195

A draft of my fall syllabus was due on Friday, so draft it I did. I’m slotted for a section of WRT195: Studio 2 for Transfer Students. It pitches itself as a “best of” blend, a rip-and-mix that puts the best of WRT105 and WRT205 into a single course for transfer students.

For several weeks, I mulled over using Pink’s Whole New Mind. I read Johnny Bunko, too, and thought about how I could fit that stuff into the course. But at the last minute, I went with another plan focused for now on the latest greatest literacy crisis and also on Googlization (while taking up some of Vaidhyanathan’s blogbook-in-progress). So we’ll read about and write around some of the stuff that happens when we ‘do a Google,’ size up some of the apps, and forage around for research projects concerned with Google’s construction of the web or the world, grand databases and privacy, Knol, directed and serendipitous search, and so on. So far, the course opens with a digital memoir of sorts (not quite a mystory, but maybe not too far off), some summary and critique work, a researched argument, and a translation (switching the argument into a 2.5 minute audio short or a Pecha Kucha slide-improv, I haven’t decided yet). Here’s the current plan, subject to minor revisions until I hear back from a coordinator later this week about whether it will fly.

I’m also slotted for ten hours per week in the Writing Center, or, I should say, doing Writing Center work online, as we continue stabilizing some of the consulting options piloted this summer. More on that when the batteries in this cordless keyboard are recharged.

Call: CCCarnival

 First posted July 14, 2008.

Related entries:
Splitting Images
Kopelson’s “Sp(l)itting Images”
more thoughts on rhet/comp disciplinary futures
Response to Karen Kopelson’s “Sp(l)itting Images; or, Back to the Future of (Rhetoric and?) Composition”
New Echo, New Narcissus
Pedagogy of Rhet/Comp Job Market Imperatives
Carnival on Kopelson: The Pedagogical Imperative and Borrowing Theory
Spitting Images
Joining the CCCarnival: Kopelson’s “Sp(l)itting Images”

Kopelson’s Back to the Wall: Resisting Responsibility
Inversion and Dissolution
Theory and Interdisciplinarity: Kopelson Part Two
Kopelson carnival – my first take
CCC Carnival: Sp(l)itting Images
Karen-ival
Kopelson (1): Stuck on paragraph 4
The Pedagogical Imperative: Kopelson Part I

Anyone interested in a carnival? After glancing the latest CCC
(59.4) at a coffee shop Saturday morning, I had the distinctive and lasting impression that
"Sp(l)itting Images; or, Back to the Future of (Rhetoric and?) Composition"
would be a good choice for a swarm of late July entries.  Kopelson’s
article covers a lot of ground, from a survey of grad students and faculty at
two institutions, to three of the chasms in the field (pedagogical imperative,
theory/practice split, and the brambles of identifying by varying ratios among
those two terms, rhetoric and composition), to a call for concerning ourselves
less with ourselves.  Ripe! because I endured a great range of responses
while reading it.

Here’s what I’m thinking: If you’re in, do what you can to post some sort of
response by one week from today–the 21st. I’ll try to keep tabs on all of
the links, but feel free to send a trackback. Then we can kick around
spin-offs, interjections, and retractions through the end of the month.

Also, here is how I will measure the success of the carnival:

12-15 participants: Wow.  There really is living comp/rhet blogosphere.
9-12 participants: Terrific.  Something told me the article was carnival
worthy.
6-8 participants: Just great.  There is a value in reading what others
think (esp. while out to sea with the diss).
2-5 participants: Um, it’s late July.  What are you, on vacation?
0-1 participant: Witness spikes in traffic at E.W.M.

In?

Kopelson, Karen. “Sp(l)itting
Images; or, Back to the Future of (Rhetoric and?) Composition.” CCC 59.4
(2008): 750-780. [Carnival]

New Echo, New Narcissus

Kopelson writes,

Yet, as composition studies is distinct in its penchant for ‘borrowing,’
we are also, in my opinion, unrivaled in our proclivity for
self-examination. I am not arguing that this is an unimportant
activity, but only that the costs are indeed high when self-scrutiny comes
at the expense of taking up other critical concerns and of making other,
more innovative and far-reaching forms of knowledge (775).

