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PEDAGOGY
the procedural rhetoric of
A Reflecti on on Teachi ng
Di gi tal Storytelli ng
i n a UK Uni versi ty
Leah Henrickson
L.R.Henrickson@leeds.ac.uk
twitter.com/leahhenrickson
DESIGNING AND DELIVERING
A DST MODULE
What does Bogost's 'procedural
rhetoric' mean in teaching
contexts?
What about institutional
infrastructure and expectations?
A visually chaotic Rundown of this Paper
PROCEDURAL RHETORIC
Ian Bogost's
Animal Crossing is a game about everyday life in a small town. It is a
game about customizing and caring for an environment. It is a game
about making friends and about collecting insects. But Animal
Crossing is also a game about long-term debt. It is a game about
the repetition of mundane work necessary to support contemporary
material property ideals. It is a game about the bittersweet
consequences of acquiring goods and keeping up with the Joneses.
Animal Crossing accomplishes this feat not through moralistic
regulation, but by creating a model of commerce and debt in which
the player can experience and discover such consequences. In this
model, the game simplifies the real world in order to draw attention
to relevant aspects of that world (Bogost, 2008: 119).
The Procedural Rhetoric of Pedagogy: A Reflection on Teaching Digital Storytelling in a UK University
UK 'RULES'
intense pressure to deliver teaching in this hellish world
INSTITUTIONAL
'RULES'
Active and inclusive approaches to
learning
Integrated and effective use of digital
technologies
Authentic assessment strategies that
support and assess student
understanding and skills development
'Digital by default' assessment
MODULE 'RULES'
they brought the good vibes
I brought the structure
CONTENT
module
1-hour lectures; 2-hour practicals
'Produce a digital story in a format of your choosing.'
Classical DST
internet poetics
Story Structures
(Hyper)text
Storyboarding
character development
interactivity embodiment everyday storytelling
CONSTRAINTS ARE IMPORTANT,
BUT THOSE CONSTRAINTS SHOULD BE
PROCEDURAL, NOT PERSONAL.
WE HAVE SO MUCH TO LEARN
FROM OUR STUDENTS.
E.G. NETPROV
You're attending a wacky family
reunion on Gather.Town!
Create your character.
Determine your relationships with
others.
Embrace the (structured) chaos.
Constraints are important
But those constraints should be procedural, not personal.
The Internet provides ‘a simple way of
hearing about – and developing a
sense of comfort and familiarity with –
groups, activities, meetings and
projects, making it considerably easier
to overcome the emotional and
psychological hurdles to participation’
(Gauntlett, 2018: 60).
E.G. THE PLAYLIST
The Procedural Rhetoric of Pedagogy: A Reflection on Teaching Digital Storytelling in a UK University
The Procedural Rhetoric of Pedagogy: A Reflection on Teaching Digital Storytelling in a UK University
PROCEDURALITY
[V]ideogame players develop procedural
literacy through interacting with the
abstract models of specific real or
imagined processes presented in the
games they play. Videogames teach
biased perspectives about how things
work. And the way they teach such
perspectives is through procedural
rhetorics, which players ‘read’ through
direct engagement and criticism
(Bogost, 2007: 260).
the poetics of
CONSTRAINTS ARE IMPORTANT,
BUT THOSE CONSTRAINTS SHOULD BE
PROCEDURAL, NOT PERSONAL.
WE HAVE SO MUCH TO LEARN
FROM OUR STUDENTS.
The Procedural Rhetoric of Pedagogy: A Reflection on Teaching Digital Storytelling in a UK University
L.R.Henrickson@leeds.ac.uk
twitter.com/leahhenrickson
Hit me up, buttercup:
Thanks for listening!

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The Procedural Rhetoric of Pedagogy: A Reflection on Teaching Digital Storytelling in a UK University

  • 1. PEDAGOGY the procedural rhetoric of A Reflecti on on Teachi ng Di gi tal Storytelli ng i n a UK Uni versi ty Leah Henrickson L.R.Henrickson@leeds.ac.uk twitter.com/leahhenrickson
  • 2. DESIGNING AND DELIVERING A DST MODULE What does Bogost's 'procedural rhetoric' mean in teaching contexts? What about institutional infrastructure and expectations? A visually chaotic Rundown of this Paper
  • 3. PROCEDURAL RHETORIC Ian Bogost's Animal Crossing is a game about everyday life in a small town. It is a game about customizing and caring for an environment. It is a game about making friends and about collecting insects. But Animal Crossing is also a game about long-term debt. It is a game about the repetition of mundane work necessary to support contemporary material property ideals. It is a game about the bittersweet consequences of acquiring goods and keeping up with the Joneses. Animal Crossing accomplishes this feat not through moralistic regulation, but by creating a model of commerce and debt in which the player can experience and discover such consequences. In this model, the game simplifies the real world in order to draw attention to relevant aspects of that world (Bogost, 2008: 119).
  • 5. UK 'RULES' intense pressure to deliver teaching in this hellish world
  • 6. INSTITUTIONAL 'RULES' Active and inclusive approaches to learning Integrated and effective use of digital technologies Authentic assessment strategies that support and assess student understanding and skills development 'Digital by default' assessment
  • 7. MODULE 'RULES' they brought the good vibes I brought the structure
  • 8. CONTENT module 1-hour lectures; 2-hour practicals 'Produce a digital story in a format of your choosing.' Classical DST internet poetics Story Structures (Hyper)text Storyboarding character development interactivity embodiment everyday storytelling
  • 9. CONSTRAINTS ARE IMPORTANT, BUT THOSE CONSTRAINTS SHOULD BE PROCEDURAL, NOT PERSONAL. WE HAVE SO MUCH TO LEARN FROM OUR STUDENTS.
  • 10. E.G. NETPROV You're attending a wacky family reunion on Gather.Town! Create your character. Determine your relationships with others. Embrace the (structured) chaos. Constraints are important
  • 11. But those constraints should be procedural, not personal. The Internet provides ‘a simple way of hearing about – and developing a sense of comfort and familiarity with – groups, activities, meetings and projects, making it considerably easier to overcome the emotional and psychological hurdles to participation’ (Gauntlett, 2018: 60). E.G. THE PLAYLIST
  • 14. PROCEDURALITY [V]ideogame players develop procedural literacy through interacting with the abstract models of specific real or imagined processes presented in the games they play. Videogames teach biased perspectives about how things work. And the way they teach such perspectives is through procedural rhetorics, which players ‘read’ through direct engagement and criticism (Bogost, 2007: 260). the poetics of
  • 15. CONSTRAINTS ARE IMPORTANT, BUT THOSE CONSTRAINTS SHOULD BE PROCEDURAL, NOT PERSONAL. WE HAVE SO MUCH TO LEARN FROM OUR STUDENTS.