About the Readings
Reading are listed in alphabetical order, not the order in which they are assigned (not all essays will be assigned, but it is suggested they they all be read). Many of the essays are PDF files that require a PDF reader, like the free Adobe Reader. Notes from BW are in [ ]. Not all texts listed will be assigned.
Learning Record Texts to be Read for Week 2
- Learning Record Overview
- History of the Learning Record
- Six Dimensions of Learning
- Using Small Multiples
- Grading Criteria
Benjamin, W. (1973, 2003). Extracts from The work of art in the age of mechanical reproduction. In A. Wells (Ed.), The photography reader (pp. 42 – 51). New York, NY: Routledge. [PDF]
Burgin, V. (1977, 2003). Looking at photographs. In A. Wells (Ed.), The photography reader (pp. 130 – 137). New York, NY: Routledge. [PDF]
Dylan, J. (2008). A Shared Culture.
Edwards, R., and Tryon, C. (2009). Political video mashups as allegories of citizen empowerment. First Monday, 14(10).
Faden, E. (2007). A Fair(y) Use Tale. YouTube.
Ferguson, K. (2011, 2012). Everything is a remix, parts 1 – 4.
Gaylor, B. (2009). RIP: A remix manifesto. EyeSteelFilm / National Film Board of Canada.
golfmnkvn (2009, May 7). Crisis of significance. Youtube.
Highland, M. (2006). As real as your life. Presented in D. Perry Are games better than real life? TED [start watching at 10:00 for Highland’s movie, though I recommend the whole video]
Jenkins, H. (2009). Confronting the challenges of participatory culture. Cambridge, MA: MIT Press. [This is a link to the PDF for the full monograph, which MIT Press has made available for free.]
Johnson, S. (2009, June 5). How Twitter will change the way we live. Time. [PDF found online because after 4 years Time decided to put it behind a paywall.]
Kelly, A. (1979, 2003). Self image. In A. Wells (Ed.), The photography reader (pp. 410 – 416). New York, NY: Routledge. [PDF]
Kelly, K. (2008, November 21). Becoming screen literate. The New York Times. [Printable version.]
Kress, G. (2005). Gains and losses: New forms of texts, knowledge, and learning. Computers & Composition, 22, 5 – 22. [PDF]
Kuhn, A. (1991, 2003). Remembrance. In A. Wells (Ed.), The photography reader (pp. 395 – 401). New York, NY: Routledge. [PDF]
Lauer, C. (2009). Contending with terms :“Multimodal” and “multimedia” in the academic and public spheres. Computers & Composition, 26, 225 – 239. [PDF]
Lessig, L. (2007). Laws that choke creativity. TED.
Lister, M. (1995, 2003). Extracts from Introduction to the photographic images in digital culture. In A. Wells (Ed.), The photography reader (pp. 218 – 227). New York, NY: Routledge. [PDF]
Manovich, L. (1995, 2003). The paradoxes of digital photography. In A. Wells (Ed.), The photography reader (pp. 240 – 249). New York, NY: Routledge. [PDF]
McDonagh, D., Goggin, N., & Squier, J. (2005). Signs, symbols, and subjectivity: An alternative view of the visual. Computers & Composition, 22, 79 – 86. [PDF]
McIntosh, J. (2012). A history of subversive remix video before YouTube: Thirty political video mashups made between World War II and 2005. In Fan/Remix Video, edited by Francesca Coppa and Julie Levin Russo, special issue, Transformative Works and Cultures, no. 9. [note: the article may take a while to load because of the many videos embedded in it; don’t feel like you need to watch the all]
Palmeri, J, and Dubisar, A. (2010). Palin / Pathos / Peter Griffin: Political Video Remix and Composition Pedagogy. Computers and Composition. 27.2 (2010). 77 – 93. [pdf]
Palmeri, J. (2012). The first time print died: Revisiting composition’s multimedia turn (1967-74). In Remixing composition: A history of multimodal writing pedagogy (pp 87 – 115). Carbonale, IL: Southern Illinois University Press. [pdf]
Palmeri, J. (2012). Zooming out: Notes toward a history of “cameras-and-writing” (1971-84). In Remixing composition: A history of multimodal writing pedagogy (pp 116 – 148). Carbonale, IL: Southern Illinois University Press. [pdf]
Prior, P. (2005). Moving multimodality beyond the binaries: A response to Gunther Kress’ The first time print died: Revisiting composition’s multimedia turn (1967-74)The first time print died: Revisiting composition’s multimedia turn (1967-74)“Gains and Losses.” Computers & Composition, 22, 23 – 30. [PDF]
Propen, A. (2006). Critical GPS: Toward a New Politics of Location. ACME: An International E-Journal of Critical Geographies. Special Issue: Critical Cartographies. 4.1. 131-144. [pdf]
Propen, A. (2007). Visual Communication and the Map: How Maps as Visual Objects Convey Meaning in Specific Contexts. Technical Communication Quarterly. 16.2 233-254. [pdf]
Rettberg, J.W. (2009). What is a blog? Blogging. Malden, MA: Polity Press.
