric for Writing Teachers begins by placing audio-visual writing within established theoretical frames in rhetoric and composition and moves through a variety of applied pedagogical concerns with the aim of helping writing teachers use audio-visual writing assignments to realize a wide variety of learning goals in their writing classes.

Informations

• Publié par: Parlor Press, LLC
• Date de parution: 26 novembre 2012
• Nombre de lectures: 0
• EAN13: 9781602353381
• Langue: English
• Poids de l'ouvrage: 3 Mo

Extrait

Mics, Cameras, Symbolic Action’s

have been imagined by many writing teachers at the turn of the twenty-îrst century.

gies, it înds its theoretical foundations by looking back to Kenneth Burke’s concept

Mics, Cameras, Symbolic Action Mics, Cameras, Symbolic Bump H  albritter Action

Halbritter

ARLOR PRESS

Rhetoric for Writing Teachers

Mics, Cameras, Symbolic Action

New Media THeory Serîes Edîtor, Byron Hawk

Te New Medîa Teory serîes învestîgates bot medîa and new medîa as a compex ecoogîca and retorîca context. Te merger o medîa and new medîa creates a goba socîa spere tat îs cangîng te ways we work, pay, wrîte, teac, tînk, and connect. Because tîs new con- text operates troug evovîng arrangements, teorîes o new medîa ave yet to estabîs a retorîca and teoretîca paradîgm tat uy artîcuates tîs emergîng dîgîta îe.

Te serîes încudes books tat combîne socîa, cutura, poîtîca, tex- tua, retorîca, aestetîc, and materîa teorîes în order to understand moments în te îves tat operate în tese emergîng contexts. Suc works typîcay brîng retorîca and crîtîca teorîes to bear on medîa and new medîa în a way tat eaborates a burgeonîng post-dîscîpînary “medîa turn” as one urter deveopment o te retorîca and vîsua turns tat ave aready înuenced scoary work.

Books in tHe Series

Ready to Wear: A Retoric of Wearable Computers and Reality-Sifting Mediaby Isabe Pedersen (2013) Mics, Cameras, Symbolic Action: Audio-Visual Retoric for Writing Teacers, by Bump Habrîtter (2012) Te Available Means of Persuasion: Mapping a Teory and Pedagogy of Multimodal Public Retoric, by Davîd M. Serîdan, Jîm Rîdoo, and Antony J. Mîce (2012) Avatar Emergencyby Gregory L. Umer (2012) New Media/New Metods: Te Academic Turn from Literacy to Elec- tracy, edîted by Je Rîce and Marce O’Gorman (2008) Te Two Virtuals: New Media and Composition, by Aexander Reîd (2007). Honorabe Mentîon, W. Ross Wînterowd/JACAward or Best Book în Composîtîon Teory, 2007.

MICS, CAMERAS, SYMBOLIC ACTION

Audîo-Vîsual RHeorîc for Wrîîng TeacHers

Bump Habrîtter

Paror Press Anderson, Sout Carolina www.parorpress.com

Paror Press LLC, Anderson, Sout Caroîna, USA

 2013 by Paror Press A rîgts reserved. Prînted în te Unîted States o Amerîca

S A N: 2 5 4 - 8 8 7 9

Lîbrary o Congress Cataogîng-în-Pubîcatîon Data

Habrîtter, Scott K.  Mîcs, cameras, symboîc actîon : audîo-vîsua retorîc or wrîtîng teacers / Bump Habrîtter.  p. cm. -- (New medîa teory)  Incudes bîbîograpîca reerences and îndex.  ISBN 978-1-60235-336-7 (pbk. : ak. paper) -- ISBN 978-1-60235-337-4 (ardcover : ak. paper) -- ISBN 978-1-60235-338-1 (adobe ebook) -- ISBN 978-1-60235-341-1 (îbooks) -- ISBN 978-1-60235-339-8 (epub) -- ISBN 978-1-60235-340-4 (mobî) 1. Engîs anguage--Retorîc--Study and teacîng--Data processîng. 2. Mass medîa--Autorsîp. I. Tîte.  PE1404.H332 2012  808’.0420285--dc23  2012019812

1 2 3 4 5

Cover desîgn by Davîd Bakesey. Cover îmage created by Bump Habrîtter Prînted on acîd-ree paper.

