Fifteen minutes of re-make digression, perhaps best–liveliest–between 9 minutes and his “tidying up” of Jackson Pollock around 12:20.
Today I read Ed Folsom’s PMLA article, “Database as Genre: The Epic Transformation of Archives,” and the better part of the five responses to the piece and even Folsom’s response to the responses. I won’t attempt a full summary in this entry, but I wanted to note a few initial impressions and lingering questions.
The lead article discusses Folsom’s efforts to develop The Walt Whitman Archive, a growing digital collection of Whitman’s works–works not easily or summarily identifiable as narrative or as poetry. Folsom characterizes Whitman as a forerunner, noting that “[f]or him, the works was a kind of preelectronic database, and his notebooks and notes are full of lists of particulars–sights and sounds and names and activities–that he dutifully enters into the record” (1574). The identification of Whitman as an “early practitioner…of the database genre” (1575) doesn’t, as far as I can tell, explain why his work should be any more appropriate for digitization and databased setup than any other, but it does give us the background on Folsom’s insights into database as genre.
Linda S., and John R. Hayes. "Problem-Solving Strategies and the Writing
Process." College English 39.4 (Dec. 1977):
Geoffrey. "Box-Logic."Writing New Media: Theory and Applications for Expanding
the Teaching of Composition. Logan: Utah State UP, 2004.
Collin Gifford. "Making Room, Writing Hypertext." JAC
19.2 (Spring 1999): 253-68.
I’m just eight pages into Gunther Kress’ Literacy in the New Media Age.
I’ve read the chunk before the preface (what is this thing, a superpreface, an
antepreface, pre-preface?): "The Futures of Literacy: Modes, Logics and
Affordances." This much is clear: image and text function according to
distinctive logics. With text, word follows word. It’s sequentiality
involves a distinctive commitment, both for writers and readers, to paths
and naming. Text inheres time, whereas image inheres space, Kress tells
us. Image involves a kind of commitment to location, and while Kress hints at
the importance of perceptual paths for readers of images, that point doesn’t get
extended early on. Next, Kress discusses media and affordances; these few
lines are a sample of what he’s got going here:
1. Multimodality is made easy, usual, ‘natural,’ by these technologies. (5)
2. The new technologies have changed unidirectionality into bidirectionality.
(6) (i.e. with the email, you can send and receive)
3. Writing is becoming ‘assembling according to designs’ in ways which are
overt, and much more far-reaching, than they were previously. (6)
4. The affordances and the organisations of the screen are coming to (re)shape
the organisation of the page. (6)
5. It is possible to see writing becoming subordinated to the logic of the
visual in many or all of its uses. (7)