- Mar 2016
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Arranging our rhetoric around human subjects and not around things brings humans to the forefront and things to the background. This arrangement allows for a lack of intentionality in how we treat our things.
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The fact that this lecture appears on You Tube is a testament and an example of how digital media is changing rhetorical situations. Whereas in a pre-You Tube era, Bennett would have spoken one speech to one room of people with the possibility for an audible share devoid of physical evidence (I am thinking of a tape recorder here), now she speaks to a much wider audience with all of her visual aids in tact.
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twentyfour.fibreculturejournal.org twentyfour.fibreculturejournal.org
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Reciprocal determination is a non-linear form of determination that emerges from a process of interaction.
Interaction then encourages non-linearity.
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Finally, the concept of assemblages shows promise in theorising multiplatform television as an arrangement that challenges a linear determination based on a cause and effect logic, in favour of a multi-determinate trajectory.
Finally, a non-linear approach to rhetoric, an art that is often misconstrued as being married to the the linear.
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Keilbach and Stauff have a similar issue with the framing of television as a stable medium. They argue that recent discussions about the dramatic changes in television that ‘distinguish the medium’s current heterogeneity from television as it used to be’; [imply] that television once had a stable identity that is now being called into question
This is the same assumption that we make with the internet, that it has a past that has been stable, but this is not the case. The very nature, as they say later, of televisions that of change.
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In the US context, Amanda Lotz argues that the shift to the digital multiplatform has altered television’s industrial logic and therefore requires ‘a fundamental reassessment’ of how television ‘operates as a cultural institution’
This is the same argument that is taking place over rhetoric in the face of digital media.
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engage with a show’s interactive material or create and distribute user generated content.
Engaging in what we see brings an experiential aspect to television that we lacked before.
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eis-blog.soe.ucsc.edu eis-blog.soe.ucsc.edu
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What an interesting intersection of experience and the digital. By creating a program that is able to stand in for experience to an extent, Bogost attempts to solve one of rhetoric's shortcomings: its disconnect between thought and action.<br> After speaking to a classmate, I wonder whether these systems would be truly useful in any scenario. Perhaps a game about obesity would be less effective than a game about literacy.<br> An additional thing to consider is the power that the programmer, or the rhetor, has in this case. Whoever comes up with such a representational game that seeks to replace experience with with an artificial media has the same power that Plato feared back in the days of the Phaedrus.
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- Feb 2016
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eds.a.ebscohost.com.ezproxy.gsu.edu eds.a.ebscohost.com.ezproxy.gsu.edu
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421 So there is a debate: do we redefine rhetoric in the face of new technologies or does such a definition reduce us?
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"When skepticism runs so high that irrationality is resolutely accepted as the new rationality" 421
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eds.b.ebscohost.com.ezproxy.gsu.edu eds.b.ebscohost.com.ezproxy.gsu.edu
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Websites get their context from the other sites they appear with. Unlike written work, they do not stand alone in a series of other things. They can and should be interrupted.
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This idea of Da-sein on 322 is particularly key in organizing online resources. Nothing can be sure from this vantage point, only that everything hangs on the present moment, on the click.
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eds.a.ebscohost.com.ezproxy.gsu.edu eds.a.ebscohost.com.ezproxy.gsu.edu
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The readers are not as in control as they think. Each provided link is rhetorically provided or suggested through words or location. 320
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Aristotle is deemed out of date, and Robert R. Johnson says that audiences of this generation have a great "role in producing the texts they consume", but how great is that role and how much do texts actually dictate?
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The web, "Unlike broadcast television, it must engage the cognitive AND physical energies of users in order to capture them" 318 This leads me to picturing Plato's story of Ra and Theuth. Action and language come closest in the digital realm.
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Planned flow is a type of rhetoric that leads from one thing to the next all within the same interface, a feature that greatly widens our horizons. 317
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The Web's hyperlinks cause less of a river-like flow and more of a promising glimpse of things to come. 316
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"The key novelty of digital textuality is the way in which it has 'liberated' audiences". What is now "linking" was before "research".
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As they would have had to with the advent of writing, and as they did with the advent of the printing press.
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www.theatlantic.com www.theatlantic.com
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This article and the movement to which it refers is just the sort of conversation that Perry wants us to have about the disabled or otherwise disrespected bodies in our society. He wants us to figure out why they are in a system that causes them to be put at the mercy of others so that we can go about repairing that system. I wonder though, what does repair on such a massive and engrained issue look like?
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www.broomcenter.ucsb.edu www.broomcenter.ucsb.edu
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n Mike’s worldview, fighting for dignity at the cost of giving up his free-dom had paid off.
