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Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts

Tuesday

Graphic expression


Recognising the specificity of writing, glossematics did not merely give itself the means of describing the graphic element.

It showed bow to reach the literary element, to what in literature passes through an irreducibly graphic text, tying the play of form to a determined substance of expression. If there is something in literature which does not allow itself to be reduced to the voice, to epos or to poetry, one cannot recapture it except by rigorously isolating the bond that links the play of form to the substance of graphic expression. (It will by the same token be seen that “pure literature,” thus respected in its irreducibilty, also risks limiting the play, restricting it. The desire to restrict play is, moreover, irresistible.)
This interest in literature is effectively manifested in the Copenhagen School. It thus removes the Rousseauist and Saussurian caution with regard to literary arts. It radicalises the efforts of the Russian formalists, specifically of the O.PO.IAZ, who, in their attention to the being-literary of literature, perhaps favoured the phonological instance and the literary models that it dominates.
Notably poetry. That which, within the history of literature and in the structure of a literary text in general, escapes that framework, merits a type of description whose norms and conditions of possibility glossematics has perhaps better isolated. It has perhaps thus better prepared itself to study the purely graphic stratum within the structure of the literary text within the history of the becoming-literary of literality, notably in its “modernity.”

- See the journal French Metablog with today different posts - Jean-Philippe Pastor




Wednesday

Writing


The grammatologist least of all can avoid questioning himself about the essence of his object in the form of a question of origin: “What is writing?” means “where and when does writing begin?”


The responses generally come very quickly. They circulate within concepts that are seldom criticised and move within evidence which always seems self-evident. It is around these responses that a typology of and a perspective on the growth of writing are always organised.

All works dealing with the history of writing are composed along the same lines: a philosophical and teleological classification exhausts the critical problems in a few pages; one passes next to an exposition of facts.

We have a contrast between the theoretical fragility of the reconstructions and the historical, archaeological, ethnological, philosophical wealth of information.

Sunday

Metabolean Hypertextopia


Metabolean Hypertextopia


This website was first created in 2005, built to serve as a central location to link to the diverse online materials available on the Internet.

At that time, Internet mobile portals did not yet exist. What rhetoric pages on the Web did exist were heavily colored by the perspectives of their host institutions. This site hoped to publish what resources it could, and to link to all, serving as a central "map" to the rest. Even so, many people referred to it as the Metabolean Site; some people refer to it that way to this day, even though the site has physically moved to another place.

And today, of course, there are far more resources online than we could index adequately with a single online editor--even if s/he wrote HTML day and night. So this website is today based on a modern content management system, one that allows volunteers, reviewers and editors to collaborate to post new materials, and to link to the complex web of online resources located across the Internet that comprise the complex network of rhetoric resources online.

So we're developing an extensive collaboration here, within a modern web publishing system that will allow our volunteers to spend as much or as little time as they choose, and will allow us to offer any state-of-the-art web technologies (e.g. blogs, threaded discussion boards, database-driven content pages, streaming media, etc.) we believe useful to the site.


- See the journal French Metablog with today different posts - Jean-Philippe Pastor

Saturday

Ideas and technology


Tristao Da Cunha
It is technology. It doesn't affect ideas, theory or concepts.


Jean-Philippe Pastor
You're partly right. Deconstruction has learned us that the way we think interferes with the idea we express: support matters in itself


Reach Out
And metanarratives are the start of the ideas we express. If we deconstruct the metanarrative we might find freedom to think and express our own ideas xxxx


Jean-Philippe Pastor
and to do so, we must tackle with the difference between narrative and metanarrative...


Reach Out
Post-structuralism is so cool, that's a reification if ever there was one ...



Anyway, I talk the way I write http://bit.ly/7ghOzI


Reach Out
Didn't Jaques Derrida write about the difference (differance) between talking and writing. ? So, talking and writing can indeed be the same ...
Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts-




Friday

Editing or writing ?

