Category Archives: Course Info

Final Reflection Assignment

Final Reflection (pdf here)
Thinking and Writing Through New Media
Fall 2015

In Authentic Learning in the Digital Age: Engaging Students Through Inquiry, Larissa Pahomov writes, “For student reflection to be meaningful, it must be metacognitive, applicable, and shared with others,” and defines metacognitive reflection as taking the process of reflection “to the next level because it is concerned not with assessment, but with self-improvement: Could this be better? How? What steps should you take?” (read full article here). In light of this assertion, I would like you to write a metacognitive reflection on the final project. This reflection should address the following questions, with an aim to identify how you could improve your work.

1. How did you formulate a group contract, and why did you claim responsibility for the tasks you pledged to complete? Was this an effective approach? In retrospect, could you have divided the workload in a way that was more effective?

2. Describe your contributions to the final project in detail. What writing/research/design/management responsibilities did you take on in order to complete this project? How did you complete your individual contributions to the group? What steps did you take? What tools did you use? Did you meet your deadlines (why or why not)?

3. Did you feel like your contributions had a positive impact on the final project? Did you feel the other group members valued your contributions? Did the reactions of your group members (revisions, suggestions, critiques) help you develop your materials in a constructive way?

4. How do you feel you worked as a team? How did you facilitate communication and collaboration between the group members? What tools did you use? Can you suggest improvements for this process? What did you learn that would help you in future group work situations?

5. Imagine you were an audience member during your presentation and rate it on the same scale provided in class: research, innovation, creativity, clarity (1-10) and why?

6. And finally, what did you learn through the process of creating and presenting this project? How did this project help you synthesize and apply the topics we covered throughout the semester? Do you have suggestions to improve this assignment?

You may expand or add to these guidelines in any way you wish. This is your opportunity to speak directly to me about what you learned in this course.

This will be worth 25 points, and should be 3-5 pages in length (single spaced please). Please submit this as a Google Doc that you share with me upon completion. You must invite me as an editor (with privileges to edit, not just read or comment). This is due at 4:55pm on Wednesday, December 17, 2014.

“What Meaningful Reflection On Student Work Can Do for Learning.” MindShift. N.p., n.d. Web. 11 Dec. 2014.

Annotated Bibliographies

The following presentation will help you construct your annotated bibliography for this course (and can be used as a guide in the future). We will review this in class together.

http://www.slideshare.net/AmandaLicastro/annotated-bibliographies-41672179

 

You should post two entries on this site before Thanksgiving break, and continue to add entries as you research. You will collate these into a final document to be turned in with your final project. Please put these under the category “Final” and tag “bibliography.”

Use this worksheet as a guide:

Annotated Bibliography Worksheet

The purpose of an annotation is to summarize and evaluate a potential source for your research paper. Using the source you prepared for class, compose an annotation that answers the following questions in at least one to two paragraphs:

1) Who is the author, what is his/her authority or background?

2) What is the author’s thesis? What are the author’s main claims?

3) Who is the author’s intended audience?

4) Is there any bias or slant in the article?

5) What are the strengths and weaknesses of the article?

6) Does the information in this article support or counter the thesis of your research paper?

7) How relevant is this material in terms of your paper?

WriterCreator

Imagine a piece of technology that would make it easy for writers to experimentally yield different versions of their work. Writers would no longer struggle as they become uninhibited in their creativity. Behold the revolutionary “WriterCreator”. It is an application that assists a person in producing their work in different forms of writing, for example, poems, prose, plays, songs, and even pictorial representations of their work. But this software would not only be limited to just writing forms. Writers could also use the software to experiment with multitudes of writing styles. The styles would not only include the traditional ones such as rhetoric, persuasive as so forth, but also new, evolving styles such as the Twitter style of writing that motivates the writer to be succinct and avoid verbosity. Assist is the operative word. The application would not serve to do the work for the writer and subsequently allow laziness on their part, but merely help by providing advice and lessen the struggle some writers may experience when experimenting with different writing forms and styles.

My idea is inspired from the works of David Foster Wallace, Nicholas Baker and Jennifer Egan, authors who have experimented with different styles and forms of writing, as discussed by Jason Pontin in “How Authors Write”. As Pontin points out, Wallace and Baker are known for their use of footnotes in their writings such as the “Host” and “The Mezzanine” respectively. Additionally, Egan has also approached a different way of storytelling by using PowerPoint slides in “A Visit from the Goon Squad” (Pontin).

