Revolution Lullabye

October 11, 2013

Bernhardt, Review Essay: Rhetorical Technologies, Technological Rhetorics

Bernhardt, Stephen A. “Review Essay: Rhetorical Technologies, Technological Rhetorics.” College Composition and Communication 64.4 (June 2013): 704-720. Print.

Bernhardt briefly summarizes and reviews five recently-published edited collections and single-authored monographs in the field that explore the recriprocal interaction between rhetoric and technology. Each book he reviews explores how different technologies – both “old world” technologies like the typewriter and new media technologies – have impacted how we understand rhetorical theory, analysis, and practice.

The five books included in the review:

Borrowman, Shane, ed. On the Blunt Edge: Technology in Composition’s History and Pedagogy. Anderson: Parlor P, 2012. Print.

The chapters included in Borrowman’s collection look at a wide range of technologies and their impact on the field and how we understand writing, rhetorical education, and rhetorical identity. Some of the technologies include Athenian graffiti (RIchard Enos), handwriting and penmenship, typewriters, moveable type, audiovisual aids, and codes and hidden messages. Though the collection does not specifically focus on new media technologies, its understanding of how specific technologies impact rhetoric and how we think about and express meaning offer one perspective through which to explore new digital technologies.

Kimme Hea, Amy C., ed. Going Wireless: A Critical Exploration of Wireless and Mobile Technologies for Composition Teachers and Scholars. Cresskill: Hampton P, 2009. Print.

Kimme Hea’s collection explores the impact wireless computing and our constantly connected, multi-tasking lives on our students, classrooms, communities, pedagogies, and understanding of communication, writing and rhetoric.

McCorkle, Ben. Rhetorical Delivery as Technological Discourse: A Cross-Historical Study. Carbondale: Southern Illinois UP, 2012. Print.

McCorkle, through a large historical review, argues for a reconsideration of the rhetorical canon of delivery. His chapters look at ancient oratory practice, medieval preaching, the 19th-century elocutionary movement, and then look forward to how new media technologies might change the reciprocal relationship between speech and writing, a central theme of his book. Bernhardt labels his argument as “conservative,” and argues that it lacks some theoretical coherence and overlooks a possible connection to the canons of arrangmeent and memory (711).

Rice, Jeff. Digital Detroit: Rhetoric and Space in the Age of the Network. Carbondale: Southern Illinois UP, 2012. Print.

Bernhardt lauds Rice’s cross-disciplinary text that brings together rhetoric and network studies to investigate how we can experience and understand the multiple dimensions of Detroit. Rice relies on association, network, juxtaposition, and contradiction to build and recover narratives that challenge the dominant understanding of Detroit as a place of urban decay and hopelessness.

“Rice’s networking of Detroit purposefully embodies the confusion, indeterminacy, and mixed messages of a heavily trafficked and overloaded web of connections. Detroit is more like the buzzing, blooming confusion of the Web than it is a resolved, understood, and constantly signifying city” (713).

Delagrange, Susan H. Technologies of Wonder: Rhetorical Practice in a Digital World. Logan: Utah State UP, 2011. Web.

Delagrange’s eBook – a free, downloadable PDF file, rich with images, embedded links, and videos, and designed with an Adobe interface – embodies digital technology in its deliver. Her central argument is that the visual and the embodied need to be considered viable alternatives to the printed, written word. She uses an extended metaphor of the Wunderkammer (the wonder cabinet, the cabinet of curiosities). Bernhardt critiques Delagrange’s argument as a little passé, arguing that there already is acceptance of scholarship as visual, embodied, and performative at the academy and within composition and rhetoric (719). He also points out that although her book argues for an alternative to logocentric arguments, her book relies on the verbal, not the visual, to make its claims.

June 6, 2009

Drucker, Figuring the Word

Drucker, Johanna. Figuring the Word: Essays on Books, Writing, and Visual Poetics. New York: Granary Books, 1998.

This is a collection of Drucker’s essays from the 1980s and 1990s that focus on her central scholarly, artistic, and literary investigation: the importance of understanding and being aware of the materiality of writing, of mark-making. She explains in some of these essays how electronic, digital writing is changing her understanding of the physical materiality of writing and printing: it loses some of the historical and identification certainty of a handwritten, signed, physical text since it is vulnerable to change and feels alienated because computerized text loses some human individuality. For Drucker, physical materiality encodes history and identity in a text.

Quotable Quotes

“It is clear that significance inheres in the written form of language as much on account of the properties of physical materials as throguh a text’s linguistic content.” (57).

“In the world and of it, written language materializes thought into form and form into history, culture, and record” (74) both these from “The Art of the Written Image”

“The forms in which language occurs adherese more or less to norms which enable messages to be recognized” (87) “Hypergraphy” – connections with genre theory?

“The word is made flesh not as a voice, not as a score, an image, an icon, or an event but as a text whose visual properties and idiosyncracies enact themselves for the eye, upon the page.” (109) from “The Interior Eye”

“My interest is in extending the communicative potential of writing, not in eliminating or negating it” (146) from “Letterpress Language” – use the constraints of typography, letterpress, structure of the page

The materiality of signification: how “material substrates and visual/typographic/written (and, by extension, verbal) styles encode history, identity, and cultural value at the primary level of the mark/letter/physical support )and in non-written form, the qualities of voice, tone, tenor, rhythm, inflection, etc.)” from “Language as Information: Intimations of Immateriality”

Notable Notes

writing as both noun and verb, process and performance, visual and verbal, text and the work of the hand, individual and social

programming language as rules, not codes – describe, not embody language

writing as a form, image of the self

linked to Morris, Blake – stretches the bounds of the book

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