Anna Smith is an educational researcher and teacher educator blogging about composition in the digital age, contexts for learning, theories of development, and global youth. In this piece, she ponders the way that audience and author get blended in digital writing, and wishes DigiWriMo a fond farewell.
How can I hear my own voice unless it bounces off of yours?
I have had that single line in my mind for years. It isn’t particularly poetic, and I don’t completely agree with what it implies, but I’ve tried relentlessly to write the poem I hear inside it. It has something to do with the way the masses in NYC weave, avoid, embrace. I wrote another line once trying to get near it:
As a child I would drag my fingers through water or hold my arm out car windows to feel this–this particle rumba, this caressing, this giving and taking of space.
Robin Wharton is an editor for and contributor to Hybrid Pedagogy. As well since 2005, she has been a collaborator on the <emma> project. Her interests include medieval and early modern law and literature, critical legal studies, and the Digital Humanities. In this piece, Robin reflects on her experience as a dancer, and how our creativity can be one of our most reliable and powerful collaborators.
In a former life I was a dancer. A former life, or a previous era: BGS (Before Grad School). This is how I used to think of the countless hours I spent studying ballet in New York and Seattle, and performing with a university-affiliated company as an undergraduate in New Orleans. My dream life ached with what I misinterpreted as nostalgia for that lost age, grief over my dead self. Then, after a long hiatus, during which I got married, started a family, and completed a dissertation, among other things, I started taking dance classes again. And I realized what I thought had died had not even—not really—been dormant. Continue reading …
Digital writing is emergent writing. It mutinies at the imposition of form, the edicts of the grammars of old. It rails to change the rules. It raises the flag of anarchy. The council of digital writing is one of spontaneity, rambunctiousness, the aloof horror of invention, the frenetic joy of dismantling what came before, and the abdication of the author. It is audacious, demanding that we writers free it from the prison of specific rigor. It emerges. It revolts. Continue reading …
The Internet is teeming with digital words just ripe for repurposing. In this exercise, participants created a veritable pumpkin patch of words and phrases to be used in a found Storify/Twitter poem. Here’s how:
Beginning at the top of the list of the list below, they responded to as many of the prompts below as they could, posting each response to Twitter as individual tweets, using #NoWDigi.
They had only 10 minutes to tweet as many responses to the prompts! It didn’t matter how crazy or unusual the response might be.
Once that 10 minutes was over, participants had 20 minutes to collect the #NoWDigi tweets on Storify, and arrange them into a poem.
When the 20 minutes was up, they posted a link to the Storify poems on Twitter.
Bonnie Stewart writes memoir, academic papers, and social commentary non-fiction. She speaks about blogging, social media, digital identity, branding, 21st century education, grief, motherhood. And also, jellybeans. In this touching post, she relates how digital writing allows us to give voice to ourselves and to others, in sometimes unique and unexpected ways.
I was going to start by saying that digital writing was, for me, a Pandora’s Box.
But that would not be fair, or true. The jar Pandora opened held the evils of the world; her act unleashed them into the commons forever.
My story is not such a cautionary tale.
Like Pandora, I learned that what is opened to the world cannot be closed again.
But unlike Pandora, I am not sorry.
When I left the hospital for the first time after nearly three weeks of bedrest, it was raining. I’d been airlifted in during winter’s last April gasp, but in my hermetic isolation, the ground had transformed into a carpet of green. I was Rip Van Winkle, out of sync with time. Continue reading …
Part flash-mob. Part Hunger-Games. Part Twitter-pocalypse. Part digital feeding frenzy. Part micro-MOOC. Part giant game of Twitter tag.
This weekend your word count goes rabid!
Band together your most trusted Twitter allies to defend against a virtual Zombie horde. Collect canned goods, store water, watch your hashtags, and sleep with one eye open. The rules will be deceptively simple; however, DigiWriters should plan to ply their creativity against those rules. We don’t want to change the game, but we want the game to be as beautiful as possible. Think of the game as a haiku: a carefully structured form, that nonetheless allows for flexibility, invention, and beauty. This is digital writing at its most suspenseful! Continue reading …
Lee Skallerup Bessette writes the very popular College Ready Writing blog at Inside Higher Ed. As well, she is a member of the editorial collective at University of Venus. In this inspiring post, Lee encourages us to consider the nearly ecological nature of our digital writing, how it spreads and grows and populates the Internet almost of its own accord. It’s a lovely piece, and we’re glad to share it.
