Thank God...
finally a piece that's easy to read, and full of great content without being too "this" or too "that."
I really enjoyed reading the histories of the evolution of language and technology, and I very much liked that Bernstein interwove eras so that reading the piece wasn't like reading a chronology of events.
At times, as usual, I feel like some thoughts are a stretch, but on the whole, I really felt like this was a down to Earth piece of writing that was a good read. It makes sense that literacy boomed as typewriters did and that the invention of the ball point pen aided it. It makes sense that more literacy meant more poetry and prose. It all makes sense to me.
I also enjoyed the comparison of photography and alphabetic writing...it just all makes sense.
So overall, I enjoyed the piece and I think someone who isn't in our class could read it and appreciate it, which I cannot say for everything we've read.
Wednesday, September 30, 2009
Tuesday, September 29, 2009
Form enough?
Teri & Lia!
We agree that freeing yourself from form is not enough.
We don't live in the idyllic world that these authors do. Changing how a text is constructed doesn't change the content.
We just feel like this whole thought-process about morphing text to create this free-thought society is just ridiculous. Until society makes a change, this will remain a beat-nick thought process.
People are always looking for a deeper meaning in everything. We don't understand why it's such a forced process instead of something natural and flowing. Why should we morph our language? And frankly, some of the authors don't either...
They tell us to free ourselves from form, but they use it too...a world free from form is just chaotic and ridiculous.
Form might not be our favorite thing, but we need it, and it's not always a suffocating force.
We agree that freeing yourself from form is not enough.
We don't live in the idyllic world that these authors do. Changing how a text is constructed doesn't change the content.
We just feel like this whole thought-process about morphing text to create this free-thought society is just ridiculous. Until society makes a change, this will remain a beat-nick thought process.
People are always looking for a deeper meaning in everything. We don't understand why it's such a forced process instead of something natural and flowing. Why should we morph our language? And frankly, some of the authors don't either...
They tell us to free ourselves from form, but they use it too...a world free from form is just chaotic and ridiculous.
Form might not be our favorite thing, but we need it, and it's not always a suffocating force.
Maso vs. new readings
Jenna and Lia!
One of the main differences that we found between the pieces we read for today and Maso's piece wasn't necessarily involved in the ideas, but in the delivery. We felt that these readings for today involved an academic viewpoint not represented by Maso; in essence, we felt that the readings for today were very textbook, while Maso's piece feels like a conversation.
The pieces for today provided a history and reason-set for the changes that are, but Maso is free from all that, conversing with the reader directly and stating the tenants that should be changed straight to the reader's face instead of just stating their existence without beg for change.
We felt that today's readings weren't really showing us the "movement," just discussing the history and reasoning. Maso makes us think directly instead of just explaining what has happened and why. Maso makes more sense to us, and inspires us more. We can feel Maso, but only read these new authors.
One of the main differences that we found between the pieces we read for today and Maso's piece wasn't necessarily involved in the ideas, but in the delivery. We felt that these readings for today involved an academic viewpoint not represented by Maso; in essence, we felt that the readings for today were very textbook, while Maso's piece feels like a conversation.
The pieces for today provided a history and reason-set for the changes that are, but Maso is free from all that, conversing with the reader directly and stating the tenants that should be changed straight to the reader's face instead of just stating their existence without beg for change.
We felt that today's readings weren't really showing us the "movement," just discussing the history and reasoning. Maso makes us think directly instead of just explaining what has happened and why. Maso makes more sense to us, and inspires us more. We can feel Maso, but only read these new authors.
Monday, September 28, 2009
Reaction to readings...
So basically, the differences between what we've read before and what we've read for today are pretty obvious. This new thought of creating this abstract art form is awe-inspiring and great.
It's the thought of isolating the art from the language that is so intriguing. When we approach art in a museum, we don't see German or Australian (unless it's a specific exhibit), we see art. It's intriguing to approach it in this way; without putting up more barriers than necessary.
I think it's a challenge to think about what we're doing in this way, and I also don't know how possible it all is. I'd like to go along and believe in the ideal, but how can I...
It's the thought of isolating the art from the language that is so intriguing. When we approach art in a museum, we don't see German or Australian (unless it's a specific exhibit), we see art. It's intriguing to approach it in this way; without putting up more barriers than necessary.
I think it's a challenge to think about what we're doing in this way, and I also don't know how possible it all is. I'd like to go along and believe in the ideal, but how can I...
