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akademic werdsakademic werds
written and published in Tinderbox 1.2.3
bergen is starting to become more familiar to me now. it's my 5th or 6th trip but the familiarity is less knowing the way from home to the office, and then to the cinema, but some expectation of the colours, sounds, and smells. it is an essay in greys, browns, and greens, regardless of what the locals say about their autumn plumage. from grey roads to nordic sky there is no hardness of any colours and the city dresses in the same granite light as the surrounding mountains. and this is washed with a palette of persistent rain that keeps everything in a damp and enveloped wet. the flavour of the city heightened by not seeing my kids while in bergen, exacerbating one of the consequences of divorce and the desire to work somewhere middling other.
the problem with reference movies via http also accounts for why my searchers movie only works for me. rather embarrassing admission really. i'm using a sysem of 80 movies within a movie (quicktime lets you have a parent movie which contains child movies, the child movies are only loaded if and when they're requested), and so what i did was have the entire file that is all my video material, then i built a series of quicktime reference movies to be my childmovies. this works great locally and even works via http for me, though funnily enough no one else. and that's because they're reference movies and so they're able to resolve the local pathway off my hard drive, which i never quite realised! so, now i need to redesign the entire thing, and after our experience with smil i think i'll move the video to a qtss server and use timecode to call up all the childmovies. since i'm going to have to start from scratch again what i should do is change films. the problem with using "the searchers" is that i need to use so much of the film that i can never publish it because of the copyright issues involved. it's a great project but it won't achieve much in showing ways of doing things if it can't be shown or published anywhere.
with our smil project of the odessa steps sequence from potemkin. we had the 6 minutes or so of the film as a single quicktime clip, and then we have smil scripts that pull out content based on timecode. but via http this doesn't work well since http can't send the end of the clip before it's sent all that goes before. so i thought reference movies would solve this. reference movies are parts of a whole quicktime clip that you can make which only refer to part of the parent clip. the advantage of this is that you can reuse your video as often as you like in a project without having to duplicate all of your video. and i had thought that you could make reference movies, and serve these via http (as long as the parent is still available for the actual data). but it turns out you can't. luckily i remembered that the old osx 10 server that is doing much for me in melbourne at the moment is actually running a quicktime streaming server, so we moved our content onto that and hey presto. it works. last time i'd looked at rtsp and qtss i was concerned about packet loss, since a rtsp stream only goes for as long as clip - no resent lost packets (not good for aesthetic objects like movies). but networks have improved enough that i can stream a 50kbs movie out of melbourne, into bergen, with trivial packet loss. brilliant.
we'll move the first prototype of this project off the test server and onto a production server shortly. it's looking very good and is going to suggest a lot of possibilities for other projects.
i'm still finishing the final editing of an essay (realism and the general economy of the link) for publication. it's an online essay which has gone through the most rigourous editing i've ever seen. i think, though i've lost count, that there have been four passes. now most of these have been very valuable (the first was brilliant) but the last two have been, well, "tends" should be "tend" here, and "tend" should be "tends" there (oh, and some obvious spelling erors). basically i decided that it is going into a journal run by rhetoric and good writin' teachers and so near enough ain't good enough so i had to keep making all these minor amendments. since it's all written in storyspace it's easy to publish it into a html template, which i had done, but now they've changed their template, so i've just spent quite a bit of time massaging the thing again.
but there's the rub. the template file was full of href errors (file://C:// paths...) which i've corrected, but even with those gone it has html in there that i would pretty much regard as unacceptable and any of my students would struggle to pass if they submitted such work (redundant font attributes, unneeded embedded tables, no dtd, no head attribute, and so on).
this i suppose puts into relief questions of literacy, about what constitutes what i regard as electronic literacy, and though while the editors want my visible expression to be as near as ideal as is possible, i care very strongly that the html ought to be appropriate and correct - i seem to be much more pedantic about 'correct' html than i am about 'correct' grammar. perhaps because i see language as pluralist, polyvalent and 'noisy' but code is, well code.
