https://mediawiki.middlebury.edu/MIDDMedia/api.php?action=feedcontributions&user=Neil+Baron&feedformat=atomMedia Technology and Culture Change - User contributions [en]2024-03-19T07:17:35ZUser contributionsMediaWiki 1.35.14https://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Template:Stub&diff=270Template:Stub2007-05-21T14:28:43Z<p>Neil Baron: Removing all content from page</p>
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<div></div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Template:Stub&diff=269Template:Stub2007-05-21T14:28:24Z<p>Neil Baron: </p>
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<div>'''This page is a stub & needs your help!'''<br />
[[Category:stub]]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=YTMND.com&diff=268YTMND.com2007-05-21T14:27:59Z<p>Neil Baron: </p>
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<div>Your The Man Now Dog ([[YTMND]]) is, as the site creator says, a "site created for the purpose of furthering the creativity of its users. It stems from an idea that, using sound, and image, and some text, the users can convey a point, funny, political, or otherwise, to the general media."<br />
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==History==<br />
YTMND began in 2001 as a single website called yourthemannowdog.com, which consisted of a tiled image of Sean Connery from the movie ''Finding Forrester'', looping audio of Sean Connery saying "You're the man now, dog", and text of the quote over the image. After the popularity of this website, the designer eventually came to create what we know as YTMND.com, which has become an increasingly hot site on the internet because of its diverse content and the ease by which anyone can participate and create one's own YTMND.<br />
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==YTMND Grammar==<br />
A YTMND must constructed by following specific guidelines, which include:<br />
1) You can only use one image (stretched, centered, or tiled) that exists in either JPEG, GIF, or PNG format.<br />
2) You can use only one sound clip. It must be either an MP3 or WAV file.<br />
3) You can use up to three lines of text and the font never changes.<br />
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Although these guidelines limit what you can create, the creativity arises out of how a user can manipulate an image, a sound clip, and text into something interesting. Like any medium, there are rules and limitations that define the content within that medium. Comic books, Films, literature, etc... all have become distinct media because of the grammar that defines them.<br />
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==Role in Participatory Culture==<br />
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==External Links==<br />
[http://YTMND.com YTMND.com] <br />
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[[Category:stub]]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Zappers,_casuals,_and_loyals&diff=267Zappers, casuals, and loyals2007-05-21T14:25:00Z<p>Neil Baron: Last few edits have all been extremely minor. Added some pages to the stub category, so search for those to see what needs editting.</p>
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<div>Zappers, casuals and loyals are all terms defining media consumer audience types.<br />
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[[Henry Jenkins]] notes in his book "[[Convergence Culture]]," "Loyals watch series; zappers watch television." (Jenkins, Henry, Convergence Culture, New York University Press: New York, 2006, p. 74)<br />
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==Zappers==<br />
Media consumers with irregular and unreliable consumer habits. They switch frequently between TV channels, often in the middle of a program. <br />
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==Casuals==<br />
Consumers who tend to return to certain for example TV shows, yet without definate regularity. Often, they do not plan to watch a certain show but just "end up" doing so. They are also more likely to engage in casual viewing where watching the television is only one of the multiple tasks they engage in at once. <br />
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==Loyals==<br />
Reliable consumers who are committed to watching a particular TV show. Loyals watch less hours of television a week than the average viewer because they have chosen specific shows to which they are loyal. Loyals are the ones using their DVRs to record shows in case they happen to miss their screening time. They are more likely to engage in cross-media interaction related to the show than zappers or casuals.</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Time_in_comics&diff=266Time in comics2007-05-21T14:22:20Z<p>Neil Baron: </p>
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<div>'''Time in comics''' is a very difficult and complex concept because it ultimately involves representing time as space. Representing time in comics requires convincing the reader, primarily through [[closure]], that a certain amount of time passes in a panel or in between panels. For example, text in comics represents sound, which by nature happens over time. As the reader reads the text in a panel, his or her previous experience with words lead him or her to read the text as if it were being spoken out loud over time (this is a perfect example of closure). Time in comics, which is a fundamental part of the comics experience, comes entirely from the reader's interaction with the medium, which is why comics is considered a [[Hot versus cool media|cool medium]].</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Social_Software&diff=265Social Software2007-05-21T14:21:49Z<p>Neil Baron: </p>