Such creative attempts to attract and enrich the readers’ reading experience not only triggered my idea, but also encouraged me to enhance it by introducing improvements upon current technologies that somehow limit or make it difficult for authors to creatively manipulate their writing. Thus, my product also features an improvement on the footnotes technology implemented in word processors such as Microsoft Word. In my opinion, the tool in Word is very cumbersome to use. So, my software would also consist of a footnotes system that does not automatically place the note at the end of the page, but instead initially is in the shape of a bubble above the text that is being footnoted. As soon as the writer has finished typing his footnote, they can double-click on it and the note would be allocated to its rightful position. I think this would be a great help to anyone who writes because it makes it easier to refer to the text that is being footnoted while writing the note. Even though it would not be of much help when footnoting a citation, but people who use footnotes to convey extra information apart from the story could find it very convenient and helpful.

Nonetheless, this technology would be created to address the absence of a tool that allows such a writing experiments. Of course, there are websites and media that help writers write in different forms and styles. Searching Google would easily yield websites that provide templates and even an automatic poem generator for the purpose of writers:

random poem generator

screenplay_format_sm

 

However, my software intends to be broader and more encompassing of all multitudes of forms and styles and thus act as a hub for all writers to attempt creative formats of writing and reaching. The new media technology is therefore, a build up on previous technologies. As authors such as Kevin Kelly and Lev Manovich in “What Technology Wants” and “The Language of New Media” respectively, state, much of today’s technology is derived from previous inventions in an attempt to improve upon the flaws and provide a better product enhanced with new features and conveniences. Furthermore, the software is a speculative or reflective design that isn’t simply restricted to improvements; it is also an attempt to transcend the technologies of the present like in Margaret Atwood’s “Oryx and Crake” and contemplate on technological fluency (Kraus 76).

Moreover, I want to implement this idea in the form of software rather than a device in order to avoid the use of materials that are harmful to the environment. Creating a physical device would mean an accumulation of poisonous chemicals such as Benzene and trichloroethylene that cause health hazards (Parikka). Yet, the larger goal is to easily distribute the software to the masses of aspiring and professional writers. The product would be a cloud-based software available on all platforms like Mac, Android, Windows and on devices such as the iPhone, iPad, PCs, MacBook etc., that would allow users to synchronize it with all their devices and work on the go. The application would be a paid one, but will have a reasonable price in order to maintain a large consumer base.

The software would be created with the help of a software developer that would make it multiplatform. The crux of the tool, the advice feature, would be designed with the help of experts in various fields of poetry, playwriting and so forth as well as scholarly English professors with regards to writing styles. As mentioned earlier, the application is not intended as a replacement for the entire writing process of the writer. They will always possess complete creative liberty and the technology would by no means deprive them of such powers.

In addition, there would be a global advertising campaign for this product. Since the target audience is the writer, it should thus be catered to writers from all parts of the world. Television advertisements would show the results of using this product and how it positively enriches the creative talents of writers and appeal to their readers in unique ways. Also, social media advertising would be vital to the promotion campaign and I would hire people who would be marketing ambassadors to spread the message about this application. Plus, to attract potential customers, I would initially provide free 30-day trials.

Works Cited
Atwood, Margaret. Oryx & Crake. Bloomsbury: London, 2003. Print.
Format of a screenplay. Digital image. Filmmaker IQ. N.p., n.d. Web. 14 Nov. 2014. <http://filmmakeriq.com/wp-content/uploads/2013/06/screenplay_format_sm.png>.
Kelly, Kevin. What Technology Wants. New York: Viking, 2010. Print.
Kraus, Kari, and Charity Hancock. “Bibliocircuitry and the Design of the Alien Everyday.” Textual Cultures 8.1 (2013): 72-100. Print.
Manovich, Lev. The Language of New Media. Cambridge, MA: MIT, 2002. Print.
Parikka, Jussi. “The Geology of Media.” The Atlantic. Atlantic Media Company, 11 Oct. 2013. Web. 13 Nov. 2014.
<http://www.theatlantic.com/technology/archive/2013/10/the-geology-of-media/280523/>.
Pontin, Jason. “How Authors Write | MIT Technology Review.” MIT Technology Review. MIT Technology Review, 24 Oct. 2012. Web. 16 Nov. 2014. <http://www.technologyreview.com/review/429654/how-authors-write/>.
A Random Poem Generator. Digital image. DE Tools of the Trade. N.p., n.d. Web. 14 Nov. 2014. <http://www.detools.ca/wp-content/2011/06/poetry3.jpg>.

