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FebruaryFirst

Page history last edited by PBworks 14 years, 5 months ago

In "Chapter 3: Blood in the Gutter," our hero takes us between the panels, where anything is possible: readers create meaning, writers suddenly change directions, and all involved instantaneously travel vast distances in time and space. Like sound synthesis, the art of comics "is as subtractive an art as it is additive" (McCloud 85). When comic artists experiment with between-panel transitions to make available what art historian E.H. Gombrich called "beholder's share," a rhythmic space of participation is made available at the level of perception itself. Texts become "animated," or come to life, when the readers, or "beholders" have space to work and play. Here, if we really want to get to audience involvement and interactivity, we can think of call and response traditions. In a sense, call and response is always happening, even when we read silently. Although we might not necessarily want to call this space the "gutter," remembering the elastic space between the panels in comics can help us find resonant transitions in our narratives, and, soon, in our definition arguments, as well. As we revisit and revise our writing and peer-writing, we can can find resonance if we get "between the panels." Keeping our readers (and the limitless potential of their imaginations) in mind will help us find the best transitions as we sequence our sentences, paragraphs, and ideas.

 

As you select, re-order, revise, and remix your version of our first 'zine, or your peers' narratives, experiment with these 6 techniques for storytelling:

 

1. moment to moment

2. action to action

3. subject to subject

4. scene to scene

5. aspect to aspect

6. non sequitur

 

or any combination of the above

 

select examples of transitions, or cuts and links that need more transitional development. Create unique pages for those examples, and tag 'em!

 

1. Remix the Starbuck's dogpile. Focus on sentence level revisions:

Find and amplify concrete imagery, enhance meaning and direction with precising adverbs and adjectives, and fold colorful tropes into the mix--figures and twists on the language that invoke the particular and even singular nature of an idea or argument.

 

 

200 words

 

 

2. bring printouts of the Starbucks thread and linked pages; also, images, outside sources. On 2/8, it's all us, but the following week, Caitlin Kuleci will clue us in to more advanced methods of 'zine assembly.

 

3. remix peer blogs regarding Lessig's narratives. 200 words

 

4. kickstart your narrative. outlines, images, sounds, sketches, and at least 200 words of prose.

 

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