ENC 1102 Section 603: Composition is a Community Happening
Fall 2010
Dr. Trey Conner
email: trey.conner@gmail.com
phone: 873-4783
Meet: 11-12:15 TR in FCT 120
Office: 119A TR 9:45-10:45AM and 12:30-1:30PM
CRN#82914
What follows is the Fall 2010 Syllabus for ENC 1102, Section 603. Please read carefully, and post any questions at the bottom of the page.
Student Learning Outcomes
The following WPA Outcomes for First-Year Composition provide the most compressed description of what you will learn and demonstrate by and through your writing during this semester:
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Students will demonstrate Rhetorical Knowledge by focusing on audience, purpose, context, medium, and message.
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Students will demonstrate Critical Thinking, Reading, and Writing by developing writing over time through a series of tasks including finding, evaluating, analyzing, and synthesizing sources into their own ideas, and discussing language, power, and knowledge.
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Students will demonstrate Composing Processes through prewriting, drafting, revising, and editing individually and with peers in a range of composing media.
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Students will demonstrate Knowledge of Conventions by controlling tone, mechanics, and documentation in a variety of common formats and genres.
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Students will demonstrate the ability to work in Electronic Environments throughout the composing process: researching, drafting, reviewing, revising, editing, and sharing images, sounds, and text.
Gordon Rule Requirement. According to the Gordon rule, you must develop 6000+ words (24 double-spaced, 12 pt. font pages) of polished text in this class. To show that you have accomplished this requirement, at the end of the semester you will turn in a portfolio of a significant representation of your work throughout the semester. In order for you to be able to create this portfolio, you will need to keep every single piece of work you produce in this class. The detailed course description, below, will introduce you to the 1102 way of growing a portfolio.
Course Overview
Focus on Community: civic, university, (trans)personal, and the Lead, Learn, and Serve process
Theme: composition is “a happening”
Core readings:
* Situating the Community: Analyzing, synthesizing, and composing
with sources (McGraw-Hill Guide Chapters 7 & 20)
* Composing the Community: Argument and Persuasion (Chapter 8)
* Adding to the Community: Visual Analysis and Composition (Chapter 18)
* Oral/Digital component (Chapter 17 & 18)
* Reflection (guided reflections appear at the end of every
chapter of McGraw-Hill Guide)
In this course, we will treat writing as a tool for learning and as a tool for communicating. Because we communicate with other humans, it is essential to have other humans respond to our writing—to give us feedback on how well we are communicating. In Composition II, we will focus on, discuss, and write about community along 3 primary lines of inquiry: civic, university, and (trans)personal.
We will treat writing as a process that takes time and feedback. Although I will offer you feedback on your writing, you and your peers will also provide feedback because writers need to hear from more than one person. Indeed, peer writing quickly becomes the "primary text" of the course. Together, we will learn how to tailor our writing for specific readers.
In this course you will write for persuasion - you will analyze and define ideas, texts, and issues, share useful information and novel ideas with specific audiences, and attempt to move someone to do something, such as change their mind. And you will write for inquiry - by putting ideas into different contexts and forms, you will explore problems, evaluate their components, and find (sometimes unexpected!) solutions. We will share our work in oral and digital presentations/compositions, and construct a course portfolio to demonstrate and reflect on the full range of what we learn in the course. Our course is also part of the grant-supported Lead, Learn, and Serve program here at USFSP. This means that we will also learn how to form a specific kind of community—a student philanthropy board. Through a process of research, writing, and discussion, our class will form into two boards. Each board will research the critical needs of the local nonprofit sector, and write a notification of funding opportunity (NOFO) alerting the local nonprofit community to these available funds. Most importantly, you will learn how to build a rhythm and a process for a lifetime of composing.
The requirements of the class include but are not limited to:
Acquire and read the books for the course in time for our discussion of them.
Attend and Contribute to class. More than three unexcused absences will result in a failing grade.
Post at least three significant blog posts per week to this wiki. This means you will need regular and reliable internet access.
Complete a proposal and a semester project in a timely fashion.
Contribute energy to class discussions, exercises, and workshops.
