Tag Archives: 21st Century

To DEAR (Drop Everything And Read) or to DREAM (DRop Everything And Make)

20120914-131047.jpgLast weekend, as I was walking to my weekend office (my favorite cafe in El Barrio, East Harlem Cafe), I passed the corner of 105th and Lexington, which had been under construction for the last months. Suddenly, I heard someone calling my name from inside the building. Sure enough it was Manny Vega, visual artist and mosaicist extraordinaire, who is well-known for his restoration of the Spanish Harlem mural on 104th and Lexington and the mosaics in the NYC subway station at 110th street.

20120914-131059.jpgHe was working on his newest project, a mosaic realization of the appliquéd series of public art that runs along the businesses from 104th to 105th in East Harlem (featured in the NY Times). In the renovation of the building at 105th and Lexington, the art there had been removed in pieces, and the folks at 7173 Associates, LLC, and the owner of the long-standing neighborhood perfumerie, Exotic Fragrances, had decided this was not a loss they would let the neighborhood feel. Expected to run 20 feet long and 7 feet high, Espiritu: A Visual Prayer in Glass and Stone for the Here and Now, is Vega’s gift for the streets of East Harlem. It will be unveiled October 6th at 3:00 p.m.

The theme is a celebration of moments in my life where spirit has been the vehicle for living. It has been an amazing experience to share these images with everyone as folks have provided even more meaning to this project with their own association with my art and the realm of the spirit. -Manny Vega

And if I wasn’t already lucky enough to live in a neighborhood with such a vibrant art community, Manny Vega has been kind enough to take me on as an unofficial, part-time mosaic apprentice. We had met at East Harlem Cafe, where a commissioned piece hangs announcing their name. We began to talk technique and tools, and pretty soon, I had my first assignments. I studied, up close and personal, the mosaics throughout the subways stations in NYC (and got a more than a few weird looks as I stood nose to tile) and then on a trip to Russia, the Byzantine style that Vega practices. With pieces of construction paper and scissors, I drew then places tiles in channels, a Byzantine-style technique that creates the movement, depth and life seen in Vega’s creations.

It was a Saturday, and I had a long to-do list awaiting me, but I did what any sane person would do with your mosaic mentor working on a landmark piece. I dropped everything and went to get my pieces and tools. I returned and we worked alongside each other with a stereo blasting the local flavor for hours. Manny showed me a new fastening technique, and let me use a new clipper tool to practice making curved pieces that “fastened” into the next stone. (You can see magnified sections of some of his work here by running the mouse over the image. Watch for the channels and how pieces are cut to fasten into each other.) He told me that as tile and glass becomes malleable and the pieces begin to run as you intend in the channels, the therapy sets in. The mind and body and the creation become one. And, as usual, he was right. I was transfixed and healed. I tweeted and an old student of mine responded brilliantly:

This got me thinking. Just a few nights before during #literacies chat, we had been discussing contemporary digital literacies while listening in to the National Writing Project’s bi-monthly radio program. We had this little exchange:

20120914-131124.jpg Part of Manny Vega’s mosaic mural Espiritu will be a piece that features The Trickster, a mythical creature that shows up across time and cultures. As a mosaic, Vega is afforded the ability to insert actual dominos and dice in his rendition of a modern-day Trickster, who gets around via skateboard. The dominos and dice are physical manifestations of the hustle, of the gamble, of the games today’s Trickster uses to entrap us. This physically-realized aesthetic and referent would not be possible in any other medium.

I think this is the approach we need to take when thinking about digital literacies. What are the affordances of the medium that—if we took advantage of—would result in compositions that could do and be things otherwise not possible? A few of my grad students took to defining contemporary literacies last semester. Some of the results are here. Doug Belshaw, of the Mozilla Foundation, is writing a white paper on web literacies right now, and he is looking for input. What do you think these affordances are that we should be attending to in schools today?