This might seem like a strange admission from someone who reads and writes about (among other things) stories, as well as having a pretty high profile blog that melds the professional with the personal. But if you were to ask anyone who knows me in real life, they will all have at least one unfortunate experience with me trying to tell a story and doing it badly. When I speak a story, it grows and grows, twisting and turning, full of tangles like an out-of-control vine; my stories are less unified, linear narratives, more a long series digressions, asides, and tangents. The vine will overrun whatever space is left for it; my words overrun the silences and spaces with their unruly form. Continue reading …
Tanya Sasser‘s interests include social media, digital humanities, and hacking educational paradigms and systems. She is also the author of the Remixing College English blog. In this guest post, Tanya explores the ways in which digital writing can be considered a handicraft, along with the likes of woodworking, knitting, ceramics, and more.
Digital Writing as Handicraft
by Tanya Sasser
Digital writing is political. It democratizes the act of writing in the sense that it both allows open participation in the creation of cultural content and redefines public writing as work that anyone–not just professional writers or academics–can do. From blogs to mashups to Twitter, to the greatest extent ever, we have the tools and the opportunity to write our own story, rather than suffering someone else to write it for us.
Some mistakenly correlate digital environments with a virtualism (i.e., artificiality) that diminishes the real (i.e., human). Such a belief understandably engenders a nihilistic attitude towards all things digital. The mindless banality of late-20th century white collar work, such as that depicted in Dilbert and Office Space, is often seen as the outcome of an over-reliance and over-emphasis on the technological over the human. In Shop Class as Soulcraft, Matthew B. Crawford argues that one effective cure for the existential malaise of postindustrial society is the practical act of making: “The satisfactions of manifesting oneself concretely [as opposed to virtually] in the world through manual [as opposed to informational] competence have been known to make a man quiet and easy. They seem to relieve him of the felt need to offer chattering interpretations of himself to vindicate his worth” (15). Instead, the craftsman finds himself subsumed by what he is trying to create: “Craftsmanship means dwelling on a task for a long time and going deeply into it, because you want to get it right” (19). Such a relationship with our material culture, Crawford points out, empowers rather than enslaves us, as it repositions us from passive, dependent consumer to spirited creator and curator. Continue reading …
What do you and 99 other DigiWriters have in common? Well, other than the toils and hardships of making 50,000 new words appear out of the ether, you all have the opportunity to join Digi the Duck and the entire creative team behind DigiWriMo for a spectaculendous, marvarific, super-inspiring, all-ages live event in Portland, OR: The Night of Writing Digitally!
For one night only — November 17th from 6PM to midnight — Marylhurst University and the English and Digital Humanities degree program will host an event of delicious proportions!
Throughout the evening, we’ll not only provide all the sustenance you could ask for — fresh, catered food, gallons of coffee and tea, a table weighed down with word-inspiring candy, and Portland’s world-famous Voodoo Doughnuts — but you’ll be treated to special writing challenges and motivational speeches. What’s more, you’ll get to meet DigiWriters of all ages and walks of life with whom you can collaborate, commiserate, and celebrate. Continue reading …
On November 3, 2012, the bravest digital writing experiment of all time took place: over 60 writers attempted to write a 50,000-word novel, collaboratively, in one 24-hour period. Following the tremendous, if slightly surreal success of DigiWriMo’s midnight launch collaborative poem exercise, the army of DigiWriters pushed the limits of what’s possible in communal, digital writing. Are two heads (or five hundred) better than one? How many cooks is too many cooks in the kitchen? Was the adage about monkeys and typewriters finally proven right?
Photo by Victor Nuno
24 hours. 50,000 words. Plot, characters, setting, action. How many words will you contribute?
To get us started with Digital Writing Month, we worked up a collaborative digital poem. Poetry is especially susceptible to the digital, as semantic and lexical connections made in poetry can be reflective of the connections made between words and people on the web. In this exercise, at least 60 participants joined forces to create a work of words and connections that turned out to be unique and surprisingly lovely. And, because it was a collaborative work, everyone got to count all the poem’s words in their word count for the month.
Here were the rules:
1. We must complete this poem in one hour — from 12:00AM to 1:00AM EDT.
2. Each contributor must contribute one word — no more, no less.
3. Each contributor must move one word — no more, no less. Continue reading …