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<div>'''Social Software''' are programs which promote the communication of people within a society through the computer. Through the use of these programs, many proponents of Social Software claim the ability to form meaningful social ties through computer mediated interaction. These interactions then can develop into online, or internet, communities. Examples of Social Software are internet discussion forums, [[blogs]], instant messaging (AOL Instant Messenger), or even [[wikis]].<br />
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[[Category:stub]]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Ludology_in_game_studies&diff=264Ludology in game studies2007-05-21T14:20:15Z<p>Neil Baron: </p>
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<div>'''Ludology''' in game studies is an idea introduced by Gonzalo Frasca in which entertainment and gameplay are the principle motivation for video and computer games. The term ludology stems from the latin ''ludus'' for game which is central to its ideas. Ludologists do not believe the future of gaming to be in cyber drama or narrative games. Instead, these scholars see narrative stories and games as two separate structures meant for different purposes. Key ludologists include Frasca, Markku Eskelinien, Raine Koskimaa, Espen Aarseth, Stewart Moulthrop, and more. Now that video games have taken on a recognized part of our environment there has been an increase in scholarly work which has spawned this argument between ludologist and narratologists. <br />
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===References===<br />
* Waltrip-Fruin, Noah; Harrigan, Pat-Editors. ''First Person''. Cambridge, Massachusetts: MIT Press, 2004.</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Modes_of_Visual_Representation&diff=263Modes of Visual Representation2007-05-21T14:19:36Z<p>Neil Baron: </p>
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<div>The '''Iconic, Photorealistic and Abstract''' are three distinct modes of artistic representation that have particular relavence in the genre of comic books. [[Scott McCloud]] describes these three modes through the use of a triangle, placing the iconic, photorealist and abstract representations at the three corners. In this way, he describes the three ideas separately, while explaining how each is able to blend into the other two through the side of the triangle they share. <br />
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'''Iconic Representation''' is a mode of artistic representation which uses ideas and symbols in order to portray something real in a simplified way. For example, the most simplified way of representing a human is the stick figure. This is the most iconic way of portraying a human and therefore is arguably the easiest to identify with. Since everyone has a head, limbs and torso, a stick figure is theoretically able to represent everyone, allowing a wide spectrum of people to visually identify with it. <br />
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'''Photorealistic Representaion''' is a mode of artiscit expression in which the image attempts to portray real life as accurately as possible. The artist attempts to recreate a photo image. Although this type of art looks the most 'real', McCloud argues photorealist art is more difficult to identify. He explains this is because photorealism portrays only one object rather than a broad range of objects. For example, a photorealist drawing of a person would resemble a photograph of one distinct person, making it hard for all other people to identify with the picture as one of themselves. <br />
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Abstract representation is...<br />
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[[Category:stub]]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Henry_Jenkins&diff=262Henry Jenkins2007-05-21T14:19:13Z<p>Neil Baron: </p>
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<div>'''Henry Jenkins''' is a highly renowned media scholar who now conducts research and teaches at MIT. He is the author of several books, including ''[[Convergence Culture]]'' which discusses the concepts of [[convergence]], [[participatory culture]], and [[collective knowledge]] within the context of old and new media.<br />
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In charge of the [http://cms.mit.edu/ Comparative Media Studies Department] at MIT, and avid blogger, and a prolific author, '''Henry Jenkins''' is particularly interested in how new forms of media can be critically and academically viewed in order to study how technology affects community, intelligence, and education.<br />
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'''Henry Jenkins''' visited Middlebury College on March 4 to give a talk about [[The White Paper]], which outlines "new frameworks and models for [[media literacy]]"<br />
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== LINKS ==<br />
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Henry Jenkin's Official Weblog<br />
[http://www.henryjenkins.org/]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Fair_use&diff=261Fair use2007-05-21T14:18:35Z<p>Neil Baron: </p>
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<div>Fair use allows limited use of copyrighted materials without permission from the [[copyright]] holders for certain functions such as teaching and parody. The use of these materials must be limited and not for commercial gain. Fair use, while it may be used as a defense against copyright lawsuits, has rarely been explored within the context of the courtroom.<br />
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[[Category:stub]]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Copyright_(United_States)&diff=260Copyright (United States)2007-05-21T14:18:08Z<p>Neil Baron: </p>
