Gif link: http://makeagif.com/i/_NP2G8
[W]hat we are dealing with is a modification in the principle of exclusion and the principle of possibility of choices; a modification that is due to an insertion in a new discursive constellation.
Foucault, Archaeology of Knowledge, p. 67
All the treasure of bygone days was crammed into the old citadel of this history; it was thought to be secure; it was sacralized; it was made the last resting-place of anthropological thought; it was even thought that its most inveterate enemies could be captured and turned into vigilant guardians. But the historians had long ago deserted the old fortress and gone to work elsewhere; it was realized that neither Marx nor Nietzsche were carrying out the guard duties that had been entrusted to them. They could not be depended on to preserve privilege; nor to affirm once and for all – and God knows it is needed in the distress of today – that history, at least, is living and continuous, that it is, for the subject in question, a place of rest, certainty, reconciliation, a place for tranquilized sleep.
Foucault, Archaeology of Knowledge (p. 14)
Presence of mind in an electronic age requires persistence. I would like to suggest that the role we might dare to take up as we become publishers of our own pageants is the persistent one of the sacred reader or the adult self. Whether Prospero or Eve, the sacred reader persists in what she reads of the play of self and space, encompassing childhood and adolescence in transcendent performance.
Joyce, Othermindedness, (p.77)
I think I will continue to be inspired and drawn to Delagrange's ideas about creating an embodied space for interacting with information through the visual, to incorporate a feminist perspective, to be fearless in production despite the anxiety, focus on quality processes rather than quality products, and to allow my wonder to drive my work.
I want to create my own physical Wunderkammer, perhaps convert a bookshelf to a space from which inspiration and wonder can be drawn, where association otherwise not apparent can be stimulated by the embodied experience.
"Bolter and Grusin (2000) describe an underlying tension between hypermediacy and immediacy, between opacity and transparency; and this tension often becomes explicit when digital media scholars attempt to give an account of their professional lives, but find themselves stuck between the felt need to observe the conventions of traditional curriculum vitae and institutional websites, and the desire to foreground their embodied, multimodal digital work and hypermediated digital selves." (29)This opening comment resonates with me. It reminds me of our class discussions between the traditional forms of scholarship and the products of digital and New Media studies. The older forms seem to be privileged, but as more New Media courses are demanded by the students and the work place, I think it will slowly change.
"It becomes obvious that changing the medium changes the message, and therefore content cannot be understood except in relation to its form, its material substrate." (32).
|Image from the blog SociaLens|
"[Ours is a] discipline that vigorously critiques visual products while at the same time may engage in uncritical digital visual production, or no visual production at all. We need instead a more constructive conversation between theory and practice that restores authority and integrity to embodied visual texts, tempers the overemphasis of cultural critiques on the negative aspects of visual representation, and provokes a theoretical grounding for production of embodied visual rhetoric with our students and in our own work" (49).
|Image from Our Lady of Mt. Carmel|
|Image from Wikipedia Curiosity Cabinet|
|Image posted on Flickr by Giulia Torra|
In McLuhan’s view, the media used to communicate a message is more significant than the message itself. The media profoundly shape how we perceive the message, how we think about and structure the world, how we function as a society, and how we operate as a culture. Next to this influence, the message itself is irrelevant.The power of this assertion struck me hard. Is the way our communications received truly more important that the information contained within? I find this frightening in some way. It seems borne out by the way we privilege certain content because of the medium through which it is communicated. For example, Delagrange argues that the word is privileged over the image, regardless of the knowledge constructed by either. I see it in my students who have trouble reading and staying focused without some visual or better yet an interactive element.
"Yet this seemingly irreversible movement from print toward digital, and from words toward interactive multimedia, is accompanied by important questions, some old and some new: old questions about visual representation and argument and about the social and cultural effects of technology; new questions about production and publishing and evaluation of unfamiliar scholarly performances, and about the effects of this shift toward the digital on social justice, equity, and access. How do we strike a balance, continuing to value and maintain the quality and craftsmanship of print scholarship, while making room for new and vibrant methods of scholarly invention and production?" (1)One aspect of Delagrange's argument I find compelling is her view of new media as a "canvas for new forms of rhetorical production that value process over product, and wonder-induced inquiry over proof" (1). I love the idea that traditional written products produce traditional linear thought while new media provides a space for a new kind of scholarship where the process - however messy (my Individual Tutorial project for example - can be emphasized over a finished piece of scholarship. We can be led through the scholarship by wonder - the true research question that derives from curiosity over conformity. Brilliant!
