Video Culture, Writing, and Electracy
Publication Year: 2013
Like. Share. Comment. Subscribe. Embed. Upload. Check in. The commands of the modern online world relentlessly prompt participation and encourage collaboration, connecting people in ways not possible even five years ago. This connectedness no doubt influences college writing courses in both form and content, creating possibilities for investigating new forms of writing and student participation. In this innovative volume, Sarah J. Arroyo argues for a “participatory composition,” inspired by the culture of online video sharing and framed by theorist Gregory Ulmer’s concept of electracy.
Electracy, according to Ulmer, “is to digital media what literacy is to alphabetic writing.” Although electracy can be compared to digital literacy, it is not something shut on and off with the power buttons on computers or mobile devices. Rather, electracy encompasses the cultural, institutional, pedagogical, and ideological implications inherent in the transition from a culture of print literacy to a culture saturated with electronic media, regardless of the presence of actual machines.
Arroyo explores the apparatus of electracy in many of its manifestations while focusing on the participatory practices found in online video culture, particularly on YouTube. Chapters are devoted to questions of subjectivity, definition, authorship, and pedagogy. Utilizing theory and incorporating practical examples from YouTube, classrooms, and other social sites, Arroyo presents accessible and practical approaches for writing instruction. Additionally, she outlines the concept of participatory composition by highlighting how it manifests in online video culture, offers student examples of engagement with the concept, and advocates participatory approaches throughout the book.
Arroyo presents accessible and practical possibilities for teaching and learning that will benefit scholars of rhetoric and composition, media studies, and anyone interested in the cultural and instructional implications of the digital age.
Published by: Southern Illinois University Press
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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-...
1. Introduction: Electracy, Videocy, and Participatory Composition
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All the practices used to conduct schooling are relative to the apparatus of literacy. In the history of human culture there are but three appa-ratuses: orality, literacy, and now electracy. We live in the moment of the emergence of electracy, comparable to the two principal moments I believe that the arrival of free online video may turn out to be just as ...
2. Recasting Subjectivity for Electracy: From Singularities to Tubers
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Two specters are haunting the discipline of Writing Studies. Those specters are the unified subject and the hegemony of communitar-ian thinking. These specters come in the guise of process theory and Yet critical pedagogy has been part of composition for nearly twenty years now. Is it fair to ask: At what point are you no longer blundering ...
3. The Question of Definition: Choric Invention and Participatory Composition
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This chapter was cowritten by Cortney Kimoto (Smethurst), a graduate of the English rhetoric and composition M.A. program at California State University, Long Beach, What is X? . . . is a question that excludes and purges. What do I want, wanting to know? . . . What is it to know (to no)? This contrary ques-tion allows me to interrogate the What is X? question . . . By saying ...
4. Who Speaks When Something Is Spoken? Playing Nice in Video Culture
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And in this game one speaks only inasmuch as one listens, that is, one And the question is how to write as auditors rather than orators.But the purposes and meanings of YouTube as a cultural system are also collectively co-created by users. Through their many activities—uploading, viewing, discussing, and collaboration—the YouTube com-...
5. Participatory Pedagogy: Merging Postprocess and Postpedagogy
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From Plato to the present, one of the invidious tests for whether or not a notion or practice has any value is to determine whether it can be generalized (is generic) and whether it is transferable (codifiable, teachable). If not, usually the assumption is that there is no method but merely a knack, an irrationality that is left to the forces of chance....
6. Afterword: Productive Knowledge, Participatory Composition
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Thus, as students learn the things we ostensibly teach, we might also ask what students are not learning. What other forms of writing and thinking are being shut down or distorted—forms of writing that have 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 ...
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Works Cited and Consulted
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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, ...
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Page Count: 208
Illustrations: 1 line drawing
Publication Year: 2013
Series Title: Lost American Fiction