I Present to You… Silver Orange

Socrates said that “it was not wisdom that enabled poets to write their poetry, but a kind of instinct or inspiration” (qtd. in Barfield 21). Today I ask you; what if Socrates was wrong? What if great poetry comes not from wisdom, instinct or inspiration but from a powerful, groundbreaking new technology invented by an NYU student in November 2014.

The name of this tool is Silver Orange. An innovative new software that will help writers of all ages to compose poems, limericks, raps, songs and much much more. Just imagine how much better Shakespeare’s sonnets would have been if he had not been worrying about rhyming? How much more powerful Eminem’s lyrics would have sounded if his mind had been free of the burden of thinking of new words to rhyme? Given time, Silver Orange will become the poets most vital tool, an appendage of their own brain. Enhancing and exciting creativity in millions of people worldwide.

Why do we need Silver Orange?

Kari Kraus talks about designing projects “less to understand the past than to imagine the future”, she says her point of view “is primarily prospective rather than retrospective” although she admits to drawing “extensively on history” (Kraus 97). This is what I aim to do with Silver Orange. In the past the word ‘poet’ has conjured up visions of a tortured artist sitting with paper and pen at an old wooden desk. And certainly some ardent poetry lovers will be initially sceptical of the idea that you could use technology to help create poetry, an art form that is meant to be “a spontaneous overflow of powerful feelings” (Wordsworth 6). But I would encourage these sceptics to look to the future. Silver Orange is not intended to in any way hinder creativity or make every poem formulaic. Instead, by helping with the rhyming process, it releases the poet from limits they may have encountered in the past, it will enhance creativity and make the poet free to create and explore. Imagine a runner who ran barefoot for years, and then imagine you gave this runner some expertly crafted running shoes. At first he may have his doubts, say that his craft is no longer pure, but soon he will see that he is able to take his craft above and beyond his past limitations with the help of these amazing new shoes. That is what Silver Orange will be to the poet. Once you read in full about Silver Orange, is will become clear that it is the next stage in the medium of poetry. Those who consider the poem a sacred vessel that comes straight from the human mind should consider the technological developments in the production of poetry that have been made so far. Since the invention of typesetting machines in the 1880’s industrialised publishing, poetry and the poem moved from being an old media object to a new media one (Manovich 30). Today all poetry is published and printed using new media technology requiring it to be typed onto a computer. Lev Manovich defines new media as an ‘image or a shape (that) can be described using a mathematical function’ (Manovich 27). Therefore, as it stands today, all published poetry is a product of new media. To think of poems as new media objects, it then does not seem a huge stretch to think of ways in which other new media objects can help these poems to be created.

In the 1970’s researchers attempted to use “high-level” automation of media creation to get computers to generate poetry or fiction (Manovich 32). What those researchers were ignoring was the fact that poetry requires human soul to succeed. Something that no matter how far technology progresses it will never be able to truly achieve. Poetry needs an author who is passionate about what they are writing and it relies on imagination and creativity. There is no way that a truly beautiful poem will ever be created by a computer alone but there is also no reason that the poet should abstain from the many tools technology possesses that could help them to advance in their work.

What does Silver Orange do?

At it’s core, Silver Orange will be a fairly basic software. A program that can be downloaded onto any computer. Silver Orange will be a “low-level” automation of media creation (Manovich 32), the program will respond to the author’s words by generating a list of possible rhymes using an internal comprehensive rhyming dictionary. The poet will simply open a new page on Silver Orange, enter their desired rhyme scheme and begin writing their poem.

Temporary example of Silver Orange layout
Temporary example of Silver Orange layout

Imagining the poet had selected an AABBCC rhyme scheme, on completing their first line and  pressing the enter key, a list of words that rhyme with the last word of their sentence would appear in the right hand column. They would then proceed to choose a word from the list and compose the second line of the poem. This pattern would repeat until they felt their poem was complete. The poet will be able to choose from a number of different rhyme schemes as well as selecting modes such as ‘limerick’ or even ‘Seuss’ which will help the poet compose a poem in the style of poet Dr. Seuss. 

Temporary example of Silver Orange layout
Temporary example of Silver Orange layout

Silver Orange will also have a ‘synonym’ function. If the poet has found that none of the suggested rhymes match his or her desires they will be able to switch to ‘synonym’ mode and a list of alternative words will appear where the rhymes used to be, the poet can then change the troublesome word and continue writing the poem.

