This is where we’ll talk about Jim Ridolfo and Martine Courant Rife “Rhetorical Velocity and Copyright: A Case Study on Strategies of Rhetorical Delivery,” which is in the collection Copy(write): Intellectual Property in the Writing Classroom, available via the WAC Clearinghouse. It’s a little more “teaching of writing” focused and it goes down some other topics/emphases I don’t really want to dwell on too much. Instead, I’m more interested in the role of MSU as an institution appropriating that image of Maggie.
Here’s where we can talk about the Lawrence Lessig reading, “RW, Revised,” and where we might as well also talk a bit about Rip! A Remix Manifesto since Lessig is really talking about stuff in that movie– or, more accurately, Brett Gaylor’s film is really talking about Lessig’s book, Remix.
This is where we’ll talk about chapter 2 of Anthony Friedmann’s Writing for Visual Media. I uploaded a scanned version of this to eReserves, but I did a quick Google search and was surprised that the book is available here on Scribd, so if you’re interested in checking out the rest of the book, feel free. Chapter five might be particularly useful since it’s about PSAs and ads. More after the break.
This is where we’ll talk about Jeff Ward’s “Cloud Gate: Challenging Reproducibility.” This is another essay I’ve taught several times before and while it might seem like a bit of a tangent, I do think it’s a really interesting story/illustration of the complexities of copyright law.
This is where we’ll talk about “Tales from the Public Domain,” a comic by Keith Aoki, James Boyle, and Jennifer Jenkins, which is actually a comic about copyright.
This was a reading recommended to me by Derek Mueller a couple years ago and I’ve used it in a couple of different classes to introduce these conversations about copyright. Interesting stuff: I always like comics, and I always like ones that try to introduce complex like this one. Copyright law is very complicated, so I like the idea of how they approach it here, and given that you are making things pretty analogous to documentaries, the advice offered here is pretty accurate, too.
I also think this comic does a nice job of outlining the basic concerns of copyright and fair use. I think it does an especially good job of describing the good things about copyright– a lot of the sorts of critiques I’ve read describes copyright in all negative terms.
Share them here, folks!
First off, what not to talk about: let’s skip the essays by Cheryl Ball that I had originally assigned here, at least for now. As I look back at them again (these were also assigned in 516), I am kind of realizing that they are more about multimedia as webtexts than they are about what we’re talking about. Certainly that’s an analogy and I think these are both good essays, but the connection isn’t quite there for our purposes and we have enough to read and do as it is.
Here’s where we’ll talk about chapter 5 of Halbritter’s Mics, Cameras, Symbolic Action. It’s a nice piece to read with the KDMC “Video Techniques” tutorial because Bump does the work at connecting this to writing (especially at the beginning of the chapter) and also brings it back to some of the practicalities of working with cameras. More after the break.
Greetings from Alabama! As I mentioned last week, I’m on the road this week during our hybrid/online time, and I’m posting this now with the Gulf of Mexico just outside the window. Someone told me there was snow up north.
Anyway, this is where we’ll start talking about Morain and Swarts, YouTutorial: A Framework for Assessing Instructional Online Video.” As much as anything else, I think it’s also a framework/directive for how to create good online instructional video. Two basic observations to get folks started:
- While I think the methodology here is thorough and useful, I personally get a little bogged down in the numbers and stuff. I might have to go back to this later and study it in a little more detail. But what I really like about this is the detailed articulation of what I would describe as both a “grammar” and a “rhetoric” of good instructional video. The detail here is very useful.
- A lot of the criteria that Morain and Swarts are talking about circle around “production values” in different ways, a point that came up early in the term (recall our critiques of Dan Anderson’s video?) and that I think is kind of a reoccurring theme for me this term.
Oh, and it’s worth checking out the video they discuss as a “good example” in relationship to their rubric, which is linked in the article:
Here’s where we’ll talk about the KDMC “Video Techniques” tutorial. As was the case with the tutorial for “Standups and Voiceovers,” I think this tutorial offers really straight-forward and useful advice in a very “digestible” format. Also, look for connections between the stuff here and what we’ll see in Chapter 5 of Halbritter, too.
This is where we’ll talk about Rickert and Salvo, ”The Distributed Gesamptkunstwerk: Sound, Worlding, and New Media Culture” and the accompanying/supplementing web site piece, “…And They Had Pro Tools.” I’m not completely sure they “fit” here or not and I realize both are kind of long, but I think the basic point here they are making does connect with the work we’re doing. Just three quick observations to get you started:
- This notion of “Gesamtkunstwerk,” a “world” of art or a “total” artwork, does seem to very much fit with the theories of multimedia we’ve been talking about. One of the things that new technologies allow us to do is to get out from behind the limitations of “writing” with just words. But we’ve talked about that lots already.
- Even this this isn’t really that old (2006), it is interesting to me how some of this does feel a little dated already. Maybe it’s because of the observations they’re making about GarageBand and similar software?
- Some of the charts– especially the one on page 311– are pretty funky.
The web site does offer some interesting support to the print essay and it also functions itself as an example of “multimedia.” Though one of the problems with all of these kinds of things is the amount of “link rot” you have to endure: that is, a lot of the links they have just don’t exist anymore.