tag:blogger.com,1999:blog-19393320731233103762024-02-06T18:45:51.163-08:00Inkpen IncendiaryAnonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.comBlogger30125tag:blogger.com,1999:blog-1939332073123310376.post-4526137376016694572015-05-06T19:48:00.001-07:002015-05-06T20:47:49.205-07:00ENGL685 - Something, Something, Giant Hat<div class="separator" style="clear: both; text-align: center;">
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<a href="https://docs.google.com/document/d/1_6Rl4GzxI8NQyQoChWEKX6qOCftCRh2POiOuaxAoAkQ/edit?usp=sharing" target="_blank">Hey everybody you wanna give me money for my web analysis research? Click here to see my proposal!</a></h2>
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<b><span style="font-size: large;">If I Could Do It All Over?</span></b></div>
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Honestly, my biggest regret for this semester is I waited too long to admit that my first idea was failing. It's hard to tell, when you feel at least a little like all your projects are failing when you're in Grad School! With things like inadequacy in discussion in class, you stick with it. If you keep saying words to the best of your ability, and you listen to the observations others make and attempt to be like then, you improve over the semester for all your struggling. With my project too, I thought the scholarly discomfort I experienced while having trouble coming up with good resources on syllabi, or reconciling the lack of international composition perfective I had was all just my own inexperience. I thought that, with time, I would finish the trial by fire stronger for having endured it.</div>
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Boy, was I wrong.</div>
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Still, a lesson is a lesson, and this methodology class has been one of the lessons best taught so far in my grad career. The pacing, the constant accountability, everything was a well crafted live-in research experience. That includes the suffering and the failure! I have gained a huge appreciation for work done "in process" and how even when you think you've finished, you haven't /really/ finished. Next time (although I hope for my sake, there is not a next time) I will let a dying project go peacefully into that goodnight. I don't know if I've come to terms enough to wish it well, but I will certainly at least let it go.</div>
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Thanks to beginning all over again at the last second, I actually managed to re-do one of my other big regrets: annotated bibliography entries. These are hard for me, as I often am unsure where to stop at "useful" details, and when a little is a little too much. This left me writing vague summaries a lot of the time, which /later/ left me having to re-read the articles all over again because my notes didn't have any useful information. In doing the mass posting of the ABs I was due on my new subject, I made a much better attempt at putting the right stuff in. There was only one entry I was less than perfectly satisfied with, and considering I posted 11, that is a much better ratio than before. I hope that I will continue to be diligent and keep the habit of synopsis-ing everything I read from now on, but that still feels like a definite "maybe". I'm not sure- ABs are very time consuming on the front end, even if they save you time later!</div>
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So far, this is my favorite class I've taken in grad school. It was the only one where I really felt like ti was okay to be overwhelmed, and that I felt like the professor was actively instructing me on what I was expected to do, rather than telling me what I was supposed to end up with and letting me figure those small middle bits out for myself. I guess that's how a process-based class is supposed to be, but either way, I'm very thankful. Thank you, Shelley. My only regret is that I won't get to spend more time with you until you ascend to heaven like that one hobo cat in the Broadway musical <i>Cats</i>. Ah well. Memory, right?</div>
Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-42023429031822258942015-05-06T10:23:00.002-07:002015-05-06T10:23:28.471-07:00ENGL685 - We're All Alone Now, Gimmie Somthin' to Blog About<div class="separator" style="clear: both; text-align: center;">
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Today at midnight is the beginning of the end. All that will be left behind is the waiting.<br />
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Do I wish I had some things differently? Yeah...there are always things you wish you had done, I guess. I wish I'd somehow made more time to read, and to understand. I wish I'd been able to be the ideal student, or even the amazing students that some of my peers are.<br />
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Still, I do leave this semester behind knowing that almost all of the time, I did the best I could. I don't think anyone can be "on" 100% of the time, nor should they be expected to be.<br />
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In the end, all that you can really talk about is what happened. Even if it's not what you wanted, you can at least look at it, acknowledge it, and move on with the plan to do better.Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-68030488338284375942015-05-05T06:22:00.001-07:002015-05-05T06:22:15.740-07:00ENGL685 - I Fell Into A Burning Ring of Fire<div class="separator" style="clear: both; text-align: center;">
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If I can just make it two more days I'll get to rest and even have a birthday. I'm a lucky luck boy. That is me.</div>
<br />Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-22668044504783164042015-05-04T20:24:00.007-07:002015-05-04T20:24:47.075-07:00ENGL706 - It Is Done<div class="separator" style="clear: both; text-align: center;">
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<b><span style="color: purple;"><a href="https://www.dropbox.com/s/bhrxg9kg0elk8gv/ENGL706%20Final%20Paper.docx?dl=0" target="_blank">Click Here to enjoy my musings on Syllabi and how they look and stuff.</a></span></b></h2>
Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-81061040348119833982015-05-04T12:12:00.001-07:002015-05-04T12:13:08.016-07:00ENGL685 - The End is Nigh<div class="separator" style="clear: both; text-align: center;">
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I messed up. I waited too long. Everything is terrible.<br />
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BLAME EVERYONE ELSE, GO GO GO G-Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-37508387542924448872015-05-02T10:16:00.001-07:002015-05-02T13:49:36.816-07:00ENGL685 - Sing Alleluia, Clap Your Hands<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"><b>1.</b> Bernard, M. (2003, March 3). Criteria for optimal web design (designing for usability). Retrieved April 29, 2015, from http://psychology.wichita.edu/optimal/international.htm</span><br />
<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"><br /></span>
<span style="background-color: white;"><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">The biggest issue with Bernard is I cannot, for the life of me, find out who he is. I Googled him and I see lots of other websites recommending his design series, but he could have published these from a Starbucks in between bussing tables. We just don't know. He does fully site his information, and since so many other sources cite him, I feel like it's okay to take that hit. This particular page in the series addresses the use of regional language and customs, color meaning as it varies by country (including the US and Japan), and four of Hofstede's "dimensions". The cultural relevancies listed are things like how Coca-Cola, in the Chinese syllabic alphabet, is "bite the wax tadpole" and how the "shopping cart" in the US is called a "basket" in the UK. The only color-meaning similarity between the US and Japan is the color red. Both mean "danger" (though in the US it also means anger). The top two elements will be most useful, since Hofstede is addressed a little more thoroughly elsewhere, so that will likely be what I use the most from this short piece. His reference list will also be a point of interest as i click through more and see what else he has to see RE: US specific web design.</span></span></span><br />
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<span style="background-color: white;"><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>2.</b> </span></span></span><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">Mirocco, R. (2015, February 16). Big in Japan: Web Design in the Land of the Rising Sun. Retrieved April 29, 2015, from http://webdesign.tutsplus.com/articles/big-in-japan-web-design-in-the-land-of-the-rising-sun--cms-23290</span><br />