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<div>Rights regarding the use of particular materials which convey certain information or ideas. Copyright laws protect certain materials by preventing this original work from being copied but they do not protect specific ideas or facts which my be conveyed through various forms. They protect the method used to convey those ideas or infomation. For example, copyright laws protect the character of Harry Potter, but this does not mean the use of a male wizard in other works is also prohibited, so long as there is significant difference. The aim of copyright as written in the Constitution is to promote creativity and progress by protecting the rights of the artist/creator.<br />
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[[Category:stub]]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Understanding_Comics&diff=255Understanding Comics2007-05-20T22:45:56Z<p>Neil Baron: </p>
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<div>'''''Understanding Comics''''' is [[Scott McCloud]]'s book that examines the medium of comics.<br />
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McCloud begins this examination by defining comics as a medium, which uses visual iconography in a sequential form to express ideas or tell stories. In the first chapter McCloud specifically defines comics as:<br />
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"'''com.ics''' (kom'iks) n. plural in form, used with a singular verb. 1. Juxtaposed pictoral and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer" (McCloud 9).<br />
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McCloud states, that the history of comics goes back to prehistoric paintings in caves and Egyptian hieroglyphics. Then, the icons that constituted the sequential art were similar to words in the way that they conveyed a specific meaning. McCloud explains that sequential art has evolved and the visual imagery in comics goes beyond icons, since it needs to be understood through a different cognitive process. McCloud writes:<br />
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''“Our need for a unified language of comics sends us toward the center where words and pictures are like one side of the same coin! But our need for sophistication in comics seems to lead us outwards, where words and pictures are most separate"'' (McCloud 49).<br />
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From this we can understand that the comics’ imagery not only conveys one determined meaning, but it is also based on the abstract significance characteristic of visuals. Thus, while reading comics, our cognitive process doesn’t work symbol = definition instead, we must abstract the multiple meanings from the image, which need to be analyzed in the light of a given context.<br />
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The context is how the panels are distributed in the page and how they relate to each other. Comics have redefined the sense of space and time. Artists distribute panels at their will leaving [[gutters]] to indicate the pass of time or emphasize an action or even convey an idea. Panels do not necessarily show a consecutive action, but they can show different perspectives of the same action, different planes of thought of one character, jump from event to event, represent contrasting ideas etc.. Comics’ artists have the faculty to play with time and space at their will through their use of panel distribution, within the page. <br />
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The revolutionary faculty of this use of space is that comics make us understand content through a new cognitive process. Our understanding of the comic depends on how all these panels work together which is what McCloud defines as [[closure in comics]]. This is different, from the way we understand movies or TV because these mediums just give us the pieces which usually tell the story chronologically without leaving any gaps. Thus, they don’t engage the viewer actively to understand what happens in between scenes and shots. Comics, on the other hand, play with the dichotomy of requiring the reader to focus on one image, while simultaneously asking him/her to be aware of the whole page distribution. Thus, in order to understand a comic we must pay attention to how actions are carried out through panels, the suggestive meaning that the panel’s shape gives and the amount of gutters and their placement. In comics everything from the panel to the page distribution works together creating the closure. Thus, comics are a revolutionary medium, since they require us to understand a particular image in relation to the whole visual displacement, which plays with our traditional sense of time and space at the convenience of the artist.<br />
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===Links===<br />
* http://scottmccloud.com/store/books/uc.html Scott McCloud's bookstore</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Understanding_Comics&diff=254Understanding Comics2007-05-20T22:45:40Z<p>Neil Baron: touchups and citations</p>
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<div>'''''Understanding Comics''''' is [[Scott McCloud]]'s book that examines the medium of comics.<br />
<br />
McCloud begins this examination by defining comics as a medium, which uses visual iconography in a sequential form to express ideas or tell stories. In the first chapter McCloud specifically defines comics as:<br />
<br />
"'''com.ics''' (kom'iks) n. plural in form, used with a singular verb. 1. Juxtaposed pictoral and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer" (McCloud 9).<br />
<br />
McCloud states, that the history of comics goes back to prehistoric paintings in caves and Egyptian hieroglyphics. Then, the icons that constituted the sequential art were similar to words in the way that they conveyed a specific meaning. McCloud explains that sequential art has evolved and the visual imagery in comics goes beyond icons, since it needs to be understood through a different cognitive process. McCloud writes:<br />
<br />
''“Our need for a unified language of comics sends us toward the center where words and pictures are like one side of the same coin! But our need for sophistication in comics seems to lead us outwards, where words and pictures are most separate"'' (McCloud 49).<br />
