
çĽćĽ / Permanent Vacation
Alisa U Zemlji Chuda
KIROKAZE

@theartofmadeline
wallacepolsom
RMH
"I'm Dorothy Gale from Kansas"
h

JVL

blake kathryn
đŞź
occasionally subtle

â

Product Placement
Jules of Nature
he wasn't even looking at me and he found me
taylor price
Three Goblin Art
let's talk about Bridgerton tea, my ask is open
Claire Keane

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@riceevansdis-composed

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Excerpts from Twitter Use questionnaire
#WT builds on McRuerâs contention that âdesiring queerness/disability means not assuming in advance that the finished state is the one worth striving forâ (61). #WTâs product seeks to dismantle the intention of its formal restrictions, to disrupt the neoliberal agenda of social networking, and instead making something, well, weird. This fits neatly into Sedgwickâs âopen meshâ and possibilities, especially since digital genre is marked by flux, perhaps more than any other single feature.Â
Situationism on #WeirdTwitter
Situationism is the avant-garde continental movement in the mid 20th century that centered reclamatory aesthetics through a proto-queer reimagining of culture. Rhodes and Alexander want us (researchers, instructors, etc) to dĂŠtourne by creating our own multimodal texts, which they themselves have done in various âprofessionalâ spaces throughout their careers. The authors are adamant that instructors must explore our own spectacular technai, our selves, and digital rhetorics in tandem. Alexander and Rhodes spend time advocating âfor the power of images and mashups to create rhetorical possibilities that⌠question standard narrativesâ (Rhodes and Alexander 109); in brief, remix is totally queer.
#WeirdTwitter does its own version of dĂŠtournement: using public digital space for surrealist purposes, undercutting the networking value of social media, of a public digital persona, instead implementing another Situationist technique of dĂŠrive, or what Guy Debord described as "a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances," to subvert the intended purpose of Twitter by using its constraints to make something that challenges normativity, that queers dominant narrative.
By problematizing the status quo, #WeirdTwitter has established itself as a markedly queer space in the digital sphere; though many active #WT users are anonymous, many public figures that have been influenced by the rhetoric of #WT are queer, gender non-conforming, trans, or otherwise implementing a queering of dominant discourse by their embodied identities. While Twitter is a disembodied space, the enactment of queer dĂŠtournement ties these reimaginings to an embodied, and othered, identity; #WeirdTwitter is thereby expansive and autonomous.
Cheryl Johnsonâs response to the inherently political power dynamic in the composition classroom is to 'allow space in the classroom for such encounters...and to confront, finally, the persistent distortions, lies, and mythologies surrounding race, gender, and other kinds of difference.'
Laura R. Micciche

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Campbell & Jamieson --> âin rhetoric âthe existence of the recurrent provides insight into the human conditionââ (qtd in Miller 29)
Lit Review: McRuer
McRuer posits that composing itself (as a practice) is messy and dis-composed; he then advocates for connecting the agitation of the composing, laboring body into composition classrooms (49) and even claims that enforcing âprogrammaticâ and compulsory performance of rote forms and docile bodies (51) in composition classrooms, we are serving capitalist interests. This service strips composition of any radical political possibilities, and composingâs innate connection to embodiment renders this disconnect highly problematic.
For McRuer, it is in composition that we have a political obligation to challenge hegemonic identities and narratives; there is an opportunity for embodiment to be taken seriously, and McRuer holds that engaging student writers in moments of otherness, what he terms âqueer/disabled moments,â opens possibilities of resistance. He further advocates for queering or âcrippingâ texts,  challenging essentialist ideologies within cultural artifacts (59), invoking Sedgwick to explicate his use of âqueerâ as a verb: ââthe open mesh of possibilities, gaps, overlaps, dissonances and resonances⌠[that] arenât made (or canât be made) to signify monolithicallyââ (57).
Interview excerpt with @nolanallanÂ
Highlights:Â
genre as space for digital community
search for a formthat fits a voice
digital space as accessible
Another attempt; note the dearth of <3s/RTs
Maybe Iâm #tooreal for #WT; plus I like overtly hate capitalism on my internet profiles. Itâs part of my brand, and I donât know how to do it pithily, without an undercurrent of rage.Â
In communities of practice, individuals consistently engage through various discourses and practices in an attempt to create meaning from their experiences⌠When [particular communities] tweet their expectations and experiences they perpetuate community practices, which, in turn aids in the creation of meaningâin other words, 'the construction of personal identity' (Cavicchi cited in Wolff).
William I. Wolff