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<span style="background-color: white;"><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Mirocco is a lot more forthcoming about where he's getting his information, and that is a total blessing. He has lived in Japan 5 years and is a Communication major, and he interviewed his two designer friends for the perspectives offered in the article. The first reason he gives for Japan's sudden switch from minimalist to as cluttered as </span></span></span><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">possible is their high level of uncertainty avoidance (which is another shot at Hofstede- the guy is e v e r y w h e r e). Thankfully, he soon moves past what I do know into what I don't. For instance the next thing he mentions is that the bright colors often found on J-Websites mimic the bright colors of the big city streets, and that these sites are often meant to take the place of a face-to face salesman. The section that follows talks about how a lot of businesses in Japan are still COD and that's absolutely worked for them, so there's something to the combination of the desire to replace a physical presence and then a high level of uncertain</span><span style="font-size: 14px; line-height: 20px;">ty avoidance. Mirocco also looks at international companies. Toyota's Japanese and US page are both uniquely zen and uncluttered, and while the slightly smaller big-brand company Uniqlo is still a little bunched up, it's a lot less chaotic than its Japan-only companions like HotPepperBeauty.</span></span><br />
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<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>3.</b> Cyr, D., & Trevor-Smith, H. (2004). Localization of Web design: An empirical comparison of German, Japanese, and United States Web site characteristics. Journal of the American Society for Information Science and Technology, 1199-1208. Retrieved April 29, 2015, from EBSCO.</span></span><br />
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<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">This piece is the first to define both "localization" and "internationalization" which is a nice change. According to Cyr and Trevor-Smith, </span><b style="font-size: 14px; line-height: 20px;">localization</b><span style="font-size: 14px; line-height: 20px;"> "is the process of adapting a product or service to a particular language, culture, and desired local "look-and-feel." Total sample size of 90 websites.</span></span><br />
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><br /></span></span>
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><i>(The keyword "<b>e-commerce</b>" is starting to become a more common occurrence now, as well. If this is a common limiter, should I also toe the line? What constitutes e-commerce? YouTube doesn't have a shop, per-se, but they do sell through their content creators and advertisements. Does that make them a site of e-commerce? What about companies that have their information on a website, but no place to purchase things except on site? To look at later.)</i></span></span><br />
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<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><u>Other defined terms:</u></span></span><br />
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<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>Satisfaction</b> - "stickiness" (Holland & Baker, 2001), "the sum of all the Web site qualities that induce visitors to remain at the Web site rather than move to another site" (p. 37).</span></span><br />
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<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>Perception</b> - "the degree to which participants feel the site is appropriate for their home country based on three variables of media perception - social presence (i.e., transmission of information rich in socioeconomic content), communication effectiveness, and communication interface" (p. 1200).</span></span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"><b>Culturability</b> - (Barber and Badre, 1998) is the merging of culture and usability and represents a relationship between design elements and culture (also see Badre 2000, p. 2 for alt. definition). </span><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Attention to culturability also includes how pictorial in-formation is presented and organized, preferences for text versus graphics, directionality for how the language is writ-ten (i.e., right to left), help features, and navigation tools,among others (Marcus & Gould, 2000).</span></span><br />
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<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><u>List of mentioned scholars:</u></span></span><br />
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<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Holland & Baker (2001)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Barber and Badre (1998, 2001)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Marcus & Gould (2000)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Badre (2000)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Sun (2001)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Del Gado & Nielson (1996)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Cheskin (1999)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Fogg, Soohoo, and Danielson (2002)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Fogg & Tseng (1999)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Fernandes (1995)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Lee, Kim, and Moon (2000)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Picard (1998)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Dempsey & Sussman (1999)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Robbins & Stylianou (2002, 2003)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Yu and Roh (2002)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Huizingh (2000)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Hall and Hall (1990) ((yes, that's not a typo))</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Beamer & Varner (2001)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Bernard (2002)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Simon (2001) ((contradiction of color theory from above article))</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Boor and Russo (1993)</span></span></li>
<li><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Hofstede (1980) ((no way in no way out))</span></span></li>
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<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><u>Language Variables</u>: Translation available, headlines, point form, paragraph, left to right, top to bottom.</span></span><br />
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><br /></span></span>
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><u>Layout Variables:</u> Banners on left, banners on right, banners on bottom, banners on top, banner in middle of page, static banner, use of frames, menus [sic] on the left, menu on right, menu on bottom, menu on top, search top left, search middle left, search bottom left.</span></span><br />
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><br /></span></span>
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><u>Symbols Variables:</u> Use of local or culturally specific symbols, Asian symbols, passive pictures (i.e., maps), Symbols for currency, Easily understood.</span></span><br />
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><br /></span></span>
<span style="color: #333333; font-family: Open Sans, sans-serif;"><u style="font-size: 14px; line-height: 20px;">Content/Structure Variables:</u><span style="font-size: 14px; line-height: 20px;"> Help functions available, help online, help via e-mail, help via telephone, help in live chat, is there a user sign-in?, index features, site map features, commercial banner ad.</span></span><br />
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><br /></span></span>
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><u>Page Layout by Percentage Variables:</u> Commercial advertising, navigation, content, graphics.</span></span><br />
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><br /></span></span>
<span style="color: #333333; font-family: Open Sans, sans-serif;"><u style="font-size: 14px; line-height: 20px;">Navigation:</u><span style="font-size: 14px; line-height: 20px;"> Navigation tool symbolic (nontext), dropdown menus, vertical menus, horizontal menus, return to home button, keyword search, search available in other languages.</span></span><br />
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><br /></span></span>
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><u>Links:</u> Internal links, external links, symbols used for links, text links, changes color.</span></span><br />
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><br /></span></span>