Thursday, September 24, 2009
A Manifesto for Fluxus
The whole piece feels like a large "F*** You!" to modern thought and form.
We were first struck by the usage of black and white and the reversal. Black and white are the most extreme opposites of each other and to first use the dictionary definitions as white on black and then use the handwritten pieces as black on white is obviously intentional.
The dictionary definitions also look weathered, and it is obvious that they are the special selected definitions of the word, as the numbers do not go in perfect order (another obvious thought-out choice).
The usage of the handwritten pieces are incredibly important as they bring in the true manifesto nature. They represent the cry of the people and the revolutionary nature.
The eye immediately goes to the dictionary definitions, almost as if the author wants us, as readers, to start there before we interpret. Also, the handwritten pieces also use capitalization as a tool to punch something out at us.
We were both also struck by the word "fully" being crossed out, another obvious move to get the reader thinking. We took it to mean that no one can fully grasp the "non art reality," that there will always be those that misunderstand or miss the boat.
We also thought the words purge, promote and fuse are all very powerful verbs. They do not suggest an action, they force it to happen. The verbs seem to tie in with the organic/inorganic definitions of the words. Purge, flow, fusion, chemicals and metal, etc.
~Brendon
~Lia
We were first struck by the usage of black and white and the reversal. Black and white are the most extreme opposites of each other and to first use the dictionary definitions as white on black and then use the handwritten pieces as black on white is obviously intentional.
The dictionary definitions also look weathered, and it is obvious that they are the special selected definitions of the word, as the numbers do not go in perfect order (another obvious thought-out choice).
The usage of the handwritten pieces are incredibly important as they bring in the true manifesto nature. They represent the cry of the people and the revolutionary nature.
The eye immediately goes to the dictionary definitions, almost as if the author wants us, as readers, to start there before we interpret. Also, the handwritten pieces also use capitalization as a tool to punch something out at us.
We were both also struck by the word "fully" being crossed out, another obvious move to get the reader thinking. We took it to mean that no one can fully grasp the "non art reality," that there will always be those that misunderstand or miss the boat.
We also thought the words purge, promote and fuse are all very powerful verbs. They do not suggest an action, they force it to happen. The verbs seem to tie in with the organic/inorganic definitions of the words. Purge, flow, fusion, chemicals and metal, etc.
~Brendon
~Lia
Wednesday, September 23, 2009
Word plan
Oh yea, I almost forgot. Here's my plan for my word:
I've chosen the word "grow" because I can just see the possibilities.
I picture it starting in the center, small, expanding huge then shrinking again into a seed.
Planted, growing, into a large tree.
Then the banana from the tree falls, becomes a boat and sails across the sea.
Lands, and a town grows, into america.
Does that make any sense?
I don't know if I can do it all, or if I'll have to get a little more broad with my plan, but I might as well try to do something awesome.
I've chosen the word "grow" because I can just see the possibilities.
I picture it starting in the center, small, expanding huge then shrinking again into a seed.
Planted, growing, into a large tree.
Then the banana from the tree falls, becomes a boat and sails across the sea.
Lands, and a town grows, into america.
Does that make any sense?
I don't know if I can do it all, or if I'll have to get a little more broad with my plan, but I might as well try to do something awesome.
Reflection on Reading
So here it is:
I don't like poetry. I never have. I just always feel that I can't connect with it. Maybe it's a defect in myself, maybe I'm just a more novel-associated reader, maybe my parents didn't love me enough. How can I know?
Fact of the matter is, I liked some of the poems I read for this assignment. I was planning on just writing a reflection based on the questions Anne posted, but I have just been wrestling with my own thoughts.
How can I suddenly like these poems? I mean, I've enjoyed a few poems in the past, but this disjointed awkward way of writing just connects with me.
Why do I like these? Is it purely because they're different? I don't think so.
Here's where I've gotten: I'm a reader, writer, musician and photographer. I react to text, sound and pictures/visual representations. I think that's why I loved the Blue Velvet piece from Tuesday's assignment. It brought everything together.
My mind was blown looking through the poems and knowing some of the values the poem was about to reveal just by the structure.
Sorry if this was ranty, just needed to put it down on paper...ur...screen?
I don't like poetry. I never have. I just always feel that I can't connect with it. Maybe it's a defect in myself, maybe I'm just a more novel-associated reader, maybe my parents didn't love me enough. How can I know?
Fact of the matter is, I liked some of the poems I read for this assignment. I was planning on just writing a reflection based on the questions Anne posted, but I have just been wrestling with my own thoughts.
