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How do we learn to recognize the “strange”/“new” in the “familiar”/“old” and the “familiar”/“old” in the seemingly “new” or “strange”?
In other words, the various terms and neologistic variants listed in the title of this section represent challenges both to beliefs about the modality and language of all communicative practice [ Definitions and inflections of the terms “multimodality” and “translinguality” in composition scholarship and teaching represent different responses to changes in belief and communicative practice. .] In fact, I suspect that the success of this piece—on my end, at least—will depend on my ability to focus on specific examples/situations that illustrate these limits, or, at least, that illustrate why people (other than academics!
To illustrate; early on in this project, Cindy cautioned about the conduct of the project itself: My only concern [. .] is the limitations of the alphabetic in doing this job well. ) feel so compelled to turn to multiple modalities to make meaning and why academics (especially those who specialize in semiotics) ought to blessed well pay attention to these efforts and take them seriously instead of ignoring/dismissing/diminishing them as somehow less intellectual, less effective, less... So, this piece may well need some online accompaniment—in fact, I think it would be cool to experiment, for instance, with what each of us can—and cannot—say using the different modalities and even perhaps render parts of the argument in multiple ways and using multiple modalities.
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