Overview In “Portable Composition: iTunes University and Networked Pedagogies,” Alex Reid examines the convergence of mobile technology and composition. Reid believes that the conjunction is advantageous. His theory is based on accumulated results derived from an innovative composition pilot course.
Reid’s article profoundly impacts the composition field. In the article, Reid notes the prevailing use of iPods and “Web 2.0 applications” among students (61-62). He believes these media platforms have reshaped the author/audience relationship in composition. Reid draws on Stuart Selber 2004 study regarding the “critical technological literacy” advanced by rhetoric and composition’s acknowledgement of technological advancements (62-63).
In particular, Reid addresses his institution’s experimental implementation of iTunes University via a pilot composition course. The multifaceted pilot course allowed students to compose written content for podcast incorporation. The inclusion of iTunes University into the pilot course presented slight student problems (such as operating media files and developing the appropriate language formality for the media platform). However, the experiment was largely beneficial. The podcasts helped form a cohesiveness among students in the mobile realm and within the class environment. Additionally, the pilot study allowed iPods to be seen as educationally beneficial.
Significance
Reid’s article outlines a current issue with composition courses today, traditionalism in authorship. Reid notes the traditional written content that is acknowledged by authorship (essays, dissertations and scholarly articles) and the written content that is not acknowledged by authorship (informal conversations and blog posts/comments) (71). This discrepancy can present a hindrance. Students are using electronic devices to compose written content in "informal" settings. Therefore, the continual lack of authorship/formality acknowledgement in certain realms can present a division between compositional teaching and learning.
Reid dismisses the belief that iPods are for entertainment purposes only. He effectively proves that it could be used for composition curriculum purposes as well. His article encourages composition instructors to embrace multiple formats for presenting written material.
Future Studies
Reid believes, “As… mobile networks become more powerful and pervasive, they will have a greater impact on compositional practices…” (61). Additionally, he believes that new studies in the mobile technology and writing realm are forthcoming. This composition instruction paradigm shift will present potential implementation issues that future studies will need to address. How can quality and quantity be enforced via mobile compositional development (or will quality and quantity importance decrease)? How can potential accessibility obstacles be eliminated? How can institutional policies efficiently align with desired mobile curriculum practices?
Conclusion
Reid's insightful study has eradicated some of my composition instructional confinements. Cynthia Selfe states, “to make it possible for students to practice, value, and understand a full range of literacies—emerging, competing, and fading—English composition teachers have got to be willing to expand their own understanding of composing beyond conventional bounds of the alphabetic” (qtd. in Reid 77).
Reid, Alex. "Portable Composition: iTunes University and Networked Pedagogies."
Computers and Composition 25 (2008): 61-78. Print
My favorite statement "the pilot study allowed iPods to be seen as educationally beneficial." Now if only I could convince my husband that an iPad2 is crucial to my personal growth and education.
ReplyDeleteThanks Shenika. A fair account of the article. 3+ years down the road of course we have a lot more options for mobile composition, so I think there are many opportunities for future research.
ReplyDeleteThank you Dr. Reid for taking the time to read and respond to my blog post! It is truly an honor!!!
ReplyDeleteShenika, you raise critical questions of how the CompRhet field is preparing to embrace the composing practices brought about by new technologies- Quetions about what is good or acceptable writing? Who has the "power" to author nowadays? How will these technologies change how we produce knowledge? Thankfully, comp.field seems to be more accepting of these new ways of doing things. Other fields are also confronted with the task of meeting the challenges. Loved your post.
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