kurt gjerde and i have been working on a smil (structured multimedia instruction language) project. it's part of the media annotation tools we're making at intermedia:uib. we've encoded the odessa steps sequence from eisenstein's "battleship potemkin" with metadata, primarily to do with graphic information, and then provided a search page where you can request all the shots that meet our criteria. our smafe (smil metadata analysis film engine - the winter's can be dark here) tool then grabs all the bits that are relevant, provides a hit list, and can also play them all back for you - one after the other. this is a proof of concept prototype at the moment, but it appears to be mature and robust enough to do a lot with. the next step will probably be to port some part of my "searchers" project into it just to see how that goes, and then to add text and image fields into the smil scripts. at the moment it's just quicktime.
media culture is an australian (queensland) based media come cultural studies magazine that has developed a deserved reputation for the range and quality of its work. broad themes, several sections each issue.
have been attending a 2 day seminar (cyber.*) organised by jill walker and lisbeth klastrup at the uni. of bergen - more or less under aegis of the dept. of humanistic informatics. impressive line up, relaxed as i expect in bergen (and scandinavia), and a range of good brief presentations. spirited debate and discussion, some good ideas.
lisbeth klastrup on embedding storylike events within 'games' or online worlds so that they have the qualities of narrative but also the eventfulness that is perhaps the index of 'interactivity'. she then developed a typology of forms of storylike interactivity between parts of storyworlds, and from here suggested that there are ways of embedding narrative within event based worlds that don't interrupt the 'flow' of the narrative so much as support it. a bit like the distinction between between narrative and description in literature (and why isn't anyone particularly bothered by that in literature but apparently it gets in the way in online environments, perhaps it is something about the desire for 'nextness' in online stuff where the hesitation of description is an interference - after all someone like elmore leonard doesn't spend a lot of time on description...).
jesper juul, one of the best 'new' generation of scandinavian game theorists who is inventing and defining the field as he goes along. he looked at how games are describable formal structures, otherwise they couldn't be programmed (chess for instance) and that a computer can 'play' it. but the same doesn't apply to art, so that it is very hard to program a computer to write poetry, let alone interpret it. however games are not only formal structure, since they are fun, they allow or result in (or from?) fun, so there is some sort of movement from the objective to the subjective. this begs the question of what a game might be. games have rules, a goal, disequilibrium in outcomes, quantifiable rules (they need to be clear and consensual) and the game is 'safe' in relation to the real world (losing in monopoly doesn't mean you no longer have your home). not sure what to do with all this, and it doesn't seem to bring us any closer to various other things, but gameplay is what appears to be fundamental to the experience of playing. (this is not what a game is but is the quality of play that is attributed to playing per se.) and so what qualities or elements constitute gameplay? jesper described it as emergent, and then used a psychologically derived model of flow (familiar to climbers, musicians, etc) where the tension between boredom (ease) and anxiety (difficulty) produces a state where awareness of time dissolves and a focussed intensity predominates. (though this sets up interesting problems about the difference between flow and the zone, where the zone is more a feeling of inevitable excellence.)
ragnhild tronstad spoke of games as performative quests, that they are about performing the act, the quest, rather than arriving or finishing the quest, and that all games contain elements and moments that prolong the quest, and that this is such moments primary 'interpretive' value or point. (seems to be strong affiinities to what barthes' does in s/z with the code that i don't remember, but the one that functions not to progress the narrative but to defer the narrative.)
their own pr:
::25 Oct 2001 22:35::
curtin university, perth western australia, which has a bachelor of arts in internet studies....
curtin internet studies
their own pr:
this is just a sketch around work i've been doing for the last 9 months which is practical and theoretical. the vogs are video blogs and are based on low bit rate interactive online video.
like a blog they are personal, fragmentary, exploratory. more aphoristic than televisual or essayist. they are often explicitly juxtaposed to a textual commentary as one of the things i'm interested in is expanding the gap between video and text.
