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View Article  A Map of the Internet


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Leave it to the webcomic XKCD to have something that so perfectly sums up what I was thinking while reading Maps of the Imagination for class. As creators of online content, we are often charged with the task of organizing information. Isn't that the greatest reason why sites such as Digg, Reddit, and Fark pile on the page views? Humans long for something to sift through the noise and guide them to what is important.

Writing for the web adds interactivity to content. Looking back on the earliest books I read on web design, they offered chapter upon chapter on the new and innovative "hyperlink" and how information could be layered.  We take this idea for granted, but when designing a website, which information the user reads first and how they move through the page is still one of the most important elements to the design.

Thinking of the internet as a world of information and our websites as maps to help guide our audience through that information, we need to think about how we keep our viewers around and not moving on to the next place on their journey.  It is here that the metaphor of Maps of the Imagination is so strong. What works best for a map, also works for websites, keep it simple to read but easy to get sucked into.

View Article  The Oscars Lose at Social Media
On time.com, Richard Coriliss gave his advice on how to fix the Oscars, involve the public in the process.  With all the community and social-based tools at their disposal this year, the Oscars used a scaled back and classy production design.  The overall look and sound of the show harkened back to the 30's, with the orchestra on the stage and big musical numbers, unfortunately the way the event was marketed also had more in common with the 30's than today.

Looking at the Oscar's website, it has message boards, text message alerts, and some polling but that's it.  Where's the facebook integration? Where's the twitter streams of people mentioning movies? Where's the link to YouTube clips of the nominated movies and actors? Live video streams from backstage anyone?

Did they even mention they had a website at any point in the broadcast???

The Time.com article suggests that Oscars open the voting to the public. At the very least, the Academy could show what the online voters think should win and then announce the winners. Why do the oscars need to announce only the winner, the article suggests showing the numbers to see just how close the votes were. Did Heath Ledger completely blow Philip Seymour Hofman out of the water, or was it neck and neck?

Looking at how the show leverages social media and public voting, it is no surprise that American Idol is a juggernaut in ratings and advertising dollars. The audience is engaged, so they keep coming back, and in number.

Not convinced that the regular people have the knowledge to vote on the biggest award in the business?  According the Mashable, the movies, actors, and directors with the most twitter and blog mentioned all won their categories.

On a side note, I would finally allow animated movies to be nominated for best picture. Almost every shot of Benjamin Button had CGI in it, yet Wall-E is a second class citizen. Wall-E literally put real emotions into pixels representing two hunks of metal, that’s film-making.

Hollywood either needs to embrace the computer revolution and use it in their favor, or continue to see the internet as nothing more than a way to download bootlegged movies and slowly fade into bankruptcy.
View Article  Misrepresentation

We can easily see by the drawings of the Election Day maps how much the decisions of the cartographer effect how the information is perceived.   When these maps are presented, it is done with the assumption that the reader knows the relevant contextual information which in this case is that approximate population of the states and number of electoral college votes determine the election not the size of the state. (Or perhaps in some cases they capitalize on the lack of knowledge and attempt to mislead the reader)   Either way, if the reader does not have background information he will have trouble reading the map.  Similarly, if the reader does know how elections in this country are run than I would say that using a cartogram where the states are skewed could also cause confusion. 

The author of Maps of the Imagination also talks about misrepresentation and maps.  He believes that the map will always be skewed to the perspective of the person that created it, simply because they were the one that created it.  Here the author offers many examples one of which was a drawing done by Saul Steinberg of New York that served as the cover of The New Yorker. 

