{"id":7034,"date":"2006-09-05T22:24:56","date_gmt":"2006-09-05T22:24:56","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2006\/09\/05\/post-7\/"},"modified":"2006-09-05T22:24:56","modified_gmt":"2006-09-05T22:24:56","slug":"post-7","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2006\/09\/05\/post-7\/","title":{"rendered":"Sirc, “Box-Logic”"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 2<\/span> mins<\/span><\/span>\n

Sirc,
\n Geoffrey. "Box-Logic."Writing New Media: Theory and Applications for Expanding
\n the Teaching of Composition<\/i>. Logan: Utah State UP, 2004.<\/p>\n

<\/p>\n

Sirc emphasizes logics of annotation<\/b> and collection<\/b> as he
\ndevelops a new media pedagogy drawing on the variations of the box as it figures
\ninto the work of Joseph Cornell, Walter Benjamin, and George Maciunas. Moving
\naway from essayist prose, Sirc deflects the related notions of "articulate
\ncoherence, conventional organization, and extensive development" (115) and
\ninstead considers the the "formal and material concerns [that] guide a
\nnewly-mediated pedagogical practice" (114). The pedagogy involves association,
\nintensities, desire, and lack–"student as passionate designer" (115) and writer
\nas "dissatisfied collector, one impatiently seeking pleasure" (117). Further
\nemphases include open-endedness, "the raw, then, not the cooked" (120),
\nelement(s) of play (121), a "loose, unthematized collection; the parts not
\nnecessarily inflecting each other as in the traditional essay" (120), and
\ncaesura.<\/p>\n

"It’s the idea of the prose catalogue. Text as a collection of interesting,
\npowerful statements" (112).<\/p>\n

"The personally associational becomes key criteria" (116).<\/p>\n

"The materially interesting, then, is what should guide acquisition" (116).<\/p>\n

"It wasn’t a question of cutting edge technology" (119). ^Implication:
\nbricolage and prioritizing composition<\/i> over newest! technologies.<\/p>\n

"Involved here is an aesthetic of the found object, of interesting, quirky,
\nsmall-t truths one stumbles upon" (118).<\/p>\n

"Arrangement of materials and notational jottings is a desperately important
\ncompositional skill" (123).<\/p>\n

Charles Simic on Cornell’s boxes: "Somewhere in the city […] there are four
\nor five still-unknown objects that belong together" (125).<\/p>\n

"The refusal to allow text as open-ended, un-screwed-down box, rushing
\ninstead to impose on it the mild boredom of order, is a concern I have with much
\ncomputers and writing scholarship today" (120). <\/p>\n

Terms: wunderkabinette (116), "composition as craving" (117), caesura (123),
\n"blips of unfinished text" (124), textual possibilities (125), curio cabinet
\n(125), survival kit (124), pulsion and evaluation (124). <\/p>\n

\n
Related sources<\/dt>\n
Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High
\n Capitalism<\/i>. London: Verso, 1997.<\/dd>\n
Duchamp, Marcel. Salt Seller: The Writings of Marcel Duchamp<\/i>. Ed.
\n Michel Sanouillet and Elmer Peterson. New York: Oxford UP, 1973.<\/dd>\n
Simic, Charles. Dime-Store Alchemy: The Art of Joseph Cornell<\/i>.
\n Hopewell, NJ: Ecco Press, 1992.<\/dd>\n<\/dl>\n","protected":false},"excerpt":{"rendered":"

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Sirc's piece is fueled by textbooks found in a \"retiring colleague's garbage\" (11). Identifying the virtual academic as a name for \"official composition,\" Sirc develops what he calls a counterpoint, virtual urbanism, which has been around for at least as\u2026","rel":"","context":"In "Writing Technologies"","block_context":{"text":"Writing Technologies","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/writing_technol\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":7084,"url":"https:\/\/www.earthwidemoth.com\/blog\/2006\/11\/23\/sirc-english-co-1\/","url_meta":{"origin":7034,"position":1},"title":"Sirc, English Composition as a Happening","author":"Derek Mueller","date":"November 23, 2006","format":false,"excerpt":"Sirc, Geoffrey. 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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