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Read an excerpt of this book! Add to Wishlist. USD Buy Online, Pick up in Store is currently unavailable, but this item may be available for in-store purchase. Sign in to Purchase Instantly. Overview This book is volume two of McCollough's memoir. Product Details. Average Review. Write a Review. Related Searches. A glance at these 30 essays reveals Professor Slattery's astoundingly vast and varied range of A glance at these 30 essays reveals Professor Slattery's astoundingly vast and varied range of scholarly interests These disciplines function for Dennis as modes of knowing, modes of imagining.
View Product. A Memory And A Wish. Erin Lyn McGraw's unique poetry book is about making memories, having friends, family, and people Erin Lyn McGraw's unique poetry book is about making memories, having friends, family, and people that we love in our lives and sometimes having to say good-bye to them. In this collection of twenty-nine poems, McGraw includes personal stories about Dakota Boy:A Childhood in Memory. In Dakota Boy, a skilled writer gives a thoughtful, entertaining account of his childhood in In Dakota Boy, a skilled writer gives a thoughtful, entertaining account of his childhood in North Dakota's Red River Valley in the 's and early '50's, depicting the haphazard, often comical, hit-and-miss process by which the child and adolescent tries Eternal Stones and Other Memories of Greece.
What if the text were hypertext? From early on, Giles Peaker, an art theorist and critic and Lecturer at the University of Derby, has maintained a hypertext fragment of the Arcades Project , adding to it from time to time. The eleven pages contain multiple links to other pages in the set; sometimes different words on a page link to the same page.
This is unusual practice, and in fact, the amount of cross-linking averaging over five per page is unusual as well. See Table of Links. Most pages have one or two rather small images.
Peaker describes his site as image heavy, but it is so only by standards. The high degree of cross-linking means that that there are many links to each page, sometimes two from the same page. The link words are almost always different, so that one is never quite sure whether the link would return you to a page you have already seen. So, for example, the Prostitution page is pointed at by the terms. The individual pages thus become the centers for ad hoc semantic clusters.
Peaker gives a few sentences to describing his intentions with the piece, which basically is to use hypertext links to bring "elements into new juxtapositions and and hopefully generating new meanings out of the debris of the era of high capitalism. Each time, the material is brought into a new relation and in this, a new aspect of it emerges. Twelve pages is not a large site, but it seems bewilderingly large to start with because of the numerous links on pages leading we know not where.
Peaker does provide a kind of top page with links to six of the twelve pages and all of the pages have returns to it , but there is no map or overview that tells us how big the site is or where we are in it. This lack combines with the relatively large number of links on a page to produce a certain anxiety: we don't know if there is a main path or center and whether the proffered links will take us away from it.
Faced with this type of site, and they are very common, we often try to "learn the site"—learn its structure and navigation scheme—and this can produce impatience and resentment, or simply divert attention away from the meaning of what is on the page before us. Withholding structural information is the hypertext equivalent of Modernist authorial reticence: the work should be experienced in its own terms, not through the interpretations and explanations of its author.
In any case, the power of the sending page to serve as a context for the new page is somewhat limited by its disappearance. One may experience a jump or gap and quickly try to come up with a meaningful connection from sending anchor to target page, but I doubt that we remember much about the exact sequence of pages, or even the exact pages, that we have viewed for more that a minute or so, or for very many pages back.
Images, however, especially large images, can provide a context for words, as they seem to represent worlds, or locales within worlds, in which the words circulate. This chance was missed when Peaker's concern with bandwidth led him to keep his images small. I have tried to maximize this effect of images in my revised Arcades fragment. E-arcades www. E-arcades is a way of accessing and displaying pithy quotations from mostly contemporary books, articles, and web pages concerning the impact of new technologies internet, computers, the media, the human genome on "our society and lives".
Out of that combination also comes Running in the Family, a book both flamboyantly excessive in what it tells and deceptive in how it diverts the reader away from private lives. Ritchie, Joy, and Kate Ronald, eds. If I am right, then Sappho was one of the first major poets to exploit the textual possibilities of writing, with its ability to project an implied speaker independent of the physical mode of transmission. The idea is not to hallow or invest the place with anything, not even memory. He has no new memory of his life in the thirty years since World War II.
