Sunday, January 30, 2011
The non-western world still remains illiterate to a large extent. By geography or on purpose by it's ruling elite so as to maintain control over the people. The knowledge is power theory.Interestingly there is a large number of this population that may not be particularily literate enough to read a book and follow it's structure, but have access to the internet and it's new form of co-creation, multiple linking and rapid associations and access to knowledge through hypertext.
If a culture does not go through the culture change created by the printing press and access to information to the printed text and the structure and social mores this has created in society, how will the new cultures who become digitally literate rather than print literate evolve differently? The oral traditions, narrative story telling, use of pictures as well as text and symbols in electronic text and the Internet may speed the process to democracy ? There isn't a requirement for total print literacy to access information and learn new thoughts, ideologies. I question whether access to all the information electronically and masses of associations in the new way of publishing without the critical thinking and linear thought provided by training in print learning may create disorganization, and access of information that is taken at face value without the ability to discern what is real and credible and what is not.
Friday, January 28, 2011
Tuesday, January 25, 2011
It is interesting to note that historically any new technology for transmitting this narrative is predominantly first used to plagiarize works and disseminate pornography. Yes, technology changes, but basic human behaviors and motivations do not. It is said our society now is creating more knowledge in minutes than entire previous civilization's created. We will need to find convenient and appropriate ways to store and transmit this information. We're doing the same things humanity has always done- creating narrative, transmitting culture; we're just doing them in different ways now. Each narrative, book, scroll, and so on has it's own meaning in situ. It is not so much that the item or language is changing and updating, our beliefs surrounding it are as well. Books used to be similar in value to serious hard currency, one could tell how wealthy one was by the number of books in their collection. This monetary value of books is not currently viable because culture has changed and therefore our value of our artifacts has also transformed.
Linguistic mediums do not generally die, they just adapt along with the new mediums introduced. Photography didn't kill painting, radio didn't end writen documents, television didn't kill radio, and the internet has not killed television. Our usage patterns changed, but the fundamental linguistic technology remained sticky.
Monday, January 24, 2011
I apologize for taking so long on this, it's been a rough couple of weeks for the technology in my life. I used the movie maker because my current netbook's mic is not working, so this is all text based. I'm trying to think of it positively as a learning experience and coping strategies test. Hopefully this works.:
|Neil Baldwin. Image from the Creative Research Centre.|
Students - please remember to respond in the comments.
Links open up the singular text being composed to a multiplicity of other influences and associations which make the work being written and posted become transdisciplinary on the most fundamental linguistic level.
- the history of the book
- the end of books (!?)
- the net_reading/writing_condition
- What are some current views about the emergence and diffusion of media?
Was There a Reading Revolution in the New American Republic?
Professor Robert Gross explores the history and historiography of book history and reading in pre Civil War America. This lecture was originally given at the University of Toronto in the fall of 2008.
Sunday, January 23, 2011
This assignment was a challenge as I do not have a extensive online community and I am not familiar with all the new digital technologies. Podproducer seemed overwhelming and I did not find any online manuals or blogs to help me feel comfortable with the program. I ended up using Window’s Movie Maker as it allowed me to import the files and then drag the files to a "work area". I played around with different ways to record the audio. I found that using Window’s Movie Maker was the best alternative as it kept the sound consistent with the music audio. This was a challenging project but now I feel more capable of working with some web applications.
|Read more: http://humanlibrary.org/the-concept-of-the-living-library.html|
Saturday, January 22, 2011
An individual's or organisation's use of technology in a new way extends the reach of body and mind."
These technologies change how humans think, feel and act, even the individual's perception and information processing. New technologies have had psychological, physical and social effects.
Media is an extension of a person's thoughts and capabilities just as the memex is an extension of how an individual thinks and associates knowledge stored in an easily accessible technology that can retrace our thought processes or associations.
Vannevar envisioned an invention in 1945 that was capable of retrieving data from a large storage system that selected information by association or 'relevance' to a human question. An example of this in use today would be in Google where retrieval of hypertext nodes are based on relevance to the question, or in the U of A databases that sorts and retrieves information based on the words and/or author entered into the search box. McLuhan took this one step further theorizing that "technologies change how humans think, feel and act, even the individual's perception and information processing. New technologies have had psychological, physical and social effects." http://www.provenmodels.com/18. This is recognized today and being studied in many formats such as network theory, transliteracy, knowledge management in organizations, digital communication, economic globalization and even in privacy legislation as a few examples.
Further to data retrieval Vannevar envisioned an invention that was able to store an individuals thoughts, communications in text , picture, or however the individual anted or visualized it stored and then the ability to make associations between all of the stored data. PDA's, PC's are certainly examples of this ability today. What Vannevar didn't envision or describe was the ability to create, co-create digitalized media in any format, publish and communicate this instantly across the WWW to those with access to this technology. This has enabled enormous probabilities for people of associations of thought and ideas.
What I do see as well that echoes McLuhans ideas of technology change how we think and act, is that the WWW and hypertext has also assisted in developing the increased pace of the world today and expectations of 'immediacy' in the form of immediate access to information, data, people, responses to others, media.
