Tag Archives: FYC

Final Draft: Remix as “Concept, Material and Method” in FYC

My digital essay project asks what we stand to lose–as scholars, teachers, and students of writing–by insisting that multimodal composition and traditional academic writing participate in fundamentally different modes of making meaning. Though many other scholars have productively registered the dissonances between these two kinds of composition, in my essay I consider what we might stand to gain by listening for the resonances. Ultimately I suggest that the lens of “remix” can help us, and our first year writing students, to see academic and multimodal composition as founded on a set of shared intellectual practices– and so doing, help us to find new ways to bridge past and future, academic and public discourse, alphabetic and non-alphabetic writing.

If that didn’t convince you to check it out, in my essay I do close readings of the two texts below, and argue that they participate in very similar intellectual practices of making meaning. Don’t you want to see me try to make that move?


This essay really developed out of a blog post I wrote for this seminar in response to Lawrence Lessig’s Remix: Making Art and Commerce Thrive in the Hybrid Economy. Though I was completely on board with his enthusiasm for possibilities of free, open, remix culture, I was troubled that he felt it necessary to argue that multimodal/digital remix is somehow more complex than alphabetic/academic writing. As I thought about it more and dove into the scholarly literature, I realized that Lessig made two assumptions that were widespread in discourse on multimodal comp: 1) that these are two completely different practices of producing meaning, and 2) that alphabetic (and academic) writing is our past and multimodal comp is our future. These realizations led to the first two parts of my digital essay: “The Same Refrain” and “History/Futurity.” The next two sections, “Textual Layers” and “Resonance and Dissonance” developed out of my attempt to define what I saw as the real similarities between the two seemingly disparate types of texts.

Affordances & Constraints
In my essay, the most obvious affordance I took advantage of was the ability to embed video, which allowed me to isolate and showcase pieces of the music I was close reading. (Close listening?) But I also tried to make strong use of links throughout my essay, which I found to be a much more elegant and rich form of citation than clunky scholarly citation styles. Also, although there are few images in my project, I tried to use them suggestively rather than literally, to correspond to the kind of theoretical/conceptual work I was trying to do. It’s something that seems to work in this medium, but would probably look ridiculous in print. Lastly, no other medium would allow me to extend this project over time in public as a website permits me to do. I’m really looking forward to sharing my remix-focused teaching materials and blogging about my teaching experiences in the fall!

The biggest constraint was trying to manipulate the architecture of my website. WordPress themes are incredible, on the one hand, because with very little effort, they make your work look polished. On the other hand, they are unreasonably difficult to alter or customize in any way. It reminded me how badly I want to become proficient at writing code (I took a couple of intro-level courses on Python and Java, and absolutely loved it). This makes me think that to get serious about digital academic work and making best use of its affordances, we’re going to have to get a lot more technologically proficient.

Remix and FYC: 1st Draft

Okay gophers, I can’t lie. This thing is a hot mess: http://remixandfyc.wordpress.com/

Summary: I argue that there are some problems with the way scholarship in rhet/comp is thinking divisively about multimodal writing vs. alphabetic writing in the composition classroom, and ultimately suggest that the concept of remix can help us to highlight the similarities in the kinds of intellectual practices we want students to take on inside the academy– within and across modalities. Though I haven’t yet been able to get the posts in the right order on the website, here is how I’ve broken this essay down:
1) Key Terms: I try to define what I mean by “alphabetic writing” “traditional academic writing,” “multimodal composition,” “digital composition” and “remix”– and the relationships between them.
2) The Same Refrain: I argue that the way we’ve come to differentiate sharply between the ways that alphabetic texts and multimodal texts produce meaning is problematic.
3) History/Futurity: Some Discursive and Conceptual Snags: I try to show that one problem with the scholarly discourse around alphabetic and multimodal writing is the assumption that alphabetic writing is an almost-extinct practice of the past, and multimodal writing is the future.
4) Textual Layers: I haven’t written this section yet, but I will argue that we can conceptualize traditional academic writing as a practice of selecting and layering pieces of other texts to produce meaning in the same way that multimodal composing does. This intellectual mode of making meaning is the practice of remix. I plan to work through two specific examples: one piece of alphabetic academic writing, and one piece of multimodal remix (probably a musical remix).
5) Resonance and Dissonance: Again, not yet written, but I will argue that a key feature of the practice of good remix, in alphabetic and multimodal forms, is the ability to recognize and control the resonances and dissonances produced by the rubbing together of these layers/pieces of other texts. I intend to continue working with the same examples from the section above to show how this intellectual practice works on both alphabetic and aural levels.

Gaps/problems: Oh so many. You can see from the above that I’m really only halfway done. I also need to work in a bibliographic page in addition to linking out within the posts. I need to figure out how to rearrange my posts so that they show up in the right order on the home page. [Update: Figured out how to get them in the right order. Pro tip: It’s a total pain.] I’d love to figure out how I can group the posts under different tabs, so that the current ones all go under “Theory”; and so that I can add posts this summer under “Materials” (putting syllabus and lesson plans for an E110 course centered around remix) and in the fall under “Practice” (updates and reflections how how it works in practice). I also have an incredible amount of material in note form responding to different scholarly texts on multimodal vs. alphabetic composing, but very little of it has made its way into my essay yet 😦

Feedback: I’d love to get some feedback on the general shape and organization of my argument as I’ve laid it out above, and on the actual prose as it is emerging in my first few posts. Are there gaping holes you see already? Can you follow my argument? Is it too obvious, repetitive, dull? Aside from needing to get the posts in the right order, what do you think of this format for my essay? I was originally going to do a video, and that increasing felt wrong for the content. Do you have any suggestions for aethetics/format/style? Visuals/images/audio/video?

