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a unifying perspective on what it means to be literate in the twenty–first century.
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Tracey MorganThis article defines transliteracy as “the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks” and opens the debate with examples from history, orality, philosophy, literature, and ethnography.
education media_literacy information_literacy learning transliteracy literacy
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This article defines transliteracy as “the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks” and opens the debate with examples from history, orality, philosophy, literature, and ethnography.
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We live in a world of multiple literacies, multiple media and multiple demands on our attention. Each of these is complete in itself yet we do not experience them individually, we synthesize and mould them to our needs
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Each of us, every day, is involved in staggering acts of comprehension and production.
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Transliteracy is the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks.
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move instead towards a unifying ecology not just of media, but of all literacies relevant to reading, writing, interaction and culture, both past and present. It is, we hope, an opportunity to cross some very obstructive divides.
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He lists these types of convergence as technological, economic, social or organic, cultural, and global, concluding that “these multiple forms of media convergence are leading us toward a digital renaissance — a period of transition and transformation that will affect all aspects of our lives” (Jenkins, 2001).
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is not just about computer–based materials, but about all communication types across time and culture. It does not privilege one above the other but treats all as of equal value and moves between and across them.
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“The shift from orality to literacy and on to electronic processing engages social, economic, political, religious and other structures.” [8] The concept of media ecology developed by McLuhan, Ong, Postman and others is certainly closely related to transliteracy. The difference lies in transliteracy’s insistence upon a lateral approach to history, context and culture, its interest in lived experience, and its focus on interpretation via practice and production.
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Transliteracy is an inclusive concept which bridges and connects past, present and, hopefully, future modalities.
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For example, in recent years we have begun to switch from searching for information in encyclopedias, indices and catalogues to querying the kinds of data collections that existed before books — that is to say, we are asking each other. Via millions of message boards and chatrooms we ask each other for advice about health problems, moral dilemmas, or what to cook for dinner. We share those answers, elaborate upon them, and, in so doing, we aggregate them so that others unknown to us can use them.
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knowledge networks are inherently people–to–people.” [12] Today, even large corporations are recognizing that knowledge which cannot easily be classified or stored can often be accessed via individuals and then synthesized through peer–to–peer networks and conversations.
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Transliteracy engages with new innovations in participatory media even as it recognizes that part of what such media enables is a recovery of an older plurality of literacies with possibly ancient provenances.
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Transliteracy pays attention to the whole range of modes and to the synergies between them to produce a sense of a ‘transliterate lifeworld’ in constant process. A lifeworld is the combination of physical environment and subjective experience that makes up everyday life. Each individual’s lifeworld is personal to them
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The philosopher Socrates, who eschewed learning to read and write in a culture where such practices were unusual, believed that the fixed nature of writing limits thought and enquiry. In The Phaedrus we read that in 370BC Socrates asserted writing was an aid “not to memory, but to reminiscence” providing “not truth, but only the semblance of truth.” Readers would, he said, “be hearers of many things and will have learned nothing; they will appear to be omniscient and will generally know nothing; they will be tiresome company, having the show of wisdom without the reality.” [14]
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about whether the ‘trans’ prefix is there to signify a going ‘beyond’, or a moving ‘across’. Certainly to think in terms of the latter is immediately to acknowledge that we are talking about literacies plural — otherwise there would be no necessity to move across. A visual metaphor for the liminal qualities of transliteracy we are trying to articulate here can be found in the following image from the British poet and collagist Alan Halsey (2005).
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and therefore overtly references the hegemony of print–based literacy whilst at the same time challenging it in the images that make up the essay. What makes the image a useful analogy to the experience of transliteracy is our inability to rest in it; our inability to focus and establish an anchor; to resolve the problem of script by isolating a hierarchy of discourse that will enable us to prioritize one level of representation over another in order to make sense of the piece. Do we read it left to right? Up or down? Top to bottom? And why does this work compel us to describe what we are doing as ‘reading’ in inverted commas? Halsey’s ‘essay’ is a compendium of differing types of inscription — pictographs, hieroglyphs, diagrams, maps, staves, fonts, letters, words, severed phrases — it places under re–view the primacy of fixed–print; it re–places script back into a heritage of dialogue between word, image and sound that has always been there in earlier cultures, but that has been masked by the dominance of a print–anchored literacy. As such, transliteracy is both a concept and a practice productively situated in a liminal space between being a new cognitive tool and the recovery of an old one.
