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akademic werdsakademic werds
written and published in Tinderbox 1.2.3
new portal site that collects information related to quicktime. has user forums, tutorials, product reviews etc.
apple training site. they do various courses in things like os x admin but also have a 3 day course on media streaming. currently u.s. only but it is supposed to be moving to europe, asia, and australia.
my flight from oslo to london is overbooked so they have invited those interested to travel via stockholm with a bonus of $400 that you can redeem for travel or $200 cash on arrival in london. would be sort of fun, say i got to visit stockholm, but it must be 90 minutes in completely the wrong direction (anyway it won't give me time for my connecting flight to australia). it is a funny economy when they do this, though i understand flights are regularly overbooked. if it was $400 cash, and they mean us dollars, then that would be interesting. but looking around it is clear most are business travellers not paying for their tickets so arriving 2 hours later with all that extra travel really isn't worth $200.
an australian computing humanities project. from their own blurb:
The site includes an online introductory course in Latin Paleography, an electronic edition of Edmer's Life of Saint Wilfrid, and a second edition of The Exeter Anthology of Old English Poetry with full digital facsimile.
the anxious flyer: would you actually want to know this?
or more accurately, would you want to be on this flight?
are campagnolo cycling gloves any good? i own a pair of black long fingered ones with velcro wrist straps that have some sort of rubber like stuff on the fingers. they're rubbish. they cost a fortune, when they're wet they are freezing, and one seam is already splitting and they have been used for a total of 3 months. i haven't even fallen off while wearing them so the split seam is not because they protected my hands in a fall. if the weather is dry they are ok, but if it is cold and wet, don't bother.
with the way in which google works it is now perfectly reasonable to use the www (in particular blogs) as 100% public notice or bulletin boards. what i mean by this is not how a blog lets you write what you like and some audience (more or less minor) forms, but how you can write something quite specific knowing that one day someone will want that information and will ask google just that question. like this:
is there wireless internet access at oslo airport? or is there wireless internet access at gardermoen? well, yes there is. the entire airport has a wlan or wireless network which gives you free access to the airport web site. if you want internet access then you can purchase 1, 2, or 4 hours of access via the web site using your credit card. as of today the costs are nok70, nok110, and nok180 respectively.
if you need to borrow electricity there are quite a few power points in the central cafe (immediately opposite the security gates where they scan your bags and stuff). look for the long wooden island bench thing that has tubs of plastic plants and seats on either side. behind the seats that face outwards you'll find some powerpoints. at the same cafe there are also some on the side of some of the low wooden pillars next to some of the tables.
instructions are available at http://www.osl.no/english/index.asp?fil_id=168 and the log in screen is available at http://www.osl.no/wlan/english/index.asp?showDisx=I+accept
wireless at oslo airport
is a term that i think mark amerika uses, or perhaps it is nomadic narrative? either way, i'm sitting in oslo airport with a 5 hour wait and have discovered a subscription wireless service. not cheap nok70 for an hour or nok110 for 2, but i'll probably pay for at least an hour after i've done some work to send some email and stuff.
this is not so much the world of ubiquitous computing, which to me would be, is, more about a world infested by processors (the fridge, phone, fax, car) but rather ubiqituious writing. i sit in one of the most beautiful airports i've ever seen (just to my right above me is the string sculpture that is like a northern lights series of optical effects as you walk by it. the strings are soft colours close together and suspended in space so they shimmer and vibrate visually), where the motifs are air and wings. enormous glass windows and walls, with all the columns and architectural features being wings, right up to the design of the airport with internal flights down one curved wing, and international flights down the other curved wing.
so, nomadic writing. i sit here with a lap top which is my production studio, and the point from which i publish content to my server. and now, just like mobile telephony, the network follows me, not vice versa. writing as a social and public practice now inserts itself into the world in dramatically different ways, for this is not the individual traveller penning a postcard home, nor the business person making notes on the margins of some spreadsheet before them. it is a writing that is always, courtesyof the blog, public, and its location is now public.
