SU ENG 514 | Spring 2017 | Syllabus
SU ENG 307 | Spring 2017 | Syllabus
SU ENG 253 | Spring 2017 | Syllabus
SU ENG 307 | FALL 2016 | Syllabus
SU ENG 308 | FALL 2016 | Syllabus
SU ENG 103 | FALL 2016 | Syllabus
SU ENG 566 | SPRING 2016 | Course Website
Introduces graduate students to varying methods, designs, and methods for research in rhetoric and composition. It focuses on ways of developing complex research problems and questions, designing studies, and conducting, reading and evaluating research. Yet it also asks students to think creatively and critically about method. How can method be generative, but also a trained incapacity?
SU ENG 301 | SPRING 2016 | Course Website
Students explore the contemporary craft of digital storytelling, considering how this enduring practice has evolved and changed with the affordances of digital media. We take up both the theory and practice of digital storytelling through reading, listening, watching, discussing, and producing. Using text, audio, visual, and video in concert with thorough research and narrative composition, this course will introduce students to and provide repeated practice in using digital media for composing compelling digital stories. In the process, we will consider the questions: What are stories for? Whose stories get told and whose don't? What kinds of cultural work can they do? Do we need multiple stories? Multiple accounts of the same story? Whose responsibility is it to tell and capture stories? And how do different media shape these stories?
SU | Fall 2015 | Course Website
This course provides an undergraduate-level introduction to both the theory and practice of writing for the web. Students explore the complex theory around "digital rhetoric," analyze how digital texts are newly persuasive by looking closely at interfaces, video texts, social media, sonic elements, and their affects and rhetoric. Though no previous experience is necessary, students are expected to learn basic mark-up languages and become capable producers of their own digital texts. Through theoretical discussions, collaboration, and hands-on experimentation, students will become critical users and makers of digital media and texts.
University of Pittsburgh | Fall 2014 | Course Website
Through the practice of digital production, this class explores the idea of the missing photograph:the picture that was not taken, the story never recorded, the history failed. These are the moments of capture that could not or did not happen. Sometimes these moments are unrepresentable. Yet the reasons behind missing photos, documents, and stories are complex and various. This class will explore the art of missing information through our own intentional acts of composition -- our own pieces of media -- and thus work to construct new and different knowledge along the way. The act of making media is a productive act--makes. And so as we consider each of our projects in this class, we will also consider what is missing or un-documented, and how we can lend voice to the missing.
University of Pittsburgh | Summer 2014 | Course Website
This writing-intensive course is both a practical and theoretical course, one where we create and analyze the kinds of textual and visual documents students will likely be asked to produce in their future professional lives.
University of Pittsburgh | Spring 2014 | Course Website
This course begins with the assertion that the archive—your archives, my archives, our archives—must be collected and composed. Now more than ever before, we need our archives, and yet we are contantly archiving via social media and other digital logics. This kind of archiving is often passive and omni-present, even while the remnants do form cultural and social memory and histories. With the advent of digital media, small and local archives are more and more possible, but the question is what do we do with our archives? This course explores different texts in the National Archive, the concept of "archive," while simultaneously creating our own locally made, citizen composed archives, asking the question(s): what kind of knowledge, memory and futures can we make with these new digitally constituted archives?
University of Pittsburgh | Fall 2013 | Course Website
This course begins with the assertion that the archive—your archives, my archives, our archives—must be composed. Now more than ever before, we need our archives. We need to make mini-histories of our lives. With the advent of digital media, small and local archives are more and more possible, but the question is what do we do with our archives? This course will explore different texts on the archive, while simultaneously creating our own mini archives, asking the question: what kind of knowledge and futures can we make with these new archives? On the technical side, we will learn a range of critical media software for composing digitally and dynamically including web-authoring languages, text, sound editing, image editing, and video editing in proprietary and open-source software.
University of Pittsburgh | Summer 2013 | Course Website
Frankenstein lives on in the popular imagination as a cautionary tale against technology. We use the monster as an all-purpose modifier to denote technological crimes against nature. When we fear genetically modified foods we call them "frankenfoods" and "frankenfish." It is telling that even as we warn against such hybrids, we confuse the monster with its creator. We now mostly refer to Dr. Frankenstein's monster as Frankenstein. And just as we have forgotten that Frankenstein was the man, not the monster, we have also forgotten Frankenstein's real problem. According to Bruno Latour, we have Frankenstein all wrong. The man -- Dr. Frankenstein -- was not the monster. And Dr. Frankenstein's downfall was not his hubris to create life but rather his fright that led him to abandon rather than care for his creation.”And therein lies the lesson for anyone who cares about the future: love and raise your technologies. This is a class in true love.