This appears in the final section of the essay, the part titled "Conclusion:
Banishing Echo and Narcissus." Here, Kopelson takes exception with the
field’s self-reflexivity, the growing heap of self-interested and self-absorbed
assessments of where we are or where we are heading. There is an
unidentified villain here, and I wondered as I read whether Kopelson has any
favorite ‘misses’, accounts that get it terribly wrong or that are built up on
marsh-lands of mushy data.

Reading this section and the quotation above in particular, I had the
sense that Kopelson wasn’t as interested in "banishing" Echo and Narcissus
as in giving them overhauls, in renewing them, even in teaching them how to
resonate
and reflect less recklessly. In other words, what is
wrong with many self-reflexive disciplinary accounts (or "discipliniographies"
to lift and bend a term Maureen Daly Goggin introduces in Authoring a
Discipline
) is that they succumb to a localist impulse. That
is, they un-self-conciously extrapolate from local experience and anecdotal
evidence onto the field at large, projecting some local knowledge onto the
expansive abstraction that is the discipline (however we imagine it to be).
The localist impulse can take many different shapes; often it is akin to reading
patterns through the course of an individual career (i.e., "in my thirty years
at Whatsittoyou U.") or by cherry-picking from an exceedingly thin selection of
data (titles of conference presentations or tables of contents for teacher
training manuals). We all do this to some extent–making sense of the field at
large through our local, immediate experiences, but it is dangerous to arrive at
conclusions about the field (or world) at-large solely by examining one’s own
neighborhood.

What I’m getting at is that I don’t have any beef with the disciplinary
practice of self-examination. Perhaps there are more than a handful of
fields in the academy that would benefit from more of it. I hold history (the calling of others who’ve navigated this canyon) and
reflection in high regard (perhaps not to the ill-fated extremes of Echo and
Narcissus). Resonanceresonanceresonance and reflection are valuable, especially for newcomers,
for the "new converts" Kopelson mentions. But they will not be successful–or
very useful–until they get beyond that localist impulse, until they involve
earnest field-wide data collections and collaboratively built databases. I
don’t know how well this matches with Kopelson’s "innovative and far-reaching
forms of knowledge," but it is increasingly where my own interests lie.
If those far-reaching forms of knowledge included disciplinary data (even simple
stuff, like how many programs offer undergraduate writing majors), they could
generate insights about disciplinarity. In the meantime those full-view
insights will continue to elude us as long as we leap from local knowledge to
widespread pattern, without addressing sufficiently the intermediary scales.

Kopelson, Karen. “Sp(l)itting
Images; or, Back to the Future of (Rhetoric and?) Composition.” CCC 59.4
(2008): 750-780. [Carnival]

Spitting Images

A passing tribute to having wrapped up Dan Roam’s
The Back of the Napkin
last
night, I figured why not throw down a few images in the spirit of keeping things
carnivalesque. Roam is a marker-carrying whiteboarder whose core premise is that
we spark insights into complex problems by treating them to a simplified and
illustrated version. I doubt that I have played strictly by the heuristics
he introduces in the book; nevertheless, I do find some of the stark
oversimplifications in these first four images helpful for thinking through some
of what Kopelson sets up in the article.

Continue reading →

Inversion and Dissolution

Obviously I am interested Kopelson’s revisitation of ages old and still going
tensions for the field of rhetoric and composition. The margins of my copy
bear out busy strings of alternating yesses and questions; I suppose I’ll focus
this entry on a couple of the questions.

Any time I come across suggestions of the field’s dissolution, I want to go
as directly as I can to the evidence. What are the forms of evidence
supporting this or that impression that the field is gradually changing toward
some state of (presumably undesirable, even disastrous) dissolution? Also:
What idyllic disciplinary model is lurking as the milk and honey benchmark
against which judgments of dissolution are alleged? I mean that the
suggestion of a trend toward dissolution conjures up an idealized state of the
discipline. From when? Where? And just how abstract is it? (I have
monkeyed with this idea in the diss, but also in some of the material on the
side that won’t make it into the diss, like the stuff on the
Golden Age).

