Creative Translations: Reimagining the Process Movement (1971-84)
In chapter 1, “Creative Translations: Reimagining the Process Movement (1971-84),” Palmeri maintains compositionists have theorized and taught alphabetic writing in deeply multimodal ways that underscore creative processes in the visual and performing arts. Adopting the role of the remix artist who resists a linear narrative, Palmeri organizes the chapter 1 into three tracks: “Creativity,” “Translation,” and finally “Imagination.”
In track 1, “Creativity” Palmeri turns to theorists Janet Emig, Linda Flower and John Hayes and gives us a new lens to reconceptualize how deeply multimodal their theories are. Palmeri argues that Emig encourages compositionists to not limit “themselves to studying and teaching alphabetic texts alone”— in fact, Palmeri exposes that Emig argues “‘they have no direct experiences of composing, teachers of English err in important ways. They underconceptualize the process of composing’” (27). As such, Emig argues compositionists should “have experience in composing across modalities (alphabetic, aural, visual or spatial)” to understand invention and go beyond a predetermined mold (28).
In track 1, “Creativity” Palmeri turns to theorists Janet Emig, Linda Flower and John Hayes and gives us a new lens to reconceptualize how deeply multimodal their theories are. Palmeri argues that Emig encourages compositionists to not limit “themselves to studying and teaching alphabetic texts alone”— in fact, Palmeri exposes that Emig argues “‘they have no direct experiences of composing, teachers of English err in important ways. They underconceptualize the process of composing’” (27). As such, Emig argues compositionists should “have experience in composing across modalities (alphabetic, aural, visual or spatial)” to understand invention and go beyond a predetermined mold (28).
In track 2, Palmeri then turns to Flower and Hayes’ position of the power of “mental imagery” and the limitations of alphabetic writing (33). Focusing on their discussion of bird identification field guides and birds songs in print, Flower and Hayes convincingly argue the limitations of representing songs using alphabetic text. As such, Palmeri suggests, “Rather than requiring that students pursue the act of translation with the ultimate goal of producing an alphabetic text, we could instead teach students to engage in multimodal translation with the ultimate goal of being able to make an informed rhetorical choice about which modalities best enable them to persuasively present their thoughts to a specific audience” (38). In other words, instructors should be more concerned with students’ rhetorical decision-making process and be open to modes that best represent a final product.
Moving to track 3, “Imagination” Palmeri argues that Ann Berthoff’s theory of imagination goes beyond the focus of words—in fact, she demonstrates how knowledge is socially constructed through alphabetical, musical, visual, and gestural systems. Berthoff draws connections between alphabetic writing and the creative processes of artists and ultimately argues composing adopts “multiple symbol systems” (39). Furthermore, Berthoff maintains “teachers should build upon the knowledge of composing that students already bring with them to the classroom” (40). Palmeri finally concludes the chapter with three principles to help compositionists “to reimagine what it means to study and teach” composition (44).