Open a tab for this wiki in your browser whenever you are online
Detailed Course Description
Read on for detailed information about ENC 1102 Section 608. The following sections will introduce you to the course theme and focus and cover the following topics: graded work, process work, formal compositions, the role of portfolio-keeping in 1102, student philanthropy boards and NOFOs, grading policies, student rights and responsibilities, university policies, resources, and a tentative class schedule.
journal theme: 1102 is a “happening”
Cover image for “An Anthology of Chance Operations,” published in 1963
"In a situation provided with maximum amplification, perform a disciplined action"
-John Cage
The score of 0′00″, completed by John Cage in 1962, originally comprised a single sentence: "In a situation provided with maximum amplification, perform a disciplined action", and in the first performance the disciplined action was Cage writing that very sentence. This course is designed to create maximum amplification and feedback via communicative performances on a common medium. The sentences we write will go into diverse combinations and relationships, which we will further craft and compose into narratives and arguments for specific audiences. We will take as our starting point and inspiration an intermedia genre, which grew (in part) out of the Fluxus movement in the late 1950s and early 1960s, known as a “Happening.” Painter Allen Kaprow, who is said to have coined the term, provides the following definition of a Happening:
“A Happening is an assemblage of events performed or perceived in more than one
time and place. Its material environments may be constructed, taken over directly from what
is available, or altered slightly; just as its activities may be invented or commonplace. A
Happening, unlike a stage play, may occur at a supermarket, driving along a highway, under
a pile of rags, and in a friend’s kitchen, either at once or sequentially. If sequentially, time
may extend to more than a year. The Happening is performed according to plan but without
rehearsal, audience, or repetition. It is art but seems closer to life.” http://www.ubu.com/historical/kaprow/index.html
By asserting that composition is “a happening,” we are announcing our intention to create a 21st century space for working on “good old-fashioned” writing processes. In other words, we will focus on classical compositional techniques for designing persuasive linear prose; at the same time, however, we will allow the inspiration for our writing to come from anywhere, and, by way of a networked writing environment (our course wiki), we will allow our writing to go into connections with just about anything. Rather than strictly re-enact the “original” Happenings of the '50s and '60s, we will inquire further, so as to find and create current manifestations of happenings, in, through, and by our own experiences. Our reflections, unit assignments, feedback, showcase environments, and cumulative portfolios will document our processes and experiments in “composition as a happening.”
For our purposes, many of the reflections, scores, and scripts leaving a trace of some of the earliest Happenings, such as those compiled in Kaprow's “Some Recent Happenings,” are most remarkable for what they leave out. Although some pieces, such as Soap, commissioned by Florida State University, have been discussed in great detail, prior to performance, during conferences and seminars, and so forth, these pieces give almost total freedom and responsibility to the “audience” who are in fact the performers of the happening. In this same spirit, each of us will not only invent, sample, alter, and sequence happenings and similar genres of communicative performance, we will also serve as readers, listeners, audience, and performers for each other. Much of our activity will happen online, where writers and audience merge. When comic artists and graphic novelists experiment with the between-panel transitions that Scott McLoud (1993) calls “gutters,” they make available what art historian E.H. Gombrich (1956) calls "the beholder's share," a rhythmic space of participation at the level of perception itself. Likewise, in user-editable networked writing environments (wiki) our ideas, stories, and arguments become "animated," or come to life, when the readers, or "beholders," have space to work and play. In a sense, call and response is always happening, even when we read silently.
