Trailer for celebrations now available. 

Program updated, including way cool viewer available through Comic Life. Check it out at http://faculty.tamu-commerce.edu/scarter/CLiC/comic.html

or view the entire invite at

http://faculty.tamu-commerce.edu/scarter/CLiC/clic-events.htm

Publicity: We Need Your Help

Trailers are up at http://faculty.tamu-commerce.edu/scarter/CLiC/clic-events.htm

If you sent me one and I didn't include it, let me know and I'll get it in.

Program: If I am missing your abstract and image, send it to me (Luca, Sylwester, and J'Non)

DVD of trailers to play at Wednesday's Celebration of Student Writing (http://faculty.tamu-commerce.edu/scarter/csw_invitation.html ).

If you'd like to have your trailer included in this DVD and haven't already gotten that to me, please get it to me by Monday. We'll be pulling that together Monday and Tuesday.

We'd love to have you join us Wednesday, as well. Celebration of Student Writing: Part I will be on Wednesday, May 13, from 2:30-4:00. Come on by our table and help drum up business for the next day's celebration in the library. YOUR celebration. The Celebration of Writing with New Media!

publicity

Phase I

Last week a general invitation went out to the campus on our various listservs. See "invitation" below," which linked to two pages: one for each part of this two-day celebration:

Part I: First-Year Researchers: http://faculty.tamu-commerce.edu/scarter/csw_invitation.html
Part II: Writing with New Media--http://faculty.tamu-commerce.edu/scarter/CLiC/clic-csw.htm

I'm following up with personal invitations to key administrators across campus.


Phase II

So I have developed a program for the event (using second life), which will be distributed across the campus Monday and also to key administrators.

As soon as I get your revision suggestions for the program (especially your abstract and title) and embed code for additional trailers, I'll add those to the invitation, now at http://faculty.tamu-commerce.edu/scarter/CLiC/clic-events.htm

I'd like that by the end of the day today, if possible. We can send those around Monday.

Phase III: Video Invitation

This is in progress. I'll share a little from the introduction. Get me images or footage you'd like for me to include.

I'd like to send this around the campus and to key administrators by very late Tuesday or very early Wednesday.

Here's a draft of the introduction, made with this VERY fun (and free!) program called xtranormal (xtranormal.com).






Or: http://www.xtranormal.com/watch?e=20090507160920538

Phase IV: Advertising Live (at the Celebration of Student Writing in the MRC the day before our 597 event)

On Wednesday, from 2:30 to 4:00, our CLiC team will be at a table promoting both CLiC and the upcoming Celebration of Writing with New Media.

They will also be taking interviews for the National Conversation on Writing. (www.ncow.org).

We'd like to share your trailers there, as well. So all the more reason to get them to us:

1. Upload them somewhere and embed them, so I can post them to the online invitation.
2. Give me a sharper copy we can bring onto a DVD and share at this event the day before our own.

Getting Ready for our Celebration (Week 15 Agenda)

1. Check out the event program and the CLiC events page for inaccuracies and missing items. I will make changes before sharing the CLiC events page with the campus. I hope to be able to share by Friday, so get those changes to me before the end of class today.

2. To http://faculty.tamu-commerce.edu/scarter/CLiC/clic-events.htm , I would like to add all your trailers. To make that happen, please either upload the video to YouTube or other video sharing site or give me a copy which I can then upload and add to the page. The only trailer I had to embed--already online--was Mindy's. I can also link to your blogs, if they are ready to share. Just let me know.

3. Dry run today! Be ready to share your projects. Let's keep the show as close to five minutes as possible, though it may run closer to 10. We have 13 projects to share, some of them very short and some quite a bit longer.

4. At some point during class today we'll have to fit in your evaluations. More on that soon.

csw program: page 1

CSW program: Page 2

CSW program: Page 3

CSW program: Page 4

CSW: Page 5

CSW: Page 1

The Machine is Us/ing Us: Dance Remix

And a MUST see: (also from Robin)

It’s an infinite loop of remixing!

http://mediatedcultures.net/ksudigg/?p=221

another remix!

Something else fun from Robin---

“And now, because you secretly asked for it in your heart of hearts: a version of Queen's Bohemian Rhapsody as played by an old scanner, floppy drive and Atari and TI computers.”

http://www.theregister.co.uk/2009/04/20/hp_scanjet_3c_bohemian_rhaposdy/

CFP

Robin shares the following CFP. Think about it!

----

All:

I've included below and provided a link to a call for manuscripts for
a special issue of Computers and Composition (scheduled as volume 27
issue 3, September 2010) on Copyright, Culture, Creativity, and the
Commons.

https://www.msu.edu/~courantm/CFP_CC_copyright.pdf

Please do feel free to send questions to or run ideas by any of the
four of us guest editing the special issue. (Our contact info appears
below and in the call.)

Danielle Nicole DeVoss, Martine Courant Rife, Steve Westbrook, and John Logie

***************************************************

CALL FOR MANUSCRIPTS

special issue of Computers and Composition, volume 27 issue 3, September 2010
Copyright, Culture, Creativity, and the Commons

In 1998, Computers and Composition and Kairos both published special
issues related to intellectual property. Much has changed in the 11
years since those special issues, including new legislation, proposed
legislation, and the rise and fall of file-sharing spaces like Napster
and Kazaa. Further, issues not addressed in the earlier special issue
require the attention of computers and writing scholars, including
global and international issues related to intellectual property,
feminist and ecofeminist research in intellectual property, and issues
of cultural cannibalism and intellectual commons. This special issue
will attend to these?and other?issues, with a particular focus on the
cultural consequences of our expanded sense of what counts as
?property? in digital spaces.

