{"id":7076,"date":"2006-11-11T23:00:36","date_gmt":"2006-11-11T23:00:36","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2006\/11\/11\/wysocki-impossi\/"},"modified":"2006-11-11T23:00:36","modified_gmt":"2006-11-11T23:00:36","slug":"wysocki-impossi","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2006\/11\/11\/wysocki-impossi\/","title":{"rendered":"Wysocki, “Impossibly Distinct”"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 2<\/span> mins<\/span><\/span>\n

Wysocki, Anne.
\n "Impossibly Distinct: On Form\/Content and Word\/Image in Two Pieces
\n of Computer-based Interactive Media." Computers and Composition<\/i>
\n 18 (2001) 137-162.<\/p>\n

<\/p>\n

"Impossibly Distinct" counters the commonplaces of the form\/content<\/b>,
\ninformation\/design<\/b>, and word\/image<\/b> dichotomies. By reading (phenomenologically<\/b>,
\nrather than closely<\/i>) two CD-ROMs <\/b>on Matisse<\/b>, Wysocki
\nsuggests that we have a "need for exploring new concepts and terms<\/b> for
\nthe thick rich mix of visual potentials on screen" (161). Ultimately, this
\nformulation pushes us to think about how visual elements or aspects of texts
\nmake those texts work in particular ways. Wysocki eventually articulates a
\nclear preference for the Maeght CD (self-conscious) over the Barnes CD
\n(hierarchical). Because the two pieces are visually distinctive, she works
\nthrough an analysis of how assertions are differently designed<\/b> into each
\npiece across discursive and non-discursive aspects. That is, the
\nassertions can’t be reduced to words<\/b> without sacrificing the evocative
\ndimensions of the experience. <\/p>\n

Wysocki’s call for "new concepts and terms" is left open<\/b> at the end.
\nHow has this been resolved? Or, rather, are form\/content, information\/design,
\nand word\/image dichotomies still largely uninterrogated<\/b>?<\/p>\n

Key Terms: phenomenological approach (140), new categories (138), push and
\npull (142), spatial-visual structure (147), temporal structure (147), hierarcy
\n(156), designing multimedia (156), words as conceptual lexical units (159).<\/p>\n

"I want to begin to indicate what our teachings<\/b> about the visual
\nelements of texts<\/b> (what our teaching about composition in general) perhaps
\nshould expand to include<\/b>" (138).<\/p>\n

"That is, I will be arguing in the next pages, if we hold to the notion of
\ncontent suggested by the citations which I opened my writing–if we understand
\ncontent as words and understand visual presentation as theme or emotion or
\nuseful only as pointers to our supporting information–then we remain unable to
\nsee or explain what is asserted in the visual compositions I am about to
\nconsider" (140).<\/p>\n

"The differences between the visual presentations of these CDs are not<\/b>
\nthen simply of form or theme or emotion or assistance to memory <\/b>(the
\npossible functions of the visual named or implied by the texts I quoted on my
\nfirst page); the differences between the visual presentations of these CDs are
\ndifferences of assertion and thought<\/b>" (152).<\/p>\n

"To conceptualize the Maeght CD, I have to move through it, to figure our
\nwhat those little buttons do and to construct my own sense of the piece’s
\nstructure<\/b>" (156). ^Schematics.<\/p>\n

"This indicates to me that our teaching about the visual aspects of texts
\nshouldn’t be just about teaching people in our classes how to use the visual as
\ntheme or as first impression or as a guide to information; we need also, I
\nbelieve, to be teaching how the visual structures of a text are, in addition to
\nbeing assertions about artists and art collectors (for example), also assertions
\nabout what kind of readers we should be" (159).<\/p>\n

"I do not have terms to offer here, but I do not think the split between
\ninformation and design gets at how strategies of visual composition contribute
\nto the relationship we develop with what we offer each other on screen. Finally,
\nthe relationship among the kinds of visual elements and arrangements I listed
\nabove are not ones where the visual needs support by the words: not only are the
\nwords of these CDs (as of any Web page or paper page) always visual elements,
\nbut the assertions of these CDs cannot even be found primarily in ‘words<\/b>‘"
\n(160).<\/p>\n

\n
Related sources:<\/dt>\n
Aarseth, Espen. Cybertext<\/i>. Baltimore: Johns Hopkins, 1997.<\/dd>\n
Elkins, James. The Domain of Images<\/i>. Ithaca: Cornell, 1999.<\/dd>\n
Leppert, Richard. Art and the Committed Eye<\/i>. Boulder, CO: Westview,
\n 1996.<\/dd>\n<\/dl>\n","protected":false},"excerpt":{"rendered":"

\u23f3 Approximate reading time: <\/span> 2<\/span> mins<\/span><\/span>Wysocki, Anne. "Impossibly Distinct: On Form\/Content and Word\/Image in Two Pieces of Computer-based Interactive Media." Computers and Composition 18 (2001) 137-162.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[176],"tags":[213,294,1613,1075,424,410,928,441,841,1095,794,1210,1614,1615,1616,1617,150,1618,136,433,1082],"class_list":["post-7076","post","type-post","status-publish","format-standard","hentry","category-visuality_and_n","tag-argument","tag-art","tag-assertions","tag-content","tag-design","tag-form","tag-hierarchy","tag-image","tag-information","tag-interactive","tag-menu","tag-multimedia","tag-pull","tag-push","tag-schematic","tag-screens","tag-structure","tag-terms","tag-visual","tag-visuality","tag-word"],"yoast_head":"\nWysocki, "Impossibly Distinct" - Earth Wide Moth<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.earthwidemoth.com\/blog\/2006\/11\/11\/wysocki-impossi\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Wysocki, "Impossibly Distinct" - Earth Wide Moth\" \/>\n<meta property=\"og:description\" content=\"\u23f3 Approximate reading time: 2 minsWysocki, Anne. 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In this brief article, Wysocki complicates the dichotomy between image and word, a division reinforced in the work of Kress, who partitions words and their \"temporal and sequential logic\" from \"image-presentations\" and their \"spatial\u2026","rel":"","context":"In "Visuality and New Media"","block_context":{"text":"Visuality and New Media","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/visuality_and_n\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":7066,"url":"https:\/\/www.earthwidemoth.com\/blog\/2006\/11\/04\/wysocki-opening\/","url_meta":{"origin":7076,"position":1},"title":"Wysocki, “Opening New Media to Writing”","author":"Derek Mueller","date":"November 4, 2006","format":false,"excerpt":"Wysocki, Anne. \"Opening New Media to Writing: Openings and Justifications.\" Writing New Media: Theory and Applications for Expanding the Teaching of Composition. Wysocki et. al., eds. Logan: Utah State Univ. Press, 2004. 1-23. 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Literacy is storied in a host of distinctive ways, yet as\u2026","rel":"","context":"In "Writing Technologies"","block_context":{"text":"Writing Technologies","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/writing_technol\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_likes_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts\/7076","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/comments?post=7076"}],"version-history":[{"count":0,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts\/7076\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/media?parent=7076"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/categories?post=7076"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/tags?post=7076"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}