36 Matching Annotations
  1. Jan 2023
    1. Style is an active and directive pulling?it

      what do i want to pull? what pulls me?

    2. rhythm, texture, accent, and intensities that cause

      examples of other factors to consider

    3. tes through affective dimensions.

      fave quote

    4. ogicViolence and the Schooling of Emotion," Worsham explores "the tightbraid of affect and judgment, socially and historically constructed andbodily lived, through which the symbolic order takes hold of and binds theindividual, in complex and contradictory ways, to the social order and itsstructure of meanings" (216). The

      fave

    5. is always more than a handling of fixed forms and units,"writes Williams. "There is a frequent tension between the receiv
    6. y between sensual and signifying effects. Thetwo dimensions exist in proximity to

      but they also interact, not just living next to eachother

    7. nonsense

      notes from poetry class:

      think of a context in which nonsense could fit or disrupt something too sensical or logical

      whatever you write, people will try to make sense of it in some way write against common sense write about things in a logical way but have it break down at a certain point

    8. etation and the productions of meaning are never far from visceral, felt experience that doesn't alwayscoincide with meaning. A w

      what a piece feels like might be different than what it means in the brain

    9. haviro argues that such "cinematic" images initiallyconfront the viewer without mediation, cau

      no warning just "bam!"

    10. le a "semantologist would not agree toits objective existence," therefore, the obtuse takes on a life almost as areverberation of meaning-full signification (326). The obtuse is not apartfrom meaning, but rather inheres in it as a constant dense reminder of thebody. "[T]he obtuse meaning can be seen as an accent" Barthes writes,"the very form of an emergence, of a fold (a crease even) marking theheavy layer of informations and significations.... [It is] a sort of gashrased of meaning (of desire for meaning)" (327). Such third meanings orobtuse meaning are a kind of reverberation in the gestures of signification. As an accent (the peculiar accent of meaning and mediated discourse), affective intensity shadows, disrupts, and even helps to shapesignification itself. We should therefore note, as Barthes points out, thatsuch an accent "does not even indicate an elsewhere of meaning (anothercontent, added to the obvious meaning); it outplays meaning?subvertsnot the content, but the whole practice of meaning" (328). This senserefuses to properly signify, and it cannot be pulled back into the realm ofinformational meaning and re/cognition. In short, intensities and senseexist in the folds of such communications. No matter how much acommunication signifies, no matter how much it is re/cogniz

      okay this is too dense idk what they are saying anymore

    11. eans. Pe

      i still dont get it

    12. rees of investment and aggregate sensations. In ask

      more than the sum of its parts

    13. ment which anchors people in particular experiences" (82

      what experience do i want to create. how could i embody that experience. what does it feel like to experience a person

    14. The train becomes a route for marks to travelbetween places, entering publics that might not otherwise have encountered the tag

      the train is a medium too. think about mediums other than paper. literally everything that exists in this world could be a medium

    15. s a duty'" (qurhetorical goal by masteringits strange co

      my goal

    16. rical self Austin

      what is my rhetorical self?

    17. Getting Up

      meaning: tagging repeatedly to spread your name

    18. body is affected by another body as much as it affectsanother body.

      then where does anything come from? can you trace the origin of something?

      Mr. Heun's chicken or the egg explanation:

      the egg came first but only because of the man-made ideas of what qualifies the category of a chicken

    19. as a mutuality between Hanson andthe bodies of her supporters

      that's kind of a creepy thought

    20. e first involvedin the writing, which allows for the "call" to get heard in the first place

      if colligere is to collect-- collect usually implies similarity/ connection. there is something that connects you with the writing in the first place to make the interaction possible

    21. t is, before tagging becomes a discursive ormediated code for meaning-making, it hits the body. This

      fave quote, fave idea

    22. n alternative discourse ..." (

      what alternative discourses do i/ could i participate in

    23. cessful in i

      what does being successful in tagging look like? this is a whole language that I don't know anything about

    24. are codes tonegotiate, a community with which to respond and communicate, and

      i wish there were specific examples of what this is talking about

    25. g Trimbur'smodel, we might say that tagging (at least this early subway writing)responded to the frustrating limits of inner-city life.

      audience: the city

      responses to: liimits of inner city life

      medium: paint and walls

      actual action/ writing: graffiti

    26. ey 4 wrote back' to the city" (4).

      who are you writing to? be creative

    27. ung person who seems unexceptional in mostcontexts may be a highly regarded 'king' or 'master outlaw' in thewriting world. To

      "Daisy Meadows is the pseudonym for a small collective of writers of the Rainbow Magic children's series. Rainbow Magic features differing groups of fairies as main characters, including the Jewel fairies, Weather fairies, Pet fairies, Petal fairies, and Sporty fairies." https://www.simonandschuster.com/authors/Daisy-Meadows/191732327#:~:text=Daisy%20Meadows%20is%20the%20pseudonym,Petal%20fairies%2C%20and%20Sporty%20fairies.

    28. xigencies

      urgent need or demand

    29. fectivity comprises a power of the body that cannot be assimilated tothe habit-driven, associational logic governing perception"

      affectivity is gonna make an impact (more than the habit-driven logical perception)

    30. ull

      colligere: to collect

    31. whether it's the ZEPPELINcomposition or an essay for a first-year writing course) as

      context of a paper and affect: times new roman font, double space, printer paper, etc.

    32. signifying dimensions of writing, they often fail to account forwriting's experiential aspects. T

      what does it mean to signify versus produce an experience

    33. erefor

      tech glitch, actually meant to highlight "paint"

      why paint? what does paint do? spray paint: what is the nature of spray paint, what is the end/telos of paint in this context, and how does the nature of paint allow for the end to be achieved

    34. graffiti can perform a number of functions: marking a gang's turf, puttingforth political messages, expressing the individual writer's identity,expressing grief for someone killed or anger at an enemy" (

      what functions will my portfolio pieces have?

    35. hese questions recall some familiar rhetorical categories of composition, including writing as context, writing as style, writing as signification

      when words like "logos", "ethos", and "pathos" suck, remember the graffiti article

    36. ven the most wayward street writers must "figure outwhat relationship to establish with readers, how to establish this relationship, what voice to use, and what genre" (20).

      in order to make something powerful, you have to make a choice about what kind of conversation you want to make and how you are going to do that