Get Small Tech: The Culture of Digital Tools (Electronic PDF

By Byron Hawk, David M. Rieder, Ollie Oviedo

The essays in Small Tech</i> examine the cultural impression of electronic instruments and supply clean views on cellular applied sciences reminiscent of iPods, electronic cameras, and PDAs and software program features like minimize, replica, and paste and WYSIWYG. jointly they strengthen new wondering electronic environments. 

 

participants: Wendy Warren Austin, Edinboro U; Jim Bizzocchi, Simon Fraser U; Collin Gifford Brooke, Syracuse U; Paul Cesarini, Bowling eco-friendly nation U; Veronique likelihood, U of London; Johanna Drucker, U of Virginia; Jenny Edbauer, Penn nation U; Robert A. Emmons Jr., Rutgers U; Johndan Johnson-Eilola, Clarkson U; Richard Kahn, UCLA; Douglas Kellner, UCLA; Karla Saari Kitalong, U of imperative Florida; Steve Mann, U of Toronto; Lev Manovich, U of California, San Diego; Adrian Miles, RMIT U; Jason Nolan, Ryerson U; Julian Oliver; Mark Paterson, U of the West of britain, Bristol; Isabel Pedersen, Ryerson U; Michael Pennell, U of Rhode Island; Joanna Castner put up, U of relevant Arkansas; Teri Rueb, Rhode Island tuition of layout; James J. Sosnoski; Lance nation, Fordham U; Jason Swarts, North Carolina nation U; Barry Wellman, U of Toronto; Sean D. Williams, Clemson U; Jeremy Yuille, RMIT U.

 

Byron Hawk is assistant professor of English at George Mason University.

David M. Rieder is assistant professor of English at North Carolina nation University.

Ollie Oviedo is affiliate professor of English at jap New Mexico University.

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Additional resources for Small Tech: The Culture of Digital Tools (Electronic Mediations)

Sample text

The formal task, which can involve video, still images, or a combination of both, is to develop a narrative that consists of seven shots in which each of the seven shots may appear at any point in the sequence. In other words each shot or image may appear once at any point in the 20 ADRIAN MILES sequence of seven and, regardless of where it appears, the sequence must still retain narrative coherence. Intertitles can be used, though this counts as a shot. The students then embed their video on a Web page that contains a script that automatically randomizes the insertion of each of the seven movie files.

1999–2002. html. ———. Mapping the Web Infome. 2001. 4/~jevbratt/lifelike/. Manovich, Lev. The Language of New Media. : MIT Press, 2001. Whitney ArtPort. Whitney Museum of American Art. 2002. shtml. 2 Softvideography: Digital Video as Postliterate Practice Adrian Miles I open the box to unveil my new home computer. 11g wi-fi and Bluetooth. What this means, outside of the lifestyle advertising that accompanies such hardware, is that it is now technically trivial for me to connect my IEEE 1394–enabled domestic video camera to my computer, capture high-quality, full-resolution video, edit this video, and then print this video back to tape or export it in a digital format for DVD authoring, for e-mail, or to put online.

It also means the writer needs to recognize that each node exists within an economy of individuated readings in which the link structures authored or generated constitute the possibility for this economy. The content of a node has a meaningful status outside of its specific or possible link structure; however, nodes gain their meaning by virtue of the larger structures that they form via links. Simply, each node is a variable that, in conjunction with its links, may or may not appear in an individual reading.

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