any thoughts on language use in this?

Raster vs. Vector

When editing a book, it is critical to work in a software program that saves your .pdf in vector format. Raster images (jpeg, gif, tiff, etc.) contain a fixed number of pixels. When you save an image in raster format, the quality decreases if you increase the size. A vector file remains in perfect resolution at all sizes. Adobe Illustrator and Adobe InDesign saves files as .ai and .indd respectively, and can both export files as a .pdf which is great for printing.

Adobe InDesign works in a left/right page interface for editing book spreads, can export a .pdf with text in vector format, and can print with crop marks to create border-free edges. I highly recommend using Adobe InDesign for creating anything with pages.

Not a lemon

This weekend I was introduced to the work of Ralph Lemon, a choreographer / writer / dancer who has a wonderful way of integrating words with movement.

There is one particular essay of his called 'Four Years Later', which you'll find in an anthology called 'Planes of Composition: Dance, Theory, and the Global' (Seagull Books, 2009). This book was edited by Jenn Joy (RISD) and her colleague André Lepecki. I highly recommend it.

Nanna Hanninen - breath & line

Thinking about breath and line reminded me of the photographic work of Nanna Hanninen, a Finnish artist who creates urban landscapes as photographic 'drawings' of her body movements.

Her movements (breathing, heartbeat, laughter, talking and walking during the time of exposure) and the scenery melt into a single image. A sort of sociological / narrative exploration. Me like lots.

lots of interesting references here

10-minute plays

This appealed:

http://www.guardian.co.uk/stage/theatreblog/2010/mar/19/ten-minute-plays-theatre

Doing one of these could be fun: A selection of scripts of 10 minute plays

Speaking One's Mind

I stumbled across this poster and it made me smile:

yo, keith. check out this website.

http://industrialpainter.com/

Horse Less Press will be reading submissions to Horse Less Review #9 all through November! We will be aided by our fabulous guest editor, Jennifer Denrow! Send your great work to horselesssubmissions@gmail.com. We prefer a single Word, RTF, or PDF attachment of 5-10 pages.

Mastheads from the UK - 1946

>>>>>

Memo No. 2 is up

http://6memos.tumblr.com/

Feel free to post likes, dislikes, and comments!
D

Wikipedia's Francisco Moreno

Los Pinche Times Mamones Cabrones
ok so what does pinchi mean people.....The fuckin' Times fuck-heads fuckers...something like that

“Fall Leaves” to print at noon on October 28

We at The Design Office are excited to announce a new project — an event, actually.
At noon on Thursday, October 28, 2010, we will print the poem “Fall Leaves” by Brazilian designer Guilherme Falcão out of our window in downtown Providence. Written in response to our call for submissions, “Fall Leaves” is 2-feet wide by 24-feet long and will take about two hours to print from our 4th floor office at 204 Westminster down to just above street level.

The poem is a palindrome of five words that repeats itself ten times — evolving typographically throughout. The piece is timed to autumn. In Falcão’s piece, oversized blocky letters are stand-ins for the leaves, homogenous in color and position at start, colored in midway, and absent at the end. The piece could evolve then loop forever if it were not for the limitations of ink, paper and our own attention.

The poem is typeset in “Shift,” an original typeface by our own Jeremy Mickel. This project marks its first use.  For more information and media inquiries, contact John Caserta
Rain date is Friday, October 29 at noon.

 

90 mins for lingocrits

See the original call for proposals

call

About Guilherme Falcão
Guilherme Falcão Pelegrino is a graphic designer from São Paulo, Brazil. BA from the Senac College of Communication and Arts (2006) and currently a postgrad student of Art: Critique and Curating at PUC/COGEAE, his activities as a designer also include workshops, lectures, collaborations and self initiated projects such as the Parasite Zine. He has been featured in books and publications both inside and outsite of Brazil, and is part of Pequeno Comitê, a think tank of cultural projects and ideas.

