Mar 8: Delagrange, Hypermediation & Embodiment
Dear All Good Folks:
If you download your selected chapter from Susan Delagrange's Technologies of Wonder as a PDF and read it from your desktop, you'll be able to use the interactive elements. Delagrange is making a case for us to embrace more hypermediated projects in academia because they "provide opportunities for scholarly inquiry that have no equivalent in print, yet are equally as rigorous intellectually" (20). She does this by arguing for new theories of old concepts, i.e., "techne," "wonder," "seeing," "vision," "pleasure," and "bodies."
We'll spend most of Thursday's class conducting a visual composing activity in order to understand these concepts, as well as to define "hypermediation" and "embodiment" in the way we think her chapters encourage us to define them. However, here are some discussion questions that may guide us at some point:
Looking forward to this, to continuing our discussion of Kress, and to talking about your Visual Ethics activity!
-Dr. Graban
If you download your selected chapter from Susan Delagrange's Technologies of Wonder as a PDF and read it from your desktop, you'll be able to use the interactive elements. Delagrange is making a case for us to embrace more hypermediated projects in academia because they "provide opportunities for scholarly inquiry that have no equivalent in print, yet are equally as rigorous intellectually" (20). She does this by arguing for new theories of old concepts, i.e., "techne," "wonder," "seeing," "vision," "pleasure," and "bodies."
We'll spend most of Thursday's class conducting a visual composing activity in order to understand these concepts, as well as to define "hypermediation" and "embodiment" in the way we think her chapters encourage us to define them. However, here are some discussion questions that may guide us at some point:
- Of all of the sections in her chapter (i.e., the chapter you selected to read), which 3 sections resonated with you the most, and why?
- In the chapter "Revision and Remediation," how do Delagrange's definitions of "revision" and "remediation" differ from your own, or from others you have seen? Or, how are they like your own?
- In the chapter "Embodiment by Design," many of the images Delagrange uses conflate (or treat interchangeably) the acts of reading, viewing, and remembering. In fact, some rhetoric scholars say that her chapter is less about images and more about how history affects how we read images. Can you find an example where you think this is the case?
- Does Delagrange's chapter remind you more of LuMing Mao's "Thinking Beyond Aristotle," Roland Barthes's "From Work to Text," or Wendy Hesford's "Introduction to Spectacular Rhetorics"? Why?
- When faced with the "visually unrepresentable" (assuming there is such a thing), what determines our sense of whether an image/icon is ethical or authentic or racist or fair? Does Delagrange help us achieve such a critical move?
Looking forward to this, to continuing our discussion of Kress, and to talking about your Visual Ethics activity!
-Dr. Graban