Cover

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pp. 1-3

Title Page

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pp. 4-4

Copyright

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pp. 5-7

Contents

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pp. vii-9

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Acknowledgments

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pp. ix-13

Several people deserve thanks for contributing to the making of this book. Victor Vitanza, my dissertation chair, mentor, and friend, whose work inspired this book. Victor continues to inspire me in all areas of life. Gregory Ulmer, whose concept of electracy frames all aspects of my scholarship and teaching. Geoffrey Carter, who single-handedly helped propel my own think-...

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1. Introduction: Electracy, Videocy, and Participatory Composition

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pp. 1-28

Embed. Share. Comment. Like. Subscribe. Upload. Check in. The commands of our online world relentlessly prompt participation, encourage collaboration, and quite literally connect us in ways not possible even five years ago. This connectedness no doubt changes college writing courses in both form and content, thus,,,

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2. Recasting Subjectivity for Electracy: From Singularities to Tubers

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pp. 29-48

In 2010, ToshBabyBoo’s video—dedicated to her friends on the live video chat site Stickcam and posted on YouTube—circulated around the Internet and created an instant buzz. This video, which is over six minutes long, simply features ToshBabyBoo singing along to a popular song coming from her headphones, so we only hear...

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3. The Question of Definition: Choric Invention and Participatory Composition

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pp. 49-76

Vitanza’s first counterthesis raises the question of definition, or What is x?, and this chapter examines this first of three theoretical constructs that create a framework for electrate and participatory practices. These three constructs are based on the countertheses and include: the question of definition (What is x?), the question of...

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4. Who Speaks When Something Is Spoken? Playing Nice in Video Culture

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pp. 77-100

In the spring of 2010, a YouTuber who went by the moniker “peachofmeat” posted a video in which he revealed that he had just pulled off the YouTube scam of the century by manipulating Facebook fan pages. To grasp the severity of the scam, we must first understand the importance of “subscribers” to any one YouTube user. As both Burgess and Green and Alexandra Juhasz have pointed out, achieving popularity...

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5. Participatory Pedagogy: Merging Postprocess and Postpedagogy

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pp. 101-118

As one of the field’s enduring areas of contention, the rift between theory and practice in rhetoric and composition still elicits strong response and creates distressing separations between “irresponsible,” “abstract” theory and “responsible,” “real-life” practice. For electracy, as Ulmer has shown in most of his works (most notably Teletheory and Heuretics), theory is practice; that is, theories in electracy are...

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6. Afterword: Productive Knowledge, Participatory Composition

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pp. 119-140

Participatory composition, inspired by Ulmer’s early articulation of “videocy” (see chapter 1) and suitable for the emerging apparatus of electracy, offers a way to link writing, participation, and video culture from multiple perspectives. I hope this effort both contributes to and offers a different take on the growing numbers of rhetorics for electracy and presents readers with an alternative for both...

Notes

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pp. 141-146

Works Cited and Consulted

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pp. 147-162

Index

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pp. 163-169

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Author Biography

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pp. 170-183

Sarah J. Arroyo is an associate professor of English at California State Uni-versity, Long Beach, where she teaches courses ranging from composition and critical theory to digital rhetoric and multimedia composition. She has published articles in JAC, Composition Forum, Kairos, Enculturation, ...

Back Cover

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pp. 184-184