{"id":9919,"date":"2025-05-30T14:03:22","date_gmt":"2025-05-30T18:03:22","guid":{"rendered":"https:\/\/www.earthwidemoth.com\/blog\/?p=9919"},"modified":"2025-07-02T16:41:51","modified_gmt":"2025-07-02T20:41:51","slug":"collectanea-22-25","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2025\/05\/30\/collectanea-22-25\/","title":{"rendered":"Collectanea 22.25 Dash-Ghost-Kite"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 5<\/span> mins<\/span><\/span>\n

Week of May 26, 2025<\/em><\/p>\n\n\n\n

But When Are We, Then?<\/h4>\n\n\n\n

“But what are we, then, in this space of all spaces all at once and no temporal flow? Under the sense of literacy we unpacked in the earlier\/previous part of this writing, we rely on our ability to construct ourselves at some nexus between past and future, to have faith in the present as the point where past and future meet like (exactly like) a reader progressing through a linear text, uniting what has gone before with what is now and with what will come.<\/p>\n\n\n\n

[P]ersonal identity is itself the effect of a certain temporal unification of past and future with one’s present \u2026. If we are unable to unify the past, present, and future of the sentence, we are similarly unable to unify the past, present, and future of our own biographical experience or psychic life” (Jameson 27).<\/p>\n\n\n\n

\u2014Anne Wysocki & Johndan Johnson-Eilola, “Blinded by the Letter: Why Are We Using Literacy as a Metaphor for Everything Else?” Hawisher, Gail E., & Cynthia L., Selfe (Eds.). (1999). Passions, Pedagogies, and 21st Century Technologies<\/em>. Utah State University Press.  https:\/\/digitalcommons.usu.edu\/usupress_pubs\/119<\/a>. 349-368.<\/p>\n\n\n\n

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Longue\u2014Illustration Paired with the OnlyPoems<\/em> POTM for May<\/h4>\n\n\n\n
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Figure 1. “Longue.” <\/figcaption><\/figure>\n\n\n\n

Longue, as in a duration of waiting, a rest, an eventually<\/em>. An em-dash-like figure relaxes in repose, punctuation appearing to grow tired of always the highs and lows of overuse followed by neglect. The editorial illustration paired with the OnlyPoems<\/em> May 2025 Poem of the Month<\/a>, “Ars Poetica<\/em> as the Sexy Little Em Dash,” by Katherine Irajpanah. #ekphrastic #POTM #illustration<\/p>\n\n\n\n

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Remain a Ghost<\/h4>\n\n\n\n

“As I said, I was a ghost. The truth is that, even all these years later, I remain a ghost. You wouldn\u2019t know it if you saw me. I\u2019m not morose or retiring. I laugh a lot. In fact, I\u2019m genuinely happier than many people I know. But I can\u2019t help but feel that, on one level, I do not exist.”<\/p>\n\n\n\n

\u2014Vauhini Vara<\/a>, “Ghosts.” (9 Aug. 2021). The Believer Magazine<\/em>. https:\/\/www.thebeliever.net\/ghosts\/<\/a>. #AI #interface #authorship #ghost #existence #loss #grief #design<\/p>\n\n\n\n

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Learning to Love You More, 2002-2009<\/h4>\n\n\n\n

A., in the midst of class planning for fall, sent me a link to this project from back when the WWW felt funkier, freer, more alive, interactions less overdetermined by platforms. It’s like a click-around at a bygone thing, a plunge on Boblo Island’s Log Flume<\/a>. In it, teaching possibilities. Seventy assignments, complete what you will. -DM<\/p>\n\n\n\n

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“Learning to Love You More is both a web site and series of non-web presentations comprised of work made by the general public in response to assignments given by artists Miranda July and Harrell Fletcher. Yuri Ono designed and managed the web site.<\/p>\n<\/div><\/div>\n\n\n\n

Participants accepted an assignment, completed it by following the simple but specific instructions, sent in the required report (photograph, text, video, etc), and their work got posted on-line. Like a recipe, meditation practice, or familiar song, the prescriptive nature of these assignments was intended to guide people towards their own experience.”<\/p>\n\n\n\n

\u2014Harrell Fletcher, Miranda July, & Yuri Ono, “Learning to Love You More.” http:\/\/learningtoloveyoumore.com\/<\/a>. Accessed May 27, 2025. #installation #digital #art #participation #throwback #assignments #teaching<\/p>\n<\/div><\/div>\n\n\n\n

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Peculiar Form of Intellectual Currency<\/h4>\n\n\n\n