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@dril --> a well-known and very #weird Twitter account
Lit Review: Wolff
William I. Wolffâs webtext âBaby, We Were Born to Tweet: Springsteen Fans, the Writing Practices of In Situ Tweeting, and the Research Possibilities for Twitterâ in Kairos details his research practices for analyzing a corpus of tweets for evidence of shared composing strategies, and the difficulty of terming thematically-related Twitter content as part of a âcommunity.â Woolf wants to explicate processes of composing that are voluntary and inherently social, and asks the questions âhow does one know how to âcompose a tweetâ? And who is going to read the tweet? There are no contextual clues, no hints toward possible grammars or audiences.â Â The long-held tenets of genre are challenged by digital composing spaces: without a clear audience, do we even have a rhetorical moment?
Wolff chronicles the evolution of Twitter as a composing platform, from âdistributedâ tweets (more like public announcements, non-recursive) to âconversationalâ  tweets (@s, âĄs, retweets [RTs]). The uptick in engagement over time has enhanced Twitterâs effect on digital genre, and on how we are forced to think about digital composing. Similarly, Twitter has become increasingly multimodal; tweets containing gifs, memes, videos, hyperlinks, and even aural elements have become commonplace. Wolff considers the implications of intention and fluidity of text-based writing in online communities: âwriters on Twitter⌠make conceptual and rhetorical choices by taking into consideration the constraints of the medium, the goals of the tweet, the composition of the tweet, the real and imagined audiences.â
Lit Review: Bitzer
The ârhetorical situation as a natural context of persons, events, objects, relations, and an exigence which strongly invites utteranceâ (4); Bitzer views participation as a crucial form of social engagement, as rhetoric occurs within a cultural moment; genre is inextricably tied to social situation, and, in fact, cannot exist without a generic situation in which to engage (3).
â[A] work of rhetoric is pragmatic; it comes into existence for the sake of something beyond itself; it functions ultimately to produce action or a change in the world; it performs some taskâ (emphasis mine, 3)
exigence â âan imperfection marked by urgencyâ (6)
audience â âthose persons who are capable of being influenced by discourseâ (7)
constraints â influences which âhave the power to constrain decision and actionâ (8)
Applying Bitzerâs theory to #WT presents new and complicated views on digital genre: while the presence of constraint is obvious (140 characters), how do we determine audience? Â Exigence too is in flux, dependent upon the site of discourse; the imperfection here is perhaps Twitterâs intention: to foment ânetworkingâ in a professional/managerial context. #WTâs largely anti-authoritarian ideology presents challenges to digital branding and identity management, and Bitzerâs âurgencyâ may point us to DIY digital culture or to any unchecked capitalist ideology in digital space.
Poets are notoriously adept at grasping the surrealist tone of #WT
The futile attempt to constrain and define #WT (by @koala_hugs)
This map prompted an uproar from #WT users, many of whom reject generic convention and intentionally subvert categorization. To many users, this map undid the dĂŠrive that their surrealist composing had woven; by attempting to implement rationality into an inherently irrational proto-genre, @koala_hugs revealed some of the ideologies of #WT: 1) resistance to conventional composition theory 2) resistance to static identity 3) community as fluid and discursive, incomplete and 4) language that reflects this dĂŠtournement

