Obvious exits: out (to the hallway), room 1 ( to room nnb), room 3 (to room nne), trap door (to the Tavern ongoinglogue).
Jester_Guest holds up a tentative sign:

+---------------------------------------------+
|   Do computer mediated environments allow   |
|   for a radically different writing space?  |
|   Why space? Why do Muds and MOOs use the   |
|   spatial organizing principle of the room? |
|   *Can* or *does* writing change in these   |
|              environments?                  |
+---------------------------------------------+

Tuman (WP) starts off, "Just how the new postindustrial technology (and com-puters in particular) will affect our practice and our understanding of literacy may be the single most pressing question in literacy education today..." (8)

Tuman (WP) says, " ...computers will reshape not just how we read and write, and by extension, how we teach these skills but our very understanding of basic terms such as reading, writing, and text.

Williams (Red ain't Dead) says, "Yet most writing, in any period, including our own, is a form of contribution to to the effective dominant culture."

Tuman says, "At the very foundation of our modern notion of literacy, therefore, is a pervasive belief in the possibility of sustained material progress" (7).

Williams (Red ain't Dead) says, "If we are looking for the relations between literature and society, we cannot either separate out this one practice from a formed body of other practices, nor when we have identified a particular practice can we give it a uniform, static and ahistorical relation to some abstract social formation."

Tuman (WP 93) says, "What is surprising, and what needs further explication, is the justification for such educational reforms, especially the ideological fervor which ignores all that may have been laudable about print literacy while glossing over all that is troubling about reading and writing online."

Gere (Groupster) says, "The theoretical thinness inherent in this view of literature results in part from the fact that the technological/skills definition of literacy assigns no cultural context to literacy" (116)

Gere (Groupster) says, "It enables a dichotomous view of the world wherein literate people can be clearly distinguished from illiterates" (116)

Tuman (WP) says, "Advocacy of the networked classsroom, therefore, often cannot be separated from a broader and more thoroughgoing rejection, not just of teacher centered instruction, but of print literacy itself and, more often than not, the entire social apparatus it supports."

Gere (Groupster) says, "The limitations of the Cartesian based technology /skills definition of literacy becomes apparent in its ability to address the formation of non-skills-oriented groups or the functioning of *any* autonomous or semi-autonomous writing group" (116)

Gere (Groupster) says, "The technical view of literacy presumes a pre-existing body of knowledge to be assimilated with language serving as the conduit" (116)

Gere (Groupster) says, "language development of writing groups proceeds along social , not individual lines...in the zone of proximal development."

Williams (Red ain't Dead) says, "We are bound to recognize that the act of writing, the practices of discourse in writing and speech, the making of novels and poems and plays and theories, all this activity takes place in all areas of the culture."

Jester_Guest ponders audience.

Burke (Wordman) says, "Reducing the problem to its simplest terms, Aristotle points out in his Rhetoric that there are friendly audiences, hostile audiences, and simply curious audiences, the orator's problem differing in accordance with the type of audience he is addressing" (CS 179)

Shaughnessy (whuggling errors) says, "There is another reason why the phenomenon of error cannot be ignored at this level. It has to do with the writer's relationship to his audience, with what might be called the economics of energy in the writing situation" (EE 11).

Shaughnessy (whuggling errors) says, "Although speakers and listeners, writers and readers, are in one sense engaged in a cooperative effort to understand one another, they are also in conflict over the amount of effort each will expend on the other" (EE 11).

Shaughnessy (whuggling errors) says, "In a speech situation, the speaker has ways of encouraging or pressing for more energy than the listener might initially want to give. He can, for example, use attention getting gestures or grimaces, or he can play upon the social responsiveness of his listener; the listener in turn, can query or quiz or withhold his nods until he has received the "goods" he requires from the speaker. Nothing like this bargaining can go on in the writing situation, where the writer cannot keep an eye on his reader nor depend upon anything except words on a page to get him his due attention. Thus anything that facilitates the transfer of his meaning is important in this tight economy of energy" (EE 12).

Burke (Wordman) says, "And one may expect to find all sorts of related paradoxical variations in our way of life, with its special stress upon hygiene as the modern equivalent for the ritually clean. There is, for instance, the ideal of floor wax that does not "yellow" when the floors are compulsively kept polished to the point where they become a menace to life and limb ( a kind of dream-life that matches the military man's ideal of fighting his dirty wars with "clean" bombs). "

Shaughnessy (whuggling errors) says, "English has been robustly inventing itself for centuries -- stretching and reshaping and enriching itself with every language it has encountered. Ironically, some of the very irregularities that students struggle with today are there because at some point along the way the English language yielded to another way of saying something" (EE 13).

Krashen (turn the monitor off) says, "Comprehension precedes production." (20)

Bakhtin (speaking for himself) says, "there is neither a first word or a last word. The contexts of dialogue are without limit. They extend into the deepest past and the most distant future. Even meanings born in dialogues of the remotest past will never be finally grasped once and for all, they will always be renewed in later dialogue. At any present moment of the dialogue there are great masses of forgotten meanings, but these will be recalled again, at a given moment in the dialogue's later course when it will be given new life. For nothing is absolutely dead: every meaning will someday have it's homecoming festival." (Estetika 373)

Obvious exits: out (to the hallway), room 1 ( to room nnb), room 3 (to room nne), trap door (to the Tavern ongoinglogue), teleport (to Seuss Booth).

Choose @quit to leave RoxMOO.