How can I suddenly like these poems? I mean, I've enjoyed a few poems in the past, but this disjointed awkward way of writing just connects with me.
Why do I like these? Is it purely because they're different? I don't think so.
Here's where I've gotten: I'm a reader, writer, musician and photographer. I react to text, sound and pictures/visual representations. I think that's why I loved the Blue Velvet piece from Tuesday's assignment. It brought everything together.
My mind was blown looking through the poems and knowing some of the values the poem was about to reveal just by the structure.
Sorry if this was ranty, just needed to put it down on paper...ur...screen?
Monday, September 21, 2009
My final animation
Hope you like it...just added some nifty stuff on the end. Wanted to show my creativity fading away for something more "traditional" and notice my tag in the top left at the very end...enjoy! (I hope)
Blue Velvet
I chose to watch, interact with and think about Blue Velvet, the piece about New Orleans and hurricane Katrina.
To start, I loved the loading screen because it reminded me of the many shades of the ocean, and although it was not a positive piece about water (and touched very little on the actual flooding) I thought the coupling of the opening screen, the rainfall of words and the waves created when the words fell, that the overall effect came through quite clearly and creatively.
From a factual standpoint, the project revealed a lot that was little known to the general public, and by presenting it in a non-traditional way, people stayed interested and the message was better conveyed. It was easier to get through and more intriguing as a project rather than the same old news story. Not only that, but this project showed more of the history behind the segregation and bad-intentioned government policies that kept the area down.
The thing that stood out most was likely the section discussing the "redlining" and the reason that New Orleans is the hidden soul of America.
On order for this piece to be powerful, the reader/viewer needs to come with an open mind and open expectations. It isn't just about the hurricane or the aid that did or did not come. It's about the nation's view of the afrea before and after. It's about the CNN reporter saying "they are so poor, so black." It's about the years of keeping New Orleans in the chaotic part of the mind; denying its part of America by always blaming its traditions on other cultures; other peoples.
The part I thought was so incredible was the music. I thought it was incredible that it created tension, excitement, ethnic thought and anxiety at the same time. It was awe-inspiring to page through the project, but without the music, it would merely be an odd article instead of a piece of art.
This had to be made in a new and special way because the material presented isn't just what we all know, it's brand new and also hard to deal with.
To start, I loved the loading screen because it reminded me of the many shades of the ocean, and although it was not a positive piece about water (and touched very little on the actual flooding) I thought the coupling of the opening screen, the rainfall of words and the waves created when the words fell, that the overall effect came through quite clearly and creatively.
From a factual standpoint, the project revealed a lot that was little known to the general public, and by presenting it in a non-traditional way, people stayed interested and the message was better conveyed. It was easier to get through and more intriguing as a project rather than the same old news story. Not only that, but this project showed more of the history behind the segregation and bad-intentioned government policies that kept the area down.
The thing that stood out most was likely the section discussing the "redlining" and the reason that New Orleans is the hidden soul of America.
On order for this piece to be powerful, the reader/viewer needs to come with an open mind and open expectations. It isn't just about the hurricane or the aid that did or did not come. It's about the nation's view of the afrea before and after. It's about the CNN reporter saying "they are so poor, so black." It's about the years of keeping New Orleans in the chaotic part of the mind; denying its part of America by always blaming its traditions on other cultures; other peoples.
The part I thought was so incredible was the music. I thought it was incredible that it created tension, excitement, ethnic thought and anxiety at the same time. It was awe-inspiring to page through the project, but without the music, it would merely be an odd article instead of a piece of art.
This had to be made in a new and special way because the material presented isn't just what we all know, it's brand new and also hard to deal with.
Thursday, September 17, 2009
The differences between them...
To me, the most obvious difference is that while Maso discusses writing outside the normal realm of societal barriers, Di Prima actually does.
Now, past that first "surface" difference, I feel that they are arguing for different things. Maso is arguing about writing outside of structure to think outside the box and "stick it to the man." It's unorthodox writing for the sake of being unorthodox, and that the hope is, that writing in this way will somehow free us from the constraints of structure and oppression.
I think Di Prima is bringing a bit more clarity to the table. The focus there is not losing out on the imagination; that traditional work that robs us of our imagination is not worthwhile or desired. I think the argument is more for holding onto yourself despite what society may say you should do instead of being different to be different.