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RGS on Genre Formation
RGS thinks of genre as ârhetorically and socially dynamic, âstabilized for nowâ (Schryer, âGenre and Powerâ), ideological, performative, intertextual, socio-cognitive, and responsive to and also constructive of situationsâ (61) and has thus questioned the relevance of explicit genre instruction without a socio-political element, or recognition of ââinteractionally produced worldsââ (Bazerman qtd in Bawarshi and Reiff 61).
Burke â ârhetoric is a form of symbolic actionâ (61)
Rhetoric is also âcontingent and dynamicâ on the relationship b/w rhetor and addressee, specifically w/ relation to identity, and flux of identity too (61)
*so how does this link to the specific rhetorical situation of the Twitter Bio?*
Rhetorical situations âcall⌠forth rhetorical discourseâ (63)
Bitzer â ââpower of situation to constrain a fitting responseââ (qtd in Bawarshi 64); âârhetorical forms are born [through recurrence] and a special vocabulary, grammar, and style are established...the tradition itself tends to function as a constraint upon any new response in the formââ (Bitzer qtd in Bawarshi and Reiff 64)
*how does digital rhetorical interact with this notion of constraint? This seems a chicken-egg argument, since rhetorical situations demand generic responses but at what point is a new genre uncovered/established? Become canonic?*
Lit Review: Bawarshi & Reiff Ch. 5
RGS (Rhetorical Genre Studies)
Carolyn Miller --> â[genres are] forms of social actionâ (58)
RGS explores âhow genres enable their users to carry out situated symbolic actionsâŚ[and] to perform social actions and relations, enact social roles, and frame social realitiesâ (59) AND ALSO âhow genres, through their use, dynamically maintain, reveal tensions within, and help reproduce social practices and realitiesâ (59)
CONTEXTâ reveals âcommunicative purpose(s), discourse community membership, genre nomenclature, or even genre chains and occluded genresâ(59) â âviewed as an ongoing, intersubjective performance, one that is mediated by genres and other culturally available toolsâ (Bazermanâs âTextual Performanceâ) (59)
*With âintersubjective performanceâ in mind, how does Twitter engage on the level of performance? How do individuals convey identity and voice through manipulation of genre to address the rhetorical situation of their own construction? Is this move possible?*
RGS wants to know about âthe role that genres play in how individuals experience, co-construct, and enact social practices and sites of activityâ (59); âunderstanding contexts (and their performance) is both the starting point of genre analysis and its goalâ (59)
Genre as action, verb, and noun: genres provide both tools and frameworks for navigating ââthe constant social construction of realityââ (Schryer citer in Bawarshi 60); genres ââstructure our management of time/spaceââ (same 60) â Â Bakhtinâs literary chronotope
Is this extra true for digital genres?
Campbell and Jamieson â âsituation demands⌠should serve as the basis for how we identify and define genresâ (65); thus, genres emerge as needed, in dynamic relation to ongoing rhetorical situations and demands (often more static) (65)
Campbell and Jamieson â ââa genre is composed of a constellation of recognizable forms bound together by an internal dynamicâ... â[w]hat is distinctive about the acts in a genre is the recurrence of the forms together in constellationââ (20-21 qtd in Bawarshi 65)
C&J â genre is also a âcultural artifactâ that marks the ways in which individuals engage with rhetorical culture at large; how these demands are perceived and how communities are formed from the accumulation of rhetorical demand/supply ââin time and through timeââ (C&J 26 qtd in Bawarshi 65); the dynamic nature of genre as reflexive groundswell can (and does) reveal cultural trends outside of the discipline
*how does Twitter reveal cultural trends? Through content? Uptick in insularity of community, RTs, <3s, etc.?*
Miller â meta-awareness of genre and rhetorical situations; âactions are inextricably tied to and based in interpretationsâ (70) and these interpretations are linked to cultural norming or typifications; âsocial construction of situation⌠[and] social construction of exigenceâ (70), exigence functions as a stripe of ââsocial knowledgeââ which is shared within a discourse community, thus variable across communities (Miller 30 qtd in Bawarshi 70).
âOur ability to recognize, make sense of, and respond to exigencies is part of our social knowledge, and part of how we come to shared agreements on what situations call for, what they mean, and how to act within themâ (71), and, according to Miller, it is genre knowledge that allows us to ârecognize situations as recurrent and⌠[to] provide the typified strategies we use to act within themâ (71)
*how does Twitter frame these typifications, and how is genre awareness replicated and enforced by constraint, within communities, etc.?*
Devitt â ââgenre not only responds to but also constructs recurring situationsââ Â (qtd in Bawarshi 72)