Project 4, Exercise 1: Fashion image

I have chosen an image taken by Irving Penn in 2005.

Balenciaga Yeti Coat (A), By Ghesquiere, New York , 2005 Gelatin silver print mounted to board 10 1/4 x 10 1/4 in., Edition of 7 © The Irving Penn Foundation

Balenciaga Yeti Coat (A), By Ghesquiere, New York, 2005
Gelatin silver print mounted to board
10 1/4 x 10 1/4 in., Edition of 7
© The Irving Penn Foundation

  • The silhouette of this particular piece is very full and indistinct, as it appears to be made from many individual strands of bulky wool. The textiles look to be soft and probably trap warm air close to the body, keeping the wearer warm in colder weather. The Yeti Coat is full length and features a wide collar like a cowl. The bulky fibres that make up much of the coat do not appear appear around the neck or at the ends of the sleeves, probably to allow for freedom of movement and to avoid irritating the wearer. The presentation of the coat exaggerates the wearer's size and makes the body seem large and imposing—it is a striking garment.
  • Because of the bulky materials used for most of the coat, its volume is considerable and the garment looks as though it would be heavy. This could be deceptive, depending on the materials used to make the coat—if this is wool (as it appears to be), it would be a very heavy piece to wear. It would probably not be suitable for a shorter person to wear, because the volume would be unflattering without the necessary height to give it scale. This is a garment for a tall, confident and—ideally—slim person who can carry off the look without appearing to be overwhelmed by it.
  • Again, because of the seeming weight and bulk of the materials used, the drape of the coat is heavy and does not conform easily to the shape of the body, as a filmier fabric might. Instead, the garment conceals much of the shape of the body, although it is much fuller at the bottom and narrower at the waist which helps to ensure that the wearer's form is not completely lost.
  • Because of the weight of the garment, it would likely muffle fine movements by the wearer. Instead, the individual might seem to move as a monolith of wool, perhaps with some subtle shaking of individual strands.
  • It is not possible to tell the coat's colour from the monochrome image, but it seems to be uniform and light in tone, without print or pattern. This means that the form of the coat is not broken up but appears as a single unit, with the only exceptions being the absence of heavy strands at the neck and sleeves. At the same time, the strands appear to vary in thickness and length, so there is still some variation in appearance that give more visual interest to the Yeti Coat.

Looking at the image as a fashion photograph, it is clear that Penn has used sidelighting effectively to emphasize the garment's form and texture, its most important qualities. The monochrome treatment keeps the focus on this features and does not allow colour to distract the viewer—the image was made in 2005, so a black and white image was a deliberate stylistic choice.

I find the image striking and the coat bold. It is as much a statement about its wearer as it is protection against the cold. I'd be happy to see if being worn on the street this winter but, as I mentioned above, it would need to have the right wearer to carry off the look without looking awkward. For this reason, the choice of model (slim, elongated body) is important and the photographer has helped to break up the chunky look by opening the neck and creating a v-shape the lengthens the neck and highlights the model's face. The model's hair is also swept back, which keeps her hair from competing with the texture of the coat or being lost against it.

Project 3, Exercise 1

Thinking back to Part 3 - Visual Communications, it seems to me that the function of Marianne Straub's textiles is to communicate a number of desirable values and attitudes:

  • The pattern of the materials, particularly when viewed down the length of a bus or a train carriage, creates or supports an identity for the transportation company. Once seen and recognized, the fabric is a constant reminder of a consistent 'brand.'
  • The quality of the materials used speak to the care that the transportation company is trying to show to its patrons. Public transport featured molded plastic seating without fabric for a while, no doubt because the seats were more durable and easier to clean. At the same time, the plastic seats were slippery, uncomfortable in summer (too hot) and winter (too cold) and could be read as a message to patrons that they were dirty and not deserving of better things.
  • The patterns chosen, although they seem outdated or even 'retro' now, would have been meant to convey a sense of modernity. Once again, this is a tacit message about the transportation company: we are a modern, forward-thinking company and we expect our patrons to recognize this and value the service they are paying for.
  • Depending upon the type of pattern chosen, there may also have been a desire to make the connection with the home environment. In this sense, patrons are visually encouraged to see their seat as an extension of their living room, a place to be comfortable and relax (rather than a train or bus crammed with other commuters). The association of the home may also encourage patrons to take better care of their surroundings because they have a personal / emotional connection with them.

