Stop Draw 3/20

Sousanis discusses the power we have, “it’s the capacity to host a multiplicity of worlds inside us” (96), and he uses the analogy of a door to introduce the expansiveness of our imaginations.


With this in mind, draw the door to your imagination.

Reading Question 3/13

“And third, there are those who insist that the most important site at which the meaning of an image is made is not its author, or indeed its production itself, but its audiences, who bring their own ways of seeing and other knowledges to bear on an image and in the process make their own meanings from it” (Rose 23).

 

In this section, Rose discusses the ways of seeing and the sites, “at which the meanings of an image are made” (16). Although she does not directly discuss ethos in this section by calling it such, she does address the credibility of the author/creator of a particular image. With her perspective of meaning making in mind, how does this theory of knowledge production translate to quantitative images (graphs and charts)? For example, if different individuals released two graphs and each image represented the same set of quantifiable information differently, what would be the author’s role in the image reception? What if one author was Neil deGrasse Tyson and the other was a graduate student in physics? In this case, would the authors still not contribute as much meaning to the image as the audiences themselves? [LW]

Big Idea 3/6

A humanistic approach to product design, usability testing, and artifact development allows designers to explain and improve the rhetorical aspects of generative knowledge design. Although Internet users experience complex cultural, geographical, and spatial networked relationships, these experiences go unnoticed and misunderstood. As Drucker discusses in Graphesis, with a humanistic perspective, the designer can ask: “How can we create fragmented and correlated points of view that connect one mode of analysis and display to another in a way that makes their connections legible?” (189). [LW]

Bibliography 2/13

Anderson, J. (2015). Understanding cultural geography: places and traces. New York, NY: Routledge.

While searching Google Scholar for citations of Dillard’s Pilgrim at Tinker Creek, I found Anderson’s book, Understanding Cultural Geography: Places and Traces. Anderson’s work discusses the intersections of place, identity, culture, and power. The book examines how individuals experience and understand space through their cultural identities. [LW]

Casebeer, D. (2016). Border Crossings and (Re) crossings: The Post-representational Turn in Social Cartography (Doctoral dissertation, University of Pittsburgh).

I found this dissertation while searching Google Scholar for those books and articles that cite Drucker. In his dissertation, Casebeer discusses the implications of mapping places and space. He examines the culture of cartography and discusses new methods of cartography pedagogy that teach the ways in which societies create knowledge in relation to space. [LW]

Eisner, E. (2008). Art and knowledge. Handbook of the arts in qualitative research, 3-12. Retrieved from http://us.corwin.com/sites/default/files/upm-binaries/18068_Chapter_1.pdf

I found Eisner’s chapter while searching Google Scholar for citations of Dillard’s book. In this chapter, Eisner examines individual and cultural perceptions and the ways in which such perceptions influence knowledge. Eisner also explores ideas of familiarity and strangeness, and how these ideas influence knowledge construction. [LW]

Jackson, P. W. (2000). John Dewey and the lessons of art. Yale University Press.

I found Jackson’s book, John Dewey and the Lessons of Art, when searching for citations of Dillard’s book in Google Scholar. Jackson examines human experience, particularly, the ways in which humans experience art. In his book, Jackson examines an influential work from the 1930s, and studies the contemporary examination of culture, experience, art, and nature. [LW]

 

Murphy, P. D. (2009). Ecocritical Explorations in Literary and Cultural Studies: Fences, Boundaries, and Fields. Plymouth, UK: Lexington Books.

I also found this book while searching Google Scholar for those books and articles that cite Dillard. Murphy’s collection discusses the ethical implications of cultural definitions of place. Murphy examines the ways in which place and space is represented in literature, and troubles these usages in his discussion. [LW]

 

Reading Questions: 2/6

“By focusing on the human shaping of material, and on the ties of material to human practices, we might be in better positions to ask after the consequences not only of how we use water but also of how we use paper, ink, and pixels to shape—for better or worse—the actions of others.” (Wysocki 59)

 (Barry 180)

Wysocki discusses the ways in which humans shape materials, and how we are often confined by the cultural implications of certain technologies. Barry, on the other hand, often discusses how materials and words shape us, and she gives several examples of poems, images, and colors that create and shape our memories and dreams.

