Human-system/Tool-system fine-grained intersections and compositionalities. There are UX and UI levels here. There are likely further levels having to do with intentionalities of (semi-) autonomous Tool Systems, how they are to be guided by Human intentionalities, and - most importantly - how humans fully ascertain and guide their own intentionalities.

How many copies of Blair's Lectures (62 editions, 51 abridgments, and 10 translations) did he stumble across? (see Rhetorical Tradition Enlightenment intro)

Key players in shaping rhetoric and university curriculum in the 18th and 19th centuries (Cf. James Berlin's account of composition instruction in American universities)

A striking statement/juxtaposition in a way -- interesting to think of these two concepts as "allies." However, sometimes things that are most unlike each other work the best together.

https://secure.ncte.org/store/strategies-for-teaching-1st-year-comp This book has great articles on first-year writing courses, but I'm specifically pointing to one entitled "An Honors Course in First-Year Composition: Classical Rhetoric and Contemporary Writing" By Marvin Diogenes, Stanford University.

Hospitalists as QB should play leadership role in integrating all members of care team

I'm looking at this in the context of McLuhan's argument for technology as an extension of the human being. It seems to me that Barad also sees the "human" as extended beyond the materially contiguous body, but also in terms of reverse, humans as an extension of worldly processes, extended through us. The "person" stops being a discrete, immiscible beings, but "specific local parts" operating in "mutually implicated" elements of the world.

It seems as though this decision to mandate the "current-traditional" approach of rhetoric in the academic setting cut out a large personal aspect of what rhetoric originally had

Point raised by Fr. Ong in The Presence of the Word "With the appearance of what we have called the sound-sight split in Latin, that stream of the language which developed into the modern romance vernaculars remained in use in the home, but the other stream known as Learned Latin, which moved only in artificially controlled channels through the male world of the schools was no longer anyone's mother tongue, in a quite literal sense." There was an active language-world for women in ancient Rome, but its one that was not recorded, and is now lost to time.

No way Fish believes this.

The important thing seems to be the self-consciousness. Nietzsche (swear to God, if the quiz asks us to spell that name, I swear to God) is trying to avoid the "I identified the problem, and thus, I've solved it." The image of unmasking their pretensions has the dangerous risk of thinking that the mask is something outside the norm, and that there's something stable underneath it that's been revealed.

There's already a print annotation on the move forward to network theories, but what really strikes me about this is an earlier note from LoLo about collaborative and invitational rhetoric, and these co-ops seem like a laboratory for developing them. If nothing else, I'd love to know more about the dynamics of these, being something akin to the modern Writing Center but for developing a spoken voice.

This is linkage I find compelling as composition is not reducible to writing.

It can generally be agreed that the composition of an argument also befalls under the general umbrella of rhetoric.

As Dr. Lynch is fond of recounting, even when women's colleges became a thing, Rhetoric was not part of the curriculum, and Composition was considered the women-appropriate substitute. Also, we're a century away, but the impact of pragmatic concerns on women's rhetoric will come back with A Room of One's Own.

Did these become the same thing?

What makes it go dead? Recognition? As "beauty"?

One of the most puzzling moments: romanticism is linked with 1914 and with a widespread linkage of sameness and difference. Is the idea that romanticism, as the first "modernism" in language, normalizes the idea of a break, of discontinuity in search of continuity?

Three principles of "composition": continuous present, beginning again and again, using everything. Unpack this for students.

Introduction of Stein's "continuous present," the idea of creating a rich, contingent space for the writer in the act of writing and the reader in the act of reading, a temporality that abolishes the neat past/present/future triad of traditional narrative.

Another motif that recurs throughout: composition creates a distance in space and time. We are here and its is "going to be there," appearing to us from a distance.

First occurrence of this motif: central principle of composition is repetition, is "beginning again," a phrase which Stein evidently loves for its poetic qualities as much as its investment in creating loops of time.

Side note: Stein's argument here is extremely close to that of Eliot's in his 1919 "Tradition and the Individual Talent," though Eliot is advocating for the "classic" rather than the newness of the new.

Temporality of "composition": the experimental artist disrupts and then is integrated into history as a "classic." Stein jokes (seriously) that "there is almost not an interval" between these two moments, that we forget that (for example) Picasso was an "outlaw" once he has become "classic" and "beautiful." It's certainly the case that a tour through MoMA is rich in examples!

New term. The discussion of war leads to the discussion of "composition" with "time-sense," temporality, the idea of the new art as making a break in time.

Beginning of a set of riffs on WWI narrowly and war more broadly: war as that which makes a break, produces difference. To this extent, modernism is deeply implicated with WWI and (perhaps) with war in general.

Stein emphasizes that "ways of looking" change, and the list of verbs emphasize the power of the "composition" to derange looking and make us see "the same thing" anew in ways that "make a difference."

This word "composition" will be THE keyword in the piece. Note how much S freights "composition" with here: a) it inserts a wedge between generations (i.e., each generation has its own "composition" that is authentically "new"); b) it's something that only those who "know it" perceive, thus internally splitting a generation between those who are down with its "composition" and those who lag.

This word "composition" will be THE keyword in the piece. Note how much S freights "composition" with here: a) it inserts a wedge between generations (i.e., each generation has its own "composition" that is authentically "new"); b) it's something that only those who "know it" perceive, thus internally splitting a generation between those who are down with its "composition" and those who lag.

I see how this is problematic.

Yes!

Yes: this is so key.

Yes.

The real purpose of Hawk's pedagogy.

As opposed to "synchronic."

This seems to refer to my last comment: composition is not just about composing function and ADTs, but also makes concurrency composable.

From this first lvar paper: http://lambda-the-ultimate.org/node/4823, if two sets of modifications can be structured to commute, then they are guaranteed to be thread safe and thus can be composed.

This is important. All abstractions can be grounded in some concrete event or situation. However, the practice of starting with theory often ignores this and students struggle to grasp abstractions that are suspended in space. Given that all abstractions have origins, it should be easy to situate instruction in something concrete.

Baritone sax

Technique called "Planing"

Digital annotation is particularly suited to this type of everyday writing practice.

In a sense, it's more like posting to Facebook or Twitter than writing an essay. But because it is grounded in text, it encourages more thoughtfulness.

At the same time, if students are regularly annotating using an application like hypothes.is, then they will surely exceed the word count usually required in a five page essay. Annotation projects might be seen as pre-writing--a collaborative drafting space for ideas and language to be developed later in formal papers--or it might be seen as an end in itself.

This is essential to the pedagogy of annotation as well. The first step must be to identify an appropriate selection of text from a document. The annotation itself is the space for analysis.