In his chapter “Hypertext,” Birkerts continues his exploration of the differences between print and electronic texts, between words on a page and words on a screen. In “Into the Electronic Millenium,” he emphasizes the difference as one between linearity (print) and association (electronic)–earlier in the book, this opposition was described as depth versus shallowness. Here, turning his attention to a literary hypertext created for a digital environment (Moulthorp’s Victory Garden), he continues the opposition, focusing it on a difference between process and product. As he puts it succinctly,
Writing on the computer promotes process over product and favors the whole over the execution of the part. (158)
Moving forward from page to screen, he believes, we move backwards from the book as a product to the process of writing and producing it. Along with this “profound” and “consequential” shift from literature and product to writing as process, Birkerts argues, “provisionality” is promoted and the traditional goal of the writer (he mentions the French novelist Flaubert) is lost. Attending to this loss, the reader of the book, turned into “process” at best, at worst a “sophisticated Nintendo game,” loses his or her sense of the private self (164).
These are familiar keywords Birkerts uses in his argument: process, product, privacy, provisionality, perfection, potential. My criticism and concern for the implications of his argument might best be focused by adding another ‘p’ word to his list: pedagogy. It seems to me that in worrying about the ways that writing’s process becomes, potentially, revealed in a digital or electronic environment, Birkerts really worries the potential that anyone might become a writer. Here, my disagreement with Birkerts sharpens most into focus. In my view–recall, I am a teacher of writing, and a writer still learning my trade, as every writer does–provisionality and process are necessary ingredients for learning. One learns by learning the process; one writes by producing writing, not by having written, by having a product. The reader is always ready to turn into a writer, as Walter Benjamin put it in his essay on the “Work of Art in the Age of Technological Reproducibility.” We thus participate in writing. And participation is yet another concern, and another ‘p’ word, that Birkerts discusses. Instead of that, he wants to return to a time when the author perfected his writing by creating books that, in Birkerts’ phrasing, overpowered the reader.
Perfect, that is to say, completely finished, books might exist–though I haven’t read one. But even if they do exist, the problem becomes, for the writer, for the learner, how to get there while being imperfect? For learners, perfect books are dreamed of and always never written. Isn’t that what happened to Birkerts? These are some of the thoughts and concerns I take into the final pages of his argument and our initial exploration of electronic and hypertext writing.
I used Google Books, by the way, to do some keyword searching–for example, in Gutenberg Elegies. Here is an example (the word process appears 45 times).
As we explore more directly hypertext fiction and poetry this week, consider some basic background for hypertext fiction of the sort that Birkerts encounters. It is from that massive hypertext encyclopedia you know well, WikiPedia. Consider that as both the problem and potential of hypertext literary reading: what if novels or poems read like entires in WikiPedia: in what ways does that change literature? Here is the entry for Hypertext Fiction. We can also think back to McLuhan’s argument, one that I think Birkerts clearly has in mind, though he doesn’t directly quote from: the medium is the message; all media work us over completely. Birkerts believes that the author, not the medium, should be working the reader over. Hypertext, for him, is too much medium, not enough message. I assume he would say the same about the electronic literature archive–where the process, not the product, is on view in the ways the texts are described and categorized.
Do you agree?
For a view and vision of hypertext literature that can be said to disagree with the vision of Birkerts (and strongly) by way of agreeing, consider Shelley Jackson’s essay “Stitch Bitch.” There she argues favorably that hypertext is “what we learned to call bad writing.”
So, is Google making you stupid?
Sven Birkerts, even before Google, says yes: the web is trapping us in a world of shallowness, a web that erodes language, flattens historical perspective, and destroys privacy. I suggest Carr’s essay, “Is Google Making Us Stupid?,” offers some updating of Birkerts’ concerns, but also some possibility for counter-argument. For our purposes, I would emphasize that Carr’s rhetoric (how he writes and presents his argument) is, at any rate, stronger than Birkerts in key places. It is more effective in what it does–even as it makes a similar argument.
The scene from the end of 2001: A Space Odyssey: the one discussed in the article “Is Google Making Us Stupid?” The computer HAL being dismantled by Dave.