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It appears that flexibility is certainly an essential part of being transliterate.
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. Many technologies are not new but simply innovative applications of established processes, new tools for old behaviors demanding adjustments to existing skills. As already noted, the way we converse online in chat rooms is often not dissimilar from the way we talk face to face. And a hypertext story, with its many diversions and elaborations, could be eerily similar in form to the telling of family holiday memories. There are more similarities between modes than may be at first apparent, and the technological skills involved are often simple to acquire if the user is positively inclined to attempt them.
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This will allow them to invite and encourage audience–generated content, opening up the project to allow other writers and artists to contribute texts — both multimedia and more traditional — images, sounds, memories, ideas. At the same time, Pullinger will write a print novel which will act as a companion piece to the project overall.
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Those questions include: what are the possibilities for new narrative forms? How do we “write to be seen” or “write to be heard” when creating multimedia narratives, and can we imagine writing to be smelled, tasted, felt? What are the effects of collective authorship across multiple forms? At what point does multimedia — “a combination of different media which function next to each other and remain clearly discernable” become intermedia — “an integrative combination of different media [such that] the usual frames and structure of the different media are affected and influenced by each other?” [19]
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- the how (practical issues of media and digital literacy, particularly access to and use of the tools and skills of production) or
- the why (social, economic and cultural determinants).
Cultural production is often analyzed from one of two perspectives:
A transliterate analysis would consider both of these, and more: for example, the shift in emphasis from static monologue to dynamic dialogue suggested by participatory narratives; the practices and politics of collaboration, particularly when many geographically and linguistically spread authors collaborate simultaneously; and the existence of a “group creativity” or “intelligence”, perhaps as an emergent property of individual creativities or intelligences.
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Dene Grigar’s Web fiction “Fallow Field” is another example of how the online environment naturally foregrounds multimodality (Grigar, 2004).
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The how and the why, like form and content, are inextricably intertwined. The role assigned to the reader in such a fiction is an example of what we mean by transliteracy: the reader is required to understand how the aural (in the form of music, sound effects, the narrator’s voice), visual (images and text) and interactive modes function simultaneously. Without recognizing how these various modes play against and with one another the reader risks grasping only part of the plot.
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Gore appears to be paying attention primarily to his computer but is surrounded by various non–digital media: books, flip charts, articles, a television and so on. Naturally there may be some staging involved but what we see here is something that perhaps many of us recognize from our working practices; at any time we may be able to shift attention or position in the room in order to reorient ourselves. In a blog entry about this photo, the author annotates the image and relates it to Bolter and Grusin’s notion (1999) of the “hypermediated work environment”, noting that “[t]he method in which the information is delivered changes the way we understand it,” (Übernoggin, 2007) which is to reprise the McLuhanesque assertion that the medium is the message.
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Ania RolinskaTransliteracy might provide a unifying perspective on what it means to be literate in the twenty–first century. It is not a new behavior but has only been identified as a working concept since the Internet generated new ways of thinking about human communication. This article defines transliteracy as “the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks” and opens the debate with examples from history, orality, philosophy, literature, and ethnography.
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wcudigilitTransliteracy might provide a unifying perspective on what it means to be literate in the twenty-first century. It is not a new behavior but has only been identified as a working concept since the internet generated new ways of thinking about human commun
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23 Feb 10
Rudy LeonTransliteracy: Crossing divides
Thomas, Sue, Joseph, Chris, Laccetti, Jess, Mason, Bruce, Mills, Simon, Perril, Simon, AND Pullinger, Kate. "Transliteracy: Crossing divides" First Monday [Online], Volume 12 Number 12 (12 December 2007) -
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Katie DayHome > Volume 12 Number 12 - 3 December 2007
First Monday
<< Transliteracy: Crossing divides by Sue Thomas, Chris Joseph, Jess Laccetti, Bruce Mason, Simon Mills, Simon Perril, and Kate Pullinger >>literacies literacy articles education imported_from_delicious
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12 Nov 09
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Transliteracy might provide a unifying perspective on what it means to be literate in the twenty–first century. It is not a new behavior but has only been identified as a working concept since the Internet generated new ways of thinking about human communication. This article defines transliteracy as “the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks” and opens the debate with examples from history, orality, philosophy, literature, and ethnography.