Kopelson puts it like this in one spot:

But whatever your particular vision of the divide [between theory and
practice], and wherever you lay blame (or praise) for it–with the elitist,
ponderous, past-dwelling rhetoricians, or the professionalizing, pragmatic,
present-dwelling compositionists–there is evidence that the seeds of
dissolution are indeed being sown. (770)

About the evidence: In this article, it amounts to (x? number) of
survey responses from graduate students at two institutions–programs in the
Consortium, I would
guess, and a sampling of sources that have dealt more or less directly in
reflections upon or critiques of disciplinarity: Dobrin, Spellmeyer, North,
Swearingen, Mulderig, among others. Perhaps this is adequate for establishing
dissolution, perhaps not. This is not to cast doubts on Kopelson’s
evidence (it is, after all, reflective of pocketed perceptions of dissolution),
as much as it is to say that the change is more of situated (daresay anecdotal?)
degree than of field-wide kind. And so I wonder how new this perceived sowing of
"the seeds of dissolution" is, and just what does it put at risk? Following this
evidence–surveys and selected sources, the next line carries the claim further:
"the field of rhetoric and composition is, in the most extreme cases, gradually
evacuating itself of its first term (if not explicitly in name, then implicitly
in institutional practice) or, in other cases, is undergoing an interesting
inversion of its titular terms" (770). The possibility of evacuation and
inversion calls to mind the necessary ratios between theory and practice. Is the
target ratio 50:50? Might be, depending on whether we are talking topical focus
(i.e., research motivated by theory or practice) or activity itself (i.e., time
spent theorizing versus time spent teaching). For graduate students, of
course, these ratios vary, too. In our program, we have fellowships
designed to relieve students of their teaching appointment so that they might
devote greater time and energy to reading and writing (if executed well, the
ratio becomes 100:0). But there are also program-level constraints on these
ratios, right? Some places prefer a 70:30 split. Others, 80:20.
We do not always determine them independently, nor are they constant over the
arc of an appointment (through a graduate program of study or otherwise).

Kopelson, Karen. “Sp(l)itting
Images; or, Back to the Future of (Rhetoric and?) Composition.” CCC 59.4
(2008): 750-780. [Carnival]

Washback

D. asked me about this term yesterday, and I had never heard of it before,
perhaps because I haven’t taught many courses where tests were involved.
As I now understand it (freshly, sketchily), washback describes
pedagogical revision, the on-the-fly adjustments teachers make after they have
evaluated a set of exams. The test, depending largely upon how well it is
designed, should report general strengths and weaknesses among the group;
washback is how the future lessons and activities are adapted in light of the
patterns indicated by the test.

I don’t know whether I will get much use out of the term, but it did get me
thinking about similar phenomena in writing courses. There is a kind of
going back over things–something like washback–that sometimes happens
depending on how a sequence of assignments is envisioned. It reminded me of a
mild tension in my MA program between those who thought a complete course of
study–including all writing assignments, prompts, and activities–ought to be
laid out from the outset and those who thought a course of study should be
designed to allow for those inevitable contingencies. To the extremes: the
first type is top-down, water-tight and risks being inflexible; the second type
is like taking to the air without a flight plan: improvisatory and roomy.
The first regards the contextual peculiarities (and surprises!) very little; the
second sets out with the proposition, "How can I devise the second unit of the
course until I know what happened with the first?". One values teaching
everything as if it is channeling toward week fifteen; the other lives and
teaches for today and wants not to overdetermine the what’s-to-come.

I am, at times, drawn to each of these extreme positions; they appeal to me
for different reasons. What I have come to understand is that, in moderate
forms, both are simultaneously possible, and good teachers understand–and
perform–them–a balancing act of managed flexibility. By now I have
wandered away from washback as it relates directly to tests and measurements,
but I only wanted to generalize it to the scenes of teaching I know best.

Moving Meditation

I was out of town and more or less offline late last week when the
July/August Atlantic Monthly hit newsstands with its front cover blazing
the title of Nicholas Carr’s
article, “Is Google
Making Us Stoopid?” (the “Stoopid” is much sexier on the actual cover than it is
here because the letters are done colorfully and in the Google font).
Jeff and

Alex
posted thoughtful responses, and I am sure there will be more.