Questions we invite authors to consider and respond to include, but
are not limited to:

* Where are the significant intersections between intellectual
property and computers and composition? What intersections have thus
far remained invisible or buried?

* What significant changes have occurred in U.S. copyright law in the
past 15 years? In international copyright law, policies, and
approaches?

* What global, international, or cross-cultural intellectual property
issues should we be attentive to?

* How might our understandings of ?the commons,? the concept of shared
or ?community-owned knowledge,? and the notion of ?cultural
appropriation? contribute to conversations on copyright and/or
intellectual property?

* What are some of the ways in which feminist/ecofeminist scholarship
in intellectual property, and understandings of sustainability can
inform or extend our approaches to intellectual property?

* What are some of the ways in which cultural rhetorics scholarship in
intellectual property can inform or extend our approaches to
intellectual property? For example, is there a connection between
racism and the commodification of culture via intellectual property
regimes? A connection with sexism? Where are the intersections between
discourses of race and/or gender and intellectual property-related
discourse?

* Are there better vocabularies, terms, and theories for us to drawn
upon to situate and study ?intellectual property?? Is it possible to
recognize and/or attribute ?intellectual property? in places other
than formal legal regimes?

* How have intellectual property issues become more immediate with
regard to the continual growth of and use for digital writing spaces?
New media texts?

* In what ways can our long history of analyzing authorship and
ownership of texts, including our discussions on issues of plagiarism
and attribution, contribute to how we approach intellectual property
issues? In what was does this long history perhaps submerge issues we
might be discussing?

* In what ways can writing instructors and researchers enter into
public discussions about intellectual property?

The special issue will consist of: 1) a special issue editors?
introduction, which will provide some historical, legal, and
philosophical context; 2) approximately 6?7 articles addressing issues
of intellectual property, focusing on those issues that have arisen
since the 1998 special issues; and 3) a roundtable-style-discussion
piece capturing the interactions of key figures in intellectual
property scholarship within and beyond computers and writing (e.g.,
Jim Porter, Ty Herrington, Jessica Reyman, Jessica Litman, Kembrew
McLeod, Siva Vaidhyanathan, Rebecca Moore Howard, Vandana Shiva,
Johndan Johnson-Eilola, and Peter Yu).


Deadline for manuscripts: September 15, 2009 (response by November 15)
Deadline for final manuscripts: January 15, 2010


Please direct questions and email manuscripts to the special issue editors:

Martine Courant Rife
Lansing Community College
martinerife@gmail.com

Steve Westbrook
California State University, Fullerton
swestbrook@fullerton.edu

D?nielle Nicole DeVoss
Michigan State University
devossda@msu.edu

John Logie
University of Minnesota
logie@umn.edu

--
Martine Courant Rife, JD, PhD
Professor, Writing Program
Lansing Community College Communication Department
Arts & Sciences Building, 211G, 517/4839906
martinerife@gmail.com //AIM martine785

Agenda: Week 14

1. Get titles and abstracts to me by class today.

2. Have you submitted your NCoW project (see http://www.ncow.org/ for submission form)

3. Consider presenting your new media experience and projects at the next wpa conference. Deadline extended to 5/22. Conference is July 15-17 in Minneapolis. See draft of NCoW-related sessions at http://faculty.tamu-commerce.edu/scarter/597/NCoW%20Sessions-draftSMR.docx

4. Questions about upcoming presentation? See invitation below.

5. I'm collecting excepts from in your final project and/or key images. I've brought a hard drive for that. I'll bring them together into a very short trailor for our new media show to come. If possible, get those to me today.

6. Studio time! Dry run next week. Show the week after that.

Celebrating Student Writing

This went out on the various listservs today:

_____________________
Please join us for a Celebration of Student Writing presented in two parts.

Part I: Celebrating First-Year Researchers (English 102 students)
http://faculty.tamu-commerce.edu/scarter/csw_invitation.html

Where? Rayburn Student Center / 2nd FloorTime: Wednesday, May 13, 2009, from 2:30-4:00pm

Information about this event is available at the above link, including video from previous celebrations.


Part II: Celebrating Writing with New Media (English 597 students--graduate level)

http://faculty.tamu-commerce.edu/scarter/CLiC/clic-csw.htm

Where? Gee Library, First FloorWhen? Thursday, May 14, from 4:30 until 7:00

Sit down and enjoy some fabulous film created by our very own students, faculty, and staff (video poetry, comedy, documentary, memoir, activist projects, and so on)

Come join the fun!

Video created entirely from Public Domain Footage

"Collections" (2006)

"Collections" is built on shots taken from documentaries and feature films from the archive.org movie database. All these movies have a public domain license. Music comes from the same website, and is also released under creative commons license.

The rise of huge movie and music databases, publicly available and reusable, gives the opportunity to build some new constructions on little segments, fragments from lost material. Such work is never purely independant from the source material (american movie films, with well identified genre for example), but in the same time, the action of extraction and the choice of the extracted elements si purely personal.

Collections is a piece of personal writing, using images and sounds from the collective memory.

The following source are use in this film :

-- movies --
SafeRoad1935
Phantom of Chinatown
Killers from space
Carnival of Souls
AtomAgeVampire
Scarlet Street
DeathtoW1947
The Man Who Knew Too Much 1934
Daughter of horror
Nightmare Castle
Beat the devil
Passenger 1955
D.O.A. 1949
Isle of Destiny
Heavenly1920

-- music --
Edwin Morris / The heart bowed down
Radio Astronomy

-- sounds --
Chris Marker / La Jetée 
David Lynch / Mulholland Drive


This movie is part of the collection: Open Source Movies

Director: Claude Le Berre
Producer: Claude Le Berre
Audio/Visual: sound, color / BW
Keywords: mashup ; archive; movie; cinema; remix

Creative Commons license: Attribution-NonCommercial-ShareAlike

Need assistance? CLiC can help!

