Jones and LeBaron p.512: "Mutual influence is especially complex and subtle in face- to-face situations because visible forms of communication occur simultaneously with one another and with vocal messages, and exchanges among persons can occur both sequentially and instantaneously."

Simultaneous Sequential

Jones and LeBaron p. 506: Schegloff rightly argued that “per minute” calculations are an inadequate basis upon which to evaluate sociability and suggested that behaviors be counted according to whether they occur in “environments of possible relevant occur- rence” (p. 103)—that is, places where such behaviors would be appropriate in an interaction.

Jones and LeBaron p. 503: "A major current trend is to emphasize mutual or co-active influences. Although it is still common, among quantitative studies, for verbal and nonverbal behaviors to be coded as separate messages assumed to have distinct meanings, some researchers are attending to the interplay of messages between interactants, rather than merely the behaviors of one person in an interaction. Somewhat con- trived situations are often used in such studies, but the new emphasis on mutual influence contrasts with the traditional experimental approach in which a confed- erate performs certain planned behaviors in order to see the effects on the other person(s)."

Jones and LeBaron p. 502: "For instance, he observed that if a speaker held a gesture in midair while pausing, no change in speakership would occur, even when various relinquishing behaviors were exhib- ited—the “turn-suppressing” gesture in effect canceling out the meaning or effect of the other behaviors."

Jones and LeBaron p. 502: "The implicit assumption was that frequent behaviors were more important in achieving closure to the conversation."

Jones and LeBaron p. 500: "Mead argued that members of cultures derive meaning from facial expressions by relating them to the context in which they occur, including both verbal and non- verbal behaviors."

Context can be essential to understanding gesture.

Jones and LeBaron p. 500: "certain facial expressions are universal"

The ability of music to change the interpretation of what is portrayed visually

Scene

"You Can't Always Get What You Want"

Song as symbolic of characters

Television theme song as thesis

How Music Helped “The Adventure Zone” Podcast Get Better

The soundtrack

Example in which the "soundtrack" is the imagery

This, but more specifically this

Example

Obama sings

First

And then

The Gay Life

Fruit Punch

audio as text

interruptions can change courses (ignore the tweet)

http://www.radiolab.org/story/91512-musical-language/ The first section

https://www.youtube.com/watch?v=qAeybdD5UoQ

self edifying principles

approachably disruptive

wonder what Humphrey would think of Unflattening

also smells of McCloud

color as indentification

mindfulness

what words can't say (Christmas Truce 1914)

(p. 12)

ne c'est pas une bande dessinée (I don't actually know french so I hope I said that right)

smells procedural

reminiscent

What Bogost seems to be wanting to do with his procedural games is turn what would normally be highly analytical or requiring a great deal of scholarship, and gamifying it into something not only easily consumable, but potentially fun. Without sacrificing the quality of content of the information he wishes to transmit, he is making the material more accessible not only to a wider audience, but even to the audience the material may already be intended for.

Bogost's presentation demonstrates how directly rhetoric can affect our environment and how we interact with it. For instance, in the game he developed for Cold Stone Creamery, Bogost uses procedural rhetoric to show the player the relationship between the viscosity of different ice creams, and the profit margins of the company. After being exposed to this relationship in such a concise and understandable fashion, the player will now interact with the ice creams differently than they had prior to playing the game.

While Bogost does not directly address whether we should evolve academic discourse, I believe his work demonstrates how we can use digital media to frame the conversations we have that involve academic discourse differently. If the things we have academic discourse about are evolving, the ways in which we conduct said discourse ought to evolve in ways that suit the materials and subject.

After seeing this screen enough times, one begins to understand that this game is not about luck, or brute force, or the techniques with which games are traditionally played. This game is about understanding games, it is about understanding mechanics, and it is about understanding systems. Each enemy is a system that must be learned in order to defeat it. Without mastering each system, progress will never be achieved. In a sense, Bloodborne teaches the player about games themselves.

After seeing this screen enough times, one begins to understand that this game is not about luck, or brute force, or the techniques with which games are traditionally played. This game is about understanding games, it is about understanding mechanics, and it is about understanding systems. Each enemy is a system that must be learned in order to defeat it. Without mastering each system, progress will never be achieved. In a sense, Bloodborne teaches the player about games themselves.

Evolved version of earlier thesis. This is the application of his earlier discussion of "inevitable direction" of progress--the predetermined route. Rather than mitigating our inevitable demise, we calls for movement with admission of not knowing.

The science of politics replaced by the politics of science.

Earth: object, assembly, or organism?

Seems to be projecting our issues (rightly) beyond this planet.

com·men·sal·ism kəˈmensəˌlizəm/ noun Biology noun: commensalism

an association between two organisms in which one benefits and the other derives neither benefit nor harm.

(Google)

Latour is concerned with this idea of succession. This seems to be one difference between our guidelines for critical thinking and his call for compositionism. While we can write about a writer, and content, and how something is written, we are not asked to succeed the authors ideas with any of our own. Or rather, we aren't explicitly asked too--though that may be the implicit call of our classes themselves: go build.

We collectively seem to be able to edit our current narrative. This pushes back against the idea of permanence in digital culture. Because we don't have a figurative "undo" button, we can cite our mistakes instead of hiding from them.

"Clash" implies that there is something going up against the idea in question rather than trying to destroy it altogether.

Critique seems to believe in access to the "inevitable direction of progress."

