representational – textual media

“Hegirascope”: Blog #2

In the early twentieth century, a group of artists in Zurich, Switzerland created an art movement by the name of “Dada” that utilized non-sensical imagery to communicate deeply textural and evocative concepts to a devastated and war-torn society. An admirer of this particular movement, I was initially intrigued by the “Hegirascope”. The mere chaos of it resembled the Dada ideology: because nothing in the world makes sense, neither will the art that attempts to reflect it. However if one pursues a further study of Dadaist pieces, they will find that many of the artistic works have a politically charged undertone to their near unrecognizable form. Therefore, members of the Dada sect did rely on some sort of representational meaning in order to portray an intensely evocative theory on the state of the world after World War I. When I think of “Hegirascope” in these terms, it suddenly doesn’t fit in at all. Although it can be argued that each segment is somewhat representational, the entire piece functions as a disjointed, abstract draft containing a vast variety of miniature plots that dream of assembling into an extended narrative.

Upon closer examination, the “Hegirascope” functioned as a sort of stream of consciousness. At each screen we abandon the center text when we wander to a particular link that had succeeded in distracting us from the central text. In an interesting comparison, Ryan says the text gave her the “impression of a loose collection of drafts and writing samples”. Like Ryan, I imagined that if we were able to break open the mind of a creative writer, the many textual fragments of “Hegirascope” would be what we would find. Each screen contained a cohesive idea, however before one could completely articulate that idea-the screen changed and a new thought was presented. To me, the web engine was a writer’s worst nightmare: capturing a moment to later build on only to lose it to another incoming idea. The “Hegirascope” acted as a controller, choosing when its thoughts were finished and moving onto the next (even if its reader was not ready for the shift).

In class we discussed Marie-Laure Ryan’s interpretative strategies for reading new media texts. Within her framework, I would probably describe “Hegirascope” dually as a “kaleidoscopic performance” piece. The “stories” the “Hegirascope” constructs are all made from the same fragments; however, with each new refraction the evocative meaning of the piece changes and a new narrative mosaic is created.

Jabberwocky as art

On the surface Jabberwocky seems quite meaningless; it is literally a machine that generates jibberish. As someone who does not have the technical saavy to make the software needed to produce such a machine, I can appreciate the technical know-how involved. To create this generator involves quite a lot of rules and possibilitiesin the encryption, but the outcome is meaningless. The words in the output are nonsensical and useless, and although a few real words are mixed in, a reasonable person would find this generator random and stupid. Looking deeper at the representational meaning, I see how this could be seen as art. In this new, “textual media” forum, I see the Jabberwocky as a piece that could be seen in an art exhibit at a museum. Having read the biography of the creator, I realize that he sees himself as an artist in this new realm and his productions as pieces of art. Just as many pieces of “traditional” art can leave many confused, in the abstract the meanings of the piece can be endless.
This brings me to the evocative meaning; I don’t see any larger politcal statement being made, but simply a playfulness formatted in a sophisticated way. I imagine young children, who are far more computer literate than I was at their age, use the output from Jabberwocky as a code for a secret language. Perhaps Jabberwocky is a statement on the state of society as a whole, and its future direction. If kids resort to a computer generated machine to come up with a secret language, what does that say about their level of imagination? Sure they are well versed enough in computers to find and use the Jabberwocky, but it certainly takes the fun out of sitting around with your siblings and friends, and acting silly and goofy while making up words.

Blog #1 Evocative and Representational Meaning in Jabber

With Jabber, the representational meaning is obvious; this is an engine that signifies the malleability of the English language by using physics to form random letters into strings of nonsense (and less often, real) words that could potentially (read: phonically) see regular use as a member of the language. This word engine speaks to the random and often quizzical nature of our language, as well as exhibiting a type of chemistry, where certain fragments can connect to form a plausible string, while others will disintegrate after a few moments.

What Jabber says evocatively, however, is less concrete. It seems to raise questions about how our language is added to or amended, as when literary characters become adjectives or ideas based on their written personae. Jabber also seems to play on the evolution of language itself, as with slang or colloquialisms we begin to hear and read more and more words that don’t exactly make any sense within their context; how can 30 inch rims be “ballin'” or new sneakers be “fresh” or “dope”. While Jabber affirms this sort of nonsensical usage by providing an engine through which strange words can be formed and documented, it also hinders its own evolution by the creator imposed algorithms that make certain strings of letters impossible to form.