want a writing that is immanent to digital networked video, not imposed (espen).
i guess it could almost be called networked video (not networked tv!). on the practical side there is a manifesto, partly mock, partly serious, vogma.
some of the works are small sketches exploring the formal qualities of quicktime (for instance just text movies with href tracks), others get more complicated using multiple soundtracks and more complex visual structures (collins street, bergen beach).
the fracturing of the surface of the video, turning into parts, is something about endowing movement on the work by breaking into parts. it animates the thing. but it is also an increasing interest in the intersection of collage and montage that becomes very obvious problems when you start working with video as hypertext. (for it should be noted that all the issues that this video raises are just the same issues that hypertext once thought were raised for text;
the first two are trivial, but they should be noted so that new media theory doesn't need to reinvent the wheel to deal with these issues (perhaps we can call that the manovich fallacy?) since there is a long tradition of this in hypertext.
on the other hand there are some new problems - and here i mean problem in a positive and productive sense, they're not bad things that get in the way but productive knots that we should listen to, not feign to unravel or scoot another way and pretend we didn't notice it - that trying to write like this raises.
film has always been a belligerently temporal medium. a 30 minute film will always be a 30 minute film and this has been a source of cinema's authority (and narrative pleasure) for over a century. as a consequence of this occupation of time film pretty quickly worked out various systems of montage to produce canonical sequences for any invidual title (by canonical i simply mean a film can be put together in n ways from all the takes, outtakes, and coverage that is shot during the making of a film and so the completed film is fixed and becomes n-1 in its form which becomes canonical as once done this is the only form the film is 'available' in).
montage is the direct consequence of having a linear temporal medium that plays more or less from beginning to end. but in this form of video we may still have a temporal dimension (though it isn't necessary but i guess then it's no longer a film? mm. does a quicktime movie that doesn't have a timeline, what is that?) but canonical sequence is irrelevant. it could be user controlled, it could be a series of scripted possibilities, it could respond to external or stored variables. the point is that the primary teleological frame of 'cinema' is shifted and so there is, in principle, no reason to actually 'edit' but provide mechanisms of access. just like hypertext (the myth of all texts available).
but another thing that seems significant in digital screen based environments is the collage that i mentioned earlier. the layering of windows or objects in space. i think this is why i've started making the collage vogs and it is clear to me at least that it is composition in a sort of mixed collage and montage manner that is probably important for electronic work that wants to combine the temporal, visual, and invent an appropriately flat spatiality.
how should one write in such a medium? narrate? at the moment these works are self reflexive but i'm thinking of introducing a character within the vogs to see if that provides a ground for narrative.
and this also suggests the possibilities for a critical video writing. much like ulmer's mystory. film studies is an obvious candidate:
text is necessary, but exists in a complementary relation to the image/video, much like what foucault has described as the calligram in his essay on magritte. i think this is also important as pedagogically and academically it is no longer the priority of print and print literacy, but neither is it only the visual, but things that actively lie between. william blake is an excellent example, as is advertising.
summary and conclusion:
seeking an immanent writing with streaming video, so a rhetoric if you like, and then what and how is narrated, and what and how arguments are made. lies within the distance between time based image and writing
danish researcher and games designer currently based at the IT university of København who does great work on games, narrative, and how games aren't narrative. email him at email@example.com
association of internet researchers. organisation formed in 1999 that has rapidly become one of the major interdisciplinary research organisations/forums for all things internetty.
i had been storing urls for notes, particularly in the link directories, within the url attribute that is already an attribute of all notes. however this also has some other features and so i've created a new attribute and i'm using that to store urls, so that way i can still use url for the clever things that it does - from mark bernstein:
If a note has a URL and the note's value of ViewInBrowser is true, then opening the note will also cause the URL to appear in your preferred Web browser.
If a note has a URL and thew note's value of AutoFetch is true, then Ceres will replace the text of the note with information fetched from that URL. If the information is an RSS syndication file, Ceres will try to parse the information; the the information if a text file (or HTML file, or anything else), Ceres will simply store the information in the text of the note.