<br />
From this we can understand that the comics’ imagery not only conveys one determined meaning, but it is also based on the abstract significance characteristic of visuals. Thus, while reading comics, our cognitive process doesn’t work symbol = definition instead, we must abstract the multiple meanings from the image, which need to be analyzed in the light of a given context.<br />
<br />
The context is how the panels are distributed in the page and how they relate to each other. Comics have redefined the sense of space and time. Artists distribute panels at their will leaving [[gutters]] to indicate the pass of time or emphasize an action or even convey an idea. Panels do not necessarily show a consecutive action, but they can show different perspectives of the same action, different planes of thought of one character, jump from event to event, represent contrasting ideas etc.. Comics’ artists have the faculty to play with time and space at their will through their use of panel distribution, within the page. <br />
<br />
The revolutionary faculty of this use of space is that comics make us understand content through a new cognitive process. Our understanding of the comic depends on how all these panels work together which is what McCloud defines as [[closure in comics]]. This is different, from the way we understand movies or TV because these mediums just give us the pieces which usually tell the story chronologically without leaving any gaps. Thus, they don’t engage the viewer actively to understand what happens in between scenes and shots. Comics, on the other hand, play with the dichotomy of requiring the reader to focus on one image, while simultaneously asking him/her to be aware of the whole page distribution. Thus, in order to understand a comic we must pay attention to how actions are carried out through panels, the suggestive meaning that the panel’s shape gives and the amount of gutters and their placement. In comics everything from the panel to the page distribution works together creating the closure. Thus, comics are a revolutionary medium, since they require us to understand a particular image in relation to the whole visual displacement, which plays with our traditional sense of time and space at the convenience of the artist.<br />
<br />
===LINKS===<br />
* http://scottmccloud.com/store/books/uc.html Scott McCloud's bookstore</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Media_Literacy&diff=253Media Literacy2007-05-20T22:37:44Z<p>Neil Baron: New page: '''Media literacy''' is the idea that in our technologically advanced society, we must teach how to be literate in media other than the written word. Literacy, in this context, is the abi...</p>
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<div>'''Media literacy''' is the idea that in our technologically advanced society, we must teach how to be literate in media other than the written word. Literacy, in this context, is the ability to understand and participate in the use of new media. [[Henry Jenkins]] argues that being literate in new media landscapes teaches skills such as play, performance, appropriation, multitasking, distributed cognition, [[collective intelligence]], judgment, transmedia navigation, networking, and negotiation.<br />
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[[Category:stub]]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Second_Life&diff=215Second Life2007-05-19T17:40:48Z<p>Neil Baron: </p>
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<div>"'''Second Life''' is a 3-D virtual social networking world entirely built and owned by its residents. Since opening to the public in 2003, it has grown explosively and today is inhabited by a total of 6,240,591 people from around the globe" (SecondLife.Com). ''Second Life'' allows users to create his or her own [[avatar]], offering a lot of freedom in choosing one's own appearance. As a result, most ''Second Life'' users' avatars differ in looks from their real selves (for example, Jason, in ''Second Life'', has green skin), and only very few create their ''Second Life'' avatars as a near exact representation of their real selves (like [[Henry Jenkins]]).<br />
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''Second Life'' is unlike any other MMO because the goal or function of ''Second Life'' is entirely user-determined. As a result, the world of ''Second Life'' has been built from the bottom up to cater to almost anything a ''Second Life'' user could want, from creating original art and attending lectures to greed and lust. Some people and companies use ''Second Life'' as another means of economic success. Many large businesses (Reebok, Apple, and Nike, to name a few) have headquarters set up in ''Second Life'' that advertise their real life products.<br />
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===External Links===<br />
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http://www.secondlife.com/ Second Life Homepage</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Time_in_comics&diff=200Time in comics2007-05-17T01:13:53Z<p>Neil Baron: New page: Time in comics is a very difficult and complex concept because it ultimately involves representing time as space. Representing time in comics requires convincing the reader, primarily thr...</p>
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<div>Time in comics is a very difficult and complex concept because it ultimately involves representing time as space. Representing time in comics requires convincing the reader, primarily through [[closure]], that a certain amount of time passes in a panel or in between panels. For example, text in comics represents sound, which by nature happens over time. As the reader reads the text in a panel, his or her previous experience with words lead him or her to read the text as if it were being spoken out loud over time (this is a perfect example of closure). Time in comics, which is a fundamental part of the comics experience, comes entirely from the reader's interaction with the medium, which is why comics is considered a [[Hot versus cool media|cool medium]].</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Talk:Closure&diff=195Talk:Closure2007-05-15T18:13:28Z<p>Neil Baron: New page: I was messing around with redirecting pages and it doesn't work, apparently, so ignore this page.</p>
