{"id":7023,"date":"2006-08-29T08:56:50","date_gmt":"2006-08-29T08:56:50","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2006\/08\/29\/sirc-virtual-ur\/"},"modified":"2006-08-29T08:56:50","modified_gmt":"2006-08-29T08:56:50","slug":"sirc-virtual-ur","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2006\/08\/29\/sirc-virtual-ur\/","title":{"rendered":"Sirc, “Virtual Urbanism”"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 2<\/span> mins<\/span><\/span>\n

Sirc, Geoffrey.
\n "Virtual Urbanism." Computers and Composition<\/i> 18 (2001)
\n 11-19.<\/p>\n

<\/p>\n

Sirc’s piece is fueled by textbooks found in a "retiring
\ncolleague’s garbage" (11). Identifying the virtual academic as a name for
\n"official composition," Sirc develops what he calls a counterpoint, virtual
\nurbanism<\/b>, which has been around for at least as long as the dry, contrived
\nprose too commonly belabored in FYC curricula. Virtual urbanism, according
\nto Sirc, involves "a different textuality, one in which actual humans, with
\nneeds, fears, desires, memories, drift through the important spaces of their
\nlives, encountering other humans similarly engaged in the ongoing mystery of
\nexistence" (12). Sirc offers the hacienda as a locus for the drift-n-sift
\nlogics<\/strike> passions that match with virtual urbanism. Next,
\nGhostface’s lyrics provide one example of virtual urbanism; "Apollo Kids"
\npresents a "piled-up series of scenes in search of passion<\/b>" (13). <\/p>\n

Terms: Benjamin on Baudelaire: "metaphysics of the
\nprovocateur<\/i>" (12), urban arcades (14), "encounter-possibilities" (15),
\nepediascope (15)<\/p>\n

"This little snippet [from The Freshman and His World<\/i>] has become
\nemblematic to me, standing for all of official composition<\/b>, all of what I
\nhear offered as the preferred classroom genre, the aim of our pedagogy, this
\nweird sort of textual species I’d like to now name the virtual academic<\/b>.
\nBy this I mean a textuality whose form and content fuse together in perfect
\nsynergy<\/b>: stilted academic prose as the ideal medium to represent this image
\nof university pomposity<\/b>" (12).<\/p>\n

"My larger point: powerful, alternative formal possibilities
\nare now key genres of public discourse<\/b>, and kids understand them, and
\nComposition Studies could care less<\/b>" (14).<\/p>\n

"Virtual urbanism, then, is the search for that hacienda<\/b>" (12).
\n"The hacienda must be built" (19).<\/p>\n

"Macrorie (1997) told an audience of compositionists they could
\nbest learn to teach writing by studying the speech patterns<\/b> in the
\ntelevised accounts given by people who have lived through tornadoes. This is
\nvirtual urbanity: a belief in people’s natural language patterns<\/b>" (14).<\/p>\n

"Hacker is a functionalist<\/b>, a rationalist architect<\/b>.
\nHer goal is to keep the communicative avenues regular, clearly marked. There is
\nno foot-traffic worried about here, no thought for the discursive flaneur
\n<\/i>who would loiter and explore strange, attractive nooks<\/b>" (15).<\/font><\/p>\n

"The issue for the writing teacher as virtual urbanist, then,
\nis building in encounter-possibilities<\/b>; to do that we need to pile on,
\nnot clear out" (15).<\/p>\n

"An inviting compositional space must allow enough of these
\nambient unities to explore, and one way, I think, is through infilling the space
\nwith a lot of pleasure-zone texts that readers want to poke around in: make the
\ncurriculum a more colorful, human-scaled street-scene" (17).<\/p>\n

\n
Related sources:<\/dt>\n
Benjamin, Walter. Charles Baudelaire, A Lyric Poet in the Era of High
\n Capitalism<\/i>. London: Verso, 1973.<\/dd>\n
Benjamin, Walter. The Arcades Project<\/i>. Cambridge: Bellknap
\n Press\/Harvard UP, 1999.<\/dd>\n
Sadler, Simon. The Situationist City<\/i>. Cambridge, MA: MIT Press,
\n 1998.<\/dd>\n<\/dl>\n","protected":false},"excerpt":{"rendered":"

\u23f3 Approximate reading time: <\/span> 2<\/span> mins<\/span><\/span>Sirc, Geoffrey. "Virtual Urbanism." 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English Composition as a Happening. Logan, Utah: Utah State University Press, 2002. How do we make the classroom a happening space, a space \"no one wants to leave\"? 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