All these attributes are stored in the Net section of System Attributes.
while rereading ulmer's "teletheory" (Ulmer, Gregory. Teletheory: Grammatology in the Age of Video. New York: Routledge, 1989.) and his preliminary comments on mystory i was struck by how strongly this joins with blogs and blogging. the personal narrative, the endorsement and legitimating of the singular (the moment - entries time and date stamped; the voice as singular and personal rather than that more distant formal tone of 'proper' writing, multiple narrative lines - within the blog, between blogs, different ideas themes things happening). mystory and teletheory is more about video and television (a bit like is going on in the vogs), but blogging seems to have strongly produced this form of the mystory which is located between writing and networked cultures:
"A mystory is always specific to its composer, constituting a kind of personal periodic table of cognitive elements, representing one individual's intensive reserve. The best response to reading a mystory would be a desire to compose another one, for myself." [Preface, vii.]
the downloaded archive is now a bit out of date. (only took a day.) the latest ceres update seems to have fixed the date problem so the argument for the archive agents is now slightly different. this means that if you were on a non u.s. system the archive is probably empty (since it's a date that won't make sense to your system). also the template for the archive was formatted wrongly, just some html errors...
after a couple of people have asked how i build this vlog using ceres i've put together the ceres file, templates, and a readme in ceres about how it's build. you can download it from:
i'm sitting in heathrow waiting to board a flight to oslo (and thence to bergen). i'm coming up to 25 hours since my flight left melbourne and london's clear morning has now been swallowed by fog. much like how my head feels. :-) and now the flight is delayed an hour. technical fault. oh oh. this is not really the time you want to hear about technical fault's delaying the plane you're about to board, is it? this is when we all become stoic and rely on an absurd faith in the quotidian normalcy of sending pressurised tin cans at great velocity through the sky. and of bothering to note this in writing which becomes i guess the future imperfect act of faith, of itself.
while reading peter lunenfeld's "snap to grid" [Lunenfeld, Peter. Snap to Grid: A User's Guide to Digital Arts, Media, and Cultures. Boston: MIT Press, 2000.] i was reminded of the forgotten first excitement of word processing. a little while ago i gave a couple of lectures to some students studying literacy, about electronic literacy and such stuff, and as an example of how ubiqutious screens are i mentioned the example of word processing, how most of our writing now is done on a screen. but what i'd forgotten about is also just how fluid text on the screen is as it is so utterly taken for granted. but i remember the excitement of using my first word processor (word 1.0 on dos 2 or 3 point-something) and having lines of type automatically wrap, and pages just flow, all by themselves, as you did that escape p soemthing-other to get the dot matrix stamping away. a miracle. for i was a student wanting to write good essays and had often manually typed an essay only to find that i'd managed to miss a sentence (always at the top of a page) which would require retyping the entire page again. so much time spent on the mechanics of getting it to the page and not on writing. i've no idea how you would even teach students the leap that text on a screen in a gui achieves. except maybe get them to write an essay on a typewriter :-)
while doing some more sophisticated building in ceres i realised i could use the URL attribute of each note to store a url. this means i can now write my link directory with a change in its html template so that there is a link clickable link - before now it was just a text string and i couldn't see a simple way to make it clickable. but wait, there's more!
(our operators await your call...)
this now meant that the url wasn't visible in the note (if i left it in there it would appear twice on the page which just looked, well, like a bug), so i edited the default value of KeyAttributes (under textformat) in the info window for a note and added url as one of the key attributes. presto, the url is now listed at the top of each note window when its open, so i can see it when i'm in ceres. but wait, there's more!
(go on, make our operators happy!)
in the note view i can double click any of the listed KeyAttributes to edit them. now i'm not sure what happens if i try and edit things like the date the note is published, but it means i can add or amend the url without needing to go via the info window. that's nice.