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<div>I was messing around with redirecting pages and it doesn't work, apparently, so ignore this page.</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Closure&diff=194Closure2007-05-15T18:11:28Z<p>Neil Baron: Redirecting to Closure in comics</p>
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<div>#REDIRECT [[Closure in comics]]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Closure&diff=193Closure2007-05-15T18:11:11Z<p>Neil Baron: Removing all content from page</p>
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<div></div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Closure&diff=192Closure2007-05-15T18:09:12Z<p>Neil Baron: Redirecting to Closure in comics</p>
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<div>#REDIRECT [[Closure in comics]]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Closure&diff=191Closure2007-05-15T18:08:55Z<p>Neil Baron: New page: #REDIRECT Closure in comics</p>
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<div>#REDIRECT Closure in comics</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Closure_in_comics&diff=190Closure in comics2007-05-15T18:05:56Z<p>Neil Baron: </p>
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<div>'''Closure''' in comics is the "phenomenon of observing the parts but perceiving the whole" (McCloud 63). In other words, closure is the act of mentally filling in the gaps of what we observe, which is why closure is extremely important to comics. The reader observes two separate panels and mentally pieces together what happened in between them, even though there is no panel containing what happened in between. Closure in comics is why comics falls under the category of [[Hot versus cool media|cool media]]: Comics requires the reader to be constantly interacting with visual aspects and filling in the gaps between them, whereas in film (a [[Hot versus cool media|hot medium]]), two actions are connected visually by the medium itself, rather than mentally by the user.</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Closure_in_comics&diff=189Closure in comics2007-05-15T18:05:34Z<p>Neil Baron: </p>
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<div>'''Closure''' in comics is the "phenomenon of observing the parts but perceiving the whole" (McCloud 63). In other words, closure is the act of mentally filling in the gaps of what we observe, which is why closure is extremely important to comics. The reader observes two separate panels and mentally pieces together what happened in between them, even though there is no panel containing what happened in between. Closure in comics is why comics falls under the category of [[Hot versus cool media|cool media]]: Comics requires the reader to be constantly interacting with visual aspects and filling in the gaps between them, whereas in film (a hot medium), two actions are connected visually by the medium itself, rather than mentally by the user.</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Closure_in_comics&diff=188Closure in comics2007-05-15T18:02:39Z<p>Neil Baron: New page: '''Closure''' in comics is the "phenomenon of observing the parts but perceiving the whole" (McCloud 63). In other words, closure is the act of mentally filling in the gaps of what we obs...</p>
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<div>'''Closure''' in comics is the "phenomenon of observing the parts but perceiving the whole" (McCloud 63). In other words, closure is the act of mentally filling in the gaps of what we observe, which is why closure is extremely important to comics. The reader observes two separate panels and mentally pieces together what happened in between them, even though there is no panel containing what happened in between. Closure in comics is why comics falls under the category of cool media: Comics requires the reader to be constantly interacting with visual aspects and filling in the gaps between them, whereas in film (a hot medium), two actions are connected visually by the medium itself, rather than mentally by the user.</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Avatar&diff=134Avatar2007-05-14T16:05:48Z<p>Neil Baron: New page: An '''avatar''' is the digital representation of the player of a video game. A player interacts with the video game world by controlling the actions of his or her avatar. Although most u...</p>
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<div>An '''avatar''' is the digital representation of the player of a video game. A player interacts with the video game world by controlling the actions of his or her avatar. Although most users' avatars represent a human being, different games have a wide spectrum of freedom in choosing avatars. Some games, like ''[[Second Life]]'', allow the user a wide range of options for avatars, while others, like ''Enter the Matrix'', restrict the user to using a very specific avatar. The advantage of the former is that it allows users to interact on a higher level with the game world because they are more personally attached to their avatars.</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Loyal&diff=74Loyal2007-03-15T21:00:31Z<p>Neil Baron: Redirecting to Zappers, Casuals, and Loyals</p>
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<div>#REDIRECT [[Zappers, Casuals, and Loyals]]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Casual&diff=73Casual2007-03-15T21:00:18Z<p>Neil Baron: Redirecting to Zappers, Casuals, and Loyals</p>