Get it from our crew at Gee Library

Regular CLiC hours, Tuesday-Thursday, 10-2

• Sylwester is there TWR, 10-2
• Luca is there W, 10-2, and R, 9-2
• Angela is available by appointment

If none of these hours will work for you, let us know what will. We are here for you!

You can get this help in one of two ways:

1. Drop by the CLiC space in Gee Library during the hours listed above

• (The best method is for you to make an appointment with us so we can better serve your specific needs, but we welcome drop bys as well. Sometimes those questions just come to you. Or perhaps you just want to come work in our space with us on hand to help if difficulties arise. We welcome that as well!)

2. Make an appointment. If you do your work on campus, we can even come to you. We prefer for you to work on the equipment you are most familiar with. If that's in your office and you are on campus, let us know and we'll set up a time to come to you. (Unfortunately we can't yet come to you if you aren't on campus. Not yet. ;0)

Shoot us an email at clic4u@gmail.com (that's "clic" the number 4 and the letter u)

When you do, tell us:

A. When you are available

B. What you'd like to work on (including any specific questions you may have)

C. What equipment you'll be working from (ie, will you be working from your own laptop or will you be bringing your media over to work with a tutor on one of our machines? are you working from a desktop in your campus office? or something else? Mac or PC? this info will help us prepare for your visit.

Thanks!

Week 12 Agenda

1. The Converging Literacies Center

Now this ISN'T CLiC . . .



Nor is this . . .


But we've got plenty of support for you. Drop on by! Or make an appointment and we'll help you where you are and/or in the CLiC-designated spaces of the library. Let us know (see above for info).

And CLiC is growing and evolving. More equipment available soon. Fancier digs.

And you guys are in on the ground floor. Give us a workout. Help us understand how to best help you.

Here's an article describing CLiC: http://www.tamu-commerce.edu/litlang/CLiCweb/WebResources/CLiCwebsiteRev3.html

(It's been accepted by the journal Kairos and Donna and I are in the midst of some revisions)

2. Tour CLiC's evolving digs (the "CLiC you can point to")

3. Workshop projects in progress

4. Picassa tutorial

5. Workshop time

(we'll table Lessing until next time; poor guy)

Week 11 Agenda

1. Discuss "Piracy" and "Property" (Lessing)

2. Share plans/drafts from final projects

3. Sign up for breakout workshops (voluntary)

• Picasa (Sylwester?) [video tutorial]

• Wikis (Robin?)

• Comic Life (Shannon) [video tutorial]

• Others (suggestions/requests?)

4. CLiC update (CLiC is ready!)

4. Studio Time

CLASS THURSDAY (April 2)

I have to miss class tomorrow.

I must rush to Corpus Christi tonight to catch a moment with my grandmother before she goes in for emergency surgery. They don’t know that she can make it through surgery but they can’t avoid it.

Though I can't be here for class April 2, I have asked that this space be made available for you to work on your final projects.

I hope you will share your works in progress with one another. JP has one ready to share. I also wanted to draw your attention to Sunchai's video reflections on his project in progress, the trailer I understand Angela has in progress, and anything else you guys have ready to share.

I am so sorry for any inconvenience this may case. I wish it were otherwise. I can't tell you how much I wish it were otherwise.

Someone from our office will be contacting you soon.
--

Agenda: Week 9

1. Grand Theft Audio

See complete article at Computers and Composition Online (Special Issue on Media Convergence, Spring 2008), Danielle Devoss and Suzanne Webb, Michigan State University

2. Justin Cone's "Building on the Past" (manifesto for CC)

(also at archive.org --http://www.archive.org/details/Justin_Cone_-_Building_On_The_Past_-_640x480)

Bound By Law

3. Creative Commons

• About Creative Commons ("Wanna Work Together?")
  
• About Creative Commons Licensing Options 
• License Generator (www.ncow.org)
• Get Creative

4. Now what? Gathering Media for your final projects. 

What are your options? What are your plans?

Notes from Bound By Law

Copyright doesn’t protect ideas, only specific expressions of ideas

The constitutional goal of copyright is to encourage people to make and distribute new works. (ARTICLE I, SECTION 8, CLAUSE 8)

To do so, copyright law gives authors, including filmmakers, the exclusive right to make copies make adaptive translations, publicly distribute, publically display, and publically perform (29)

. . .
So copyright gives you rights that you can use to control and get paid for your work. At its best, it produces a brilliant decentralized system of creativity.
Artists sometimes think they want to have as much copyright protection as possible. Well, this may be great on the output side; but what about the input side?
If everything is protected by copyright, then were do you go to get your raw materials?
Copyright law also tries to give artists access to the raw materials they need to create in the first place (32)

“Overprotecting intellectual property is as harmful as underprotecting it. Cretivity is impossible without a rich public domain. . . overprotection stifles the very creative forces it’s supposed to nurture. Nothing today, likely nothing since we tamed fire, is genuinely new: culture, like science and technology, grows by accretion ,each new creator building on the words of those who came before” (Judge Alex Kozinski, US Court of Appeals for the Ninth Circuit, qtd on 33).

The bottom line: page 34 (check it out!)

On Fair Use: 35-44
Fair use is one way copyright law mediates between the need to give incentives to creators and the need to use content to create and comment on the world. (44)
Term limits are another.

Term limits: 44-
The ever-lengthening copyright term seems to be having the opposite effect frofrom what the consitution intended. It hinders artists who want to use older works, even when the copyright owner can’t be found or wouldn’t care. The longer term also puts more pressure on fair use (44-46).

Trademarks: 47- 49
While copyright law protects artistic works, trademark law protects brand names and logos that tell consumers where products come from (47).

