109 Matching Annotations
  1. Apr 2016
  2. onlinelibrary.wiley.com.ezproxy.gsu.edu onlinelibrary.wiley.com.ezproxy.gsu.edu
    1. 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 Sequential

    2. 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.

    3. 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)."

    4. 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."

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

    6. 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.

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

    1. The full rhetorical impact of the student's composition cannot emerge without the song, which functions metaphorically and ironically to forward the author's main point.
    2. Then, Karen (JoBeth Williams) goes to the church organ to play an instrumental version of Alex's favorite song: The Rolling Stones’ 1969 release, “You Can’t Always Get What You Want” (Jagger and Richards, 1968 and Jagger and Richards, 1969).
    3. “You Can’t Always Get What You Want”
    4. But, we can also think of the song itself as a symbolic object
    5. This title could be the epitaph on Alex's tombstone; instead, it is the thesis for Kasdan's film.
    6. I certainly encourage students and instructors to develop collaborative relationships with musical composers and/or to experiment with computer programs such as Apple's GarageBand in order to develop integrated-media compositions with “original” musical soundtracks.
    7. We may hear two characters talking in a crowded restaurant but not hear any other noise that would surely be there, for example, other restaurant patrons, background Muzak, or wait-staff explaining the daily specials. The filmmaker selects, interprets, and focuses what we hear just as carefully as she, or in the case of most Hollywood films he, selects what we will see and how we will see it.
    8. musical rhetoric may enable us to hear new possibilities

      This, but more specifically this

    1. hypocrisy concealed by an original source or to argue for an alternative view
    2. Pop culture and contemporary political media may seem freely available for subversive remixing into new digital compositions
    3. who repurpose the foundations of history are less easily forgiven.
    4. The Gay Life
    5. Fruit Punch
    6. “text”
    7. “intrusion of sorts, resenting and even actively rebelling against what they may experience as the ‘imposition’ of race, class, gender, sexuality, or (more generally) cultural issues on their ‘neutral’ course of study” (2003, p. 117, her emphasis). Student resistance to feelings of “intrusion” has much to do with how they engage with the politically charged materials; how they “attribute identity or intention to a writer in order to understand or account for a text” ( Haas, 1993, p. 23)
    8. This essay brings the longer pedagogical concern for engagement with texts into the multimodal composing context, shifting the emphasis of affordance to how different modes and mediums also afford certain kinds of engagement in the process of composing. This shift returns to the origins of “affordance,” coined in 1979 by ecological psychologist James Gibson. Above all, Gibson was concerned with perception—with what guided our attention to some environmental aspects over others and how this sensory reception of an environment “afforded” different behaviors.
    9. When digital scholars attend to the affordance of a mode or a medium, they tend to emphasize what kinds of composing its constraints help produce, such as the “particular affordances of sound” to “convey accent, emotion, music, [and] ambient sounds” (Takayoshi & Selfe, 2007, p. 9) or the “affordances of a digitally connected, networked environment” to “enable combinations of sounds, images, motions, and words” (Adsanatham, Garrett, & Matzke, 2013, p. 317).
  3. Mar 2016
    1. 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.

    2. 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.

    3. 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.

    1. 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.

    1. 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.

  4. Feb 2016
    1. the first being a dystopia and the second a promise that as yet no one knows how to fulfill.

      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.

    2. But, if I dare say so, the fact of the mat-ter is that matters of fact are in great risk of disappearing, like so many other endangered species

      The science of politics replaced by the politics of science.

    3. Earth as a quasi-organism

      Earth: object, assembly, or organism?

    4. cosmos

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

    5. ommensals

      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.


    6. This is precisely the point where compositionism wishes to take over: what is the successor of nature?

      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.

    7. Progress is fully reversible and that it is impossible to trust in the clear-sightedness of anyone—especially academics.

      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.

    8. iconoclash

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

    9. With critique, you may debunk, reveal, unveil, but only as long as you establish, through this process of creative destruction, a privileged access to the world of reality behind the veils of appearances

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

    10. stop going further in the same way as before toward the future.

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

    1. analyzes


    2. Critical thinking no longer means critiquing a work and explaining it to your audience, but asking questions and challenging a work or idea and never stop asking questions and exploring new ideas.

      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.

    3. what could be part of my career one day.

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

    4. of that


    5. Does the client want a light hand or a deep, heavy editing job performed on a piece?

      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!

