Wednesday, March 31, 2010
Tuesday, March 30, 2010
3/29/2010
The Donor:
There is always someone that donates something to the story that is worked on, Ulmer shows us this on page 180 by saying that "The form and experience of narrative are a relay for understanding the combined tasks of consulting and designing the wide image. The protagonists or heroes of tales or stories cannot solve by themselves the problem or conflict that caused them to leave home and enter the special world of adventure. Invariably they find their way to some gathering place".
The prison-house of language:
Ulmer goes into more detail on the tale on page 184 "The basic tale begins with either injury to a victim or the lack of some important object. Thus, at the very beginning, the end result is given: it will consist in the retribution for the injury or the acquisition of the thing lacked"
The political unconscious:
Ulmer also says on page 184 that "We can better appreciate the usefulness of actanial reduction, if we reflect for instance on the character of Heathcliff in Wuthering Heights, a figure whose ambiguous nature has remained an enigma for intuitive or impressionizing, essentially representation criticism, which can only seek to resolve the ambiguity in some way"
Ulmer tries to show us how we should instigate these principles on page 186 by saying that "Value: the first insight to be drawn from Jameson’s analysis of the donor “actant” is to look outside any particular narrative and in our context outside the institution of Entertainment, to another dimension of popcycle in order to understand the forces shaping the diegesis or dramatic world of the story"
Ficelle:
"Jameson suggested the strategy of displacement away from the hero to the supporting cast, in order to find an alternative to the ideological or interpolative default mood of a text". Here on page 195 Ulmer shows us the separation of the hero from his support system.
Riddles of Sense:
"The Donor test the hero by posing riddles. The logic of riddles manifest the basic structure of conductive sense through which the hero may receive the magic tool". On page 196 Ulmer shows some insight to the test that the hero will face.
There is always someone that donates something to the story that is worked on, Ulmer shows us this on page 180 by saying that "The form and experience of narrative are a relay for understanding the combined tasks of consulting and designing the wide image. The protagonists or heroes of tales or stories cannot solve by themselves the problem or conflict that caused them to leave home and enter the special world of adventure. Invariably they find their way to some gathering place".
The prison-house of language:
Ulmer goes into more detail on the tale on page 184 "The basic tale begins with either injury to a victim or the lack of some important object. Thus, at the very beginning, the end result is given: it will consist in the retribution for the injury or the acquisition of the thing lacked"
The political unconscious:
Ulmer also says on page 184 that "We can better appreciate the usefulness of actanial reduction, if we reflect for instance on the character of Heathcliff in Wuthering Heights, a figure whose ambiguous nature has remained an enigma for intuitive or impressionizing, essentially representation criticism, which can only seek to resolve the ambiguity in some way"
Ulmer tries to show us how we should instigate these principles on page 186 by saying that "Value: the first insight to be drawn from Jameson’s analysis of the donor “actant” is to look outside any particular narrative and in our context outside the institution of Entertainment, to another dimension of popcycle in order to understand the forces shaping the diegesis or dramatic world of the story"
Ficelle:
"Jameson suggested the strategy of displacement away from the hero to the supporting cast, in order to find an alternative to the ideological or interpolative default mood of a text". Here on page 195 Ulmer shows us the separation of the hero from his support system.
Riddles of Sense:
"The Donor test the hero by posing riddles. The logic of riddles manifest the basic structure of conductive sense through which the hero may receive the magic tool". On page 196 Ulmer shows some insight to the test that the hero will face.
Tuesday, March 23, 2010
3/23/2010
Cyberpidgin
"We are in the special world of enterainmend discourse, scene of the spectacle and of emergent electracy. “Spectacle” names the literate experience of the electrate apparatus. The interbody metaphor must mediate a global encounter among strangers in an atmosphere of compassion fatigue, indifference, or misunderstanding, perhaps even PTSD". This excerpt from page 155 of Ulmers Internet Invention shows that events of our lives affect us in a very dramatic way.
Technology: "The internet as a technology of packet switching, designed to survive a nuclear strike targeting the nation’s communications network" Here on page 155 Ulmer shows the significance of technology on the mystory.
Ulmer conitnues showing us ideas key to the mystroy with Identity on page 155 "The rhetoric of the unconscious as described by psychoanalysis, featuring the devices of figurative language or image making such as condensation, displacement, or secondary elaboration, by means of which a latent thought manifest itself in a fragmentary, encrypted, indirect manner".