*************************************************************************************************

Oct 12, 2010. More in Project News

Text and Image: Text as Key

This is a book, "Age of Eruption," that I made during a residency last summer. It is unfortunate that, as a am looking for images to post to this, the very one that I need to make my point is missing. I will bring it in on Wednesday if you would like.

So this book is about growth. More specifically about the growth of adolescent teeth. There is very little text (it is basically a table of contents) and it only really makes sense when referencing the images, returning to the ToC and back and forth like so.

I like using text this way, because it fully exploits the format of the book - making the reader physically flip back and forth - something that is very unique to a codex book.

There is also a second narrative that is more of a "printer's narrative" but it is not as relevant for the concerns of our class.

4wrds

perhaps y'all saw this on NYT
got to look up some of these bands .. .
i only know the body

Four Word CMJ Reviews: Saturday

By BEN SISARIO

Woven Bones: Fun/evil feedback vortex.

Times New Viking: Faster, chantier, unison-er, better.

Braids: Patterns enthrall, tinkering offputs.

David Vandervelde: Leon-ine, hirsute space blooze.

Phantom Band: Perfect indie choogle + melodica(s).

Robert Lester Folsom: Belated debut; kinda “Margaritaville.”

Homeboy Sandman: “Ohhh, freestyle o’ mine.”

Atomic Tom: Equipped, competent; heard before.

Shilpa Ray: Sounded fearsome, looked weary.

Prince Rama: Postpunk tribalism; Ari echoes.

Martina Topley-Bird: Right rasp, soul, sex.

The Body: Cranial drill volume. Whaaat?

Oberhofer: Designated marathonners, surfin’ Blood.

No Joy: Haze — feedback or hair?

La Sera: Simplicity, but not grace.

Cloud Nothings: Basement melody liberated, bashingly.

Viva l’American Death Ray Music: Greasepaint roar, Fall scrape.

Lower Dens: Slow cloud, affectless cry.

Lia Ices: (Kate + Joanna) / (Arwen − Stevie)

Three Amigos: What Is A Plethora?

OK, it's a bit lame and a bit 80s but I love this film and especially this part.

It's funny how people think they know what words mean but actually have no clue.

Reminds me of the whole debate that went on when Alanis Morissette released 'Ironic' which, ironically, had nothing to do with irony...

Performance with Green Apple

Ok, so this is not an artifact from a performance. I guess it was the first in a series of performative acts.

I wrote this conversation onto the skin of the apple because the words were collectively something that I was having difficulties with. They describe a very personal experience; a conversation with my sister that I have been mentally trying to get past.

The second performative act involved eating the apple.

Unfortunately (though I tried) the performance was not documented well. But here is a picture of my face stuffed with apple bits.

look familiar?

digital graffiti

My 3 year-old's menu (Keith)

Here's the menu I made for my son, front and back, 8 1/2" x 11". Three were created in total, each colored differently, and this one was the only one which we collaborated together. Almost forgot to mention that they're laminated so as to protect against his sticky, messy hands....and mine, too.


(front)

(back)

two pages of

a newspaper-like

book. the texture

and look has a

factual feel but the

content is entirely

imagined.

Dancing Dog! What the heck. Why not?

An example of performance

I wonder if Ian has an Iphone...

www.6memos.tumblr.com.

My syllabus is up. Feel free to visit it (if someone can add it to the sidebar, that would be great). Hit "Comments" on the bottom right of each post to view/post comments and/or give it a thumbs up/down (it's not synced with facebook). Notice how I use/abuse my slashes (and parenthetical statements).

ologies and isms

A-Ath
Atm-Boo
Bot-Chr
Chu-Dam
Dan-Ear
Eas-Fin
Fir-Gra
Gra-Hyp
Ide-Lef
Lie-Mem
Met-Obs
Occ-Pot
Pov-Ren
Rep-Son
Sou-Und
Uto-Z

How to Google efficiently

This is something we were taught during undergrad in London. We spent a semester investigating research methods in writing and art, which included several classes on how to Google according to Google.

Interestingly...or not...when you Google "google", you get about 1,380,000,000 results, some of which are very, very funny. Check out this video:

Francisco Moreno, Exec. PI, declares scribble on urinal most signigicant work of 21st century.

