Project 4 of the online portfolio you are required to devise, plan, record and upload a Podcast to the Podcast Page of your blog. A Podcast is
|A multimedia digital file made available on the Internet for downloading to a portable media player, computer, etc.
|Make (a multimedia digital file) available as a podcast.
Here are some useful and interesting podcast sites for you to look at. Listen/watch a few to get a sense of the format and content presentation of a range of Podcasts on a variety of topics.
BBC Points of View
‘Best of’ UK Podcasts selection
Best of 2012/13 Podcasts [Canada]
A great way to share research and deas:
Aleks Krotoski – researcher and journalist
Digital Human Series 1 and 2
Aleks Krotoski explores the digital world, looking at the urge to capture every image, experience and feeling for online eternity and how technology touches everything people do, both on and offline.
untangling the web – Krotoski book published April 2013
Tricia Wang – sm researcher and sociologist
Danah Boyd – researcher in social media
And finally here’s some exemplary eco-activism use of podcasts and social media to build communities and awareness of environmental issues:
the story of stuff project
That’s plenty to be looking at for now.
E-mail me your ideas and I can give you further direction for your research.
Close reading questions for:
By Lev Manovich
From The Language of New Media
- What does Manovich say about the contrast between cinema and computer users?
- What are the 2 types of montage Manovich refers to? Why is montage important?
- What do you think Benjamin means when he says the camera can ‘pry an object from its shell’?
- According to Manovich, whose vision is it? What does it privilege?
- What does Manovich mean by ‘a database imagination’?
- What, according to Manovich, are the 3 levels of Man with A Movies Camera?
- What is the Kino-Eye? How does it offer new ways of seeing and thinking?
- Why does Vertov’s film have particular relevance to new media, according to Manovich?
- What ways is the film a database?
- What is the significance of the ‘loop’?
- What is the significance of the ‘spatial montage’?
- What is the cinema an interface to? [According to Manovich]
- What is Manovich attempting to do with this analysis of New Media?
- What is his methodology?
- What is his key conceptual tool?
- What are the 5 key concepts addressed in the book?
- Explain the concept of ‘information culture’?
- What is a new media object?
Find the answers to these question in the given texts and be prepared to discuss them in the seminar.
Also the 4th project The Podcast will be set for completion in week 9.
This week we’ll be reading and thinking about psychogeography with a view to writing your next project [Project 5]. As a form or style or genre of writing it is, as with many of the forms we’ve explored so far, hard to define but it is characterized by the writer taking a solitary walk through a particualr environment. It is often a journey taken on the edge of places or that explore places on retreat or in decline. With this in mind much psychogeography is concerned with documenting loss or change. The 18th cnetrury poet John Clare is often cited as setting the precedent for this kind of writing – famous for his celebratory representations of the English Country side when enclosure legislation threatened an end to country life as was then known with its freedom to roam. More recently Will Self and Iain Sinclair have both – and with idiosyncraatic colour – made this style of writing a central part of their writing and intellectual practice.
Please read and watch the following and be prepared to come with responses and ideas for your own exploration of this for next class.
Sinclair on ‘motiveless walking’
Sinclair ‘On London’ extract
Sinclair ‘London Orbital’ ‘look inside’ chapter 1
Self – South Downs Way [extract]
The uses of Psychogeography – Self
What is Psychography?
Psychogeography has its soots in situationism of which Guy Debord was a key member Psychogeography was defined in 1955 by Guy Debord as “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.”[. If you haven’t already read Perspective for Conscious Alterations of Everyday Life [see Week 2] [Highmore Everyday Life reader] then do!
Watch [at least] some of this film:
There is a translation of French Voice Over available by following the link to a blog on the You Tube page. it’s very interesting to observe the way the camera’s eyes sees. With the v/o processes specific ideas and interpretations about ‘the seen’.
And for another fascinating filmic response to psychogeographical approaches to ‘landscape and journey writing have a look at Andrew Kottings Gallivant [UK 1995]. if you have a look at Sinclair’s web site you’ll see they’ve worjed together quite a bit.
SO you’ve written the script what now?
Preproduction that’s what.
Once you have decided on your group and which script you want to produce you can move on to the exciting and challenging part of bringing you idea to the screen. If you haven’t made a film before from a script you may have many ideas about what happens next. Steven Katz’s book on Visualising for the Screen is a great place to start to put your ideas in to order and set about on the process from pre-production to final film presentation. It’s listed on the reading list for this module [find this on the VLE] and you’ll find copies in the library. I will be giving out handouts in class this week and next to furnish you with the essential information to complete your next tasks:
- Mark Up Your Script – BREAK YOUR ACTION DOWN INTO SHOTS [CU, MS, LS, HA, LA etc]make sure you are familiar and using the correct abbreviations for shots, camera moves, camera angles and sound descriptions.