Ulmer furthers ideas on the mystory again with Institution on page 156 "The social corollary of these technological and psychological registers is the survival of the African oral culture in the Americas and its syncretism with Western literature institutions: “Voodoo is the African aesthetic shattered and the desperately put back together. More than simply ‘put back together,’ it has been recreated to serve its people under the shattering impact of slavery and poverty”
Pidgin begins as a language for doing business in the absence of a common language among different peoples, and evolves into a creole in the speech of pidgin-speaking children, once the pidgin has become so common that it is spoken in the home"
Fetishturgy
Ulmer speaks about levels of communication on page 159 by saying that "The analogy between the destroyed network of military command still able to function after suffering a first nuclear strike, and the ruined messages of dream work, scrambled into nonsense by repression yet received and understood in a way by the dreamer, is one of the operative “packets” of chorography. The equivalent ruin at the sociohisorical level is the Black Atlantic –the persistence of African culture through the catastrophe of the middle passage, the diaspora of slavery disseminating individuals throughout the Americas".
First Encounters
Ulmer speaks to the importance of meetings by saying "To figure what happens when electrate people meet online, we may call upon the experience of colonial encounters as a relay (to remind ourselves how different electracy is from the experience of School)."
"We are in the special world of enterainmend discourse, scene of the spectacle and of emergent electracy. “Spectacle” names the literate experience of the electrate apparatus. The interbody metaphor must mediate a global encounter among strangers in an atmosphere of compassion fatigue, indifference, or misunderstanding, perhaps even PTSD". This excerpt from page 155 of Ulmers Internet Invention shows that events of our lives affect us in a very dramatic way.
Technology: "The internet as a technology of packet switching, designed to survive a nuclear strike targeting the nation’s communications network" Here on page 155 Ulmer shows the significance of technology on the mystory.
Ulmer conitnues showing us ideas key to the mystroy with Identity on page 155 "The rhetoric of the unconscious as described by psychoanalysis, featuring the devices of figurative language or image making such as condensation, displacement, or secondary elaboration, by means of which a latent thought manifest itself in a fragmentary, encrypted, indirect manner".
Ulmer furthers ideas on the mystory again with Institution on page 156 "The social corollary of these technological and psychological registers is the survival of the African oral culture in the Americas and its syncretism with Western literature institutions: “Voodoo is the African aesthetic shattered and the desperately put back together. More than simply ‘put back together,’ it has been recreated to serve its people under the shattering impact of slavery and poverty”
Pidgin begins as a language for doing business in the absence of a common language among different peoples, and evolves into a creole in the speech of pidgin-speaking children, once the pidgin has become so common that it is spoken in the home"
Fetishturgy
Ulmer speaks about levels of communication on page 159 by saying that "The analogy between the destroyed network of military command still able to function after suffering a first nuclear strike, and the ruined messages of dream work, scrambled into nonsense by repression yet received and understood in a way by the dreamer, is one of the operative “packets” of chorography. The equivalent ruin at the sociohisorical level is the Black Atlantic –the persistence of African culture through the catastrophe of the middle passage, the diaspora of slavery disseminating individuals throughout the Americas".
First Encounters
Ulmer speaks to the importance of meetings by saying "To figure what happens when electrate people meet online, we may call upon the experience of colonial encounters as a relay (to remind ourselves how different electracy is from the experience of School)."
Tuesday, March 9, 2010
3/8/2010
The structure of entertainment narrative provides an allegorical map for becoming an egent.
The template for the entertainment narrative that we are using is based on the patter of the hero’s quest. It shows the motive for leaving home and entering the world of adventure due to a disruption in the family situation.
The mystory can and does follow memorable entertainment issues that arise throughout your life, for example; most of my current taste in television and movies has been influenced by what I remember watching with my father at an early age.
Jean-Paul Sartre, in his study of the psychology of imagination used the phenomenon of a comedian impersonating a famous actor, as a p0iont of departure for understanding the nature of images and imaging. His account clarifies the nature of a felt composition. If photos and stories of events that we browse in newspapers and magazines leave us indifferent, Sartre argues, it is because we fail to fill the sign with our own imagination, pictures, like words, must be actively read.