While some form of regulations is necessary, so that all of the letters don’t simply clash together and form some ultimate nonsensical language pangaea, to truly push the evolution of language you need to relax some of the phonetic and pronunciational guidelines. While this might be analogous to expecting a bear to grow wings, i’m of the opinion that the English language has always been about nonsense rules and complexity, so why not throw in a few more.

“X” before “D” and “Z” after “K”, let the Jabber engine lead the way.

Representational vs. Evocative Meaning: Firefly

The textual media example that stuck out to me the most in class was the Firefly example. While Orsen Whale’s piece had sound, and Jabber had an unknown and exciting mystique, Firefly was interactive. This involvement peaked my interest the most, and will be used in to explain the differing dynamic between the representational meaning and the evocative meaning.

Upon first click, the representational meaning draws us, as readers, into Firefly. We are given a poem with 6 different stanzas, each falling on a new page, with a different angled picture of the same memorial as a background. Within each stanza there are 5 lines, and each line is 6 options deep. This allows us to be interactive in that there are thousands and thousands of possible different line choices. Deena Larson has written (in an order that continuously makes sense! ) 180 lines (6 pages x 5 lines/page x 6 lines/line=180) that create so many different themes and endings to the poem. In playing with these line choice combinations, we are able to create a new meaning to Firefly.

The evocative meaning that catches our attention is that each line reads so full of meaning, yet is several words long, and leaves each stanza at one full sentence. Deena Larsen has created a poem that can bring its readers to differing thought process and memories in the simple, yet powerful lines she has written and created. I remember in class I thought Firefly had a lot of meaning even before Professor Sample told us “click on the lines”. Once we had discovered this, the poem had whole new meanings and brought out new feelings, emotions and memories.

I think that Firefly is a great learning example for a textual meaning class because is simple, yet thoughtful and indepth. With so many line choices, a poem that is about death can be read as a poem with hope and love.

Blog 1

The jabberwocky engine presents the most compelling relationship between representational and evocative meaning, due in part to the seemingly limitless combinations of nonsensical words it can string together, and to the inherent incoherence of the English language’s own phonetic rules trying to make sense of these random collisions.

Ostensibly, JABBER entertains with the nonsense it vomits out, demonstrating English phonetics in an energetic and highly repeatable way. But certain implications about language start to surface as the random words start to just barely resemble something you might imagine saying, after violently stubbing your toe or mumbled at the edge of sleep. We encounter the idea that at one time a bunch of glorified apes had to come together to think of a word for “dog” or “elephant” or “banana,” and that however nonsensical the words produced by JABBER look, they’re pretty fun to say.

Why “Orson Whales” Is Not Plagarism

“Orson Whales” has very little literal, or representational meaning that is drawn from its actual basis, “Moby Dick.” Its story is told completely through the original drawings which are displayed over the actual book’s text and the commentary by Orson Welles. While I’ve never read the actual book, the animation seems to tell the story itself. Even Welles’ commentary is limited to highlighting certain aspects of the cartoon, rather than delivering a coherent narrative. He plays much the same role as the Led Zepplin song – supporting the story rather than narrating it.

This support role is exactly where Welles, Led Zepplin, and the text itself are most important. They make the background in which the cartoon itself can be expressed. The text acts as a visual background, while the song and commentary act as a sonic boon to punctuate strong moments of the animation. Rather than taking entire sections of the book from Welles’ narration, Alex Itin selects short phrases that coincide with the action, and even foregoes the commentary or the song in large parts. This is all present to establish the various evocative messages of the entire video – greed, lust and ambition all seem to lead to death at some point or another, and they are punctuated by appropriate sound samples of commentary and music.

None of that is any different from what all of us do everytime we write papers. We take from movies, music and books to make a basis for the point we want to make, or even as a justification for that point. What Alex Itin does is take Moby Dick and Orson Welles, and use them as a basis for an entirely different form of expression. He never passes their work off as his; he even cites them as the sources for his new work. We all gain insight from everything around us to help form our opinions and expression, Alex Itin just narrows his scope.

