“The most problematic part of The Dolly Parton Moment is us.”

We like that story as much as we like Dolly Parton. Rather, we like Dolly Parton because we like that story about who we are. The idea that Dolly is Dolly because of the strength of American diversity is one that pretends to be about how good Dolly is when it is really a story about how good we believe we are. In this story, the soul of America is a progressive teleology that will always, inevitably bend toward justice. America’s soul is immune to everyday evidence of its fallibility, and outright antagonistic to any suggestion that it is more myth than manifest destiny. Belief in the soul of America is as strong as another belief, with similar embodied metaphors. The soul is always at war with the nation’s racist bones. You know the racist bones. Those are the bones of which every good white American is fond of claiming not to have. If the racist bone exists, it is rendered as vestigial and unruly as a floating rib. There one minute but gone the next, and of no real consequence to the working of the body.

All of my reading also revealed this: Dolly Parton is one of very few living texts that could survive projections of America’s soul without buckling beneath its contradictions. It is treasonous to do so but if one strips away all the adulation, they are left with an odd totem for our socio-political times. Dolly is a white Southern multi-millionaire boomer who produces self-consciously white music while wearing a stylized drag of a fallen Southern belle. Only a society that willfully believes itself “post-racist” could produce such a queen. Post-racist does not mean there is no more racism. It means that we believe there is an us after we rid ourselves of our errant racist bones, which we are certain will come to pass. We craft Dolly into an unproblematic fave because the most problematic part of The Dolly Parton Moment is us.

Source: The Dolly Moment – essaying

I wish I could write like Tressie McMillan Cottom. Damn. Like Dolly, she can “write her ass off”. After each read, I feel like a drummer who starts crying after watching Larnell Lewis for the first time. Read the whole thing.

The woman can write her ass off. Her gift is one that is easy to overlook as mere folk. That is the category sophisticated people place art done by women, by and for poor or rural people, by people of color, created outside of a cultural institution, and that uses pastoral themes. Home. Love. Longing. Desire. Faith. Those sound basic and they are. Dolly’s creative genius is multifold and one of its top tiers is how deceptively easy her songwriting appears. Maybe anyone could write something like: “I don’t love you/and the grass is blue.” But anyone didn’t, and you didn’t either. Because you can’t.

What’s in My Text Editor

I like pocket and bag dumps. Are text editor dumps a thing? They should be a thing. Here’s a screenshot of my text editor, Ulysses, showing this post in progress.

Screenshot of Ulysses showing my library, sheets in my inbox, the current sheet, and the dashboard.
Screenshot of Ulysses showing my library, sheets in my inbox, the current sheet, and the dashboard.

Here’s what’s in the writing queue.

  • Accommodations and Emotional Bids in Neurodiverse Relationships
  • My Two Blogs: Managing Publication Anxiety with Digital Caves, Campfires, and Watering Holes
  • Constantly Ruminating Engine of Regret: Social Anxiety, Rejection Sensitivity, and Flashbacks
  • Our Generation Ship: Electrify all the things, Automate all the things, Back up all the things
  • Samefooding the Apocalypse
  • Crip Wisdom in the Age of Coronavirus
  • My Favorite Everyday Carry Folding Pocket Knives

I hope that by mentioning them aloud I will be motivated to finish them.

Democratizing Text: Multiplicities, Bicycles for the Mind, and Neurological Pluralism

David Sparks commented on my piece on contextual computing with these thoughtful words on democratizing text.

There is a movement afoot to democratize text and hyperlinking on the web, in apps, and across our computers. For the longest time we’ve been spinning our wheels using computer data (particularly words) as digital approximations of the printed words that came before them. That needs to change. Using hyperlinking and contextual computing, we take the written word (and the underlying paradigm about how we work on a computer) from one dimension and convert it to three dimensions.

I’ve been thinking a lot about this myself and I truly believe dynamic, bi-directional linking across files and apps can dramatically improve the way we use our computers and develop our days. It is the way for computers to truly serve the role as “bicycles for the mind“.

Source: The Growing Movement for Hyperlinking and Contextual Computing – MacSparky

I really like the invocation of “bicycles for the mind”. I want a future of text that enables accessibility, positive niche construction, and differentiated instruction in service to neurological pluralism. “Bicycles for the mind” is useful framing to get us there.