There is more to writing than putting words next to each other, and there is more to writing hypertext than throwing together a bunch of links. When writing text, I have certain goals; when I come across text I dislike, there are certain reasons why I do not like it. You're about to read an attempt to describe these reasons and goals; it is incomplete, subjective, and honest.

Writing hypertext copy
The two pitfalls of writing hypertext copy are links and emotions. Links are a new stylistic element that writers must learn to handle. The emotional problem is harder: we must snap out of the "host" or "provider" role, must get away from the excitement of guiding another person through the text, and get back to - just writing.

Editing and publishing
Editing doesn't necessarily happen after the first text has been written, but it deserves to be thought of as an independent discipline. Most of what people do on the World­Wide Web is really editing, not writing.

Maintenance
"This document is under construction." Of course it is. The World­Wide Web is changing; new browsers appear; the language HTML changes; people change jobs and homepages; and writers learn more about their subject.

Jutta Degener

Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts

-Jean-Philippe Pastor

Sunday

New writing space

The point is what Jay David Bolter called "the late age of print," and the transitional nature of the precipice on which we balance is apparent at the metabole.

Many of the texts to which it offers links are linear print-texts transcribed to HTML for the web-browsing screen. But at least a few others take advantage of the web's inherent multimedia, networking, and hypertext capabilities to subvert traditional notions of print literacy. In short, Metabole has become, in its short history, less an online writing lab that performs electronic experiments in remediation than a sharply struck point about the interrelationships of technology and literacy, simultaneously questioning the ideology of print and creating a writing space in which textual transactions renegotiate literate behavior.

Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts -Jean-Philippe Pastor

Wednesday

Fluid and organic content

Writing for the web, moreover, has its own unique rhetorical devices.

The use of hyperlinks, for example, effects the overall visual impression of a web document, the bits of coloured text adding credibility and suggesting further avenues of exploration, thus adding depth and authority to the document. The invitation for the reader to interact with the content creator or author is another rhetorical device unique to this medium; it suggests that content is fluid and organic, quite the opposite in fact, to content set in permanent type or print, and subtly suggests the potential for intimate interactive dialogue with the author.
And further rhetorical devices such as visual clues, icons, and typographic effects are utilised to aid in navigation, and allow the author some degree of control over where the user is likely to visit. (M.Milton)
Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts-Enter Jean-Philippe Pastor

Tuesday

Incoherent hypertexts


People who aren't very familiar with hypertext writing, but who nonetheless want to impress you with their knowledge, often claim that hypertexts are incoherent, that they lack the structure and rigor of conventional, linear prose. For example, Sven Birkerts writes in his Gutenberg Elegies that

Humanistic knowledge . . . ultimately seeks to fashion a comphrensible narrative. It is, in other words, about the creation and expansion of meaningful contents. Interactive media technologies are, at least in one sense, anti-contextual. They open the field to new widths. . .

The danger should be obvious: The horizon, the limit that have definition to the parts of the narrative, will disappear.

Others simply fear that there is no place for links within a coherent narrative, that hypertext is the exclusive province of technical manuals on the one hand and incoherent postmodernism on the other.

This fear arises from a combination of three factors: superstition, sloth, and a fundamental misunderstanding of narrative. The roles of superstition and sloth are simple. Those who dislike computers (especially those who aren't very familiar with them) fear that their mysterious force will somehow damage the sort of writing they enjoy. Those who don't take the trouble to read much hypertext, similarly, often delude themselves by imagining that their failure is a virtue, that hypertext isn't worth reading because it cannot be worth reading. The sheer improbability of myriad successful artistic forms throughout the eons should make us doubt such ab initio arguments about human expression.


Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts-Enter Jean-Philippe Pastor


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Saturday

Virginia Woolf for the first time


I think the kind of unexpected I really love is when you open books and the actual way of writing is different and interesting. Like reading Virginia Woolf for the first time or Lawrence Durrell for the first time.


Lalla Ward


Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts-Enter Hypertextopia-PHONEREADER Library -- Jean-Philippe Pastor






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Wednesday

How to write ebooks ?

