ENGL 3860: Metaphysical Graffiti Slide Deck
ENGL 3860: Metaphysical Graffiti Slide Deck ENGL 3860: Metaphysical Graffiti Slide Deck
developing multiple alternatives to the public Following Warner more than Fraser, [Farmer] is interested in poetic world making and what this might mean for composition pedagogy. The emphasis on making and text circulation draws him to punk, anarchist, and riot grrrl zines as archetypal genres produced through acts of bricolage […] he develops the concept of bricolage as an artful making do. Percy, he notes, sees resistance occurring, “not in the forum, the streets, or the public square, but rather in the ad hoc, ingenuous, and quotidian strategies that individuals deploy in everyday contexts” (30). hawk | Public Spheres | 154
Zines are a perfect example of this phenomenon […] Very much into DIY aesthetics, they had random typography, hand-drawn images, and photocopied and stapled pages. And sans any official distribution, they were handed out to friends, left in record stores, and traded through the postal service. They were a celebration of the amateurish, makeshift, and the ephemeral, and their collage aesthetics and anticopyright ethos, especially among anarchist zines, outlined an alternative way to live and a form of micropolitics—a power at the capillaries to articulate the system differently with “whatever tools of textual circulation are readily available. This alternative poetic world, in short, must be built from the street up” (50). hawk | Public Spheres | 154
- Page 1 and 2: P#UB$LICS@ metaPhysical &# Graffiti
- Page 3: The public A public Discursive Publ
- Page 7 and 8: Roman Graffiti from Pompeii, c. 70
- Page 9 and 10: Yet, what Trimbur’s model does no
- Page 11 and 12: Using graffiti as an unruly exempla
- Page 13 and 14: S@OME# SPINOZA@ This primacy of aff
- Page 15 and 16: The sensation of such a relation, m
- Page 17 and 18: Style is that which opens sites for
- Page 19 and 20: A writing’s impact may not have t
- Page 21 and 22: Style is more than the genre, voice
developing multiple alternatives to the public<br />
Following Warner more than Fraser, [Farmer] is interested in poetic world<br />
making and what this might mean for composition pedagogy. The<br />
emphasis on making and text circulation draws him to punk, anarchist, and<br />
riot grrrl zines as archetypal genres produced through acts of bricolage […]<br />
he develops the concept of bricolage as an artful making do. Percy, he<br />
notes, sees resistance occurring, “not in the forum, the streets, or the<br />
public square, but rather in the ad hoc, ingenuous, and quotidian<br />
strategies that individuals deploy in everyday contexts” (30).<br />
hawk | Public Spheres | 154
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