277 Pages
English

Mics, Cameras, Symbolic Action

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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.

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Published 26 November 2012
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EAN13 9781602353381
Language English
Document size 3 MB

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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 Halbritter 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acevii Acknowedgmentsxvii
1 Twenty-Fîrst Century Wrîtîng as Symboîc Actîon3
2 Learnîng Goas: Te Unînîsed Works o Twenty-Fîrst Century Wrîtîng22
3 Readîng Lîke a Wrîter: Exposîng te Layers o Mutîdîmensîona Retorîc73
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 Actîon197
Aterword235 Notes239 Works Cîted241 Index247 About te Autor255
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.
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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
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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isroom 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.
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