ATTENTION, ATTENTION, calling all two of you who have linked to this blog - any links to any archived pages made before today are now dead. gone. deceased. the content is still there, just got a new home. because
i've solved my archiv and permalinks problem. now this will only make sense to those who use ceres, which is a small beta testing community to start with, but one day... well, it might prove useful. certainly handy for me so that in two weeks when i can't make head or tail of what i've done at least i might be able to figure it out backwards. because
as i was saying there was this problem. i realised that stuff was twice as hard because i was building stuff from two container notes, that's how i was doing the two column vogwerk and werdwurk stuff. rather than ditch all that (cos i like it) i moved all the notes into a single container, and then used keywords to nominate whether a note was for the vog or the werd column. then two agents grab stuff for each column, written in the last 28 days. the index page now uses those.
another agent grabs anything inside the container that holds all the notes (don't care about the vog or werd columns there) for a given month, and i make a list of the titles and dates on a page, but (and this was where i was stuck for yonks till i looked at the blog template that the cere's crew have provided) i could see how to write publish the title of the child notes in the month archive and link to their title but link to where they're actually being published (just a simple a href="pathway/">big changes</a> does it). and hey, got the system happenin.
somewhere round here i've moved from cutting edge to bleeding edge :-)
oh, and i just make a prototype for the vog column, and one for the werd column, that makes the keyword entry automatic, and the colour coding i want too.
well, i think i've worked out a bit of an archive system in here now, without using agents. the problem with agents is i end up with urls that are novel - they're created anew when a new agent is formed, which means each new agent (archive duration) generates new urls so the permalinks would be semi-permalinks.
anyway, the outcome of this is that any links anyone has made into content here is now broken. well, to werdwurk and vogwurk. not to the link directory.
another ceres' beta-tester, blogger, site designer and information architect. the blog's a treat, but wait, there's more! there's stuff about sound on the web, photography, and notes on hci and interface design.
net.art and sort of telematics-of-the-mind (not sure but seems to be a new age meets new media with a dash of synaethesia-as-inner-space). has some interesting content but after a quick perusal i can't tell if it's ironic or not. which if i were being in a smugly post conference cocktail question kind of mood would let me say something like being quintessentially postmodern, this ironic mode.
ah, turned off the mute on the powerbook. it isn't ironic. :-) love the rollover brain hemispheres. sort of net.art's jeff koon?
mark bernstein is proposing a gab fest on serious hypertext and storyspace. storyspace is something i've mentioned before and a product i rely on a lot, and it is my writing tool of choice for the academic hypertext essays i sometimes worry into shape, so a talk around issues of writing 'serious' hypertext, problems of academic legitimacy and acceptance, pedagogical models, hypertextual tropes, the relation of image and text that hypertext accommodates. well, i could go on. david kolb's the one to read about a lot of this stuff.
getting the hang of this ceres thing. it isn't just working out how to use it to collect and build structure from my notes, or how it works as a very elegant and powerful html content and publishing manager (sort of a pim that knows about what the hypertext systems community has written and wondered about for the last 20 years), but simply how to begin to write in here.
the note below on andrew murphie is when this happened. i wrote it, then realised that all those things needed to be in my link directory - you see i'm also using the vlog and ceres to maintain an annotated link directory of things that interest me. so instead of then adding new notes for the various things that andrew murphie's stuff is relevant to (deleuze and guattari, hypertext, interactive media, and on my list of people links) i just made an alias of the note, put the alias in one of the link categories, added the other keywords, and whacky do, the one note is published on the index page, and in 4 other link directories.
it is the ability to support this redundancy that at the moment makes ceres very useful. information when it becomes knowledge shifts contexts, and cere's agents are precisely this, little multiple context builders.
hang of this
andrew is a nsw new media theorist who's interests cross over quite a bit into my own. we caught up at a symposium in sydney (code and craft, about post digital cinema) a couple of years ago, and he used to have a lecture online on music as the major trope of hypertext that i've quoted quite a bit. anyway, in finishing off the essay i've been writing (on links, excess, and realism) for a u.s. journal there are a couple of dead earls.