. . . to infringe a trademark, you would generally have to use it in a way that confuses consumers (48).

People who appear in documentary: 50-51

“What about getting permission from people who appear in the documentary? Permission is normally required—privacy is a legitimate claim. But there is an impotant first amendment exception that lets you show people involved in matters of public interest, without permission (50).

Errors and Omissions Insurance: 52-54
To show your film to a broader public through conventional distribution channel—like HBO or PBS—you need E&O insurance to cover possible lawsuits . . . and E&O Insurance is only required to get access to conventional distribution channels. Not with the internet and alternative methods of distribution, filmmakers can reach a broad audience without getting insurance. (52, 54).

Cease and Desist letters (55)
Without or without insurance, sometimes people get scared of using stuff that they have the perfect right to use. . . . If you receive one of these letters, you should go to www.chillingeffects.org for helpfl info.

Fair Use—Use It Or Lose it! (59)

From the Afterword (67)
The [copyright] system appears to have gone astray, to have lost sight of its original goal (67)
The flourishing of digital media has been seen by policymakers mainly as a thread—as the rise of a ‘pirate culture of lawlessness.’ That threat is real. But what is missing is a corresponding opportunity.

Copyright is not an end in itself. It is a tool to promote the creation and distribution of knowledge and culture. (68)

Best Practices Statement: Center for Social Media at http://www.centerforsocialmedia.org

Creative Commons “builds upon the ‘all rights reserved’ of traditional copyright to create a voluntary ‘some rights reserved’ copyright. It is a nonprofit and all of the tools are free.” (Boyles 72). (www.creativecommons.org)

Week 9 Readings

Bound by Law: Tales from the Public Domain. Duke Law, Center for the Study of the Public Domain.

"Get Creative." Creative Commons Web site

Read more about Creative Commons at www.creativecommons.org

Get started on Lessing's Free Culture
We'll start discussing this Week 10.

CFW available (tell your students!)

Call for Webtexts: Kairos Special Issue (Summer 2011; Proposals Due October 1, 2009)

Guest Editors: Shannon Carter, Texas A&M-Commerce and Bump Halbritter, Michigan State University

The Summer 2011 special issue of Kairos entitled (Re)mediating the Conversation: Undergraduate Scholars in Writing and Rhetoric will bring together digital scholarship produced by undergraduates composing with new media. This special issue invites undergraduates and their instructors to join the scholarly conversation in writing, rhetoric, and literacy studies through their own digital contributions.

For more information, please visit the complete call for webtexts or contact the Guest Editors, Shannon Carter (Shannon_Carter@tamu-commerce.edu) or Bump Halbritter (drbump@msu.edu).

Proposals are due by October 1, 2009.

Lost Generation (inspiration)

Worth viewing

"This video was created for the AARP U@50 video contest and placed second"

Meta-Meta Gaming

Oh, the joy of Fake News: The Onion at its finest ---


'Warcraft' Sequel Lets Gamers Play A Character Playing 'Warcraft'

Remix Extraordinaire

A fascinating remix. Story from today's All Things Considered--and a video--at 

http://www.npr.org/templates/story/story.php?storyId=101959636

"The latest viral video doesn't just come from YouTube — it's a remix of it. Amateur musicians with video cameras and homemade gadgets are all the playthings of an Israel-based musician and producer named Kutiman, who blends their sounds and images into unique songs. . . "

screen capturing tools (free[ish]!)

Wanna record a screenshot or capture video of something you can play on your desktop . . . or even create a video of something you are doing on your desktop (like my typing of this message)?

For Mac, try Capture Me (free!): http://www.download.com/Capture-Me/3000-2192_4-10302571.html

For PC, try Snag It (free trial): http://www.download.com/Snagit/3000-2192_4-10004813.html

For Mac or PC, try Jing. I've not played with this one, but it looks great! Free, too. It's at http://www.jingproject.com/

Enjoy!

Kairos Special Issue (Call for Webtexts as genre)

As I mentioned last time, I will be guesting editing (with Bump Halbritter) a special issue of the Kairos publishing digital scholarship produced by undergraduates across the country.

Cheryl Ball, the journal's editor, asked her undergraduate students to "remediate" the call for webtexts into video cfps. The first drafts are below.

I've offered some feedback already, which I'll post via "comments" below. She's sharing that with the students now. But I KNOW they'd really welcome/value your feedback as well. Share that here and I'll share that with her and the students.

If you can get that feedback to us within the next week,that'd be great. Cheryl is hoping to share these during the week of 4Cs, which may not be possible. But we remain hopeful.

The text-based CFW is below, as well as the original proposal.

Thanks!

http://eponymouslyp.wordpress.com

http://alwasowicz.wordpress.com/video-cfp/

http://www.youtube.com/watch?v=7o_kroBsX3Q

http://startingat402.wordpress.com

http://students.english.ilstu.edu/jemyer2/mmc/blog.html

http://spunkykate.wordpress.com

http://digitalmckenzie.wordpress.com

http://students.english.ilstu.edu/mdwendl/english239spring09/videocfp/finalcfp.mov

http://devana.wordpress.com/2009/02/18/video-call-for-papers/

Proposal
(Re)mediating the Conversation: Undergraduate Scholars in Writing and Rhetoric
Special Issue, Summer 2011

Guest Editors:

Shannon Carter, Texas A&M-Commerce
Bump Halbritter, Michigan State University

Summary
We propose a special issue devoted to digital scholarship composed by undergraduates. We know a lot of exciting work is being done in this area, and we wish to provide a venue for these important multimodal texts. Moreover, this special issue will celebrate the collaborative nature of student scholarship generated within the context of instruction. Thus, we invite significant contributions from the student author’s collaborating instructor.