Jabberwocky: Words and Meaning

Although it has been reiterated several times already, I will attempt to define the representational meaning of Neil Hennessy’s JABBER. The Jabberwocky Engine generates a collection of letters from the English alphabet which float seemingly aimlessly across a white screen. Over time, these black letters collide in order to create blue word fragments (some of which are real words, some are not) or red “garbage” words. Then, two word fragments combine to create green “nonsense” words. Despite the fact that the green words do not exist in the English dictionary, Hennessy is, in essence, using the medium of language as a figurative playground by randomly combining letters and word fragments that sound, at varying degrees, as though they could plausibly function as actual words. He deposes the meanings of words and breaks free from the establishment of language as it is manifested in our cultural consciousness.

The user, “scarterb,” brought up the interesting idea that Hennessy could be “commenting on the arbitrariness of the English language.” Immediately, it occurred to me that the words currently in the repertoire of my vocabulary all sound, in some way, like what it is to which they refer. I realize that this is an abstract idea and may be difficult for me to articulate well. I will try my best…

I am not sure if others share similar experiences, but I feel that words have a tendency to correspond with their intended meanings—perhaps due to masculine or feminine undertones in a word or, say, because of certain emphases on the vowels and consonants in a word. For example, the word “blossom” (as it relates to a flower opening) sounds (at least, to me) exactly like its meaning, whereas the verb “execute” sounds very severe and harsh—the opposite of the implications of a flower blossoming. “Shatter” also seems to harmonize with its intended meaning in that the pronunciation of the two ‘t’s sound almost like an object breaking. Hennessy may be toying with the notion of words and their common associations through JABBER.

It is my contention that Hennessy may be challenging the way we associate words with their meanings, although I do not think his purpose in creating JABBER is exclusively for this reason. He may also be indicating the ever-changing nature of language (i.e. how words become antiquated, and also how new words are added to a language as time passes.) Nonetheless, it is possible Hennessy is attempting to show how words can be separated from meaning and connotation. Perhaps he is attempting to break the traditional notions of the significance of words and how they are tied to their meanings. He may be proposing one or several questions, What is really in a word? What is the significance of a word? How do we mentally process the concept of words?

I realize that this is a rather grandiose and perhaps far-reaching opinion. I am also aware that there is an obvious problem with my argument in that, from a young age, we, as human beings, are indoctrinated with the meanings and connotations of words. Therefore, it is nearly impossible to tell whether or not words are, in some way, deliberately connected to that to which they refer. Most likely, a (rather infeasible) controlled experiment would need to be performed in order to even begin determining the validity of my opinion—or inquiry, one might call it. One may look to etymology, but it is not sufficient in this case for explaining how and why sounds are combined to create words. Nonetheless, it certainly piqued my curiosity when considering JABBER, its purposes, and the questions it raises.

Blog#1 Orson Whales

The three completely different textual media samples that were shown to us right away were all interesting. Of the three, I found the Orson Whales to be the most interesting and unique. Sure, the Jabber engine could create random words, and the Firefly showed lots of creativity and needed acted on user involvement, but I loved the meshing of the arts of Orson Whales.

To me, the representational meaning of Alex Itin’s “Orson Whales” is to show the ability of a novel to turn to life. By using the actual pages as a canvas on which to tell the story, mixed with sounds and dramatic music, the novel takes a life of its own and forces the reader to be enveloped within story. Rather than just sitting down and reading the book with a freedom to imagine anything, Itin uses multiple drawings to create a sort of movie. I, having never really read the novel of Moby Dick, can get a faint understanding of the book just by watching the pictures. The combination of the voice of Orson Welles as the narrator, clips from his movies, the intricate drawings, and the music of Led Zeplin not only create a new way to tell the tale, but also create a ‘creepy’ vibe in which the tale is told through.

The evocative meaning of Itin’s piece is the intertwining of various forms of art in order to create a new form – textual media. By using multiple clips, such as the voice of Welles, the music of Led Zeplin, his own illustrations, and Melville’s pages, Itin has creatively generated a new way to perceive and read the novel through the fusion of diverse sources. Itin’s mixes the arts to create his own art in which he shows his own personal interpretation of the novel/song/narration. Though the representational meaning of “Orson Whales” clearly shows a combination of sources, the evocative meaning of creativity and personal interpretation become hindered and hidden.

I think the commonality among the three new ‘textual media’ examples we saw we’re creativity and personal interpretation. Creativity allows us to act on our own personal interpretations and beliefs as well as how we feel about certain things, no matter the type of art.

