Revolution Lullabye

June 16, 2009

Norman, Emotional Design

Norman, Donald. Emotional Design: Why We Love (or Hate) Everyday Things. New York: Basic Books, 2004.

Designers must account for people’s emotional and cognitive responses to three aspects or levels inherent in  any design: visceral (immediate, automatic, appearance-based); behavioral (function, pleasure and effectiveness of use); and reflective (personal satisfaction through memories, self-image, intellectualization.) The things we like act as symbols to us and have meaning in our lives. Norman describes and shows many examples of designs that successfully tap into a person’s affect – their subconscious value judgments that translate into emotions. Good designs are also rhetorical: they fit a particular context, culture, location, and audience, so no one design can be univerally appealing. Good designers are those who are able to keenly observe people’s behaviors and tap into people’s unarticulated needs, seeing the product not as a decontextualized thing but something that is used by someone.

Quotable Quotes

William Morris: If you want a golden rule that will fit everybody, this is it: Have nothing in your houses that you do not know to be useful, or believe to be beautiful.”  (“The Beauty of Life” 1880)

“The emotional side of design may be more critical to a product’s success than its practical elements” (5)

Notable Notes

cupholders as an unarticulated consumer need

personalization and customization

good designs seduce people – Csikszentmihalyi’s flow

success at the reflective level can outweigh the other two aspects – visceral and behavioral

Pandey, Saving, Sharing, Citing, and Publishing Multimodal Texts

Pandey, Iswari. “Saving, Sharing, Citing, and Publishing Multimodal Texts.” In Multimodal Composition: Resources for Teachers. Ed. Cynthia Selfe. Cresskill, NJ: Hampton Press, 2007. 65-81.

Pandey explains the simalarites and differences from saving, sharing, citing, and publishing words (alphabetic text) and mutlimodal compositions that incorporate sound and images. His essay, meant for a practical guide for teachers, contains a lot of how-to information about formats of files, memory constraints, websites for reference, and assignment ideas. He argues that every teacher of multimodal composition should teach four topics under intellectual property: copyright law, fair use, public domain, and open-source/creative commons licensing. It is the ethical and legal responsibility of teachers and students to understand the ethical and legal constraints of citing and publishing multimodal compositions, and strict attention should be paid to teaching students how to properly prepare bibliographies of all the image, video, and sound materials they use in their compositions.

Notable Notes

forward of book by Bronwyn Williams – this collection is aimed at teachers wanting to incorporate multimodal compositions in  their first-year writing classrooms (doesn’t address the major) (x). Also, multimodal compositions an outgrowth of English Departments’ attention to cultural studies, multiculturalism, alternative ways of meaning-making (xii)

how-to book, sprang out of Watson Conference attendees

the rhetorical considerations of compressing files

Special Issue: The Writing Major, Composition Studies

Special Issue: The Writing Major. Composition Studies 35:1 (Spring 2007).

I’m going to briefly note what’s in this issue and the highlights from each essay or article. Two articles I already have notes on.

Estrem, Heidi. “Growing Pains: The Writing Major in Composition and Rhetoric.” 11-14.

the writing major is that in-between space between 1st year comp and grad programs. This issue features essays and articles about these forming majors, articles that bridge local constraints, stories, and contexts with larger themes of the importance of place, timing, capitalizing on unexpected events, advocacy, and long effort. This group of growing writing majors asks the field to define itself – will it be under the umbrella of “writing studies?”

Carpini, Dominic Delli. “Re-writing the Humanities.” – already have notes

Clary-Lemon, Jennifer. “The Hot Arctic: Writing Majors as New Sites for New Hires.” 37-38

McClure, Randall. “Projecting the Shape of the Writing Major.” 39-40.

think about how instruction is delivered (online?); to and with whom (K-16?, interdisciplinary?) – the importance of the archictecture of a writing major when designing it.

Howard, Rebecca Moore. “Curricular Activism: The Writing Major as Counterdiscourse.” 41-52.

Writing majors give the field an opportunity to argue for a positive, informed view of postsecondary writing instruction. Howard reviews the websites of new writing majors and contends that websites, written for student, faculty, and public audiences, can be composition’s PR tool for changing the traditional, normative assumptions of writing instruction and allowing the institution to see composition and rhetoric as legitimate intellectual, disciplinary work.

Shamoon, Linda and Celest Martin. “What Part of the Elephant is This? Questioning Creative Non-Fiction in the Writing Major” 53-54

study of nonfiction can be placed in a historical trajectory in comp/rhet with expressivism. need to investigate and open up the theoretical and conceptual connections between creative nonfiction and comp/rhet

Schaffner, Spencer. “Grounding the Writing Major in the Socio-Graphemic Approach.” 55-56

the activity of writing is the central organizing theme to study: “students will become specialists in the study of written language, rhetoric, writing technologies, and image/text semiotics” (55).