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><u>Multimedia: </u>use multimedia, streaming video, sound, animation.</span></span><br />
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><br /></span></span>
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><u>Colors:</u> Red, orange, ochre, sunflower, yellow, light green, green, teal, blue, dark purple, bluish purple, merlot, white, grey, black.</span></span><br />
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><br /></span></span>
<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">Badre and Badre and Barber's studies individually seem to be pretty close to what I was thinking of doing. They looked for cultural design elements ("<b>cultural markers</b>") that were common between different cultures. Another researcher named Sun did a study in 2001 focused on visual design elements that also seems really interesting. One conclusion of that study was that for consumers, usability > culturally sensitive design.</span></span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">This one has so much that for the sake of space/time, I'm going to move ahead.</span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"><b>4.</b> </span><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">Hu, J., Shima, K., Oehlmann, R., Zhao, J., Takemura, Y., & Matsumoto, K. (2003). An empirical study of audience impressions of B2C web pages in Japan, China and the UK. </span><i style="background-color: white; box-sizing: border-box; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">Electronic Commerce Research and Applications,</i><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"> 176-189. Retrieved April 30, 2015, from ScienceDirect.</span><br />
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<u style="color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">Defined terms:</u><br />
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<span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="background-color: white; font-size: 14px; line-height: 20px;"><b>B2C</b> - Business to Consumer</span></span><br />
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<span style="background-color: white;"><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>Electronic Commerce</b> (!) - "the delivery of information, products and services, or payments via telephone lines, computer networks or other electronic means". Restricted for this study to mean "business that is processed by the World Wide Web" and includes "online shopping, online securities, and online banking".</span></span></span><br />
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<span style="background-color: white;"><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>Culture</b> - A collective phenomenon, learned patterns of thinking, feeling, and potential acting from living within a defined social environment, usually typified by country.</span></span></span><br />
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<span style="background-color: white;"><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>B2C web page</b> - A web page used for business to consumer (transactions) in the world wide web.</span></span></span><br />
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<span style="background-color: white;"><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>Web page design</b> - the visual style of a web page based on available design factors such as title, background color, etc.</span></span></span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"><b>Impression</b> - "describes and emotion state or feeling of an audience, which is elicited by a B2C web page" on the user's first visit. Synonyms include "emotion" and "feeling".</span><br />
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<span style="background-color: white;"><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>Impression factor</b> - terms to describe a web page include awkward, brief, boring, charming, cluttered, soulful, unpleasant, consistent, epochal, exciting, likable, opulent, progressive, reliable, simple, vibrant, and witty.</span></span></span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"><b>Usability</b> - "the extent to which the product can be used by specified users to achieve specified goals with effectiveness, efficiency, and satisfaction in a specified context of use". Major attributes include learnablitiy, efficiency, memorability, errors, and satisfaction.</span><br />
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<span style="background-color: white;"><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>Design factor</b> - the visual elements a B2C web page is made of. Specified as title format, title position, menu size, clip art size, main color, background color, color brightness, and color harmonization.</span></span></span><br />
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<span style="background-color: white;"><span style="color: #333333; font-family: Open Sans, sans-serif;"><b style="font-size: 14px; line-height: 20px;">Choice</b><span style="font-size: 14px; line-height: 20px;"> - "the available selections or options included in a design factor".</span></span></span><br />
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<span style="background-color: white;"><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">For all its operationalizing, this study doesn't conclude anything too ground breaking. It says that it was confirmed the visual design choices made by the web developer to effect the impression of their user. The end recommendation is basically that the web designer know their audience when localizing, which isn't particularly groundbreaking. Still, it's nice to have an idea how they broke up their study, and so far, they do the best job defining the terms they use and operate under.</span></span></span><br />
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<span style="background-color: white;"><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>5.</b> </span></span></span><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">Cho, C., & Cheon, H. (2005). CROSS-CULTURAL COMPARISONS OF INTERACTIVITY ON CORPORATE WEB SITES: The United States, the United Kingdom, Japan, and South Korea. </span><i style="background-color: white; box-sizing: border-box; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">Journal of Advertising,</i><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"> 99-115.</span><br />
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<span style="background-color: white;"><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;">This study is one of the first to focus, more generally, on corporate websites rather than just e-commerce. A great deal of the background discusses web design as focused on effective marketing, so letting the scope of the study widen a bit allowed the researchers to assess a better sized data sample (and one a little more relevant to what I'm trying to do in my own project). It's also the first to include a table with figures for online users, ad revenue by platform, and total population. While these numbers have no doubt changed in the last ten years, having them definitely helps situate the scale of the claims their research makes. Actually, they hit a full-on home run with their tables- the next list not only the definitions for their interactivity terms, but also the studies and scholars who coined them, along with the year (p. 103). This study is also /very/ heavy on numbers and data. I still need to decide to what purpose my study will be, but when I arrive there, I'm sure having this "hard data" to back up what will most likely be "soft analysis" on my part will be great.</span></span></span><br />
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<span style="background-color: white;"><span style="color: #333333; font-family: Open Sans, sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>6.</b> </span></span></span><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">Okazaki, S., & Alonso, J. (2003). Right messages for the right site: On‐line creative strategies by Japanese multinational corporations. </span><i style="background-color: white; box-sizing: border-box; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">Journal of Marketing Communications,</i><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"> 221-239. Retrieved May 1, 2015.</span><br />