    6. help the way you write and can keep things uniform

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

    7. skills

      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!)

    8. rapidly going over


    9. and thousands


    10. writing has been written down


    11. web and blog sites

      "websites and blogs"

    12. I was still a skeptic.

      in what way? this is kind of ambiguous.

    13. What I learned was that rhetoric not only consisted of persuasive writing, but rather all types of writing.

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

    14. Was I ready to study persuasive writing? Could I write this way? Could I convince an audience to change their perspective on a topic?

      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

    15. . To me,

      remove "to me" and consider combining these sentences

    16. began to shift. I began my introductory concentration class (English 3050) in the fall of 2014. There, we began

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

    1. 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.

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

    3. 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.

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

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

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

    1. This is a snapshot

      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.

    1. 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.

    2. shape, race, origin, and more


    3. The tongue is a crucial organ in ancient rhetoric

      Are our handles a reinvention of the tongue?

    4. cutting out her tongue

      Harder to silence a Twitter account

    5. disruptive technologies

      New bodies? Or enhanced?

    6. “for the past twenty-five hundred years in Western culture, the ideal woman has been disciplined by cultural codes that require a closed mouth (silence), a closed body (chastity), and an enclosed life (domestic confinement)”

      Aforementioned closed avenues

    7. Today’s feminist rhetoricians are in the midst of seeking alternative avenues of shaping their voices

      Because traditional avenues have always been close to women

    8. abortion Barbie


    9. Attack, dissent, and harassment arise online when women speak/write/act outside of the expected cultural codes

      Direct connection between body and rhetoric

    10. Her social media presence

      Extended body

    11. At what point must a female senator raise her hand for her voice to be recognized over the male colleagues in the room?

      Women treated as lesser rhetors

    12. Internet

      Internet as a body

  5. Jan 2016
    1. At what point must a woman speak online in order for her voice to be recognized? More specifically, women of different backgrounds and contexts often experience different harassment when speaking outside these codes

      Lane's core question.

    2. #StandWithWendy

      People as rhetorical symbols via digital rhetoric

    1. I mean an intelligent word graven in the soul of the learner, which can defend itself, and knows when to speak and when to be silent.

      This is Plato's definition of embodiment

    2. I cannot help feeling, Phaedrus, that writing is unfortunately like painting; for the creations of the painter have the attitude of life, and yet if you ask them a question they preserve a solemn silence. And the same may be said of speeches. You would imagine that they had intelligence, but if you want to know anything and put a question to one of them, the speaker always gives one unvarying answer. And when they have been once written down they are tumbled about anywhere among those who may or may not understand them, and know not to whom they should reply, to whom not: and, if they are maltreated or abused, they have no parent to protect them; and they cannot protect or defend themselves.

      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.

    3. you give your disciples not truth, but only the semblance of truth; they will be hearers of many things and will have learned nothing

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

    4. But there is something yet to be said of propriety and impropriety of writing

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

    5. Have a little patience, Phaedrus and Socrates, they would say

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

    6. eikonology

      Assuming this is an alt spelling of "iconology"

    7. gnomology

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

    8. diplasiology

      ""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

    9. the body which from being one becomes double and may be divided into a left side and right side

      The body as analogy for rhetorical argument

    10. the rhetorician

      Rhetoric, embodied

    11. the speaker who knows the truth may, without any serious purpose, steal away the hearts of his hearers

      Orator makes the plan, rhetoric does the crime.

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

    13. The art of disputation, then, is not confined to the courts and the assembly, but is one and the same in every use of language; this is the art, if there be such an art, which is able to find a likeness of everything to which a likeness can be found, and draws into the light of day the likenesses and disguises which are used by others?

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

    14. The art of disputation, then, is not confined to the courts and the assembly, but is one and the same in every use of language; this is the art, if there be such an art, which is able to find a likeness of everything to which a likeness can be found, and draws into the light of day the likenesses and disguises which are used by others?

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

    15. reverse of good

      interesting rhetorical hoop to jump through

    16. only heard of the rhetoric of Nestor and Odysseus

      Rhetoric wielded by others may be shaped and defined differently

    17. Cutting to the chase

    18. Lo! a Spartan appears, and says that there never is nor ever will be a real art of speaking which is divorced from the truth.

      Rhetorical embodiment of a rebuttal

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

    20. what will be the harvest which rhetoric will be likely to gather after the sowing of that seed

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