"My perspective is feminist, not because I claim that women in particular are differentially affected by digital technologies, but because feminist optics, feminist ways of seeing that focus on social justice and equity, seem well suited to identify points at which any underrepresented group or individual might be disadvantaged, or left out entirely, by technological change, and to formulate principles and practices of digital media use that are more inclusive and fair." (3)
"Furthermore, re-mediating traditional print-based academic performances—moving them into new (electronic) writing spaces and experimenting with innovative verbal and visual forms—might literally open our eyes to diversity and difference, making inequities visible and therefore available for ethical rhetorical intervention." (7)Later she revisits this claim, writing, "[through] images and sound,multilinear associative arrangement...we can steer toward new, potentially emancipatory performances made possible in new media" (10).
"Unadorned text, written in plain style and organized in a way that can readily be outlined, has long been the paradigm for scholarly performances, and it has been presumed to fit all “legitimate” academic scholarship. Legitimacy, however, is a conservative, hereditary principle that protects the interests of those who claim it." (10)
"The mistrust of images, and the emphasis elsewhere on alphabetic text as the most legitimate form of scholarly production, is evident in the ubiquity of the design principles of contrast, repetition, alignment, and proximity for web pages (Williams and Tollett, 2005). While these principles provide an initial framework for the novice designer of new media, they are in effect design’s version of the five-paragraph essay. Contrast, repetition, alignment, and proximity construct an artificial efficiency and unity of text and image that are a function of form, but not necessarily content, and that make complex visual invention and argument impossible. Like the print conventions of academic journals and monographs, these design principles also assert a claim for a 'culture of no culture.'" (11)She concludes that in order for "English Studies, which still privileges the Word as its preferred mode of performance, and linear argument as its preferred form...to change, more scholars must move beyond critical verbal analysis of visual texts and become active architects of intellectually engaged (and engaging) multimediated visual rhetoric. Until we and our students see ourselves as producers rather than just consumers of visual rhetoric, we are ceding the authority to speak and intervene in an increasingly multimediated world" (11).
"Writing instructors can—and should—take advantage of new forms of digital media for creating texts, and assign web pages and other demonstrations of multimodal argument, thus encouraging a rich, diverse rhetoric that responds to contemporary multimediated contexts and incorporates ethical approaches to invention, arrangement, and style. Creating such assignments, producing our own multimodal pedagogical performances, and scaffolding them theoretically are essential if the shift from page to screen, and from alphabetic linear print to multimodal, multi-perspectival images and text, is to be understood and rewarded by our tenure-granting departments." (12)
|CC Image Posted on Flickr by Sky Dive Masters Party|
|Scan of February 15, 2012 Article on Charlotte Observer|
"The website set up for readers to see the correspondence includes both the handwritten letters and transcriptions, as well as a zoom function for readers to try to decipher faded or illegible words. The body of letters will also be searchable by keywords."
|Screen Shot by Suzanne Sink of southernundergroundpress|
|1983 - Suzanne on the forefront of New Media!|
|Screen Shot by Suzanne Sink from http://www.wordpress.com/|
Screen Shot by Suzanne Sink from Word Press Article "Master the Basics and Beyond"
"If you’re feeling overwhelmed by all the menus here, don’t worry – you only need to know your way around a few key parts of the dashboard to start publishing content and personalizing your blog’s appearance."Thanks WordPress! After spending time on the PHP.org pages, having technology that speaks to the novice is actually very empowering. It instructed me to find my way to the "Settings" controls and play around with the features and then repeat that exploration with the "Privacy"controls, which I did. I made the page able to be indexed by search engines and adjusted the tag line to:
|Screen Shot by Suzanne Sink of WordPress|
|Screen Shot by Suzanne Sink of southernundergroundpress|
ENGL894: Theories of Networks is licensed under a Creative Commons Attribution 4.0 International License.
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