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.

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

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

Introducing the Book

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.

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.

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

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

Howard Rheingold Visiting Professor, IOCT & Production and Research in Transliteracy group

Visiting Professor, IOCT

&

Production and Research in Transliteracy group

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

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

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

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

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.

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

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

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 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

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)

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 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

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

Michael Wesch The Machine Is Us/ing Us