Andrea Lunsford's keynote address to the 2005 Computers and Writing Conference at Stanford University, Palo Alto, California, expands the definition of writing to include epistemic, multivocal, multimodal, and multimediated practices in the computers and writing classroom. The article describes the development and piloting of a new undergraduate course in Stanford's Program in Writing and Rhetoric that applies these concepts to the undergraduate composition process. The address closes with a challenge to create classroom experiences that allow students to compose in "the most compelling discursive modalities of their generation."
This article discusses the Napster phenomenon and its cultural significance, traces some of the threads of the current "copyright crisis," and connects these cultural and legal dynamics to show how the current filesharing context of digital environments pertains to issues affecting writing teachers. The article (1) urges writing teachers to view the Napster moment—and the writing practice at the center of it, filesharing—in terms of the rhetorical and economic dynamics of digital publishing and in the context of public battles about copyright and intellectual property and (2) argues that digital filesharing forms the basis for an emergent ethic of digital delivery, an ethic that should lead composition teachers to rethink pedagogical approaches and to revise plagiarism policies to recognize the value of filesharing and to acknowledge Fair Use as an ethic for digital composition.
This article, written for the twentieth anniversary of the Computers and Writing Conference, is the sequel to "The Evolution of the Computers and Writing Conference (Computers and Composition, 12(3), November, 1995). The earlier article analyzed many of the intellectual concerns, values, and language expressed in presentations at the Computers and Writing Conference from 1982 to 1994. This article does the same for the second ten conferences, 1995–2004. Throughout the second decade, we have developed a new comfort with computers, expanded our idea of "writing" beyond the traditional essay, and gained a respected place in the academy. Computers and writing has become an institution. At the same time, we sometimes worry about losing control over our teaching and can feel overwhelmed by the size of the task we undertake. Many of our values have stayed the same; however, we are optimistic about the place of technology in our work and in the culture at large, we love to experiment, and we routinely weave ideas from other disciplines and other areas of our lives into our computers and writing research.
This article explores the relationship between how technologies are presented in professional and technical writing classes and the complicated dynamics of the late-capitalist working world. A growing body of scholarship emphasizes the necessity of including critical theory in well-rounded professional and technical writing curriculums. Some promote theory as a means of helping working writers make more ethically and socially conscious decisions concerning the technologies they help to produce and document. Others promote theory as essential for survival in an ever-evolving, sometimes very harsh, technology-driven marketplace. This article points to some of the weaknesses of both approaches, as it advocates an approach to pedagogy that explores how emerging technologies help to establish the terms of work in the contemporary economy. This pedagogy is intended to unflinchingly examine the more cynical aspects of late capitalism as it locates agency in collective action outside of managerialism and corporate frameworks.
Abstract Not Provided
In this literacy narrative, I describe the contexts and consequences of print and digital literacies in a globalizing world. Through a combination of personal and contextual details, I show how cultural, linguistic, and political milieus shape and are shaped by the literate practices in the digital environment. I also complicate issues of access and the digital divide and conclude by making a case for understanding cultural background vis-à-vis political history in order to understand individual literacy practices of students/writers.
Keeping with the currency of the print-based journal, Print to Screen focuses on the themes found in the recent issues of Computers and Composition, and includes multimodal commentaries that explore and remediate relationships between print and screen.
Section Editor — Elizabeth Monske