The article also refers to Plato’s “Phaedrus,” part of the section that opens up counter-argument. It reminds us that various technological changes stretch far back–and that writing was once the “Google” of ancient Greece. You will recall that McLuhan also refers to this famous dialogue, as does Birkerts and Joseph Harris.
Does my ability, or my desire, to access these ideas from the essay–might I call them, to use a loaded term, these links–in digital form, from the same screen with which I read the essay, constitute deep or shallow reading? Perhaps the problem is we need some different terms to describe what I am doing.
Think back to The Invention of Hugo Cabret or The Medium is the Massage and our discussion of the way that book (not digital, but print) hypermediates/remediates the traditional book. Is this also something to fear–or does this return us to something more crucial and fantastic in storytelling or literature? Would lots more types of books like Hugo make us stupid?
Carr has recently turned his article into a book titled The Shallows. Here is a review from the NY Times.
Some additional links to consider–and return to as you develop your argument for the third writing project, The Future of Wreading:
A recent argument that cites Carr, but offers a more interested, hopeful vision for the ways digital reading is creating and influencing fragmentary readers and writers. “Fragmentary: Writing in a Digital Age”
A review of, and argument with, Carr’s book The Shallows (the book that emerges from his Google article).
A NY Times review of some new children’s books that blend print and digital; the reviewer suggests it as an updating of the Choose Your Own Adventure series.
Gibson, article in Wired on writing as cut and paste remixing.
- Is Google Making Us Stupid? (wdok.radio.com)
- Considering the Future of Reading: Lessons, Links and Thought Experiments (learning.blogs.nytimes.com)
In Understanding Media, Marshall McLuhan (author of our next book, The Medium is the Massage) defines media as ” the extensions of man.” Contrary to someone like Birkerts, who neglects the medium of the book and tends to view media only as the new, the electronic, McLuhan understands that a medium is anything that extends the capability of a human who uses it. Thus any and all forms of communication tools are media, starting with language itself: writing, pencil, book, printing press, variety of computer mediated forms of writing and language. And in this book he extends this notion of extension: literally any tool that can be considered an extension: clothing, wheels, houses. Thus, in The Medium is the Massage, McLuhan writes about the “technology of the alphabet.”
McLuhan highlights for me the ways that Birkerts neglects to define and consider and reflect upon and understand the mediated nature of new media (instead of generalizing, too quickly brushing them off). And though he does do a better job being more deliberate and reflective regarding the media of print (all the reading and writing he discusses), there is still this problem. He gets, I think, the medium of print wrong. Consider this paragraph from McLuhan that evokes Birkerts’ senses of passivity vs. activity, except it locates the passive not with television but with the technology of literacy.
Western man acquired from the technology of literacy the power to act without reacting. The advantages of fragmenting himself in this way are seen in the case of the surgeon who would be quite helpless if he were to become humanly involved in his operation. We acquired the art of carrying out the most dangerous social operations with complete detachment. But our detachment was a posture of noninvolvement. In the electric age, when our central nervous system is technologically extended to involve us in the whole of mankind and to incorporate the whole of mankind in us, we necessarily participate, in depth, in the consequences of our every action. It is no longer possible to adopt the aloof and dissociated role of the literate Westerner. [Understanding Media, 4]
I see a good bit of Birkerts in this image of detachment. Ironically, McLuhan gives us to imagine this scenario at home: parent yelling at child to put down that book, stop being so lazy, and get on the internet and do something real. Or in the case of Walter Benjamin, whom Birkerts will cite: we see that mediation–the changes in the technological reproduction of art, writing–enables readers to become writers.
All emphasize that the traditional relationship between readers and writers is changed by technology. Must that change necessarily be for the worse? McLuhan’s understanding of the involvement that the “environment” created by electronic media, in contrast with the detachment of print media, suggests a contrasting vision to that of Birkerts.
For a brief history of early printing.
For the audio recording that accompanies The Medium is the Massage.
Some things to consider as we head to the Print Shop at the Literary House and think further about the machinery of writing.
