5,949 research outputs found

    Abstracts: HASTAC 2017: The Possible Worlds of Digital Humanities

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    The document contains abstracts for HASTAC 2017

    Memes, Args And Viral Videos: Spreadable Media, Participatory Culture, And Composition Pedagogy

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    This project argues that spreadable media texts motivate people to engage in compositional activities advocated in First Year Composition (FYC). Drawing on Henry Jenkins’ assertion that participatory culture offers potential for learning, I use his list of eleven participatory culture skills that he believed necessary for all students. After showing how well the Participatory Culture Abilities (PCAs) align with the WPA Outcomes Statement (WPA OS), I put forth the WPA OS and the PCAs combined as a lens through which to view three spreadable media case studies: Spreadable Media Events, Fan Labor, and Alternate Reality Games. Based on my findings, I conclude that we should incorporate Spreadable Media and Participatory Design pedagogy into the composition classroom, which will lead to innovative pedagogical practices that foster agency and engagement in students towards their writing. It will inform and facilitate the achievement of the Writing Program Administrators’ outcomes; and it will support the learning of a set of participatory culture abilities that will help students to become conscious, responsible and empowered users of their rhetorical power in digital environments

    Measuring the societal impacts of universities' research into arts and the humanities (HERAVALUE)

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    Microworld Writing: Making Spaces for Collaboration, Construction, Creativity, and Community in the Composition Classroom

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    In order to create a 21st century pedagogy of learning experiences that inspire the engaged, constructive, dynamic, and empowering modes of work we see in online creative communities, we need to focus on the platforms, the environments, the microworlds that host, hold, and constitute the work. A good platform can build connections between users, allowing for the creation of a community, giving creative work an engaged and active audience. These platforms will work together to build networks of rhetorical/creative possibilities, wherein students can learn to cultivate their voices, skills, and knowledge bases as they engage across platforms and genres. I call on others to make, mod, or hack other new platforms. In applying this argument to my subject, teaching writing in a college composition class, I describe Microworld Writing as a genre that combines literary language practice with creativity, performativity, play, game mechanics, and coding. The MOO can be an example of one of these platforms and of microworld writing, in that it allows for creativity, user agency, and programmability, if it can be updated to have the needed features (virtual world, community, accessibility, narrativity, compatibility and exportability). I offer the concept of this MOO-IF as inspiration for a collaborative, community-oriented Interactive Fiction platform, and encourage people to extend, find, and build their own platforms. Until then and in addition, students can be brought into Microworld Writing in the composition classroom through interactive-fiction platforms, as part of an ecology of genre experimentation and platform exercise
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