Creative hypertextual writers have to construct texts that interact with the needs and desires of the reader.

Hypertextual writing represents a new stage in the long history of writing, one that has far-reaching implications in the fields of human and artificial intelligence, cognitive science, philosophy, semiotics, and literary theory. Hypertext will carry literacy into a new age -- the age of electronic text that will emerge from the "age of print that is now passing."

According to Bolter, cultural literacy is now becoming almost synonymous with computer literacy.


Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts -

Friday

What is a writer?


Anyone who has an eye on the market is not a writer but a whore.


Nothing wrong with being a whore, of course – just don't try to make out you're a writer. Writers sometimes talk of pressure from their publishers to do this or that in order to be more commercial. Nine times out of ten this is sophistry and cowardice... I have this existential conception of writing not as a career but as a back-against-the wall option, the thing you turn to when you've got no other way of making a mark on the world. In those circumstances, whether or not you're going to be adequately recompensed is irrelevant.

Rejoignez le Journal de l'Hypertexte en anglais (posts du jour différents de ceux ici présents) - Connectez-vous sur hypertextual.net l'Hypertexte Principal de la Solution -Diffusion du flux - Tous les eBooks accessibles sur Phonereader.GoogleBooksEntrez dans la Bibliothèque pour readers mobiles de Phonereader.eu


Jean-Philippe Pastor

Wednesday

Print encourages closure


With the development of print, Western culture moved even further away from a hearing dominated sensory world to one governed by sight.


More than writing, "print suggests that words are things" says Walter J. Ong's in his book Orality and Literacy. With the interiorization of this view writing/printing was no longer done with the intent to recycle knowledge back into the spoken world (as it was in, for example, Medieval university disputations); things were no longer necessarily written in order to be read out loud.

In addition, print embedded the word in space more absolutely than did writing . Through print, words become things that can be arranged on a page as they are in indexes, tables of content, lists and labels (an extreme example being the arrangement of w ords in the poetry of e.e. cummings).

Finally, Ong suggests that print encourages closure, a feeling of finality that was never present in, for example, oral storytelling.



Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts -
PHONEREADER Library - - Jean-Philippe Pastor

Sunday

Slow writing time


Those who know my work with digital media may be surprised to read that I largely support this remark by Mark Bauerlein in his article Online Literacy Is a Lesser Kind: Slow reading counterbalances Web skimming in the Chronicle of Higher Education (19 Sept 08):


---given the tidal wave of technology in young people's lives, let's frame a number of classrooms and courses as slow-reading (and slow-writing) spaces. Digital technology has become an imperial force, and it should meet more antagonists. Educators must keep a portion of the undergraduate experience disconnected, unplugged, and logged off. Pencils, blackboards, and books are no longer the primary instruments of learning, true, but they still play a critical role in the formation of intelligence, as countermeasures to information-age mores. That is a new mission for educators parallel to the mad rush to digitize learning, one that may seem reactionary and retrograde, but in fact strives to keep students' minds open and literacy broad. Students need to decelerate, and they can't do it by themselves, especially if every inch of the campus is on the grid.


I don't agree with restraining the digitizing of classrooms, which Bauerlein also calls for, but I do agree with ensuring there's a mix of learning spaces available. I also think that teachers should have the imagination to sometimes teach outside of the classroom altogether. In my own case, I teach mostly online and am constantly struggling with ways to bring that slower and more physical engagement into the learning experience.


Most of Bauerlain's approach is the same-old same-old but I do think we must pay attention to the need for slow spaces both in teaching and in life. Slowness is certainly a vital element of transliteracy.


Thanks to Mez at Facebook for the link to Bauerlain's article.
x-post from http://travelsinvirtuality.typepad.com/suethomas/2008/09/slow-teaching.html
Posted by Sue Thomas



Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts -
PHONEREADER Library - - Jean-Philippe Pastor

Friday

Software for writing


Sophie is software for writing and reading rich media documents in a networked environment.