Project 2, Exercise 1

  • Do you believe there is a demand for hand-made objects and work? Why do you think that some consumers seek out these qualities in the objects they buy?

Yes, there is certainly a demand for the hand-made. Some consumers are looking for a perceived improvement in quality; others would like to support craftspeople; and others again have a philosophical or ethical commitment to hand-made goods.

  • Do you think the desire for hand-made products is based on a romantic perception of the hand-made and a sense of ‘post-industrial nostalgia for the pre-industrial’? Why or why not?

I think this is probably the case for at least some of the interest in hand-made goods. I consider that it is a similar type of attraction that some people have for music on vinyl or analogue/film photography—there is a romantic attachment to a physical artifact that is not entirely dependent on hi-tech to make it accessible or to be enjoyed. Some of the attraction may also be based on aesthetics: some people believe vinyl has a 'warmth' that digital audio does not; some believe that there is superior quality to photographic film or that it too has a warmth not available in a digital image.

  • Do you feel that hand-made products are viewed as luxury or value-added products? How do hand-made items compare with mass-produced items, in terms of their value, life cycle, cost and ethics?

Hand-made products do not necessarily have to be more expensive than mass-produced items, but they often are because of the limited scale of production and how labour-intensive the production is. So, yes, hand-made items are often viewed as luxury items—it is often less expensive to buy the mass-produced item (which is generally better marketed, too). It is hard to compare the value, life cycle, cost and ethics of hand-made goods versus the mass-produced—I think it depends largely on the item in question. I don't believe hand-made is inherently superior, but I believe it has a cachet that mass-produced items do not.

  • Reflect on any hand-made item you own (not necessarily textiles). Can you remember why you were drawn to it? Did the fact that it was hand-made make it feel ‘special’ or did you just buy it because you liked the design? How did its price compare with the industrially-produced equivalent?

When I travel with my family we often buy one or two items to bring home with us. These are not strictly 'souvenirs' but they do remind us of the place we have visited and we lean toward hand-made goods. We—rightly or wrongly—have the feeling that the hand-made item has a greater connection to the place and the people we have seen. And the hand-made item often has a uniqueness or a particularity about it that does not come through in a mass-produced piece. The price of the hand-made item may be more expensive than a factory-made 'souvenir' (usually made overseas), but this is not a factor in our choice—we always opt for the local item.

For example, when we visited Belgium for a month a number of years ago, we could have bought tourist souvenirs in any number of shops. Instead, we chose to buy a small figure made by sculptor Lut Brackx. The figure sits in our living room and reminds us of our time in Belgium and the side street in Antwerp where we came upon Ms. Brackx's shop by accident and chatted with her husband for a while. A mass-produced item would not elicit quite the same feeling for us.

Project 1, Exercise 1: Sustainability

How would you define ‘sustainability’? Look it up if you’re not sure.

  • Sustainability is a state or practice of ensuring that processes can continue over long periods in a way that does not drain resources, environments (natural, physical, social/cultural, economic) or peoples.

In what contexts is sustainability an issue? Think more broadly here – not just textiles – and write a list.

  • Sustainability is an issue in any context where there are finite resources in a closed system. It was possible for us to think of the earth's resources as endless when there were fewer of us, when we lived farther apart and were largely ignorant of the consequences of such thinking. It is now clear that much of what we depend for life and the enjoyment of it is not limitless:
     
    • land
    • air
    • fresh water
    • wildlife
    • plant life
    • arable land
    • raw materials
    • fossil fuels

How do you think sustainability might be addressed in relation to the production and consumption of textiles and other manufactured products? Use the stages of the life cycle to help you with this question.