As well as using low level automation of media creation, Silver Orange will rely heavily on new media’s increasingly ability to store and access enormous amounts of media material (Manovich 34). It will allow it’s user to tap into the expertise of other users. As Silver Orange develops it will track what words are most popular and these will move higher up in the list when words are listed. It will also develop around each individual user. The software will track what kinds of words the user normally chooses using a series of complex algorithms much like those used to filter Google searches. It will mould itself to the style of writing that the user adopts and will continue to grow, learn and become familiar with the poet that it aids.

How will it be designed:

We’ve talked in class about how important writing layout is and the layout of Silver Orange will aim to be clear, minimalist and remind the user of word processing documents they are used to. Kirschenbaum talks about how George R.R. Martin chooses the program WordStar to write his novels on as he likes it’s lack of distraction (Kirschenbaum 6). This is definitely a trend that is becoming more and more popular as writers choose to leave behind Microsoft Word and emigrate to more minimalist writing programs. Silver Orange will unavoidably have a number of ‘distractions’ as this is central to it’s function. But despite it’s extra features I want Silver Orange to feel as much like the technology that writers are used to composing with, making the transition from Word or other programs to Silver Orange simple and smooth. Users will be able to adjust the font, colour and formatting of their words to help make them feel at home with the technology. There are many different options regarding the layout of Silver Orange but ideally I would like it to be as distraction free as possible. Just the author, their poem and the genius tool that is the Silver Orange  software.

Screenshot of Apple's Pages software
Screenshot of Apple’s Pages software

A current technology that I look to as an inspiration is the Apple software Pages. The layout of Pages is minimalist however still offers a number of different formatting options. The right hand menu bar in Pages is laid out in a similar way to how I imagine the menu bar of Silver Orange to be and I think moving forward I Pages would definitely play a part in my design process. Were my idea to be picked I would also talk closely to the members of my team regarding the design of Silver Orange as I feel each individual as a different opinion regarding what kind of writing software they prefer and we would need to extensive research before deciding on the final layout.

Who will use Silver Orange and how will it be marketed?

As I’ve mentioned before I imagine at first poets will be skeptical about adopting Silver Orange to write their poetry. And while I am certain that given time and experience with the software they will come to adore it, poets are by no means the only market for this product. One way in which I plan to market Silver Orange is as an aid for people in creating poems for loved ones. Everyone has had a Mothers Day or a Valentine’s Day when they have wished to write a poem for someone and have not been able to think of anything. But with Silver Orange this will no longer be a problem. Silver Orange will also be extremely useful for writers of comedy poems or comedy songs. My brother is part of a sketch comedy group who often have to write comedic songs to perform and he has already told me that a tool like Silver Orange would be unbelievably valuable in his creative process. Similarly I feel writers of rap lyrics will be quick to adopt Silver Orange as in the past the music industry has embraced technology far more eagerly than the literary community. I would aim to market Silver Orange as a life long tool that creative users will come to rely on. I do not want to it to be a fad or something that people play around with once or twice and quickly forget. Therefore  the marketing will need to have a certain elegance and class to it and not simply be marketed as the ‘next cool thing’.

Silver Orange Logo

The name of the program was chosen because ‘Silver’ and ‘Orange’ are two of the only words in the dictionary that do not rhyme with anything. I also felt that I wanted to give Silver Orange an abstract name so that in the future it would be something that was immediately associated with the software such as ‘Twitter’ or ‘Google’.The preliminary logo that I have designed emulates a lot of the key features that I want Silver Orange to emulate. A creative tool, one that can be used by everyone, and one that in the future will be seen as a landmark feature in the merging of writing and technology.

Works Cited:

Barfield, Raymond. The Ancient Quarrel Between Philosophy and Poetry. Cambridge: Cambridge University Press. 2011. Print.

Kirschenbaum, Matthew G. Track Changes, A Literary History of Word Processing. Cambridge, Massachusetts: Harvard University Press. 2014. Early copy.

Kraus, Kari. “Bibliocircuitry and the Design of the Alien Everyday.” Textual Cultures. Volume 8. Number 1 (2013) : 1-21. Print.

Manovich, Lev. The Language of New Media. Cambridge, Massachusetts: MIT Press. 2001. Print.

Wordsworth, William and Coleridge. Samuel Taylor. Lyrical Ballads & Other Poems. London: Wordsworth Editions Ltd. 2002. Print.