In fact when I looked for an image of this drawing online I found an entire blog site dedicated to strange, misrepresentative, and even outright fake maps.  I have included the picture and some of the blog post which was titled as 72 - The World As Seen From New York’s 9th Avenue Filed under: Uncategorized on strangemaps.com.  The blogger attempts to analyze the image in its context and passes judgment on why the creator chose to make the map from this point of view. Some of what the blogger wrote is criticism aimed at New Yorkers for considering their city to be the capital of the world but much of his point is very relevant.  Because as Peter Turchi states mapmakers have traditionally put their homeland in the center, the part of the world that we know best, the place or places we live, loom largest. (Turchi 137)   

Here the blogger writes;  Several cartoons illustrate this metropolitan hubris, and they do it so well – and with self-irony rather than sarcasm – that they can’t but have been made by New Yorkers. A nice one is Daniel K. Wallingford’s US map skewed to give NYC prominence over the rest of the country, which is mislabeled as a sign of New York arrogance and ignorance. That map dates from the nineteen thirties. I’m still looking for an image with sufficient resolution for me to post it here…

The map in this post is another, earlier cover of the New Yorker. In 1976, artist Saul Steinberg drew up this depiction of the world as seen from New York’s 9th Avenue. Not being a New Yorker myself, I don’t know why this Avenue was chosen as the Centre of the World. Some observations:

  • The map looks west, over 10th Avenue and the Hudson into the rest of the US.
  • The US is presented as a rectangle, bounded by Mexico to the left, Canada to the right and the Pacific Ocean on the far side.
  • Right across the Hudson lies Jersey – in nondescript terrain but owing to its proximity to NYC still in bigger type than the rest.
  • Washington DC is already much smaller (and almost in Mexico).
  • Some rocks and a single bush (funnily enough near Las Vegas, where there’s not much vegetation) form the only distinguishing features.
  • The only places that are mentioned in further away than DC and Jersey are Texas and Utah (as states) and Chicago, Las Vegas and Los Angeles (as cities).
  • The US ends at the Pacific, across which are visible Japan (as a single island), which divides the land mass further away into China (to the left of Japan) and Russia (to her right).

Was this cover construed only to convey the fact that New York is rather self-centered? Or does the orientation also have some significance? Because it does seem strange that NYC, on the East Coast, has its back turned to Europe, which is completely absent in this map… 

We can see from the bloggers response that they were greatly influenced by the way that the information was presented.  While the creator’s intention was probably to show a depiction of the modernization and prosperity of New York City.  Yet because of the way the image was presented even at the time it was met with hostility over the alleged self centeredness of New York inhabitants.

View Article  Twitter Application Review: Twitty Tunes
Introduction

I began using Twitter during July of 2008. At first, I was put off by what appeared to be a congregation of the egotistical. It was not until my Information Architecture professor required our class to use Twitter actively that I became engrossed and engaged with the Twitter phenomenon. In order to experience the maximum potential of Twitter, my professor encouraged my classmates and me to install and explore the many Twitterapplications available. Through my exploration, I found an application called Twitty Tunes.

Twitty Tunes is a companion application that works in conjunction with the Foxy Tunes browser application. The Foxy Tunes application allows users to export the music they play into an email signature.  It works with numerous music players such as iTunes or Winamp.



The application is integrated into the user’s browser where he or she can use the application to control his or her music player.



Twitty Tunes allows users to Tweet their “currently playing” songs as well as links to “currently browsing” websites, photographs, and videos.


By itself, Foxy Tunes is lacking, but when it is combined with Twitty Tunes, it becomes a robust and compelling tool.

Features

The Twitty Tunes application is integrated in your browser. 


A small icon appears in the browser taskbar, and with two simple mouse clicks, you can share the music you enjoy with your Twitter friends and develop new connections with people that share your musical interest.


If a Tweeter uses the @foxytunesdj prefix instead of the five other music prefixes in his or her Tweet, then that Tweet will display on both the Tweeter’s Twitter profile and the @Foxy Tunes Twitter DJ Twitter Channel; however,  FoxyTunesDJ must be followed on Twitter by the user in order for it to appear on the channel. 



Twitty Tunes also allows users to post URLs to web pages they are viewing. You can choose among six preset prefixes or you can use the free style + URL option. The user only has to click the prefix such as “browsing:” while on the web page, and the prefix along with a short description and the URL will appear.



Users may edit the description or add their own comments. In addition, Twitty Tunes provides one click access to the user’s own Twitter page, to the Twitty Tunes homepage, and to the FoxyDJ Channel.



There is even an option that allows the user to change their Twitter password and to send feedback about the application.

