Just mapping out some thoughts about how writing shifts over time. Right now the heart goes where it goes and the mind follows. Who knows where the map will lead. As said in the song vibrating the inner ear hammers even now, "I'm stuck moving."

Came across this while sweeping the Web for mediawiki tips.

One final post from last week's trip to New Mexico. Opening day at the 2007 Balloon Fiesta. You can't hear it in the video, but as we were walking by the Spam booth, the woman inside was harking, "spam, get your spam here," which would have made the day, except the day was made by the time together with my family--something only hinted at by the magical colors, shapes, and movements of the balloons.

I'm not usually one for putting together film reviews, so I'll leave most of the poo-pooing and discussion of camera angles, and lighting to someone else. But I did want to share some thinking about Perfume, which we watched last night. To me the best way to understand the film is to think about it in terms of mixing. The biggest problem, I think, is that it's difficult to get the mix right between magic and realism. For instance, the notion that one could derive a substance based on beauty into a distillation so powerful it would transform the vilest anger into overwhelming love is fantastic. A bit innocent, unrealistic sure, but that's the point.

The problem comes with the realism added to the mix. There is plenty of grit poured into the film--rotting fish, dank alleys, and dirty bodies are everywhere. Still, this is fine and in some ways makes the texture more compelling. But when the process through which the magical elixir is made is revealed, the result is mostly gruesome details of serial killings and processing of bodies . The realism swamps the magic and the resulting mix makes the ending ultimately unsatisfying. The magical mixing needs less presence, more mystery.

This brings me to another kind of mixing that the film also illuminates. The kind of synaesthaesia that comes from trying to represent one mode or sense through another. In this case, the film tries to portray smell through the visual. It's an ambitious goal and it keeps the film engaging. Of course, film has the advantage of also being able to layer sound into the mix. A close up of the nose, a close up of a girl's skin, the sound of inhalation, and voilà, a sense of smell. What really struck me about the film, though, was the way in which the effect can be pulled off with less than the full application of all of these elements. This came home when the scenes switched to Grasse in rural France.

 

Several years ago I checked out a book by Dennis Stock from our art library. The book, Provence Memories, could easily be the inspiration for many of the synaesthaetic rural scenes from Perfume. As I looked over the images then, I experienced the same sense of something beyond the visual. Really the images offered a transformation into the scene. I could almost feel the sunshine and inhale the scent of lavender on the breeze. (The high res images in the book are more powerful than those linked here on the Web.)

So, there's much to be had from synthesizing the senses through media. But in many ways that power comes from a blending that is subtle. The realism of Stock's images translates into visual magic that yields impressions beyond the simple scene captured in the photograph. The trick, then, and the reason to consider the film and keep on working with media, is learning to mix.

Not much going up here lateley, so how about a poster posting to represent the current state of things. [via David's playlist]

With a nod to Bradley, Jenny, Cara, Debra, and any other bloggers who post the occasional missive on hitting the roads and trails, I inaugurate a new category: running. I'll christen the category with an image representing this morning's run and some playing around with google earth. I'm really tired. Is it possible there is something seriously wrong with google earth's measure function? I guess not.

Play the two audio samples, and then see if you can line them up with the two soundscapes in the image. Bonus points for making a second connection with teaching practices.

Sound Sample 1: Sound Sample 2:

From a piece called “The Domain of Creativity” I take this quote, "Many creative individuals have pointed out that in their work the formulation of a problem is more important than its solution . . . yet when measuring creative thinking processes, psychologists usually rely on problem solution, rather than problem formulation, as an index of creativity" (Csikszentmihalyi 138).

It strikes me that the same can be said of the way a good deal of writing instruction is conducted in college. Consider the assign, respond, evaluate movement of most writing tasks. Instructor assigns problem, student responds with solution (essay), and then instructor assesses the essay based on the coherency and acceptability of the solution—write an essay in which you take a position. . . . analyze the rhetorical dimensions of a text. . . . report on findings. . . . etc. . . . etc. . . .

The problem is this does little to inspire creative thinking or engage students. Csikxzentmihalyi, citing Getzels, outlines an alternative model that places problem solving and problem discovering on a continuum:

The model describes intellectual activity as taking place on a continuum between two poles: presented problems at one end and discovered problems at the other. A presented problems is one that is clearly formulate, has an accepted method of solutions, and has a generally agreed-upon solution. A puzzle, for example, presents the problem of assembling the pieces so as to form a picture; how to do it and when the task is complete are clear to everyone. A person confronted by a presented problem needs only to apply the accepted methods until the desired solution is achieved.