On “Orson Whales,” : Evocative and Represational Meaning

“Orson Whales” combines different audio, video, text, and animation to create a multimedia collage depicting the flawed nature of man. What I found most intersecting is that the only original media used was the author’s hand drawn animation. All the other material was taken from previously established works.

Representational Meaning:

When the different pieces are combined as a whole, certain symbols and themes are established which make connections between the tragic heroes: Charles Foster Kane (Citizen Kane), Narcissus (Greek Mythology), and Captain Ahab (Moby Dick) and John Bonham (Led Zeppelin).

Led Zeppelin’s song “Moby Dick” is comprised mostly of a drum solo showcasing the mastery of percussionist John Bonham, whose life was tragically cut short due to the effects of alcoholism. Charles Foster Kane’s pursuit of money and material possessions ultimately lead to an unsatisfying life. The tale of Narcissus, which is about a young man who falls in love with the reflection of himself in a fountain and because he could not “grasp the mild tormenting image, plunged into [the fountain] and drowned” (this passage can be heard around 0:46). And Captain Ahab’s obsession with the great white whale and his thirst for revenge lead him to his own tragic demise.

Many symbols are used in the animation to punctuate the thread between the different works. Animation of the figure chasing after a bottle labeled with a dollar sign, looking at himself a mirror, plunging into the water, drowning and being swallowed by the whale are repeated throughout the piece in an attempt to illustrate the possible danger of each man’s unhealthy fixation.

All the plots of these individual stories are basically the same: Man discovers something, obsesses over it, and dies unsatisfied.

Evocative meaning:

The last audio passage heard over the video clip of Charles Kane walking down a mirrored hall addresses the inevitable fade of even the greatest of artworks. What the passage argues is that due to the constant change of cultural contexts and the decreasing/discontinued use of obsolete media, even the most celebrated works of art are at risk of being forgotten. The author is, in a sense, arguing that the only way for art to survive is to stay kinetic. Similar to the way that the digital sampler revolutionized the way people thought about music—by taking something old and using it a different way—all artwork can be kept relevant by continued reference and tendency towards change.

This is not a new practice either. In the opening line of Moby Dick, Melville makes a reference to a character in the Old Testament of the Bible (Ishmael, the rejected son of Abraham). This reference instantaneously adds depth to the character using the reader’s prior knowledge and providing Melville with the opportunity to expand ideas in new directions.

Technology has given artists and authors the opportunity to experiment not only with new forms of media, but the combination of old and new media as well. By embracing the artwork of the past as well as the technology of the future, we might not have to watch them “wear away into the ultimately and universal ash.”

Matt Z

JABBER: Just Nonsense?

First, I’d like to respond to ekimbell’s comment about Orson Whales. I agree that although Orson Whales is unchanging, it does have an element of randomness in the sense that it can be interpreted in several different ways. If the same holds true for “old media,” however, in what ways is Orson Whales considered new media? Does it really just go back to the rather dull definition of new media as cultural objects that make use of digital technologies? I don’t think there’s a clear-cut answer here, but I will take a stab at another definition. It seems to me that new media is a amalgamation of several different media forms. For instance, Orson Whales can be considered literature, art, music, all of the above or a combination of these things. New media challenges our ideas about text, as well as the ways in which we experience and thus interpret text. We read Moby Dick and think about the several different meanings it can possess. As for Orson Whales, we’re not really sure how to read it or if we can even read it at all. Do we read Orson Whales? Do we watch Orson Whales? Or do we listen to Orson Whales? This is what I mean when I say new media challenges the way we experience and interpret text.

