Category Archives: Hypertext

On Jazz

I’m driving full force into Alyn Shipton’s A New History of Jazz, although it is tough to read in bed due to size. But the size is worth the trouble. John Timmons and I have been doing more than a semester’s worth of work on the history and listening to lots of music and we’re planning some podcast discussions.

I first got into the music in high school when I played jazz band. I was a trumpeter and not half bad, earning first chair player as a freshman. I lost interest after graduating (turning to computer science and engineering) but my love of the music stayed. And we’re seeing lots of new media connections. The connections have a lot to do with cultural movement, transitions, and change. The transitions of jazz, relatively speaking, are swift. Ma Rainey to Miles Davis is not a lot of time difference.

Generally speaking, the music’s morphogenesis is mysterious and alluring. But it’s also palpably evident in its retentions–it has a persistent core set of ideas. Some historical questions seem obvious: jazz follows technological change both in instrumentation, writing (Jelly Roll Morton, for example), and recording device. But how? What are the details? What did the people on the street see? Shipton probes these areas to detail. I like it.

More Thoughts on Canons

George Landow concludes this about canons:

Doing away with the canon leaves one not with freedom but with hundreds of thousands of undiscriminated and hence unnoticeable works, with works we cannot see or notice or read. We must therefore learn to live with them, appreciate them, benefit from them, but, above all, remain suspicious of them.

The canon in academic settings has always been a problem and a subject for hot debate. Some of you remember the various ruckuses. But it’s a good problem and a practical question.

More specifically, and practically, what works of new media should our students experience in the two, three, four years we will have with them? If we were to generate a list of readings/experiences (on top of those in a foundational literary and other discipline core), what works should we suggest? This, again, is a practical question which is, I believe, Dr. Landow’s point. Even though we may argue with a current canon, we can’t really get buy without shared texts, common references from which to generate ideas. On the NMC website, we’ll probably have a suggested reading list and expect our students to show evidence that they’ve covered a certain number of the works since we can’t cover them all in schola. The body will be a “canon,” regardless of our opinion of canons in general. But the lists are long and several core ideas of enormous aid have already been generated.

We will be offering an interdisciplinary, foundations program. Students will be expected to transfer to university and pursue bachelor and graduate degrees when they complete their time at the college. This an additional issue. So, for these students what will be the new media canon?

On the one hand, the “competencies” are easier to define than the material. Introductory, and not too complex, Actionscripting provides solid programming framework, as does Inform 7 and other languages we teach, such as Java and C++. Even students who aren’t inclined to developing deeper skills with programming will have enough scripting frameworks for programming contexts. It works the other way too. The computer programming or engineering minded students will have opportunity to go fairly deeply into science and literature an to gain a certain amount of perspective in other disciplines. Critically, problem solving and coherence of expression are significant pieces of the puzzle.

So, it’s a simple question: what would be your list of essential new media reading for students working through a foundations program in college?

Notable submits:

Hopscotch

Elephant (van sant)

Tinderbox Dashboard Part 2

A few changes to the 100 Stories Tinderbox deck. Thanks to Mark Bernstein and Mark Anderson for lots of help on additional visualization methods  and general housekeeping.

tinderdecksmall

This version refines on the old by adding some plots to the containers on the right and to the POV agents in Hunting.  The plots will track word counts in stories as the project builds.  It’ll be interesting to see how trends on story length and thematics will develop–what might pop out as a result.  In addition, I’ve added an additional similarity search for stories of about 100, 200, and 400 words.  Motif was an important concept for 100 Days and agents did a great job of seeking them out.

I’m really looking forward to what’s going to come and adjusting and augmenting the dashboard to suit.

Tinderbox Dashboard

Here’s a screenshot of my Tinderbox dashboard.

tinderdeck1

This is a basic set up for the upcoming 100 Stories project.  The top left adornment contains each month’s prototype, which sets color and display expressions for individual stories as they come.  Hunting contains agents that will search for and collect similar stories.  A few agents will also search for and collect stories with likely point of view phrases.  On the right side is a column for keeping daily updates in order, counting published stories and sorting them by their creation date.  These are containers.  You can see that the Practice container contains stories already published on mediaplay.

The big blue adornment beneath Hunting is the deck for stories either in progress or those about to be dumped into the right hand containers.  I should rename this: the deck.  Backing it all is a slice of Carianne’s painting entitled “scattered.”  Likely to come is a container for stories that don’t make it, as such a project will result in lots of stories that won’t make it onto mediaplay but that play a brainstorm role.  I have lots of these from 100 Days.

Form

At the moment form is killing me. We talked about this at a meeting the other day, one of our members asking about it–who should have known better.

Anyway, it’s something you carve away from a larger hunk, in many cases, rather than building up from something wet and clayey between your shoes. Stanzas and paragraphs, for example. They’re vulnerable to arbitrariness. In the case of stanzas, we have white space to wedge between them for the sake of sound, emphasis, rhythm, and image.

A first and last line is important. But a stanza has a first and last line, too. How to wrestle and strip them down to their focus, which the center of a circle, which has to mean something.

Tinderbox and StretchText Part 2

It’s been a long haul but thanks to Jim Revillini the final step in the jQuery stretchtext code for Tinderbox is complete.  Here’s the code:

$(document).ready(function() {
$(‘.stretchTarget’).hide();
$(‘a.stretcher’).toggle(
function() {
//Here we find the talk-to element
var trg = getStretchTarget(this.rel);
trg.fadeIn(1500);
},
function() {
var trg = getStretchTarget(this.rel);
trg.fadeOut(1500);
}
);
});

function getStretchTarget (trg_class) {
//console.log(trg_class, $(‘.’ + trg_class)); for firebug
return $(‘.’ + trg_class);
}

The trg variable and getStretchTarget call solve the problem of identifying multiple links in a Tinderbox note.  In the first iteration, I was limited to one link and one target–okay but not thorough.