public in quite an interesting way too. there's a cultural studies come association of internet researchers type of paper in this. because the sorts of places that currently provide wireless are large public but anonymous institutional spaces. airports, railway stations, hotels, cafes. they are those modern city locations where distinctions between the public and the private get muted so that we all witness or overhear the personal yet are required to act in a manner that preserves the etiquette of the personal. mobile phones have become the epitomy of this.
so i sit here at a table writing, enjoying the view (a truck called the elephant which is sort of what in australia we'd call a cherry picker is driving around the wings of a jet spraying something all over them, it might be some sort of low end antiicing, or maybe it is because the plane is in the shade of the terminal and it is frosty over there?) and writing on my laptop in a way that is both private (writing like this is always private) but also public. i display my writing as an act as i write (something that has taken me a little while to get used on laptops, for a long time i just felt affectactious if i pulled out my laptop and started writing any old place) and it is a writing that, like so much of the writing i do, is in fact intended to be public.
in fact, thinking about it, i don't think i ever use my computer to write things that are not intended to be public in some manner. that is a difference.
i leave bergen thursday morning to fly back to melbourne. been here for a very busy 3 months where as is probably usual in an underresourced research centre most of my time seems to have been trying to make funding applications and proposals for things that may, or may not, fly. regardless. right now i'm desperately trying to finish the things that need finishing, pack, shop. strung out and lost.
excellent general introduction to user centred web design. simple explanations, simple suggestions, simple descriptions. useful for teaching. (i think i need to start using tinderbox to compile and manage teaching resources out there.)
this is an example of a walkthrough from an interactive fiction. i got this from noah wardrip-fruin and nick montfort. this is something that would be good to get students to do with hypertext fiction, and interactive desktop (say on DVD) cinema....
this is the paper I presented at the Association of Internet Researchers annual conference, Maastricht, October 2002. below is the abstract and you can download the powerpoint presentation.
Internet desktop video is constrained by conservative notions of distribution, authorship, and genre. Content is developed and delivered utilising traditional broadcasting paradigms and our browsers become little more than de facto television receivers.
This has hindered the development of novel critical and creative fiction, nonfiction, and experimental work in interactive networked video and the opportunity that internet video offers for media rich interactivity remains largely unacknowledged and undeveloped.
This paper will describe a practice based research project that explores viable forms of interactive internet based video. This work insists on interactivity as an event within the active video frame as the preliminary requirement for developing an interactive video vernacular, a videoériture. Significant insights into the issues arising from the development of a genuinely interactive video practice will be explored and implications for further research and development in critical, pedagogical and aesthetic practice, will be outlined.
videocriture: interactive vernaculars
a vog that i have designed with content that clare stewart shot. not sure what the titles or credits ought to be here. clare is the director of the video, i'm interactive director? i've written an introduction for this on the above page which teases out some of the implications of the work. it is broad band - the original i only usually present via cdrom, but there is a copy you download and run locally. in many respects i think this is a profound work in its implications for a different cinematic temporality. this is something i've written about in more detail in my essay on softvideo for markku and raine, coming soon.
an email that has recently arrived:
OPENChannel warmly invites you to the launch of its Short Film Streaming Project, an innovative new media initiative developed in association with Screen Development Australia and Screen Hub. You are invited to come along and view the first fantastic short films to be streamed live on the web at the Screen Hub www.screenhub.com.au. The Streaming Project will create a new form of exhibition for short films, making them available on demand to anyone with a computer and an internet connection.
yeah, of course this is a great opportunity for the distribution of work (though really, if it is only about putting stuff online and some bandwidth then just contact someone like jeremy hunsinger at virginia tech, he's got a ton of space, a ton of bandwidth, and will provide both for free for decent projects), but can we please just get over it and start making content for the web? for instance this:
Playing Field is an international co-production of the Netherlands Media Art Institute (NIM) in Amsterdam, IMG in Mainz and Mecad in Barcelona, aimed at the creation of streaming media art especially for Internet.
new media, old paradigms. i am slowly learning that to be recognised as innovative in this medium it is crucial to use old paradigms.
