Chapter 7, “‘English via the Airwaves’: Recovering 1930s Radio Pedagogies,” serves as the fourth installment of Soundwriting Conversations. In this work, Jason Palmeri and Ben McCorkle trace and discuss the history of 20th century radio pedagogy, as well as how we might apply these concepts in our 21st century classrooms.
We invite you to listen to their conversation with Bailey Poland and think about how both instructors and students of writing can benefit from being the voice on the airwaves. You can find a transcript that includes links to the other podcasts the authors mention here: Written Transcript
Chapter 9, “Writing Dirt, Teaching Noise” by Steven R. Hammer is the third installment of Soundwriting Conversations. Hammer’s work invites the audience to consider what noise is and how it impacts communication and composition.
We invite you to listen to his conversation with Jon Stone and reflect on how we can use noise to challenge systems and create new meaning.
Chapter 3, “A Pedagogy of Listening: Composing In/With Media Texts” by Milena Droumeva & David Murphy, serves as the second installment of Soundwriting Conversations. Droumeva and Murphy examine the theories and approaches for developing aural literacy by discussing their work in the Sonic Research Studio and the Media Analysis Lab at Simon Fraser University.
We invite you to listen to their conversation with the students of Eric Detweiler’s Rhetoric and Sound Studies graduate seminar at Middle Tennessee State University.
In their introduction, editors Courtney S. Danforth, Kyle D. Stedman, and Michael J. Faris write, “We’re entering an age of soundwriting, where the affordances of sound intersect the pedagogies and practices of writing and rhetoric.” The podcasts in the series, “Soundwriting Conversation: Introducing Soundwriting Pedagogies’ Podcast Project,” provide another way for understanding the content of Soundwriting Pedagogies through the sounds of individuals having a dialogue.
Why this approach? Simple: authenticity. When developing this project, we wanted to create an experience that let readers engage with authors in a way that captured and represented their unique reactions to the work. By putting reader questions and author responses into direct conversation with on me another, we hope to replicate the sounds of a real conversation among scholars.
Our understanding of sound—including what it is and what we can do with it—has, and continues to, evolve. Today’s digital technologies provide new platforms and features for composing with and from sound. Phones, for example, once only capable of connecting the voices of two individuals in a fixed geographical location, now allow individuals to not only hear sound upon its utterance, but also record sound (both with and without visuals), manipulate recorded sounds, create new sounds by synthesizing existing sounds, and circulatesound within diverse networks and communities. As compositionists, we have a unique moment to carefully re-examine, situate, and challenge historical understandings of sound-based writing in today’s digital world.
The editors and contributors of Soundwriting Pedagogies seize upon that moment by examining key and innovative theories and practices of sound in composition through the rhetorical design of sound. In the spirit of their artful use of sound to guide readers through their work, we invited scholars from diverse backgrounds to record thoughtful questions for the contributors, to which they then responded through sound.
The Soundwriting conversations you’ll hear occur between scholars whose interest in sound-based composition have led them to critically reconsider what composition is, and how both traditional and new ways of understanding sound, challenge us to extend our understanding and applications of the composition process. The questions and responses you’ll hear in this series seek to provide a deeper appreciation for how sound can make composition more accessible, meaningful, and engaging.
Check out the first episode below:
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