Plato invented the dialogue sass the basic practice for his institutionalization of alphabetic writing in school. The dialogue is actually part of a collection of interrelated inventions, all of which are designed to take advantage of the material featured in alphabetic writing.
The gram is a correction and 0065tension of the semiotic sign with its metaphor of the signifier and signified connected like two sides of one sheet of paper. The gram deceives the signifier-signified relation as a coupling that allows easy detachment. A better metaphor for the sign than a sheet of paper is a Dremel tool, with the hose extension and a hundred different attachments.
The template for the entertainment narrative that we are using is based on the patter of the hero’s quest. It shows the motive for leaving home and entering the world of adventure due to a disruption in the family situation.
The mystory can and does follow memorable entertainment issues that arise throughout your life, for example; most of my current taste in television and movies has been influenced by what I remember watching with my father at an early age.
Jean-Paul Sartre, in his study of the psychology of imagination used the phenomenon of a comedian impersonating a famous actor, as a p0iont of departure for understanding the nature of images and imaging. His account clarifies the nature of a felt composition. If photos and stories of events that we browse in newspapers and magazines leave us indifferent, Sartre argues, it is because we fail to fill the sign with our own imagination, pictures, like words, must be actively read.
Plato invented the dialogue sass the basic practice for his institutionalization of alphabetic writing in school. The dialogue is actually part of a collection of interrelated inventions, all of which are designed to take advantage of the material featured in alphabetic writing.
The gram is a correction and 0065tension of the semiotic sign with its metaphor of the signifier and signified connected like two sides of one sheet of paper. The gram deceives the signifier-signified relation as a coupling that allows easy detachment. A better metaphor for the sign than a sheet of paper is a Dremel tool, with the hose extension and a hundred different attachments.
Tuesday, March 2, 2010
3/2/2010
Xanadu is similar to Hollywood movies; it refers to the imaginary space and time of worlds that are created in a story.
Diegesis names the part of the story that stays the same throughout different translations.
Where is xanadu?
1) It was the capital city of Kubla Khan
2) It was the “holy caves of ice” in Kashmir
3) It was Mount Abora
4) It was Alachua County, in Gainesville, Florida
Chora is a theoretical invention that has been revived in Electasy
Mystory is a personalized, secularized cosmogony
Present location is psycho-geography; it is part physical and part spiritual
The xanadu comsosgram updates the memory palaces of manuscript literacy. The all important difference between manuscript and digital pedagogy is that the memorial practices of the former aided the living memory of orators, while the latter aid the artificial unconscious egents.
The following schemas are listed in the preferred order for literate American culture, passing from most highly controlled to loosest mode of order.
1) Argument
2) Narrative
3) Character
4) Musical
5) Image
Diegesis names the part of the story that stays the same throughout different translations.
Where is xanadu?
1) It was the capital city of Kubla Khan
2) It was the “holy caves of ice” in Kashmir
3) It was Mount Abora
4) It was Alachua County, in Gainesville, Florida
Chora is a theoretical invention that has been revived in Electasy
Mystory is a personalized, secularized cosmogony
Present location is psycho-geography; it is part physical and part spiritual
The xanadu comsosgram updates the memory palaces of manuscript literacy. The all important difference between manuscript and digital pedagogy is that the memorial practices of the former aided the living memory of orators, while the latter aid the artificial unconscious egents.
The following schemas are listed in the preferred order for literate American culture, passing from most highly controlled to loosest mode of order.
1) Argument
2) Narrative
3) Character
4) Musical
5) Image
Thursday, February 25, 2010
2/23/2010
Narrative
Widesite composition is a narrative process.
Mystory in the context of the EmerAgency brings the egent into an explicit relationship with the process of identify formation, both individual and collective.
Home (Page) Sick
Homepage has become an obsolete term. It is essentially the same as calling a car a horseless carriage.
Making a decision is a focused sequence with foru elements recalled by the acrony TOTE:
1) Test or reality check of my desires
2) Operate
3) Test (Repeated)
4) Exist
Students start out in the home and are raised there; they likely stay there as well if it were not for the driving force of society compelling them to a university.
Mystory is working to replace the purpose that allegory has served in the past. It is there to allow people of the modern world to find their place in the world and in history. This similarity between the two has caused many medieval comparison of allegory to mystory.