<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"><br /></span><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;">This is the first study I've evaluated with a specifically "Japan vs" lens. Thusfar, it's been more popular to center none of the evaluative cultures, but to use a framework and series of criteria to evaluate all websites on their own terms and then compare and contrast the finding s and what these may mean in a cultural context. What this study does instead is look specifically into how multinational corporations based in Japan change (or don't change) elements of their web design on their content created for the US and Spain. They assert that the debate between whether companies should standardize or localize still goes on. Standardizing and changing nothing but the language for web content is the most cost effective method, but studies have shown that localizing beings more consumer traffic.</span></span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;"><u>Their website-limiting criteria:</u></span></span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;">(1) A parent company engages in foreign production through its affiliates located in more than five countries.</span></span><br />
<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;">(2) A parent company exercises direct control over the policies of its affiliates.</span></span><br />
<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;">(3) A parent company implements business strategies in production, marketing, finance and staffing that transcend national boundaries.</span></span><br />
<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;">(4) A parent company possesses home pages in Japan, Spain and the USA</span></span>
<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"><br />With such specific criteria, only 50 companies listed on the Tokyo Stock Exchange could be used for the study. A lesson in setting good terms!</span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;">To make the comparisons fair, the companies were then grouped by the <u>product sold category</u>, which were: household electronic appliances, electronics and equipment, cameras and videos, industrial product, automobile and accessories, musical instruments, home entertainment supplies, clocks and watches, misc.</span></span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;"><u>There were evaluated for:</u></span></span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;">(1) Soft sell approaches: celebrity endorsement, curiosity arousal, emotional/psychological appeals, entertainment and symbolic/visual metaphors.</span></span><br />
<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;">(2) Hard sell approaches: brand repetition/familiarization, comparison, habit starting by trials/simulations, rational reasoning and special incentives.</span></span>
<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><br /><span style="font-size: 14px; line-height: 20px;">This study is MORE NUMBERS. Unlike the last study, though, they do a pretty good job explaining how the math works and what everything is, so I could follow along much better. They conclude that Japanese companies localize for their markets, but also that their difference in approach is still limited in success. They middle when it comes to soft/hard sell techniques (although their numbers on US sites were notably higher). This suggests that even in the 2000s, localizing was still a huge, unknown area.</span></span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>7. </b></span></span><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">Singh, N., & Matsuo, H. (2002). Measuring cultural adaptation on the Web: A content analytic study of U.S. and Japanese Web sites. </span><i style="background-color: white; box-sizing: border-box; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">Journal of Business Research,</i><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"> 864-872.</span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;">Website Internationalization as building a template for a company that can be easily augmented depending on the local audience (localization) is actually a pretty neat concept,l and the first time I've cone across a study asserting that this can even be accomplished. They assert that cultural values are the best barometer to gauging how web content should change when grossing community and country lines. A random sample of 50 companies from the Forbes 500 list of domestic and international companies was the basis for choosing which websites to analyze. Their framework uses Hofstede's cultural dimensions, and then places sub-categories under the dimensions to categorize the data collected. While their conclusions are mind-blowing (they conclude the East and West do have different cultural values, shocker) their framework, and specifically their sub-categorization is a hugely useful tool for deciding along which lines I'd like to break up my own categories.</span></span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>8.</b> </span></span><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">Mikitani, H. (2013, November 1). Rakuten’s CEO on Humanizing E-Commerce. </span><i style="background-color: white; box-sizing: border-box; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">Harvard Business Review</i><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">, 47-50.</span><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;"><br /></span></span>
<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><br /><span style="font-size: 14px; line-height: 20px;">While not a robustly operationalized study, this interview with the founder and CEO of the 3rd largest online retailer word wide offers a a personal confirmation of some of the cultural practices described in the previously evaluated pieces. Mikitani continuously asserts that the personal aspect of brand building is what's important to customers. Although he doesn't ever say that this only goes for the Japanese market, a lot of his piece focuses on the growth of the Japan based business, and so hints that that is the market in question. One of the most amusing stories is of the first vendor to sell food on Rakuten. The man wanted to sell eggs, shipped overnight, and laid by chickens fed an organic diet (which produced, in his opinion, superior eggs). Mikitani gave the vendor a chance, and found that the vendor's constant posting of "personable" updates (pictures of the chickens, the secret behind his quality assurance testing) made consumers not only give his eggs a chance, but continue paying the premium for his product long after the novelty factor would have worn off. I believe having this native opinion will be a nice supporter of those common industry claims illustrated above.</span></span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>9.</b> Yang, H. </span></span><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">SEARCH ENGINE OPTIMIZATION AND WEBSITE LOCALIZATION FOR JAPAN. (2003). </span><i style="background-color: white; box-sizing: border-box; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">MultiLingual Computing & Technology,</i><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"> </span><i style="background-color: white; box-sizing: border-box; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">16</i><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">(8), 35-38.</span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;">This is the first to make a case for Search Engine Optimization, defined as "the process of fine-tuning the content, structure, coding, design and other elements of a website so that it can be ranked in the top positions in search engine results for certain query keywords". What a mouthful! The first thing they address is the difference between human-based search directories (Yahoo) and crawler-based search directories (Google). One has a human element and depends on editors assigning keywords to websites that allow them to show up on a search engine's results. The other auto-generates these keywords based on an algorithm and the page's contents.</span></span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;">What is best about this article is it touches on the language difference that makes localization in Asian countries so difficult. The example they give is an attempt to sell a product that in its English presentation is called "natural soap". In Japanese, the term "natural" can be represented by tenen, nachararu, shizen, or mutenka. Then there's the word soap, which can either be printed in Japanese as sekken or in its Romaji counterpart as so-pu. To compound this issue, "sekken" can be represented by all 3 Japanese alphabets in at least 5 ways, each being a hybrid between systems to write the same word. To combat this, the article recommends taking HTML tags very seriously, and making sure all bases are covered to increase the likelihood that one's page will get picked up by the search engine.</span></span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;">The article goes on for a while, but its value really lies in categorization. Generating traffic is bound to be important to any Internet business, so I'm sure the techniques described here are in practice now and effect localized web design.</span></span><br />