Graded Work
*process work and participation: weekly wiki'ing and in-class activity (all blogging, linking, tagging, planning, mapping, reflecting, feedbacking, participating in discussion, and peer-grading, in-class and on the wiki): 200 points
*5 polished and formal compositions: 100 points (20 points each)
*final project: 50 points
*portfolio: 50 points
Total possible points: 400
PROCESS WORK
Notice that process work (composition only happens with daily wiki practice!) equals 50% YOUR FINAL GRADE! Of course we want to write and maintain focus on our writing, not simply document evidence of writing, so here's how we will account for and assess of our response-ability to each other as writers:
Daily practice: You will create your own page on our class wiki, and this page will be an electronic journal of your experience in the course. Some blog posts will be assigned, while others will be up to you. Either way, you are responsible for 3 posts a week (200 words minimum), in which you formulate responses to class discussions, readings, and your world. Most successful students report that it is best to "grow" these posts a little bit each day, so that a compositional rhythm can emerge. When you blog in response to a particular idea or text, you should include a summary of the idea and/or text and your response. In addition to writing blogs, you will respond to one another’s blogs, and other texts across the world wide web. Response postings should be about 100 words and provide a link to your peer’s posting. After you receive peer feedback, you should then acknowledge this feedback with another post by responding to and working with a point or points that your peer presented. The purpose of this sort of "rehearsal" homework is to encourage you to engage more fully with assigned readings and to be prepared to discuss them in class. If we generate enough feedback, we'll be able to grow engaging and stimulating projects.
Drafts and Conferences: You are asked to participate in oral, written, and electronic peer conferences in which you will read and critique one another’s projects. You will be asked to provide feedback to your colleagues in this class for each major writing assignment. To earn all available points, you’ll need to not only respond to others’ work and their commentary on your work, but also communicate with me about your work (drafts, responses, revisions). Each time a draft is due, you will link it to your course workspace in the class wiki. Members of the class will read and respond to the draft and to each other’s comments. The principle author(s) will make final changes to the draft.
Homework: In order to generate the level of feedback necessary to create a sustainable composition itinerary, each of us will need to post a little bit of writing nearly every day--if we all wait until the hour before class to post our ideas, we will not be able to develop new compositional techniques or grow our projects beyond a basic level. See "Daily Practice," above.
In-Class Work and Participation: To earn full credit for class participation, you need to make a positive contribution to our face-to-face discussions, as well. Such contributions can take the following forms: Asking thoughtful questions and offering comments that move a discussion forward, showing respect for other members of the class—even if you disagree with them. We will frequently engage in small-group work in class so that everyone can benefit from multiple forms of feedback. Writers need thoughtful feedback on their writing if they are to improve their writing skills.
Participation Portfolio: However you decide to structure your wiki space, you will need to save, organize, and display "snapshots" and revised “maps” of your wiki's emergence. Ultimately, this part of your wiki presence could consist of (but need not be limited to) daily writings, progress reports, online exercises and draft conferences as well as class discussion, preparation of reading materials, in class assignments, homework, conference preparation, process drafts (on time), oral and written comments from collaborative works, group evaluations, self-evaluations (reflective memos, mid-term assessments, etc.), electronic participation on discussion boards, and documentation of both individual and group presentations. All of this will comprise a significant portion of your final portfolio.
Formal Compositions
From time to time, we will take stock of our daily practice, and revise our informal work into polished compositions, "fit and finished" for specific readers with specific attitudes, understandings, values, and needs. These unit assignments are sequenced in a way to help us compose our NOFOs for the LLS project. Look ahead at these "unit assignments," and anticipate what they require.
Writing to Explore: Critical Needs in the Local Community
Writing for College Scenario 1 (p. 133) or Writing for Life Scenario 4 (p.1 35)
Purpose: To generate and explore questions, and to find quick answers to easy questions so that we can start naming the bigger, not-so-easily answered questions. We will focus our questions as large group:
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How can I make a difference in the world/ in the St. Petersburg community?
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How have others endeavored to make a difference in the world?
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What does it mean to be a leader?
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What are some of the issues affecting downtown St. Petersburg?
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What are the critical needs currently capturing the attention of the local nonprofit sector?
And as we explore, we will become more specific with our questions and search for answers: What does it mean to be an observer of the downtown community? what are some of the problems or issues or concerns of the area? What are the local non-profit organizations and what do they do in the St. Petersburg/Tampa Bay area?
Possible genres: journal, blog, vlog, wiki
Medium: electronic
Narrative/Writing to Inform
McGraw Hill p. 194 Scenario 4
In this exercise, you will combine personal and civic writing into an article about a community problem. Write an article for the St. Petersburg Times, a local 'zine, or some other outlet. Describe and explain the local problem or issue that you have discovered by means of Writing to Explore.
