Breaking (from? toward?)

 
 
During Spring Break…

Weekly blog entries not required (optional / extra credit toward participation).

More significant extra credit opportunity of an additional response
(see details below).

 
 

Event reminders:

Art Games exhibition by Patrick LeMieux ends F 06-Mar.
(Email me for response prompt/Q. if interested in analyzing for extra credit.)

UF Digital Assembly Conference
“Discursive Treatments of Materiality”
March 6-7, 2009
(likewise, might respond to a panel or exhibit; schedule via conf. link above.)

 
 

 
 

 
Extra Credit Response
(~500 words; post on your blog)

Consider our context and project: we are interested in and seeking “unconventional discourse” (knowledge and expression) and an “antidote” to myth (with all of Barthes’ theorization and connotations behind these terms).

These sites are (in) the midst of a different CATTt experiment, “blogging the disaster,” toward inventing a unique mode of expression: Project.

Choose one to read/analyze:

The Eco Crisis
Meltdown: Iceland and the Nation State
a universal fire: the experienced image
Mariner I
Heaven’s Gate
The Greek Riots
The July War
Choi’s Space: Rwandan Genocide
Peering Through the Fence
Blithedale Project

Note: be sure to link to the project that you analyze within your entry.

Each site is “blogging the disaster” — first, what is this writing of the disaster, and what are its effects?
Discuss specifically how and to what extent (qualify) the site functions as an example of “unconventional discourse” (both in the thinking and processes that it illustrates, as well as the mode of expression).
How might it serve as “antidote” or “para-doxa” to myth / consensus / doxa? (speculate how and the potential — consider both the experience of reading as well as the author’s experience of composing.) As always, be sure to use specific examples, rather than generalizing.

Additionally, considering our project and method, speculate about any insights you’ve gained from your reading, toward composing a “para-doxa” Text: e.g. poetics, “lessons,” techniques (both practical and conceptual).

Q. to contemplate, both for present task and for our experiment: how to inscribe memory and experience into the writing of an event — one that we’ve not undergone directly? (as is the case with all of these projects and their respective disasters).