- Sep 2017
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kairos.technorhetoric.net kairos.technorhetoric.net
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In lo-fi production, every single feature and consequence is a potential avenue for research.
See my previous comment
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It is from that solid baseline that additional features and functionality can be added, in an unobtrusive way that benefits those who are able and can afford to experience them, without penalizing those who cannot.
Another important note of "what Stolley's not saying": we're not supposed to leave everything as plain text; we're just supposed to begin from a baseline of only what's absolutely necessary.
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Disable, if you can, the LTE internet connection to see the 2G world of the people who’ve already burned through their pitiful three-gigabyte LTE data allotment for the month, perhaps thanks to a monstrous PDF file someone sent as an email attachment without thinking for a moment what consequences that might have.
This is an important point for me, and hard. So many defaults, from the camera on my phone to screenshots on my desktop, try to make images as large as possible. If we're reading generously, it's to give end-users the option of zooming in and cropping out a tiny portion of the frame. If we're reading critically, though, as Stolley implies, it's really just mindless profligacy. Let them eat megabytes.
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Research-driven lo-fi production is not just about investigating the how of production that visual interfaces embed and make intuitive. Lo-fi production directly addresses essential audience-driven concerns of digital creation that are also the most stable and sustainable: the what and the why, under the human and technological constraints of for whom.
"Research-driven low-fi production": this seems an essential phrase to understanding Stolley's goal here. He's not suggesting that we should forego all GUIs always; he's suggesting a method of making-to-learn, production-as-research, and saying that for that purpose, lo-fi leads to better (more sustained / sustainable / transferable) learning.
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the investment of time in creating the first draft of a digital project, regardless of how far short it falls of the idea that originally inspired it. This is the most elusive element of digital creation: revision without penalty.
this is so important to understand, but so difficult (for me) to explain or express without seeming apologetic: this thing I created, which does not live up to your expectations, does not live up to my expectations either. but I'm working on it. slowly. want to help?
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Despite their humble, decades-old base technology (plain text and Unix, basically), thoughtful assemblages of lo-fi technologies are remarkably hi-fi. They are likely what power your favorite smartphone apps and make possible web applications that offer the same rich interaction as found in traditional desktop applications.
by allowing computer languages and packages in under the "lo-fi" banner, Stolley is able to describe fully interactive and responsive apps as comprised of "plain text and Unix, basically"
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- Aug 2017
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ccdigitalpress.org ccdigitalpress.org
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Bearne’s “Structure texts” category suggests that as students become more experienced with multimodal composing, their texts might adhere to such a linear, cohesive model. The suggestion that skilled student–composers balance modes also excludes the possibility of students making purposeful choices that use only one mode of expression even when multiple modes of expression are available, or multiple modes of expression that aren’t in “balance.”
Not sure I agree – "structure" need not equate with "linear structure," and a single stone can be as balanced as a Calder mobile – but, yes, these misapprehensions are pitfalls to avoid
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the layout of the matrix
suggests that perhaps layout (i.e. design) could play a role in how these facets of process are presented to students
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perfecting
I like "refining" or "polishing" – I think also of Donald Murray's "surprise turned on my lathe" (emphasis added)
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Unlike other composition process assessment models that include only the overly general requirement to “reflect,”
this is important – rather than ask students to "reflect on the process," give them lenses to understand different aspects of that process. more likely to get concrete, and (hopefully) more likely to generalize forward to other tasks that similarly involve participating, producing, refining, and publishing.
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- Mar 2017
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kairos.technorhetoric.net kairos.technorhetoric.net
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rhetorical theories, network* writing does not introduce a new practice or means of persuasion, but rather refocuses the attention of writers on an existing practice
"rhetorical theories ... [do] not introduce a new practice or means of persuasion, but rather refocus[] the attention of writers on an existing practice."
Theory as lens, not action?
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kairos.technorhetoric.net kairos.technorhetoric.net
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we are contributing to the larger conversation happening around what multimodal composition is and can be
one of the main goals of this webtext, then, is to create representations of [their] composing processes, showing the multiple modes they interact with and through while composing, and thus to shift our common definitions of multimodal products (compositions) to more multimodal processes (composing). I think.
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- Feb 2017
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compositionforum.com compositionforum.com
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Yet scholars can continue to add detail to sections of the map by: studying writing-related transfer at other types of institutions and in other geographic regions; recruiting student participants with underrepresented identities; continuing to examine the tools students use for transfer and integration; examining the overlapping, intersecting, and disparate activity systems that students move among; and (re)examining students’ intended goals and outcomes
it is not upon you to complete the task, yet neither are you free to desist from it
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- Jan 2017
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the Either-Or philosophy
as explained at the beginning of chapter 1
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the poet
This is Tennyson again, this time from "Ulysses." Great poem.
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Theirs is to do—and learn, as it was the part of the six hundred to do and die.
a reference to "The Charge of the Light Brigade," a poem by Alfred, Lord Tennyson
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fivethirtyeight.com fivethirtyeight.com
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Despite analyzing the same data, the researchers got a variety of results. Twenty teams concluded that soccer referees gave more red cards to dark-skinned players, and nine teams found no significant relationship between skin color and red cards.
Reminds me of the models built from multiple polls elsewhere on fivethirtyeight.com. In the aggregate of all the ways the data was sliced, there's a general consensus around the idea that refs are between 1 and 2 times more likely to give red cards to dark-skinned players.
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- Feb 2016
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programminghistorian.org programminghistorian.org
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Version 3 is available
This might be a good place to link out to some comparisons of Python 2.x vs 3.x, including the overlap. I'm new to both versions, which is why I'm shopping this tutorial, but I found this page helpful:
http://python-notes.curiousefficiency.org/en/latest/python3/questions_and_answers.html
In particular, the section on why it might now make sense to learn Python 3 first, and Python 2 as a follow-up, convinced me that I should probably follow that advice. So maybe I'll be back! But I'll probably head over to a different tutorial for the time being.
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