KindleQuest

In a day and age where we are confronted with thousands of images, the “attention span” of society is rapidly declining (Hayles 87). With students losing focus in school as a result of outside activities that focus less on comprehension than previously, our nation is in danger of fostering a generation with a sharp decline in productivity. Although we are experiencing a “paradigm shift” to more digital technologies (Hayles 1), our school system is set in its ways and is less willing to adopt new methods. Our nation is changing and we need to change with it.

So how do we address the growing disparity between what students want and what teachers want? I propose an e-reader embed that will engage the students in their reading by prompting them with meta-cognitive questions and generating study tools to further their learning, even outside the classroom. Like the questions below, the goal of them is to focus on improving students’ reading comprehension and analysis skills:

  • Why is this important?
  • Are there any key terms or ideas here?
  • Why is this date significant?
  • What have I learned about this in the past?

These questions will occur as the student is reading to promote a new engagement with digital text. Although many teacher’s make study sheets with questions to consider, this embed is different because it occurs through a digital medium and the teachers are able to either go with the pre-written set of questions or customize the questions for the students. With a log-in code within the ebook, the teacher can add, delete, or modify questions. Then, the students will be able to login to their previously purchased version of the book and engage with their questions while reading. The embed will then compile the key terms that the student entered or highlighted, generate a graphic organizer of important themes or ideas, and create a student-based outline or notes. With Wifi connectivity, the student will be able to print his/her outline or notes to a printer. Fostering a new relationship between “form and content,” the embed will allow for a new interactivity with text (Kraus 82).

Building on teachers’ outlines, this “reflective design” will allow for a new level of critical thinking that is required in a digital age (Kraus 78). Additionally, this technology creates a new meshing of analytical thinking with the text, as previously created outlines or study guides are separate from the text. Society is ripe for change and the current technological advances demonstrate the need for more productivity, which is exactly what the embed will allow students to do. Although the embed is applicable to students from grades 2 or 3 and up, students with learning disabilities will find that the embed improves their analytical skills without detracting from what the material is saying.

Once Kindle obtains the rights to the licensing then they will be able to contact the author directly and ask if he/she would like to add or create any questions to be embedded within the framework of the novel. Regarding additional settings, there will be an on/off button for teachers to tell their students to press and then the students’ outlines will be sent to the teacher directly. This can be helpful for students that need extra help or attention to make sure they are on the right track. One of the most unique features of the embed is the extensibility that is provided within an sms embed. Students are able to flag parts of the text and create a conversation within the novel. A virtual book club, or twitter-like sphere, the sms feature creates productive and intellectual conversation within a class. The sms feature is aimed to help increase understanding among all students and bridge the gap between those who are having trouble understanding the material and those who are not.

A specific target audience that the embed would appeal to is students with learning disabilities or attention disorders. Since the embed allows for less diversion of attention from the material, children afflicted with ADD or ADHD are more likely to gain deeper appreciation of the material. Students with learning disabilities may find that the material comes easier to them when they are able to read and analyze all at once. On a personal level, I have executive functioning disorder so this embed would improve my reading skills because I wouldn’t have to divert my attention from the text. Sometimes when I am bent on analyzing a specific part of the text, I forget about the whole and what I just read. Therefore, this embed would allow be to think critically about the text in a targeted way that isn’t overwhelming.

In order to manufacture this embed I would need a team of technicians to ensure the embed is compatible with a variety of digital mediums including, but not limited to, the Kindle, iBook, and Nook. First creating a platform where the text is able to be adapted to include questions, the technicians will have to understand the capabilities and specificities of each platform before attempting to change them. Then, the technicians would work with authors, literary historians, and teachers to create important questions for the book. With this, the technicians will compile the information that the student entered into an outline. Ultimately, there would be an algorithm for this, but for our project I would like to do a mock up of what a student entered and what is generated as the outline.

It is my personal belief that it will be best to start with the Kindle, since it has the largest user interface. For my project I would like to create an embed for a Kindle that focuses on one specific book. By doing this we would prototype the interactive book to then show as an example for future books. This would make the project manageable for a group of college freshman. However, once we finish the project we can take it to a team of technicians and get them to write a general algorithm for the process of compiling the information.

In terms of selling our idea, we would sell the copyright to Kindle, iBook, and Nook and they can individually embed the format into their compatible software. Once they purchase the embed we will be able to do joint advertisements that advertise the embed within the framework of a specific company. Consumers will be able to purchase either the regular edition or the special embed edition from within the Kindle framework.

As far as marketing goes, we would target teachers, educators, and students alike in order to get our product out there. A specific logo and slogan I have designed is: Read with us. Achieve with us. (as pictured below).