  • Perhaps the starting point for any thought about sustainability has to be an acknowledgement that it must be a collective effort. As individuals we can all make a commitment to living in more sustainable ways, but it will not accomplish much without some form of collective action in all sectors of society, the economy and governments. And even though larger actors—such as governments and larger corporations—wield considerable influence, the results they achieve will only be partial without some sort of groundswell of popular support.
  • All stages of a production cycle—from resource extraction or recovery, to material choice, to refinement, to design, to production / manufacturing, to marketing and sale, to transportation, to consumption and eventual disposal—must be assessed for the way they promote sustainability of life or detract from it:
  1. Agriculture/raw fibre production — Is land use supportive of the local economy? Are agricultural practices based on sound ecological / green principles? Does crop choice exhaust the soil or displace food crops for local farmers?
  2. Ginning — How much energy is consumed during the process? Are there any waste products? If so, how are they treated?
  3. Spinning — Energy consumption? Does automation displace human workers?
  4. Weaving — Energy consumption? Are there jobs for human workers? If so, do they allow for a living wage?
  5. Processing — Energy consumption? How close are processing sites to spinning and weaving locations? Are dyes and other chemical products natural? Are they disposed of appropriately? Could they be toxic or allergenic?
  6. Stitching — Do stitching techniques support a long life for final products or are fabrics designed to fail early to promote repeat consumption?
  7. Distribution/retail — How much energy is consumed and pollution created by transportation? If products are created in volume, will they be used or end up as landfill? Are price markups calculated to benefit all participants in the production chain, or just those at the top?
  8. Use/consumption and end of life — Do consumers care for products? Are they disposed to mending products themselves, or do they discard them quickly? Can products have secondary or tertiary uses or lives? Can materials be recycled easily?
  • The assessment needs to be done at each stage of the process, but must also view the entire chain as a whole. (There is not much point in working only with natural, renewable fibres if transporting and processing them means fouling the environment.) The chain must also be examined at each stage for its impacts on related, but perhaps distinct chains. (Does increased use of a particular textile mean that there is less arable land available for growing a local food crop? Does a more efficient manufacturing process in terms of volume and speed of production have the side-effect of ruining a local labour market?) Where necessary, governments should be ready to use a combination of regulation and incentives to help direct producers and consumers to healthy outcomes. Business must take corporate responsibility seriously. Individuals must inform themselves and place long-term value ahead of short-term savings.
  • All told, there must be commitment across sectors of the economy to operate in a way that promotes human and environmental flourishing, both locally and farther afield. This will not appear overnight, but will require the development of common vision that is sensitive to both place (local and global) and time (the long game).

Project 3, Exercise 1: Comparing telephoto and wide angle views

I'll make my comments based on the two images printed in the course manual.

Image A: wide angle

  • A large, white gate dominates the foreground and portions of a brown fence are visible on either side of the gate.
  • There is rubbish scattered on the dirt in front of the gate. Behind it is a large, grassy field with nothing in it.
  • Beyond the field, and below it, we can see the buildings (some high-rise, most low) of a city stretching far into the distance.
  • At a rough guess, the horizon is many miles away and the sky is partially cloudy.
  • The gate appears to be level in the foreground, but the horizon seems to slope slightly toward the right side of the frame.

Image B: telephoto

  • There is no sign of the gate and the foreground is now occupied by the buildings of the city that appeared to be some distance away.
  • The sky takes up less of the frame and very few clouds are visible in it. The horizon line seems closer and we can see buildings on it that were not perceptible in the previous frame.
  • We can see the distant objects in the frame with much greater detail.
  • Compared the wide-angle shot, the angle of view is much narrower and the perspective in the frame (front to back) is compressed quite a bit.

Project 2, Exercise 1: It's about time

Derek Trillo, Passing Place, Manchester, 2006

  • Conveys movement by using a slow shutter speed to capture two figures walking toward one another on a staircase. The resulting blur is effective, particularly because it works well with the silhouetted figures and the background colours—I think I can see some multicoloured fringing that gives the impression of speed.

Harold Edgerton, Bullet and Apple, c.1964

  • A high-speed flash has been used to freeze a bullet as it exits an apple stuck on a shell casing. This is also effective not because it allows movement to blur, but because it freezes an event that the eye cannot possibly see (the previous image also used a camera to portray an event in a way that the eye cannot naturally perceive). The entry and exit 'wounds' to the apple have only just been made and show the bullet's explosive speed and power.

Harold Edgerton, Multiflash tennis serve, 1949

  • Edgerton used a stroboscopic effect to slice up a moment that would have been visible to the eye (a tennis serve). Again, the technical properties of photography are effective in allowing us to 'see' an event in a way that would otherwise be impossible: this time a single, fluid movement portrayed as a series of discrete steps.

Jacques-Henri Lartigue, Ma cousine Bichonnade, 1905

  • Lartigue's picture of his cousin is also effective in showing movement through a relatively short exposure, although it gives the impression that the subject is flying. In that sense, though, it is no more unnatural than any of the other images—each one of them portrays movement in a way that is foreign to us, but that tells us something interesting about movement and the passage of time.

 

Project 1, Exercise 1

What, in your view, makes photographs unique as an art form?

