Home
Bill Wolff's Library tagged → View Popular
Scholz
-
In 2007, O’Reilly, silently, hidden in the comment section of Jason Calacanis’ weblog, admits that he got it wrong.
... Web 2.0 was a pretty crappy name for what’s happening (Microsoft’s name, Live Software, is probably the best term I’ve seen)... Web 2.0 is not about front–end technologies. It’s precisely about back–end, and it’s about meaning and intelligence in the back–end.
What Is Web 2.0 - O'Reilly Media
-
the service automatically gets better the more people use it.
-
Network effects from user contributions are the key to market dominance in the Web 2.0 era.
Bill Wolff’s Composing Spaces » tfw homework assignments fall 08
-
Please read Dibbell, “A Rape in Cyberspace,” originally published in the Village Voice (available on the Readings page); Garfield, “YouTube vs. Boob Tube” (some of the videos on this page may no longer be available, but they can be seen if you go to YouTube and search for them)
Digital Media and Learning Competition
-
Drawing upon the innovative winning projects from the first Digital Media and Learning Competition, the theme for this year’s Competition is Participatory Learning. There are two award categories: Innovation in Participatory Learning and Young Innovators. All proposals submitted to the Digital Media and Learning Competition, in either category, should be for support of digital projects that engage participatory learning in an integral way.
VII. conclusions
-
the presence or absence of visual means have an impact on the
overall aesthetics of the Texts, so that the (virtual) absence
of visual effects in Afternoon makes it appear episodic and epistemologically unstable, the
use of a representational map in Victory Garden restores the coherence of the Text and makes it possible for
the reader to relate to it in the same way as to realistic narratives,
and in Patchwork Girl, the use of the conceptual map as an alternative site of signification
lends it a postmodernist feel. -
I think that to make the reader more interactive,
a real bricoleur, requires that the reader be provided with more
information about underlying structure. It is only on this metatextual
level that the structuring of hypertext, as well as hyperfiction,
occurs and J. David Bolter has quite fittingly cited Ricoeur writing
about the "followability" and second order writing of hypertext.
Slatin has a similar argument to make:
I think of hypertext coherence as appearing at the metatextual
level--that is, at the level where the reader perceives ... 'the
pattern which connects.' ... This metatextual level is perhaps
best represented by a visual map of some kind,...
VI. hyperfiction aesthetics
-
I am quite willing to state
that the future of interactive fiction is dominantly visual (and
probably, based on virtual reality devices).>12 The role of writing is, though, quite different in that kind
of fiction; in fact it is more convenient to approach it from
the theory of film. But that is a different story. Printed fiction
did not perish because of film, so there is no reason for text-based
hyperfiction to perish because of audio-visual interactive fiction.
Writing has, after all, its own unique properties. -
So the reader is tempted
to construct a story from the parts of the quilt. Here is one
actual instance where the hyperfiction reader works as a bricoleur,
using the materials available and constructing his/her own story
out of them--in fact, in much the same way as Calvino allegedly
did when writing his stories. And as Calvino's example suggests,
each reader may take a tarot deck and try to construct stories
him/herself, and Patchwork Girl, through its multiple visual navigating devices offers the reader
a tempting opportunity to search for stories hidden in the lexias
of "A Crazy Quilt".
IV. map as metaphor
-
navigational 'map'--a visualization of the Text's
cognitive space -
The map is not just a visualization
of the structure of lexias, but is in a highly symbolic way a
representational map (the use of qualifiers like 'Northern' and
'Southern' relate to this). For example, it can be seen as "a
map of a garden with paths and benches" (Coover 1992). - 3 more annotations...
III. degree zero of visuality
-
the left-pointing arrow and 'return' suggest a (story)line,
which reinforces the reader's expectation of linear temporality,
establishing the concept of a stable story. The existence of links,
expressed with the open book icon, tells the reader that there
are different alternative storylines. But because of the linear
model evoked, it is most likelly that the reader will treat these
storylines as intersecting lines or as flashbacks/prolepses in
relation to the default line, instead of the truly 'net-like'
or 'rhizomatic' structure cherished by most hypertext theoreticians -
This feeling
is also strenghtened by the use of an open book as the icon for
the links: after all, the reading of Afternoon does not differ so much from leafing through a printed book.
