Secondary Readings - Multimodal Exam

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Pageen Reichert Powell - Beyond the Binary of Writing versus Multimodality”

1. Writing vs Multimodality: Not multimodal (many argue) vs using multiple modes to communicate a message

2. Medium vs Message: how you get your message vs the content that you receive

3. Monomodal vs Multimodal: One interpretation vs multiple interpretations

4. Monocultural vs Multicultural: Dominated by one culture vs embracing coexistence and appreciation

Sushil K. Oswal, “Accessibility”

“the ability to use, enjoy, perform, work on, avail of, and participate in a resource, technology, activity, opportunity, or product at an equal or comparable level with others”

Claire Lauer, ‘Multimodal’ and ‘Multimedia’ in the Academic and Public Spheres

• multimedia is used more frequently in public/industry contexts

• multimodal is preferred in the field of composition and rhetoric

Kefaya Diab, “Enabling the Reader”

• Center the Reader: Making sure that the reader can read the text; putting their needs above yours 

• Font Type and Size: Chose a legible font and appropriate sizing that people can read and keep contrast

• Large Bodies of Text: Avoid larger bodies of text because they are harder to read and look cluttered

Hannah J. Rule, “ Writing as Multimodal Embodied Meaning”

Multiple intelligences help English practitioners make use of and stimulate the full gamut of human intellectual strengths and proclivities.

Lindsay A. Sabatino, “Design Theory and Multimodal Consulting”

• Rhetorical situations: Purpose, Audience, and Context

• C.R.A.P. principles (contrast, repetition, alignment, and proximity)

• Universal and Accessibility Design: Consider the color, font, images, and captioning & transcripts; not a one size fits all

• Multimodal Composing: Introduces consultants to key elements in design, technology, sound, and visual media

Sohui Lee and Jarret Krone, Chapter 4, “Brochures”

• Strategies for creating a brochure: 

  • Refer back to rhetorical situations for drafting your brochure

  • Discusses design principles, the different ways brochures can be folded, brevity of information, etc

Russell Carpenter and Courtnie Morin, Chapter 5, “Academic Research Postersr”

• Figure ground: our ability to separate one image from another, to distinguish what stands in the front and what stands in the back 

• CRAP principles: Contrast, repetition, alignment, proximity 

•  Alignment: Text and images can help direct the reader's attention and improve legibility  

• Proximity: Grouping/clustering of information

Brian Fallon, 3, “Artist and Design Statements”

• Artists' statements help communicate the philosophy/creative process behind the art, adding a layer of multimodality 

• Meaning-making is sensory, and the body naturally is multimodal and embodies the meaning-making process

Jason Palmeri, “Multimodality Before and Beyond the Computer”

Users should be able to interact with websites in some way, attributed to the meaning-making process

Ben McCorkle, “A Tale of Two Tablets: Tracing Intersections of Materiality, the Body, and Practices of Communication”

• Compares the computer tablet to ancient tablets

• The written word is embodied.

Shawn Apostel, 6, “Prezi and PowerPoints”

Discusses presentations such as PowerPoints, Prezi, and Google Slides. Talks about how to best appeal to an audience, the pros and cons of different software design elements, etc

Kathleen Blake Yancey, “‘With Fresh Eyes’: Notes Toward the Impact of New Technologies on Composing”

Discusses multimodality in the classroom, how it isn’t but could be implemented, curricula, curation, assemblage

Bruce Horner, “Modality as Social Practice in Written Language”

Modality as a social practice, discusses multimodality through a neoliberal lens, how multimodality is seen as more, newer, better, how decisions in “default” writing is overlooked, compares with chamber music, multimodality as a commodity, how alphabetic text is looked down on/misunderstood, ideological stuff

Stephanie Vie, “Facebook Posts, Twitter Hashtags, and Snapchat Stories: Changing Conceptions of Writing in a Social Media Landscape”

They argue if social media writing should be taught in schools or not because it is a different form of writing.

Clint Gardner, Joe McCormick, and Jarrod Barben, Chapter 9, “Web-Design Tutoring: Responding as a User”

Web design principles, language used, working on mental models, offloading tasks,website genre, accessible design, how users interface with websites

Sara Cooper, “Vernacular Literacies”

Discusses “vernacular” literacies, like scrapbooks, looking into multimodality used chiefly by women in 19th/20th century, how these vernacular literacies take the public sphere into the private

Suzanne Kesler Rumsey, “Heritage Literacy: Adoption, Adaptation, and Alienation

How her family was able to connect with multimodality with quilts and how many forms of multimodality like scrapbooking and sewing have been used in history and that it gave women voices

Brenta Blevins, 10, “Podcasts: Sound Strategies for Sonic Literacy”

Discusses podcasts, goes into audio design and terms, audio editing, parts of a podcast, voice and delivery, sound, transcripts, gives an example assignment

Crystal VanKooten, “EDeveloping Digital Voice Through Audio Storytelling

nstructions for audio editing assignment. Has students play around with sound elements, analyze a podcast, distorting sounds

Chad Iwertz Duffy, “Disabling Soundwriting: Sonic Rhetorics Meet

Podcasts with transcripts are beneficial to not disable your audience. They also showed their students that editing is important and the importance of voice