I was much more open to arguments for teaching "new media" texts before I read these three texts. For some reason I just am not persuaded that students lives will be irreparably damaged if I don't teach them to create and upload crappy videos.
I might have been more persuaded by the Ball and Moeler article if I hadn't kept having this irresistible urge to go out and by a Big Mac... ;)
Despite all the apocalyptic rhetoric of these texts covering seven years of imminent danger to composition if it doesn't realize that composition students' futures absolute depend on their ability to learn how to impose text over images while music plays in the background because, well, just because that's what everyone's doing, or will be doing some day...someday when I won't be able to write this blog entirely in alphabetic text because...well because...
So, I think I'm a bit skeptical about the need for everyone to learn how to compose multimodal texts. I really don't see a time when not knowing how to compose with Flash will severely limit anyone who isn't going into a career where knowledge of flash is essential.
I also don't fully accept the assumption that new media texts construct meaning in radically different and new ways. We had "multimodal" texts before computers came along. Television and Movies have been mixing visual, audio, and textual modes for over a century. That we can now do this so much more easily doesn't create a radical shift in how those modes interact to make meaning. The more things change: the more they stay the same. I don't deny that things are changing, but it is more a matter of style than substance.
All this skepticism isn't aided by the fact that these texts themselves are such terrible examples of new media texts. Their designs are horrible. Sorapure's text is itself at least visually appealing though awkward and ironically linear (at least if you don't intentionally fail to follow all the cues designed to help you read it linearly), but the examples of student texts it holds up as models of academically rigorous texts that we should replace alphabetic assignments like research papers with seem mediocre at best. They certainly fail to convey as much information as a good academic essay, even those written by freshman. The effect of these student examples is to destroy the ethos of these new media advocates, who are making huge claims and then supporting them with these compositions that can 't help but underwhelm anyone who has taken undergraduate graphic design classes.
Why teach students to write alphabetic texts when they could be making really bad social action commercials. That's as important as helping them learn to write academic essays and articles, isn't it.
Sorapure's text is, at least, fairly well designed itself, something I can't say about Ball and Moeller's, which presents itself as the epitome of bad design from the McDonald's colors to the division of the screen directly in half with a box screen making the text marginally more readable, the visuals of this text are cringeworthy. Add to that the fact that once again, for all its pretenses, this is a linear alphabetic text (with a few opportunities to diverge if you want), and the persuasiveness of the text is destroyed. This is what we should be producing? Teaching? This is more important than some aspects of print literacy?
Admittedly I've been sick and sleepless for days, so maybe I'm overly critical, but these texts persuade me that the fervor over new media is largely just frivolous distraction.
I'm a bit more convinced regarding the suitability of teaching rhetorical analysis of new media texts than I necessarily am of their production. (Realizing again that it all comes down to definition, let me state that at this point what I mean by new media is primarily the digital texts students encounter online). I can accept the reasonableness of the argument that, if students are inundated with these digital texts and unable to critique them rhetorically--which I don't know that they are lacking in this ability, I'm just going by the reading--then they are potentially more susceptible to arguments that may not be in their best interests. I suppose what I'm wondering, John, is whether you see teaching new media analysis as a fitting component of the composition classroom, even if new media production is not?
ReplyDeleteJohn, I share with you some of that frustration, but I also feel that there is something about change that is threatening, especially to writing teachers in this context because if we’re going to replace our “traditional” ways of teaching with a “digital pedagogy,” I feel that a teacher in communications or graphic design can teach our writing classes, which brings me another point. Is expanding rhetoric and composition as a discipline to include more and more pedagogies and technologies useful or harmful? Are we losing our identity as a discipline when we expand? Or/ and are we redefining what constitute our discipline?
ReplyDelete"I also don't fully accept the assumption that new media texts construct meaning in radically different and new ways."
ReplyDeleteJohn, I definitely agree with you here, and your belief that this is mostly a change in style and not substance. I think that the main weaknesses of Sorapure and Ball and Moeller is that the websites present the multimodality of their definition of new media as the FUTURE (a caps lock future) without fully acknowledging what forces created and composed it in the first place.