Di Prima took more of a risk from a literary standpoint. Yes, Maso does a better job of challenging the reader directly and asking questions that "shouldn't" be asked, but Di Prima wrote outside the normal construct. Although it is a poem, the structure is free and Di Prima did it 15 years before Maso did, when such thoughts weren't as common.
I'm not trying to say that Maso did a bad job, but it felt kind of like "Do as I say, not as I do." I understand that for the purposes of reaching an audience, she had to write in a way that was readable to everyday people, but it still felt a little hollow for me. She wants us to write in a revolutionary way, but her writing is too subtle with its differences. While this wouldn't be something I expect academically, it doesn't feel revolutionary in the text.
So long story short (too late) I feel as if Di Prima went all the way in terms of writing in a new way, but didn't spell our the argument as well as Maso, and Maso spelled it all out for us quite clearly, but didn't follow her own advice.
Now, past that first "surface" difference, I feel that they are arguing for different things. Maso is arguing about writing outside of structure to think outside the box and "stick it to the man." It's unorthodox writing for the sake of being unorthodox, and that the hope is, that writing in this way will somehow free us from the constraints of structure and oppression.
I think Di Prima is bringing a bit more clarity to the table. The focus there is not losing out on the imagination; that traditional work that robs us of our imagination is not worthwhile or desired. I think the argument is more for holding onto yourself despite what society may say you should do instead of being different to be different.
Di Prima took more of a risk from a literary standpoint. Yes, Maso does a better job of challenging the reader directly and asking questions that "shouldn't" be asked, but Di Prima wrote outside the normal construct. Although it is a poem, the structure is free and Di Prima did it 15 years before Maso did, when such thoughts weren't as common.
I'm not trying to say that Maso did a bad job, but it felt kind of like "Do as I say, not as I do." I understand that for the purposes of reaching an audience, she had to write in a way that was readable to everyday people, but it still felt a little hollow for me. She wants us to write in a revolutionary way, but her writing is too subtle with its differences. While this wouldn't be something I expect academically, it doesn't feel revolutionary in the text.
So long story short (too late) I feel as if Di Prima went all the way in terms of writing in a new way, but didn't spell our the argument as well as Maso, and Maso spelled it all out for us quite clearly, but didn't follow her own advice.
Tuesday, September 15, 2009
What's form?
To be honest, I'm not really sure what form is. I think it's the style of writing an author chooses, I think it's more than the 5-paragraph approach and more than just basic sentence construction. It's got to be more than all that.
But it is the way of arranging and placement. It means more when we start talking about animations than just typed literature.
Form and relation to social norms...I guess there is a relationship there only because to be taken seriously by a wide audience an artist has to pick a socially acceptable form. It happens all the time in art, but this is the first time I'm considering it in literature. It means something different in this case, but it still means something. To write a stream of consciousness piece is a big risk...to write a story that isn't a narrative again is a big risk.
An aggressive form appears to society as an aggressive person: violent, radical, etc. I know that in Toni Morrison's novels, the sections where letters are pushed together with no punctuation or when they are capitalized, repeated, etc, it is supposed to invoke an emotion. It is a change in form and a change in thought.
But it is the way of arranging and placement. It means more when we start talking about animations than just typed literature.
Form and relation to social norms...I guess there is a relationship there only because to be taken seriously by a wide audience an artist has to pick a socially acceptable form. It happens all the time in art, but this is the first time I'm considering it in literature. It means something different in this case, but it still means something. To write a stream of consciousness piece is a big risk...to write a story that isn't a narrative again is a big risk.
An aggressive form appears to society as an aggressive person: violent, radical, etc. I know that in Toni Morrison's novels, the sections where letters are pushed together with no punctuation or when they are capitalized, repeated, etc, it is supposed to invoke an emotion. It is a change in form and a change in thought.
Sunday, September 13, 2009
Reactions to Maso
I feel that the pieces by Maso were created for writers. It was intriguing to say the least, and I think without it feeling too repetitive, it drove the point home that writers should not be bound by the established grammatical constraints.
Numerous times, grammatical rules are compared to "the man" who is holding us down.
Thoughts about gay and lesbian writers writing their outside stories with inside rules was something that resonated with me in both a good and a bad way. It would be great if a new kind of literature that was true to the minority was established, yet, if writers decide to tell their personal stories beyond the average grammatical rules, the average reader is isolated.
It's a double-edged sword with this type of literature. In one case, a new, truer genre is established, yet at the same time, the people that should receive the information the most (those ignorant to a cause) will be left in the dark, so what is it all for?
Numerous times, grammatical rules are compared to "the man" who is holding us down.