Writing to Evaluate (chapter 9, chapter 19)
Writing a NOFO
Writing to Solve Problems
Group writing: finalize a NOFO that addresses a critical community need.
ReMEDIAtion portfolio
a) remix your best work or the work of a peer into a different medium, or a different genre or format, or for a different audience.
b) generate a reflection, essay, or feedback using video or audio technology
c) use the NOFO template to create a .doc, .odt, or .pdf version of your WTEval final draft.
Scrying on Yonder Showcase
in lieu of a final exam, FYC students participate in a showcase by means of oral reports and creative displays.
Course Portfolio
(cf. McGraw Hill Guide Appendix A; Portfolio Keeping)
During this semester you will assemble an electronic portfolio that can be accessed through a google.sites page that you will create. Even though the final portfolio is not due until the end of the course, you will work on this project throughout the entire semester. Wiki allows infinite space for emergent composing processes; the portfolio is a way to make sure your writing and learning is available for people beyond our class. The portfolio will include a cover letter in which you analyze what you have learned this semester as measured against the aforementioned course learning goals. Essentially, your assertion in the portfolio cover letter is this: “Here are the skills and knowledge that I have learned this semester, and here’s the evidence that I have acquired these skills and this knowledge.” Note that the evidence will be crucial, and you should draw on all sorts of sources to find that evidence—for instance, your journal/blog/wiki-presence, excerpts from formal/unit assignments, notes from peer-group discussions, internet chats with the collaborators in your group, and any other record of your effort. You will turn in a draft of your portfolio at mid-term with a mid-term reflection to make certain that you’re on track.
Portfolios and Program Assessment
Please be aware that all portfolio materials should be considered public writing. Electronic portfolios will be collected and used to assess USFSP's first-year composition program. Although these documents are public, individual students will not be identified in the program assessment. In addition, electronic portfolios may be used in composition research. Please review and complete the Student Permission Form for Portfolio Research. Although you may opt-out of the portfolio research via the student portfolio permission form, all portfolios will be collected for program assessment. If you have any questions about this form, your portfolio, or who will have access to your work, please let me know.
Grading Policies
Not all work in this class will receive a grade. For some work, you will merely receive participation points; for others, you will receive feedback. Your final grade for this class will be determined by the quality of the portfolios you turn in at the end of the semester. However, you should be prepared to turn in all work you have done on any given project at any time, especially when you are asking for a tentative grade in the course.
A and B are honor grades, and they reflect active class participation, leadership in your own education, and attention to detail. I believe everyone is capable of A work, but it is work that takes both time and resources.
Attendance. You are expected to be in class because much of the significant work for the course is done during class--planning, drafting, group work, discussing samples, and practicing a variety of strategies—and missing class hurts not just you, but the entire class. Please read the section on Student Rights and Responsibilities, below, for exact numerics of the attendance policy. You must be in class to turn in papers, and you must have your work to participate in class activities. You have a responsibility to participate fully in your own education.
Information Management. All of your work in this class must be available to be posted electronically. Please back up everything you write for this course. Information technologies carry a trace of instability, so it is always good to have redundancy in your writing process: make copies and put them in different places! If you need more information about backing up, please see me or talk with your classmates.
Computer Labs. To find a place to work on campus, consult Campus Computing.
Formal Compositions. Formal assignments will be graded on a rubric like the basic one below. Each major assignment will have additional criteria underneath each main heading.
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Grading Criteria
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0—No attempt
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1—Incomplete Attempt
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2—Needs Attention
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3--Satisfactory
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4--Effective
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5—Highly Effective
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Rhetorical Knowledge
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Critical Thinking, Reading and Writing
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Composing Processes
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Knowledge of Conventions
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Peer-calibrated grading
In order to create and sustain a livable writing practice, writers need thoughtful feedback on their writing. In order to guarantee this "critical mass" of meaningful interaction, we will rigorously pursue an evaluation process known as peer-grading for select unit assignments. Response-able and consistent interaction in wiki will help us create rubrics for each assignment, and each student will do an evaluation of each group assignment. We will be well-prepared for this response-ability, as we will frequently engage in small-group work in class so that everyone can benefit from multiple forms of feedback. This "swarm" approach will ensure a steady and ample rate of useful and ongoing feedback on our projects. The professor will, in turn, grade the evaluations, and pay special attention to the written rationales detailing and justifying each evaluation performed. Also, wherever necessary and at his discretion, and in order to protect our commons from both uncritical (and therefore unhelpful) feedback or ad hominem/malicious feedback, the professor will override any "off-the-mark" peer-assigned grades.