Carr’s article, if you have not read it yet, hops along like Level 1 on
Frogger (which, coincidentally, was released in 1981): without much exertion,
the argument leaps from personal anecdote to the role of media in shaping
cognition to the insidious effects of too much easy access to information via
Google: drumroll…

“[A]s we come to rely on computers and increase Data science staffing immoderately, to mediate our understanding of the world, it is our own intelligence that flattens into artificial intelligence” (63).

Carr welcomes skeptics but also fends off all-out dismissals of his deep
wariness of the changes he has experienced first-hand. He begins the article
with his own reasons for believing this “flattening” to be endemic and imminent
for Google users: 1.) he is more and more easily distracted in his own attempts
to read anything longer than a couple of pages and 2.) what was once
pain-staking research is now available to him almost instantaneously. With a
simple search, he can quickly summon great heaps of material on [enter search
terms]: “And what the Net seems to be doing is chipping away my capacity for
concentration and contemplation” (57).

Continue reading →

For The Third or Fourth Time

From today’s IHE,
a piece on
double-dipping conference presentations
. This is a practice that has been on
my mind somewhat during this, the most conference-intensive stretch of my
current program of study. Of course, the very idea of "double-dipping"
resonates with the bucket (or well) model of invention that, at its best, smacks
of individualism and zero-sum economics and, at its worst, echoes of such
horrifying social
(and professional) improprieties as standing over a vegetable tray at a faculty
gathering and using, re-using, and re-re-using the same celery stalk as a salivated
dipping stick for that zesty ("Maybe dill?") salad dressing. The views included
in the short article range from the cynical to the more generous-spirited.
From the cynical camp, a shot about dumbfounded graduate students who are
oblivious to the ethics of reperforming (revising, retooling, redelivering,
etc.) one’s work:

As Nelson C. Dometrius, a professor of political science at Texas Tech
University, writes in his introduction to [the debate featured in PS:
Political Science and Politics
], when he raised the question with senior
faculty members, he received mixed reactions, with people quickly outlining
special cases where they viewed such "double dipping" as justified. When he
posed the same question to graduate students, Dometrius relates, "the modal
reply was a blank stare — a lack of comprehension that presenting the same
paper as many times as you wished would be viewed by anyone as an unusual or
questionable practice."

I don’t know whether this says more about Dometrius, about the graduate
students at Texas Tech (less likely), or about advanced graduate study in
political science (even less likely), but it’s a take that doesn’t carry all
that well over into my own experience developing and giving conference talks in
recent years. If we are not to be flavor-of-the-week-ademics, isn’t some
return inevitable? What’s implied here is that carry-over is suspicious, an
indication that someone is slacking off or falsifying a work record.

On a more nuanced note, the exec. director of MLA–who was quoted in the
article–suggests that re-use is smart and appropriate, especially when you take
audience into account. If the audience is not the same from conference to
conference, the matter of "double-dipping" becomes less a question of
conferencing ethics and more a question of growing one’s vita by dubious means
(i.e., double-dipping as the HGH of higher ed). I would guess this works
very differently when, for a dissertating graduate student, the list of life’s
work is fairly short and centered on a small number of projects than it would
around year six or seven of an assistant professorship, after the chance to give
the dissertation a rest, pour your heart into a couple of different projects,
and perhaps even land a book contract. Artificial vita cultivation and re-tread
scholarship: who really believes there will not come a day of reckoning for
these practices?

One of the messages I return to from early in coursework: you can write
insightfully and meaningfully about your work from any point in it, whether you are just beginning
to find a research question, whether you have written full articles on the
matter, or whether you have dedicated twenty years to this or that interest.
Could this be construed as a kind of one-trick-ponyism? Perhaps. But
it is not easy to decide without knowing better the work in question. Of
course it’s possible to re-use one’s own stuff lazily, but all re-use, all
"self-plagiarism," need not fall into that category of suspicion.

