November 17, 2014 by Brian Harmon
Consider the reading you had for homework (Chapter 4 in Technical Communication) through the lens of the editing choices you made for your Affective Video Project.
Screens are all around. The production of multimodal compositions such as the Affective Video Project involves navigating multiple screens. Most directly, you have engaged the screen of the camera and the screen of the computer. Less easily experienced is the larger screen of public display. By its nature, a screening is public and includes works of sometimes widely divergent quality. It is an old pedagogical technique, very common in some disciplines (the plastic and digital arts, public speaking, etc) but traditionally less common in composition classrooms. In my research, I am interested in thinking about a theory of class screening. In other words, what might be gained (or at risk) from the corporeal experience of communal viewing with peers who have just undergone the same endeavor? I believe that the collective immediacy of banter, laughter, and impromptu context given by each composer after her film is screened can be (perhaps) the most productive part of a multimodal assignment. It provides us (you, the students and me, the instructor) the space and access to the kinds of lore (practical knowledge) that, at least in my experience, have been among the most productive moments of learning and teaching. I believe there is value in hearing—and feeling—another composer’s composing experience that is impossible to reproduce or quantify.
We have all come from different backgrounds and situations, and our films put these different qualities on display. I expect total respect and only constructive criticism. While it is so tempting to preface a screening with a list of “what might have beens”, I will insist that we watch each film first without comment from the author. After the screening, each author is encouraged to reflect publicly and answer questions from the audience. If for some reason you would prefer not to show your film in this setting, just politely say so. There is no need for an explanation of any kind.
Compose a new blog entry responding to the questions on p.75 of Technical Communication (the “In Your Experience” section) through the lens of one of the ethical cases described at THIS website. Be ready to discuss your answers on Wednesday. As always, think about how you tag this post. #ethics.
Read: TC Chapter 5 (Technical Communication in a Transnational World) p100-123