This statement reminded me of the Perry Article. For some reason, I was reminded of the scene in which a disabled woman has to ask a server to feed her. It seems that in a society where there are so many odds against you, you either bow or you stand. These boys stood.
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I asked Ronny to tell me how he learned about not shaking white women’s hands. He told me that his white female teachers had asked him to keep his distance, white women on the street would clasp their purses when they saw him walking by, and white female store clerks would nervously watch him when he walked into an establish-ment. Ronny had been socialized from a young age to overcom-pensate around white women to show he was not attempting to harm or disrespect them.
It is my opinion that there is no escape from the embodied reality of binaries. In relation to Derrida, one thing is simultaneously something and not something at the same time. It is the same with people, and it shapes how we relate to each other. While we may try to condition ourselves away from our natural responses, the fact of the matter is that we are all different, and different has always scared humans.
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america.aljazeera.com america.aljazeera.com
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Perry's article brings me back to Hunter's idea of the embodied classroom. How much more handicapped might the embodied classroom feel for those who are unable to move? I also wonder what it would say for the "able-bodied classroom" to operate one way while the "disabled classroom" operates another. We already see this division in our public schools, but how and why is it there? Is it beneficial?
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Stuart is an exception to the social norms that view disabled bodies as unattractive, and she gets to be that exception only by conforming to specific body norms.
This reminds me of Lane's article. The work of women is always tied back to their bodies. The gaze is shifted here from Stuart, a woman following her dreams, to how women should occupy space.
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The message should be that people with disabilities can set and achieve goals, not that thin equals beautiful.
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Why is Qdoba not accessible to disabled patrons in the first place? No one should have to wait outside a door to be let in. And shouldn’t Kentucky provide appropriate community-based supports for this individual so a disabled woman can lead a more independent life rather than rely on the kindness of strangers?
Instead of seeing the situations such as what happened in Qdoba as ghastly, we see the civilian who must step in as a hero. What we fail to see is the humiliation that is ingrained into the disabled person's cries for help.
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- Jan 2016
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drive.google.com drive.google.com
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If he had any identity-but he is precisely the god of non identity-he would be that coincitientia oppositOJ'um to which we will soon have recourse again.
The inventor of writing is the "god of nonidentity". He lacks embodiment.
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Be in the sky in my place, while I shine over the blessed of the lower regions ... You are in my place, my replacement, ant/you will be called thm: Thoth, he who replaces Ra.
Positioning here is important. Thoth stands in for Ammon Ra, but is still considered a lesser god than the original. He is merely a place-holder, not the thinker.
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"I am Thoth, the eldest son ofRa. "I' Ra(the sun) is god the creator, and he engenders through the mediation of the word. 18 His other name, the one by which he is in fact designated in the Phaedrus, is Ammon. The accepted sense of this proper name: the hidden. 19 Once again we encounter here a hidden sun, the father of all things, letting himself be represented by speech.
"Representation by speech" is the important part here.
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Plato had to make his tale conform to structural laws
Once again, the physical body of an argument or story is extremely important.
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Living-beings, father and son, are announced to us and related to each other within the household of logos.
Once again, positioning and bodies are important. Father and son have bodies that exist within a certain space, a space that logos describes.
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Logos, a living, animate creature, is thus also an organism that has been engendered. An organism: a differentiated body proper, with a center and extremities, joints, a head, and feet. In order to be "proper," a written discourse ought to submit to the laws of life just as a living discourse does.
The "argument" is supposed to an organism, but this organism is defined by the very same organism, which is logos.
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it would suffice to pay systematic attention-which to our knowledge has never been done--to the permanence of a Platonic schema that assigns the origin and power of speech, precisely of logos, to the paternal position
The word presented with the physical body is "more trustworthy" than the word presented away from the physical body and in it's own physical form.
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writing will have no value, unless and to the extent that god-the-king approves of it.
Again, the value of writing is tied up in approval that comes from outside of the body.
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Books, the dead and rigid knowledge shut up in biblia, piles of histories, nomenclatures, recipes and formulas learned by heart, all this is as foreign to living knowledge and dialectics as the pharmakon is to medical science. And myth to true knowledge.
True knowledge, then, implies experiential or physical knowledge.
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It is at this point, when Socrates has finally stretched out on the ground and Phaedrus has taken the most comfortable position for handling the text or, if you will, the pharmakon, that the discussion actually gets off the ground
Here is another parallel between scene , or the physical world and function within the story.
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The themes, the topics, the (common-)places, in a rhetorical sense, are strictly inscribed, comprehended each time within a significant site. They are dramatically staged, and in this theatrical geography, unity of place corresponds to an infallible calculation or necessity
There is no argument without physical bodies with which to feel heat. Physical heat gives way to philosophical conversation. One does not happen without the other.