yesterday's discussion of internet access is even more grim. there is no network, the computers that i couldn't use are actually using dial up modem connections. apparently only the really really big auditorium, with windowed wings for the translators, has ethernet. lordy lordy.
one. i had 15 minutes to present my work. outcome. we all had fun but you can't outline 2 years of research practice in 15 minutes. this might be obvious, but it is reassuring since apparently i have progressed during these 2 years.
espen aarseth's paper yesterday remains the intellectual highlight thus far. bold, articulate, intelligent. a lot of the papers here seem to be very much reports and those that have the potential for difficult theoretical questions (for instance frank schaap's paper on the virtual and a methodology of working that is less concerned with representation than performance as helping problematise or dissolve the virtual - real distinction) just can't do it in the available time. though perhaps if we revisit the genre so that a third of the time is not spent contextualising via prior work.
the days are too long. yesterday was 9am to 7pm of sessions, 15 minute coffee breaks with an hour for lunch. i know the netherlands is a protestant country but really. it is 1610 on the second day and every one is just exhausted, yet when this finishes at 1700 there is supposed to be a 'general assembly' of the aoir until 1830 then conference dinner at 2000, which is at a venue 45 minutes walk away...
my impression is that the majority of work presented is from ethnography, sociology, etc. the theoretical and critical work i'm interested in is quite marginal to the general conference as far as i can see.
it is a good conference, there are good people and it is a good community.
aoir day .85
well, its 1616 on the first day of aoir 2002. the session on games has been the intellectual highlight to date. the session i just attended on education was, like most of the education sessions i go to at these sorts of conferences, like treacle (sweet, slow, something sticky that you get stuck in). one day i'll hear someone talking about the need for new knowledge constructs when we use technology in education. then i'll pay attention. but to hear 'educators' say that their teachers need training in information literacy, well, no. their teachings need teaching (not training, the difference is telling) in knowledge management, farming, or literacy - not information. it is all about the movement of information into knowledge. that's what information literacy is, and using the network is. but to call it information literacy is to think it is a check list and not a contextual process.
biggest criticism. one room with 6 g4s so that delegates can check email, burn a cd, etc. ask if i can take the ethernet cable out of a g4 to connect to my apple laptop and the answer is a very blunt refusal. it also appears that each of the lampshade imacs used for presentations is not networked. i am tired of people who talk and show networks that live on hard drives. it is part of the denial of the real materiality conditions of the network.
i am in a plenary session on economics and the net, and there really is someone snoring nearby.
aoir day .75
am in the netherlands for the aoir conference. i'm presenting a paper on videocriture on tuesday. turns out one of the other people in my session is a very good friend of mine, lisbeth klastrup!
maastricht turns out to be a small city (about 110,000 people), intimate. the centre of town is all churches, squares and wonderful lanes lined with a stunning variety of designer clothes, designer wear, and speciality shops. everything is narrow and small which is always a shock for those of us growing up in various parts of the new world. a lot of dog poo on some of the paths which is just plain dirty. lots of bicycles (of course, it is the netherlands). lots of people walking the lanes on a cool sunday autumn window shopping.
this for a moment of nationalism. i used to be a bike racer. that's bicycle's not motor bikes. back in the olden days when i was a competitive cyclist australia was only just beginning to become good. just. but on the road we were no where apart from the odd exceptional individual (such as phil anderson). right now i am watching the world road cycling championships. about an hour to go. 2 australians are among the legitmate and serious favourites to win (they were both interviewed on eurosport the other night). there is currently 3 riders away who are about to be swallowed by the bunch, which the italians have been controlling. but now there are 6 australians there, keeping an eye on things. that australians would know how to ride as a team, could ride as a team, and would be one of the major national teams at a world road titles was foolish fantasy 20 years ago. (the dutch commentator just listed the 6 australian's individually, apparently to indicate the depth.) it is impressive and yes i'm proud (no idea why it has a thing to do with me, but i grew up idolising european road cycling). if only we could pursue excellence in research and education in the same manner. (i am not one of those who think success in sport comes at the cost of success in academic excellence - witness europe. rather it shows that a small nation can achieve extraordinary outcomes when excellence is fully funded. look at norway at last year's winter olympics.)