I think the primary thing that makes photography unique as an art form is that the camera is a powerful tool for abstracting time. At its most basic, the camera is a box with light-sensitive material that can exposed to light for a wide range of times. Only because of photography are we able to see a single scene in a way that our eye could never capture in a single glance—either for an abnormally long period (minutes, hours or days) or for an abnormally short period (thousands of a second). The camera changes our ability to perceive, capture and represent time in a way that other artistic tools cannot.

Because we can now perceive change differently, our understanding of our world has changed and, with it, our perception of motion and change in the physical world. While working of some of the assignments in Part 3: Visual Communications, it occurred to me that some of the visual conventions we now take for granted very likely owe their existence to photography, whether still or moving images. Where did "speed lines" or distortion of a moving object come from in illustration without having seen motion captured on film? And were cartoon cells influenced by the individual frames of a motion picture?

To me, this suggests that every photographic image—by its very nature—is an abstraction of our perception and that it has fundamentally changed the way we see our world, permanently.

It occurs to me that abstraction is also present in the moment of creating a photograph. Unlike most (all?) other arts, the photographer is a step or two removed from his or her creation—we cannot normally see the film as it is being exposed and we can only see a mediated representation of the a digital image as it is being captured. There is little or no immediate possibility of a direct, manual or sensory creation with the thing being produced.

Think of the production of artworks in relation to time: photographs are always in the present – they are captured not synthesised. Think also about what we mean by ‘photographic image’. Does it have to be something permanently fixed? Does a photograph have to exist in hard copy? Is there a difference between a printed photograph and a digital image that sits virtually on someone’s device, for instance?

I'm not sure I completely understand the distinction being made: photographs "are captured not synthesised." Since the early days of photography it has been possible to synthesise photographs by combining or otherwise altering images whether in-camera or in post-production. It is so common now that it is not always clear if the image we are looking at is a 'photograph' that was 'always in the present,' a purely digital creation or some combination of techniques.

I'm also not sure about a photograph having to be permanently fixed or to exist in hard copy. My work on re-appropriating images for Assignment Three showed me that photographs can persist powerfully in people's memories and imaginations, whether they have access to the 'original' (assuming there is just one) or not. Once frozen in a photograph—or perhaps in a striking sequence from a movie or video—I think that the memories they leave can become 'fixed' in the imagination. Not only that, but it seems to me that those images in the imagination have the power to shape and reinterpret memory itself. More than once I have seen family members 'remember' an event because they had seen a photograph of it, only to be informed that they had not been present or perhaps even alive when the photograph is taken.

I don't think the great distinction in photography lies between prints and digital images. There is indeed a difference in experiencing a print versus viewing a digital image on-screen or as a projection, but I think that there is something qualitatively different between an image that started out as a piece of film—there is or was an original, physical artefact that had been exposed to light—rather than the output from a digital sensor which is a mathematical representation of captured and interpreted data.

Beyond these considerations, though, I think that the most important distinction to be made in photography is between images that are still and images that move. They are captured differently, show different things and are perceived and remembered differently by their viewers.

Project 4, Exercise 1: The next big thing

For this particular piece of contemporary visual communication, I have chosen the logo that was designed to represent the 150th anniversary of the Confederation of Canada (1867–2017). The logo was created by Ariana Cuvin, who won a design competition held by the Government of Canada.

According to the Department of Canadian Heritage,

The logo is composed of a series of diamonds, or “celebratory gems”, arranged in the shape of the iconic maple leaf. The four diamonds at the base represent the four original provinces that formed Confederation in 1867: Ontario, Quebec, New Brunswick and Nova Scotia. Additional diamonds extend out from the base to create nine more points—in total representing the 13 provinces and territories.

The logo has been made available in a number of visual treatments that can be used to complement the particular use to which it is put. For illustrative purposes, here are just four of the available visual treatments:

What characterises it as ‘new’? How does it fit within wider contemporary trends?

The logo appears 'new' in at least two senses. First, graphical representations used by the Government of Canada are relatively limited, closely guarded and are well-known by the Canadian public from communications materials, federal buildings and government correspondence. Best known among these are the 'Canada Wordmark' and the graphic representations of Canada's government departments whose uses are governed by the Federal Identity Program. The 'Canada 150' logo is a clear visual departure from these very familiar symbols and graphical representations.

The Canada Wordmark

The Canada Wordmark

A second reason that the 'Canada 150' appears new is that it has been designed with a contemporary aesthetic. Although government communications are rarely known for their daring, this logo is not out of place with other current corporate logos and images.