my immediate response is to leave them dead. after all the reason bibliographical citations of web resources have a date of access is to acknowledge the volatility of this content. more than this though is the recognition that things pass in this medium, and that when we write in and with this medium this is a condition of our writing. goodness knows hundreds of my own pages have shifted their urls, disappeared, or simply had their content rather dramatically change.
the editors, however, see things differently. so in my search for andrew murphie i've found his very elegant new homepage which contains links to deleuze and guattari resources (thank you), as well as one of the best course introduction pages i think i've seen on the web. has a blog like utility and design as well as a conversational tone that, well, i think i'll adopt. :-)
melbourne based new media artist who combines an interest in popular culture with animation histories to produce visual and installation pieces.
content written in 2000 that i came across, a series of basic quicktime question and answers. pity that it doesn't appear to be maintained.
chris marker's 1962 la jetée is something that i have often struggled (always struggled) to write about. but it's the one film i will always show my students whether they're cinema or hypertext students. why?
it remains a brilliant example of the role of narrative, editing, and movement which the cinema provides. not of movement in the frame (as i've written elsewhere that is to confuse the representation of movement with genuine movement, and yes, this is bergson and deleuze) but of movement generated by the qualitative change produced by the change in relation between its parts, and the qualitative change of the whole that this expresses. it is still a film, though it is only images of stillness (not quite, but largely), and it still works perfectly obviously as a film, though movement only happens between and not in.
like what might happen between nodes in hypertext.
i also show it because it is a film that streams wonderfully (and would stream even better if my video copy didn't have that slight frame stutter or shudder that adds so much noise for compression codecs to deal with) and so helps show what can be done, now, with streaming media. if film makers were not so precious about full screen, full motion, and insisting on the entire screen as their right, then they might actually learn what to do in these environments. at least they might learn how to think in multiple window desktop environments. it's not a tv nor a cinema screen. shouldn't want to be.
and la jetée is a story of death and memory that still moves and thrills me, after many many viewings. a "was" or "once" calling into a "then" during the passage of "now".
Grassroots KM through blogging. km is knowledge management and this is an article about the relevance of using blogs to facilitate the flow of knowledge within an organisation. emphasises the role of storytelling for knowledge management and the value, ease and relevance of storytelling in blogging. points out that there is a difference between tacit and explicit knowledge. explicit is sort of empirical and easy to document, implicit is how we know how to do something, or how we know what we know, as opposed to what we know. stories are good for sharing, engaging with, and giving some form to implicit knowledge.
this is a lot like what goes on in problem based learning where the emphasis is on learning how to learn, and expressing what you've learnt, rather than learning 'things'. so stories are seen to be good mechanisms for getting tacit to tacit knowledge transfer. they bundle what what is implicit and allow that to be transferred to someone else, as opposed to explicit knowledge which might be memorised but tends to drop off.
so, its now post-wtc. the world has changed? perhaps. certainly if you're from the united states of america.
what have we learnt?
500,000 people massacred in rwanda (that's about 83:1)
atrocities in any other developing nation
'civil' acts of terrorism within a nation-state (ireland, germany, italy, united states, indonesia, phillipines, etc)
that the first world is much more willing, and able, to spend billions on a campaign of aggression that cannot succeed than on pursuing any other strategy.
all of this effort shows it really is a western. not because of young george's 'dead or alive', or 'crusade' (a state department that can't even teach its national leader the significance of terms - 'crusade' is as loaded for muslims as bin laden drawing a line in the sand and calling upon the example of the martyrs of the alamo for his terrorists), or 'cough him up' in an international call to surrender bin laden. that's just the sad index of the banality of american foreign policy and leadership when globalisation returns home. there is no longer a centre and a periphery, so the war is not 'there', and it is not against 'them'.