Friday, January 21, 2011
Wednesday, January 19, 2011
My first attempt at creating a podcast certainly was not a walk in the park. Put a learning curve together with a computer that will be going into the Mac store tomorrow, for repairs and you have some moments of panic. Having listened to podcasts before mainly for music remixes, I certainly had a different understanding of them and still wonder if they aren't meant to be audio only. I used Garage Band and Imovie, both of which had some technical issues that really took some time. Uploading to blip.tv was probably the easiest part of the whole assignment, although I do have to say I'm a little concerned about having this in such an 'open' forum.
The assignment had it's moments where thinking back to the different technologies and when I used them brought some laughter. The chaos in working to get this done on time while learning on the fly really made it intense. I think that in general, technology becomes so intrinsic to us that when we have to deal with glitches, it really does become unnerving. I would say that the issue I always have with technology is that once I start using it I want to really understand it and know how to use it 'well' - I want to be completely literate. Even as I post this I wish I had more time to really learn the tool and do a better job. I need to tell myself that it takes time.
The images used in the podcast are from my own photo collection.
When I looked at the first assignment, I knew this was going to be a challenge. I had never created a podcast before and had only viewed a handful of them. I tend to think in terms of abstract ideas, ultimately corralled by textual representation. Although I have experience with a number of different hypermedia applications, my role has primarily been one of a user, rather than creator. My limited interaction has consisted mostly of commenting on blog posts and other forms.
Given the tight deadline for this assignment, I knew I would have to scale the learning curve quickly. I had no idea even what type of software was required, or how to use it. Fortunately, I had access to a 14 year-old who explained it to me. (A 14 year-old who has already posted over 300 videos to YouTube and even been paid for some of them.)
My goal with this podcast was to somehow convey the strangeness that is me while still answering the questions in the assignment. I think I achieved this goal in a modest way, although I feel I could significantly improve the end product if I had more time. (In fact, as the video was uploading to YouTube, I thought of at least three improvements I could have made.) Initially, my planned process was to write the script first, and then think about what images/sounds would enhance the presentation. However, I was surprised to find that while I was writing the script, I was consciously thinking about images and music, and these thoughts ultimately had some influence on the shape of the narrative. This was an interesting discovery for me, and will consequently influence how I approach future hypermedia projects.
Tuesday, January 18, 2011
This was the first time I created a podcast. I have listened to podcasts for news and radio episodes but never had interest in creating one. I tried to use PodProducer but found it to be challenging. I was not able to align two sound inputs, which I required to include music in the background. Instead, I opted to use Windows Movie Maker, which worked well but I was unable to incorporate links of any sort. My voice was a video input and I covered the lens so that the music in the background could be an audio input. Blip TV was very easy to set up and use. I could have used Blogger to upload the video but figured this would be a good chance to try out something new. I will definitely play around with podcasting software and decide if I should use it in the future.
The assignment was an interesting one since it gave me a chance to reflect on the history of my online activity. The reasons why I started or stopped using applications were strictly based on what was going on in my life at the time. It brought back some memories about the excitement and frustrations I experienced when learning new software. The names and functions of online web technologies has changed, but they all allow for collaboration and community development. I should also note that I used several tools to help me prepare this podcast. I used Youtube and Twitter to get some tips and tutorials. I also used message boards to answer some of my questions.
Here are some of the links that were mentioned in the podcast:
Sunday, January 16, 2011
In this new media environment transdiciplinarity entails the sharing of knowledge within different disciplines. Today's technologies facilitate this sharing of knowledge through relative ease. Perhaps this ease also results in collaboration between disciplines, which without the use of technology would find it very difficult to exchange concepts and techniques. The technology serves as a bridge.
Transdisciplinarity brings to light the question – who becomes the subject matter expert? When teachers, educators, critics, artists and curators are all collaborating on a particular project or initiative, is the expertise then based on the collective wisdom of all the people involved or do we still have clear cut answers as to who holds the knowledge in relation to a particular concept or technique? Maybe we are now living in a world in which subject matter expert is closely linked to who can best use technology to become the expert on a particular topic. New media affords us access to a great deal of knowledge. It remains to be seen whether we take that knowledge and we simply become more knowledgeable or do we then create so called experts, with all of us knowing a little bit about everything but very little about something.
The collaboration within transdisciplinarity requires a solid understanding and appreciation of the various disciplines that are present-their values, standards and means in which they conduct their work. This is also the same within publishing. When all of these disciplines are sharing knowledge, there needs to be a valid and efficient way in which this knowledge is compiled, shared and archived.