Where, then, is the true intersection of modality, materiality, and our own imagination? Do the materials we use shape us? Or do we shape the modes and materials we use? [LW]

Brooke Notes (Barry)

Barry, Lynda. Syllabus: Notes from An Accidental Professor

Citation

Barry, Lynda. Syllabus: Notes from An Accidental Professor. Drawn & Quarterly, 2015, pp. 1-100.

Summary

In her collection of syllabi and teaching notes, Lynda Barry makes a bold argument for bringing drawing back to college classroom. Barry questions the reasons why adults lose their passion for drawing, and evaluates the reasons why adults feel hesitant to draw when asked. She encourages her students to enjoy the experience of drawing, and links these “childlike” actions with more complex concepts of art, science, and composition.

Through her teaching experience, Barry learns more about the relationship of art, of drawing, to the unconscious mind. She threads one particular question through the length of her book: “If the thing we call ‘the arts’ has a biological function, what is it?” (Barry 34). Barry also discusses the intersections of art and writing, and explores what it means to be a “good” writer or artist.

Barry explores the concept of art as negotiating thought, and asks her students to draw while listening to a story in order to activate the part of the unconscious mind that would otherwise go unrecognized. The composition notebook her class keeps functions as a catalogue of daily activity, and she continuously asks her students to draw or record events so that they learn to listen and take part in the otherwise mundane everyday world. Interesting things occur every day, according to Barry, and one must only open her eyes and ears to experience them. Barry’s collection of cartoon syllabi and notes provide thought-provoking questions about the nature of drawing, about art and the reasons for its existence, and questions about the nature of learning.

Keywords

1) Arts, 2) Unconscious, 3) Writing, 4) Biology, 5) Mind, 6) Drawing, 7) Thought

Citations

Brunetti, Ivan. Cartooning: Philosophy and Practice. Yale University Press, 2011.

McGilchrist, Iain. The Master and His Emissary: The Divided Brain and The Making of The Western World. Yale University Press, 2012.

Quotations

“There is something common to everything we call ‘the arts.’ What is ‘it’? . . . This ancient ‘it’ is something I call ‘an image.’ By image I don’t mean a visual representation. I mean something that is more lake a ghost than a picture; somehow alive, has no fixed meaning and is contained and transported by something that is not alive- a book, a song, a painting—anything we call an ‘art form.’ Images are also contained by certain objects . . . How was it put there? Why do we have an innate ability to have a sustained and interactive relationship with an object/image well before we are able to speak? What kind of interaction is taking place?” (Barry 15)

  (Barry 49)

 (Barry 92)

Questions

How could Barry’s questions and insights apply to the workplace? How could they apply to the first-year writing classroom?

Do those who draw and doodle during class better retain the information they hear? [LW]

Big Ideas

Because photographs are static images, the viewer of the photograph has the ability to study the image for an unrestricted period of time, allowing him the opportunity to experience both the punctum and studium of the photograph in ways he would not be able to with moving picture films (Barthes 26). The photograph captures and reproduces time and allows society to understand culture and time in ways that were previously impossible (Sontag 13). [LW]

Lauren’s Intro

Hello!

My name is Lauren Winton and I’m in my first year in the Written Communication program. I am a graduate assistant, and I teach first-year writing and work in the University Writing Center. Before my time here at Eastern, I worked as a Business Process Optimization Analyst for an insurance company in Atlanta. I graduated from the Georgia Institute of Technology with a B.S. in Science, Technology and Culture in 2013.

I’m excited to be in the Written Communication program, and I’ve already met many wonderful people during my time here. I hope to work as a technical writer in the non-academic professional world once I graduate.

Visual rhetoric seems like an interesting topic. I think the implications of having a foundational understanding of visual rhetoric will be nothing but practical in the workplace. As a technical communicator, visual rhetoric is an essential course for my knowledge repertoire.

I’m looking forward to a great semester with everyone!

All the best,

Lauren