This scratched scribble on a urinal is the most powerful piece of art created in the 21st century. Not only is it beautiful from a formal perspective[1], rather it challenges us to see beauty in an environment far removed from the vacuum that is the clean smooth walls of a fine art gallery. Its location is unique in that the viewer will approach the piece out of human need to urinate, as opposed to conventional art that in no way fits into a normal persons daily schedule. This piece was a vital message! A message which was then sincerely scribbled out in order to protect someone from something, i.e. vandalism for the people vandalized by the powers of capitalism[2]. It is safe to assume that some renegade immigrant revolutionary, most likely Hispanic[3], with an incredible solution to all of the world’s problems scratched in a brief panacea while urinating. A close-minded bureaucrat working for the profiteering machine[4] saw this solution then scratched it out, a metaphor for how the world governments still treat immigrants improperly stripping their identities and their voices. The voice of the voiceless is no longer heard, but we feel the reminiscence of the struggle. Its not that this piece is beautiful, but its beauty lies within the action and necessity of this fight! This is classified as vandalism in that it is a physical mark on private property, but steers away from being classified in the subculture of graffiti due to its avoidance of any spray paint, color, crazy arrows, and bubble letters, although still works like graffiti in that it acts “on the populace to establish in a gorilla fashion, new, engaged forms of class and state identification”[5]! The piece’s anonymity allows us to become the signifier of the work. While we are contemplating this piece, as the viewers we claim this struggle as our own leaving us with an existential experience.


1.This work calls to mind the work of Cy Twombly, a quick search on Google Images should educate you on everything you need to know about him.
2.Many people with tight jeans have recommended the Karl Marx’s Communist Manifesto. Because of them, I now clearly understand the horrors of capitalism!
3.The coolest revolutionaries are Hispanic, like Che Guevara, Emiliano Zapata, Pancho Villa, Taco Bell Chihuahua, etc.
4.Money is made off of the exploitation lower-class people, duh.
5.Brian Kim Stephens.

choosy me picks a publisher

i am peeping in windows before doors.
this is a wonder world i've never entered till now.
some self publishing websites have templates and formats
which are sort of ranked in complication
based on the kinds of marriages between
image and text.



just to test its limits,
i could use one of their templates.
a parameter like that might be a nice box to contort
ideas into. or it might just become a straight jacket.
but maybe sometimes drafty crazy ideas need
an asylum.

sometimes the name but not the face is known (to me)

sometimes the face is known

 and the name

           

              sometimes the name

is too easy to say

what is her name?

kosovo

Old English Vatos

I am not sure what you all think about when you see "Old English" type, but I think of cholos (mexican/american gang members...remember?). It's common in my hometown to view cholo graffiti using "old english" font. It eventually, depending on the graffiti writer becomes stylized and exaggerated, but for the most part, the common "old english" letters are a default for cholo-gang graffiti.

In a way I see myself: old ENLGISH (my father's side) and cholo/mexican (my mother's side). Mix them together, and what do you get? ME!!

Also, the cholos using "old English" font makes me wonder about why it was originally used to represent their gang culture. Was it used for aesthetic reasons or as a means for subversion(détournement), or for other reasons?

"There's a name for men without beards: Women"

ps: for the record, I <3 women. but not men without beards.....what?

Miguel Llorente-Gonzalez posted this to the Beginning Poetry blog, with a dedication to "those who wonder how English sounds to us, Southern Europeans. All the lyrics in this song sound like English, yet do not mean anything at all!"

NEW DELTA REVIEW

Afton Wilky (RISD BFA Painting 2005) is one of the poetry editors at Louisiana State University's New Delta Review.  In an email to me last year, she wrote:

"I was remembering the other day how, in our poetry workshop, you encouraged us to submit our work at the end of the semester to a journal.  I was remembering too, how daunting of a task that seemed for me, not being familiar with poetry journals at the time.  Thinking that it might be helpful to some of your students, I want to extend an invitation for them to submit to the New Delta Review (the graduate student run journal at Louisiana State University).  At the N. Delta, we're still looking for new and innovative work and would love to open up the journal to the perspectives of visual artists.  I hope to be reading some of their work soon!"