Peeples et al. “Chronos and Kairos, Strategies and Tactics” notes already

Taylor, Beth. “On Brown University’s New Nonfiction Writing Program” 77-78

students aren’t required to take writing at Brown, but 26% do take a nonfiction writing course – academic essay, journalism, creative nonfiction

Newman, Glenn. “Concoting a Writing Major: A Recipe for Success.” 79-80.

undergrad who developed his own rhet/comp major at U of Utah and is preparing himself to go to grad school for rhet/comp

Scott, Tony. “The Cart, the Horse, and the Road They Are Driving Down: Thinking Ecologically about a New Writing Major.” 81-93.

faculty designing writing majors must think beyond their scholarly,  intellectual visions and consider the institutional constraints they are working with – hiring, budgets, staffing, space. Argues for a move to a “post-writing program era” (90) – without mandated syllabi, teacher management; encourage scholarly and pedagogical experimentation. The contradiction between the administrative functions of a writing program and the faculty functions of a major. Draws on Marx, circulation to look at the narratives and ideologies of power and control are wired into postsecondary writing instruction (85)

Peele, Thomas. “What Do We Mean When We Say ‘Writing?'” 95-96

where does creative nonfiction belong? disciplinary arguments that writing majors bring out

Lowe, Kelly. “Against the Writing Major.” 97-98.

writing majors, in order to thrive, must have proper staffing and consider faculty strenghts and weaknesses when constructing a program. Find the faculty to fit the major, not the other way around. Don’t attempt a major if you can’t run it well.

Taylor, Hill. “Black Spaces: Examining the Writing Major at an Urban HBCU.”

argues for consideration of context when developing a writing major – a Tier 1, mostly white research institution is going to have a much different writing major than an open-admissions, Washington DC, urban HBCU, which could focus on writing for government, policy, education, and African-American rhetorics and pedagogies. Calls for a haptic curriculum (one that is contingent, participatory), not an optic one (simplified, homogenous one) for writing majors (draws on Giles Deleuze’s A Thousand Plateaus.)

Enoch, Refiguring Rhetorical Education

Enoch, Jessica. Refiguring Rhetorical Education: Women Teaching African American, Native American, and Chicano/a Students, 1865-1911. Carbondale: Southern Illinois UP, 2008.

Enoch offers an alternative understanding to what rhetorical education is and is for through her analysis of the pedagogical and rhetorical practices of white and minority women teachers teaching marginalized American students from 1865-1911. Her case studies include Lydia Maria Child, who wrote The Freedman’s Book, a post-Civil War textbook for freed slaves, a book that offered freed slaves multiple perspectives and rhetorical models from black and white authors; Zitkala-Sa, a Sioux teacher who wrote autobiographical essays in the Atlantic Monthly that questioned the aims of Indian education; and Jovita Idar, Marta Pena, and Leonor Villegas de Magnon, three Chicana teachers in Laredo, Texas, who wrote articles in the Spanish-language newspaper La Cronica that argued for bicultural rhetorical education that places Anglican and Mexican heritages in conversation with each other, into a new kind of cultural citizenship. Enoch’s purpose is to complicate the field’s understandings of what rhetorical education meant in the late 19th-early 20th century (the field relies on accounts of what was happening in American universities) and where that education was taking place. Enoch elevates the female teacher from a passive transmitter of the dominant culture to a potential advocate, shaping pedagogies and rhetorical strategies to better teach and empower her students. Enoch also points out that rhetorical education does not have to be about full participation and engagement in the dominant political and cultural sphere: rather, it can be quieter and more personal, forming communal and civic identites and teaching rhetorical strategies that marginalized members of society can use to begin to disrupt the dominant hegemonic space.

Quotable Quotes

Enoch invites other scholars at the end of the book to find other historical and contemporary sites of rhetorical education by asking questions like “How have people learned to participate in civic, communal, and cultural discussions? How have teachers and students responded to models and skills for participation designated for them? How have they invented different strategies for participation? WHat did these strategies (dis)enable?” (173).

“A rhetorical education aimed at change and disruption rather than acceptance and submission” (32) – Lydia Maria Child’s work

rhetorical education = “any educational program that develops in students a communal and civic identity and articulates for them the rhetorical strategies, language practices, and bodily and social behaviors that make possible their participation in communal and civic affairs” (7-8)

Notable Notes

calls for first-year, rhet/comp to go back to rhetorical education principles – a rhetorical education that is always cultural and political, situated, personal and cultural as well as civic and public, a range of behaviors, skills, and practices

draws on rhet/comp scholarship in African-American, Native America, Chicano/a rhetorical practices and pedagogies; critical pedagogy; history of composition and rhetoric

Green, Voices

Green, Thomas F. Voices: The Educational Formation of Conscience. Notre Dame: U of Notre Dame P, 1999.

Green explains his philosophy of moral education, which is investigating how people acquire the norms and values that govern their individual conduct. His book does not forward a particular set of norms; rather, he is interested in the idea of how conscience – the “reflexive judgment about things that matter” (21) – is developed by acquiring norms from five different realms, or voices, of conscience: craft, membership, sacrifice, memory, and imagination. His purpose is to reveal the processes that are already occuring in education so that educators might be better educators. The formation of a public citizen (as a form of public office) is one of Green’s chief concerns; he applies his theory of moral education to it, claiming that education forms the norms of citizens who will be active in the democratic processes. Norms are not learned or recited like rules; rather, they are a way of being – an critical stance, perspective, and attitude.

Quotable Quotes

“Education is a weak instrument with which to undertake the moral reformation of the world” (1) – connection to Newman

“To refrain from comment or decline to offer any guidance that some choices are more worthy and some more foolish, and to do out of respect for such a liberty [choice], is to abdicate a large chunk of educational responsibility” (7).

Notable Notes

norms are learned in context, social situations, activities

health of commons lies in strong sectarian education – Dewey influences

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