Davis, Andrea, et al. “Remix, Play, and Remediation:  Undertheorized Composing Practices.” Writing and the Digital Generation:  Essays on New Media Rhetoric. Ed. Urbanski, Heather. Jefferson, N.C.: McFarland & Co., 2010. 186-97. Print.

  • The authors begin by highlighting how the producer/consumer binary is fraught with inconsistencies in the new digital environment (187).  They go on to highlight how meaning is made in multiple modes across networks for multiple rhetorical purposes.  Computers facilitate this new digital composing ethic – the remix.
  • The authors note that digital spaces actually render obsolete (or at least less important) conceptions of sole authorship from author to audience and replace it with shared authorship across networked digital environments (188).  This includes revisions in the traditional conceptions of copyright and intellectual property (Creative Commons rejects the proprietarian and instead solicits participation in the coconstruction of digital artifacts) (188).
  • Three arguments of this article:
    • Play and remix are crucial digital composing practices, yet are generally understudied and undertheorized.
    • “New Media” doesn’t really exist, but we can identify a post-genre blurring and mashing of media and genres.
    • Consumption and analysis alone aren’t enough to theorize play, remix, and new media – to address the ways in which writing practices shift in digital realms, we have to move toward production and reflection. (188).
  • The authors argue that play is actually a more valuable form of revision in new media creation.  They also argue for play as a way to get out of habitual ruts.  This often leads to reconsidering genre.  In the section “Play as Production” the authors discuss the overlap of work and play as a way to playify the production of work-oriented labor (193).  Play as production means social production or collaboration in digital spaces as ways of play.  As the authors note, “For members of the digital generations, [play] it is the way to focus” (193).  Production happens across many spaces: work, leisure, etc.
  • The authors reference Bernard Schutze in this piece.  Apparently Schutze claimed that the remix “upholds an open challenge to a culture predicated on exclusive ownership, authorship, and controlled distribution” (194).  The authors note that remix culture requires a different orientation to authorship and textual ownership – these new orientations conceive of authorship as collaborative and ownership as shared and distributed across networks (195).
  • The authors offer a couple of suggestions on how to integrate “play” into the writing classroom:
    • Rework existing assignments to encourage play – this means considering new “places” for writing (digital movies, web sites, blogs).
    • Be patient.  Be aware.  Foster investment, and recognize investment.  We must all be willing to play in digital spaces and this takes time.
    • Encourage media flexibility and transmediation.  Encourage students to take genres and documents and move them into different media.  Shifting asks for and requires play, and deeply analyzing both genres and the work genres do, and revision and the work revision does.  (196

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