Ecology, Writing Theory, and New Media: Writing Ecology
Format: PDF / Kindle (mobi) / ePub
Moving beyond ecocomposition, this book galvanizes conversations in ecology and writing not with an eye toward homogenization, but with an agenda of firmly establishing the significance of writing research that intersects with ecology. It looks to establish ecological writing studies not just as a legitimate or important form of writing research, but as paramount to the future of writing studies and writing theory. Complex ecologies, writing studies, and new-media/post-media converge to highlight network theories, systems theories, and posthumanist theories as central in the shaping of writing theory, and this study embraces work in these areas as essential to the development of ecological theories of writing. Contributors address ecological theories of writing by way of diverse and promising avenues, united by the underlying commitment to better understand how ecological methodologies might help better inform our understanding of writing and might provoke new theories of writing. Ecology, Writing Theory, and New Media fuels future theoretical conversations about ecology and writing and will be of interest to those who are interested in theories of writing and the function of writing.
place of operative invisibility. In order to remove the sites of industry from the central heart of Austin, the Master Plan recommended that city officials designate the area east of East Avenue as a space for industrialization. Transportation facilities were rerouted through the eastside in order to avoid the accompanying noise and traffic in the central business districts and western residential areas. The Ecology of the Question 183 The Houston and Texas Central Railway line already snaked
of the hypostatized agent what more productively should remain temporalized in the act or performance” (147). We need to acknowledge that rhetorical agency is distributed across human and nonhuman agents, environment, space, and time. Interjecting the notion of becoming into our conceptions of agency is useful, then, because it helps us understand that agents become rhetorical via intra-actions that unfold with time and space. We are not rhetorical agents; we become rhetorical agents just as any
smacks of the logic of augmentation (i.e., the machine as a prosthetic extension of human capabilities), which has been the default conception of human-technology relations in computer science since Vannevar Bush and Douglas Engelbart, as well as the conventional wisdom in media theory since Marshall McLuhan. Digital tools scholarship specifically forwards augmentation-oriented rhetorics that reaffi rm the centrality of the student writing subject, which 124 John Tinnell has been the defi
other words, a web application or authoring software is not just a digital tool 132 John Tinnell meant to augment writers nor is it merely a location where online writing takes place. Clearly, digital media are considered as technical machines in digital tools scholarship. As such, digital tools become the latest attempt to stabilize the autopoiesis of writing by positioning it as subsidiary to the instrumental drives of human subjects, especially the pedagogical imperative. From an
templates: winners and losers, challenge and response, evolution, revolution, cycles, the lone ranger, “my generation.” It goes without saying that the narrative form itself supplies a set of assumptions: a model of human agency, the role of action to transform situations, the whole actantial structure familiar to students of literature. Fatal strategy assumes a different relation between agent and world from that organizing narrative form. We look for instruction in the central argument of our