in the last 2 km if it comes down to a bunch sprint (very likely) i expect an italian and australian train. awesome.
voxvog is a new vog that continues the recent interest in vogs without borders (the earlier one is bergen clouds). i wanted a vog that returned to some of the original theme of developing the vogs - video blogs, so it is a conversation to camera fromme about my week, what i've been up to, and just a simple sort of commentary. it isn't meant to be fiction, nor sophisticated, it is meant to be more like a video message you might leave or send friends to let you know what you've been up to. of course by itself that isn't a vog, so i've added four sprites in the video which control each of the top panels which load still images as child movies.
three major things being explored here.
one is the pixellation of the image which is a result of very heavy compression. of course this means it actually gets delivered and plays pretty damn happily across domestic (first world) bandwidth. it is also a continuation of my earlier interests in tiling the video, but now rather than slicing it up i get a similar though different effect through the video artefacts that are now visible as the 16 pixel blocks. this is part of my general applied research into the relation of montage and collage in digital video, in particular as an immanent desktop aesthetic (what i think lev manovich mistakenly describes as spatial montage) and as a continuation of deleuze's theorisation of montage and the frame as qualitative sets. this is also expressed by the 4 child movies with the still images that load based on user activity.
the second is the an experiment in complexity. the 4 child movies all load from the same collection of stills, and pretty much load them in the same order. there are 70 stills in all. the sprites simply count how often the mouse enters each sprite track and uses that to load a specific still image. now i could have scripted this so that the child movies were randomised, or some script that performs calculations using variables of some sort, but this seemed to me to introduce unnecessary complexity. already in this example we have a continuous video with 4 child tracks which load 1 of 70 possible images. each child track loads 1 of 70 possible images, which i thin k means there are 70 x 70 x 70 x70 possible combinations of images. that's more than enough complexity and pattern making, scripting complexity in this case removes readerly intervention (since it becomes too hard to discern any pattern), and just becomes arbitrary. though if i do something like this again i might use the same list of images for each child movie track but in different orders, this is too regular for me.
the third is a continuation of movies that aren't really movies, though they rely on video and quicktime. this obviously has video but the use of the stills and the lack of a 'frame' seems an intriguing question to ask, even if it goes nowhere. this is a film who's frame is the computer desktop, not the black not edge of the cinema nor the veneered plastic of the television. but the frame here is not the edge of the computer screen, the video is a bit more embedded in the screen than that, more a part of the ecology of the screen. would be even better if i could show it without the application menu showing, though this effect is easily achieved in this (and bergen clouds) by playing the movie then clicking outside the movie in the finder. not sure if this is possible on windows (probably not).
i need to think about this more, but it is in some respects an unframed movie and a movie that 'naturally' inhabits the desktop (i mean it just couldn't inhabit tv or a cinema screen, the logic precludes this). this has some significant possibilities theoretically, particularly in relation to the contextually necessary nature of enframing in picture making (just think of derrida's work on the frame here, not to mention deleuze's writing on the frame and the shot in cinema one).
in my recent effort to find a more efficient email client i had thought that mailsmith was the one, lean mean email client, brilliant filtering and very complex text handling stuff. but alas no. it just doesn't have the speed. scrolling, deleting, it is just too slow on my tibook (which isn't exactly in the slouch category of computing). eudora does it tons faster. had a quick look at entourage. it looked good, but i couldn't find stationery anywhere, and that's something that when i need it, i really need it and it saves a heap of work. so it looks like i'm returning to eudora...
what i have learnt is that i have too many mail boxes, and that i need to streamline that to be more effective i using my email, as well as some basic filters for the incoming mail.
email part something
to fly from bergen to volda i travel with the regional airline wideroe. the route is bergen to sogndal, then change planes to volda. the first leg takes 25 minutes (a few weeks ago when jill and i went to flam by train then boat to bergen we went near to sogndal, going that way it would be about 5 hours). there were 5 passengers.