it is really a western because, as f.w. turner famously wrote many, many years ago, the popular american psyche is informed by the idea of the frontier and of action. this is the source of american pragmatism (america only makes pragmatic philosophers) and empiricism.
space reduced or equal to action. so the only imaginable response for this nation is to invent a frontier and to colonise it. difficulty, problems, that which appears intractable - all respond to action. and right now it can only be reaction.
this is a peculiarly american way. in europe thought, talk, argument is as legitimate as action. sometimes more legitimate. it certainly precedes action. thought and its forms of communicative engagement is the equal of action and does not require action by the state as its necessary outcome.
and so we have a western because the only possibility america can imagine is explicit pragmatic action. and a faith that this is legitimate, effective, and will work. it is not that bin laden will respond to anything but force, but that the apparatus that produces and supports such terrorism will.
quantity (of action) has been confused with quality (of ideology) because america sees no distinction between these things. this is the beauty and moral power of the great westerns. but they're stories, that's why we call them fiction.
i've recently realised that coffee is my index of cultural sophistication for a place. simple. so that when i was first in bergen, late '98, i think i found one place that actually made a latte that was, well, a latte. now i think there are 4 or 5. in a city of 250,000. now here in melbourne, a city that was once voted the worlds most liveable city (hey, it was an international vote and don't ask me how they decided it but i live here most of the time ok?), we have coffee. good coffee. we've had real coffee, from gaggia's, since 1956. now in the city of melbourne (what in america you'd call downtown) we have over 150 coffee shops, most of which make real coffee. in the inner city (nearby suburbs) we have a vibrant and famous cafe coffee culture, you simply don't survive here as a cafe if you don't or can't make a decent creme on your latte. and it must be good.
real coffee? i mean italian coffee. strong, dark, bitter, complex aromatics and dense on the palate. made under pressure and by people who know how to warm and not scald the milk.
and now there's a starbucks. (steve alessi, an italian american film academic from ucla, once told me how his wife came home and had decided it was time to go home (to italy) - the local starbucks had opened a drive through. i can see her point.) we have whole shopping strips that thrive on cafe's and coffee. crowded, noisy, colourful, good. you ask for a latte or a machiato and you know what you'll get. coffee is a culture, a practice, like wine, and a culture that doesn't understand this, well, you see why i use it as an index.
and so a starbucks. soft weak coffee in tutti frutti. it's right next to the nike lifestyle store. sometimes people confuse more with better.
decline and fall
the blurb: "Pageot is a utilty which generates embed and object Tags for QuickTime. It is only for MacOs."
grahame weinbren is someone who has been making interactive movies for some time. significant work, and he's written some intriguing and valuable essays.
series of workshops and links on writing interactive content for cinema and interactive cinema. michael joyce and jay bolter were involved in some of this.
rotterdam international film festival online 'interactive' cinema stream. though interactive generally means animation or streaming. one day, the revolution will come....
labelled as the first conference for studies in french cinema, which i guess means its by people who aren't french or in france?
study of film as an internet application (sofia), a lot of promise in the title but last time i looked not a lot of flesh on the bones.
one of the better online film projects come hypermediated essays.
city of sadness
australian film institute site. major australian exhibition, education, and research institution.
voice of the shuttle (pretty much the list of lists) compilation on film links on the web.
lots of cultural studies/theory lists hosted here, and one includes film theory. was active a few years ago but a rather quiet place these days.
email list, salon, reviews, commentary and essays. a film theory site and list that has become an exemplar for how to run and manage an academic email list and site.
a moderated announcements only email list, usually sent once a day. any exhibitions, call for papers, journal announcements and what not that vaguely relate to new media, media studies, hypertext, computing humanities, etc that come my way are sent out via this list. has an australian concentration but all i get goes out. the url has subscription info.
at the moment i have three students trying to write critical content in environments they are not familiar with. there are two undergraduates who are writing critical 'essays' in a web enabled moo (lingua) and one who is doing a phd which is something between an oral history, an analysis of globalisation and an examination of the application of new media in the humanities.
