Design Discourse - Composing and Revising Programs in Professional and Technical Writing, 2010a
Design Discourse - Composing and Revising Programs in Professional and Technical Writing, 2010a Design Discourse - Composing and Revising Programs in Professional and Technical Writing, 2010a
Pitts cross-disciplinary thinking and writing that was a central feature of the PW major, with its secondary study requirement. In making my case to my department for the addition of the course, I argued that many of my students wanted careers in editing and publishing, and that a sophisticated cultural and meta-cultural literacy were necessary for such jobs (and for the students’ work on the PW web magazine, Delirium). Some colleagues wondered about the seeming theoretical orientation of the major—what was happening to the distinguishing “hands-on” quality of the major? With Bill O’Connell’s help, I argued that Desktop Publishing, which replaced a two-course sequence in Graphic Design taught by the Art department, offered students the practical skills to balance the theory they encountered in Cultural Studies. Indeed, we argued, the two courses worked hand-in-hand: students couldn’t really understand the publishing software (Dreamweaver, Photoshop, QuarkXpress) they’d use in the course without some knowledge of the cultural and technological contexts in which such software is used. In the spring of 2001, as I prepared to develop these two new courses over the summer (I received a grant from the Dean to take summer courses in the three software applications) in order to teach them the following fall, the department of technology was instituting a digital design minor open to nontechnology majors. In the technology minor, students took a sequence of web design courses at a level of detail I could not cover in the two weeks I had to devote to web design in the new desktop publishing course. Because our academic quarters are nine weeks long, students had an absurdly small amount of time to spend learning very complicated programs. In offering Desktop Publishing, was I offering “competency,” or something much less, and was this okay? Bill O’Connell and I decided it was okay—we were claiming only to introduce our students to the software, not that we would make our students experts. program mission In the fall of 2001 I prepared a presentation on the PW program for Explore the Colleges Day in October, when prospective majors and their parents could find out more about possible majors. Rather than focusing the presentation on the kinds of careers PW majors might pursue (since those are the same careers open to all English majors), I planned to speak about the courses in the major and how they differed from the traditional English literature courses. Then came September 11th. The September 11th tragedy presented a bewildering range of issues and problems for all of us, students and faculty. And like faculty everywhere, 136
Composing and Revising we’ve worked ever since to provide students with the skills and tools to deal with these issues and problems. The distinguishing feature of the PW program, its focus on mass media and cyberspace, was suddenly, perhaps, urgently, relevant to my students’ lives. (An English literature major, Nathan, who would take my Cultural Studies course, later that year wrote his senior thesis on the use of media by terrorists). The events of 9/11 didn’t change the concept or direction of the PW program so much as reinforcing the existing rationale for the cultural and rhetorical focus. It was as valuable for my students to learn to think about mass media and cyberspace as it was for them to spend time on technical writing problems. But how would I explain all this to parents and prospective students, who quite rightly wanted to know what training they would get for their money? That fall we were putting together the first issue of Delirium. By this time I had gathered a staff of seven students, and we were preparing to publish a book-length memoir by an Israeli writer, Ephraim Glaser, about his experiences escaping the Nazis. We were also publishing an interview with a local survivor of the Holocaust. We were busy designing, editing and hyperlinking the texts when the planes hit the towers. Discussing the upcoming issue at a staff meeting, we decided that we would title the issue “Technology and Historical Memory,” featuring the memoir, the interview, and an article on Osama Bin Laden and theocracy. By the time Explore the Colleges Day arrived, we were online with a publication that was both visually and textually arresting. I used the webzine to show parents and students what professional writers might do—they could produce our world. What kind of world would they make? I asked parents and students at my presentation. It’s a familiar question, a staple of English department orientations and university commencement addresses. But the question has become more meaningful for English departments in particular, given the centrality of images in the postmodern world. English majors no longer simply create and interpret the texts that give meaning to the world; they (can) create their very reality. In the Cultural Studies course that winter, we studied the images of 9/11, read across the recent history of image and media theory from Benjamin to Debord to Benjamin Barber’s Jihad vs. McWorld thesis. Three years later, it was gratifying to listen to a graduating PW senior (Nathan) chuckle knowingly at a recent Yahoo! headline announcing that digital photography and Photoshop had altered our concepts of truth and reality. I wish all PW majors could graduate with that kind of critical sophistication and facility—and interest in—the urgent connection between the use of technology in the real world and the philosophical consequences of its use. The mission of the PW program as it has developed is to inculcate in students a level of comfort with change—professional, technological, cultural. I explained 137
- Page 103 and 104: Disciplinary Identities 2. Separate
- Page 105: evising
- Page 108 and 109: Ashe and Reilly question impressed
- Page 110 and 111: Ashe and Reilly humanities. In addi
- Page 112 and 113: Ashe and Reilly developing academic
- Page 114 and 115: Ashe and Reilly administrators may
- Page 116 and 117: Ashe and Reilly porate aspects of P
- Page 118 and 119: Ashe and Reilly requirements in the
- Page 120 and 121: Ashe and Reilly developing a system
- Page 122 and 123: Ashe and Reilly to reduce congestio
- Page 124 and 125: Ashe and Reilly diverse student pop
- Page 126 and 127: Ashe and Reilly most onlookers, is
- Page 128 and 129: Ashe and Reilly Andrews, Deborah C.