One of the changes I see as necessary, is to stop saying literacy when we mean reading. Literacies in contemporary times (and perhaps always) are equal measure reading and writing/interpreting and composing. In a forthcoming chapter in Critical Digital Literacies as Social Praxis: Intersections and Challenges, I explain (with co-author Glynda Hull):

Via digital means we are now easily able to compose in multiple modes and, with access to the Internet, to do so in response to and in collaboration with international others. Such practices are, in fact, increasingly viewed as central rather than peripheral to literacy (Andrews & Smith, 2011). Critical reading implies a reader’s active response, as Rosenblatt (1938/1995, 1978/1994) long ago taught us. The interpretation of written language and image resides at the intersection of text, the reader’s personal experiences with other texts, and the social world. In a digital age, a reader’s response can become manifest materially (cf. Coiro & Dobler, 2007). When readers engage with a blog, for instance, they are able, indeed expected, to click on links, add comments, and reblog or remix content. Such response is a customary, expected part of the reading experience. Thus, the reciprocal relationship between reading and writing becomes tighter in the digital sphere, making authorship more obviously tantamount to readership, and vice versa.

One way we could do this is change the DEAR program (Drop Everything and Read) and institute a DREAM program (DRop Everything and Make). As my old student Emily implied, this would include making meaning from existing texts, along with making new ones. I know from my Saturday afternoon with Manny, making is not just critical and creative, it can be healing.

(The #literacies chat also led us into another fascinating discussion of the boundaries of writing when considering contemporary digital composition. I’d love to continue the conversation on that topic that started here.)

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Rethinking ‘Global Audience’ & Networked Digital Composition

Though not synonymous, digital composition and networked digital composition are often thought of as one and the same. In addition to the ease with which text, image and video can be manipulated digitally—especially with especially designed software for such purposes—networked digital composition explodes the possibilities for composition.

We can access information from a broader range of sources than ever before, including tapping into the flow of knowledge-building as it occurs via social media such as wikis, Twitter hashtag feeds, blogs with comments, etc. For example, recently Jack Dougherty and Kristen Nawrotzki launched a digitally-born text that would result in both digital and printed text. By being not just digitally-born, but networked and available publicly, the text could be truly open-review and collaboratively composed. (I participated in the initial concept-generation phase, suggesting a chapter exploring how the processes of composing text [as opposed to the products that are the result of composing] in the humanities has been influenced by networked digital capacities, called The Composing Processes of Writing History Digitally.)

With networked digital composition, we can compose with media previously available only to programmers and professionals. Of course, we don’t have to be ‘networked’ to use software we’ve purchased, but with the Internet we have immediate access to freeware and online webpages such as Picnik for images or Aviary for music.

We also have access to audiences like never before–both during the composing process and for our finalized digital products. On deviantART artists of all skill levels can create portfolios of work, ask for feedback on pieces or pieces-in-process and can create little enclaves of similarly-minded artists. Text, image, sound can also be taken up by those who view it and remixed—or plagiarized, if you will—with ease. Not only is networked digital composition available to one intended audience, it is potentially available to any number of individuals and enclaves, both nearby and global.

It is this final idea—the potential global audience—that I’d like to pause to consider. Though the fastest adopted technology we’ve seen worldwide—doubling in the last five years—the actual access to global audiences, who can participate similarly to those within the US, is far more limited than it may sound. Only 20% of those in ‘developing’ countries are online (see the link to “The State of the Internet Now” below), and those who are mostly on their cell phones. Marion Walton’s research out of South Africa asks us to question the assumed dominance of the computer in the digital age. She describes a ‘mobile-centric’ use of digital media: books via text, tweet, or the like; links to Youtube-like sites sent via text; chatting on the phone. Not only is the access to the Internet different across countries, but their devices, forums, and thus practices are also different.

State of the Internet 2011
Created by: OnlineSchools.org

All of this leaves me to wonder:

  • When we are composing with networked digital tools, what do we need to take into consideration regarding our potential global participatory audience?
  • What influence does this have on our composing processes and products? What influence does this have when reading texts from global sources? What influence should this have?

In the comments, I’d love to hear further questions that come to mind, as well as ideas you have as to how to begin to answer these questions.