In terms of representational meaning, Neil Hennessey’s JABBER: The Jabberwocky Engine is pretty much what it looks like. In short, it’s a bunch of letters that when bonded together, form “nonsense words.” According to Hennessey, “JABBER realises a linguistic chemistry with letters as atoms and words as molecules.” In this way, Hennessey challenges our preconceived notions about language and text and how we interpret them. After all, you usually don’t think about chemistry when talking about letters and words. At face value, JABBER is just like the game of Boggle: You put certain letters together to form certain words. The irony in JABBER, however, is that although the bonds between letters are determined by the likelihood that they would appear alongside each other in the English dictionary, the words those letters form are mere gibberish. This is where evocative meaning comes into play. Could Hennessey be commenting on the arbitrariness of the English language? Well, he’s definitely underlining the concepts of letters and words, concepts that we overlook on a day-to-day basis. But who determines which combinations of letters constitute a word? We are all guilty of throwing our words around or talking gibberish, if you will. As a result, others can misconstrue our intended meanings. Although the nonsense words in JABBER and the gibberish we speak have no true meanings to outsiders, they still have some meaning to us. In Electronic Literature, Katherine Hayles asks, “Is literary quality possible in digital media or is electronic literature demonstrably inferior to the print canon?” (2). I think Hennessey prompts his audience to ask a similar question. JABBER just produces nonsense words, but isn’t there more to it? After all, why are we studying it in the first place?

Blog 1: Evocative vs. Representational meaning – Firefly

I found firefly to be the most interesting of the 3 examples of new media. The piece allows the reader to alter virutally every line of the poem in several ways and still continues to flow in a coherent manner.

The representational meaning of the piece of fairly obvious and quite simple, it is about death, and the experience of dying in the first person; however, the evocative meaning of the piece is what makes it interesting. The ability to alter the lines of the poem shows that one is able to choose nearly infinite paths, and there are an equal amount of choices both in life and in the poem. Another interesting aspect of the poem is the fact that the reader of the poem is unable to alter the lines in the opening page, and the lines in the final page. I believe the author made tens of thousands of choices throughout the poem, but the end page is constant and unchanging for a reason, the idea that one can not change the beginning or end, only the aspects in between, and that both the poem and life can only lead to one common end, death. I think that the author of this poem wants to exemplify the futility of life and everything that we do, because in the end, there is only one end.

Though quite morose and down, this poem raises an interesting, unique concept of life and death to the reader, and the piece can entertain for quite some time.

Blog #1: Representational and Evocative Meanings

The representational meaning of Firefly is quite clear: A mere click of any line will seamlessly fit into an already established somber poem. The interactive process allows the audience to change the direction and tone of the poem. It is up to the viewer to decide the path that the poem takes. One interesting aspect of the representational meaning can be found by seeing how replacing one line with another alters the poem’s meaning. It is also a fun website- I found myself surprised that no matter how many times I clicked, the poem still flowed perfectly, and still amazingly managed to retain its morose qualities.

The evocative meaning of Firefly is more complex. One meaning that came to me was how the site showed how trivial the words we use seem to be, and how arbitrary a process it is when we pick certain words above others to express how we feel. A poem is seen by many as a mode of poetic expression- every word means something and contributes to a delicate message. Firefly brought to mind the idea that these words aren’t in reality so precious. They are, in fact, easily replaceable with another completely different phrase.

The dynamic between the evocative and representational meanings of Firefly is certainly interesting. While the representational meaning shows the viewer’s ability to be interactive and influence the progression of a poem to their heart’s content, the evocative meaning delves a bit deeper and shows how strange it is that we live in a community that values words and evaluates them based on their difficulty and sequence. Firefly‘s evocative meaning makes me consider how cynical and almost silly some facets of the English community have become. While some words compliment each other and flow nicely, there is always another combination that would likely work just as well. Both meanings allowed me to examine and appreciate what Firefly presents, as well as what it means.

Blog 1: Focus on Firefly

Overall in comparison:

Jabberwocky relies on random moving bits of language and Orson Whales utilizes an animation-like presentation, both of which seem to be created to entertain or entice the user and try to make the user make sense of the work. However, if the user is not interested, he or she may not delve into it any further. In the assigned reading, it was noted that while electronic literature may be the new and next best thing compared to regular printer literature; it also noted that one must not become misguided in the “media” itself, otherwise the meaning is lost.

Representational meaning:

Firefly is contextually based like a book, the user interface is shaped like a novel and it has arrows to flip to the next page. There are clear instructions directly to the right on how to navigate the piece, giving the work a sense of direction that gives the user an idea of what to expect. While the work itself can express many stories depending upon on the selections of the user, the interface is somewhat normalized compared to Jabberwocky for example.