what is interesting, and unsurprising, is that each student has been doing a lot of research, analysis, and thinking, and this is being treated as a necessary act before they start 'writing'. this is sensible, and quite usual. however what each is overlooking, in their own way, is how the materiality of the medium of argument (or expression) also requires the same activity. that once they start 'writing' their arguments and the line of flight that is their thesis will deflect because of the material possibilities immanent within the technologies of writing employed.
this is common to us in writing, so that as we write new ideas may arise or insist themselves upon us, and our writing evolves and responds to this. this is not just ideas finding expression in some neutral ether but is a consequence of writing as a technology of inscription. a technology that these students are utterly immersed within, and which is largely invisible to them.
the same process happens in other writing technologies, whether they are html, hypertext, video, or DVD. literacy within these technologies is precisely this ability to write in, listen to, respond with, what is immanent within and to the specficity of that writing technology. by not writing, by thinking first and planning what form the argument needs (rhetorically but also materially) prejudges the forms available and risks coercing writing into forms that do not hear what the particular technology wishes to show.
ah, they (they being the ceres development team have fixed my child export problem, and now ceres is much closer to what it ought to be able to do. so right now this page is assembled from lots of different notes (each entry is an individual note), and each note is also exported as an individual .html file. this means the anchor attached to each note points to a permanent url and so i can in one stroke publish this site including its archive. so one of the really nifty/kewl things that ceres can do is be an extremely powerful writing and publishing tool. where writing means content and publishing means design and implementation of structure and visual representation.
ceres works a bit like css and .html. when you export you use template files that control structure and presentation in the browser (using html and of course css if you want). but when you write in ceres you're primarily using a simple text editor to write, making individual notes. where you place notes affects the hierarchy and structure of the published work (and of course the ceres-work-in-progress) but as you write you're concerned with writing, annotating, noting, thinking, expressing. the emphasis is on the content. publication and design happens somewhere else.
this is also the strength of storyspace where design and the interface quickly disappear so that writing and hypertext as a writing process are foregrounded. this is unlike most html based writing systems where your time is spent being a designer and the interfaces employed get in the way of simply writing and structure (and yes, i think link structure is as important in writing hypertext as the words written).
yay and kewl
resource center for cyberculture studies, david silver looks after this. now has a good collection of book reviews, and is now building itself up as a resource site for cyberculture content - links, resources, conference info.
australian multimedia metadata project, uses rdf, xml, and mpeg 7 standards. international leader in the field.
portugese new media site. they are running a festival in 2001 and are one of the european cities of culture in 2001 (i think its an eu thing, bergen was one in 2000). there's also a conference with a line up of major theorists (mulvey, hayles, shaviro....)
new media festival site, this is for the 2002 festival (feb. 2002) so got no idea how permanent it is. it is attached to the uni. of michigan in the states.
have removed the agent that publishes links to the last couple of days added links. i ran into the usual problem in ceres, where if i publish the children of a note elsewhere then the children of that note cannot be exported indvidually as html files. thought childlinks would get round it but at the moment childlinks does not insert anything into my pages for me. this is the frustration of being a beta tester when you actually want to make finished stuff with the software :-)
have added a new agent to ceres so that new links added to my link directories in the last two days are gathered and linked to this index page. at the moment the links are to the content in the agent directory, which means that in 2 days they'll actually have disappeared - i need to work out how to write an automatic link to their permanent directory.
software house that has some very good SMIL editing tools for mac and pc. also provides a lot of resources about SMIL authoring.
Currents in Electronic Literacy, a hypertext and pedagogy journal published online via the Computers and Writing Research Lab in Texas. Usually publishes stuff from the U.S. computers and writing community but seems to be wanting to broaden its range and also to explore some alternative academic genres. Sticklers for grammar - my loose writing has been mauled by their editors for some time :-)
vogs are good. reasonably quick, low budget interactive cinema. but they still need time. not just to make but to think about, otherwise it's just party tricks and vacuity. or net.art.