Hi Phil-- I logged on to see if it was time to bring the Jurow discussion to
an end. I assume
from the protracted silence that it has stop, but I am not sure it ended!
I will comment on that below. Meantime.
1. Thanks for the reference to the Baldry and Thibault book. Seems like we
should
be reviewing it in MCA and making its contents more widely known. A LOT of
people
on XMCA are struggling with the tasks that th book promises to provide help
for.
2. Do you think it time to begin the summer discussion of language and
activity? Today
is memorial day when American new media remind us of those dead and maimed
in past
wars, some grieve and remember, and others get ready to start their summer
holidays or
cram for final exams. If we had some common readings to start us off, and
some guidance
helpers, things might lift of as various academic years in the northern
hemisphere come to
an end and interested academics can turn away from examining each other's
intellectual
worth to examining ideas in common.
mike
On 5/30/05, Phil Chappell <philchappell@mac.com> wrote:
>
> Rather a lull on "the X" and I'm back-tracking on various issues - but
> as I'm using >1 mode of data in my classroom research, I was sparked by
> Beth's interest in video, and remember that I wasn't able to get the
> following book in an affordable format. If you can, it sounds very
> relevant.
>
> Phil
>
> Multimodal Transcription and Text Analysis
> by Anthony Baldry and Paul Thibault
>
> What are multimodal texts? How can we transcribe and analyze them? How
> can multimedia and internet help us in multimodal discourse analysis?
> What postproduction and authoring skills are needed to analyze a
> multimodal text or to develop a corpus of multimodal texts? How does
> the study of language relate to multimodality and multimedia, in
> particular in the e-learning age? How, and to what extent, will
> multimodal discourse analysis re-shape linguistics? These questions
> arise because the ways in which individuals, institutions, communities
> and cultures interact with each other across diverse space-time scales
> are being changed by the combined resources of interactive multimedia
> and the internet. In its attempt to provide answers to the questions
> raised above, and many others, this book proposes concrete solutions to
> the problems of multimodal text analysis and transcription of printed
> texts, websites and film. As such, it constitutes a much needed course
> in multimodal text transcription and analysis. It also suggests ways in
> which multimodal discourse analysis can help both educators and
> students understand how meaning is made in the e-learning environments
> that now play such an important role in our lives. Anthony Baldry is
> Associate Professor in English Linguistics, Faculty of Medicine and
> Surgery, University of Pavia. Paul J. Thibault is Associate Professor
> in English linguistics in the University of Venice. 288p, (Equinox
> 2004)
>
>
>
> On 24/05/2005, at 6:20 AM, Mike Cole wrote:
>
> > For reasons unknown a recent change in Beth's email makes it
> > impossible for her
> > to post to xmca. so this is posted for her.
> > mike
> > -------------
> > Sonja and I were part of Ed Hutchins and Jim Hollan's seminar, last
> > quarter, discussing this new program for video analysis, Diver from
> > Stanford, and we have also been being interviewed by a group working
> > to
> > redesign Diver's interface: there are a lot of people working on how
> > to
> > make large amounts of video data useable, some with a lot of
> > influence,
> > and I actually wouldn't be surprised if something really efficient
> > comes
> > out relatively soon. We'll see --
> > A few things relating to connections between video analysis and
> > playworlds: As I have begun to make a film for the children to see,
> > and
> > take home, of their Narnia Playworld (following the children's
> > careful,
> > and often fascinating, instructions), I have been wondering what it
> > means
> > to document a drama pedagogy with film -- how do we shape the acting
> > by
> > making the actors 'movie stars'? How does a semi-conscious attempt to
> > create footage which will allow for the creation of an 'engaging'
> > final
> > film shape the adult filmer/actor/set designer's contributions to the
> > creation of a playworld? In the Narnia Playworld the children took
> > over
> > the cameras to some extent, sometimes filming themselves watching
> > films of
> > themselves filming themselves!... in this process questions of 'what
> > is
> > real?' were reworked in the space around what we condsider the
> > playworld
> > proper: I wonder, was this process related to what the adults were
> > experiencing as they filmed? Working with the video footage to
> > create a
> > product which is in someway 'true' to some
> > phenomenological(?)/experienti
> > al quality of the playworld, I find I am
> > thinking through montage theory, considering the gutter/gap between
> > images, the place where time and space converge and disperse -- the
> > fact
> > that this manipulation of space through the manipulation of time, and
> > visa-versa, was so central to the Narnia playworld iteself, does not
> > seem
> > coincidental...although I'm not sure what to make of this commonality.
> > Also, I am working on a paper for ISCAR around some of these questions,
> > and related questions, concerning video methodology in the playworld
> > research: I would grealy t, greatly appreciate any (more) reading
> > suggestions! Thanks!
> > Beth
> >
>
>
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