Screen Shot 2014-11-09 at 5.46.55 PM

Another slogan I thought of is the one below:

 

Screen Shot 2014-11-09 at 5.50.57 PM

 

And finally:

Screen Shot 2014-11-14 at 6.19.03 PM

 

The design of the embed itself “[confronts] the affordances” of digital technology and combines them with critical thinking skills (Kraus 84). Therefore, the logo should inspire society to do better and think better, which both of the previous logos do. Vannevar Bush said that science “has provided a record of ideas and has enabled man to manipulate and to make extracts from that record so that knowledge evolves and endures throughout the life of a race rather than that of an individual” (Bush 1). With the creation of this embed, knowledge will be able to evolve and change based on society’s growing reliance on technology. And isn’t that really what progress is about: the change and evolution of an idea? The book is a seed and this embed is the tree that grew from it.

Works Cited

Bush, Vannevar. “As We May Think.” The Atlantic. Atlantic Media Company, 01 July 1945. Web. 09 Nov. 2014.

Hayles, Katherine. How We Think: Digital Media and Contemporary Technogenesis. Chicago: U of Chicago, 2012. Print.

Kraus, Kari. 2013. Bibliocircuitry and the Design of the Alien Everyday (2013), The New Everyday, Textual Cultures.

 

Reverse Outlining

Reverse Outlining

Whether you are reading published scholarship or another student’s paper, reverse outlining can help you process information by distilling the main ideas of a text into short, clear statements. Put simply, when reverse outlining the reader tries to summarize each paragraph of a text in two sentences. This process will not only help you analyze the material you are reading, it will also allow you to organize your response. You may use reverse outlining to revise your own work, revise the work of others, or to annotate a text.

Reverse outlining follows a two-step, repeatable process:

  1. In the left-hand margin, write down the topic of each paragraph. Try to use as few words as possible.
  • When reading, these notes should work as quick references for future study or in-class discussion.
  • When revising your own work or the work of your peers, these notes should tell you if each paragraph is focused and clear.
  1. In the right-hand margin, write down how the paragraph topic advances the overall argument of the text. Again, be brief.
  • When reading, these notes allow you to follow the logic of the essay, making it easier for you to analyze or discuss later.
  • When revising your own work, these notes should tell you if each paragraph fits in the overall organization of your paper. You may also notice that paragraphs should be shifted after completing this step.

Remember to be brief. You should try to complete each step in 5-10 words. When reading a published text, you should be able to summarize the topic and the manner of support quickly; if you can’t, you should consult a dictionary, an encyclopedia, or other resources to help you understand the content. When reading your own work or the work of a peer, you should consider revising any section that does not have a clear point that is easy to re-articulate.

When reading a potential source, you should consider which points you agree or disagree with and make notes that help you formulate your opinion. However, when reading work with the goal of revision, the objective is to communicate an understanding of the writer’s main ideas, not to critique or correct these points. When reading your own work or the work of a peer, if the paragraph does contain an easily identifiable point, but it does not relate to the thesis or topic of the paper, it may be appropriate to remove this section entirely.

This exercise can be expanded by rewriting/typing your outline with comments or further suggestions, but writing in the margin might be sufficient.

 

This exercise is adapted from http://owl.english.purdue.edu/owl/resource/689/1/ by The OWL at Purdue

Oryx and Crake Assignment

Since Margaret Atwood is a prolific tweeter (https://twitter.com/MargaretAtwood), and many people tweet about this text using #OrxyandCrake, I would like to use the opportunity to experiment with communicating our ideas through social media. The goal of this assignment is to chronicle your thoughts as you read,  and share them with your peers and a public audience. You must live tweet your reading by using #OryxandCrake and #nyufyws so we can capture and follow the conversation.

If you tweet direct quotes, or specific questions for the author, you should include her handle @MargaretAtwood. Tweet whatever you find interesting and provocative. Standard grammar rules are not the objective here – use the language of social media – including abbreviations, emoticons, etc. However, your message must be readable to a wide audience, so think carefully about how you compose each tweet. You may also tweet me direct questions @amandalicastro.

Here is an example:

Screen Shot 2014-10-23 at 1.27.33 PM

If you do not have a twitter account, you may set up a temporary account for this course and then delete it after this assignment. If you are not comfortable with this, please email me as soon as possible, and we will discuss alternative assignments.

On Monday, we will have a fishbowl just like we did for Kelly’s book. The first group will post their short provocations by Sunday night. Post your provocations under “Reflections” and use the tag “Atwood.”