That's a very friendly overture!

Overheard

Hilarious: Overhead in New York

WORDS

Got 3 minutes? Watch this...

Heavy stuff

This morning I read the opening chapter to “A Thousand Plateaus: Capitalism and Schizophrenia” by Gilles Deleuze and Felix Guattari. I found it weighty, but playful – it’s certainly dense material. It’s a bit of a ‘philosophy of our time’ analysis. I’m not convinced that the authors took themselves too seriously in discussing how the world operates like a giant ‘rhizome’. In any case, this paragraph stood out with regards to writing/text:

Then there is Andrzejewski's book, Les portes du paradis (The gates of paradise), composed of a single uninterrupted sentence; a flow of children; a flow of walking with pauses, straggling, and forward rushes; the semiotic flow of the confessions of all the children who go up to the old monk at the head of the procession to make their declarations; a flow of desire and sexuality, each child having left out of love and more or less directly led by the dark posthumous pederastic desire of the count of Vendôme; all this with circles of convergence. What is important is not whether the flows are "One or multiple"- we're past that point: there is a collective assemblage of enunciation, a machinic assemblage of desire, one inside the other and both plugged into an immense outside that is a multiplicity in any case. A more recent example is Armand Farrachi's book on the Fourth Crusade, La dis-location, in which the sentences space themselves out and disperse, or else jostle together and coexist, and in which the letters, the typography begin to dance as the crusade grows more delirious. These are models of nomadic and rhizomatic writing. Writing weds a war machine and lines of flight, abandoning the strata, segmentarities, sedentarity, the State apparatus.

Lovers in the Country by John Currin

YO, Francisco!

ourartcriticism.com

QUESTIONS ABOUT KELLS

So I have questions:

The Book of Kells has 16 colors: more than any other contemporaneous manuscript:

Does it matter to the scribe that the Word of God is written with iron-gall ink? Or green from the sap of rue, cabbage, leeks or lilies? Or that the Book of Kells is a botanic garden, a carcass, a tattoo?

I have questions about print culture too.

In the transfer from manuscript to print culture, how was color shed?
What attributes proved resistant, as the rubric did?

How did color become secular? 

In poetry, how did color become girlish?  A sign of the amateur?

Does print make us forget color or does it conjure color up? 

And questions about the end of the age of print culture:

How steadfast will the convention of black as authoritative prove, now when opportunity for color in writing is lavishly present, without consideration of cost?

The default, in printing, being so firmly black, will writers and designers continue to be inhibited, when writing digitally?

Digital culture

There are 16 million HTML colors, I think (256 x 256 x 256).

Most modern monitors are capable of displaying at least 16384.

How are you thinking about color?

How are you recovering it from absence?

If in Graphic Design, black on white is the most legible default, color being used sparingly for emphasis or symbolism

In poetry

·      can color be used to disrupt legibility?

·      can color be used to exhaust the eye?

·      can color be used to undercut authority?

·      can color work as a metalanguage?

Where do we start?

With shades of gray?
What sort of limits can we impose on ourselves in order to be able to start?

Questions about education

We don’t have a language to speak about color in poetry.

Can color have cognitive load?

I think Yes.

How do I know?

Because black “seems right.”  It just does.

Therefore, other colors must seem wrong.

There you have a dichotomy, a scale, a range, the beginnings of meaning, a language.

How to become a pseudo intellectual

I Googled pseudo intellectual and found this, very funny:

How to become a pseudo intellectual

Charles Bernstein, in “Close Listening,” writes:

Each language’s specific morphology allows many possibilities for iconicity—from the physical size or number of characters in a word, to the number of syllables or patterns of syllables in a word, to associations with timbre or intonation or patterning.  Iconicity refers to the ability of language to present, rather than represent or designate, its meaning.  Here meaning is not something that accompanies the word but is performed by it.  One of the primary features of poetry as a medium is to foreground the various iconic features of language—to perform the verbalness of language. (295)

If one of the primary values of poetry is iconicity, and if color has now re-entered the arena, big-time, color matters in poetry.