These standards build on the WPA outcomes listed above and will help us produce accurate, consistent, and rhetorically-informed assessments of the 4 polished compositions and final projects.
Course Portfolios. The final course portfolios will be graded holistically by a team of writing instructors in a blind review. They will be scored on the following criteria, and the score for the portfolio will count toward your final grade for the class.
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Beginning (1)
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Developing (2)
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Competent (3)
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Mature (4)
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Exemplary (5)
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Rhetorical Knowledge
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Critical Thinking, Reading, Writing
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Composing Processes
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Conventions
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Overall score
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Incomplete Grade Policy. An “I” grade indicates incomplete coursework and may be awarded to an undergraduate student only when a small portion of the student’s work is incomplete and only when the student is otherwise earning a passing grade.
Make-up, Missed Work Policy. We will stipulate deadlines in our class meetings. While in-class work cannot be made up, if you must miss a class, let me know in advance so that we can rearrange draft deadlines. You are responsible for obtaining any handouts or assignments for that class session. Late work will not be accepted.
Examinations. In lieu of a final examination, we will complete course portfolio and participate in an 1101/1102 student showcase.
Student Rights and Responsibilities
* You have the right to do well in this class. You are responsible for earning the grade you want; grades are not “given,” or “deserved,” or “received.” You earn your grade by your performance not only on final drafts but also by participating in groups, drafting and revising documents, and making connections to work outside this class. Please make sure that you ask any questions you have.
*You are responsible for being in class and being in class prepared. It is your right to choose to attend class. If you choose not to attend, there are certain consequences. After the third absence, you will fail the course. If you are more than 15 minutes late to class, you will be considered absent for that day.
*You have the right to a full class period of work. If I am unexpectedly delayed at the beginning of class, you are asked to wait 15 minutes from the beginning of class. If, after 15 minutes, a designated member of the English department has not otherwise notified you, class is dismissed.
*You have the right to prompt feedback. This feedback will come not only from your instructor but also your peers.
*You are responsible for showing all work (from notes to emails to presentation-ready material) you have completed over the course of the semester. Please keep all work (from handwritten notes to email to final drafts) until you receive your final grade at the end of the semester. Delete nothing (especially email) and throw nothing away. Make frequent back-ups of your electronic documents. Failure of technology is not an excuse for late or missing work.
*You are responsible for completing all assignments for the class. You must complete all major assignments and turn in complete portfolios in order to be eligible to pass the class. All presentation portfolio material must be turned in at least twice—as drafts seen by your classmates and me, to meet this requirement.
*You are responsible for finding out what you missed when you are not in class. Get the names, phone #s, and email addresses of at least 3 classmates. Daily agendas are posted on the class wiki with homework assignments. Be sure that you check your email and the wiki page on a regular basis before class, in class, and between classes.
*You are responsible for contacting me when you are absent, have questions, or want to discuss your standing in the class. You may do so during office hours or by email or phone. Emergencies happen, but I can’t do anything to help unless I know about your situation.
*You are responsible for making sure you know what is due when. If you are unsure, ask.
*Because we will be moving at the pace set by the class, some dates may change. Any changes will be announced in class and on the course wiki.
University Policies
Religious Preference Absence Policy. Students who anticipate the necessity of being absent from class due to the observation of a major religious or sacred observance must provide advance notice of the date(s) to the instructor in writing.
Accommodation Policy. Students with documented learning and/or physical disabilities in need of accommodation are strongly encouraged to work with Student Disability Services and inform the instructor about any special requirements they may have regarding note taking, reading assignments, and test taking.