Call for Webtexts
For years, the print-based, peer-reviewed journal Young Scholars in Writing: Undergraduate Scholars in Writing and Rhetoric (YSW) has been publishing top-notch scholarship created by the country's undergraduates. For undergraduates creating multimodal scholarship on the subject, however, no such dedicated venue yet exists.

Until now.

With the 2011 special issue of Kairos tentatively entitled (Re)mediating the Conversation: Undergraduate Scholars in Writing and Rhetoric, we will bring together digital scholarship produced by undergraduates composing with new media. We know such work is plentiful. We’ve seen it—at campus-wide celebrations, at area conferences, in our classrooms, in your classrooms. We’ve found it in in-house publishing venues resulting in local circulation and even nationally, published alongside some of the most established scholars in our field.

Circulation like this is important. It is how such work gets started, celebrated, mined, and seeded into new classrooms, programs, and approaches to composition.

Given this important work, the time is right to bring these exciting projects together, highlighting the fabulous work that’s possible amongst our undergraduates working with new media.

In other words,

Building on the tradition of the successful print-based journal Young Scholars in Writing: Undergraduate Scholars in Writing and Rhetoric and the Kairos tradition of publishing cutting-edge, multimodal scholarship, this special issue invites undergraduates and their instructors to join the scholarly conversation in writing, rhetoric, and literacy studies through their own digital contributions.

The subject of this multimodal work will address rhetoric, 
technology, pedagogy, and composition studies--the same scope 
published in the recurring issues of Kairos. The limits of what counts as scholarship will be drawn no more tightly than they are 
around Kairos submissions more generally. We want to publish 
projects that are intellectually rigorous, engaging, and important. 
Due to our experiences in working with multimediated texts, we come to this collection with some expectations for what such scholarship
will look and sound like; however, we remain open to consider submissions that challenge these preconceptions as well. We are hopeful that these submissions will expand the field’s understandings of "digital scholarship" and “writing instruction”—both in content and in form. We are certain they will.

We are also hopeful that this issue will promote further integration of new media in the undergraduate curriculum by sharing exemplar examples of student work and offering the tools for instructors interested in assigning and supporting this kind of work

(Re)mediating the Conversation: Undergraduate Scholars in Writing and Rhetoric is calling for three types of submissions that will make use of four recurring features of Kairos: Topoi, Inventio, Praxis, and Reviews. The primary difference between Topoi/Praxis and Praxis/Inventio submissions is how tightly the topic of the student text adheres to the topics of rhetoric, pedagogy, technology, writing, new media, and other topics Kairos typically publishes. Student texts that fall outside of usual Kairos topics will include an additional student-authored Inventio component.

1) Topoi/Praxis submissions: collaboratively-authored webtext comprised of the following two subsections: a) student-authored Topoi webtexts on issues tightly related to rhetoric, pedagogy, technology, writing, new media, and other topics Kairos typically publishes, and b) a teacher-authored Praxis webtext that situates the student’s work within the pedagogical aims of the assignment that invited the student’s work. Student-authored Topoi texts should be mediated as appropriate, and may include, but are not limited to, any combination of text, hypertext, images, digital video, and/or sound.
Instructor-authored Praxis texts should articulate the instructional context that shaped the text (assignment, course, learning objectives, revision/feedback structure, institutional infrastructure). In other words, the instructor-generated Praxis text should complement the student Topoi submission by providing the context from which the multimodal project emerged, but the undergraduates remain the stars of this feature so the Praxis texts needn’t be more significant than a description of the assignment itself and a brief discussion of other relevant context.

2) Praxis/Inventio submissions: collaboratively-authored webtext comprised of the following three subsections: a) a student-authored, multimedia text of any topic or genre (in other words, texts not tightly related to topics Kairos typically publishes), b) a teacher-authored Praxis webtext that situates the student’s work within the pedagogical aims of the assignment that invited the student’s work, and c) a student-authored Inventio webtext that discusses the rhetorical decisions, contexts, influences, and material resources that directed the production of the multimedia work submitted (see “a” above).

All media included in either type of submission (Topoi/Praxis or Praxis/Inventio) must have copyright clearance for publication. Please see Kairos’ policy on Copyright (http://kairos.technorhetoric.net/submissions.html#copy)

If you have any concerns about copyright, contact the guest editors. We welcome any chance to help potential authors work through these issues.

3) Reviews: In addition to the above multimodal contributions, we invite reviews (by students or by whole classes) of student-produced work that is circulating outside of the academy or maybe a few local sites that are in use at specific institutions (so, student-produced reviews of student-produced digital work), or the like. What sorts of multimodal work are students composing outside of the academy? Inside the academy? Review it for us and let us publish it in this special issue of Kairos. Please see “Reviews” at http://kairos.technorhetoric.net/reviews.html for examples of previously published reviews.

Instructors and the student authors with whom they are collaborating are encouraged to contact the special issue editorial staff early in their project’s development.

All authors/co-authors accepted to the issue will be invited to submit Review and/or Disputatio multimedia and/or webtexts in response to the work of their special issue peers for possible publication in a subsequent issue of Kairos.

Proposal Guidelines

Proposals should be submitted in a single word-processing document and sent to the two guest editors below. The proposal should include

• Author name(s) and full contact information
• Section for which the proposal should be considered (Topoi/Praxis, Praxis/Inventio, or Reviews). If you are unsure, just ask! We’ll be happy to help you find the best place for this submission. See Kairos’ submission information with section descriptions here: http://kairos.technorhetoric.net/submissions.html
• Statement from instructor regarding the context, assignment, and/or course from which the proposed project emerged/will emerge. If this is unavailable, student may submit a note stating that he/she was an undergraduate when he/she first composed this piece.
• One-page description of what you wish to develop for this special issue, including information about how far you are in the process and what you will need to develop the project you propose.