The opportunity was not there.

And the opportunity is now here.

Where to start?

Did Lera Boroditsky Shape How Guy Deutscher Thinks?

HIEROGLYPHS

 The character in the form of a canopy, which represented
the heavens, was coloured blue; the character with the upper
side undulated, which represented earth was coloured
red. The sun is always red, with a yellow border. The
character which represents water is coloured blue, or bluish
green water. The flesh of men is generally coloured red, and that
of women yellow. Portions of the human form, the mouth,
the hand, the arm, the leg, are invariably red; flowers, fish, animals, and
insects, are of simple tones, and suggested by their natural colouring without
shading; but in inferior works sometimes they are only green and blue.
Wooden objects are nearly always coloured with a pale orange, or buff;
bronze utensils, green; and blue, with a few exceptions, is generally reserved
for geometric forms, plans of edifices, &c.

from Henry Noel Humphreys, The Origin and Progress of the Art of W

Lydia Davis on Thursday, 14 October:

11 am in the Chelovich Family Lounge (Literary Arts, 68.5 Brown Street): Conversation on Translation. Davis, perhaps best known for her recent translation of Proust's Swann's Way, will read from her Madame Bovary translation, talk about her process, and answer questions about the translation process.

2:30 pm in the McCormack Family Theater (70 Brown Street): Reading by and Conversation with Lydia Davis. Novelist, short story writer and prose poem/short-short writer, Davis will read from her fictions, then discuss her ficitons with the audience.

Both events are free and open to the public. The translation talk is made possible by support from the Creative Arts Council.

Mark Doty,  RISD Auditorium, Thurs 10/14, 6.30pm

William Blake's Proverbs of Hell
You can see manuscripts here

ubu has been hacked
long live ubu

Arresting Time

For anyone who'd like to see some of what I'm up to in relation to photography, collecting, archiving and writing:

Arresting Time

mi bebé

Odette gave me a extract from "Inhabiting Spaces," from Sara Ahmed's "Queer Phenomenology: Orientations, Objects, Others.  Here are a couple of paragraphs:

Of course, the woman philosopher still has to arrive, to get near enough to the writing table.  It takes time, this arrival into the 'scene' of writing, just as it takes time and work to keep one's attention on the writing table.  Such an arrival is dependent on contact with others, and even access to the 'occupation of writing, 'which itself is shaped by political economies as well as personal biographies. And yet she arrives.  Having arrived, she might do a different kind of work given that she may not put these other attachments 'behind' her....

[F]or bodies to arrive in spaces where they are not already at home, where they are not 'in place,' involves hard work; indeed, it involves painstaking labor for bodies to inhabit spaces that do not extend their shape.  Having arrived, such bodies in turn might acquire new shapes.  And spaces in turn acquire new bodies. So, yes, we should celebrate such arrivals.  The 'new' is what is possible when what is behind us, our background, does not simply ground us or keep us in place, but allows us to move and allows us to follow something other than the lines that we have already taken.  Yes, women philosophers do gather and have gathered, creating their impressions.  Our task is to recall their histories of their arrival, and how this history opens up spaces for others that have yet to be cleared.

I also got an update today from vida.  It pertains to women in the literary arts but may be transferable to the visual arts, also to other 'minority' positions.

Handwriting with a Mouse

Very cool: Mouse-writing diary

A ? of color: BIG. RED. TEXT.

This is possibly one of the funniest uses of text I've seen in a long time:

BIG RED TEXT

Why Handwriting Still Matters in the Digital Age

Link to the Here and Now podcast here.

Also, a link to the Here and Now.org website. Once there, scroll down to see the topic "Why Handwriting Still Matters in the Digital Age" just in case my link above doesn't open up properly.