Lana, you ask terrifying questions!
I had a similar response to these articles, although I'll give the student compositions a bit more credit than "mediocre." I think that part of my resistance to these articles is based on what I see as the underlying expressivist approach of the authors. Ball, Moeller, and Sorapure all seem to talk at one point about the creativity their assignments unlocked in their students. While that sounds very nice, I too think that the apparent fluffiness of the assignments seems to be lacking academic rigor.
ReplyDeleteFrom my perspective, I think that the suitability of teaching new media production lies primarily in the value of imitation as an effective means of acquiring a more thorough understanding of rhetorical concepts. For example, I once took a class in the rhetoric of satire. It would have been a lit course, except that in addition to analyzing texts, we also composed them. The assignments were fun and entertaining (much like new media can be), but having to imitate certain satirists' styles also gave me a much deeper understanding and appreciation of their rhetoric than analysis usually would. Thus, if we believe that analyzing new media is important, then composing it could be an important aspect of our teaching practices.
I agree, John. My reading experience was similar. I think Amanda brings up an important question. How might new media ANALYSIS fit in? While I think some of the student projects were interesting, I was not at all convinced that I should be teaching this kind of assignment in my class.
ReplyDeleteYou mentioned that you were unimpressed by any of the three readings, although you didn't say much about Clark. While I have some of my own reservations about Clark, I was at least intrigued by the idea of the ePortfolios she used. There, at least, students were not playing with video and images that, to me, don't hold as important a place the composition classroom. (Perhaps I should say WRITING classroom). Clark's use of the ePortfolios, as well as what Lana presented about Wikis, seem to me to have a potential role in our classrooms. As far as the video goes, though, I also am very skeptical and need more convincing.
Thanks all for those insightful comments.
ReplyDeleteAmanda,
I do think part of our work in composition classes is to help students learn to read critically/analytically/rhetorically, so learning to analyze digital/visual/multi-modal texts could be part of that, but I think learning to read print texts in such a way transfers much more easily to reading digital texts than vice versa. My students don't seem to struggle nearly as much with analyzing digital/visual texts as they do analyzing print-based texts. (I'm not reifying the common assumption that visual/multimodal texts are easier or simpler, but my students don't seem to struggle with them as much for whatever reason) So, I probably would devote more time to teaching students to rhetorically analyze the print texts they struggle with than the visual/digital texts that I think they "get" better than these authors give them credit for.
Lana,
I think that what we risk is creating so many sub-specialties within the discipline that we are likely to see new breaks/realignments of disciplines like when speech, comm, then linguistics formed. That is already beginning as more and more writing departments break away from "English." The main break, though, might be just that as rhet. comp divorces itself from literature and to a lesser extent creative writing offering more of its own undergraduate degrees part of which could be classes in digital rhetoric and composing for digital.
I do think that I can compose print texts with little understanding of new media, but the opposite is not as true.
John,
I agree that composing often teaches us more about reading than reading alone (just like teaching something is the way to really learn it), but in this case having students compose digital texts requires a great deal of time just to get them to the point where they can compose anything at all. None of these texts so far seem to be much concerned about teaching students to compose quality digital texts, which requires even more time to cover theories of how visual designs communicate: color theory, focal point, visual hierarchy, type as image, making and breaking grids, typography—size, weight, style, serif/sanserif, kerning, tracking,etc.— (so people might make type decisions purposefully rather than randomly.
I thought the student examples mediocre because I've seen undergraduate work in graphic design programs that put all these examples, including the authors' to shame.
Matthew,
Clark's text was interesting, but I found it somewhat inconsistent. The injunction seems to be to teach students to compose multimodal texts, but eportfolios are more about making us of a tool than necessarily composing digitally. Most eportfolios end up as simple websites where other texts, many if not most of them print texts, are stored and, I hope, presented in an interesting way. I see using eportfolios like using blogs or wikis: using digital tools to teach anything I want to teach. Of course, with that mentality, I don't worry too much about teaching them visual design; I just except whatever they can do, but then I don't pretend like I'm doing something more.