You are welcome to include a prototype (i.e., sample URL, screenshots, audio or video excerpt, etc) to accompany your design description. We cannot accept attachments over 2 megs via email. If your submission is larger than that, email us at least a week prior to the submission deadline so we can suggest alternative modes of delivery. Prototypes are not required, however, so please don’t feel you must be that far along with a project to consider submitting it. A proposal is all that is required.

Email submissions to guest editors at:

• Shannon Carter, Shannon_Carter@tamu-commerce.edu
• Bump Halbritter, drbump@msu.edu

Timeline

July 2009: CFW for the special issue goes out


October 2009: Webtext proposal deadline

November 2009: Guest Editor notifies authors of accepted webtexts,
 invited to submit works in progress to Faculty Advising Editors and/or to the sandbox for peer review (FAEs drawn from submitting faculty)


February 2010: Full webtexts due, reviewed internally


March/April/May 2010: webtexts reviewed externally


June 2010: authors notified of submission status


August 2010: final webtexts received from authors, copyediting review,
etc.


January 2011: final webtext to editors (from guest editors) for queries and proofing

May 2011: issue goes live

Kairos Special Issue
(Re)mediating the Conversation: Undergraduate Scholars in Writing and Rhetoric

Summer 2011

Invitation to Instructors--

Are your undergraduate students writing with new media? Are your students reviewing multimodal compositions created elsewhere? What are you doing to invite and support this good work? Do your exemplar student authors need a venue in which to share their digital work?

We invite undergraduate scholars to share their original, multimodal projects with Kairos readers for a special issue tentatively entitled (Re)medating the Conversation: Undergraduate Scholars in Writing and Rhetoric (Summer 2011).

If your undergraduates are producing multimodal texts on topics tightly related to rhetoric, pedagogy, technology, writing, literacy, new media, and other topics Kairos typically publishes, we invite them to submit to our Topoi section.

If your students are creating strong multimodal texts on other topics, we invite them for our Praxis/Inventio feature. Texts submitted for this feature should include a reflective piece (Inventio) that accompanies the main project submitted, offering a behind-the-scenes account of the creator’s rhetorical choices and experiences in producing this multimodal text. The Inventio text will help tie these topics to issues in rhetoric, pedagogy, technology, writing, literacy, and/or new media (as per Kairos’s mission).

For both the Inventio and the Topoi submissions, we invite instructors to submit a short essay (“Praxis”) that describes the context from which these exemplar texts emerged: assignment, course goals, revision/feedback structure, and/or other relevant items.

For this issue, the undergraduates are the stars. However, we believe that excellent work happens most readily when we are able to provide a strong infrastructure for such work. Thus, we would like for this issue to provide instructor voices in combination with these top student authors. Doing so will help facilitate the successful integration of new media into a greater number of classrooms.

Reviews: We also invite student reviews (by undergraduate students or whole classes) of student-produced work that is circulating outside the academy or maybe a few local sites that are in use at specific institutions (student-produced reviews of student-produced digital work).

For details on the Praxis, Inventio, or Reviews sections of this special issue, please see the Call for Webtexts.

If you will be inviting your students to submit, please let us know as early as possible (by Summer 2009, if you can). We wish to invite all participating instructors to serve as reviewers and hope that once accepted texts have been selected those interested in this project will remain on board to serve as “Faculty Advising Editors” (FAEs), supporting these student authors as they ready their texts for publication in the Summer 2011 issue of Kairos.

Of course, all reviewers and FAE’s will be publically acknowledged in this special issue.


¬¬¬¬¬¬
Invitation to Student Authors—

Are you an undergraduate student producing innovative, multimodal texts worth sharing with a larger audience?

Are you writing with video? audio? images? A combination of all of these modalities? What have you learned about writing, technology, literacy, rhetoric, and/or new media as a result of this work?

Share your work with an international audience!

Kairos: A Journal of Rhetoric, Pedagogy, and Technology invites undergraduates to submit multimodal texts that originated in one our more college courses. Exemplar projects will be published in the special issue tentatively entitled (Re)mediating the Conversation: Undergraduate Scholars in Writing and Rhetoric.

If your digital text (video/audio/images) covers a topic tightly related to rhetoric, pedagogy, technology, writing, literacy, new media, and other topics Kairos typically publishes, we invite you to submit to our Topoi section.

If your digital text covers a topic other than those Kairos typically publishes (see above), we invite those too! Submit these for the Praxis/Inventio feature and add a reflective offering a behind-the-scenes account of your rhetorical choices and experiences in producing this multimodal text.

If you are interested in reviewing student-produced digital work (work circulating outside the academy or within), we invite those for our Reviews section. We are looking for student-produced reviews of student-produced digital work. What sorts of multimodal work are undergraduates composing outside of the academy? Inside the academy? Review it for us and let us publish it in this special issue of Kairos.

Your instructor will be invited to work closely with you throughout the process, likely submitting a companion text that provides the assignment and other details that invited and supported the creation of your digital text.

See Call for Webtexts for details.

Deadlines and other important dates:
October 2009: Proposals Due (see “proposal guidelines” on the CFW for details)
November 2009: Authors notified of accepted webtexts
February 2010: Full webtext due
March/April/May 2010: full webtexts reviewed (internally, then externally)
June 2010: authors notified of submission status
August 2010: final webtexts/revisions due
May 2011: Issue goes live!

Week 8 Agenda (+ project deadlines)

Week 8 Agenda: Studio Time

During Week 8, I will be in San Francisco for CCCC (the big conference in my field).  Since you guys have lots to do, I'd like to hold class anyway--providing necessary studio time and a good support network in Sylwester, Luca, and Angela (not to mention the rest of you smart folks!). 