I am tempted to leap to personal anecdotes as a way to wander through this
question a bit more. Those (i.e., the three of you) who have heard more
than one of my conference papers in recent years will recognize overlaps,
recurring interests, and ideas that re-appear because they click. But I am not
giving the same paper in any two cases. Not exactly. Neither am I
writing what I think of as purely original conference papers, since they all
rise from an accumulating slosh of ideas and clusters of interests (providing
copies of them is one measure of verification, but what about those
extemporaneous talks?). The conferencing record is like a listing of
cousins, not strangers, not siblings (most certainly not twins, which seem to be
the concern of the article). But then again,
perhaps I am merely invoking (to the point of abusing?) that graduate student
exemption that grants greater leniency to experimentation, to trying ideas and
presentational styles on for size, while trudging through all of those
pre-professional uncertainties.

I have to stop here, but there are a couple of other matters of interest
touched off by the piece:

  • Self-plagiarism as a concept (closely related: self-citation).
    Also as a hypocritical practice (i.e., teachers forbid undergraduates from
    re-using papers across the curriculum, but themselves–allegedly–do it).
    The article does not provide examples, and the only ones I can think of
    (aside from the obvious sharing of curricular materials, syllabi, etc.) are
    where an article evolves into a book chapter, but this practice is, as far
    as I know, widely accepted.
  • Whether publishing formalities apply to the conferencing circuits.
    If published articles have much greater purchase for tenure, wouldn’t
    self-duplication in formal publications reflect the lackadaisical attitudes
    toward re-used conference materials? Some of this goes back to acceptance
    systems, double-blind peer review, etc.
  • What of the practice of re-using conference proposals? Some lore
    about this circulates–the conference-goer who got in [to XYZ national
    conference] using the exact same proposal. Ethically objectionable? Change
    the title, re-submit the proposal. Does it matter whether the
    conference presentation was "original" if the proposal was a duplicate?
  • Do political scientists study Bakhtin?
  • The table, "Duplicate Presentations, by Year Doctorate Received," is
    fascinating in the trend it projects: by the year 3,000–for better or
    worse–all conference
    presentations will be double-dipped.

Chamber of Absences

I haven’t been taking great notes while reading Prairyerth, but I did
dog-ear a page for this:

There are several ways not to walk in the prairie, and one of them is
with your eye on a far goal, because then you begin to believe you’re not
closing the distance any more than you would with a mirage. My woodland
sense of scale and time didn’t fit this country, and I started wondering
whether I could reach the summit before dark. On the prairie, distance and
the miles of air turn movement to stasis and openness to a wall, a thing as
difficult to penetrate as dense forest. I was hiking in a chamber of
absences where the near was the same as the far, and it seemed every time I
raised a step the earth rotated under me so that my foot feel just where it
had lifted from. Limits and markers make travel possible for people:
circumscribe our lines of sight and we can really get somewhere. Before me
lay the Kansas of popular conception from Coronado on–that place you have
to get through, that purgatory of mileage. (82)

"That purgatory of mileage"–the horizontal vista of Chase County draws Least
Heat-Moon in. The expanse of long grasses is at times disorienting.
He feels lost, but knows that no line can be walked for five miles without
crossing a road. He is a journalist, a chronicler, a gatherer of stories.
Sometimes he consults a map, such as when he stands in Cottonwood Falls with "an
1878 bird’s-eye-view engraving of the town" (52), but he also–sector by county
sector–sketches his own. This last point is important, I think. It
is the practice where his methods live up to the "deep mapping"–an ethnographic
presence in graceful suspense (not unlike North’s ten years of "walking among"),
part Geertzian "thick description," but also meta-, also interested in the up
and out–the topography. This prairie topography can be experienced on
foot.

I’m mulling over the relationship between Least Heat-Moon’s "chamber of
absences"–the "distance" and "openness" of the prairie topography and (yet
again
) de Certeau’s "wave of verticals," the "scopic drive" he chides after
looking out onto NYC from the 110th floor of the World Trade Center. What
is strange–exciting, even–is that Least Heat-Moon cannot figure out how to
organize his book until he appropriates a form from the grid of his hand-drawn
maps. About maps, de Certeau says, "They allow us to grasp only a relic set in
the nowhen of a surface of projection…. These fixations constitute procedures
for forgetting. The trace left behind is substituted for the practice" (97). If
I may put that last sentence through a tumbler, what if, "the trace left behind
is the practice" or "the trace left behind invigorates the
practice (of walking in the city/prairie)"? This windy adventure forks yet
again at the distinction between the general-use map (with common place names,
consensus, etc.) and that other, more self-selective attunement (an
experiential, even egotistical sketch).