Allegory popcycle
Literal=School (elementary through secondary levels)
Allegory=Entertainment (commercialized information and story)
Moral=Family (biography of the individual)
Anagogy=Career (disciplinary knowledge)
The mystory of James Joyce was structured as followed
1) History (school, community)
2) Church
3) Family
4) Career
Micro Narratives: No more than 300 words, establishes the key details of a situation, locates and develops the key features of a scene.
Widesite composition is a narrative process.
Mystory in the context of the EmerAgency brings the egent into an explicit relationship with the process of identify formation, both individual and collective.
Home (Page) Sick
Homepage has become an obsolete term. It is essentially the same as calling a car a horseless carriage.
Making a decision is a focused sequence with foru elements recalled by the acrony TOTE:
1) Test or reality check of my desires
2) Operate
3) Test (Repeated)
4) Exist
Students start out in the home and are raised there; they likely stay there as well if it were not for the driving force of society compelling them to a university.
Mystory is working to replace the purpose that allegory has served in the past. It is there to allow people of the modern world to find their place in the world and in history. This similarity between the two has caused many medieval comparison of allegory to mystory.
Allegory popcycle
Literal=School (elementary through secondary levels)
Allegory=Entertainment (commercialized information and story)
Moral=Family (biography of the individual)
Anagogy=Career (disciplinary knowledge)
The mystory of James Joyce was structured as followed
1) History (school, community)
2) Church
3) Family
4) Career
Micro Narratives: No more than 300 words, establishes the key details of a situation, locates and develops the key features of a scene.
Tuesday, February 16, 2010
2-16-2010
The transference of information from one medium to another often gives rise to another layer of understanding of that information, neither literal nor figurative. The relationship between otherwise insignificant details and the memories, associations, and emotions of the person viewing this information is what enriches the transfer. A picture can be described in words, but the person doing the describing may miss the one key detail that makes it all click, puts into perspective, for the person hearing the description. It's important to remember that all the information was there from the start; it was simply less visible in one medium than in another. It makes me wonder if, despite this new and rich knowledge coming out of the transfer, there was some other layer of information lost from the original. Putting a spoken tale to print gives the reader the ability to look back to refresh their memory on any part of the story previously told, and it allows for the visual quality of the words to be seen, but is that worth the tradeoff? Speech offers the sound of the language, and while words can be spoken again once they're recorded, those who have not heard the original story may emphasize or emote differently from the original.
Basho's haikus teach us to make use of productive ambiguity, the choice of words through which we may convey a secondary meaning. This is common practice in poetry, but it's only useful in the original language of the poem. Any translations, using a new language, will result in new and different ambiguities, completely apart from anything the author originally intended. This is an interesting parallel to the medium translation - the transference from print to film, spoken word to digital recordings, must be done with great care to ensure translation of intent and meaning as well as literal words. The use of this productive ambiguity can be a great asset or a terrible drawback. Essence is not affected by appearance, but appearance can convey mood, atmosphere, and feeling. There's also this idea of a revelation or epiphany as a device to share mood.
Much of this chapter is dedicated to the discussion of content versus intent - content is a result of and reveals intent. However, intent is widely interpolation from content, which reveals at least as much about the reader (the interpreter) as the writer (the creator, whose intent is being assumed). This raises an interesting question for the mystory: when you are both writer and reader, can you be trusted to find your own intent accurately, or are you reading yourself and your works and guessing at your own motivations?
Basho's haikus teach us to make use of productive ambiguity, the choice of words through which we may convey a secondary meaning. This is common practice in poetry, but it's only useful in the original language of the poem. Any translations, using a new language, will result in new and different ambiguities, completely apart from anything the author originally intended. This is an interesting parallel to the medium translation - the transference from print to film, spoken word to digital recordings, must be done with great care to ensure translation of intent and meaning as well as literal words. The use of this productive ambiguity can be a great asset or a terrible drawback. Essence is not affected by appearance, but appearance can convey mood, atmosphere, and feeling. There's also this idea of a revelation or epiphany as a device to share mood.
Much of this chapter is dedicated to the discussion of content versus intent - content is a result of and reveals intent. However, intent is widely interpolation from content, which reveals at least as much about the reader (the interpreter) as the writer (the creator, whose intent is being assumed). This raises an interesting question for the mystory: when you are both writer and reader, can you be trusted to find your own intent accurately, or are you reading yourself and your works and guessing at your own motivations?
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