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A Transliteracy Conversation Presented at the Transliteracy Colloquium, Institute of Creative Technologies, De Montfort University, Leicester, UK. May 15, 2007. Featuring  the PART Group and IOCT guest speakers.
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Introducing the Book
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Howard Rheingold ,[object Object],[object Object],[object Object]
Transliteracy as a Cognitive Tool Simon Perril Image from Alan Halsey ‘This Problem of Script: Essays in Textual Analysis’,  Marginalien .  Five Seasons Press , 2005
Kate Pullinger - Producing transliteracy
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chris Joseph
Transliteracy as Multimodality ,[object Object],Jess Laccetti Jess Laccetti
Transliteracy as Multimodality ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Jess Laccetti
Transliteracy as Multimodality Jess Laccetti
Transliteracy as Multimodality As this screen slowly appears, first the text then the image, the sound of buzzing flies emanates. Jess Laccetti
Transliteracy as Multimodality Clicking on “FLIES” changes the view through the window to show a flurry of flies. Jess Laccetti
Transliteracy as Multimodality ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Jess Laccetti
Transliteracy as Multimodality
Bruce Mason I do not think it means what you think it means.
Sue Thomas
Simon Mills
Musical Transliteracies ‘ Literate’ musicians read 5-line lattice notation, whereas ‘illiterate’ musicians (the majority) do not Digital musicians work directly with sounds (rather than notes) whereas traditional musicians work with instruments (including the voice) Some musicians start from  pitch  (e.g. classical, folk) Some musicians start from  rhythm  (e.g. rock, pop) Some musicians start from  timbre  (e.g. electronic, technological) In digital music, though, it doesn’t matter where you start! Transliteracies of  style, practice, culture, techniques… Andrew Hugill
Transliteracy ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Mohammad Ibrahim
Michael Wesch The Machine Is Us/ing Us

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A Transliteracy Conversation

  • 1. A Transliteracy Conversation Presented at the Transliteracy Colloquium, Institute of Creative Technologies, De Montfort University, Leicester, UK. May 15, 2007. Featuring the PART Group and IOCT guest speakers.
  • 2.
  • 4.
  • 5.
  • 6.
  • 7. Transliteracy as a Cognitive Tool Simon Perril Image from Alan Halsey ‘This Problem of Script: Essays in Textual Analysis’, Marginalien . Five Seasons Press , 2005
  • 8. Kate Pullinger - Producing transliteracy
  • 9.
  • 10.
  • 11.
  • 13. Transliteracy as Multimodality As this screen slowly appears, first the text then the image, the sound of buzzing flies emanates. Jess Laccetti
  • 14. Transliteracy as Multimodality Clicking on “FLIES” changes the view through the window to show a flurry of flies. Jess Laccetti
  • 15.
  • 17. Bruce Mason I do not think it means what you think it means.
  • 20. Musical Transliteracies ‘ Literate’ musicians read 5-line lattice notation, whereas ‘illiterate’ musicians (the majority) do not Digital musicians work directly with sounds (rather than notes) whereas traditional musicians work with instruments (including the voice) Some musicians start from pitch (e.g. classical, folk) Some musicians start from rhythm (e.g. rock, pop) Some musicians start from timbre (e.g. electronic, technological) In digital music, though, it doesn’t matter where you start! Transliteracies of style, practice, culture, techniques… Andrew Hugill
  • 21.
  • 22. Michael Wesch The Machine Is Us/ing Us