Producing Transliteracy

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Part of a duo presented at the Institute of Creative Technologies, De Montfort University, UK to the Production and Research into Transliteracy (PaRT) group.

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Producing Transliteracy

  1. 1. Points for discussion at seminar, February 20th, 2007 Chris Joseph, De Montfort University, UK Transliteracy = across and/or beyond literacy?
  2. 2. Production in transliteracy = production across or beyond different literacies?
  3. 3. Production beyond literacy: 'writing' for media
  4. 4. Production beyond (textual) literacy: writing to be read 1. new types of textual or narrative structure 2. generative texts 3. visual texts 4. new vocabularies and languages
  5. 5. Production beyond (visual) literacy: writing to be seen 1. visual text? 2. icons and graphics 3. still images 4. animation 5. film and video 6. 3D environments, virtual and augmented reality
  6. 6. Production beyond (aural) literacy: writing to be heard 1. oral literature / spoken word 2. narration and voiceovers 3. radio (live) 4. podcasts (time-delayed)
  7. 7. Production across literacy: writing for multimedia Multimedia is "a combination of different media which function next to each other and remain clearly discernable" (Joki Van de Poel 2005, Intermediality Reinterpreted, p.8)
  8. 8. Production across literacy: writing for transmedia Transmedia refers to how a particular piece of content is handled across various media - not how the various media interact with one another.
  9. 9. Production across literacy: writing for intermedia Intermedia was a concept employed in the mid-sixties by Fluxus artist Dick Higgins to describe the inter-disciplinary activities that occur between artistic genres. Intermedia "comes into being through an integrative combination of different media or the implementation of a new device or medium in an already existing realm. With the integration of different media I mean that the usual frames and structure of the different media are affected and influenced by each other. In my view this integrative combination opens up a new experiental domain to the viewer." [Joki Van de Poel (2005), Intermediality Reinterpreted, p.8]
  10. 11. Transliteracy = across literacy Production in transliteracy = production of intermedia?
  11. 12. Intermedia theory: The basic rule for linking sounds and images is temporal coincidence. Exceptions: - In a relationship of cause and effect an action in one medium may precede reaction in another - In an imitation relationship one medium can be recognized to repeat what the another has shown before. In all other situations a link without some simultaneity is difficult to perceive. Links can be formed, reinforced and given unique quality by the similarities in each medium, categorised as internal or external correspondences: Internal correspondences: 1. Temporal correspondences ( e.g. parallels between rhythms, parallels in tempo changes ) 2. Textural correspondences ( e.g. matching media forces, similarities in density ) 3. Structural correspondences ( e.g. parallels of formal symmetry/asymmetry, formal complexity ) 4. Qualitative correspondences ( e.g. parallels of change in sharpness, brightness, size, motion, shape ) External correspondences: 1. Correspondence through a common physical object ( e.g. an animal and its sound) 2. Correspondence through a common cultural archetype ( e.g. church and organs) 3. Correspondence through a common emotional/psychological state ( e.g. anger, sadness, pleasure) 4. Complicity in depicting narrative ( e.g. a box falls with a sound of breaking glass revealing the unseen content)
  12. 13. <ul><li>Production in transliteracy: </li></ul><ul><li>How are particular transliteral forms created? </li></ul><ul><li>Analysis of tools, methods, creativity </li></ul><ul><li>Analysis of structural forms </li></ul><ul><li>and/or </li></ul><ul><li>Why are particular transliteral forms created? </li></ul><ul><li>- Social, economic, political and cultural analyses of production </li></ul>

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