A Transliteracy Conversation

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This is a collaborative slideshow produced for the first Transliteracy Colloquium, held at DMU on May 15, 2007.

This is a collaborative slideshow produced for the first Transliteracy Colloquium, held at DMU on May 15, 2007.

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  • 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.
    • Programme
    • 11.00 Welcome and Introduction
    • 11.30 Presentations
    • 12.30 Summing up
    • 12.45 Lunch (served here)
    • 13.30 Responses from the floor
    • 14.00 Small groups
    • 15.00 Break
    • 15.15 Plenary Discussion
    • 16.00 End
  • 3. Introducing the Book
  • 4.
    • Working Definition
    • Transliteracy is the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks.
  • 5.
    • The Qualities of Transliteracy might be:
    • Awareness of historical and cultural context
    • Ability to understand and use a range of tools
    • Multimodal sensibility
    • Participation in collective behaviour
    • Sense of physicality / spatiality / lifeworld
  • 6. Howard Rheingold
    • Visiting Professor, IOCT
    • &
    • Production and Research in Transliteracy group
  • 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.
    • Production in transliteracy:
    • How are particular transliteral forms created?
    • Analysis of
    • - tools and methods
    • structures and forms of outputs
    • types of productive communication, collaboration; 'creativity'?
    • and/or
    • Why are particular transliteral forms created?
    • - Social, economic, political and cultural analyses of production
    Chris Joseph
  • 10. Transliteracy as Multimodality
    • The slide on transliteracy as multimodality used several reveals to demonstrate multimodality in action. Problems with embedding mean that we have had to split the original single slide into several different ones.
    Jess Laccetti Jess Laccetti
  • 11. Transliteracy as Multimodality
    • With the digital environment in mind (as an obvious example but not limited to it):
    • We need to know how to read
        • Text
        • Sound
        • Images
        • Video
        • Haptics (interaction)
        • SIMULTANEOUSLY
    Jess Laccetti
  • 12. Transliteracy as Multimodality Jess Laccetti
  • 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. Transliteracy as Multimodality
    • Ways to Navigate :
    • Click on the “up” and “down” arrows to move through this section of the story
    • Click on links in the side-bar
    • Click on links within the story
    • Click on the sequence of images
    • Click on chronological lexia
    • Listen to a reading (the whole text or sections)
    Jess Laccetti
  • 16. Transliteracy as Multimodality
  • 17. Bruce Mason I do not think it means what you think it means.
  • 18. Sue Thomas
  • 19. Simon Mills
  • 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. Transliteracy
    • Cross-discipline research needs common vocabulary with clear grounding
    • Especially true for human-centred activity
      • Humanities & Natural Science
    • Examples
      • Design, Creativity, Innovation, Invention
      • Interactivity
      • Context
    • Applications
      • Digital Human & Artificial Life
    Mohammad Ibrahim
  • 22. Michael Wesch The Machine Is Us/ing Us