At the other end of the continuum is a discovered problem. Here instead of a clearly formulated task there is only vague unease and dimly felt emotional or intellectual tension. Because the problem itself has yet to be defined, there can be no agreed-upon method for resolving the tension. For the same reason, one cannot even imagine in advance what a “solution” might be. (138-9)

I’m eager to latch onto the model as I contemplate how far I can possibly stray from assigning projects composed with the written word in first year writing classes. Layer over the continuum model of problem solving and discovery this quote from Kristen Pierce:

Before this assignment, I had never thought of representing a song with one picture. The idea seemed almost impossible until I saw how to do it on PhotoShop. This is another program I took home and just mess around on sometimes when I'm bored. I never thought I could get a bunch of random pictures with completely separate meanings and put them together in a way that represents what I personally want. Especially because I am far from being artistic, I thought this project would be impossible at first. However, while I was researching and experimenting with random pictures, I would stumble upon something I could make work. I really liked the freedom of the assignment; it let me experiment with different ideas until I finally got to what I wanted to do.

Kristen was responding to a collage assignment that asked students to represent a song visually. In terms of open-ended assignments, I suppose this one is not that flexible. It lays out the goals or the problem to be solved pretty clearly—represent a song visually. I think the reason students found themselves in discovery-oriented experiences is two-fold: First, they were not working with the familiar mode of alphabetic text. Regardless of how strict the assignment parameters might be, the switch to an alternative medium meant “unease” and “tension” that had to be resolved.

Second, the technical literacies required a good deal of problem discovery. Our approach is studio-based, whereby we open up the software and start making stuff; I offer help as we go and composers discover all kinds of hurdles as they figure out how to make the program do what they want. Working with more familiar media, even with the non-alphabetic assignment might not have had the same effect, as Jessica Stinger points out:

I am a collage-freak. I have collages all over my room at home, my dorm here, and on things like binders, notebooks, and assignment notepads. Although the playlist collage came second, it was this one that really showed me the possibility of computer generated collage. While it was immediately frustrating not being able to manually use scissors and glue, I loved the undo button (which is sadly not an option in real life) and the opacity tool. Being able to layer pictures brought more meaning to the collage. Two or more images on top of one another added depth in a new dimension as the two could work together, showing similarities or provide stark contrast.

The final point to be made, however, is that the productive problem discovery facilitated by such assignments extends itself into domain expertise and discoveries that we might normally associate with tried and true methodologies. Students don’t just discover problems with visual expression or software, but new insights into the subject areas in which they are working. Consider Joanna Bell’s collage interpretation of “The Race” by Sharon Olds:

I love the poem "The Race". It is so powerful and dark...yet it possesses a quality of anxiety and a hint of happiness. I wanted to portray the speaker's feelings of helplessness in my collage. I wanted to place a plane between the woman and her father...the connecting vehicle that allows the daughter to reach her father. The speaker's actions at the airport emphasize her anxiety of not being to see her father before he dies. The hand represents the father reaching out to his daughter. It was difficult to play with the lighting of this collage. Some of the images were very bright and "sunny" almost. Others were dark and dreary. I like the presence of this light vs. dark opposition in this collage.

It’s a great poem, and you can hear a version of Olds reading the poem online. The point is that through working with the visual medium and engaging the sometimes frustrating problems that crop up from the challenge, students discover new ways of expressing ideas. Again, Joanna says it best:

I especially like the concept of having images represent certain aspects of a character's (or poem's) presence in literature. It was difficult learning how to work the Serif program at first, but with any new system, I know that you have to slowly learn the ins and outs of the program. Learning how to mask images was quite challenging for me, but this tool ended up being my most valuable one. Working on the collages allowed me to express myself in a whole new way. Instead of simply writing down prominent characteristics of Julian of Norwich, I could mold together images that I believed represented her persona. Instead of dissecting "The Race" and discussing its poetic elements, I could place images on a canvas that helped me portray the speaker's struggle to reach her father before he passes away. I love how a collage can truly bring literature to life. I love how a collage does not set boundaries for interpretation. I think that the collages actually encourage differing views

From a trip a few years back come these memories of Catalina Island and a more serene kind of fire. I miss the beach.