About my own chamber of absences: I am warming up to the idea that none of
this belongs in Chapter Five. But I nevertheless find myself happily stuck (not
stranded) on the problem of "What about maps as a (databasic, interested)
writing practice?". I don’t know. Yet there is a promising something
(a fantastic thingamabob) at the theoretical fulcrum between de Certeau’s
high-up perch (fraught with verticality) and Least Heat-Moon’s more moderate,
walking-the-prairie sensibility (fraught with horizontality). I would be
thrumming again on matters of scale, I suppose, to wonder whether that’s all it
amounts to when Least Heat-Moon breaks into his intimate portraits of
people and places, interrupting with his private, deliberative excursions to the
various plateaus or flint shelves for reorientations from time to time.
Don’t we all need (or at least desire) such reorientations?

‘Golden Age’ Reference

Off and on for the past few weeks I have been sleuthing around for reference
to "the golden age of composition studies." The phrase appears in quotation
marks in Lee Odell’s "Afterword" to his 1986 CCCC address in Roen’s collection,
Views from the Center. But those reflective afterwords are somewhat
informal; the phrase is not attributed to any source. What to do? I Googled
around and didn’t find anything promising (how I overlooked it, I cannot be
sure, although I bet ‘the’ article threw me off), but I didn’t give up. Instead,
I emailed Professor Odell. Research in Y2K08, yeah? He got
back to me the same day and said that the phrase, he thought, was credited to
Jack Selzer.

Tonight, I located the ‘golden age’ reference in an English Journal
article by Elizabeth Blackburn-Brockman (whose mother-in-law, you might be
surprised to learn, was middle school civics teacher and high school Spanish
teacher for D. and me both; in the civics class we had to memorize all of
Michigan’s 83 counties; I will not recite them for you here). That
article: "Prewriting, Planning, and Professional Communication," 91.2 (Nov.
2001). In the article, Blackburn-Brockman mentions almost the exact
phrase, "a golden age of composition studies," and attributes it not to Selzer,
but to Bob Root. She also cites Selzer’s 1983 CCC article, "The
Composing Process of An Engineer," which offered a processual analysis of
engineer Kenneth Nelson, much in the same spirit as Emig’s The Composing
Process of Twelfth Graders
from 1971. Could this be the golden age?
1971-1983?

The phrase from Root (whom I never met, but who taught in the English Dept.
where I took Freshman Composition in 1992 from his colleague, Phillip Dillman)
shows up in the Introduction to a collection of non-fiction he edited with
Michael Steinberg,
Those Who Do, Can: Teachers Writing, Writers Teaching: A
Sourcebook
(1996). Is there a copy in our Bird Library at Syracuse?
No, of course not. Seems it’s one of the few books we don’t have.

I considered emailing my program’s listserv to ask whether anyone had a copy
I could borrow, but rather than bother the list with a request, I figured I
would try the library’s interlibrary loan system, ILLiad. I haven’t used
ILLiad since 2005, so, of course, I couldn’t remember my password. I tried
to reset the password, and when I did, the system sent me a blank email message.
Here’s what was in the message: . Thus, here ends the
trail for tonight. I know where the "golden age" reference comes from, and
the source, to my surprise, is not quite as middle-of-the-road as I expected it
would be. That said, I do think Root knows composition studies, or at
least certain veins of it, very well, even if I couldn’t begin to speculate how
many CCCC’s he’s attended (more and more often, I tend to think of disciplinary
centrality in terms of trips to the flagship conference, whether verifiable or
guessed at; and yes, I know this is just one of many possible metrics).

Why, after all, am I questing for the golden age reference? Well, for one
thing, my own research has lately gotten me thinking more about the implicit
disciplinary prototypes underlying suggestions of disciplinary fragmentation
(viz., Smit’s endism or Fulkerson’s "new theory wars"). And so, if there has
been a golden age of composition studies, I’m curious about it, curious as well
about the idea of disciplinary ages (and whatever it is that makes them
seem plausible).