The theme I chose for my final project is dance. I've always been very captivated by the artistry of dance and the iconic figures that we so desperately want to emulate like Fred Astaire and Gene Kelly. Well, I wrote a poem from a first person perspective in which the speaker attempts to dance. Although the speaker begins with two left feet, the experience they attain through practice and passion results in real skill and confidence.
I worked with PowerPoint again for this project, but this time the most recent version, 2013, providing many options and capabilities. Also, Windows Movie Maker allowed me to creatively enhance my work with the movie clips I chose for this piece, Swing Time with Fred Astaire and Ginger Rogers and Singing in the Rain with Gene Kelly and Donald O'Connor.
Each slide is hyperlinked to the next slide and the final slide is set to begin the ELit story again. The song "Move Your Feet" by Junior Senior is the perfect audio to solidify the theme and purpose behind the piece, the fun and skill in dance. Michael Jackson's "The Way You Make Me Feel" is used on the last slide to best mirror the bold tone of the last lines in my poem "One Two Step". An audio clip of tap dancing from freesound.org is also used in the first and final slide to reference tap, a most artistic form of dance where the dancer creates music with each step.
As any project, this required time and patience but the end result was well worth it. Overall, I had fun with it. I hope those who do get to experience my piece enjoy it.
Here it is.... One Two Step
Sunday, May 12, 2013
Tuesday, April 30, 2013
Brainstorming for Project 3
So, our last and final project should include everything we have been introduced to thus far. Keeping that in mind my ideas for Project 3 are far from where I began. I envision a story including video, more specifically video clips of movies that will serve as a tutorial for my main character. This character would go through the story exploring and finally learning a few things from the video clips. It's a rough idea right now but I'm excited about making it happen.
Tuesday, April 16, 2013
Project 2
I chose to write a poem specifically for this assignment. Unheard refers to the speaker's voice and the stages of the voice throughout life, along with its beauty and struggles. It has been animated using PowerPoint 2007 and 2010.
If everything goes accordingly, the digital text should simply appear, at times swoop in, enter from different angles of the page, and so forth. Certain text will act our their meaning while other text will simply entertain and adhere to the quiet and personal tone of the piece.
I tried to make the experience of reading this poem an enjoyable one while still relatable to the topic. Well, I hope you all enjoy!
Unheard
If everything goes accordingly, the digital text should simply appear, at times swoop in, enter from different angles of the page, and so forth. Certain text will act our their meaning while other text will simply entertain and adhere to the quiet and personal tone of the piece.
I tried to make the experience of reading this poem an enjoyable one while still relatable to the topic. Well, I hope you all enjoy!
Unheard
E-Lit Review of "Strings" by Dan Waber
Dan Waber brings words to life with a black string and a white slate in the electronic story Strings. Through the use of Flash a few simple words become kinetic poetry. Strings consists of eight different scenarios in which the most commonly used words in the English language like yes, no, and maybe tell a dramatic story. Notably, Waber does not use the standard typed text in this piece but the lost art of handwriting. This choice provides a welcoming element of reality to its readers. Within each page the text plays with human behavior; at times resembling actual relationships. Upon the first reading of Strings a reader can notice the dramatics being acted out by lexia through a small window provided.
The first page entitled "argument" presents a battle between the words yes and no. It begins with a black line that quickly resembles an elastic string as it moves from left to right caught in the heat of an argument, it seems. It is a continuous tug-of-war that no one ever wins, as is most real-life cases. In "argument 2" Waber continues the first quarrel. An abrupt yes zooms by, no follows, but now maybe is added to the mix. No longer is it a choice of "black and white"; maybe proves there is some "wiggle room" in what is being decided.
