New Media! Let's Go Shopping!

definitions

agency - and agents. particularly interested in getting people and their ability to act on and in a scenes back into the scene. p 18 is good, but also consider critical thinking: the act is presented as a noun. the agent - she who thinks critically - sort of comes and goes. keeping the agent and agency back in theorizing and considering keeps us honest but also opens other ways to articulate what we do and say.

materiality - media at the material level. Material provides affordances and constraints. Wood good for building because of its structural properties. Paper (un-sized) not so much, but affords writing with graphite or some inks.

mode - speaking, writing, handwriting, gesture, expression (facial), color, shape, form, perspective - these are all modes. Kress: clusters of semiotic resources that allow for realization of discourses and types of interactions. modes can be realized in more than one medium. modes come into being 79. social convention change media into modes. modes are a result of a shaping social and historical of materials to be used as semiotic resources. Kress often substitutes mode for "language" or "a grammar of x". narrative has been constructed into a mode 21-2. txting is now a mode. plastic is a mode. wood. all the above are modes because they provide semiotic resources. we may use multiple modes in production of a text (stratification): design to sketch out the visual design, then resources of color, shape, form, perspective to realize the semiotic product. handwriting to draft. typing and word processing to revise / create publication.

semiotic resources - signifiers that can be used to create discourses. there are semiotic resources in architecture, natural languages, computer languages, gestures ...

articulation - a production that makes discourse perceivable. eg interpretation may not make the discourse perceivable. kress 40

media - the material resources.

literacy - Selfe: a set of practices and values situated in historical, cultural, material conditions. Kress, through mcm: ability to interpret and produce using semiotic resources in a particular mode or media.

visual literacy: ability to read, understand, value, and learn from visual materials, especially as they are combined with text; an the ability to create, combine, and use visual elements to communicate. Selfe 69.

multimodality and multimodal texts - Selfe 55 ability to create meaning in both alphabetic and visual modes (produce and consume). kress: use of several semiotic modes in the design of a semiotic product or event 20

new media text - see Wysocki and Selfe for different definitions

interactivity 17 - not just interaction with computer but the filling in, hypothesis formation, identification, etc required to understanding any text. Manovich. Readers move through all texts and that movement can be made more or less interactive, or we may be more or less aware of the interactivity - or the movement may have become more or less naturalized and invisible, and privileged.


Wysocki

Wysocki has an agenda to push - emphasis on agency of the reader/writer - and is using the rise of new media (and multimodal texts) as an opportunity to politicize teachers.

Plays it out herself by giving us five starting points - alt dis

proffers a slightly different definition of new media 15 as text that is composed so that both writer and reader can and must stay alert to how the text functions and the value it functions in. so that the materiality is not effaced. so that the materiality must be / can be taken into account in the interpretation of meaning.

she aims to use a differently articulated definition to keep us mindful of textual practices by human agents - 19
texts where we keep their materiality visible, both as we work to make them and as we hold them before us - [and work to make them mean] 19

Opening 4: to argue how and why students should produce new media texts in classes. We have students compose texts to see their positions. This means we teach composing as material craft.
craft and vocation. in these, we construct texts that stand in opposition to the standardized, system-congruent design -

the gain is seeing a possible self - and from that perspective being able to decide if that's a self one wants to be right now.

Wysocki's activities

what's important are her questions - the direction she takes with them - in moving towards things like how is it people are willing to and can speculate about images, and how those speculations are defended, often wrongly.
Her point is to illustrate how images fly under the critical radar - and we'll see that.

Consider her activities
What's different about them - when compared to activities you expect to work with in a university classroom? And what adjectives would you place on them? Why those adjectives? That is, what characteristics of the activities are the adjectives pointing to?

What's the point of these? That is, what would you expect students
- to take away?
- to understand?
- to change in their positions or selves? or lives?

How would you respond to them? [Isolate one exercise.] With anxiety? Relief? Excitement? Others? What might those initial responses suggest about what you know and have learned? What do they suggest about Wysocki's arguments in her chapter? Lack of agency? Confronting materiality? Challenge to your current self? What might you do to resolve your response?

Do this on the boards
How would you arrange them in a continuum and what continuum? As a teacher assigning them. As a student engaging them?

I'm guessing that there is going to be some concern about levels of literacy in drawing, using materials, and using them to articulate meaning -

W's concern with agency appear in question on p 16

Her questions involve disassembling some of the dominant ideas about how we operate with language and image to interrogate them and reassemble those ideas in different ways -

Selfe, Students who teach us

looking into the changing nature of literacy and about what that means for teachers of composition. emerging, competing, fading literacies 54

this is important to us because it's happening and we risk becoming irrelevant - if we haven't already 54
[and also, by bringing these literacies into our fold, we gain control of them, can shape them, place them as we wish, appropriate them]

what's driving new literacies: transnational networks in a post modern world.
[changes in valuing and circulation of IP towards open source.

new media texts = digital environs 43
this definition doesn't negate wysocki's but is a little more limited in media (and so mode)

S's argument - teachers should be using them systematically in classes to teach about new literacies - [and old, I would add]. 44

literacy - a set of practices and values situated in historical, cultural, material conditions
- and that has significance for us as being only marginally literate in certain areas

some if not many literacy skills are developed independently of schooling - self-sponsored. but they do not necessarily transfer to school-sponsored and workplace-demanded practices.

speaks to the shaping forces of print literacy in education and workplace 51. right down to print literacy as a shaping force of the educational experience. [or, locally, of sport literacy and face to face social group participation literacy in the local BSU educational experience.]

identity politics and new tiny literacies. micro-political organizations. sphericules. 53. as things fragment, literacy practices evolve in those smaller sphericules.

speed of change - prefigurative. literacies can change so fast that no one can teach what students need to know to move through the world. new media texts are one of these technologies. 57
- hence an emphasis on learning to learn, for both student and teacher

activities

tech lit autobios
to note here is how extensive these questions are and how they are organized to explore different positions. This is not a toss off, not a stating point to self-exploration but guided exploration into areas students probably won't explore on their own.

redesigns
probably a little easier to work with for students and teachers - separates generating a text from working it a second time in a new form -
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