Participatory Composition: Video Culture, Writing, and Electracy

184 Pages·2013·0.927 MB·English

by  Sarah J. Arroyo, Cortney Kimoto (Smethurst)

PARTICIPATORY COMPOSITION

Participatory
Composition
Video Culture,
Writing, and
Electracy
SA R A H J. A RROYO
Southern Illinois University Press
Carbondale
Copyright © 2013 by the Board of Trustees,
Southern Illinois University
All rights reserved
Printed in the United States of America
An earlier version of chapter 5 was published as
“Playing to the Tune of Electracy: From Post-Process
to a Pedagogy Otherwise,” JAC 25.4 (2005): 683–715.
16 15 14 13 4 3 2 1
Library of Congress Cataloging-in-Publication Data
Arroyo, Sarah J., 1970–
Participatory Composition : Video Culture, Writing,
and Electracy / Sarah J. Arroyo.
pages cm
Includes bibliographical references and index.
ISBN-13: 978-0-8093-3146-8 (pbk. : alk. paper)
ISBN-10: 0-8093-3146-2 (pbk. : alk. paper)
ISBN-13: 978-0-8093-3147-5 (ebook)
ISBN-10: 0-8093-3147-0 (ebook)
1. Online authorship. 2. Digital media. 3. Communi-
cation and technology. 4. Multimedia systems—De-
sign. I. Title.
PN171.O55A77 2013
302.23'1—dc23 2012047214
Printed on recycled paper.
The paper used in this publication meets the mini-
mum requirements of American National Standard
for Information Sciences—Permanence of Paper for
Printed Library Materials, ANSI Z39.48-1992.
For Chris

COnt entS
Acknowledgments ix
1. Introduction:
Electracy, Videocy, and Participatory Composition 1
2. Recasting Subjectivity for Electracy:
From Singularities to Tubers 29
3. The Question of Definition:
Choric Invention and Participatory Composition 49
4. Who Speaks When Something Is Spoken?
Playing Nice in Video Culture 77
5. Participatory Pedagogy:
Merging Postprocess and Postpedagogy 101
6. Afterword:
Productive Knowledge, Participatory Composition 119
Notes 141
Works Cited and Consulted 147
Index 163

ACk nOw ledgmentS
Several people deserve thanks for contributing to the making of this book.
They include
Victor Vitanza, my dissertation chair, mentor, and friend, whose work
inspired this book. Victor continues to inspire me in all areas of life. Gregory
Ulmer, whose concept of electracy frames all aspects of my scholarship and
teaching. Geoffrey Carter, who single-handedly helped propel my own think-
ing into video and participatory cultures, read the manuscript, provided ex-
tremely helpful feedback, and suggested the title “Participatory Composition.”
Robert Leston, Byron Hawk, and Thomas Rickert, who through many conver-
sations inspired the evolution of my ideas connecting the theories we were all
working with to video and participatory cultures. Eileen Klink, my department
chair at California State University, Long Beach, who tirelessly supported
me and advocated for my work. The College of Liberal Arts at CSULB and
specifically former dean Gerry Riposa, for granting me a sabbatical in spring
2011, which gave me the sustained time to finally rework my ideas. Kristine
Priddy at Southern Illinois University Press, who was a particularly patient,
kind, and supportive editor. Bahareh Alaei, Cortney Kimoto (Smethurst),
and Amy Loy, graduate students who have collaborated with me on this and
other works; Mark Olague, Suzan Gridley, Luis Orozco, Linda Hua, Sarah
Roussin, Teresa Troutman, and Noel Vincent, all former graduate students,
whose ideas, projects, and participation helped form the concepts that shape
this book. Without these smart and savvy students, I would not have been
able to reconceptualize my arguments for video and participatory cultures.
And, finally, to Chris, the love of my life since way back when, who is
my backbone. And to my babies, Jackson, Ashton, and Madeline, who all
were brought into this life while I was working on this book. You are all
three wise souls who teach me something new every day. My unbelievable,
little family—Thank you.
ix