<span style="background-color: white;"><br /></span><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"><b>10.</b> </span> <span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">Kemper, S. (2009, June 1). Localizing websites and software for Japan. Retrieved May 2, 2015, from http://www.multilingual.com/articleDetail.php?id=1438</span><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"><br /></span>
<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"><br /></span><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;">The first thing Kemper does is advise businesses to localize from the gate, and I think that's a great assertion to make. What's even more helpful though is that he mentions that YouTube did start out fully globalized. You can type Japanese into the search engine, tags, and titles of videos and it all indexes and displays properly. He mentions a book from </span><b style="font-size: 14px; line-height: 20px;">Ken Lunde</b><span style="font-size: 14px; line-height: 20px;"> titled </span><b style="font-size: 14px; line-height: 20px;">CJKV Information Processing</b><span style="font-size: 14px; line-height: 20px;"> that was supposed to put out an updated edition in 2008, which is noted here for me to look up later. There's a lot of time talking about how the advent of Unicode has made going international simple, but what really stands out is the care paid to Japanese text differences. It says that Japanese characters are usually 30% taller than English characters, and that a Japanese sentence can be much longer than its US counterpart once translated. Additionally, it confirms that the limited JP font choices usually do not include bold and italic options, and that when they do, it is best to steer clear of these for readability's sake. I had seen this asserted some in the scholarly research on syllabi I did, but this is a nice reassuring.</span></span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;"><b>11.</b> </span></span><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">Suri, V., & Sawhney, H. (2008). The internet and its wireless extensions in Japan: The portentous interface between chaos and order. </span><i style="background-color: white; box-sizing: border-box; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;">Info,</i><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"> 10-21.</span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;">As of 5/2/15, I'm not yet sure how to address mobile access in the view of web design in either the US or Japan. The platform greatly changes the layout and contents of the mobile environment- does that mean I should attempt to fold them into my framework and make a system to analyze both at once? Should I limit myself to desktop sites only and add a footnote that the mileage may vary with mobile content? Either way, assessing this article still feels like required reading since it covers the whole history of the mobile Internet market in Japan. There are some differences between Japan's "pocket wifi" and the current 3G system in America. For example, DoCoMo, the largest mobile provider in Japan, curates its net content by having "official" and "unofficial" web partners. This is a direct result of the phone manufacturer and the service provider being the same institution. Those who have gone through DoCoMo's approval process are given direct billing through the company, sharing int he proceeds, but automatically receiving better promotion and optimization than the "unofficial" sites. Still, most of that "Curating" is a result of the 2G Japan business model and is fading from relevance as technology allows content to me more universally accessible.</span></span><br />
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<span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif;"><span style="font-size: 14px; line-height: 20px;"><br /></span></span><span style="background-color: white; color: #333333; font-family: 'Open Sans', sans-serif; font-size: 14px; line-height: 20px;"><br /></span>Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-13780326652260371052015-05-02T09:10:00.001-07:002015-05-02T09:10:37.831-07:00Engl685 - Pain and Panic, Reporting for Duty!<div class="separator" style="clear: both; text-align: center;">
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<br />
Grad panic is so unique from Undergrad panic! They say that at a certain point, you can't feel fear anymore because the fear level is too great for your senses to handle. I think this is like that. Aside from a little shake in the fingers, there's really not a whole lot going on, despite the fact that I am grossly unprepared to hand things in beginning on Monday.<br />
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Today, I put a stake in the annotated bibs I am behind and begin to move forward. Godspeed, future me.Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-65985263232165115042015-05-01T16:37:00.000-07:002015-05-01T16:37:12.091-07:00ENGL685 - It'll All Be Over Soon<div class="separator" style="clear: both; text-align: center;">
<a href="https://scontent-iad.xx.fbcdn.net/hphotos-xap1/v/t1.0-9/11052237_691487660996541_3890692684101210805_n.png?oh=8be8c533d05ac205d7c56b0468916c34&oe=55E3768C" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://scontent-iad.xx.fbcdn.net/hphotos-xap1/v/t1.0-9/11052237_691487660996541_3890692684101210805_n.png?oh=8be8c533d05ac205d7c56b0468916c34&oe=55E3768C" width="305" /></a></div>
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Some days I feel like Mr. Perlman speaks for all of us. What have birds ever done for me?<br />
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I think I'm in the delusional part of the semester. I keep getting thoughts like 'If I could just NOT sleep or leave the house this weekend, I could be done with my final papers by Monday!'<br />
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I mean I guess I could.<br />
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That's feasible, right?<br />
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I still feel like an Undergrad that signed up for the wrong classes and it's making it really hard to start anything concrete, because it all feels wrong. This is not my beautiful house. This is not my beautiful wife.<br />
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<br />Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-35318313802488048912015-04-30T19:26:00.002-07:002015-04-30T19:26:55.468-07:00ENGL685- -Where Is Your Little Son Lost, John?<div class="separator" style="clear: both; text-align: center;">
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#spring2015<br />
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Seriously, though. One more week and then it's over, briefly. Thanks Jesus and Tom Cruise.Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-72988341865777533232015-04-20T12:38:00.002-07:002015-04-20T12:38:41.144-07:00ENGL706 - Blogging Queen (as long as you want complaints)<div class="separator" style="clear: both; text-align: center;">
<a href="http://matt.might.net/articles/phd-school-in-pictures/images/PhDKnowledge.012.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="http://matt.might.net/articles/phd-school-in-pictures/images/PhDKnowledge.012.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="http://matt.might.net/articles/phd-school-in-pictures/images/PhDKnowledge.012.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://matt.might.net/articles/phd-school-in-pictures/images/PhDKnowledge.012.jpg" height="300" width="400" /></a></div>
<strike>Young and sweeeeeeeeet onnnnnnnnly tweeeeeenty-threeeeeeeeeeeeee~</strike><br />
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Bringing my learning into what I do is probably one of the
most challenging parts of post-grad I’ve been expected to perform. There’s
usually not a 1 to 1 correlation- like ‘oh, I learned about social networking,
so now I can tutor using social networking’ or something like that. Usually, at
best, classes often introduce me to an array of tools (like Popplet!) that I
didn’t know existed and those tools help me get ideas across, or are excellent
for me to share with my students who need them. <o:p></o:p></div>
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(that tiny blip is supposedly a PHD in contrast to global knowledge. So tiny. Wow!)</div>
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As a tutor and sometimes technical writer, I assume the
majority of the information I produce or share day to day is transmitted visually
or auditory. Visually through the learning supplements and flyers I make and auditory
because tutoring is mostly me giving verbal instructions and the student acting
them out. Although we put out surveys, most of the tutoring feedback comes
in-session from the satisfied (or agitated) student. Likewise, my flyers don’t affect
event attendance nearly as much as the method of distribution for them, so it
can be difficult to tell if I’m using the best methods.<o:p></o:p></div>
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I stopped centering things on my flyers, though, and now I
use serif fonts pretty much exclusively, so that’s a definite start. When