sogndal is on the sognfjord. norway's longest (and deepest as the tourist literature likes to remind you) and it is impressive. the mountains rise up it must be 1200 or 1400 metres straight from the water. so towns are always nestled into tiny little tributaries of flatness by the water. i wondered where they would find room for an airport.
needn't have bothered. it was on top of the moutain. an airport for the buffs, and i imagine expensive video shoots you might make of planes for potential customers. the landing strip must be at 1000 metres or so. we flew past above and alongside the strip, then descended banking over the sognfjord coming into the airport. underneath water a long way down, then cliff, then the mountain top. taking off is the same. you rise above the earth then watch it fall 1000 metres into fjord below you. you could charge extra just for the experience it really is that spectacular. (someone needs to show this place to american location managers.)
i'm reminded of the book that was sitting on torill's desk in her office, marc auge's book about non places. i'm waiting at the airport. i want to call it volda airport except it lies half way between volda and østroy so is their mutual airport. the flight is delayed by at least 30 minutes. so the non place that is the airport gets exacerbated by the delay which can only be endured.
out the window, as i write, are a series of enormous (i think on the map i found they are 1400m above sea level) peaks, ridges and possibly a plateau. from the same map i know that they form this immensely knobbed lump between two arms of a fjord which volda on one side, and østroy on the other.
most the mountains are above the tree line, and from here appear as ruddy cheeked scree slopes and very steep cols. in winter i imagine ice climbing.
if a bit smaller volda could be a perfect location for one of those northern exposure style tv dramas. in the taxi to the airport we stopped in the centre of town, by the boat ferry, to pick up the second passenger who needed to get to the airport. the driver worked out the split fare (mine was 7 kroner more since i was picked up first). in town as we walked to the college there was one car we needed to get off the road for. though it helped that we didn't walk along the one main road.
i met the dean of the department, who was lying on his back on one of the many couches in the staff room. we had an excellent talk about teaching media production and new media teaching, i saw some more of the facilities they have, and then got lunch in the new campus building.
first impressions. intimate community. not quite like the american college town because in town you knew the elderly people were not retired campus folk (as might happen in the united states). it was more two cultures. friendly, provincial in a positive
::10 Oct 2002 17:15::
is a term i want to use. it has been used already, but it seems to be used in the context of broadcasting on the way to narrowcasting.
broadcasting, we all know what that is, single transmission source, multiple clients that consume. this is the model of existing media conglomerates when they come to networked environments that are distributed networks (the standard category mistake of all networks are the same).
narrowcasting. where you customise content from your content reservoir for an audience of one. this is though still a model of single transmission source, now you just have a single client that consumes. of course the object is to get lots of individual clients.
middlecasting. i'd like to think of middlecasting as what happens when we use a distributed (like the Internet) network for communication. middlecasting is peer to peer communication. this is sms, email, blogging, vogs, and probably html in general. it is middlecasting because it falls between broad and narrowcasting. it is not trying to be a newspaper, radio, or tv station. neither is it writing for a tailored audience of one. it is using a distributed network so that peers communicate. this implies reciprocity and so i'd suggest a more sophisticated communicative model (sophisticated in the sense that it acknowledges communication as social praxis).
and i guess i think the most viable genres/forms in distributed networks are middlecast. my mobile phone defaults to wap as a one touch function. it is 2 years old. same phone current model defaults to sms as a one touch function. wap makes me a consumer, in a sort of strange narrowcast broadcast model, sms is middlecasting because it is peer to peer.
this is what i do pedagogically.
new media = new pedagogies = new media (academic) genres
so the creative, interesting, puzzling, engaging and playful problem is what new pedagogies are required or need to be appropriated, and what new academic genres do we need/invent/create?