In fact, this relationship to a print book is reinforced by the
print button: using it produces a hard copy of the text, even
if it is from within the text window only. That is, the title
bar (each text window has a title bar), the buttons, or possible
background documents, are not printed. Thus it defines in its
own very concrete way what is considered as 'text proper.' This
means for example that the lexia-titles function more as technical
properties of links than they do as chapter titles in printed
fiction; however, it is difficult to define who is responsible
for this--the author, the programmer, the program used.
interactive narratives
-
First, we must take a more specific look at the concept of 'interactive
narration'. Narrative fiction in general can be described with
a three-level model: 1) the Text describes how; 2) the narrator
tells what; 3) the characters do/perceive (Tammi 1992). The notion
of 'text' with regard to hypertext is problematic, as is demonstrated
in numerous treatises. The main argument in (almost) all of them
is that there are no fixed boundaries for hypertext. -
Using the distinction
made by Russian formalists, the effects on the level of fabula
(the story as a chronological chain of events) are caused by choices
made on the level of sjuzet (the story as told). - 4 more annotations...
Information Resources - Technology Toolbox @ Rowan University
-
While
we have never received any subpoenas for the identity of
a user to date (the first step a copyright holder takes
toward legal action) we do want all users to know that if
properly served, the University would have to comply with
the law and provide the user's identity.
Wired 4.01: Who Am We?
-
There are many Sherry Turkles. There is the "French Sherry," who studied poststructuralism in Paris in the 1960s. There is Turkle the social scientist, trained in anthropology, personality psychology, and sociology. There is Dr. Turkle, the clinical psychologist. There is Sherry Turkle the writer of books - Psychoanalytic Politics (Basic Books, 1978) and The Second Self: Computers and the Human Spirit (Simon & Schuster, 1984). There is Sherry the professor, who has mentored MIT students for nearly 20 years. And there is the cyberspace explorer, the woman who might log on as a man, or as another woman, or as, simply, ST.
About Diigo | Diigo
-
We are actively looking for more great people who share our vision and passion to join our team, either on a part time or full-time basis. If you have expertise/interests in PR, marketing, product development/management/QA, business development, strategy, system administration, user experience and customer service, maybe we have a good role for you as a part of our great team.
The Atlantic Online | July 1945 | As We May Think | Vannevar Bush
-
Add Sticky NoteIt is the physicists who have been thrown most violently off stride, who have
left academic pursuits for the making of strange destructive gadgets, who have
had to devise new methods for their unanticipated assignments. They have done
their part on the devices that made it possible to turn back the enemy, have
worked in combined effort with the physicists of our allies. They have felt
within themselves the stir of achievement. They have been part of a great team.
Now, as peace approaches, one asks where they will find objectives worthy of
their best.- really, I thought this was so obvious - on 2008-02-29
- Wow, this is cool. - on 2008-02-29
4.01: Who Am We?
-
Add Sticky Note
What has she found? That the Internet links millions of people in new spaces that are changing the way we think and the way we form our communities. That we are moving from "a modernist culture of calculation toward a postmodernist culture of simulation." That life on the screen permits us to "project ourselves into our own dramas, dramas in which we are producer, director, and star.... Computer screens are the new location for our fantasies, both erotic and intellectual. We are using life on computer screens to become comfortable with new ways of thinking about evolution, relationships, sexuality, politics, and identity."
Turkle's own metaphor of windows serves well to introduce the following samplings from her new book. Those boxed-off areas on the screen, Turkle writes, allow us to cycle through cyberspace and real life, over and over. Windows allow us to be in several contexts at the same time - in a MUD, in a word-processing program, in a chat room, in e-mail.
"Windows have become a powerful metaphor for thinking about the self as a multiple, distributed system," Turkle writes. "The self is no longer simply playing different roles in different settings at different times. The life practice of windows is that of a decentered self that exists in many worlds, that plays many roles at the same time." Now real life itself may be, as one of Turkle's subjects says, "just one more window."- I really like how Turkle is setting up her discussion here. The windows metaphor is a wonderful move into the discussion of how different spaces encourage/result in multiple representations of identity. Though published in 1996, we can see this today in Facebook, MySpace, and LinkedIn spaces, as well as how and where we blog. - on 2008-02-12
Selected Tags
Sponsored Links
Top Contributors
Groups interested in no_tag
-
Web 2.0 Tools
Items: 10 | Visits: 888
Created by: Claire Miller
-
Erotica
Items: 40 | Visits: 3362
Created by: Ainis
-
Digital Citizenship/Cyberbullying Video Clips
Items: 27 | Visits: 2041
Created by: Anne Bubnic
Highlighter, Sticky notes, Tagging, Groups and Network: integrated suite dramatically boosting research productivity. Learn more »
Join Diigo