Oprah Interviews kzetland

As I read this weeks reading, “New Literacies and Social Practices of Digital Remixing,” I’ll admit I was resistive. It felt like too many channels to create an artifact, too much new media. When I got to the section on Fanfiction, I actually stood up and shook off my fears of being confronted by a big furry mascot. While walking around I thought, “what is so bad about pen and paper, do we really need all these flashy platforms?” According to the article, “Remediating Democracy: Irreverent Composition and the Vernacular Rhetorics of Web 2.0.” the concept of the public sphere being discourse-based and inclusive of marginalized voices and multiple publics is discussed (McLauglin, E.). We currently see the battle between what Habermas would call universal access to the public sphere vs. the vernacular model of discourse. Digital remixing seems to even the playing field for who can participate in public, creative, and digital communication.

In an effort to embrace the concept of remix, I am going to take on something from my bucket list! Yes, Oprah Winfrey is going to interview me and Brene Brown. I may be a fan :-). This excerpt came from an original interview with Brene Brown, I am taking on the role/character of Kerri.

Oprah: But in the book you said—and I love this—that “vulnerability is the core, the heart, the center, of meaningful human experiences.” Let’s talk about that, Kerri what is your take?”

Kerri : In our daily lives we tend to shield ourselves from vulnerability, we wall up. I think that it is the times that we confront ourselves, open up, and get exposed we can grow. If we let the idea that being human requires vulnerability and be open to this in our everyday lives we can develop a more compassionate and resilient culture.

Oprah: Whoa.

Kerri: As opposed to pretending we are okay. I had what I called an “okay problem,” which is the immediate need to appear okay. I missed the depth of knowing how my community was  feeling.

Oprah: So vulnerability opens the door to greater intimacy?

Kerri: Intimacy cannot exist without vulnerability, in my opinion. However, keep in mind that I do not mean feeling vulnerable from fear, but from seeking to know oneself.

Oprah: You also write that “if we want greater clarity in our purpose or deeper and more meaningful spiritual lives, vulnerability is the path.” Can you explain?

Kerri: Brene, I just love the way you explain this.

Brené: People always say to me, “I want to go into the arena, but I’m scared. Can I take a little armor with me?” But one thing I have found in my life is that the only thing you need when you go in is clarity of values and faith. As in, “This is the article I wrote. And if you think I need to lose weight or that I suck, that’s okay. I’m standing on my faith and my values. You cannot knock me over.”

Oprah: You’ve talked about the original meaning of courage. Can you share that?

Brené: Yes, it’s from the Latin word cor, meaning “heart,” and so the original definition was to share all of yourself, share your whole story, with your whole heart. An act of courage was an act of storytelling, which I think is true. You know, I watch Super Soul Sunday, and I love when you talk about the ego. I call my ego my hustler.

Kerri: Courage, is about showing up and being seen. Seen in all our glory; the good, the bad, and the in-between.

Oprah: That’s a good term for it.

Brené: My ego says to me, “You have no inherent worth. You’ve got to hustle for it, baby. How fast you gonna run? How high you gonna jump? How many likes do you have on Facebook?”

Oprah: We live in a culture that measures us by how many likes we have on Facebook.

Brené: It’s a scarcity culture. We’re never thin enough, rich enough, safe enough. And you know—and I want to get your thoughts on this because you’ve looked in people’s faces for so many years—I started my research six months before 9/11. And I would say that the past 12 years have been marked by a deep fear in our culture. It’s like a collective post-traumatic response.

Kerri: I agree, I see and feel this. I would also like to add that we live in a comparison culture. Let’s be honest we share what we are enjoying most of the time or when there is a reason to share what most people would consider acceptable sadness. We don’t often share the daily struggles that play into the discourses we have with ourselves, with each other, or in the public space.
Oprah: Oh my God, I just had a big aha moment.

Kerri: Is that a tweet-tweet moment?

Read more: http://www.oprah.com/spirit/brene-brown-interviewed-by-oprah-daring-greatly#ixzz4ByZqsDlA

Dietal-McLaughlin, “Erin, Remediating Democracy: Irreverent Composition and the Vernacular Rhetorics of Web 2.0. June 18, 2017. http://www2.bgsu.edu/departments/english/cconline/Dietel/




Erin McLaughlin

Telling Our Stories: First Digital Story Critique

I choose to look at a blog post from researcher Brene Brown titled, “Our our history. Change our story.” I found her research around vulnerability to be engaging and I have read her books and I wanted to see how she translated digitally.  I decided to use the assessment traits of writing, sense of audience, and media application.