ANI launched its online list, ANI-L, in 1994. Like a specialized ecological niche, ANI-L had acted as an incubator for Autistic culture, accelerating its evolution. In 1996, a computer programmer in the Netherlands named Martijn Dekker set up a list called Independent Living on the Autism Spectrum, or InLv. People with dyslexia, ADHD, dyscalculia, and a myriad of other conditions (christened “cousins” in the early days of ANI) were also welcome to join the list. InLv was another nutrient-rich tide pool that accelerated the evolution of autistic culture. The collective ethos of InLv, said writer and list member Harvey Blume in the New York Times in 1997, was “neurological pluralism.” He was the first mainstream journalist to pick up on the significance of online communities for people with neurological differences. “The impact of the Internet on autistics,” Blume predicted, “may one day be compared in magnitude to the spread of sign language among the deaf.”

Source: The neurodiversity movement: Autism is a minority group. NeuroTribes excerpt.

“Writing is the path to power for those born without power.” We’ve seen that in neurodiversity, disability, and other self-advocacy communities. That’s a big reason why “Multiplicities are an intention: We build the best collaboration, the deepest learning, when we expand the opportunities for complex vision.”

Writing is too important because, though forms and structures will differ, writing is the path to power for those born without power. This importance lies not in how to write a “five‐paragraph essay” or a “compare and contrast” book review but in the capability to clearly communicate visions both personal and collaborative. Whether the work is a tweet that generates action when that is needed, or a text message to an employer, or the ability to convince others in the political realm, or the expression of one’s identity in a form that evokes empathy in those without similar experience, “communicating” “well” is a social leveler of supreme importance.

In both cases, methodology become less important than process. Our students read on paper, or through audio books, or through text‐to‐speech, or by watching video, or by seeing theater – or by observing their world. They write with pens, keyboards large and small, touchscreens, or by dictating to their phones or computers, or by recording audio, or by making videos, or by writing plays or creating art, or playing music. We do not limit the work by attacking those with disabilities or even inabilities – or even other preferences, because that robs children of both important influences and of their individual voices. Multiplicities are an intention: We build the best collaboration, the deepest learning, when we expand the opportunities for complex vision.

Thus we begin by moving the teaching of writing from the training of a specific skill set toward an interpersonal art form that flows from students and builds communities. Then, through the reimagining of teaching places into “learning spaces,” we craft “studios” where all the technologies of school – time, space, tools, pedagogies – liberate and inspire rather than deliver and test. Then, using those recrafted technologies, we allow communication learning to flow.

Source: Socol, Ira. Timeless Learning: How Imagination, Observation, and Zero-Based Thinking Change Schools (Kindle Locations 3725-3739). Wiley. Kindle Edition.

Written communication is the great social equalizer.” Our future of text must respect pluralism and multiplicities. “Digital approximations of the printed words that came before them” often compromise that future. So much of what I see from school is inaccessible in some way. Page-based word processors dominate education while many who write for a living or a hobby are using portable, accessible, and increasingly ubiquitous Markdown, a now 16-year-old technology.

At the 2013 Computers & Writing conference, we (Derek & Tim) started talking about the broad Markdown affinity space: Podcasts, blogs, self-published books, and social media conversations. We were particularly interested in the absence of these conversations within our field. How could a nearly ten-years-old writing technology continue to grow in professional and enthusiast spaces but also be largely absent among those who teach and research writing?

Source: Writing Workflows | Introduction

“Methodology become less important than process.” The answer is not to prescribe Markdown but to support multiplicities, process, and flow. That’s part of the magic of Markdown and plain text and hyperlinks.

I spend a lot of time in text editors. Almost everything I write starts in my favorite text editor. A text editor is my thinking space. It is a place for moving around blocks and tinkering with parts. It is a place to explore my mind and write it the way I want it to read. Iteration and ideation happen in my editor. My notes are not just a record of my thinking process, they are my thinking process. Text editors are extensions of mind that facilitate thinking.

All of this happens in beautiful, wonderful plain text.

Source: Writing in Education and Plain Text Flow

What Sparks and many other proponents of distraction-free applications or Markdown syntax are pointing toward is the importance of workflows that “regulate thought and affect and channel attention and action” (Prior & Shipka 2003, 228). They are pointing to workflows that produce (and are produced by) mental states that support writers in whatever activity they seek to accomplish. For these writers, designing a workflow means crafting a digital environment responsive to physical conditions that supports and helps bring about concentration, focus, creativity, and many other states. Any tour through writing advice from the past one hundred years or so will cover some of the same ground: writers who have morning rituals, who use particular (physical) tools, who depend on specific brands of notebooks for incubation and invention. What we want to point to with these case studies is, first, the benefit of attending more carefully to the role of digital tools and environments and, second, the inseparability of these workflows for writing activity. Workflows aren’t activities that simply precede writing, make writing easier, or make it more enjoyable. Workflows may involve those aspects, but we are suggesting something broader and more foundational: workflows, as we define them here, are what writing activity is made of.

Source: Writing Workflows | Chapter 3