Paror Press, LLC îs an îndependent pubîser o scoary and trade tîtes în prînt and mutîmedîa ormats. Tîs book îs avaîabe în paper, cot and eBook ormats rom Paror Press on te Word Wîde Web at ttp://www. parorpress.com or troug onîne and brîck-and-mortar bookstores. For submîssîon înormatîon or to înd out about Paror Press pubîcatîons, wrîte to Paror Press, 3015 Brackenberry Drîve, Anderson, Sout Caroîna, 29621, or emaî edîtor@parorpress.com.

Conens

Preace vii Acknowedgments xvii

1 Twenty-Fîrst Century Wrîtîng as Symboîc Actîon 3

2 Learnîng Goas: Te Unînîsed Works o Twenty-Fîrst Century Wrîtîng 22

3 Readîng Lîke a Wrîter: Exposîng te Layers o Mutîdîmensîona Retorîc 73

4 Mîcs: Wat Do Wrîtîng Teacers Need to Know about Audîo? 117

5 Cameras: Wat Do Wrîtîng Teacers Need to Know about Vîdeo? 162

6 Teacîng Twenty-Fîrst Century Wrîtîng as Symboîc Actîon 197

Aterword 235 Notes 239 Works Cîted 241 Index 247 About te Autor 255

v

Preface

We view language as a kind of action, symbolic action. And for tis terministic perspective we ave proposed te trade name of ‘Dramatism’ precisely because we would feature te term act.

[A] Dramatistic approac to te analysis of language starts wit problems of terministic catarsis (wic is anoter word for “rebirt,” transcendence, transubstantiation, or simply for “transformation” in te sense of te tecnically developmental, as wen a major term is found someow to ave moved on, and tus to ave in effect canged its nature eiter by adding new meanings to its old nature, or by yielding place to some oter term tat encefort takes over its functions wolly or in part). —Kennet Burke

WHy All tHe Drama?

Termînîstîc Catarsîs: te expressîon îtse sounds dramatîc. Termîn- îstîc suggests te înguîstîc—ogos, te word; owever, ît seems aso to resonate wît reerence to crîsîs, urgency, and înaîty—teos, end or purpose. Catarsîs suggests, as Kennet Burke caîms, rebîrt, tran- scendence, and transormatîon (LSA367). As suc, te expressîon, ter- mînîstîc catarsîs, at once suggests deat and rebîrt: a exîca poenîx burstîng înto ame and rîsîng agaîn, anew, rom te ases o îts pre- vîous manîestatîon.Logosseds îts skîn to escape te constraînts o a deînîtîon tat îs too tîgt—a word wo as grown too bîg or îts brîtces.

