accessing embodied delivery

1. accessingembodied delivery through multimodal composing & teaching Writing to me seems like walking down an endless train track. You know that your voyage will eventually end at a station, but the track seems to be stretching forever. Stepping from one cross bar to the next is a struggle, but it also gives a feeling of success and, in the end, it will get you to your destination. Lana, student with disability English 104, Writing Studio Bre Garrett

2. Presentation Frame: Guiding Questions • What is embodied delivery? • What happens when we use embodied delivery as a heuristic to teach new media production? • How does embodied delivery, as a rhetorical concept, inform new media production and writing pedagogy?

3. Contexts/Methods of Research • Teacher-research • Participant-Observation • Interviews with students • Case-Studies • Theoretical frame • Rhetorical Delivery • Writing Pedagogy • Embodiment Studies (Feminist &Disability Studies)

4. Bodies and DeliveryWhat do I mean by embodied delivery? Body as Site and Means: Composer and Audience Inter-action Situated embodiment, situated knowledges (Donna Haraway) Body as complex and interactive composing material Body as an interface, a site of interaction and contact (Elizabeth Grosz) Bodies as topoi: means of negotiation between invention  delivery Accessibility (interrogates normative constructions) Ethos and body as signifier

5. How can teachers re-embody writing, re-embody composing spaces? And, why: what difference does it make? New Media Production = invention & delivery + composer & audience interaction negotiation among materials, means, and aims Rhetorical Dwelling Place: Bodies as points of access at multiple locations Subject in rhetorical situation Author Audience Composing Spaces Technologies

6. What do we gain from embodied delivery as a heuristic? Author Message Audience Transfer to Contexts Beyond the Classroom

7. Classical, Greco-Roman Delivery Contemporary, Digital Delivery

8. Multimodal, Embodied Delivery Classical Delivery Embodiment Physicality Oral: voice/aural Gestures Visual display Performance Normative bodies: gender, class, ability, ethnicity, education Digital Delivery Embodiment Virtual, prosthetic Video Production Motion Gestures Aural/oral Visual display Access/Accommodation opens participation “differences as generative in the writing classroom” Bruggemann et al

9. Multimodal Video Productionin First-Year Composition 5-7 minutes multimodal video Topic: develop a compelling inquiry question The video answers the question (research through production) Marketing plan that includes 3 locations for video distribution

10. Project Learning Outcomes • Pose an inquiry question that functions as a thesis • Compose multimodal text for specific audiences, purposes, and contexts, including those beyond academic community • Compose effectively combining modalities—visual, aural, print, digital—for public delivery • Engage in critical reflection of your own composing • Conduct research and work with multimodal forms of source representation

11. Scaffolding Alphabetic Components • Prospectus • Storyboard/outline • Weekly blogging • Mid- and post-project reflections on process • Video marketing plan (delivery proposal) • Reflective audience analysis • Incorporate sources • Transcripts/Narrations • Peer-Response Feedback • Editorial/Grammar

12. Case-Study: Nick’s Video Project Inquiry Question:Can people with Asperger’s Syndrome succeed like other people? Research conducted:Three F2F Interviews Director of Disability Resources Professor of Developmental Psychology Scholastic Enhancement Program TutorTextual, secondary research: Journals, Books, Manuals, & Online Sites

13. Nick Brincat’s video: http://youtu.be/gI7omIck5Fs

14. Public delivery: • Office of Disability Resources • Youtube, 3114 views • High School Guidance Counselor “I am thinking about how my video will affect the audience and how they will respond to my video.” - Nick Nick’s Blog Unintentional Re-inscription of Norming

15. “Three places other than Youtube that I will circulate my video is on Facebook, Attached in emails to friends, and printed out on CDs for people without access to the internet to watch.” I should have paid more attention to the race and ethnicity aspects of sororities…I wish it [video] was more diverse than it is. I end up excluding audiences when that was not my intention” –Sally Sally’s Blog Identification Across Difference

16. What do we gain from embodied delivery as a heuristic? Author Message Audience Transfer to Contexts Beyond the Classroom

17. Embodied literacies differ for each writer Production as multimodal invention and delivery Delivery as an early-stage composing concern that consists of micro-processes – opportunities for reflection and intervention Including bodies, alongside technologies, as materials dimensions of composing Embodied Delivery: New Media Production & Writing Studies

18. Triangulation of outcomes, curricular design, and delivery Assessment inclusive of student feedback Mentoring teachers through collaborative research Studio Pedagogies: a space of doing through in-class collaboration, invention, and research. Can we invent for a more accessible delivery—and as teachers be okay with “a rhetoric of difference”? (Kristin Lindgren “Bodies in Trouble”) Embodied Delivery: Pedagogical Implications

19. Accessing Embodied Delivery • Designing accessibility for different bodies • New media production as a space that opens access and bodily affordances – but not without direct intervention • A critical discussion of unintentional norming and exclusion • Reconsideration of identification across difference • A Pedagogy of Universal Design (Jay Dolmage, “Mapping Composition”)

20. How can we, as teachers, counter/challenge “institutional steep steps” (Dolmage) when teaching new media production? And, how can we teach student-composers to foreground embodied delivery, casting the widest net possible for audience reception and participation?