- Create a SHOT LIST
- Create a SOUND LIST
- Secure CAST and LOCATIONS
What is Cinematography? Telling Stories in Images
SCREENING EXTRACT : Visions of Light – a documentary interviewing famous cinematographers about their craft and the way iconic cinematic moments were born – not always from the script. I will screen an extract in class but I highly recommend watching the whole film which is available in the university library. A chance to hear highly experience cinematographers consider their craft.
Tips on Framing: The Rule of Thirds
Extra Tools for visualising your film: Storyboards and Floor Plans to come NEXT WEEK!
This week we are turning our attention to micro fiction. Whether it’s flash, just short or macroscopically micro we are interested in what makes good short fiction great.
There is much flash fiction about. David Gaffney has made a bit of a name for himself with the form and much of his subject matter makes a good match for our investigation in to theories of Everyday Life. Here is what he has to say about how to write it:
here’s where you can read two of his flash fictions from his Book Sawn Off Tales via Amazon’s Look Inside option Your Name In Weetos and the Lost Language of Hairgrips. [more coming in printed form via hand outs in class]
And here’s somewhere to read more flash fiction and another short by David Gaffney Happy Places
He also performs words with a fellow writer – short fiction is growing a broader audience through quirky, imaginative performance presentations.
I also thought i’d throw in this link from MJ Hyland. A Guardian How To Write Fiction missive with a more general fiction writer in mind but nevertheless with some great tips and advice.
The Oulipo, or Ouvroir de Litterature Potentielle, is a Paris-based group of writers and mathematicians that explores the uses of writing of constrictive form. Members include Raymond Queneau, Fran?ois Le Lionnais, Claude Berge, Georges Perec, and Italo Calvino.
The OuLiPo group has experimented for decades with various kinds of procedural writing, producing texts according to formal rules Ð inventing the rules themselves has been the primary focus for the Oulipians, producing actual texts is not nearly as important, thus the “potential literature” in the name. Oulipian writers impose constraints that must be satisfied to complete a text, constraints ranging across all levels of composition, from elements of plot or structure down to rules regarding letters. OuLiPo thus pushes a structuralist conception of language to a level of mathematical precision; technique becomes technical when language itself becomes a field of investigation, a complex system made up of a finite number of components. Constraints push writers into new linguistic territories–one might say that in Oulipian work is a sort of ongoing investigation into language itself: language is conceived as a complex system made up of a finite number of components, and constraints force the linguistic system’s itinerary off its usual well-trodden paths.
“The more constraints one imposes, the more one frees oneself of the chains that shackle the spirit… the arbitrariness of the constraint only serves to obtain precision of execution.” Igor Stravinsky ”
Above extracted text taken from:
What is Oulipo?
- Extracts from Exercises in Style by Raymond Queneau. You can collect a hand out from Helmore 245 [Admin office] or there are copies of the book in the library.
Writing Project 3
Experiment with Queneau’s Exercises in Style model.
- devise a simple scenario.
- write 3-4 versions [minimum] of that scenario/story using a different strategy for each.
- be clear about the strategy you have devised/chosen.
- title your works acoording to their strategy.
- BRING ALONG TO WEEK 6 CLASS
What is makes a prose poem poetry or in indeed prose? These are the questions we asked in class – among others… What makes a prose poem different from a short story? Vivid imagery? Detailed descriptions? Evocative and exact use of language? Prose poetry is a chance to hone your writing skills with these questions firmly in mind.
Extending our consideration of Prose Poetry here are the links we looked at in class for you to follow up.
On Peter Manson’s Adjunct: An Undigest
The Prose Poetry Project
Also an interesting piece on writing description with meaning from The Guardian Masterclass Series.
Description with Meaning
Remember: it is important to consider the wider historical and literary context of prose poetry. Your reading around all the experiments in form presented in the module should reflect this and enable you to reflect critically on what these influences might have on the work you study and your own work.
So once you have read the above [and Peter Manson’s Adjuct given last week’s post and other prose poetry you might find in your research]
Writing Project 2: The Prose Poem
- sit in a place of your choosing and describe in as much detail as possible what you see, hear, think, feel, do.do this using written word or video or audio recording.make a note of the exact time and place
- collect as much other information you can about that moment and time – what was going on that day in the news, with other people you know, is the day significant in any way? Anything unsignificant happened? historical event on this day? think about the invisible threads of everyday life and how you might render them visible for the reader.
- arrange this material in a piece of prose poetry.
- BRING TO WEEK 5 CLASS.