Kiss my #@$%

Holy Cow, Batman, that new photo rocks.

il pleut
guillaume apollinaire (1880-1918)

Robert Smithson - image as text, text as image

Many of you might be familiar with this but, if not: Robert Smithson's Quasi-Infinities and the Waning of Space - a brilliant example of language being used as image, and image functioning as text/footnotes.
Love it.

PIXILERATIONS

text as a purely visceral design element is used by several works in this exhibit. the gallery is open from 12-8pm every day.

scribbling and signing

in response to Odette's 'Doodles, autographs and signatures'...

More than once, during my adolescence, i became almost obsessed with acquiring a completely new handwriting and signature. I finally settled for a compromise between my ideal handwriting and the often awkward, yet practical jotting method that my digits decided for me.

Some years later, i once again felt the need to re-invent (ah "re" again) my scribbling. This time i sought an alternative style altogether. Now, my writing is a kind of hybrid. And sometimes it surprises me to the point where i almost don't recognize it as my own. I am right-handed, and yet, i frequently find entire pages of my sketch diary scrawled out with a distinct lean to the left, like i became left-handed that day. I have some ambidextrous abilities, but I never ever write with my left hand. So I suppose my right hand dreams of being a left... ?

Hybrid words fluctuate in size, in longness, in fatness. It morphs from cursive to print and back, from page to page, sentence to sentence, even letter to letter within words. Leaning to the right, then the left, then straight up and down, it is dancing on the paper. Its not about being able to read what I wrote, but to remember the moment it was written and why.

Yesterday, I put my signature on the green scratched plastic screen at the hardware store checkout. It did not look like mine. It was its own furious messy thing. This keeps happening. It looks a little different every time. I am beginning to worry that i will get into some sort of legal trouble. "We're sorry, but your signature does not match the one we have on file..."

Flub and Utter: A Poetic Memoir of the Mouth

Doodles, autographs, signatures

I am a compulsive doodler. My signature doodle is little four-petal flowers. I've been doing these since I was a toddler and, on the weekend, I found proof of this - my Mom kept many paintings and drawings of mine and, lo and behold, this was one of them.

This got me thinking about captions - again - and how without some sort of marking, the detail and history about an image is often forgotten. I then started thinking about signatures and how all artists sign their work. Some artists have different signatures for different types of work they make. And falsification / forgeries of signatures of 'original' artworks remains rife in the business world of art.

I decided to experiment with changing my signature. I think all little girls did this when they thought about their future Prince Charming, no? I simply scribbled it as it came to mind.

From top to bottom:
- Odette Elix (my maiden name)
- Odette Odette
- Sherie Odette (my middle name first)
- Odette Sternfeld (in case I marry photographer Joel Sternfeld)
- Odette Munroe (I'd like to think I have an inner Marilyn)
- Odette Smith (nice easy to spell surname)
- Odette Pitt (you never know)

Thoughts on signatures?

interesting call

Dear all,

Currents in Electronic Literacy (ISSN 1524-6493) solicits submissions related to the theme below. Submissions are due on Monday, January 10, 2011.

Spring 2011 issue: Writing with Sound

Today we live in a society defined--in many senses, and by almost all the connotations associated with the word as well--by the word 'current'.... The old hierarchies of linear thought, sublime (and sublimated!) engagements with art, poetry, music, science, and history are no longer needed to do the ideological work now conducted again along the lines of 'current.' (Miller 32)

This call for projects begins with a sample, with the echoing of a familiar call to listen to a new kind of logic. The sample comes from Rhythm Science by Paul Miller (a.k.a. DJ Spooky that Subliminal Kid), who encourages us to go with the flow, to find a good mix, and to listen for new ways of thinking and linking. In conjunction with Miller's appearance as part of the Digital Writing and Research Lab’s annual Speaker Series, we are excited to announce that the Spring 2011 issue of Currents will focus on writing with sound.