Sophie's goal is to open up the world of multimedia authoring to a wide range of people and institutions and in so doing to redefine the notion of a book or 'academic paper' to include both rich media and mechanisms for reader feedback and conversation in dynamic margins.


go to the Sophie download page
Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts - PHONEREADER Library - - Jean-Philippe Pastor


Thursday

1100 text spaces


The GRAMMATRON project is a "public domain narrative environment" developed by virtual artist Mark Amerika in conjunction with the Brown University Graduate Creative Writing Program and the National Science Foundation's (NSF) Graphics and Visualization Center as well as with the support of many individuals without whom none of this would be possible.


The project consists of over over 1100 text spaces, 2000 links, 40+ minutes of original soundtrack delivered via Real Audio 3.0, unique hyperlink structures by way of specially-coded Javascripts, a virtual gallery featuring scores of animated and still life images, and more storyworld development than any other narrative created exclusively for the Web.

A story about cyberspace, Cabala mysticism, digicash paracurrencies and the evolution of virtual sex in a society afraid to go outside and get in touch with its own nature, GRAMMATRON depicts a near-future world where stories are no longer conceived for book production but are instead created for a more immersive networked-narrative environment that, taking place on the Net, calls into question how a narrative is composed, published and distributed in the age of digital dissemination.


The GRAMMATRON project has been exhibited at many international museums and festivals including Ars Electronica, The International Symposium for Electronic Art (ISEA), SIGGRAPH 98, The Telstra Adelaide Arts Festival (South Australia), Virtual Worlds 98 (Paris) and the International Biennial of Film and Architecture (Graz).
GRAMMATRON was one of the first works of Internet Art to ever be included in the prestigious Whitney Biennial (2000).


You can enter GRAMMATRON now or visit the companion theory-guide called Hypertextual Consciousness or, if you prefer, go to The Alt-X Online Publishing Network to see where this all started.
For essays and articles on the developmental process behind GRAMMATRON, see Mark Amerika's Amerika-Online column at Alt-X.


- Download ebooks on http://www.frenchtheory.com/

- See that post with different algorithms in metabole

- See the journal French Metablog with today different posts




Monday

Different ways to novelling

KathyAcker's experience working in film, graphics and body-art gave her a distinctly non-literary approach to writing.

Her novels use techniques taken from the visual arts, borrowing heavily from the modernist armoury as the narrative is disturbed with drawings, poems, collage and factual material. An unashamed plagiarist, Acker was content to cut and paste entire sections from others' work, not least Jean Genet, who ends up becoming a central character in Blood and Guts.


For Michael Bracewell she "presented herself as part rebel bohemian avant-gardiste, part NYC downtown punk, and part venerable literary grande dame." For Robert Lort, she was "always out on her own, a strange girl thrown towards the threshold of language and thought." A decade after her untimely death from cancer in 1997 we can see her influence in the work of a number of younger - and noticeably, male - writers, like Salvador Plascencia, Travis Jeppesen and Noah Cicero.
Reviewed by even the most august outlets - something unimaginable for a comparable author working today - Acker was a genuine starlet of 1980s literary culture. (A.Stevens)
Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts - PHONEREADER Library - - Jean-Philippe Pastor


Saturday

Ebook and philosopher's problem


In order to have access to a copy of The Cambridge Companion to Kant, a book I’ve been reading along with the works of the philosopher this summer, I had to buy the paper edition ($29.50 retail), the Kindle edition ($28.42) and the “Amazon Upgrade” PDF version ($7.39) in order to access the book physically, through the eBook reader I own and the PC I use, respectively.


Netted out, I spent $65.31, or 2.21 times the price of the paper book—and the copies are completely separate, isolated from one another. Notes made on the Kindle don’t appear in the PDF version, and neither of the electronic versions is linked to the paper book efficiently. The Kindle version reflows the book without maintaining any page location, so I can’t make a note in the Kindle version and, when reviewing those notes, refer to a page in the paper book.


Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts - PHONEREADER Library - - Jean-Philippe Pastor

Sunday

What is revelancy?

Google=Stupid? Published June 12, 2008



Ever since I officially began my professional measurable marketing career back in 1988, one argument has persisted: long copy vs. short copy. “People will never read that. It’s too long. People are too busy to read all that” Clients almost always want to shorten the copy. Rarely, if ever, have I heard, “Can you make this longer?”


The best answer to the question on copy length came to me at a seminar I attended: “People don’t read long copy or short copy. They read what interests them.” That’s why relevancy is even more important today then it was in 1988. People have information overload and, because of Google, perhaps, people have shorter attention spans. That was the theory I came across at a recent Wall Street Journal Blog entitled: “Is Google making us stupid?”


Maybe 1 out of 100 tests I have conducted have proved that shorter copy wins, but as readers of this blog know, you should always test to lift results. The web has added a new dimension, as you can drive them to a site with shorter copy and have virtually no limits on copy length once they click your desired URL.


As for email, it seems to me that the long form email format does a better, more complete job of selling, yet clients still want copy short, especially because it’s email. And, as such, may be short changing their ROI.
I’d love to hear your results…


Grant A. Johnson
Johnson Direct LLC
1-800-710-2750

Tuesday

Pond-skater minds with Google


Andrew Sullivan


Here’s something : Friedrich Nietzsche used a typewriter. Many of those terse aphorisms and impenetrable reveries were banged out on an 1882 Malling-Hansen Writing Ball. And a friend of his at the time noticed a change in the German philosopher’s style as soon as he moved from longhand to type.


“Perhaps you will through this instrument even take to a new idiom,” the friend wrote. Nietzsche replied: “You are right. Our writing equipment takes part in the forming of our thoughts.”


Gulp. The technology writer Nicholas Carr, who pointed out this item of Nietzsche trivia in the new issue of The Atlantic, proceeded to make a more disturbing point. If a typewriter could do this to a mind as profound and powerful as Nietzsche’s, what on earth is Google now doing to us?
Are we fast losing the capacity to think deeply, calmly and seriously? Have we all succumbed to internet attention-deficit disorder? Or, to put it more directly: if you’re looking at a monitor right now, are you still reading this, or are you about to click on another link?


The astonishing benefits of Google are barely worth repeating. When I started to contribute this column, I used to keep a month’s worth of The New York Times stacked in my study. If I recalled an article or a report that I wanted to refer to, I’d spend a happy few minutes wrestling with frayed and yellowing paper, smudging myself with ink, and usually ended up reading an article that had nothing to do with my search.


I needed a good memory – even visually – to track my vague recollection down. I needed time. I needed to think a little before I began my research. Now all I do is right-click and type a few words. And all is instantly revealed.


I spend most of my day blogging – at a current rate of about 300 posts a week. I’m certainly not more stupid than I used to be; and I’m much, much better and more instantly informed.
However, the way in which I now think and write has subtly – or not so subtly – altered. I process information far more rapidly and seem able to absorb multiple sources of information simultaneously in ways that would have shocked my teenage self.


In researching a topic, or just browsing through the blogosphere, the mind leaps and jumps and vaults from one source to another. The mental multitasking – a factoid here, a YouTube there, a link over there, an e-mail, an instant message, a new PDF – is both mind-boggling when you look at it from a distance and yet perfectly natural when you’re in mid-blog.


When it comes to sitting down and actually reading a multiple-page print-out, or even, God help us, a book, however, my mind seizes for a moment. After a paragraph, I’m ready for a new link. But the prose in front of my nose stretches on.
I get antsy. I skim the footnotes for the quick info high that I’m used to. No good. I scan the acknowledgments, hoping for a name I recognise. I start again.
A few paragraphs later, I reach for the laptop. It’s not that I cannot find the time for real reading, for a leisurely absorption of argument or narrative. It’s more that my mind has been conditioned to resist it.