“In particular, I am troubled by the limited circulation of student texts in our field\u2014very few of which are requoted or reanalyzed outside of the articles in which they first appear. Student texts thus turn out to be a peculiar form of intellectual currency. We establish our bona fides as compositionists by quoting them, but we seldom revisit student texts quoted by others.”<\/p>\n\n\n\n

\u2014Joseph Harris. (2012). Using Student Texts in Composition Scholarship. JAC<\/em>, 32(3\/4), 667\u2013694. http:\/\/www.jstor.org\/stable\/41709848<\/a> #student #texts #disciplinary #epistemology #subjectivity #usable #writing #circulation<\/p>\n\n\n\n

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Twenty-six Titles, Sixteen Years<\/h4>\n\n\n\n
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Figure 2. Computers and Composition Digital Press logo. <\/figcaption><\/figure>\n\n\n\n

Computers and Composition Digital Press (CCDP)<\/a>, an imprint of Utah State University Press, has published twenty-six titles<\/a> since its launch in 2009. The first book, Technological Ecologies & Sustainability<\/a><\/em>, edited by D\u00e0nielle Nicole DeVoss, Heidi McKee, and Dickie Selfe, reads as especially salient for the 2026 Computers & Writing Conference in Charlotte, NC, considering that sustainability will be the conference’s theme. Sifting for a moment through the TES<\/em> materials, the mixed modalities, from the 383-page PDF (size noted as 4.8 “meg”) to the embedded videos, call up impressions suggesting both novelty and time-capsulism in its feeling much more than sixteen years removed from today’s digital environments. I have been perusing all of the titles as I think about the still-complicated prospect of producing scholarship that simply cannot abide the constraints of the printed page, while still living up to long-held commonplaces about what constitutes a “book.” One more noticing: there are titles published in every year since 2009, except<\/em> 2023. #digital #press #publishing #books #reliquary #sustainability<\/p>\n\n\n\n

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Phenakistiscope Mock-up: Kite Lost to Upsky<\/h4>\n\n\n\n

For the past few months, in the narrowest of narrow slivers of eveningtime, I have been attempting to create a phenakistiscope<\/a> workflow in ProCreate. I first heard about phenakistiscopes from CGB<\/a> a few months ago, and I found I was thinking about them more than I expected I would. Phenakistiscopes are pinwheel animations of old; they spin out stroboscopic movement from one wedge to the next. Insofar as rounding the bend from admiring them to making them, I am still puzzling through some of the finer points: which elements should be fixed (or in the exact same position), if any; what sizes of figures show up more legibly than others; whether text can be fitted into the sequence (so far, not with any result worth celebrating; how many layer-frames amount to something both visually inviting yet with a lean file size; and how to manage the bleed-edge for circular rotations converted to a square canvas. I had envisioned this one below, Kite Lost to Upsky, as a child flying a kite on a beach, only the kite catches a gust and the kite string snaps the kite sailing off irretrievable. So, as you can maybe?<\/em> see, not quite a disastrous failure, but also not the sort of success you’d send to a friend with a Wow! subject line. <\/p>\n\n\n

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Figure 3. Phenokite<\/em>iscope.<\/figcaption><\/figure>\n<\/div>\n\n\n
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About Collectanea<\/em><\/h5>\n\n\n\n

Collectanea<\/em> is a new, provisional series I’m trying out in Summer 2025 at Earth Wide Moth. Each entry accumulates throughout the week and is formed by gathering quotations, links, drawings, and miscellany. The title of the entry notes the week and year (the first in this series from Week 22 of 2025, or the Week of May 26). I open a tab, add a little of this or that most days. Why? Years ago my habitude toward serial composition and, thus, toward blogging, favored lighter, less formal, and more varied fragments; gradually, social media began to reel in many of these short form entries, recasting them as posts dropped a Facebook or Instagram or Twitter (while it lasted), albeit with dwindling ripple effect into the ad-addled and algorithm-ambivalent streams. This<\/em> space, meanwhile, began to feel to me like it wanted more thoughtfully developed entries bearing the shape and length of what you might find on Medium or Substack. But, because I am drafting toward a book project most mornings, I don’t quite have reliable essayistic bandwidth for Earth Wide Moth this summer. Collectanea<\/em>, if it goes according to my small bites chicken scratch plan, will be a release valve for the piling up of too many tabs open, functioning as a shareable, intermittent (weekly?) repository for small pieces cut and pasted from stuff I am reading, and also as a scrapbook for illustrations. -DM<\/p>\n\n\n

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Lightfoot and Mo. #wonderhollow #rollcall<\/figcaption><\/figure>\n<\/div>","protected":false},"excerpt":{"rendered":"

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