Thoughts about gay and lesbian writers writing their outside stories with inside rules was something that resonated with me in both a good and a bad way. It would be great if a new kind of literature that was true to the minority was established, yet, if writers decide to tell their personal stories beyond the average grammatical rules, the average reader is isolated.
It's a double-edged sword with this type of literature. In one case, a new, truer genre is established, yet at the same time, the people that should receive the information the most (those ignorant to a cause) will be left in the dark, so what is it all for?
Letter - 1st draft
I'm kind of hoping I don't need to change a lot...I like this just the way it is.
Wednesday, September 9, 2009
Plan for first project
For my project, I'd really like to warp my letter through many stages of its evolution before I play more with the animation in general.
I'm thinking after I warp the letter I would like to shift the letter into various objects resembling the letter (birds, buildings, tetris, etc) that occur in daily life without thinking about the language.
I'm really excited to explore the various shapes, and I'm excited to do more animation in general.
I'm thinking after I warp the letter I would like to shift the letter into various objects resembling the letter (birds, buildings, tetris, etc) that occur in daily life without thinking about the language.
I'm really excited to explore the various shapes, and I'm excited to do more animation in general.
History of L...thinking...
The letter L starts as an "oxgoad" in about 1500 BC in Seitic writing on the Sinai Peninsula although earlier symbols similar to L appear earlier in hieroglyphics. It changed in 1000 BC in Byblos. Greek, Etruscan and Latin letters all represent the same sound as the original "oxgoad."
I'm interested in this letter because of it's multiple evolutions and also, because it represents a sound not used in all languages or having different sounds in different languages (L represents a different sound in Japanese).
I think people should be interested in my letter because it is important although sometimes forgotten (walk, cloud) and I'm super interested now that I've seen more shapes in various languages.
http://en.wikipedia.org/wiki/L
http://www.experiencefestival.com/l_-_history
http://medievalwriting.50megs.com/scripts/letters/historyl.htm
http://student.britannica.com/comptons/article-9275341/L-l
I'm interested in this letter because of it's multiple evolutions and also, because it represents a sound not used in all languages or having different sounds in different languages (L represents a different sound in Japanese).
I think people should be interested in my letter because it is important although sometimes forgotten (walk, cloud) and I'm super interested now that I've seen more shapes in various languages.
http://en.wikipedia.org/wiki/L
http://www.experiencefestival.com/l_-_history
http://medievalwriting.50megs.com/scripts/letters/historyl.htm
http://student.britannica.com/comptons/article-9275341/L-l
Thursday, September 3, 2009
Animating One Letter: describing my letter
I've always had a very positive association with the letter "L" mostly because it is the first letter of my first name. It's always been very important and very cheerful if that is positive for a symbol.
I think I'm more drawn to the uppercase L because it's just far more impressive and solid than the boring lowercase l. The lowercase letter just looks like a line, hardly capable of invoking any kind of emotion, yet at the same time, it's solid, tall and permanent, like a sky-scraper.
When I see the L's in a basic font like this where the letters are basically lines with very little fluidity and curve, I see them building, falling and building themselves again. I think about knocking down and picking up, as well as morphing into other letters and symbols. Being straight lines in this font, they feel more architectural and building-oriented, but when I get my L in a font with more curve (we're talking cursive) I see it winding into itself, and sulking sexily. The letter L is full of dangerous curves when written this way.
So in the first solid basic way, this letter is expressing solidarity, persistence and existence - more the survival while in the second curvy way, L expresses sensuality, indulgence, carpe-diem and shapeshifting - living for today and adaptation for fun rather than for survival.
I think I'm more drawn to the uppercase L because it's just far more impressive and solid than the boring lowercase l. The lowercase letter just looks like a line, hardly capable of invoking any kind of emotion, yet at the same time, it's solid, tall and permanent, like a sky-scraper.
When I see the L's in a basic font like this where the letters are basically lines with very little fluidity and curve, I see them building, falling and building themselves again. I think about knocking down and picking up, as well as morphing into other letters and symbols. Being straight lines in this font, they feel more architectural and building-oriented, but when I get my L in a font with more curve (we're talking cursive) I see it winding into itself, and sulking sexily. The letter L is full of dangerous curves when written this way.
So in the first solid basic way, this letter is expressing solidarity, persistence and existence - more the survival while in the second curvy way, L expresses sensuality, indulgence, carpe-diem and shapeshifting - living for today and adaptation for fun rather than for survival.
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