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<div>#REDIRECT [[Zappers, Casuals, and Loyals]]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Zappers&diff=72Zappers2007-03-15T21:00:08Z<p>Neil Baron: Redirecting to Zappers, Casuals, and Loyals</p>
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<div>#REDIRECT [[Zappers, Casuals, and Loyals]]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Zapper&diff=71Zapper2007-03-15T20:59:58Z<p>Neil Baron: Redirecting to Zappers, Casuals, and Loyals</p>
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<div>#REDIRECT [[Zappers, Casuals, and Loyals]]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Trans-media_storytelling&diff=70Trans-media storytelling2007-03-15T20:59:32Z<p>Neil Baron: </p>
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<div>'''Trans-media storytelling''' uses various media to convey different parts or events of one story (it traverses media). [[Henry Jenkins]] examines the way that the Wachowski brothers use trans-media storytelling in ''The Matrix''. The viewer does not fully experience the entire story until he or she experiences every aspect that is offered across the different types of media. Someone who has played the game ''Enter The Matrix'' or seen ''The Animatrix'' is able to better understand the entire story and will get a lot more out of it than someone who only watches the films.<br />
<br />
Trans-media storytelling, however, can also alienate some of its viewers by not offering enough in one specific medium. This method of storytelling can be more enjoyable for [[Loyals]] who are fully committed to the story and are ready and willing to cross media platforms to get as much out of it as they can. For [[casuals]], though, the idea of having to chase a story across different media platforms can be intimidating, and they may not bother with any of it.</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Loyals&diff=69Loyals2007-03-15T20:59:08Z<p>Neil Baron: Redirecting to Zappers, Casuals, and Loyals</p>
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<div>#REDIRECT [[Zappers, Casuals, and Loyals]]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Casuals&diff=68Casuals2007-03-15T20:58:43Z<p>Neil Baron: Redirecting to Zappers, Casuals, and Loyals</p>
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<div>#REDIRECT [[Zappers, Casuals, and Loyals]]</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Trans-media_storytelling&diff=67Trans-media storytelling2007-03-15T20:57:19Z<p>Neil Baron: added some stuff, hooray</p>
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<div>'''Trans-media storytelling''' uses various media to convey different parts or events of one story (it traverses media). [[Henry Jenkins]] examines the way that the Wachowski brothers use trans-media storytelling in ''The Matrix''. The viewer does not fully experience the entire story until he or she experiences every aspect that is offered across the different types of media. Someone who has played the game ''Enter The Matrix'' or seen ''The Animatrix'' is able to better understand the entire story and will get a lot more out of it than someone who only watches the films.<br />
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Trans-media storytelling, however, can also alienate some of its viewers by not offering enough in one specific medium. This method of storytelling can be more enjoyable for [[Loyals]] who are fully committed to the story and are ready and willing to cross media platforms to get as much out of it as they can. For a [[casuals]], though, the idea of having to chase a story across different media platforms can be intimidating, and they may not bother with any of it.</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Collective_knowledge&diff=59Collective knowledge2007-03-06T23:53:04Z<p>Neil Baron: </p>
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<div>'''Collective knowledge''' is the idea that all knowledge is contained within the minds of humans. However, no one individual can know everything but everybody knows a little bit about something. By combining this information, humans could potentially use this collective knowledge to solve problems more effectively. Pooling information allows for people to compare notes with and build off of each other in working towards a shared objective. This idea was presented by Pierre Levy, who discussed the role of the internet in fostering collective knowledge and bringing people together in order to express individual expertise on shared interest in various subjects.</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Henry_Jenkins&diff=58Henry Jenkins2007-03-06T23:35:49Z<p>Neil Baron: </p>
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<div>'''Henry Jenkins''' is a wise bearded man who appears hostile and surly but is, in fact, wise beyond his years and kind to animals. He is the author of several books, including ''Convergence Culture'' which discusses the concepts of [[convergence]], [[participatory culture]], and [[collective knowledge]] within the context of old and new media.</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Understanding_Comics&diff=27Understanding Comics2007-03-06T21:01:47Z<p>Neil Baron: </p>
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<div>'''''Understanding Comics''''' is [[Scott McCloud]]'s book that examines the medium of [[comics]].</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Understanding_Comics&diff=25Understanding Comics2007-03-06T21:00:49Z<p>Neil Baron: </p>
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<div>'''Understanding Comics''' is [[Scott McCloud]]'s book that examines the medium of [[comics]].</div>Neil Baronhttps://mediawiki.middlebury.edu/MIDDMedia/index.php?title=Understanding_Comics&diff=22Understanding Comics2007-03-06T20:59:11Z<p>Neil Baron: New page: Understanding Comics is Scott McCloud's book that examines the medium of comics.</p>
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<div>Understanding Comics is Scott McCloud's book that examines the medium of comics.</div>Neil Baron