vîî

vîîî

Preface

Tîs book was wrîtten at a tîme o termînîstîc catarsîs and îts autor assumes tat te partîcuar înstance o termînîstîc catarsîs ex- amîned în tîs book îs not a reîc o îstory, a momentary event îke a tsunamî wave tat orms, crases, and dîssîpates. Tîs termînîstîc catarsîs remaîns în ux, îke te ongoîng ebbs and ows—te tugs and puses—o te tîdes temseves: aways movîng, aways cang- îng, aways eectîng movement and cange. Tîs book expores te termînîstîc catarsîs owriting, and ît wî argue or te termînîstîc catarsîs o tat ancîent term,telos,as ît îs appîed to te teacîng o wrîtîng transormed. Our goa, ourtelos,wî be to questîon te goas o wrîtîng înstructîon and to matc tose wît te wrîtîng goas we assîgn, askîng, wen îsawork o wrîtîng done and wen îstework o wrîtîng done? As suc, we wî attend to wrîtîng as a verb prîmarîy and we wî access tat by way o te productîon o wrîtîng as a noun. Te noun îs te veîce. Te verb îs te goa. Mics, Cameras, Symbolic Actionwî attempt to expand te terrîtory o wrîtîng by way o symboîc actîon. It wî amass and test teory, termînoogy, and bot wrîtîng and teacîng practîces tat wî aîd our progress înto tat expanded terrîtory o wrîtîng. Tîs pedagogîca ap- proac wî remîx te od wît te new: te pîous wît te împîous. Wat wî ep us make te new stîck to te estabîsed? Duct tape. Let me expaîn. In my years spent as a workîng musîcîan, I earned te essentîa, practîca vaue o duct tape. Lîtte, at te tîme, dîd I reaîze te u scope o îts retorîca vaue. Tat dawned upon me at a conerence or wrîtîng proessîonas. I was presentîng on a pane devoted to a dîscus- sîon o eectronîc pubîsîng opportunîtîes or undergraduate wrîters and researcers, wît empasîs on te pubîsîng o mutîmedîa prod- ucts. Wen I arrîved at te room were our pane woud present (one our beore te îrst presentatîon o te day—as aways—to scope out wat we woud need în order to use te room), I ound a tabe cov- ered wît pîtcers o water and drînkîng gasses, sîx round tabes wît caîrs or attendees, and a ong narrow tabe or te presenters. A o te tabes ad wîte tabecots and te venue ad suppîed notepads and pens or partîcîpants. However, tere were no presentatîon mate- rîas: no overead projector, no dîgîta projector, no speakers, and no projectîon screen. None. O course, I was sowîng a movîe—not ony as usua, but as promîsed. And, o course, I was prepared—or neary prepared. You see, I’m used to sowîng up at academîc conerences

Preface

îx

tat are î-equîpped or, as în tîs case, competey un-equîpped or te sort o medîa I wî be presentîng. I brougt my own computer, dîgîta projector, speakers, and extensîon cords—o yea, and a ro o duct tape, as aways—just în case. However, as you may îmagîne, I was unabe to trave to tîs conerence wît a projectîon screen—andtis room dîd not ave one. Yet wît a I ad brougt, I was unprepared to conduct my presentatîon. Venues usuay carge exorbîtant prîces or presentatîon medîa. I understand tat. However,readingte retorîc o te sîtuatîon, te conerence organîzers communîcated tîs decîsîon: or a conerence o wrîtîng proessîonas, wo accordîng to orma posîtîon statements vaue audîo-vîsua wrîtîng, tabecots are necessary, but presentatîon medîa are not. In oter words, ît îs perecty reasonabe, even î un- desîrabe, to conduct a conerence on wrîtîng wîtout presentatîon medîa. Audîo-vîsua wrîtîng îs te parsey on our dîscîpînary pate. Wrîters and wrîtîng proessîonas read papers and take notes on paper at teîr conerences. Wat tey need îs a room, some drînkîng water, a ew notepads and pens, caîrs, tabes, and tabecots. Te basîcs. Te pîous materîas o our work. We say we vaue audîo-vîsua wrîtîng, or our students, but we do not expect tat ît wî be essentîa to te work tat wrîtîng proessîonasdo.Even î tatiswat tey do. We, I am grateu tat wîte tabecots were deemed to be wort te învestment, because wît my ro o duct tape, we were abe to make a screen. Duct tape made audîo-vîsua wrîtîng stîck în tîs ses- sîon at tîs conerence. Duct tape. Now, ît wasn’t pretty. Te duct tape sîgnaed an obvîous case o jury-rîggîng. It saîd quîte ceary, “Tîs îs NOT wat we do ere.” Even în te ew rooms tatwere equîpped wît screens and projectors, ones tat dîdn’t need duct tape and în wîc tabecots were tabecots, tere were no speakers. Audîo, even î ît îs încorporated în audîo-vîsua medîa, îs absoutey not wat we do. We do text and buet poînts and stî îmages—not ony at tîs conerence, but at essentîay every proessîona conerence în our îed. I recenty attended a presentatîon by one o my graduate students wo ad to ave er sessîon attendees udde around te speakers o a ap- top to ear er movîe—te one announced în te program. We appar- enty, as a dîscîpîne, don’t recognîze tat tese medîa are reay ours. We wrîteabouttem, notwittem. Tat’s not wat wedo.Even î tatiswat we do.