The human tendency to flirt is the next concept Waber plays with. "Flirt", as it is entitled, displays a word forced to read from right to left as the image moves from the left to right while casually morphing into an entirely different word. This action continues on a loop. After focusing on this image a few times, because it is not clear what the starts as or what it transforms into, I believe the word begins as no and ends as maybe. The reader is left eagerly waiting for the handwritten image to appear again, if only for a few more seconds, to get a closer look. How interesting that Waber succeeds in appropriately resembling the flirtatious attitude displayed in human behavior by the use of this image. On the fourth page, "Flirt (cntd)" the flirtation is more intense. Yes is the only word to appear and it almost plays a game of peek-a-boo with the reader. The single text only shows a little of itself at a time then scurries away after it has exposed itself, to then come back and come undone back into the form of a string. This page reminds me of a person desperately seeking attention through their obvious flirting with no shame as to how far they will take it.
Waber's depiction of happiness through the use of ha is the page I enjoyed most. One string begins as a chuckle with a single ha. This is quickly followed by two ha's, then three, four, five, six, eight all while swaying to and fro with each increase in laughter. The laughter comes to an end with aha and heh. Real laughter is similarly expressed. When we find something humorous we might let out a quick giggle and as the humor escalates so does our intensity of laughter.
Next, the words you and me are used to demonstrate the relationship between the two words and the role each one plays. On this page, "youandme", you is presented as the passive and composed one in the relationship while me is its complete opposite. Without pause me comes frenziedly onto the screen and moves through every inch of its window as you enters the screen calmly and ever so cautiously. This pair of words reminds me of a couple where one partner remains composed and casually goes about their business while the other frantically goes in circles trying to find something that is lost or struggles to quickly get ready.
The seventh page, "arms" is slightly different from the rest in that it contains an image that is not text. This image is a circle used to represent the embrace of your arms. I found this idea to be very endearing. The reader is first shown a black string that comes alive and transforms into your then smoothly into arms which then forms a circle or ring. This ring, containing a slight opening at its highest point, rotates a full 360 degrees before morphing into me. Love is part of this message, for a longing to be in the arms of someone, your arms, is made evident.
The final page to this piece is labeled "poidog". Poidog is a Hawaiin term used to describe a mixed breed dog, a mutt. I can not see the correlation between this definition and the animated text on the page, except that the mixture of words can resemble the nature of a poidog. In contrast to the other pages this is the only part of the story to contain a full sentence, "words are like strings that I pull out of my mouth". To go along with this sentence Waber adds a small circle to dot the "i" in like and strings, then has two small strings cross the "t's" in strings, that, out, and mouth. The word choice to the only complete sentence in Strings and final statement from Waber nicely brings the idea behind this piece full circle. We can just as easily play with the theory of words and their meaning and still have them make a statement.
Waber's focus seems to have been the visual aspect of this piece. No sound was made a part of the work, neither was it needed. Although the story only contains a small number of words each word represents a feeling and has an action regardless of the involvement of its reader. In fact, besides the reader having the option of going to the next page or previous page, direct interaction in not needed. The text and the emotions it carries will occur and continue despite the meddling of the reader.
This hypertext initially spoke to me because of its title Strings. I envisioned a story being elegantly told through the use of violin strings. A harmonious, melodic tale that I, the reader, would watch happen. Even though, the strings were not of an instrument I am pleased with the concept of the story and execution of this piece. Clearly words were given life in Waber's Strings, a goal I believe every author sets out to reach. The lexia is cleverly used to emulate human emotion and action. Though very few words are used to display these emotions the message is still received. Just as in real life where a person does not need to say they are happy to make others aware because a smile can also communicate the emotion, pages of lexia are not required to send a message that a few words can do.
Strings
Interview with Dan Waber
The first page entitled "argument" presents a battle between the words yes and no. It begins with a black line that quickly resembles an elastic string as it moves from left to right caught in the heat of an argument, it seems. It is a continuous tug-of-war that no one ever wins, as is most real-life cases. In "argument 2" Waber continues the first quarrel. An abrupt yes zooms by, no follows, but now maybe is added to the mix. No longer is it a choice of "black and white"; maybe proves there is some "wiggle room" in what is being decided.