- Page 131 and 132: 6 Curriculum, Genre and Resistance:
- Page 133 and 134: Curriculum, Genre and Resistance si
- Page 135 and 136: Curriculum, Genre and Resistance bu
- Page 137 and 138: Curriculum, Genre and Resistance a
- Page 139 and 140: Curriculum, Genre and Resistance in
- Page 141 and 142: Curriculum, Genre and Resistance co
- Page 143 and 144: Curriculum, Genre and Resistance We
- Page 145 and 146: Curriculum, Genre and Resistance ma
- Page 147 and 148: Curriculum, Genre and Resistance an
- Page 149 and 150: 7 Composing and Revising the Profes
- Page 151 and 152: Composing and Revising two years th
- Page 153: Composing and Revising I saw the pr
- Page 157 and 158: Composing and Revising their lives
- Page 159 and 160: Composing and Revising the solely p
- Page 161 and 162: Composing and Revising his request.
- Page 163 and 164: Composing and Revising appendix a m
- Page 165 and 166: Composing and Revising appendix b m
- Page 167 and 168: Composing and Revising appendix c m
- Page 169: minors, certificates, engineering
- Page 172 and 173: Nugent certificate programs are pot
- Page 174 and 175: Nugent and it simultaneously—not
- Page 176 and 177: Nugent For each of the sixty-two ce
- Page 178 and 179: Nugent nally, over a third of progr
- Page 180 and 181: Nugent Management Project Managemen
- Page 182 and 183: Nugent • 38% of respondents (10)
- Page 184 and 185: Nugent theory addresses this concer
- Page 186 and 187: Nugent invaluable theoretical model
- Page 188 and 189: Nugent Savage, Gerald J. “The Pro
- Page 190 and 191: Kungl and Hathaway edge, judgment,
- Page 192 and 193: Kungl and Hathaway ideas. That facu
- Page 194 and 195: Kungl and Hathaway minor. To insure
- Page 196 and 197: Kungl and Hathaway we found both we
- Page 198 and 199: Kungl and Hathaway amount of math a
- Page 200 and 201: Kungl and Hathaway We outlined four
- Page 202 and 203: Kungl and Hathaway classes. The uni
Pitts<br />
cross-discipl<strong>in</strong>ary th<strong>in</strong>k<strong>in</strong>g <strong>and</strong> writ<strong>in</strong>g that was a central feature of the PW major,<br />
with its secondary study requirement. In mak<strong>in</strong>g my case to my department<br />
for the addition of the course, I argued that many of my students wanted careers<br />
<strong>in</strong> edit<strong>in</strong>g <strong>and</strong> publish<strong>in</strong>g, <strong>and</strong> that a sophisticated cultural <strong>and</strong> meta-cultural<br />
literacy were necessary for such jobs (<strong>and</strong> for the students’ work on the PW web<br />
magaz<strong>in</strong>e, Delirium).<br />
Some colleagues wondered about the seem<strong>in</strong>g theoretical orientation<br />
of the major—what was happen<strong>in</strong>g to the dist<strong>in</strong>guish<strong>in</strong>g “h<strong>and</strong>s-on” quality of<br />
the major? With Bill O’Connell’s help, I argued that Desktop Publish<strong>in</strong>g, which<br />
replaced a two-course sequence <strong>in</strong> Graphic <strong>Design</strong> taught by the Art department,<br />
offered students the practical skills to balance the theory they encountered<br />
<strong>in</strong> Cultural Studies. Indeed, we argued, the two courses worked h<strong>and</strong>-<strong>in</strong>-h<strong>and</strong>:<br />
students couldn’t really underst<strong>and</strong> the publish<strong>in</strong>g software (Dreamweaver, Photoshop,<br />
QuarkXpress) they’d use <strong>in</strong> the course without some knowledge of the<br />
cultural <strong>and</strong> technological contexts <strong>in</strong> which such software is used.<br />
In the spr<strong>in</strong>g of 2001, as I prepared to develop these two new courses<br />
over the summer (I received a grant from the Dean to take summer courses <strong>in</strong><br />
the three software applications) <strong>in</strong> order to teach them the follow<strong>in</strong>g fall, the<br />
department of technology was <strong>in</strong>stitut<strong>in</strong>g a digital design m<strong>in</strong>or open to nontechnology<br />
majors. In the technology m<strong>in</strong>or, students took a sequence of web<br />
design courses at a level of detail I could not cover <strong>in</strong> the two weeks I had to devote<br />
to web design <strong>in</strong> the new desktop publish<strong>in</strong>g course. Because our academic<br />
quarters are n<strong>in</strong>e weeks long, students had an absurdly small amount of time<br />
to spend learn<strong>in</strong>g very complicated programs. In offer<strong>in</strong>g Desktop Publish<strong>in</strong>g,<br />
was I offer<strong>in</strong>g “competency,” or someth<strong>in</strong>g much less, <strong>and</strong> was this okay? Bill<br />
O’Connell <strong>and</strong> I decided it was okay—we were claim<strong>in</strong>g only to <strong>in</strong>troduce our<br />
students to the software, not that we would make our students experts.<br />
program mission<br />
In the fall of 2001 I prepared a presentation on the PW program for<br />
Explore the Colleges Day <strong>in</strong> October, when prospective majors <strong>and</strong> their parents<br />
could f<strong>in</strong>d out more about possible majors. Rather than focus<strong>in</strong>g the presentation<br />
on the k<strong>in</strong>ds of careers PW majors might pursue (s<strong>in</strong>ce those are the same<br />
careers open to all English majors), I planned to speak about the courses <strong>in</strong><br />
the major <strong>and</strong> how they differed from the traditional English literature courses.<br />
Then came September 11th.<br />
The September 11th tragedy presented a bewilder<strong>in</strong>g range of issues<br />
<strong>and</strong> problems for all of us, students <strong>and</strong> faculty. And like faculty everywhere,<br />
136