The issue will open with a compelling radio piece by Avital Ronell in which she--along with the flute accompanying her--insists that Nietzsche was a DJ. Remixing, it seems, is everywhere. For some time now, sampling and remixing has been a powerful metaphor for writing in digital culture; indeed, the College Composition and Communication Convention took remixing as its theme in 2010. The challenge now is to literalize the metaphor, to allow audio technologies to enter into the field’s descriptions of “the writing process(es),” which will change not just the way we think about and teach writing, but our processes, and so our “products,” as well. In order to encourage and embrace  these changes, Currents invites—along with traditional academic submissions—audio essays, podcasts, oral histories, interviews, and other audio recorded genres, as well as webpages, videos, animations,
slide presentations, etc., that address sound-related issues. Videos may be uploaded to YouTube.com and shared with currents@dwrl.utexas.edu. (Other video hosting sites may be used. However, YouTube.com meets more accessibility standards than sites like Vimeo.) Audio may be uploaded to SoundCloud.com and shared with currents@dwrl.utexas.edu. Both YouTube and SoundCloud allow for private sharing. During the submission process, please make your audio and video materials available to a limited audience. Audio/video/visual submissions should also include a 500-word document explicating method and performance.

Some potentially interesting lines of inquiry include but are by no means limited to the following:
•        How does the mixing of audio recording and writing create new genres? How do soundscapes and text work together?
•        How do technical instrumentalities, such as, the materials used to record sounds affect the message? Can sound ever be virtual?
•        What have we not heard by focusing our attention on the printed page? How can teaching with sound revitalize the rhetorical canons (especially memory and delivery), as well as the issue of "voice"?
•        What roles do silence and accessibility play in the discussion of "voice"? What does "voice" mean for deaf and hard of hearing individuals as students, professors and authors? How can new technologies and pedagogies help educators meet the goal of providing direct and uninhibited language communication access to curriculum? How can we listen to the "oral" histories, poems, songs, and stories that belong to the signing Deaf community and Deaf culture?
•        How does the practice of remixing change the way we think about
literacy?
•        Multimedia encourages a shift in roles from writer to producer--what are the implications of this shift?
•        Alphabetic writing and audio recording both begin as inscriptions on a surface, but in what ways does the waveform of audio recording differ from alphabetic writing?
•        How might workspaces in the world of audio recording change the way we write?
•        Many theorists, rhetoricians, and philosophers have argued in favor of an "ethics of listening." What further rhetorical and pedagogical implications might such an ethics entail?
•        Through phonography, audio recording, and writing share a history, what parts of this history do recorders and writers need to bring to light, retell, and reimagine?
•        Through dictation, writers have written with sound for a variety of reasons in a multiplicity of social and technological configurations, not all of which have been mutually beneficial. How might we imagine a productive dictating relationship that ethically distributes power?
•        From recording for the blind and dyslexic to screen readers, sound reproduction has often been used to extend our (sense)abilities. What kinds of dictation, transcription, reading, and writing tools are on the horizon of assistive technology?
•        As the tools and techniques for capturing and storing literacy narratives and oral histories proliferate, we increase our ability to build and study archives of audio material from many different
cultures. What literal and virtual spaces are shared by fields such as sound studies, ethnomusicology, rhetoric and literature? What are the risks and benefits of building and studying archives? Who might be the secret beneficiaries?
•        In a classroom setting, how might the use of sound recordings introduce students to the affective and emotional textures of historical experience? In other words, how might sound influence students' understanding of historical context?
•        In terms of both pedagogy and research, how might we use sound to convey intangibles such as Barthes' "grain of the voice"? What other kinds of intangible, ephemeral, or otherwise ghostly affects and ideas are better captured through sound rather than the written word?

All submissions should adhere to MLA style guidelines for citations and documentation. Submissions should state any technical requirements or limitations. Currents in Electronic Literacy reserves all copyrights to published articles and requires that all of its articles be housed on its Web server. It is the policy of Currents that all accepted contributions must meet Section 508 accessibility standards
(e.g., captioning for video and transcripts for audio). While all Currents articles are accessible, readers are advised that these same articles may contain links to other Web sites that do not meet accessibility guidelines.

Please direct all submissions and questions to currents@dwrl.utexas.edu

currents

Hala Herbly
Doctoral candidate, English Department
University of Texas, Austin
halah@mail.utexas.edu