Group 1  (provocations by 10/26, fishbowl 10/27):

Choi,Ryan D
Agarwal,Sakshi
Posner,Marissa
Sanchez,Nicolas
Stine,James

 

Group 2 (provocations by 10/28, fishbowl 10/29):

Valentine,Carly
Melnick,Joshua B
Prem,Varsha
O’Brien,Francesco H
Hanson,Alexandria D

 

Group 3 (provocations by 11/2, fishbowl 11/3):

Curtis,Scarlett
Ghobadi,Kasrah Shane
Kandelman,Karen
Schulz,Adam
Baruch,Mikaela Sarah

 

If you have any questions, concerns, or suggestions please let me know.

Final Project

Document here:

https://wp.nyu.edu/licastro_fall14/?p=953

Together we have explored future dystopias through the imaginations of EM Forster, Ray Bradbury, and Margaret Atwood. Each of these writers invent new technologies in their works in order to address current political and cultural issues they wish to address – for example, genetically modified food, over-exposure to screens (and celebrity), violence in video games, etc. These devices often utilize “remediation” drawing from new media concepts we are familiar with, and enhance them to fit in the alternate reality the author has created. For this assignment you will engage in “reflective design,” defined by Hancock et al as “promot[ing] critical inquiry over usability and exploratory prototyping over fully realized productions.” You can do this by beginning with the current state of new media and then projecting potential solutions – or perhaps evolutions – of these tools to enhance the reading and/or writing process in the future. We are specifically concentrating on the tools of composition for this project, since this course has focused on literacy skills the tools we use to communicate. However, these are meant to be visions of the future – featuring a balance of imagination and practicality.

 

This project will be broken into 4 parts:

Stage 1: The Pitch                 

Due Date – 11/14

Create a proposal for your “design fiction” project (3-5 pages, 3min presentation)

  • Introduce the product and explain its purpose – this is the time to dream big!
  • Explain what need this product will fill that isn’t met by currently available technology and how it builds on current technology(ies)
  • Prove this item has a customer base, and be specific about your target audience
  • Imagine the process and materials it would take to manufacture and distribute this product – even if these do not exist yet
  • Come up with marketing materials, such as a catch phrase/motto/logo to use in your pitch

Stage 2: Group Proposal

Due Date – 11/21

As a class you will vote on the top 3 products to develop into your collaborative final projects. (5-7 pages)

  • As a group you will create a contract defining the roles each of you will fill for your group, then you must divide the tasks you need to complete, and provide clear due dates for each task
  • This proposal will also revise the original pitch to incorporate everyone’s ideas and create a robust description of your new tool and its purpose
  • Together you should re-think how to prototype and market this product – consider your audience, and how this idea improves on already existing products
  • Create sample marketing materials

Stage 3: Annotated Bibliographies

Rolling due dates, post as you go (2 must be added before Thanksgiving)

Using Zotero, you will build a research base for this project

  • Each person must contribute at least 3 resources to our group library
  • Each source must include a correctly formatted MLA citation
  • Each source must be summarized and evaluated in the “notes” section (see presentation slides uploaded to our site for more information)

 

Stage 4: Final Project

Presentations on 12/8 and 12/10

Create a website for your product

  • This site should serve as the complete representation of your product
  • Include a description that features your research (properly cited) and connections to what you have learned in this course
  • Include some kind of prototype or mock-up of your tool
  • Design marketing materials, and work these into the overall design of the site
  • Use mutlimedia to your advantage!
  • Include a full works-cited page for all materials used (including media)

 

Additional Notes:

Each group must meet with me in pre-scheduled conferences as listed in the syllabus. I am also available to consult with you on your individual product pitches during office hours.

This description is subject to change after we discuss your ideas. Suggestions welcome!

A final reflection paper telling me what you learned through this process will be due on the date of your final exam.

Midterm Assignment : Device Narratives

Device Narrative

https://wp.nyu.edu/licastro_fall14/?p=513

In your “Digital Literacy Narrative” you explored the writing technologies that have shaped your literacy practices. For your midterm, you should identify one tool from your timeline to investigate on a deeper level. In order to do this, you should focus on the wider impact of this technology in terms of political and social issues. Consider, for example, how Jason Ponti isolates instances when interface design shaped writing practices in “How Authors Write.” Ponti uses historical examples (such as Baker’s use of footnotes) to argue that modern writers are not embracing the potential of new media. Similarly, in “The Geology of Media,” Jussi Parikka exposes the environmental impact of digital devices through the lens of new media evolution. It is your goal to develop an argument about the technology you are investigating through research and critical thinking.