working on a tight deadline, those to ideas are the first that come to mind!<o:p></o:p></div>
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Invention is likewise a bad time for me. Probably because
when you start an MA, you realize there’s just…such a large gap between you and
everyone else. You and PHD, you and Professors, you and technical students- it’s
a self-confidence nightmare!<o:p></o:p></div>
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That’s why invention has become kind of…not good for me. You
can do a project on anything in the world you want (usually, if you can sell
it) and starting out asking “well, what do I like?” usually ends in things like
My Little Pony, social justice, and gender studies. All of these are great,
valid areas that could be looked into, but when it comes to getting a job or
paycheck, the gap widens between there. This leads to disasters where you make
a sensible choice, only to figure out you don’t like something nearly as much
as you thought you would, or that the scale of it makes successfully finishing
it less possible and probable all at once.<o:p></o:p></div>
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Not to mention that whole “it’s all been done” thing. Yadda
yadda.<o:p></o:p></div>
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Visual rhetoric (so far) hasn’t really helped me cope with
any of these feelings yet. What it has (sort of) done is make the pool of study
to pull from a little wider. Before, I would have never thought you /could/
study something like album covers academically. Delivery methods are a work in
progress too- I still have some trouble working my mind around the idea of a
website as a final, even though it sounds super neato.<o:p></o:p></div>
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Not that I necessarily /didn’t/ know it before, but I do
feel like this class has happened home how multimodal approaches really are
best. I know I learn best when a course tries several different approaches. Of
course, you always end up hating some, and loving others, but getting out of your
comfort zone is always embarrassingly educational. I may not have loved Popplet,
but I did love learning about using it, and can definitely see how that could
be useful one day in the future.<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-59451592390054325952015-04-19T20:28:00.000-07:002015-04-19T20:28:18.151-07:00ENGL685 - From The Ashes...<div class="separator" style="clear: both; text-align: center;">
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Come on, Spring. This'll be an AB and a "bonus" post. YOU GET THE BONUS FIRST AREN'T YOU SO LUCKY.<br />
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So I guess as a kind of "upd8", I'm starting over. Again. <strike>3rd time's the charm.</strike><br />
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More and more, I'm seeing how hard it can be to not be discouraged when doing postgrad education. It feels like there's always too much to do, and even when you do your best, it feels a little impossible to do it all. It's been nearly 2 full semesters now and I still don't feel settled in or adjusted. There's also been a lot of failure, from the 'I failed to read the schedule and what we had a reflection due right now??' to the 'this is the second time I've tried to pick a thesis topic and 6 months later it is burning and so am I'.<br />
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It reminds me of when my Mom used to tell me why she never wanted to be a research chemist. She'd say it was so unforgiving- for your whole career, all you do is go in and every day do experiments that fail. You set them up and do equations for weeks, and then run the trial, and the trial fails. All you can do is hope that the next time, it doesn't, but you never really know. All you can do is your best. I guess the MA so far kind of feels like that- you do your best and you get good grades, but in the end, it all feels a lot like failure. Failure to transfer that sensory overload into long term memory storage, failure to connect what you're learning with exactly where you want to be, etc.<br />
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Things are starting to feel simultaneously overwhelming and without much purpose, which is a bad combo for me, since it shoots my motivation right in the foot. I'm like the learned helplessness dog in the cardboard electric shock box- I just lay down and nap because I'm too tired to focus, and because hey, whatever's coming is inevitable right?<br />
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Ah well. Nothing to do but keep working.<br />
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Gilbert, D. (2014, February 14). Why Japanese Web Design Is So... Different - Design Made in Japan. Retrieved April 19, 2015.<br />
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This article's a shorty, but a good-y. It has a lot of issues in it that point me in some good investigative directions for future research. One of the things it pointed out that I didn't know going in was that Japan had a large smart (flip) phone culture going on before the US did, and the cramped, overcrowded pages of popular sites like Rakuten were actually designed that way on purpose. Small text meant that the maximum amount of content was packed onto that tiny mobile screen as soon as the page loaded. Maximum advertising quick is definitely a business strength.<br />
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It also confirms what a lot of Japanese culture pieces say- that Japan's red tape fetish knows no bounds. Once there is a set method for doing things, be it how a lolita is supposed to dress, how a salaryman is supposed to conduct himself, or how you design a website, no one really cares to deviate from that standard. Of course there are always exceptions, but whatever the "norm" is, that's what folks like to stick to, even if a better way comes along.<br />
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Additionally, this piece demystified a trend I had noticed visually, but couldn't put my finger on- a heavy graphics presence. This article points out that character languages like Japanese and Chinese that have thousands of characters must have each character designed individually in any new font creation. This is expensive and time consuming, so there aren't as many choices out there to make text stand apart. Additionally, bold and italics are uncommon in Japanese, so making text stand out with an image is much easier than differentiating with format in English.<br />
<br />Inspecting the elements turns up some pretty neat info, too. I never thought about it, but HTML source code was invented in English, meaning that to program using it, you have to know programming language (which is doubly non-native for any non-native English speaker!) The code I can get to on the wildly popular Rakuten.co.jp (this Japan's Amazon) is mostly in English, with the exception of a few lines with short bits of Japanese like "<!-- /おすすめ特集 -->" which after a quick run through on Jisho, I /think/ means recommendation report. No idea how it fits in, but it's definitely something I never considered before! I couldn't imagine having to learn Japanese coding language if I wanted to put up a website, so I think such a thing is probably a pretty difficult barrier and definitely affects how effective some designers can be.Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-11725567685694280882015-04-07T21:24:00.002-07:002015-04-07T21:26:11.482-07:00ENGL685 - UPD8<strike>I am 10 behind. I counted. Please kill me.</strike><br />
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So collecting and gathering data seems to be the hardest thing pretty much ever. Aside from submitting a proper IRB, maybe. There are tons of hidden pitfalls, like consent, and availability (made more difficult by a language barrier) and in general everything is pretty much awful right now. We just did project presentations in Dr. Romberger's class and it basically cut my ideas up pretty bad. Shanked 'em right in the kidneys.<br />
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Because I'd had such a hard time finding syllabi in English but written for Japanese students by Japanese professors, I decided to just limit my thesis: I'd decided to only look at the rhetorical differences between ODU and Kitakyushu University syllabi. I thought this would solve my problems and I could finally, /finally/ begin making some kind of forward motion. Baby Pilot is getting a rash on his bom-bom sitting on the hot tarmac.<br />
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Well NOPE. That presentation ended in the phrase "we need to see if the data you've gathered is worthy of the questions you're asking of it".<br />