I really appreciate any feedback you’re able to offer at this stage. I’m sorry I don’t have a more complete draft to share!

With gratitude,

Remix as “Concept, Material and Method” in FYC

I’d like to use my digital essay project as a way to explore a possible solution to a set of challenges I’ve continually bumped up against in teaching first year composition (FYC) for the first time this spring. These particular challenges have originated, at least to my mind, from a lack of “content” in my FYC course; while I’ve continually brought in ‘outside material’ other than the Arak Anthology and the Allyn & Bacon Guide to Writing, my students have not been tackling a related set of writings that ‘speak to’ one another in some way. I’m finding this particularly regrettable as they set off on their research projects. It’s not surprising, when I reflect on it, that many of them had difficulty coming up with an interesting question to pursue. They’re almost all freshmen, so few of them have a sense of ‘conversations’ they might like to enter in their disciplines, and they haven’t engaged in any sustained way with a set of related ideas and texts throughout the semester, so they aren’t coming into any new ‘conversations’ in an authentic way.

The possible solution I’m interested in exploring “the use of remix as concept, material and method” for FYC, to steal a phrase from Kathleen Blake Yancey (who was using it to describe the process of redesigning the comp/rhet graduate education program at FSU). There are clearly many different possibilities for the ‘material’ of a FYC class, but I am particularly intrigued by the conceptual and methodological possibilities of remix as an entry point for FYC students into intellectual thinking and composing. I’d like to further pursue a line of thought I picked up in my x5 blog post, about the potentially fruitful parallels between multimodal remix and academic writing. I’m interested in what might be gained by seeing intellectual writing as already a (mostly monomodal) form of remix, and seeing other kinds of remix as participating in a similar kind of intellectual discourse. If we can reimagine the discourse of the academy and the discourse of remix as practices of layering and arranging other texts to produce something new, then perhaps we can help FYC students start to break down the walls they often sense between the academic and public types of composing and reading they tend to do (as well as the walls between the different modes in which these compositions can be accomplished—‘text’ vs. ‘media’).

I’m conceiving of my project, then, as divided into two parts: theory and practice. In the theory section, I intend to engage composition theory and other scholarship about remix, to explore and potentially make the case for remix as a particularly apt “concept, material and method” for FYC. In the practice section, I intend to come up with a set of materials for teaching an FYC course centered on remix—at the minimum, readings and a set of major assignments, with commentary for other teachers who might potentially be interested in teaching an FYC course with remix as its theme. Though it’s unlikely I’ll get to it before the semester ends, I’ll also design a full syllabus and series of lesson plans over the summer, as I’d like to test drive this course in the fall.

As such, the platform I select for the project needs to be flexible enough that I can add to it later. I really enjoyed creating the Concept in 60 video and would like to find a way to make use of video in my essay—I may actually try to put the “theory essay” in video format, because I think it would be one way to make that material more engaging. For the platform itself, I’m actually kind of a fan of Prezi. It allows the viewer to move through the material at his/her own pace, and it offers a giant canvas for presenting related ideas in a dynamic way. Plus you can embed video as well as text, so it seems flexible enough to accommodate the range of modes I’m hoping to use. Although my essay would likely contain more alphabetic text than this Prezi digital essay, I think the graphics, layout and incorporation of video are something to aspire to.

In terms of texts to work with, I think I’m more in danger of having too many than not enough. I suspect this is actually going to be my biggest challenge, since “remix” has become a bit of a buzzword in comp studies in the past 10 years; finding something new to say, or at least something usefully synthesizes others’ ideas, may be difficult, though I don’t believe it is impossible. Since Lessig was my initial starting point for this line of thought, I will likely work with him. But as I mentioned earlier, I’d like to engage some composition scholarship: Kathleen Blake Yancey had done interesting work on multimodal composing/remix; Eduardo Navas’s e-book Remix Theory: The Aesthetics of Sampling looks promising; and Johndan Johnson-Eilola, Stuart Selber and our own Joe Harris have done really interesting work on the relationship between plagiarism and remix in composition. Since I’m interested in the connection between alphabetic compositions and new media compositions, I’m also exploring Walter Ong’s concept of “secondary orality” in Orality and Literacy. In terms of teaching material, Catherine Latterell’s student textbook Remix: Reading and Composing Culture may provide both a source of inspiration and something to critique, since at least in my skimming through it, it seems rather distant from what I initially had in mind for my remix FYC class. I also found this video miniseries that might be a nice introduction for students to some of the main lines of thought around remix:

Some have started to push back against remix, too: a recent piece in Computers and Composition by Brian Ray argues for “genre uptake” as a more useful concept than remix for students composing in new media, which is already testing my thinking on remix in potentially generative ways. And I’m sure there’s a bunch more stuff out there—I’ve only started to scratch the surface.

Questions for you folk: do you have any immediate responses to my line of inquiry that might help me narrow my thinking and research? Because the idea of remix is so popular in composition right now, I am slightly worried about my scope and about finding something new to say. What do you think about Prezi as a format? Would a WordPress site be more practical? Any materials you’re aware of that might be useful?

Thanks in advance for taking the time to read and respond to this. I just realized this post is over 1,000 words. FML. Concision: I’m still working on it.