“An important aspect of chorography,” Ulmer writes, “is learning how to write an intuition”

This week’s readings are asking writers to consider intuition: t(reason), associations through one object/thing/point, juxtaposition.

I.e.: Back to invention strategies.

The new media focus involves not seeing new media as instrumental, as merely usage of tools, as even being stuck with a computer.

What are the practices that new media teaches? What are the practices we must invent?

The emphasis for the last few weeks:

• Teaching research in very focused ways - other than “go to the library” or “do research”
• Production - producing something other than a reading
• The importance of models for production (the avant-garde, hip hop)
• The questioning of argument as the only way to teach writing
• Ways of knowing
• Exploration

To that end, it is worth continuing the mystory in order to experience/text one way to do all this.

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Dworkin:
Experimental thought (avant-garde) making its way into classroom.
604 avant garde well suited to the classroom/ learning from literary innovations
Cage: writing which comes from ideas – not about them – but which produces them
605 from Ulmer, classroom as site for invention instead of reproduction
proving what you do not know
606 but Cage is not a model for rejecting knowing – the more you know, the less sure you feel (knowledge is the foundation of query, of asking questions – cultural literacy for asking/not proving)
at top, 1st paragraph, rethinking classifications that presume the question (this is writing, this is comp, this is a personal essay, this is an argument)

607 parataxis – a form of arrangement (also in Burroughs) items may be arranged in more than one order. Collage a main model.
- 608 the role punning plays in composing

WHY DO THIS? OBGLIATION? Via Rimbaud – for society. Same reason as another model often proposes (democratic citizen, critical thinking, etc)

609 but how this kind of pedagogy is quickly domesticated (like doing hypertext and then having to write a prose explanation).
REMEMBER TRIMBUR/YANCEY- parented teaching

how one item (mushroom) used to demonstrate idea (learning – 609)

Last page: poetry as pedagogy WITHOUT teaching poems? Define.
See Haynes 702 on poets …metalepsis – reference to one thing by another related thing
A question of representation …thus the refugee (as poet) who is not represented anywhere

And thus our dependence on exact representation. This assignment represents what you do in the future/this essay represents a single position

throughout essay – role of repeating signifier. How a thread is drawn (mushroom) to compose
Like Signeponge Writing by associations – the name
Merger = the rhetoric and practice

Haynes:
The response to the failed project of logic – grounding our ideas
668 what am I doing in this field of r&c?
dragging the anchor of argumentative writing
reason upon reason – not sufficient
everything can be challenged but “argument” (or throw in another convention)

Also – the WHY. Why take this course. Why do writing? Etc. Logical answers can be unsatisfactory (job, vocation, prep for other course work). Mystory too is response to dependence on why, as are the other two readings here

670 writing offshore is SUGGESTIVE
671 abstraction/not argumentation
writing should be strange (dworkin/mystory/hip hop pedagogy)
72 – from Ramus – teaching is proving
73 bottom – failure of logic in the discipline – none of these issues every solved despite all the attention and problem solving
74 – so let me be irresponsible b/c responsibility has failed
77 to think in the abstract (groundless – think ethos, grounding, and t.sentence)
reason – ground
78 abstract writing is not about re-presenting abstractness (or building)
some things are beautiful even w/out purpose
83 topos of the street – the re-grounding of a “new” position (so it is really not new). Like Graff. See Clueless. Making new do work of old – often in ways not sure of
85 like ETS trying to test and asses every new idea
86 stories that trace trajectories
shift from flaneur metaphor to that of refugee
87 sirc’s street as event
* and ARGUMENT is a pretender to the throne
(all this arguing, what’s achieved? Same for critical thinking – if we are all really teaching it, why the constant complaints that students can’t think critically, or that people can’t, like voting for Bush)
*88 rhetoric of the unbuilt (argument as rhetoric of the built – a claim)
92 this involves mapping non-foundational versions of composition
94 this is not the substitution of one thing for another
97-8 refugees in terms of camp - the in between state
700 this is a Derridian move – putting terms under watch to reappropriate them later
703 t(reason) - dealing with the gaps (aporia) in reason
705 done through conflations
706 as Derrida notes through the mediation of discourses – but not to arrive at simplistic solution (let’s analyze web pages!)
707 rhetoric as refuge
not renegade! dissoi-paralogoi – logos not for reason/rationality (topos-logos in fixed place we have reason/ in non-fixed place, we move continuously through discussions, or trajectories as Haynes writes).
Not place but
708 Uncommon place
what has common place (students can’t write/students plagiarize/students…) gotten us?
713 abstraction: Imagination, mythic ideation, context, etc

her own patterns – trajectories: drifting, shore,
and what is it we GROUND – or do we run aground?

hip hop pedagogy
temporality
the whatever assignment as visual / juxtaposition as visuality

where do ideas come from – time is one marker to differentiate organized experience
mystory has its own differentiation
but space or genre or…could as well

making connections,
I’ve since called this digital aurality – or borrowing from Ong and McLuhan – sounding out.
Making connections because of the simultaneous – what McLuhan called a new physics.
As opposed to a KNOWN point, discovering relationships among simultaneous issues/concerns/points is the process of KNOWING.
Which is actually quite old school for invention. Gathering bits and pieces of ideas. Putting them together. What we do here is work around the idea of
RELATIONSHIPS
As opposed
To Argumentative stance (I believe X, I back X up)
They don’t have to be distinct, but pedagogy often makes them so…because relationships change…they are not fixed. Pedagogy resists the flexibility.
Via relationships, we listen for formations.

i.e. perception – how one visualizes a writing
and collection – see sirc
how do we visualize material(s) as belonging or not belonging to one another?
Now swap materials for identity/discipline/practice/ideologies

A recognition of research as collection – not as confirmation.

63 – heuristic for method.
Undergrad/grad/professional (how to invent a practice). We need a method. Temporal juxtaposition (hip hop pedagogy) as one method