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Oh ok. I'll just be here then. Contemplating all the decisions leading up to this point in my life and how alcohol is relatively cheap and readily available. That's cool.<br />
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It's not that these things are natural, or valid...of course they are. If they weren't, it wouldn't be so crushing every time I feel like I have to start over. Or change lenses. Or find new questions. Again. If it were arbitrary things that I had to change just to make the grade (while knowing they were malarkey) then it'd be fine.<br />
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It's just the most frustrating process ever because it feels like I'm spinning my wheels. Every time I want to move forward, I don't think I know how. When I think I know how, I misstep and have to go back where I was.<br />
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It's like red light green light, but instead of game over when you get caught, you just have to go back to where you were standing one full turn ago.<br />
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Also, it's like red light green light if you were /really/ shitty at red light green light.<br />
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I will add the bibs later. All this ranting has made me feel sad. :(<br />
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<br />Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-58953216351261128272015-03-23T13:05:00.003-07:002015-03-23T13:05:33.770-07:00ENGL706 - Belated Tidings of Annotation<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: white; color: #333333; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; vertical-align: baseline; white-space: pre-wrap;"><strike>I'm so sorry- forgive me Oprah, Jesus, and also Tom Cruise</strike></span></div>
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<span style="background-color: white; color: #333333; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div>
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<span style="background-color: white; color: #333333; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">George, D. (2002). Visual Communication in the Teaching of Writing. </span><span style="background-color: white; color: #333333; font-family: Arial; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">College Composition and Communication,</span><span style="background-color: white; color: #333333; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: white; color: #333333; font-family: Arial; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">4</span><span style="background-color: white; color: #333333; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">(1), 11-39. Retrieved from JSTOR.</span></div>
<b id="docs-internal-guid-22e15239-4873-2390-c133-1a18a0fb772f" style="font-weight: normal;"><br /></b>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: white; color: #333333; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In this piece, George refers to the current culture as “aggressively visual” which is a term I adore. I want to use this as part of my basis when asserting that syllabi should have a visual design steeped in good rhetoric. Students may not be able to access the document in the multi-faceted layers that a practiced rhetorician can, but having been raised on images, they will come “pre-programmed” with the cultural brainwashing of good and bad visual design. The things that are well designed stuck, and so a good syllabus should join those ranks no matter its purpose or country of origin.</span></div>
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<span style="background-color: white; color: #333333; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This idea of visual rhetoric being prevalent in culture also applies to online syllabi and calendars, which I would like to analyze on the ODU end of my project. Without the necessary visual literacy, how is a student to know a hyperlink on sight, or what the difference is between a menu bar and a context menu? This will be document specific, but those “moving parts” in e-syllabi are part of the visual culture that upcoming students are raised in. </span></div>
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<span style="background-color: white; color: #333333; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">On page 26, she makes the argument that web pages must be “navigable” and that this ties into graphic design heavily. Although an online syllabus need not necessarily be a web page, I would argue that it, too, must be navigable. Syllabi usually have several pages, and a student who struggles to find information in an ill-formatted document sans bolding, highlighting, or proper paragraphs and spacing, will not use the document for its intended purpose. While a little different than a web page’s navigation bar, I think the coherent thread of thought for “getting around” on them is similar.</span></div>
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<span style="background-color: white; color: #333333; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Likewise, George’s ideas about what does and does not constitute a visual argument are lax without being nonspefic. She says “All sorts of visuals make assertions and develop those assertions with visual information” which is absolutely true of syllabi. Even in the JP syllabus, there is a visual argument made by the table the information is presented in (albeit a less hearty argument than some of the ODU syllabi I have):</span></div>
<b style="font-weight: normal;"><br /><br /><img alt="Nanotech.png" height="421px;" src="https://lh4.googleusercontent.com/MHdwqDhkQPsjP9jIzruSAFrKH8dG72tSa_kc11g6IamXi2fFrfwu1htUpDFcXa9xQv2QOfFRsV1saEhzirHDa5UNeMaap1t3aINDjVVBPplGxBIBwp2m4MMYvk0-5XwRMuaXJ3Y" style="-webkit-transform: rotate(0.00rad); border: none; transform: rotate(0.00rad);" width="624px;" /></b><br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: white; color: #333333; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Japanese syllabus mostly replies on color usage and layout- two tools out of a full box to choose from. I look forward to seeing if the use of less stylizing comes with shifts in purpose, or if this is a cultural difference (since Japan has ways of emphasizing characters that the US does not). This in itself is a visual argument that only highlights the section headers. Down below this screen grab is a numbered list of sections that will be covered, which is also a part of the visual argument. Even then, since the list is not indenter, nor any part of it set apart from the others, it reads as a block of undistinguished text and implies no one section is any more important than the others.</span></div>
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<span style="background-color: white; color: #333333; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">All in all, although this text focuses on the composition classroom, and the history of visual argument’s growing importance in teaching, there are small pearls of wisdom RE: the importance of the visual argument, and of coherency that are extremely important.</span></div>
Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-91269143907194332042015-03-18T20:00:00.002-07:002015-03-21T10:54:13.483-07:00ENGL706 - Connect ALL The Things!So Kress talks about different genres in the same "text" that take on different shares of the communicative burden, which is actually an interesting concept. I'd say any student who has ever written anything remotely hypertextual, or who has included an infographic/chart to represent something they've written about has experienced the singular pleasure of necessary appendixes. These vial elements often help make a point simply by existing as factual proof to support an argument that at least, in part, is visual. Kostelnick talks about Tufte's beliefs in his "The Visual Rhetoric of Data Displays: The Conundrum of Clarity" especially the "lie factor". This reminded me of the students, and how each of them diagrammed the onion slide in their lab reports in Kress' readings. After all, neither of the students aimed to be misleading in what they drew. Rather, one gave a more literal interpretation (still informed by the teacher's verbal instruction) and the other interpreted what she saw into a larger diagram that implied representation by being incomplete at the edges. If neither is intended to mislead (and most likely, objectively speaking, neither is fully "incorrect") then how can they be classified? Which is "more" or "less" clear?<br />
<br />