Is this a new way of thinking? And will it affect the way we read and write? If blogging is corrosive, the same could be said for Grand Theft Auto, texting and Facebook messaging, on which a younger generation is currently being reared. But the answer is surely yes – and in ways we do not yet fully understand. What we may be losing is quietness and depth in our literary and intellectual and spiritual lives.
The playwright Richard Foreman, cited by Carr, eulogised a culture he once felt at home in thus: “I come from a tradition of western culture, in which the ideal (my ideal) was the complex, dense and ‘cathedral-like’ structure of the highly educated and articulate personality – a man or woman who carried inside themselves a personally constructed and unique version of the entire heritage of the West.
“[Now] I see within us all (myself included) the replacement of complex inner density with a new kind of self – evolving under the pressure of information overload and the technology of the ‘instantly available’.”
The experience of reading only one good book for a while, and allowing its themes to resonate in the mind, is what we risk losing. When I was younger I would carry a single book around with me for days, letting its ideas splash around in my head, not forming an instant judgment (for or against) but allowing the book to sit for a while, as the rest of the world had its say – the countryside or pavement, the crowd or train carriage, the armchair or lunch counter. Sometimes, human beings need time to think things through, to allow themselves to entertain a thought before committing to it.


The white noise of the ever-faster information highway may, one fears, be preventing this. The still, small voice of calm that refreshes a civilisation may be in the process of being snuffed out by myriad distractions.
I don’t want to be fatalistic here. As Carr points out, previous innovations – writing itself, printing, radio, televi-sion – have all shifted the tone of our civilisation without destroying it. And the capacity of the web to retrieve the old and ancient and make them new and accessible again is a small miracle.


Right now, we may be maximally overwhelmed by all this accessible information – but the time may come when our mastery of the new world allows us to gain more perspective on it.
Here’s hoping. Shallowness, after all, does not necessarily preclude depth. We just have to find a new equilibrium between the two. We need to be both pond-skaters and scuba divers. We need to master the ability to access facts while reserving time and space to do something meaningful with them.


It is inevitable this will take our always-evolving species and ever-malleable brains a little time – and the Google era in a mass form is not even a decade old.
Some have suggested a web sabbath – a day or two in the week when we force ourselves not to read e-mails or post blogs or text messages; a break in order to think in the old way again: to look at human faces in the flesh rather than on a Facebook profile, to read a book rather than a blog, to pray rather than browse.


I think I’ll start with Nietzsche at some point. But right now I have a blog to fill.



Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts -



Wednesday

Verbal hypertext

Roy CHristopher: How does Storyspace’s hypertextual environment compare to the concepts in Ted Nelson’s Xanadu project — if at all?

JDBolter : Storyspace is a standalone hypertext writing system. It was developed by Michael Joyce, John Smith, and myself, and is now being further developed by Mark Bernstein of Eastgate Systems. It never aspired to Nelson’s vision of a global networked hypertext system. (The World Wide Web is the fulfillment of that vision, although in a way that Nelson did not anticipate and of which, I believe, he has disapproved.) Storyspace is a system for creating, editing, and displaying small - to medium- sized hypertexts. It has never had more than a few thousand users. However, I’m proud to say that some of the truly original and important hypertext fictions (including Michael Joyce’s own afternoon, Stuart Moulthrop’s Victory Garden, Shelley Jackson’s Patchwork Girl, and many others) were conceived and executed in Storyspace. The system was designed to support hypertext fiction in particular, although it can also be used for organizing and writing fiction and non-fiction intended for print. (I have used Storyspace to write or revise three of my own books.) Storyspace provides more facilities for writing and editing (it includes a dynamic map of the structure of the links) than for the high-quality display and reading of the eventual hypertext. Many users of Storyspace now choose to export their hypertexts to html format in order to make them available. Although Storyspace is capable of incorporating graphics and digitized video, it has principally been used for verbal hypertexts, and frankly, this emphasis on the word puts Storyspace at a disadvantage as we move into an era of multimedia both on and off the Web.

Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts.