WEPO Fall 2016
Thursday, December 8, 2016
Sunday, December 4, 2016
Journal Seven: Hypertexts
What kinds of considerations do you have to make for reading in a hypertext?
Thursday, November 3, 2016
Journal Six: Mobility
How has mobility changed writing? Or alternately, what does mobility highlight about writing that we may not have realized before?
Tuesday, November 1, 2016
Remediation Notes
Examples of media: painting, photography, film, television
--each medium promises to reform its predecessors by
offering a more immediate or authentic experience, but this leads us to become
aware of new medium as a medium; it tries to be immediate but becomes
hypermediate
Oscillation b/w:
- Immediacy—transparency, a promise of transparent, perceptual immediacy, experience w/o mediation (22-23)
-ex:
desktop metaphor/interface is supposed to assimilate the computer to the
physical desktop and to the materials familiar to office workers (23).
Transparent interface would be one that erases itself (24)
- Hypermediacy—opacity; a visual style that privileges fragmentation, indeterminacy, and heterogeneity" (31).
-ex:
interactive applications, like windows as GUI: windows opened on to a world of
info made visible and almost tangible to the user; although they want this to
be transparent, the nested windows and multiple representations (modes) w/I the
windows compete for viewer's attn. (31). This multiplicity and heterogeneity
mean that the user is repeatedly brought back into contact with the interface.
-ex:
wunderkammer (36), paintings with mirrors, maps, windows (absorbed &
captured multiple media & forms in oil) (37)
In every manifestation, hypermediacy makes us aware of the
medium or media and reminds us of our own desire for immediacy (34)
Networks: constituted by media technologies that are
expressed in physical, social, aesthetic, and economic terms
Media technologies are agents in our culture
Although digital technologies seek immediacy, this impulse
is not new: earlier media such as painting, photo, film & tv sought
immediacy with similar techniques to digital tech (24)
All any new technology can do is define itself in
relationship to earlier technologies of representation.
Digital technologies draw on strategies of perspective from
painting and photography and interactivity/changing perspectives from film and
television (28-29)
If paintbox software is intuitive, it is only because the
paintbox is a culturally familiar object (Simon Penny 32)
Lanham's looking at and looking through (41): in all forms,
logic of hypermediacy expresses tension bw regarding a visual space as mediate
and as 'real,' i.e. beyond mediation
Hypermedia & windowed applications replace one medium with another all the time,
confronting the user with all the problem of mult representation and
challenging her to consider why one medium might offer a more appropriate representation
than another. (44)
Remediation: content from novels has been borrowed, but
medium has not bee appropriated or quoted (44)àthe
content of any medium is always another medium (McLuhan)
Medium itself is represented in another medium, defining characteristic
of digital media (45)
Strategies of remediation: (45-48) remediation moves in both
directions (48)
1.
older medium is highlighted and represented in
digital form w/o irony or critique (paintings digitized)
2.
emphasizing difference rather than erase it:
remediation w/o challenge (adding images to encyclopedia entries)
3.
aggressive: refashion older medium entirely
while still marking its presence (collage)
4.
trying to absorb the old medium entirely so that
discontinuities between the two are minimized (tension b/w web and tv)
5.
refashioning that occurs w/I single medium (film
incorporates other film, painting incorporates another painting)
two paradoxes:
1.
hypermedia could ever be thought of as achieving
the unmediated. Viewer experiences hypermedia not through extended and unified
gaze, but through directing her attn her and there in brief moments; glance
rather than gaze (54)
2.
just as hypermedia strive for immediacy,
transparent digital technologies always end up being remediations, even as,
precisely because, they appear to deny mediation (54)
all mediation is remediation: all current media function as
remediators and that remediation offers us a means of interpreting the work of
earlier media (look to p 55 for starred section)
each new medium is justified because it fills a lack or
repairs a fault in its predecessor, because it fulfills the unkept promise of an
older medium (60): in each case, inadequacy is represented as a lack of
immediacy. The rhetoric of remediation favors immediacy and transparency.
Tuesday, October 25, 2016
Design Concept Statement
This journal entry will be slightly different from those you've completed so far. For this entry, you will use the design concepts discussed by Sorapure and Arola (Bb library) to think through your approach to designing your final ePortfolio. Here are some specific points that you might address in this entry:
- Effective ePortfolios tend to be grounded in a coherent concept, crafted for a set of specific audiences, and composed to accomplish a specific purpose/set of purposes. What audiences do you hope to reach through your ePortfolio, and what do you want those audiences to learn? Given your answers to these questions, what visual, sonic, textual, etc. components should you include in your ePortfolio?
- What effect will the Wix templates have on your composing choices and your audience's reception of the ePortfolio?
- How can you capitalize on metonymy and metaphor to make your ePortfolio most effective?
- Lastly, what questions &/or concerns do you have about designing the ePortfolio, especially after reading Sorapure & Arola's texts?
Wednesday, October 12, 2016
Journal Four: Spreadability
Do you think about the potential for spreadability in your everyday composing, and if so, how?
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