Our focal point in the first project was critical reflection. There are two places you can see this critical reflection emerge in an essay and think about, going into the next project, how you can continue to develop it: a strong thesis (a statement in brief form of your argument, your response to a problem); strong development in your body paragraphs (the elaboration of the problem/response–in other words, how you support, complicate, and reiterate the argument).
Some examples to consider from some of your peers (current and past); these are not the only way to do it, but they offer some good models for practice.
Thesis [Critical Thinking/Logic]
- Riley: example of the problem an argument needs can be signaled using one simple word–”however.” Kristen: an example that includes the given and problem signaled in the first sentence.
- Valerie: a 2 paragraph set up of the argument, with the first one more narrative close-up of the given, the second pulling back to reveal the problem and response.
- Sarah B.: a one-paragraph variety of the set up that is effective in using Birkerts to establish the given and the problem to which her argument directly responds.
- Jacob: a good example of using a critical quotation (first Birkerts, then Graff) in a body paragraph to elaborate and complicate the argument. Take a look at the second body paragraph where he uses Birkerts as part of his conversation–both to agree initially with him, but then to take his argument toward a different view of intellectual reading. This is a good example of what we will work on in the next project–forwarding someone else’s text.
- Alicia offers a good example of developing the critical reflection to elaborate an example within a body paragraph that also supports/reiterates/complicates the argument and thesis. Paragraphs 3-5 are particularly strong–and notice the ways she uses the critics (Harris and Birkerts) to develop the personal reflection.
- Scott: first body paragraph–very strong development, beginning the critical citation (Harris) then elaborating with personal reflection.
- Strong example from Jillian–notice how she moves out from her argument with a new image/scene, but in doing so reiterates the argument. This helps send the reader from her particular argument with thoughts of other places/implications for the argument.
- We are talking about complicating our critical and rhetoric–developing the layers of our argument. That sort of complication is a good thing in our writing. In terms of grammar and style, we also want to give some attention to uncomplicating aspects of our sentences that might be confusing. This is something for you to consider when editing. For some useful guidance on confusion in writing and grammar, how to identify and how to improve, see this section of the Guide to Grammar and Writing on Eliminating Confusion.
I want to introduce three terms from classical (Greek) rhetoric that can be useful to think about as we go forward in the course–and apply both to our critical reading and our writing. In classical rhetoric, where the focus is on an orator and his/her presentation to a live audience, there were three main appeals or ways of relating to your audience. Appeal meaning the ways an orator (now writer) gets his audience to listen and be compelled; ways to focus on the kind of conversation you are having and ways to engage your audience. To use the terms from Rewriting, these are older names for ways we do things with texts and engage in the social practice of academic argument.
Ethos: as in ethics; where the stature and character of the speaker is what persuades and convinces. One way to think of ethos now–the credibilty or authority or expertise of the writer.
Pathos: as in sympathy and empapthy; where the orator/author appeals to the emotions of the reader–focuses on convincing by way of feeling.
Logos: as in logic; where the author follows the laws of logic to convince–and must be careful not to be illogical: for example, contradictory.
Alissa’s blog on chapter 2 in Gutenberg focuses on empathy (and begins to question Birkerts in terms of contradiction): thus she has her eye on pathos and logos. We will continue to think about these as we go on. As you will note from my blog, I have issues with Birkerts mainly in terms of his logos–that is, I think his argument is weak logically but powerful in terms of pathos.
You can think of these ideas as a sort of template or tool to use in your composting–think of ways you might develop one or more of these areas–as well as a tool for revision: identify a place where you can strengthen your pathos or logos, for example. In a larger sense, the word (and study that goes with it) rhetoric is about how to structure and build arguments by using these kinds of templates. A basic definition of rhetoric: the tools a writer (in classical terms, rhetor) uses to focus the reader’s attention.
By the way, I have found that Birkerts occasionally posts on a blog run by Encyclopedia Britannica. Perhaps that is a contradiction (logos problem)? Or perhaps he is strengthening his ethos and pathos in doing so? See what you think. Thus far in Gutenberg Elegies, I wonder where you think the author’s ethos, pathos, and logos is strongest and where it is in need of attention.
Overall, thus far, where do you think Birkerts is strongest–in terms of ethos, pathos, or logos? Where is he weakest? And why?