Evocative meaning:

When the user first loads the page they are presented with a nice daytime picture looking through the woods at a nice patch of grass. Soon thereafter, it becomes very dark and the title is displayed “A tale told in 180 degrees of separation.” The animation change from day to night could represent a degree of separation even before diving further into the content. The other question or detail I ponder is the “fog and green light,” is that represented by the ghostly green image backdrop throughout Firefly? It appears to be décor for the tale itself but is it supposed to represent something or someone? In the very first page that is loaded, the “green fog” appears on the right side. When the user moves to the next page, it is flipped to the left side as if one was looking at the “green fog” in a mirror. When you click to go to the next page, the fog is flipped to the left side. Is this intentional? Is there anything to be gleamed from the change of the fog backdrop throughout the tale and that it stays on the left side all the way to the end and does not change after the first page? The color also stood out to me, nearly all the text and components of the user-interface are some shade of green and “fog and green light” is also stated in the first part of the tale. What is the relationship between the color green with this author? Is there one? Even the text on the side of the page, which is the instructional text, not a part of the work, is also green.

“Firefly,” a 180 Degree Turn for Poetry

I respect poetry as I respect every art form, however, lately I haven’t been impressed with what poetry had to offer. Perhaps it’s my fault, since poetry is not what I prefer to read. With that said, I enjoyed reading Deena Larsens’ “Firefly,” because it gave me a different perspective on this literary genre. She had proven to me that a dying art, like poetry, can not only be reinvented by simply allowing the reader to be part of the poem, but that it can also be for everybody – that it does not have to bear the 21^st century’s stigma of elitism. Thus regardless if you like poetry or not, “Firefly” is for you!

“ Firefly” is a six stanza poem that defies traditional poetry by being interactive, and by merging a variety of representational styles. It has five alterable lines in any given stanza placed in front of different pictures. While this poem has a variety of line sequences, it only has seven pictures to go with them. This may sound bad – I certainly thought, “How amazing it would be if there was a different picture for every line variation” – but realizing that such a concept would require over 90,000 pictures, I figured that I should be content with the poem as it’s. After all I failed to find any two lines that produced a nonsense stanza. Don’t believe me? Then knock yourself out Neo, and delve into this Matrix.

Poetry prides itself on being able to create vivid images with a few words, and so I found it interesting that Larsens decided to put pictures behind her words that corresponded to the overall feeling of her original poem. Why did she do it when it lessened the enigma surrounding the conventional evocative meaning of the poem? Perhaps because this digital poem’s evocative meaning comes not from its words, but rather from its digital presentation, and if this presentation tells us anything, then it’s that this poem is not about the author, but it’s about the reader. Larsens freed poetry from its shackles by giving the reader the chance to forgo the task of trying to figure out the poet’s elusive intention – who can know another man’s thoughts anyways – and let the reader decide what the poem is about. In Larsens’ poem, for once, the reader can become the poet.

Blog #1, “Orson Whales”

Tim Hubbard

Representational meaning:

As I watched the work for a second time, the representational meanings seemed to become clearer, even without a large contextual base of knowledge about “Moby Dick.” Of course there are elements from Moby Dick which can be seen and understood as representational meanings within the piece, such as an exhibition of death and revenge.

Additionally, the piece serves as somewhat of a literal example of how art can come to life. Using a base of the actual pages from Moby Dick, the artist superimposes drawings which seem to bring the text to life in a literal way.

As the title would suggest, Orson Welles plays a key role within the piece. As we continue to hear him speak, the artist also gives us a few bits from Orson’s films like Citizen Kane and F for Fake, as well as, the drawn word “Rosebud.” I would like to think that the artist gives tribute to Orson through these bits considering I perceived most of them to be random.

Evocative meaning:

Immediately, I gathered the supreme idea of creation by witnessing forms of media, such as text, film, music, drawing, and spoken word, all combined to form a new type of media. This work serves as a good introduction to “new media” by blatantly utilizing many media forms and transcending the ordinary and sometimes bland way we receive art and/or media. This meaning seems totally isolated from the specific subject material (like Moby Dick), yet still uses it to showcase the total freedom of creation within all forms of media.

By giving us pieces from a variety of media sources which are all related in some way, the viewer can extract his/her own meaning based upon the context in which they watched the piece. For me, it seemed as if the piece was suggesting the all forms of art created by anyone anytime are all the same. By that I mean all art is related regardless of how it is categorized or perceived. It suggests that boundaries cannot exist within art and because of that, all art flows together.