[Xmca-l] Re: Interpreting videos

[Larry Purss]

Jen,
In my answer to your question I want to play with the notions of
*situated* & *resituated* as occurring within different *types* of spaces
[metaphorical]
I want to re-turn to the event of my starting my response to this months
article by quoting what you wrote 10 years ago.
I *picture* that I was displaying your *spirit* or your *value* or your
*disposition* AS analepsis WITHIN a communicative praxis AS discourse and
action.
Jen, your response was so amazingly *alive* that this *texture* that we
were composing took me by surprise. This texture was a living *example* or
*case* of the unity of cognition/feeling WITHIN dialogical *spaces* as
unfolding *presence*.
You asked "Who is speaking/writing/acting?" WITHIN THIS MEDIUM [this medial
voice] unfolding within this dialogical *space*.
Jen, what may have felt *dead* [your words written 10 years ago] came alive
as a presentation [not a RE-presentation] with a vibrancy and also a deep
PERSONAL reflection on *stuckness*.
I wonder if the video's permanence as "stasis"/presence AS OBJECT is
actually a mode, or genre of encounter?
IF  we *picture* our unfolding speaking/writing/acting praxis AS unfolding
analepsis/prolepsis *unity* AS SPACES forming speakers/author's/agents THEN
the preservation/invention couplet remains a living *phenomena*. [not
stasis]
However if our perceived *subjectivity* is located within a different
*space* expressed within a genre of *presence* as undergirded by essence,
or substance, or elements, or foundations we are within alternative  genres
expressing realms of metaphysics and realms of epistemological *knowing* AS
IF [prolepsis] empirical facticity OR rational conceptual truths which
assumes that *presence* is manifesting what IS underneath, behind, or in
front of *the* subject AS *presence*. This is a genre, a way of talking
that concretizes social practices expressing particular values AS IF
factual.

Jen, re-turning to analepsis, I wonder how significant the cognitive/felt
unity of your 4 questions answering  my questions can be *pictured* as
 keeping metaphorical space *open* AS answerability [Bahktin]. Our
conversation as expression  is an  *example* of a profound *truth*, the
truth of analepsis/prolepsis as it is now unfolding within this
conversation. Cognitive/emotive unity AS *texture/disposition*.
I understand this way of proceeding as an ethical orientation that can be
understood as a shared ethical disposition.

Philip, mentioned the tension of totalizing within your 4 questions and
also within my quoting Vygotsky on permeating/penetrating/enveloping school
environments.
However, the tension of implicit *values* [expressed as possessive
individualism] I believe are already unfolding shared value suppositions as
dispositions.
I recognize that I also feel *stuck* because the potential to imagine
alternative SHARED possibilities that would emerge within communicative
praxis seems difficult to imagine.
The impression I have when I attempt to introduce articles [such as your
article] to other counsellors  is that  others respect  my position as my
idiosyncratic truth. I question if this TYPE of response is *hearing* my
proposal through particular genres that privilege individual interior
*minds*.
I do see a thematic *unity* between this video which expresses an
alternative communicative *space* [can it be referred to as a *zone*?] and
your appeal for us to reflect on school environments as situated [and
resituated] spaces.



On Wed, Sep 18, 2013 at 9:48 AM, Vadeboncoeur, Jennifer <
j.vadeboncoeur@ubc.ca> wrote:

> Larry, the way you've woven in prolepsis, past and future in the present,
> and developing agency is so clear here, so strong.
>
> What is striking to me is that these experiences are potentially
> significant for each individual, for each generation, something that must
> be learned again and again.
>
> What is also striking is the video's potential permanence, it's stasis,
> and the possibility that it may "outlive" its intended use by the
> participants and the makers of the video. Gynda Hull's work with DUSTY has
> surfaced some of these concerns: what are the effects of videos that
> "outlive" their usefulness? What are the effects of this video on the
> people portrayed? Is this something we need to learn more about?
>
> Best - jen
>
>
>
>
>
>
>
> On 2013-09-15, at 11:47 PM, Larry Purss wrote:
>
> > Mike,
> > While watching the video, I was also reflecting on Jennifer and Rachael's
> > article being discussed.
> > The sense of agency which develops and is expressed through the
> > conversations where *we* are referencing *our* school. Jennifer mentioned
> > the concept of prolepsis [anticipatory AS IF perspective] as an ethical
> > weight carrying the responsibility of guiding the students through the
> act
> > of  creating *spaces/places which supports the students [and instructors]
> > shifting  perspectives.  Students are expressing their ability to act in
> > concert. Developing a felt *agency* as a genetic process. Also the
> concept
> > of analepsis was displayed in the film  AS the invoking of past
> experiences
> > WITHIN current experience. This prolepsis/analepsis couplet as a genre or
> > motif which invites the students to imagine themselves differently
> through
> > their shared conversations with each other. I'm suggesting the film can
> be
> > viewed through the lens of communicative praxis. This conversational
> > *space* permeating and enveloping ways of talking which express a unity
> of
> > both discourse AND action. This way of talking about *our school*
> mediating
> > shifts in identification within the *school* culture. Mediating  a felt
> > sense of belonging to the school as a contributing member of the school
> > community.
> > Larry
> >
> >
> >
> >
> > On Sun, Sep 15, 2013 at 9:23 PM, David H Kirshner <dkirsh@lsu.edu>
> wrote:
> >
> >> Mike,
> >> There's not much context given, but one assumes this change in the
> culture
> >> at Lincoln High is a result of a concerted effort by one or more
> >> individuals.
> >> The changes seem to include some pretty dramatic reorientations in
> >> identity structure of some students.
> >> These changes seem to have to do with a social analysis of some sort,
> >> reminiscent of Freire's work.
> >> The kids who have changed have come to see themselves as authors of
> change.
> >> The question I'd like to take up concerns scale-up. Can whatever was
> done
> >> at Lincoln be transported to other locations?
> >> If one puts on blinders (which sociohistorical theory warns us against),
> >> it seems possible to think in terms of the demographic at Lincoln,
> perhaps
> >> the management structure at Lincoln, and other internal factors. Perhaps
> >> the prospects for replication are good if change agents of similar
> >> perspective and talent are available.
> >> However, taking off the blinders, the success at Lincoln probably has a
> >> lot to do with the fact that the school is a singleton. I'm thinking not
> >> just of the energy and enthusiasm this produces for the initiators of
> >> change, but to the possibility that students' identity projects also
> have
> >> been marshaled by the uniqueness of the situation. In this respect, the
> >> conditions that are required for replication may never again exist.
> >> It seems to me, the only way in which this process of transformation can
> >> scale up is if it becomes part of a broad social movement (in the
> spirit of
> >> the U.S. Civil Rights era of the 1960). Approached at the level of the
> >> individual school this is likely to sputter and fade.
> >> David
> >>
> >>
> >> -----Original Message-----
> >> From: xmca-l-bounces@mailman.ucsd.edu [mailto:
> >> xmca-l-bounces@mailman.ucsd.edu] On Behalf Of mike cole
> >> Sent: Sunday, September 15, 2013 10:32 PM
> >> To: eXtended Mind, Culture,Activity
> >> Subject: [Xmca-l] Interpreting videos
> >>
> >> It would be very helpful to folks at LCHC if people on XMCA could check
> >> out this video and see what they can make of it.
> >> If you have 5 mins, take a peek.
> >>
> >> mike
> >>
> >> https://www.youtube.com/watch?v=bheM3NVRIdg
> >>
> >>
> >>
> >>
>
>
>