Are there any direct lines of influence from other contemporary artefacts – or historical ones?

There is indeed an obvious point of comparison or line of influence from an historical artefact: the official logo of Canada's Centennial year in 1967, as seen below:

Canada's Centennial logo, designed by  Stuart Ash

Canada's Centennial logo, designed by Stuart Ash

Although not identical, the two logos clearly share a heritage in that their respective creators have chosen to represent Canada's provinces in territories through the elements of a stylized maple leaf.

What factors may lead to your example becoming ‘last year’s thing’? What aspect of the design will age first? What do you think will replace it?

The 'Canada 150' design will become 'last year's thing' very quickly, because it has built-in obsolescence. The logo is explicitly tied to the sesquicentennial year—2017—and will be out of date by 2018. It will live on in some of the promotional items that people will buy to commemorate the anniversary and will eventually become a nostalgia piece for those who are young now, just as the Centennial logo stirs up memories for those who were schoolchildren in 1967.

The 'Canada 150' text will age first. Without it, the graphic could probably have had a longer shelf-life even though it is so clearly tied to the sesquicentennial. And because these events by definition only happen every fifty years or on other significant anniversaries, nothing will be created to replace it. The logo is a one-off and will fade as quickly as the t-shirts on which it is printed.

Project 4, Exercise 1: The Road

McCarthy, C. (2006) The Road. London: Picador

  • First person narrator – from the point of view of the man (I pushed the cart...)
“I pushed the cart and both I and the boy carried knapsacks. In the knapsacks were essential things in case we had to abandon the cart and make a run for it. Clamped to the handle of the cart was a chrome motorcycle mirror that I used to watch the road behind us. I shifted the pack higher on my shoulders and looked out over the wasted country. The road was empty. Below in the little valley the still grey serpentine of a river. Motionless and precise. Along the shore a burden of dead reeds. Are you okay? I said. The boy nodded. We set out along the blacktop in the gunmetal light, shuffling through the ash, each the other’s world entire.”

Second person – as if you were the boy (You pushed the cart...) [The instructions in the course guide must be incorrect.]
 

“You pushed the cart and we both carried knapsacks. In the knapsacks were essential things in case we had to abandon the cart and make a run for it. Clamped to the handle of the cart was a chrome motorcycle mirror that you used to watch the road behind us. You shifted the pack higher on his shoulders and looked out over the wasted country. The road was empty. Below in the little valley the still grey serpentine of a river. Motionless and precise. Along the shore a burden of dead reeds. Are you okay? You said. I nodded. We set out along the blacktop in the gunmetal light, shuffling through the ash, each the other’s world entire.”
 
  • If McCarthy had chosen the third person limited point of view, think about the difference between telling this story from the boy’s POV or the man’s.

    The difference between telling this story from the boy's or the man's third-person limited POV would first of all arise from the fact that these are different people. Different people have different perspectives. More importantly, we should expect that the difference in age would play a role in the way that they relate their experiences: the man should be more experienced than the boy and have a more mature set of references with which to view, assess and describe. At the same time, the boy's lack of experience might give him a smaller frame of reference but also cause him to filter less of what he is thinking and feeling. There could also be a power differential between the two characters, based on age, size and resources. Or it could be that the boy has reserves of power that we haven't considered. All told, the story could be made to work from any of these perspectives, but each would be a distinct narrative and experience for the reader.
     
  • What impact does changing the narrative angle have on the story? Why do you think McCarthy decided to use an omniscient narrator?

    A change in narrative angle alters the immediacy of the story. First-person narration makes it easier for the reader to feel that he or she is experiencing the action along with the narrating character. It also means, however, that the reader is somewhat at the mercy of the narrator until it can be determined to what degree the narrator is reliable. Moving away from first-person narration gradually pulls the reader back from the action: second-person tells the story as narrative-in-relationship ("you and I") while third-person gives the impression of an objective accounting of facts from just outside the story.

    An omniscient narrator allows the author to tell the story from multiple perspectives in a way that first- or second-person narrative could never achieve. By using this form of narration, McCarthy is able to transcend time and place in the narrative—something that is rarely possible for human characters.

Project 2, Exercise 1: The Hero's Journey

A. Mapping the Stages of the Hero's Journey

For this exercise I've chosen to apply Vogler's grid of the stages of the hero's journey to the Norman Jewison 1987 film Moonstruck. Written by playwright John Patrick Shanley, the movie straddles several genres -- romance, comedy and drama -- and I thought it would be interesting to analyse the film through the lens of a heroic quest, since that is almost certainly not the way it would normally be viewed.