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The logographer, in the strict sense, is a ghost writer who composes speeches for use by litigants, speeches which he himself does not pronounce, which he does not attend, so to speak, in person, and which produce their effects in his absence. In writing what he does not speak, what he would never say and, in truth, would probably never even think, the author of the written speech is already entrenched in the posture of the sophist: the man of non-presence and of non-truth.
There is a resistance to the job of a logographer (speechwriter) here because the worker can never embody the work. That is to say, he never presents the work that comes FROM himself AS himself. There is a disconnect between the art and the artist that makes people uncomfortable. A modern-day example of this is the musician, SIA.
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But the inability to accomplish what has been well conceived is precisely a proof of old age. "
Again, the written word is linked,wrongly, to the physical body.
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It was at first believed that Plato was too young to do the thing right, to construct a well-made object.
This acts as if it takes a certain type of body to compose a certain type of written composition. The connection between the body and the work perhaps considered to be of too much importance.
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Since we have already said everything, the reader must bear with us if we continue on awhile. If we extend ourselves by force of play. Ifwe then wrilea bit: on Plato, who already said in the Phaetinn that writing can only repeat (itself), that it "always signifies (semainei) the same" and that it is a "game" (paidia).
As far as embodiment is concerned, Derrida begins by claiming that writing and reading are extensions of ourselves, and that those two things that are extensions of ourselves are the same thing. They are also, according to Plato, a game, one that we must play in order to make sense of things even if they are truly just repetitions.
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jitp.commons.gc.cuny.edu jitp.commons.gc.cuny.edu
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“But they beckoned; leaves were alive; trees were alive. And the leaves being connected by millions of fibres with his own body, there on the seat, fanned it up and down; when the branch stretched he, too, made that statement. The sparrows fluttering, rising, and falling in jagged fountains were part of the pattern; the white and blue, barred with black branches. Sounds made harmonies with premeditation; the spaces between them were as significant as the sounds.” (Woolf 1925, 22) Septimus observes that “the spaces between them [the harmonies] were as significant as the sounds.” In embodied digital studies, we endeavor to make similar observations about the spaces between the 1s and 0s, following in the steps of Douglas Rushkoff (2013): “There’s nothing in between that 1 and 0, since a computer or switch is either on or off. All the messy stuff in between yes and no, on and off, just doesn’t travel down wires, through chips, or in packets. For something to be digital, it has to be expressed in digits” (50). But we can choose to live in between the 1s and 0s—we can choose to live a life that is not programmed.
We are not human so that we can simply sit and rot away our "aliveness," if you will. We are human and a part of the living culture in this earth. Why would we diminish all that we are to the World Wide Web, a simple human construct that cannot express half of what exists?
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When she signs the ponytail, does she give emphasis to the sweeping of the hair off ones shoulders, or does she emphasize hard clasp and tight grip of the ponytail holder on the back of her head
It's not WHAT she does, but HOW she does it that needs to be expressed.
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The lesson in many ways was also more transformative, with one student fundamentally changing her consumer behavior as a result of the assignment sequence.
Physical action or experience leads to a more permanent change than verbal acknowledgement.
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“If we [professors] can be replaced by a computer screen, we should be.
So many classrooms now operate with the intention of "moving the classroom forward," "going digital," or "meeting the students where they are" by being online. All of this is okay as a tool, but not as a main form of communication. The caring human body accompanied with a flaming personality, interesting actions, and energetic spirit cannot be replicated by technology.
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nonverbal communication means—a phrase I threw around lightly when I was giving my students instructions. It does not include signed English, it does not include captions on a screen, and it does not include visual aids. Rather, it is the story we tell with our bodies.
Often, we replace verbal communication with verbal communication. We have been taught from a young age to connect with each other in a linear and verbal manner, so have a difficult time expressing anything physically. This makes me immediately think of dance, the ultimate form of non-verbal communication. Somehow, dancers are able to communicate without mime and without a system of language.
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Disability is not an object—a woman with a cane—but a social process that intimately involves everyone who has a body and lives in the world of the senses” (2)
If you consider, for a moment, one's time at school or as a member of "active society," we sit in our cars in order to walk from the parking lot to sit in our classes, then we sit in the library, walk for a few hours at work if we have a job in which we have to be mobile, and then come home to sit in front of a TV. In short, our human capabilities go widely untapped. There is an entire kinetic being who is being ignored here.
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I propose that we engage the physical space of the classroom as well as the expressive space of an embodied pedagogical practice
The lecture-based teaching style has been found, through research, to be the least effective and also the most prevalent.
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