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24 Apr 09
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Transliteracy might provide a unifying perspective on what it means to be literate in the twenty–first century
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It is not a new behavior but has only been identified as a working concept since the Internet generated new ways of thinking about human communication
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“the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks”
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This is my world and it’s probably not that dissimilar to yours, gentle reader — if “reader” is an appropriate term for who you are.
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We live in a world of multiple literacies, multiple media and multiple demands on our attention.
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Each of these is complete in itself yet we do not experience them individually, we synthesize and mould them to our needs.
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every day
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involved in staggering acts of comprehension and production
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few thousand years since we sat around fires, telling stories to hold back the night using nothing more than sound and gesture
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what we do now is not fundamentally different from what we did then
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“transliteracy” — which is both very old and brand new
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how we, as human beings, communicate
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we are going to tear literacy away from its original association with the medium of written text and apply it as a term that can refer to any kind of medium
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Transliteracy is the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks.
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Transliteracy might provide a unifying perspective on what it means to be literate in the twenty–first century. It is not a new behavior but has only been identified as a working concept since the Internet generated new ways of thinking about human communication. This article defines transliteracy as “the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks” and opens the debate with examples from history, orality, philosophy, literature, and ethnography.
transliteracy communication gaming digital literacy media digital natives
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Konrad GlogowskiAnnotated link http://www.diigo.com/bookmark/http%3A%2F%2Fwww.uic.edu%2Fhtbin%2Fcgiwrap%2Fbin%2Fojs%2Findex.php%2Ffm%2Farticle%2Fview%2F2060%2F1908
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Transliteracy might provide a unifying perspective on what it means to be literate in the twenty–first century. It is not a new behavior but has only been identified as a working concept since the Internet generated new ways of thinking about human communication. This article defines transliteracy as “the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks” and opens the debate with examples from history, orality, philosophy, literature, and ethnography.
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We live in a world of multiple literacies, multiple media and multiple demands on our attention. Each of these is complete in itself yet we do not experience them individually, we synthesize and mould them to our needs.
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13 Dec 08
Doug BelshawAn article on 'transliteracy' providing a 'unifying perspective on what it means to be literate in the twenty-first century'.
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23 Nov 08
Will RichardsonThis article defines transliteracy as “the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks” and opens the debate with exam
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22 Nov 08
Clint LalondeTransliteracy is the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks.
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Transliteracy might provide a unifying perspective on what it means to be literate in the twenty–first century. It is not a new behavior but has only been identified as a working concept since the Internet generated new ways of thinking about human communication. This article defines transliteracy as “the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks” and opens the debate with examples from history, orality, philosophy, literature, and ethnography.
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Kristina Hoeppner"This article defines transliteracy as “the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks”
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Leigh BlackallAbstract
Transliteracy might provide a unifying perspective on what it means to be literate in the twenty–first century. It is not a new behavior but has only been identified as a working concept since the Internet generated new ways of thinking about -
08 Feb 08
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michelemmartinTransliteracy is the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks.
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04 Feb 08
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12 Jan 08
André RouxTransliteracy might provide a unifying perspective on what it means to be literate in the twenty–first century.
Literacy littératie enseignement Éducation2.0 article for:domaine_des_langues
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07 Jan 08
Nancy WhiteWay of looking at meaning making?
transliteracy knowledge_management socialnetworks communication for:marshallkirkpatrick
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04 Jan 08
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28 Dec 07
Jan MarstonTransliteracy: Crossing divides. by Sue Thomas, et al. Transliteracy might provide a unifying perspective on what it means to be literate in the twenty–first century -new ways of thinking about human communication.
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27 Dec 07
Jose Luis CabelloWhat it means to be literate in the 21st century (Lo que significa ser culto en el siglo 21)
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Departamento TIC (CRIF)What it means to be literate in the 21st century (Lo que significa ser culto en el siglo 21)
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Wilfred RubensTransliteracy is the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks.
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20 Dec 07
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Transliteracy (“the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks”) might provide a unifying perspective on what it means to be literate in the twenty–first century.
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