The human tendency to flirt is the next concept Waber plays with. "Flirt", as it is entitled, displays a word forced to read from right to left as the image moves from the left to right while casually morphing into an entirely different word. This action continues on a loop. After focusing on this image a few times, because it is not clear what the starts as or what it transforms into, I believe the word begins as no and ends as maybe. The reader is left eagerly waiting for the handwritten image to appear again, if only for a few more seconds, to get a closer look. How interesting that Waber succeeds in appropriately resembling the flirtatious attitude displayed in human behavior by the use of this image. On the fourth page, "Flirt (cntd)" the flirtation is more intense. Yes is the only word to appear and it almost plays a game of peek-a-boo with the reader. The single text only shows a little of itself at a time then scurries away after it has exposed itself, to then come back and come undone back into the form of a string. This page reminds me of a person desperately seeking attention through their obvious flirting with no shame as to how far they will take it.
Waber's depiction of happiness through the use of ha is the page I enjoyed most. One string begins as a chuckle with a single ha. This is quickly followed by two ha's, then three, four, five, six, eight all while swaying to and fro with each increase in laughter. The laughter comes to an end with aha and heh. Real laughter is similarly expressed. When we find something humorous we might let out a quick giggle and as the humor escalates so does our intensity of laughter.
Next, the words you and me are used to demonstrate the relationship between the two words and the role each one plays. On this page, "youandme", you is presented as the passive and composed one in the relationship while me is its complete opposite. Without pause me comes frenziedly onto the screen and moves through every inch of its window as you enters the screen calmly and ever so cautiously. This pair of words reminds me of a couple where one partner remains composed and casually goes about their business while the other frantically goes in circles trying to find something that is lost or struggles to quickly get ready.
The seventh page, "arms" is slightly different from the rest in that it contains an image that is not text. This image is a circle used to represent the embrace of your arms. I found this idea to be very endearing. The reader is first shown a black string that comes alive and transforms into your then smoothly into arms which then forms a circle or ring. This ring, containing a slight opening at its highest point, rotates a full 360 degrees before morphing into me. Love is part of this message, for a longing to be in the arms of someone, your arms, is made evident.
The final page to this piece is labeled "poidog". Poidog is a Hawaiin term used to describe a mixed breed dog, a mutt. I can not see the correlation between this definition and the animated text on the page, except that the mixture of words can resemble the nature of a poidog. In contrast to the other pages this is the only part of the story to contain a full sentence, "words are like strings that I pull out of my mouth". To go along with this sentence Waber adds a small circle to dot the "i" in like and strings, then has two small strings cross the "t's" in strings, that, out, and mouth. The word choice to the only complete sentence in Strings and final statement from Waber nicely brings the idea behind this piece full circle. We can just as easily play with the theory of words and their meaning and still have them make a statement.
Waber's focus seems to have been the visual aspect of this piece. No sound was made a part of the work, neither was it needed. Although the story only contains a small number of words each word represents a feeling and has an action regardless of the involvement of its reader. In fact, besides the reader having the option of going to the next page or previous page, direct interaction in not needed. The text and the emotions it carries will occur and continue despite the meddling of the reader.
This hypertext initially spoke to me because of its title Strings. I envisioned a story being elegantly told through the use of violin strings. A harmonious, melodic tale that I, the reader, would watch happen. Even though, the strings were not of an instrument I am pleased with the concept of the story and execution of this piece. Clearly words were given life in Waber's Strings, a goal I believe every author sets out to reach. The lexia is cleverly used to emulate human emotion and action. Though very few words are used to display these emotions the message is still received. Just as in real life where a person does not need to say they are happy to make others aware because a smile can also communicate the emotion, pages of lexia are not required to send a message that a few words can do.
Strings
Interview with Dan Waber
Tuesday, April 9, 2013
Blog Eight
Project 2 will definitely be a bigger challenge than the previous but the idea seems fun and appealing. So, I'm looking forward to it. After tinkering around, the Power Point application seems most promising to the vision I have in mind.