Benefits

Twitty Tunes allows users to expose their musical interests to a broad community of Tweeters. By utilizing Twitty Tunes, users may find that other Tweeters share similar interests and therefore make a connection with one another. People may begin to recommend other music the Twitty Tweeter may enjoy. For instance, if a user is in an unknown band in New Jersey and they Twitty the band’s songs on FoxyDJ, then other users may listen to the songs, and the unknown band’s music will spread to different regions of the world.



Comparison

There are not many Twitter applications that compare to Twitty Tunes. It is a unique application that provides a distinctive service to its users. Blip.fm is similar to Twitty Tunes, but it is not an application. It is a website run independently from Twitter; however, Blip.fm has a similar interface as Twitter, and you can share your “blips” (the equivalent of a Tweet) on your Twitter page through the website. Twitty Tunes keeps the user connected to the entire Twittersphere, whereas, blip.fm is designed to be a contained community of music lovers.

Conclusion

Overall, I think Twitty Tunes is a valuable application. I think Twitty Tunes effectively connects users to other Tweeters with similar musical tastes. I think it would be interesting for Twitty Tunes to develop an auto-submit playlist feature, so that users can become their own DJ.


View Article  Maps as a Metaphor

I have to agree with my classmate Zach Caruso's opinion, Maps of the Imagination: The Writer as Cartographer, is by far my favorite book we have read in our class.  The author, Mr. Peter Turchi, chose one of the simplest metaphors for writing, map making.

It is so simple one wonders why no one has thought of using map making as a metaphor before Turchi.  He unfolds the metaphor further explaining that writing is comprised of two acts: exploration and presentation.  As writers, we are the reader's guide.  First we explore our writing, then we take readers on a tour.

One of the main reasons humans write is to make sense of the world.  Maps show geographically where we wish to go.  A piece of writing makes sense of a particular aspect of the world, just like a map makes sense the journey to go from here to there.

We begin with the blank page.  While most of us believe this is a beginning, that isn't necessarily the case.  One of the things I didn't realize before reading this was what the writer didn't include in their work is just as important as what the writer does include.  The great books tell us more by what they exclude rather than what they include because they require the reader to fill in the blanks.  A manuscript is like a map in that maps don't include all the features that replicate the geography the cartographer intends to copy.  If the map did, the map would be the area, instead of an approximate duplication.

Turchi tells us that one of the first lies of a map is that it is the truth.  This is also applicable to fiction.  Maps lie by telling us that it is in fact, what it represents.  The ability of a manuscript to convince us of the lie is within its authority which has little to do with objective reporting or getting the facts correct.

One of the most interesting metaphors Turchi addresses is the mediums with which information is passed.  Maps are usually created on two dimension posters or pieces of paper.  They are, however, representing three dimension images.  So, although they are not the actual thing they are representing, it is the map's purpose to convince us it is.  It is similar to when an artist draws an image of a person.  It is on a two dimensional canvas, yet to the image appears three dimensional.

A writer must decide what they are going to map, create a key to decode that map, and guide the reader along their journey without impeding the reader's progress.  Writing not only challenges us not just to select for telling and how to present it, but how to evoke, simultaneously, the "theater of the world".

All of this is extremely helpful to us because no matter what type of technology we are using, we still use writing to communicate to each other.  Instant messaging, Twitter, E-mail, Facebook, Myspace, all use writing to send the message we hope to send.

 

View Article  More on Maps

Maps of the Imagination; The Writer as Cartographer is an interesting book for anyone who would like to think about images and writing in a new way.  The first thing I noticed about the book was how the author included pieces from many other works; from maps, to art work, to book, and even poems.  I felt that this added a great deal of interest to this already interesting subject.  The book compares writing to forms of graphic representation, mainly maps.  It fully explores the concept that writers are cartographers and that both of them chose consciously or unconsciously what to put into their work and what to leave out.  These exemptions tell us just as much if not more than what is actually on the page.  To make his point the author Peter Turchi references a large number of other works including Robinson Crusoe, Treasure Island, Utopia, Lilliput, Brave New World, Invisible Cities, and many many more.  While I have read some of the books he talks about most I have not but would like to.  He does not however present them in a way that you had to have read them in order to understand his point.  They are only used to enhance or provide examples for what he is saying.