I hear echos from my Literacy Studies courses; current-traditional ideology, anyone?

analyses

Lauren, You've got a lot of great content in this CRE, but I would say expand on your specifics. You fall into the habit of trying to list as much as you can, and the importance of the assignments and course material gets lost in the number of things you cite. Consider cutting it down to the few assignments that really shaped who you are as a rhetorician, and give us more insight into what those projects taught you. The only other thing I'd add is that your essay ends very abruptly with your definition of critical thinking. While I hate putting bows at the end of essays, consider leaving us with something outward-facing or a statement on your career in rhetoric at GSU rather than another definition.

Again, I'm with Karina here. Really wanna know what career you're thinking about (even if it's just speculative)

omit

Again, I feel like phrasing this as a question omits the importance of why this is applicable to your studies. Consider phrasing as a statement that elaborates on what this means and why it matters. Don't be afraid to show of what you know!

very vague. try to highlight something specific you took away from the class that you now use in your writing

What skills? This is where you get to show off specifically what you learned. maybe tie in the Google Maps project--especially if it's one of your artifacts (hyperlinks!)

phrasing

omit

phrasing

"websites and blogs"

in what way? this is kind of ambiguous.

I'm with Karina here. I love that we're seeing how you're developing your definiton--now show us what is is.

I think these questions would be better suited as statements. Phrasing them as concerns will give better explanation to your situation and refrains from giving the end of this paragraph a campy "what will our heroes survive? tune in!" vibe

remove "to me" and consider combining these sentences

"began, began, began." consider cutting this down to just one to avoid being too repetitive.

There is a certain level of embodiment inherent to a webpage that replaces the content generator with the "computer" in HCI. The content creator is not prompting or asking a user to follow hyperlinks, nor are they (in the case of the Wikipedia article) actively encouraging flow. The passivity of this optional flow is born of the webpage, and though the content creator may have generated the hyperlink, it is the webpage itself the offers the prompt. This disrupts the traditional relationship between author and audience, and places the content itself in the role of offer by "pointing" away from itself.

p. 324-5: great expository writing on a digital text

Reeves argues that, though internet texts do not necessarily change the fundamental nature of rhetoric, there is an emergent form of rhetoric created by it. The locus of power in this rhetoric is in the dynamic between the rhetorical flow generated by the content creator(s)/editors and the user that navigates via their independent (though influenced and directed) flow through said content.

p. 320: flow is not necessarily inherent but user generated

p. 317: interjection of commercials within and between shows blurs that line of where one program stops and another begins

p. 315: is it actually "liberating" or just another form of restraint?

While this piece does not directly address the subject of race in its body, the theme runs through the narrative and the syllabus alike. The subject at hand inherently has to do with the "marking" of Black bodies by white police officers (and white society as a whole). What is subversive about this is the use of the digital sphere to create a voice in the education of the youth that does not exist in our education system. In this case, it is the syllabi of the school systems that silence Black bodies by exclusion and erasure from history books and lesson plans. I did not read the Derrida article, but as long as America excludes peoples from recognition in the education and rhetorical spheres, the binaries we are confined by will be perpetuated indefinitely. This is not to say that Black and white will not be used as identifiers relating to struggle, oppression, and history, but that, essentially, you cannot escape a binary while one end is experiencing oppression.

The power that digital bodies wields can far out weigh the power of embodied rhetoric. In the NPR story involving Lindy West, her troll created a Twitter profile for her dead father in order to troll her. This is something that would not be possible, or anywhere near as dangerously powerful in a physically embodied sphere.

Intersectionality

Are our handles a reinvention of the tongue?

Harder to silence a Twitter account

New bodies? Or enhanced?

Aforementioned closed avenues

Because traditional avenues have always been close to women

Disgusting...

Direct connection between body and rhetoric

Extended body

Women treated as lesser rhetors

Internet as a body

No age too young to start learning about the subject

Personal narrative

Lane's core question.

People as rhetorical symbols via digital rhetoric

This is Plato's definition of embodiment

For Plato, writing, whether on paper or spoken, is disembodied, as they are severed from their creator. They cannot speak beyond what they have said.

Truth must be learned to be had, not simply read or heard.

distinction between writing and speaking. For Plato, there is a difference between the rhetoric of speaking and of writing.

There is danger in those who believe they are skilled rhetoricians, yet know only but the surface of the subject.

Assuming this is an alt spelling of "iconology"

Gnomology: (obsolete) A collection of, or a treatise on, maxims, grave sentences, or reflections.

""Diplasiology” means “doubling” words; the Neoplatonic commentator Hermeias understood the term literally, as in “Alas, alas”; modern scholars tend to think words compounded of two roots are referred to." according to this

The body as analogy for rhetorical argument

Rhetoric, embodied

Orator makes the plan, rhetoric does the crime.

The skilled rhetorician can dispute their own argument, lest it be undone.

Rhetoric is not owned by a discourse but rather is nestled within discourse itself

Rhetoric is not owned by a discourse but rather is nestled within discourse itself

interesting rhetorical hoop to jump through

Rhetoric wielded by others may be shaped and defined differently

Cutting to the chase

Rhetorical embodiment of a rebuttal

It is not rhetoric's job nor purpose to seek the truth, but rather persuasion that may be used in service of the truth

Rhetoric personified as one that might assess or take stock of language--in this case a farmer.