Academic Dishonesty Policy. (from USF Undergraduate Catalog
http://www.stpete.usf.edu/ugc/documents/MicrosoftWord-Gr.pdf)
Students attending USF are awarded degrees in recognition of successful completion of coursework in their chosen fields of study. Each individual is expected to earn his/her degree on the basis of personal effort. Consequently, any form of cheating on examinations or plagiarism on assigned papers constitutes unacceptable deceit and dishonesty. Disruption of the classroom or teaching environment is also unacceptable. This cannot be tolerated in the University community and will be punishable, according to the seriousness of the offense, in conformity with this rule.
Penalties for Academic Dishonesty. Penalties for academic dishonesty will depend on the seriousness of the offense and may include assignment of an “F” or a numerical value of zero on the subject paper, lab report, etc., an “F” or an “FF” grade (the latter indicating academic dishonesty) in the course, suspension or expulsion from the University.
Disruption of Academic Process. Disruption of academic process is defined as the act or words of a student in a classroom or teaching environment which in the reasonable estimation of a faculty member: (a) directs attention from the academic matters at hand, such as noisy distractions; persistent, disrespectful or abusive interruptions of lecture, exam or academic discussions, or (b) presents a danger to the health, safety or well being of the faculty member or students.
Punishment Guidelines for Disruption of Academic Process. Punishments for disruption of academic process will depend on the seriousness of the disruption and will range from a private verbal reprimand to dismissal from class with a final grade of “W,” if the student is passing the course, shown on the student record. If the student is not passing the course, a grade of “F” will be shown on the student record. Particularly serious instances of disruption or the academic process may result in suspension or permanent expulsion from the University.
Resources for this Class
Each Other. Successful communicators compose for and with other people. They write or sketch things out for themselves, muddle about in ideas for a while, and eventually find resonance with others. At some point in this process, they begin to shape their ideas for others, and allow their ideas to be transformed by others . In this class we will try to cultivate respectful and thoughtful ways of listening and attending to each others’ statements: I want you to be able to work and play in the healthiest of contexts, so as to garner and generate the most effective feedback possible. So, you will have to get to know others in class and give their work the same respect and attention you would like for your own. Seize this this opportunity to take chances, to experiment with your writing, and form a creative commons by and through your writing!
My hope is that you will all be invested in the course and the ideas we explore and discover. Investment always involves a certain amount of passion, and therefore, there will be a great deal of give and take in our discussions. As I am sure we will not all share the same views, different opinions should be expressed in a manner that facilitates communication. Because writing is often a personal experience, and explores personal situations, it is imperative that we develop an atmosphere of mutual respect in this class, even in the midst of the inevitable dissonance generated by true inquiry. If at any time you are uncomfortable with the class material and/or discussions, let me know. I expect you to 1) come to class prepared and take pride in the work you do, 2) offer support and encouragement to your classmates, 3) listen to others carefully before offering your opinion, and 4) talk to me outside of class if anything that happens during class bothers you. In order to maintain a productive work environment, I expect you to turn off your cell phone or pager before each class period and refrain from eating, sleeping, reading the newspaper or your personal email, talking outside of group discussion or lectures, and entering the classroom late or leaving early without permission.
The Professor. When you come to office hours, you don’t need to make any special preparations: just come with a question or something on which you’re working. (And if you can’t come during my scheduled office hours, talk to me after class or send me an e-mail to make an appointment.)
Freedom of Speech and Cognitive Liberty. As you will see, classrooms are spaces devoted to free inquiry. This is a rhetorical space, one where composers are response-able to each other: they think and write in response to each other, and not to a preconceived notion of each other. Assume the best in those you study with and be generous with your respect, and you will teach them to respond in kind.
The First Amendment of The United States Constitution
Gender and Pronoun Reference. It is no longer customary to use the masculine pronoun for cases of indefinite pronoun reference, for example, “When a professor grades papers, he is often swayed by a student’s degree of effort.” Instead, style books recommend changing pronouns to the plural form, for example, “When professors grade papers, they are often swayed by a student’s degree of effort.” Some call this practice “gender-fair language.” Others just call it good sense. Regardless of the reason, it is required in this course, so bring your gender-bender sentences to class so we can figure them out together.