My initial thought was to create a children's story, an idea I've played around with before. The story would be based around an adventure; either a character retelling their exaggerated version of an event or a character dealing with an issue.
My initial thought was to create a children's story, an idea I've played around with before. The story would be based around an adventure; either a character retelling their exaggerated version of an event or a character dealing with an issue.
- The character can perhaps be moved around the story like a game piece on a board game by the reader with lexia following.
- I'd work on having the text separate and come together either letter by letter or word by word. Also, I would like some of the text to act out their meaning (e.g. the word "swim" would appear to swim onto the page)
- Does concentrating on the electronic or interactive aspect of a story take away from the value of the lexia in the story?
- How can I work with the same clip art image throughout a story but also have that image available in different poses or performing different actions?
Monday, April 1, 2013
Blog Six
Reflection on Amanda Starling Gould's article on Electronic Literature
According to Gould, electronic literature has rapidly taken off, and so she fittingly provides the reader with works that best represent this form of literature, especially beneficial to all its newcomers. I would include myself in the category of novice. Up until this class I was not aware of this form of literature. Now that I have gained a very small amount of knowledge and experience in this field I can understand Gould when she says, "E-lit provides students new objects to think with and new ways to think the objects (the text) we think we know." Electronic literature is being represented in such a distinct manner that most of what we already know about literature that we wish to apply to this new form will only leave us frustrated. Hence, it is recommended to approach E. lit with a fresh mind.
Gould also states, "If we are too tightly or too tidily contained within a particular theoretical discourse, we chance ignoring significant or critical elements of what should be a hybrid episteme for the study and teaching of e-lit. Alternately, if we are too open―too hybrid―we risk a-historicizing or de-historicizing our works and practice." When this idea is applied to our approach on E. lit a few questions arise, what would be the happy medium? who determines it? if this form of literature has to follow a specific set of rules does is put a hindrance on the creativity of the author?
N. K. Hayles best captures the idea of E.lit and the method to keep it alive and growing with the following, "in the classroom we pair the teaching of e-lit reading skills with the concurrent instruction of e-lit creation. By creating their own works in an environment that closely re-produces the conditions of its typical authoring―one that is collaborative, transliterary, active, layered, programmed and coded―our students can gain deeper understandings of the field and its objects. Students produce concepts from the works and from the working―the hands-on making―of e-lit pieces."
According to Gould, electronic literature has rapidly taken off, and so she fittingly provides the reader with works that best represent this form of literature, especially beneficial to all its newcomers. I would include myself in the category of novice. Up until this class I was not aware of this form of literature. Now that I have gained a very small amount of knowledge and experience in this field I can understand Gould when she says, "E-lit provides students new objects to think with and new ways to think the objects (the text) we think we know." Electronic literature is being represented in such a distinct manner that most of what we already know about literature that we wish to apply to this new form will only leave us frustrated. Hence, it is recommended to approach E. lit with a fresh mind.
Gould also states, "If we are too tightly or too tidily contained within a particular theoretical discourse, we chance ignoring significant or critical elements of what should be a hybrid episteme for the study and teaching of e-lit. Alternately, if we are too open―too hybrid―we risk a-historicizing or de-historicizing our works and practice." When this idea is applied to our approach on E. lit a few questions arise, what would be the happy medium? who determines it? if this form of literature has to follow a specific set of rules does is put a hindrance on the creativity of the author?
N. K. Hayles best captures the idea of E.lit and the method to keep it alive and growing with the following, "in the classroom we pair the teaching of e-lit reading skills with the concurrent instruction of e-lit creation. By creating their own works in an environment that closely re-produces the conditions of its typical authoring―one that is collaborative, transliterary, active, layered, programmed and coded―our students can gain deeper understandings of the field and its objects. Students produce concepts from the works and from the working―the hands-on making―of e-lit pieces."
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