Act I (Beginning = the hero’s decision to act)

1. Ordinary World — Loretta Castorini is a widow working in her family's store and engaged to Johnny Cammerari. Her life is predictable and lackluster. Johnny tells Loretta he must visit his dying mother in Sicily; while he is gone he wants Loretta to invite his estranged brother Ronny to their wedding.

2. Call to Adventure — Loretta meets Ronny and is caught up in his passion. Ronny tells Loretta that he loves her.

3. Refusal of the Call — Loretta rejects Ronny's declaration of love by slapping him and telling him to "Snap out of it!"

4. Meeting with the Mentor — Ronny agrees to leave Loretta alone if she will come with him to the opera, his other love.

5. Crossing the First Threshold — Loretta agrees to see Ronny again and attend the opera with him.

Act II (Middle = the action)

6. Tests, Allies, Enemies — Loretta feels guilt for her relationship with Ronny behind Johnny's back, so she goes to confession. She meets her mother there, who tells Loretta that he father is also having an affair.

7. Approach to the Inmost Cave — Loretta and Ronny go to a production of Puccini's La bohème at New York's Lincoln Center. Loretta is deeply moved by the love story.

8. Ordeal — During intermission at the opera, Loretta bumps into her father and realizes her mother is correct: her father is having an affair. Both Loretta and her father are exposed. Nevertheless, Loretta spends the night with Ronny at his place after the opera.

9. Reward — Loretta leaves Ronny's early in the morning and realizes that she has found love.

Act III (End = the consequences of action)

10. The Road Back — The family gathers in the kitchen of the Castorini household, where Loretta's and her father's secrets come to light.

11. Resurrection — Johnny Cammerari's mother has made a miraculous recovery from her deathbed (a resurrection!) and Johnny, superstitiously fearing that his mother might have a relapse, ends his engagement with Loretta.

12. Return with the Elixir — Now that Loretta has been released, Ronny proposes to her in front of the family and she accepts. Loretta has found love, the family is reunited and its traditions continue (as seen in the closing shots of framed portraits of the Castorini ancestors).

 

B. Using the Hero's Journey as a Template

Refuge

Act I (Beginning = the hero’s decision to act)

1. Ordinary World — orphaned teen in an African refugee camp

2. Call to Adventure — hero witnesses a young man being beaten by a gang in the camp

3. Refusal of the Call — won’t speak up for fear of reprisal and is afraid to leave the camp

4. Meeting with the Mentor — meets an older teen in the camp who tells him that orphans are being sold as child soldiers

5. Crossing the First Threshold — the two decide to flee the camp but the mentor is captured and the hero escapes alone at night as the slavers pursue

Act II (Middle = the action)

6. Tests, Allies, Enemies — others are callous or take advantage of him as he continues his flight, hungry and penniless

7. Approach to the Inmost Cave — the hero learns where the slavers camp is and seeks out the place

8. Ordeal — the hero is discovered and is wounded as escapes with stolen papers

9. Reward — the hero is able to identify those leading the slave trade

Act III (End = the consequences of action)

10. The Road Back — threats are made against the hero's life and efforts made to discredit him, but he produces the evidence of the slavers’ identities

11. Resurrection — the child soldiers are released, including the mentor

12. Return with the Elixir — the two are taken to safety, where they are able to draw more attention to the plight of children orphaned by war

Project 1, Exercise 1: The Textual Revolution

Take a moment to think about the wider implications of this textual revolution.

1. What happens to a story when you take it from its source, make it permanent in print, and disseminate it to a wide audience?

  • there is potential for broader distribution
  • there are now roles for distributors, editors and translators in the process
  • the author loses the possibility of instant feedback and error-correction
  • there may be a need for interpretation with changes in context, time and place
  • there is loss of authorial control
  • there is potential for significant misunderstanding
  • the text may transcend its original time and place through language
  • questions around who will be the new readers, in what contexts?
  • at times, the printed word can bring a permanence to texts that should be, or were meant to be, transitory

2. Write a list of implications arising from the printing press. For example, think about who has control/authority over the text, the meaning of the text, and the relationship between the source of the text and its recipient.

  • all of the above, plus issues of cost, fees, mass production
  • potential for lack of access or censorship for some texts or for some audiences