These quotations, identified usually only by author and date, each have at least two links to other of the quotations. The links are not single, fixed links from page to page, but from a page to a group of thematically related pages, one of which is randomly selected as the target for display. This guarantees that there will be at least some connection between the source and target quotations, though the connection is sometimes not much stronger than use of the same word.
Most of the themes are controversial, and Michals' sources are selected to give a spread of position and attitude on them, so that one can find oneself jumping from a direly negative observation to a buoyantly positive one on the same theme. In addition, each of these quotes is displayed over an image-rich background.
Each quote is targeted for a template where it will acquire a background image, but which of the five backgrounds available in the set is actually chosen for displaying the quote is not fixed but again randomly selected. This procedure guarantees that the background image displayed with the quote will have some thematic consistency with the main theme of the quote, but it does not guarantee a best match between quote and background image. For example, clicking on Silicon Valley in Figure 6 could trigger the selection of quote 99, which has a Social background preferred; it is then assigned to the background templater, which assigns it one of the five Social backgrounds.
Figure 7 is one such pairing. Thus the same quote may appear with different backgrounds, but only from the preferred background set. If you want to try another match, you can click "Reload" which will give you another background from the set or the same one again, if you are unlucky. Focusing in on the backgrounds themselves, consider the background in Figure 6, which is the first in the Globalization set.
This is about as explicit as photomontage ever gets, and it is unusually so for the backgrounds in E-arcades. Most of the images are digital collage or a mixture of collage and montage blending parts ,[ 9 ] and, while the component images may not actually conflict, it is not always clear how or why they have been put together.
Commentary and Other Stuff: And Even More Fragments of Memory - Kindle edition by Tom McCollugh. Download it once and read it on your Kindle device, PC. Commentary and Other Stuff: And Even More Fragments of Memory eBook: Tom McCollugh: broochrungotempmag.cf: Kindle Store.
Figure 7 from the Social set is still relatively straightforward:. Four of these parts deal with repetition in a marketing display, though the chickens are hung up for an old-style market. The figure in it appears that of a customer—blurred, as if excitedly moving. We know surveillence cameras don't produce this kind of color. Given the text one of maybe forty-five that could appear here , we may see the shopper as exchanging subtle energies.
One cannot expect ready connections between quote and background, however, when the same background has to serve for nearly 50 quotes. This consideration limits the developing of a strong theme in the background images or a specific relation to the quotes, and I find that after spending considerable time with the site, the images do indeed fade into the background and cease to intrigue me as a setting for individual quotes.
Note that text overlays image, confirming it as a background and giving a distinctly modern multi-layer look. Perhaps if the backgrounds were not so multiple i. E-arcades makes good its professed descent from the Arcades Project in a number of ways. In fact, the thematic groupings resemble scaled down Konvoluts, though the viewer cannot just open a thematic group and view its contents. But there are notable differences as well, suggesting that Benjamin's method is not simply juxtaposition and that it is very much a part of a particular political-historical vision:.
Note that these criticisms have little or nothing to do with the design of the interface.
It, or one very like it, could be used successfully with the notes of the Arcades Project , suitably selected and adapted abbreviated in many cases. We can also read this project through Berger's notion of a field of inter-definining, inter-energizing pieces, though I will sketch this out only for the quotes, setting the images and quote-image relations aside. The field s here are not those of memory on the whole though does occasionally seem quite old in this material but of interpretation of current upheavals and transformations under the impact of new technologies.
If all the quotes on a theme could be exhibited on one page, it would be possible to read across, back and forth, letting things stand out and trigger reflection, and then be modified in their turn by other adjacent quotes. For such a procedure, the interface is not very useful, as it only allows one to see one quote at a time, and it is disorienting to go Back and find the previous page with a different background. The interface is good for shock or collision montage in cinematic terms , but not to display a field.