Friday, January 14, 2011
Immediacy is our name for a family of beliefs and practices that express themselves differently at various times among various groups, and our quick survey cannot do justice to this variety. The common feature of all these forms is the belief in some necessary contact point between the medium and what it represents. For those who believe in the immediacy of photography, from Talbot to Bazin to Barthes, the contact point is the light that is reflected from the objects on to the film. This light establishes an immediate relationship between the photograph and the object. For theorists of linear-perspective painting and perhaps for some painters, the contact point is the mathematical relationship established between the supposed objects and their projection on the canvas. However, probably at no time or place has the logic of immediacy required that the viewer be completely fooled by the painting or photograph. Trompe l'oeil, which does completely fool the viewer for a moment, has always been an exceptional practice. The film theorist Tom Gunning (1995) has argued that what we are calling the logic of transparent immediacy worked in a subtle way for filmgoers of the earliest films. The audience members knew at one level that the film of a train was not really a train, and yet they marveled at the discrepancy between what they knew and what their eyes told them (114-133). On the other hand, the marveling could not have happened unless the logic of immediacy had had a hold on the viewers. There was a sense in which they believed in the reality of the image, and theorists since the Renaissance have underwritten that belief. This "naive" view of immediacy is the expression of a historical desire, and it is one necessary half of the double logic of remediation. (pp. 30-31)
As a counterbalance [to immediacy] hypermediacy is more complicated and various. In digital technology, as often in the earlier history of Western representation, hypermediacy expresses itself as multiplicity. If the logic of immediacy leads one either to erase or to render automatic the act of representation, the logic of hypermediacy acknowledges multiple acts of representation and makes them visible. Where immediacy suggests a unified visual space, contemporary hypermediacy offers a heterogeneous space, in which representation is conceived of not as a window on to the world, but rather as "windowed" itself—with windows that open on to other representations or other media. The logic of hypermediacy multiplies the signs of mediation and in this way tries to reproduce the rich sensorium of human experience. (pp. 33-34)
The logic of immediacy has perhaps been dominant in Western representation, at least from the Renaissance until the coming of modernism, while hypermediacy has often had to content itself with a secondary, if nonetheless important, status. Sometimes hypermediacy has adopted a playful or subversive attitude, both acknowledging and undercutting the desire for immediacy. At other times, the two logics have coexisted, even when the prevailing readings of art history have made it hard to appreciate their coexistence. At the end of the twentieth century, we are in a position to understand hypermediacy as immediacy's opposite number, an alter ego that has never been suppressed fully or for long periods of time. (p. 34)
In all its various forms, the logic of hypermediacy expresses the tension between regarding a visual space as mediated and as a "real" space that lies beyond mediation. Lanham (1993) calls this the tension between look at and looking through, and he sees it as a feature of twentieth-century art in general and now digital representation in particular. (p. 41)
Again, we call the representation of one medium in another remediation, and we will argue that remediation is a defining characteristic of the new digital media. (p. 45)
The digital medium can be more aggressive in its remediation. It can try to refashion the older medium or media entirely, while still marking the presence of the older media and therefore maintaining a sense of multiplicity or hypermediacy. [ . . . ] This form of aggressive remediation throws into relief both the source and the target media. (p. 46)
Finally, the new medium can remediate by trying to absorb the older medium entirely, so that the discontinuities between the two are minimized. The very act of remediation, however, ensures that the older medium cannot be entirely effaced; the new medium remains dependent on the older one in acknowledged or unacknowledged ways. (p. 47)
[ . . . ] remediation operates in both directions: users of older media such as film and television can seek to appropriate and refashion digital graphics, just as digital graphics artists can refashion film and television. (p. 48)
What is New About New Media?
Our primary concern will be with visual technologies, such as computer graphics and the World Wide Web. We will argue that these new media are doing exactly what their predecessors have done: presenting themselves as refashioned and improved versions of other media. Digital visual media can best be understood through the ways in which they honor, rival, and revise linear-perspective painting, photography, film, television, and print. No medium today, and certainly no single media event, seems to do its cultural work in isolation from other media, any more than it works in isolation from other social and economic forces. What is new about new media comes from the particular ways in which they refashion older media and the ways in which older media refashion themselves to answer the challenges of new media. (pp. 14-15)
The Reality of Remediation
The process of remediation makes us aware that all media are at one level a "play of signs," which is a lesson that we take from poststructuralist literary theory. At the same time, this process insists on the real, effective presence of media in our culture. Media have the same claim to reality as more tangible cultural artifacts; photographs, films, and computer applications are as real as airplanes and buildings.
Furthermore, media technologies constitute networks or hybrids that can be expressed in physical, social, aesthetic, and economic terms. Introducing a new media technology does not mean simply inventing new hardware and software, but rather fashioning (or refashioning) such a network. (p. 19)
SEED QUESTIONS - Please Post Comments Here
Thursday, January 13, 2011
With the amount of information available increasing because of the web, researchers have to be open to engaging with other disciplines. Tools that allow for tagging digital documents and media opens up the possibility of tapping into a new field that may support an individuals or groups knowledge production.
Combining so many areas of expertise (ex. Teachers, designers, etc) will present challenges when publishing information. Each discipline has its own history and standards of publishing. If knowledge can be produced among different people from different areas, a common approach to publishing has to be established. Not to say that one has to trump that other. Perhaps new methods and standards of publishing altogether can be developed to reflect a transdisciplinary research approach.
Important things to consider when publishing would be the history of each discipline and how it has published articles in the past. What journals tend to publish their work and what standards are in place. New media also has the capabilities of further manipulation. For example, digital media can be personalized and re-coded in the background to reflect what the user wants and/or needs.