As Brene Brown states,”When we deny our stories, they define us.
When we own our stories, we get to write a brave new ending.” This has been published in print and online, and it may be one of my favorite quotes. I have noticed that her writing in her blog is more conversational and to the point. Knowing her larger body of work I thought his was an excellent synopsis of her larger arguments and points. She makes strong calls to consider how we think and tell our stories, specifically our collective stories around racism in the United States. She writes with a voice that is calling upon the public to actively challenge our resistance and defensiveness around this painful history. In the wake of the tragedy in Orlando, I suppose this story is poignant . Fear and scarcity are common themes is her work and this blog. The combination these and not owning our stories can have real consequences on real lives.

I feel this piece isn’t written to those who may already know her work. I think the audience she had in mind would perhaps be curious about the topic. But, may be a little resistant to the concept of getting deep and finding the courage to ask hard questions. However, I think she approaches her audience from a place of understanding this and encouraging readers to be open, but not preaching from a place of top-down. She does not avoid confronting her beliefs, but she is not chastising the audience into change.

In regard to her media application, I like the use of white space on her blog. I find this format easier to consume and remain engaged in the content. I will say that, it was a little hard to find this installment of the blog. I think there could be a more clean way to show content from the home page. I had to continue to load previous posts before I was able to locate this one. I found it easy to share on other social media platforms. I do think that the images needed to be more in balance with her page. Of course, I am still figuring this out and so let’s call that out! This page is used to promote other authors and her personal brand. I think it is done tastefully and in alignment with her focus and initiatives. Heck, branding oneself is what most bloggers would like to do and I think she has done well with this.

I have included the source for this blog below however, as I mentioned, I need a little more work myself when it comes to making this look smooth and fancy. I’ll take your tips!


Graduate Reading Response Week 1: Discourse, Meaning, and Tagging

There I was, standing in the middle of a community in the Shankill Road of Northern Ireland. I was there as an observer of this space in order to try to understand how the murals on the walls may tell the story of this community. I had a camera, a tape recorder, and about a month to figure out if my idea that these political murals were making a visual argument about the Discourse of a community. This was before “tagging” virtually, but these pieces of art were tagged all over Belfast. It felt like a ground-up way of telling a story.

If we think of a mural as a visual representation of a narrative, how we interpret that narrative will be significantly impacted by the meaning that we place on the story that is being told. A narrative or story can be told in different cultural contexts, but we interpret through our lens of understanding and derive meaning from our experiences.  According to Lankshear and Knobel (2006), “Understanding literacies from a sociocultural perspective means that reading and writing can only be understood in the contexts of social, cultural, political, economic, historical practices to which they are integral, of which they are a part” (pg.1). Meaningful discourse requires that a reader engage in learning the social practices, beliefs, attitudes and values of a group, culture, or society. As a reader of the murals it was essential to understand the multiple interpretations based on ones “literate immersion.” These were provocative visual texts that told a story within a public space. While not a digital space, by placing the mural in a public space it indicated a value of dispersion, placed in an open space, visible to others and subject to change by the stoke of a paint brush. 

When considering “new” literacies, it is not how we find the information, “but, rather, that they mobilize very different kinds of values and priorities and sensibilities than the literacies we are familiar with” (Lankshear/Knobel 2006). The use of these political murals allowed for a diverse kind of meaning making. Some may see a mural as telling a story of opposition, or of remembrance, or of resistance, or of history. Neil Jarman (1998) has argued “that murals are intimately related to place, and that some consideration of their location is required for a broader understanding of their wider power and meaning.” I would argue that the placement of a mural within the physical space undergoing conflict, social disruption, and change is an act of engagement calling for people interpret and read these visual arguments from their own perspectives. 

As Neil Jarman (1998) articulates, “place in the fullest sense is not a fixed space, the fact that murals can and are used as part of the political and interpretative process means that they are always being relocated, transposed to new locations, both phenomenological and technological, and therefore open to new sets of meanings.” While, these murals may not fit into the new “tech stuff” requirement for new “literacies,” they do call upon readers to collaborate with the meaning, to participate as they are in public spaces, and to be distributed among the public. If we consider that new technical stuff is meant to, “enable people to build and participate in literacy practices that involve different kinds of values, sensibilities, norms and procedures and so on from those that characterize conventional literacies,” then perhaps the use of murals as visual text was creating a form of “new lieteracy.”

Jarman, Neil. (1998), ‘Painting Landscapes: the place of murals in the symbolic construction of urban space’, in, Buckley, Anthony. (ed.) Symbols in Northern Ireland. Belfast: The Institute of Irish Studies, The Queen’s University of Belfast.



Do You See What I See?

Do you see the hope that comes with being small next to the ocean? Do you think of the world beneath the surface or the sheer power the waves can bring as they crash against the shore? Perhaps, I was drawn to taking this picture because I am currently feeling out of my depth. How will I ever figure out digital storytelling?

This is my first blog post, my first time putting my thoughts and creativity out into a public space. The word daunting comes to mind and being around water has always been offered a relaxing space of reflection. My hope is the turquoise image will serve as a reminder that I can step into new arenas and rise to the challenge of learning in a digital space.

So tell me, what to do you see in this image?