Potential lines of inquiry include:

  • Labor
  • Gender/race
  • Environmental impact
  • Planned obsolescence
  • Cognition/attention
  • Privacy/surveillance
  • Anything you find interesting (and have evidence to prove)

As you are reading Kevin Kelly while composing this piece, I want you to imagine your audience to be the typical Wired magazine reader. Therefore, your reader already has an interest and familiarity with new media, but wants more information than a basic Google search can provide. Your audience seeks a balanced approach: intelligent critique in a relatable, digestible voice.

Our library visit will help you structure your research process. I require you to use at least three sources, properly cited, and archived in our Zotero group library.

You will post your draft on 10/14, and bring in a paper copy on 10/15. You must post the revised digital version on our site on 10/17. Heed Ponti’s advice, and think about using our digital medium to your advantage when composing your piece (for examples see: http://digitalmateriallabor.org/final-project/)

This project is worth 100 points, and will be graded on the following criteria:

 

RHETORICAL ELEMENTS [1]
Purpose The author establishes a purpose of the overall story early on and also maintains the focus on that purpose throughout the work. As in print-based composition, the purpose may be stated or implied.
Audience The choice of different media assets as well as how they are organized and presented shows that the student is aware of the audience/viewer. When asked, the student can describe how the subject matter and the selection, organization, and organization of the media assets fit a particular audience. The piece is written with a clear sense of the audience with a tone that will suit that audience; other media assets also appropriate and effective from an audience point of view.
Organization The overall structure of the story/argument and placement of assets in that structure are effective. There is a good beginning, middle, and end. The amounts of time and emphasis given to different parts or issues make sense.
Logos, Pathos, Ethos The work is intellectually significant, emotionally engaging, or appealing to the audience in other ways—based on its subject matter and purpose.
CONTENT
Subject matter Content is engaging — viewer is left with thought-provoking ideas.
Written elements The student worked diligently in drafting, revising, editing, and proofreading the piece with a particular focus on conciseness and precision. The “story” or subject matter of the piece is not only interesting/significant in itself but also reflects that the student has learned the content of the course.  The text serves as a logical framework for the rest of the media. The student has integrated external information, cited sources, and fulfilled other requirements of the assignment.
PROCESS
The student has been diligent with planning the project, doing research on the subject, creating or finding appropriate media assets, drafting and revising/editing their writing, effectively integrating media assets, appropriately referencing external source within the text and documenting them at the end of the work, and if the work is supposed to be presented before class, his or her presentation or performance is effective. If the work is done in groups, members of the group have each worked effectively in planning, coordinating, and contributing to group’s work.
MEDIA
Music and sound effects Voiceover, background music and other audio assets are layered effectively so that one medium is heard most clearly at a time. They are rhetorically effective; meaningfully integrated with other media; and have an effective volume, tone, and tempo.
Still images Images create a distinct atmosphere or tone that matches different parts of the story. The images add rhetorical effectiveness and symbolic and/or metaphoric meaning to the work.
Transition and other visual effects Transition and other effects created through editing of media do not just produce “cool” effects but are done meaningfully. The effects are seamless and unobtrusive.
Video Videos used in the work contain recognizable and meaningful images and movements, support the meaning of the story logically as well as aesthetically, do not take unnecessary artistic license, do not have distracting or unwanted visual information or background, are paced appropriately, and do not compromise relevance for the sake of interest or for technical reasons
Pacing and economy The media are presented neither too fast nor too slow; there is rhetorically effective increase and decrease of speed in the presentation of materials. Since digital “stories” should be short, the student has saved time and communicated the message in a precise and concise manner. No words, images, or sounds are redundant or rhetorical out of sync.
SYNTHESIS
Coherence All the elements and parts of the work rhetorically fit together and are effectively presented within the overall logical framework. For instance, images and sound effects that are meant to illustrate and enhance a verbal statement do not conflict with the text or with each other.
ACADEMIC CONVENTIONS
Credits The student has cited external sources in the voice over and in any visually represented text or media. There is a citation page at the end.
Language issues The student has paid sufficient attention to grammar, spelling, mechanics, and other linguistic issues in the voiceover, captions, and other places where verbal language is used.

 

 

[1]Adapted from: http://www2.bgsu.edu/departments/english/cconline/winter2013/digital_s/rubric.html