Reynolds, N. (2004). Maps of the everyday: Habitual pathways and contested places. Geographies of writing: Inhabiting places and encountering difference (pp. 78 – 109). Carbondale, IL: Southern Illinois University Press. [PDF]
Reynolds, N. (2004). Streetwork: Seeing difference geographically. Geographies of writing: Inhabiting places and encountering difference (pp. 110 – 138). Carbondale, IL: Southern Illinois University Press. [PDF]
Ritchin, F. (2009). The social photograph. After photography (pp. 125 – 139). New York, NY: WW Norton & Company. [PDF]
Silver, D. (2009, February 25). The difference between thin and think tweets. Silver in SF.
Sontag, S. (1973, October 18). Photography. The New York review of books. Retrieved from http://www.nybooks.com/articles/archives/1973/oct/18/photography/?pagination=false&printpage=true [PDF]
Tryon, C. (2008). Pop politics: Online parody videos, intertextuality, and political participation. Popular Communication, 6, 209–213. [PDF]
Tryon, C. (2009). from Reinventing cinema: Movies in the age of digital convergence. New Brunswick, NJ: Rutgers University Press. pp. 161 – 173. [PDF]
Turchi, P. (2004). from Maps of the imagination: The writer as cartographer (pp. 11, 73 – 98). San Antonio, TX: Trinity University Press. [pdf; sorry about the underlines, I brought the wrong copy to campus to photocopy]
Wolff, W.I. (2013). Interactivity and the invisible: What counts as writing in the age of Web 2.0. Computers & Composition, 30, 211 – 225. [pdf]
Wood, D. (1992). The interest is embodied in the map in signs and myths. The power of maps (pp. 95 – 142). New York, NY: The Guilford Press. [.pdf]
Wood, D. (1992). Each sign has a history. The power of maps (pp. 143 – 181). New York, NY: The Guilford Press. [.pdf]
Wood, D. (2010). Everything sings. Everything sings (pp. 8 – 26). Los Angeles, CA: Siglio. [PDF]
Vaidhyanathan, S. (2001). Copyright and American culture: Ideas, expressions, and democracy. Copyrights and copywrongs: The rise of intellectual property and how it threatens creativity. New York: NYU Press. pp. 17 – 34. [pdf]
Yancy, K.B. (2004). Made not only in words: Composition in a new key. College Composition and Communication, 56(2), 297 – 328. [PDF]
Various photographers, Creepy, Crusty, Crumbling: Illegal Tour of Abandoned Six Flags New Orleans
Oliver Grottke, Untitled: Portraits
Robert Knoth, Nuclear Nightmares (warning: many of these images are disturbing)
Cosmin Bumbuț, Penitenciarul de Femei Tirgsor (scroll down for English translation of opening text)
Various photographers, One in 8 Million
Daryl Lange, Hallowed Ground
Gary Fabiano, Living Rooms
Susan Burnstine, Absence of Being
Yves Marchand and Romain Mefre, The Ruins of Detroit
Steve McCurry, Fusion: The Synergy of Images and Words