(then of course how do you teach these, assess these, etc.)
this is the equation because using new media to teach old genres doesn't really work, and certainly misses the point of new media. new media does allow new forms of academic knowledge production and expression. just like the printing press before it. so i'm much more interested in looking forward than back. most university students, in my experience, are more interested in looking back. as are most university staff. it is one of the ways you gain membership.
visiting volda college. 4 or 5 c outside eggblue northern sky untreed grand mountains. walk from college to torill's i can see the ski lift on the town run. at torill's sit by large windows in the lounge looking across down the fjord, peaks in the background.
car ferry crosses each twenty minutes. or so. sort of metronome you need.
i'm sure there must be ferocious north sea winds whipping down this fjord. i'm sure there must be iced bitter days of ravenous cold. today it is benign, beautiful and indolent.
riaa sue radio stations. a pointed and useful hoax.
hoaxing, sarcasm and politics
heard back today, and not getting anything. which is a bit of a problem, not just for the meeting but i was planning on applying through the same agency for network funding to help with the network.
unfortunately they seem to have a policy with this sort of low level funding of not offering or providing any information whatsoever on why no funding is being given. i find this rather odd, and difficult to deal with since you are left with absolutely no idea if the problem was with your application (and then which bit), or perhaps there were lots of applications and ours was just too far down the list, or ...? it is not a very good model for nurturing or supporting research networks.
the planning meeting is happening, since i've got over 20 people coming from denmark, sweden, finland and norway, from industry, research, and the arts.
here in the vlog. been busy finishing an essay for one of raine koskimaa and markku eskelinen's cybertext yearbook anthology. it is about what i'm calling softvideo, which is using diane balestri's distinction between hard and soft copy (so beloved of early literary hypertext theory) to think about digital video. i criticise most digital video tools as being hard copy (hard video) tools and then discuss a softvideo tool and some of the differences it suggests for a (computer) screen based digital practice. so it's been quite a flurry of words, particularly once i got through the recent confusion and prevarication about what i was writing and why. got there it seems.
what are child movies? well, in hypertext theory there is a common technical terminology which uses genograms to describe hypertext structures. so a node that contains other nodes is a parent, the internal nodes are it's children, and so of course you get grandparents, siblings, and the like. though since nodes appear to be gender neutral and don't breed there are no aunts and uncles. pity.
quicktime supports something similar, and a similar terminology is used. a quicktime movie can be a parent movie and that parent movie can contain child movies. this is also called movie in a movie (or miam). now a child movie is not where you simply embed other video or videos into a movie. that's just video collage.
a child movie is a separate (and so independent, like kids tend to be) file that lives and is located externally to the parent movie and is loaded by the parent movie. this means, for example, that you can write a quicktime movie that may contain 3 child movies tracks (remembering that quicktime is a track based architecture) that are loaded on demand by the parent movie. however, child movie tracks can do a bit more than this.
a child movie track can contain a list of objects that quicktime can display. for instance your child movie track may contain a list of 10 (or 100) separate videos, or audio files, or jpegs, or any other file format that quicktime can read. this means in practical terms that you can write a small quicktime movie with complex scripting that loads all of its content on demand (as your scripts call them in). while obviously being a very efficient way to manage media rich writing and delivery, it also just means that if you think hypertextually (multilinearily) about this, then you can write a small movie that has hours of content behind it. your readers don't have to download hours, only what they request as they 'read' your interactive movie is delivered to them, the rest remains mute on the server.
in other words your quicktime movie works more like a browser and your scripting and authoring more like links on a web page. your user doesn't have to read everypage on your site, nor do they have to download every page on your site just in case they might (the traditional model for interactive electronic media) need to read one of them. the parts are delivered on demand.
above is a link to the introduction to an essay that i had to reply to. below is my reply. there is a longer version of the essay which i looked at when it was first sent out, but i put it in the 'here's another new media practitioner who thinks hypertext = 2 or 3 books written over 10 years ago' but when the revised intro turned up in the in tray it just hit too many buttons. i'm all for real criticism, but this is not it.