Here's what I want you to do before/during class that day:

1. Blog about our readings for Week 9 (MC's Griffin, Selfe, and Cooper). DUE 3/12

2. Blog about your plans for the final project. Use the questions on page 34 (MC) as guide. I'm talking about Figure 3.2. You'll have to adapt the tense to your future project rather than your ongoing one, but I think you can handle it! ;) DUE 3/12

3. If you've not yet shared your audio project with me (three of you haven't), ready that for me by burning it to a CD and/or sharing it via your blog. If you have questions/concerns about how, let me know. And/or take advantage of the CLiC space in the Library, where you can find Luca and Sylwester from 10-2 TWR each week. DUE 3/12

4. If you've not yet shared a video project (just a rough/short one is required at this point), ready that for me by uploading it to YouTube and/or Google Video and embedding it in your blog. If this is a draft of/portion of your final project for this class, you can identify it as that by adding "rough draft" or "incomplete" to the video description when you upload it to Google Video and/or YouTube and you can repeat that information in the blog posting itself.  Email me when that's ready. DUE 3/12

5. If you've already shared a bit of audio and video with me, then you are all caught up. Save your new video project: the "video sentence." 

Have you shared a "video sentence" or two yet? (see last week's assignment). If not, finish that up and share it today. DUE 3/12

If you have, then consider preparing a "video sentence" or two for your current project. If you captured video throughout the week for just that purpose, download it, label the parts of speech represented (noun, verb, adjective/adverb), and begin developing a new sentence or two. 

Be great if you could ready these to share before we meet again after Spring Break (3/26)

Any questions or concerns? Let me know! 

Week 7 Agenda

1. Share remaining videos (If you've not already uploaded your video to Google Video or YouTube and embedded it in your blog, do so before the end of class next week).

A couple of you have not had a chance to share your audio yet. As we are still awaiting server space, please just burn the audio to a CD (label it!) and hand it in that way. See "project deadlines" post for more about what's due and when/why/how.

2. Other items of note available at your blogs?

3. Discuss Watkins (Kairos video, "Words are the Ultimate Abstraction"), Barton and Huot (MC), Alexander (MC), Church and Powell (MC), Journet et. al (http://www.bgsu.edu/cconline/Digital_Mirrors/) [especially "In Medias Response" at http://www.bgsu.edu/cconline/Digital_Mirrors/ryan_trauman_home_01.htm ] , and "Writing with Video--Art 199" (in campus news and the interviews with former students and rubric for grading video projects and current home for "Writing with Video" at UIUC)

3. Capture video in groups of 3-4. Spend no more than 45 minutes wondering campus (or elsewhere!) and capturing 10-15 second clips of "texts" in the world (on campus or elsewhere). Try not to develop any theme yet. Think broadly about what's worth capturing. Be silly. Be observant. Think creatively. What do you see, hear, and experience in your walk about your chosen location? Project adapted from http://writingwithvideo.net/module01.htm.

4. When you return, transfer the footage as separate clips to your desktop. "After reviewing each clip, name the clip using one of the grammatical terms above (noun, verb, adjective/adverb)."

Import these clips into a MovieMaker project file. "Then create at least [one] 'video sentences' using your collection. Each sentence should use between 3 and 9 clips. No one sentence should be longer than thirty seconds.

"These pieces can be fun, serious, literal, straightforward, or mysterious. It is required, however, that you have a good time in the process. . . .

"Purpose: Become comfortable using a camcorder; develop a habit of always looking and listening--paying attention--to what's going on around you; get some experience using [MovieMaker], start thinking of video as a language; experience how editing (choosing content, sequence, and pacing) creates interest and meaning."

5. Upload to YouTube or Google Video, embed in your blog, and SHARE!

6. Consider borrowing a Flipcamera for the week and capturing short video clips relevant to your final project. In class next time, create 2-3 additional "video sentences" that you can use directly in/for your final project.

Web 2.0

After viewing Wesch's work (especially "The Machine is Us/ing Us"), it seems like a good idea to begin bringing in some additional words/ideas/examples of Web 2.0 culture.

Social Networking in Plain English

Social Media in Plain English

RSS in Plain English

Wikis in Plain English

Twitter in Plain English

What about Twitter? "Twitter is a service for friends, family, and co-workers to communicate and stay connected through the exchange of quick, frequent answers to one simple question: What are you doing?" (from http://twitter.com/)

Just a start. So many others, including Facebook, MySpace, Live Journal, etc. 

Readings for Week 6

Patrick Berry, "Multimodal in 60 seconds" <http://dmp.osu.edu/multimedia/Multimodalinsixtyseconds.mov>

Bowden and Vandenberg, "Who is a Writer" <http://comppile.org/NCoW>

Michael Wesch, "A Vision of Students Today" and  "Web 2.0: The Machine is Us/ing Us" (see also mediated cultures)

Funk Plastic

Week 5 agenda

1. Complete and turn in "Self Evaluation: Audio" (MC, Appendix 14, page 230)

2. Introduce Movie Maker, discuss and play

3. Import images (check out http://creativecommons.org/ , click "Search CC Licenced Work," click the "Flickr" tag, begin searching for what you might like to use. To capture, right click image, scroll to "save picture as," and rename it something relevant. Keep a list of titles/urls so you can credit them later. Also keep track of their CC license.)

You don't have to use Flickr for this. I invited you to bring images if you wanted to. Do that.

4. Import images and audio into Movie Maker. Let's play! (Movie Maker workshop)

5. Discuss Keller, Branscum and Toscano, Raney, and Watkins.

6. "Don't Be Silent!" (Luca's documentary). discuss in terms of content and technical and rhetorical (and aesthetic) choices.