Contacting Me. The quickest and most reliable way to reach me is to post to this wiki! You can also find me quickly through e-mail (trey.conner@gmail.com). I check it often. You can even add me as a buddy on AIM--"rhythmizomenoid" is my handle. In an emergency, dial "ShareRiff" on skype and I'll pick up. You can also call my office at 873-4783. If you do leave a message, please leave a number where I can reach you.
Required Texts
*The McGraw Hill Guide: Writing for College, Writing for Life Roen, Glau, MaidISBN: 978-0-07-249647-5
*Portfolio Keeping: A Guide for Students Reynolds and Rice
*Shiva, Vandana. Earth Democracy
*our Course Tools page and additional readings (web links and electronic files) as assigned throughout the semester
*Peer Writing
Tentative Class Schedule
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Date
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What’s Due this week?
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Class Activities
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For Next Time
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WEEK 1
24 August
26 August
26 August 5-6:30PM CAC 133 conversation with Bob Stilger
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Who are You? License Arguments, and Link Pile
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Introductions.
What is is a NOFO?
what is connectplus?
what is a wiki?
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Read: syllabus, handouts, Earth Democracy
Write: Who are You?, License Arguments, and Link Pile revisions;
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WEEK 2
31 August
civic engagement fair on wednesday, september 1st
2 September
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Journal: Where and When? License Arguments, and Link Pile revised.
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What is Rhetoric?
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Read: MGH, Earth Democracy, peer writing on the wiki
Write: Script and perform (or direct) a happening;
narrative/definition rough draft
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WEEK 3
7 September
9 September
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WTE
rough draft
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WTE workshop, Prose Activation Station
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Write: WTE final draft
Read: wiki, Earth Democracy
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WEEK 4
14 September
16 September
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Monday:WTE final draft
Wednesday: WTE remix proposal
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WTE remix
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Read: “The Cut-Ups,” MHG, wiki
Write: WTE remix
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WEEK 5
21 September
23 September
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WTE Portfolios due
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Feedback, peer-calibrated grading
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Write: peer-calibrated grading
Read: MGH, “Theory of the Derive,” wiki
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WEEK 6
28 September
30 September
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Wiki practice
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Freesound, chat rhythms
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Read: “Blood in the Gutter,” MHG, wiki
Write: freesound, chat rhythms, writing to explore 1st draft
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WEEK 7
5 October
7 October
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Wiki practice
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Branding, analogy
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Read: handouts wiki
Write: finding analogies in the field, reflections, writing to explore draft
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WEEK 8
12 October
14 October
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Writing to Inform Portfolios Due,
Midterm Portfolios Due
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visualizations and other representations of the writing process: drawings, images, and sounds;
Prose Activation Station
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Read: wiki, handouts
Write: Mixmaster blog, showcase environment mission statement
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WEEK 9
19 October
21 October
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Wiki practice
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Skokie;
prolepsis, counterargument, multiple perspectives/stakeholders
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Read: handouts, wiki, MHG
Write: wiki practice
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WEEK 10
26 October
28 October
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Wiki practice
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Causal argumentation: lurking variables
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Read: handouts, wiki, MHG
Write: Writing to Evaluate draft
|
|
WEEK 11
2 November
4 November
|
Writing to Evaluate Portfolios Due
|
Prose Activation Station,
Writing Evaluate Workshop
|
Read: wiki, handouts, MHG
|
|
WEEK 12
9 November
11 November
|
Wiki practice
|
Intermedia, Showcase Environments (slight return)
|
Read: wiki, handouts,
Write: ReMEDIAtion
|
|
WEEK 13
16 November
18 November
|
ReMEDIAtion Portfolios Due
|
Happenings “crits”
|
Read: wiki, handouts, MHG
Write: Writing to Solve Problems 1st draft
|
|
WEEK 15
23 November
Thanksgiving
|
Writing to Solve Problems Draft
|
Presentations, Reflections,
and Workshops
|
Read: wiki
Write: Writing to Solve Problems
|
|
WEEK 16
30 November
2 December
|
Writing to Solve Problems Portfolios Due;
Final Portfolios Due
|
Presentations, Reflections, and
Workshops
|
Showcase Environments
|
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