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1. Everybody's Poetry

   Social media platforms such as Facebook and Twitter serve millions of people who populate digital space with autobiographical avatars and simulacra. Digital selves are curated, edited, and maintained in a perpetual process of digitizing life experience in order to produce an imagined life. The emergence of social media poetics—and, specifically, what I term digital realism—demonstrates the use of the confessional mode in social media. Digital realism gives name to a process of literary production that obscures the lines between life and writing. In this essay, I explore how digital realism operates in the work of multimedia artist Steve Roggenbuck (b. 1987), which draws out and capitalizes on the contradictions of self-fashioning through affective modes of sincerity and failure, in order to explore the limits of popular accessibility that social media platforms and poetics purport to offer.

   Daniel Johannes Flaten Rosnes - 13.06.2021 - 03:11

2. A Figment of Their Imagination: ADOLESCENT POETIC LITERACY IN AN ONLINE AFFINITY SPACE

   Poetic literacy is thriving in online spaces. Teachers and researchers have much to learn from how adolescents are engaging with poetry in the digital

   Daniel Johannes Flaten Rosnes - 15.06.2021 - 20:47

3. Digital inequalities 2.0: Legacy inequalities in the information age

    

   Daniel Johannes Flaten Rosnes - 15.06.2021 - 20:57

4. Is Third Generation Literature Postweb Literature? And Why Should We Care?

   Is Third Generation Literature Postweb Literature? And Why Should We Care?

   Daniel Johannes Flaten Rosnes - 15.06.2021 - 21:24

5. New Wine, Old Wineskins: Authorship and Digitalizing Nigerian Oral Poetry through New Media Technologies

   Much of Nigerian oral poetry, especially the musical genre, has been increasingly reduced to digital formats through the instrumentality of new media technologies. This transformation has, however, not been sufficiently acknowledged in oral literary researches and discourses. This alternative existence acquired by the oral forms manifests itself in digital technological modes like CDs, VCDs, DVDs, digital radio and television and the internet which assure them of longevity. This paper, therefore, engages Nigerian oral poetry and its inscription in digital processes using new media technologies. In particular, it negotiates the trajectory of transforming primary orality to secondary and tertiary orality through which oral performances like songs have acquired new modes of existence and meanings by way of recordings and digitalization using the new media. Many of these poetic forms have travelled through historical time to the postmodern moment as migrant metaphors and have become stored in digital forms thus making them new wine though preserved in the old wineskins of the poets and new media processes.

   Daniel Johannes Flaten Rosnes - 15.06.2021 - 21:31

6. The Animated Reader: Poetry of "Surround Audience"

   Phew! What a journey betwixt East and West that was, the mere description of the process of the process-poem. What [Jonathan Stalling] allows to subtly unfold in these poems are two popular visions of China dreamt up by the West (and it would hardly be controversial to say that the Westerner's dream of China has woven itself thick into the fabric of Chinese reality). The beginning of each poem - here, "Please speak a little louder. I can't hear you" - evokes the businessperson's China, the tourist's phrasebook in which language is a tool, the straightforward economy of exchange in which nothing is lost in the gulf between languages - because nothing has really been said. The end of each poem sounds like a garbled version of appropriated ancient Chinese wisdom and culture: the ending verse, which begins with "persuading guests to drink wine / one silk thread at a time" sounds, to my half-trained ears, like a parodie condensation of the great poet Li Bai mixed into the I Ching with a dash of Confucius to finish.

   Daniel Johannes Flaten Rosnes - 15.06.2021 - 21:42

7. Hackers, computers, and cooperation: A critical history of logo and constructionist learning

   This paper examines the history of the learning theory "constructionism" and its most well-known implementation, Logo, to examine beliefs involving both "C's" in CSCW: computers and cooperation. Tracing the tumultuous history of one of the first examples of computer-supported cooperative learning (CSCL) allows us to question some present-day assumptions regarding the universal appeal of learning to program computers that undergirds popular CSCL initiatives today, including the Scratch programming environment and the "FabLab" makerspace movement. Furthermore, teasing out the individualistic and anti-authority threads in this project and its links to present day narratives of technology development exposes the deeply atomized and even oppositional notions of collaboration in these projects and others under the auspices of CSCW today that draw on early notions of 'hacker culture.' These notions tend to favor a limited view of work, learning, and practice-an invisible constraint that continues to inform how we build and evaluate CSCW technologies.

   Daniel Johannes Flaten Rosnes - 16.06.2021 - 20:18

8. The text and cultural politics

   The school curriculum is not neutral knowledge. Rather, what counts as legitimate knowledge is the result of complex power relations, struggles, and compromises among identifiable class, race, gender, and religious groups. A good deal of conceptual and empirical progress has been made in the last 2 decades in answering the question of whose knowledge becomes socially legitimate in schools. Yet, little attention has actually been paid to that one arti-fact that plays such a major role in defining whose culture is taught–the textbook. In this article, I discuss ways of approaching texts as embodiments of a larger process of cultural politics. Analyses of them must focus on the complex power relationships involved in their production, contexts, use, and reading. I caution us against employing overly reductive kinds of perspectives and point to the importance of newer forms of textual analysis that stress the politics of how students actually create meanings around texts. Finally, I point to some of the implications of all this for our discussions of curriculum policy.

   Daniel Johannes Flaten Rosnes - 16.06.2021 - 20:27

9. Giving Teaching Back to Education: Responding to the Disappearance of the Teacher

   Giving Teaching Back to Education: Responding to the Disappearance of the Teacher

   Daniel Johannes Flaten Rosnes - 16.06.2021 - 20:34

10. The Challenge of 21st-Century Literacies

    In the second edition of their influential book New Literacies: Everyday Practices and Classroom Learning, Lankshear and Knobel argued that engagement with these practices was “largely confined to learners’ lives in spaces outside of schools.” That was nearly 10 years ago, and in some respects, very little has changed. In many classrooms, there is a lot more technology than there was back then; for instance, the provision of interactive whiteboards, desktops, laptops, and portable devices is better, and there is a greater variety of software and hardware on offer. Yet, even when equipment is available, up to date, and in good working order, problems of curricular integration still arise. Despite all the rhetoric about the importance of new or digital literacies in education, recent curricular reforms and their associated assessment regimes have tended to privilege traditional literacy skills and printed text. An expansive view of new literacies in practice seems hard to realize. Why should this be the case?

    Daniel Johannes Flaten Rosnes - 16.06.2021 - 20:49

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