Here’s the new example, with some nested divs to show a “drilling effect” in one section of my poem “That Night I Saw . . .”

The preparation for implementation is interesting, but for those writers using Tinderbox I think the requirements are quite simple: the jQuery framework, a stylesheet linked to the Tinderbox template, the javascript code in the template so that exported notes can take advantage, and then–most importantly–a sense of “why” to implement the stretchtext aesthetic into prose, poetry or whatever other document.  This, of course, is the fun part.  This project has been about opening the canvass, as the code can be tied to any container element, any media type, and whatever design exists on the backend in a template.  It can be simple, it can be complex.

Here’s what the note looks like in Tinderbox:

stretchpoem

The markup in this example demonstrates how complicated two stretchtext elements can be, not in terms of additional symbols, but in terms of how the effect advances any one reading of the poem, as any link may be ignored.  In the finalized poem, links to other stanzas and sections might exist within a hidden element, thus advancing a plural coherence.

That’s the idea at least.  For, markup notwithstanding, this opens the Tinderbox note canvass to further exploration for written forms, the codework happening behind the scenes during export and during reading, leaving the writer to worry about the nature of their work.  That Night I Saw on My Homeward Way as a poem will simply be one example of that exploration.

Stretchtext and Tinderbox

I’ve been bumming over things lately, springing from Yahoo’s javascript library (with Jim’s help), Actionscript 3.0, and a few other technologies to diddle with effects that appear to make sense in my poem “What I Saw on my Homeward Way.”

Moreover, completing the poem has been difficult as the “effects” I’m after are conceptually integrated into the poem’s structural narrative, meaning that how the text behaves on screen is tied to potential meaning. Additionally, I’m curious about how linking methods change the way a poet makes images.

I need Actionscript as a means of creating hypermedia interface, but this doesn’t mean I can make Actionscript do “whatever” I want it to. AS3 will allow for event manipulation of links but not for what I want at the moment. I use Tinderbox as my primary writing tool and so the work that I expect to pump out of Tinderbox should be effectuated in that medium.

Luckily, this weekend, I began digging around with jQuery. And things suddenly made sense. I’ve wanted to write link tools directly into a Tinderbox note that would translate onto the web via Tinderbox HTML templates. It’s a simple business. Write a document in Tinderbox, flush it through an existing HTML template, taking whatever information I want to display on the web, and then publish it. Just like that.

I have lots of experience with stylesheets and their logic. Once mastered, they’re powerful for thinking about interactions and relationships. In Tinderbox, therefore, if I could add a selector from a stylesheet directly into a note, this is a good thing, especially if the writer knows what they want the code to do with the target object. But what to do with the selector once it’s out of Tinderbox and on the web? Well, that’s where scripts come into the picture–at least for me. For many, this will be nothing knew, but for me it provides new creative paths for using Tinderbox.

In a Tinderbox note called “Stone,” for instance, I could add a tag around the word “stone,” like this <st>stone</st>, the “stone” element acting as a listener. In addition we add div code plus a class to indicate which part of the text we want to manipulate.   This text could be a paragraph division, a middle stanza, or an ending paragraph:

<div class=”stretchTarget”>some text</div>

The node logic goes like this in the HTML template:

<div id=”text”>The <st>stone</st>listens. <div class=”stretchTarget”>hidden text</div></div>

jQuery provides ready methods for moving through DOM elements and Tinderbox templates will render the above tags in the resultant HTML page no matter the size of the document. What’s required next is to write those tags into the linked css page as selectors:

#text st {
some code
}

and

.stretchTarget {
some code
}

All we have to do now is write the appropriate javascript inside the head tag of the HTML template to adjust or manipulate content. After the page has been readied, jQuery attached, we write:

$(‘.stretchTarget’).hide();
the selector of the text we want to hide

$(‘#text st’).toggle();
the elements to read through to find the listener to which we can attach the target

Then we add two jQuery functions (they can be anon or named) inside toggle()

function() {

$(‘.stretchTarget’).fadeIn(); //or whatever other method is required, including animate() or show(), although next() would be inappropriate

and

$(‘.stretchTarget’).fadeOut();

And that’s basically it, thanks to the ready-baked jQuery methods. With jQuery and the css page attached, we can now easily blend stretch text functionality into Tinderbox directly by simply wrapping a listener with <st> and then wrapping target text inside a div and labeled appropriately with class=”stretchTarget”.

Thanks to Mark Bernstein for starter code and to James R for help with YUI.

Here’s a link to what the basic functionality looks like on a separate page: sonnet stretch.

The next quest will be to put together some methods for directly manipulating <a> items.

Hyperdrama and More

Wow, it’s been a busy couple of weeks.

The beginning of the semester is always rough, getting info understood, munching down on committee work, and wrestling with the continual work of curriculum development. Charles Deemer will soon be teaching an online hyperdrama course for us (Spring 2010) and docs are being written for the new media program, casting up our best effort for program establishment and transfer.

In addition, I’ve added a few features to That Night I Saw, which will add cyclical twists to the internal navigation of the poem, especially when it comes to intermediate stopping points. But, realy, what’s important is the internal language, and what’s interesting is how links emerge naturally from the poem’s structure.

I’ve been back to reading Octavio OPaz. Reading his poetry always jiggles the concretion and relationship handle. I’ve been bothering too much with the technology, I’ve learned, playing with half-backed concepts rather than with the real work of mining, dredging, and bricklaying.