Windows Movie Maker

Thursday, 2/19, we will begin working with video. The editing program we'll use is widely available and surprisingly easy to use. If you own a PC, you have Movie Maker. If you own a Mac, you have iMovie. These programs are quite similar.

A Windows Movie Maker Tutorial you might find useful.


More at http://www.youtube.com/watch?v=JZXK68NS7gU&feature=related

Week 5 Readings

Read:

Raney, "New Media, New English": http://faculty.tamu-commerce.edu/scarter/597/raney.pdf

View:

Watkins, Robert. "Words the Ultimate Abstraction: Towards Using Scott McCloud for Teaching Visual Rhetoric." http://www.technorhetoric.net/12.3/topoi/watkins/index.html

and don't forget about the assignment chapters from MC

Thanks!

inspiration (audio)

"Writing is as much a sonic practice as a textual one"




Philip Tagg

What a Scream!

--experimenting with detective themes--

From YouTube description:

One of fifteen experiments in writing typical detective themes, "I Recall Bacall" has been set here to classic film noir footage. Silly credits are added in typical forties font. I use this music (and visual) genre study in my film music teaching.

Others: at Tagg audio

Intel Inside (Jingle Analysis)

From YouTube description: Part 1 of extended version demonstrating what the famous 4-note Intel inside jingle mans and how it works. Part 2 is longer and includes intertextual connotations and musical commutations.

Week 4 agenda

1. Discuss/Share Blogs

2. Q&A

3. audio projects: share (live)

4. What's next for your audio projects? share (common assets); next class: create rough videos with available audio and photos collected from Creative Commons and Flickr)

4. discuss Tagg (see complete article), French Manicure

5. discuss Keller, Branscum and Toscano, Watkins and Raney

6. audio showcase continued

7. Q&A, complete audio (ready for video?)

Audio, Week 4

So you've captured and edited audio. You've downloaded (public domain) audio and edited together multiple tracks.

You've played with audio. You've shared it (some). We'll share more in class 2/12. We'll share it by loading it into our common assets.

But right now you are just playing with audio. It needn't be a high quality piece. Production needn't be high. It doesn't even need to make sense. It just needs to show that you know how to mess with audio.

After that, the real work begins.

If you choose to create an audio project for your final assignment, you'll want to think about the kind of "thing" you'd like it to be. an audio essay? soundscape? a sound portrait? something else?

Perhaps you are interested in creating the first episode in a new podcast series. Or developing a podcast-like project to share with the National Conversation on Writing or some other structure designed for sharing.

Lots of great ideas are available in your book (Multimodal Composition) and in the "inspiration" posts located here and in your classmate's blogs.

What is a podcast?

Audacity Tutorial

Want to do more with Audacity? Try out the Audacity tutorial at SourceForge <http://audacity.sourceforge.net/help/> or check out the overview at Transom <http://www.transom.org/tools/editing_mixing/200404.audacity.html>

audio recorders (reminder)

If you have an audio recorder you'd like to use, bring it to class tomorrow. We'll begin capturing/editing audio Thursday, 2/5.

You'll be doing this in groups and I have at least one recorder to share. So if you don't already have a recorder you wish to use, don't run out and purchase one. (unless you just really want to) We've got you covered.

Week 3 Agenda (change)

Multimodal Scream--------------------

--------------------------------
Plans for Thursday, 2/5
__________________

At 6:00, the pre-conference reception begins (for the Federation Rhetoric Symposium).

I would like for you to have the opportunity to attend as much of this as possible, so we'll try to end class by a little before 6:00 rather than 7:10. That means we'll plow right through without a break and cut some of our discussion of the readings a bit short. I want you to have plenty of time to capture audio and, if possible, begin downloading. So that means we want to begin your interviews by no later than 5:00. Our agenda follows.

1. Blogs/audio/Audacity questions
2. National Conversation on Writing (contributions + Digital Installation at FRS)
3. Tagg/MC/French Manicure (We'll likely push much of this discussion to next week)
4. Technical suggestions, audio assignment
5. Go forth and collect audio!
6. Return and upload audio to computer. Edit out ums and ahs with Audacity (remember NPR's "Behind the Curtain")
7. Party and Dr. Fulkerson's!

Readings for Week 3

Kitchen Sisters (producer) (28 April 2000). "French Manicure" NPR> Lost and Found Sound.

http://www.npr.org/templates/story/story.php?storyId=1073505

Philip Tagg, "Reading Sound"

http://faculty.tamu-commerce.edu/scarter/597/tagg.pdf

playing with urls

check out the National Conversation on Writing.

http://www.ncow.org/

Public Domain: Sounds, Images, Audio, Video

Many sounds/images/video clips are available for your use. Items in the public domain are free and clear of copyright restrictions.

Free, public domain sound, images, audio: http://www.archive.org

Free, public domain sounds: http://www.pdsounds.org/catalog
[Free Sound Library: Public Domain Sounds]

Free, public domain sound, images, audio: http://www.djusd.k12.ca.us/technology/images.htm

Free music: http://freeplaymusic.com

Audacity: Download/Install

Install Audacity: http://audacity.sourceforge.net/download/

It's free and it's safe. And wonderfully easy to use.

Audacity Tools: Live Recording (advanced)

For the most part, we'll be using Audacity to edit sound recorded elsewhere. But you can record something live into Audacity via a microphone.

Here's how: http://sharepoint.chiles.leon.k12.fl.us/techportal/Flat%20World/audacity_quick_guide.pdf

or

http://www.utexas.edu/student/esl/computer/audacity-new.pdf

Sometimes Audacity is useful in recording something you can't seem to download and port into Audacity but are able to actually *play* on your computer. If you need it and would like to work with it, simply play it on your computer and record that sound via the method described above.

Just FYI