The author begins with a relatively basic idea.  That writing is usually thought of as exploration: some combination of premeditated searching and undisciplined, perhaps only partly conscious rambling…scribbling notes, considering potential scenes, lines, or images, inventing characters, even writing drafts…[And] Presentation. Applying knowledge, skill, and talent , we create a document meant to communicate with and have an effect on others.(Turchi 12) The author goes on to discuss the relationship that the creator, whether they are an author, poet, artist, cartographer, etc, has with their audience.  It does not matter what the person is describing they will still be doing it from their own point of view.  No matter how hard we work to be objective or faithful, we create.  That is not to say we get things wrong, but that, from the first word we write- even by choosing the language in which we write, and by choosing to write rather than to paint or sing- we are defining, delineating, the world that is coming into being. (Turchi 14) Everything from the order that things are presented to how much weight each thing is given is purposefully chosen by the author.  Every one describes things differently. Even if you are all describing the same object and because of that the reader will perceive the object differently.  This may not be of much importance if you are describing a tree in a novel, we all know what trees look like although the type of tree and condition vary greatly, but it is more important if you are making a map. 

The author continues on to talk about the blank spaces in maps and the reader should evaluate these images more critically.  This make sense although I never actually thought about the empty spaces on a map as being important.  I have however had the experience of getting lost because I had driven into one of these spaces or been unable to find my way because the mapmaker did not put in the road that I was on which has made me question the validity of the image.  The author explains that sometimes these blanks are done to purposefully hide information that the creator does not want to share such as Native Americans refusing to draw or distorting images about their hunting or sacred grounds because they did not want the Europeans to have that information.  Other blank spots represent information that is known but have been decided to be unimportant such as libraries on a map of county bike trails.  Or the information could actually be unknown like America before it was discovered.  Anyway these seemingly black spots actually tell us a lot about the maker, the reader, and what is trying to be shared between them. 

The author also talks about omission in works of literature.  He states that every story is surrounded by blank spaces, some more significant than others.  When we create a fictional world, our decisions include geography or setting but also where and when a narrator begins and ends, who it involves and who it does not, which actions and conversations are deemed worthy of inclusion and which are not.  (Turchi 42)  Rarely in books do the characters have jobs, bosses, coworkers, assignments due, schoolwork, or dentist appointments.  They do not have to go the grocery store, pay bills, get the flu, wash their hair or go to the bathroom.  While writing about someone brushing their teeth maybe boring for both the writer and the reader it is a part of life.  By putting in some of those details, the author may be able to create a more accurate, believable character.  This is not the first time I have heard that characters should have jobs.  Brett Lot also talks about this in Before We Get Started.  Many times when writing new writers try to write too large a story and they end up losing believability or meaning in their work perhaps by choosing not to omit some of these everyday life events the character will be more relatable to the audience.  Still omissions force the audience to use their imagination, for example when an author uses an ellipse in a sentence (which is something that I do all the time and probably should not).  The book continues on to talk about many other points and issues related to the idea of the writer as cartographer.  Over all I found this an informative light read and a good book for all thoughts who would like to look at their writing or reading in a new way. 

View Article  Exclusion
In Maps of the Imagination: The Writer as Cartographer, Peter Turchi uses maps as a metaphor to explain the act of writing. In the chapter “A Wide Landscape of Snows,” Turchi discusses that maps often include blank spaces or excluded information because by exclusion a more comprehensive map that meets its intended purpose is created; likewise, in writing there are often blank spaces because by exclusion of certain elements or facts the text is able to fulfill its intended purpose. It is then that a writer not only has to focus on what to include in his/her text, but also he/she must consider what to exclude from the text. Turchi explains, “As writers, no matter whether our tendency is toward expansion or compression, we must gauge what to leave blank, and why (p. 44).”

