00:05 Alanna Frost: After talking about cost, we've each covered the degrees of institutional sponsorship, each institutional sponsorship we individually worked for. But I'm curious about how our collective... How we would collectively say that experience sponsored us as professionals. So what practices do you draw on? How did CWIC or DMAC sponsor you in your development? 

00:31 Rik Hunter: I'd say for me, that Writing New Media was the springboard that I needed to figure out what kind of writing teacher I wanted to be. I already had a BFA in Art Design, I focused on film and video. And so I guess, I had sort of an attunement to writing in multiple modes. But at Writing New Media, I had this opportunity to work with Flash and I was able to see Anne teaching with Flash and how she focused on the action script kinda driving everything that would happen say, in an animation that you are building. And that was something that was brand new to me. I haven't thought about that being a part of a multimodal text. And it's what... I think it's the biggest lesson I took back with me to Wisconsin when I was teaching first year writing. And I had students do a Wikipedia research based assignment. And they didn't just write the text, they had to go into Wikipedia and use the editor and use Wiki markup. So they were using code of a sort to see how that was actually driving the text and what it look like.

01:40 Alanna Frost: What about you, Les? 

01:42 Les Loncharich: Well, though out graduate school, I've referred to memories of CWIC and Writing New Media to remind me of what I've come to... Or had come to value in writing and teaching with technology. I continue to call on those memories in my current tenure track position such as when I developed course content, when I helped a colleague with writing in technology or at those times in committee meetings when I might be somewhat separate in my views on multimodal composition in writing classrooms. In my professional life, prior to academia, I was often the lone voice arguing on behalf of multimedia approaches to technical communication problems. But when I went to first CWIC and then Writing New Media, I discovered a community of people who are very much engaged with multimodal composition. And for me, it was very much like coming in from the theoretical cold.

02:45 Alanna Frost: Yeah. I think my... It's interesting, because my experience... I'm probably the, as I said before, I'm the collaborator with the least amount of techie-ness that remains in our life. But I think really, really importantly, I learned... And I think I talked about this with my DMAC peers that one of the best things or one of the biggest things I took away from it was being a nervous student from whom the assignment seemed at the time absolutely impossible. So I had to complete projects that I knew was gonna be... They were gonna be really, really bad. I was gonna produce something that was gonna be ugly and clunky and... And that's a powerful experience for a teacher to go back. And now, when I assign anything, I'm cognizant of the fact that students, A, are gonna be anxious about it 'cause it isn't a simple I have stated or it is in my head. And B, that they're gonna produce things that are really, really bad and that's productive 'cause it was productive for me. I'm also way more patient with technology now. I look stuff up more and figure it out myself rather than just get stressed out. So that's what DMAC sponsored for me.

03:55 Moe Folk: I think for me, it was... I think for me, one of the biggest takeaways I had was kinda odd, because it wasn't really a huge emphasis on grading, but it made me think more adjustment. I think I was really rigid in terms of grading and assessing multimodal composition before I went there. But yet, seeing the joy that some participants had in going from like, A to E and they never tried some before. And someone else went from M to Z and there was just all these levels of skills all throughout. That made me really think a lot more concretely about processing growth. And so that was good to get away from just that final product, that you read about all the time, but you really saw it there. And plus, seeing how encouraging Anne and Cindy were, and that was just a huge thing I tried to take away and try to really do that with my teaching especially when I remember how vulnerable I felt making text then, and how I'm trying to push my students to make new things at the same time. So I really try to keep that in mind.