But hypermedia, understood as the totality of computers that are linked through the internet, on a formal level promote an authoritative shift in new media objects such as the Communicator: the software comes with an HTML (hypertext mark-up language) editor-unlike old media, reading and manipulating a Website now become two equal choices in the 'file' menu. This ability to manipulate data (and to redistribute the manipulated data) of computer programs such as the Communicator suite, finally, might constitute a socio-political function of hypermedia that contributed to the success of the World Wide Web
it is in fact hypertext theory that has the terminology for this, and the distinction you describe is the distinction between exploratory and constructive hypertext. the reason this was developed via a browser in html is because the people who developed such tools were/are familiar with the literature on hypertext, in particular that associated with the ACM hypertext conferences (which is to hypertext theory what Ars Electronica or ISEA is to new media art). in other words the desire to be able to make constructive hypertexts is a desire (idealised at that) that was developed by, nurtured in and maintained by hypertext theorists. the person who first defined the distinction between constructive and exploratory hypertexts, btw, is michael joyce, the same one who wrote afternoon: a story.
this is also one of the major strengths of a system like storyspace, where it is possible (though David Kolb is nearly the only theorist who has done this) to distribute your work as a constructive hypertext. that means any reader can add/annotate/delete content. that this has not happened is more to do with the ideology of writing and academic culture and its failure, rather than hypertext per se.
i'd also suggest there are major problems with your characterisation of "victory garden" but all i'll point out is that (and again it is unclear how you read it) that the major mode of storyspace based hyperfiction and hypernonfiction is musical. this is not easy to explain, but they only 'work' as narratives through being reread, that is because of their use of conditional links, etc, you actually have to read them at least twice, usually more, for them to work as parts will remain unavailable in a single reading. (i teach these texts, if students read them once for 40 minutes they hate them, read them 3 x 20 minutes and they really start to enjoy them, particularly when they realise that something like afternoon is more like a sampling and mixing engine rather than a novel, though sometimes i characterise their reading as more like possible jazz improvisations.) now some people find this crazy, but only if you rely on the context of the novel. poems often require multiple readings, and more to the point music thrives on repetition. these works are the same. just because you don't like it, doesn't mean it doesn't work (and hypertext theory has very strongly theorised repetition in a way that makes most recent new media theory on looping appear, well, insular).
finally, i'd point out that it is largely the hypertext community that is informing most of the recent critical research into blogs and wikis, both forms that very strongly owe their parentage to hypertext research. given the strength of these formats i think it is an ambitious argument to suggest that hypertext is in decline. though of course the success of these genres does support your thesis that the success of the WWW is largely socio-cultural, since both blogs and wikis are primarily about distributed networked writing rather than consumption.
and yes, i am tired of academic writing that feels the need to start by inventing a straw man argument. the ideas on hci are good and interesting, have faith in those.
+ lecturer in new media and cinema studies
mr manovich comes to town
i am not in volda.
i missed the plane.
torill was wonderful about it and i am going there next week.
in retrospect this is a good thing, a day writing from home has made a huge difference. i don't want this or that sort of stress again.
i'm currently struggling to write a very overdue essay promised to a good friend of mine. the topic i've chosen (if you choose to accept this mission) is what i'm calling softvideo. it is taking balestri's well known idea of hard and soft copy in relation to hypertext, and applying it to thinking about writing in video. it is a rather useful way to characterise the tools that are used for digital video, but it also has implications for what it might mean to write with, rather than for, video. video as hypertextual method.
it isn't that i don't have ideas, but i'm caught between this add academic come creative space. the work that does a great job of exploring this idea are my own vogs, in fact i don't know much other work (apart from other voggers) that does this. but as an academic i seem to be having a very hard time writing as an academic about my own creative theoretical practice.
on the other hand i have the vanity to cite my own academic work all the time (hell, no one else does :-) ), so i find it odd that i struggle with this. and then on the other hand (not sure how many arms i'm up to yet) i read artists essays all the time that largely concentrate on their own work.
so i think (on that other hand) i'm sort of having a hard time figuring out which hat i'm wanting to write under, why there is a question of which hat anyway, how to make the 2 hats be 1 hat, and how to write intelligently what i usually talk about in an evangelical screen and qt assisted sort of way. sheesh, at least the neurones seem to be firing.
i've written two new vogs (well 4, but 1 is a trilogy i guess). there is the canberra trilogy, and there is bergen clouds. i've made some notes about each of the works on their respective pages, hope to add more here soon - rather rushed since in the morning i get to visit torill in volda and talk about this sort of work to her students!