F**** My Life, Post Secret, and We Feel Fine are examples of the use of exclusion. Each of these websites were designed for people to anonymously share definitive moments in their lives. Each site has its own specific criteria and rules for submissions. F**** My Life submissions may only be up to 300 characters and all submissions must begin with the word “Today” and end with FML (f**** my life); however, anonymity is optional, but it is encouraged. Post Secret submissions are accepted only by mail in the form of an anonymous post card with a secret. People do not actually submit anything to We Feel Fine, but rather a collection engine harvests emotional phrases and accompanying images that include the words “I feel” or “I am feeling” from various blog sources. Each of the three websites limits the writer and forces the writer to exclude information. The reader is left to fill in the blanks thereby creating his/her own interpretation of the texts.

View Article  Maps of the Imagination and Some Observations
     Maps of the Imagination by Peter Turchi demonstrates how maps, which at face value seem to be merely pictorial representations of the real-world, are in reality documents that need to be read as critically as any text one will find.  It is important to remember, Turchi shows, that the very existence of an item on a map is really an argument. Turchi says, "We must recognize, too, how the unavoidable act of selectivity affects the map.  Raven's map of the United States is in fact a map of the contiguous United States (Turchi 88)."  Considering that one cannot put everything on a map that its real-world counterpart contains, it is important to remember that there is an agenda behind such omissions.  While these omissions are sometimes innocuous (such as if when one looks at a map of the United States, and sees Philadelphia, Camden, Vineland, Atlantic City, Trenton, but not Glassboro shown because Glassboro is smaller than the other cities mentioned), it is important to consider that the cartographer made this choice deliberately.  I actually haven't researched this, but I can safely assume that Trenton, Jersey City Newark and New Brunswick have larger populations than my town of Folsom and thus deserve to be more prominantly displayed on a map.  Though I disagree with Turchi's argument that the omission of Hawaii and Alaska constitute a "disturbing omission," I understand his point. 
 
Here's a map of New Jersey that demonstrates my point. 



Hammonton is about 25 miles to the east of Glassboro.  My town of Folsom borders Hammonton, yet the map does not show it.  This is understandable as Hammonton has about 13,500 residents and Folsom has a population of about 2,000 (according to US Census records, courtesy of Wikipedia). 

     This is important to remember because we come in contact with a great deal of visual representation on the Internet with increasing frequency.  Traditional liberal arts education prepares people to look at texts critically, but these skills need to be updated to help us confront some of these new challenges that have arisen with the advent of ever-more powerful computer technologies.  We must look at texts critically.  We must also look at visual texts critically as well.  I believe this is Turchi's focal point, and I find this assessment to be on the mark. 

     Turchi also points out to how our transparent view of orientation (or better, our forgetfulness regarding the effects of orientation) can taint the way we view things.  The map is a great example.  We have to understand that the pictorial representation of the world as we see it is merely a convention, a construct even.  This doesn't make it bad, or good.  The map does, however, make it easy for us to understand where we are in relation to other states, the country, and the rest of the world. A map that orients everything in relation to the US would not be useful to people living in Australia, and it shouldn't be.  Their map should understandably look different, as Turchi points out. 

     Turchi is immeasurably more articulate than I am at explaining his point.  He says, "But we do not see things the way they are. The simplest demonstration is the now-elementary art-class excercise of representing a road receding into the distance... An 'accurate' realistic drawing requires distortion (Turchi183)."  Here, we are reminded that, yes, we never see things the way they are, but also, that seeing things the way they are requires us to distort the facts.  This sounds like good practice for artists, but risky ground to stand on for writers and academics.    I had a tough time grasping this, but Turchi goes on to explain this metaphor's relation to writing.  He says, "Whereas a realistic painting creates an illusion for one of our sense, realistic writing evokes the world in all its dimensions--physical space, time, sound, smell, et cetera-- through the abstract code of those inky squiggles (Turchi 186)."  Bravo. 

     Not only has Turchi explained something to me about his text, he has shown me something new about writing.  For too long, I have not only ignored vivid, descriptive writing about the human condition, I have criticized it and eschewed it with the greatest fervor possible.  I have ignored what makes writing special: its ability to relate the experiences of one to many.  One can argue that relating the experience from one (the author) to many (the audience) is the goal of all writing.  This is clearly seen in many fictional stories, poems, and creative non-fiction.  However, this is goal of all good academic writing as well.  When we pick up a 300 page volume written in chunky academic prose, we are attempting to understand what the author wants to teach us.