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CEA 2012
 

CEA 2012

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Conference Presentation given on March 29, 2012

Conference Presentation given on March 29, 2012

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    CEA 2012 CEA 2012 Presentation Transcript

    • by Lindsay Illich Curry College CEA 2012
    • Remixing—or the process of taking old pieces of text, images, sounds, andvideo and stitching them together to form a new product—is how individualwriters and communities build common values; it is how composers achieve persuasive, creative, and parodic effects. Remix is perhaps the premier contemporary composing practice. —DeVoss & Ridolfo
    • SamplingToday, sampling is practiced in new media culture whenany software users including creative industryprofessionals as well as average consumers apply cut/copy& paste in diverse software applications; for professionalsthis could mean 3-D modeling software like Maya (used todevelop animations in films like Spiderman or Lord of theRings );[1] and for average persons it could mean MicrosoftWord, often used to write texts like this one. Cut/copy &paste is a vital new media feature in the development ofRemix. In Web 2.0 applications cut/copy & paste is anecessary element to develop mashups; yet the culturalmodel of mashups is not limited to software, but spansacross media.Eduardo Navas“Regressive and Reflexive Mashups in Sampling Culture”
    • Sampling as a Metaphor for Thinking and WritingIn a DJ’s world, making a new song requires samples from other songs. Tosample from a song is to borrow a few bars of melody or a bass line.You can see how this translates to composing: written texts are culled, shaped,patterned on prior knowledge, which itself includes knowledge of genre,quotes, ideas, what things you’ve heard. Essentially, a writer brings the vastsum of memory, what DJ Spooky calls “a vast playhouse” and, later an “archive.”On the meta-level, the world wide web represents a culture’s memory out ofwhich new artifacts are made.Ultimately, says DJ Spooky, “as an artist you’re only as good as your archive.
    • Rhetorical velocity – Rhetorical velocity is, simply put, a strategic approach tocomposing for rhetorical delivery. It is both a way of considering delivery as arhetorical mode, aligned with an understanding of how texts work as a componentof a strategy. In the inventive thinking of composing, rhetorical velocity is thestrategic theorizing for how a text might be recomposed (and why it might berecomposed) by third parties, and how this recomposing may be useful or not to theshort- or long-term rhetorical objectives of the rhetorician. (Ridolfo and Voss)
    • What’s in your archive?
    • lindsay_illich@hotmail.com lillich0511@curry.edu