Thinking more about these diagrams, Welling's work on"Ecoporn"also comes to mind. Could the consumer produced diagram of the human eye count as a subgenre of Ecoporn? It provides its own brand of fantasy about the human body. The colors are saturated higher, the lines and layouts cleaner than a human body- often, when dissecting, what a chart looks like and what you find inside a once-living creature seem like apples and oranges. In this way, it is designed for the same kind of "quick, easy visual consumption" as pictures of sunsets and rainforests that casually leave the truth of the place out of frame are. Even if ecoporn isn't the correct term (although I feel like an argument can be made for human bodies and organisms to be self-contained ecosystems on a microscopic level) then I do believe that both of these concepts have similar themes when it comes to what can make them and their design problematic.<br />
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<h4>
Ideas (in the form of questions)</h4>
<br />
<ol>
<li>Can commercially marketed scientific diagrams be considered as a type of ecoporn, given that they are both constructed for the same type of consumption? I think this is a fascinating idea, since it contains the argument that purpose = grounds for classification. This might all come down to semantics in the end.</li>
<li>Is there a way to negate textual power entirely and still have a functional document? Textual hierarchy dictates what is more and less important (like numbered lists, bullets, bolding, etc.) but is there a way to avoid this prioritizing of somethings over others without sacrificing clarity? (yo creo que no- I think in lists and outlines and see a world without them as anarchy. It'll be interesting to see what the classmates think).</li>
<li>Has the advent of digital media brought on a new wave of text/image meaning sharing? Is it more pervasive now than it was 10 years ago? 20 years ago? (that's only the 1990s *shudder*). Images can now be created and shared much more quickly than before, so does something like a meme fall under this same umbrella of multimodal thinking? (MEME STUDIES. Bring it on.)</li>
</ol>
<h4>
Questions (also in the form of questions)</h4>
<div>
<ul>
<li>Does delegating that all things have multiple layers of analysis in an effort to diminish the need to label mixed genre pieces make accessing multimodal messages more difficult for visual rhetoric scholars? A lot of VR is based on contextual and cultural understanding, so adding a two-tier layer system seems to add a lot of extra work into the equation.</li>
<li>When trying to get across a complicated message or concept, does splitting the meaning between a strictly visual and strictly textual delivery method make for good VR? That is to ask, does it usually get the point across better than strictly one method or the other? This may be a type of study that has been measure in a scientific way, but I'd even be interested in opinions here. Does the visual/textual aid combo help you, personally?</li>
<li>If the type of information is the same, but the delivery method is different (process list versus narrative account), is either one more or less accurate? I guess this depends on the instructions given, and the purpose. Is it also contextual? Like whether it's on a lab report or if you're explaining a lab experiment to a friend so they can do it at home later?</li>
</ul>
</div>
Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com2tag:blogger.com,1999:blog-1939332073123310376.post-63453473304895201842015-02-26T14:04:00.000-08:002015-02-26T14:04:04.180-08:00ENGL706 - Heuristic In The Mud<strike>It's really hard to make the 706 titles fun. Also I totally forgot this prompt was due. Ack!</strike><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1waO6MW2Fz-0rUVri6bPuoaYnPHLSSI17u7zyc_8A1j53w5Qi8W7deiqsNVK_FPNJBEz4-jMScbH_TtmZlCua_9PTFn5RBaf8ipc6eWgHvgHCJs8UfQouwQeZQEKKkxM8mnsE5lf_ijia/s1600/tumblr_nk9ezd060l1qzbjuko5_1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1waO6MW2Fz-0rUVri6bPuoaYnPHLSSI17u7zyc_8A1j53w5Qi8W7deiqsNVK_FPNJBEz4-jMScbH_TtmZlCua_9PTFn5RBaf8ipc6eWgHvgHCJs8UfQouwQeZQEKKkxM8mnsE5lf_ijia/s1600/tumblr_nk9ezd060l1qzbjuko5_1280.jpg" height="640" width="416" /></a></div>
<h2>
Heuristic</h2>
<h3>
Iconic Language</h3>
This is an image of a tree painted on the wall leading up to a hidden nook with acrylics. The ladder leading up to the loft is made of wood, as is the toy box at the base. I see an homage to childhood image here- to the tree house and to warm spring days. There's snow in the outside window's views, so perhaps they live somewhere that gets less than its fair share of warm days. I also see an attempt at making an indoor space seem more like a natural outdoor space.<br />
<h3>
Cultural Language</h3>
<div>
I found this image on Tumblr, in a post about "great" home design ideas. Considering it was a part of that post at all, it's assumed to be "great". Additionally, this post, at present, has 7, 469 notes, which means it has either been liked or re-posted by that many blogs. That's fairly popular! The audience, in this context, is usually a range of ages crowded in the teens, to mid-twenties age, and heavier in girls than boys. These are people that either own a space of their own, or are of an age where they're old enough to imagine how they'd like to customize their space.</div>
<h3>
Theoretical Language</h3>
<div>
In this context, the tree is a symbol representing a child's tree house and bringing with it all the imaginary potential that comes with a creative change in environment. It is part of an upper-middle class home in a snowy area, showing the affluence to "afford" creative inside spaces. The wood of the ladder and toy box help to cement the attempted tie-in with nature that is not immediately present outside, as well as to imply that this set up is intended for a slightly older child (who can safely ascend and descend the ladder, but still needs a toy box). The surrounding yellows further set the scene as a bright, sunny day and mood brightener.</div>
Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com1tag:blogger.com,1999:blog-1939332073123310376.post-26420433528153077542015-02-22T20:36:00.001-08:002015-02-22T20:36:58.436-08:00ENGL685 #9 - I Really Hate Methods Research<strike>It is just plain ol' not interesting. Not even a little. Also it starts to all look the same after a while.</strike><br />
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Creswell, J. W. (2013). <i>Research Design: Qualitative, Quantitative, and Mixed Methods Approaches</i>. SAGE.</div>
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<span style="line-height: 2; text-indent: -2em;">George, D. (2002). From Analysis to Design: Visual Communication in the Teaching of Writing. </span><i style="line-height: 2; text-indent: -2em;">College Composition and Communication</i><span style="line-height: 2; text-indent: -2em;">, </span><i style="line-height: 2; text-indent: -2em;">54</i><span style="line-height: 2; text-indent: -2em;">(1), 11–39. doi:10.2307/1512100</span></div>
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<span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fzotero.org%3A2&rft_id=info%3Adoi%2F10.2307%2F1512100&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=From%20Analysis%20to%20Design%3A%20Visual%20Communication%20in%20the%20Teaching%20of%20Writing&rft.jtitle=College%20Composition%20and%20Communication&rft.stitle=College%20Composition%20and%20Communication&rft.volume=54&rft.issue=1&rft.aufirst=Diana&rft.aulast=George&rft.au=Diana%20George&rft.date=2002-09-01&rft.pages=11-39&rft.spage=11&rft.epage=39&rft.issn=0010-096X"></span></div>
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<span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fzotero.org%3A2&rft_id=urn%3Aisbn%3A9781136688874&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Professional%20Writing%20in%20Context%3A%20Lessons%20From%20Teaching%20and%20Consulting%20in%20Worlds%20of%20Work&rft.publisher=Routledge&rft.aufirst=John%20Frederick&rft.aulast=Reynolds&rft.au=John%20Frederick%20Reynolds&rft.au=Carolyn%20B.%20Matalene&rft.au=Joyce%20Neff%20Magnotto&rft.au=Donald%20C.%20Samson%20Jr&rft.au=Lynn%20Veach%20Sadler&rft.date=2013-11-05&rft.tpages=199&rft.isbn=9781136688874&rft.language=en"></span></div>
Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-52783246584971220512015-02-19T19:22:00.004-08:002015-02-19T22:25:30.126-08:00ENGL706 - It's Better If It's Documented Because ReasonsDid I somehow miss the first AB? I could have sworn I posted one, but now I don't see it. I'm going to do two here, just in case. Sorry!<br />
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Hocks, M. E. (2003). Understanding Visual Rhetoric in Digital Writing Environments. <i>College Composition and Communication</i>, <i>54</i>(4), 629–656. doi:10.2307/3594188</div>
<span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fzotero.org%3A2&rft_id=info%3Adoi%2F10.2307%2F3594188&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Understanding%20Visual%20Rhetoric%20in%20Digital%20Writing%20Environments&rft.jtitle=College%20Composition%20and%20Communication&rft.stitle=College%20Composition%20and%20Communication&rft.volume=54&rft.issue=4&rft.aufirst=Mary%20E.&rft.aulast=Hocks&rft.au=Mary%20E.%20Hocks&rft.date=2003-06-01&rft.pages=629-656&rft.spage=629&rft.epage=656&rft.issn=0010-096X"></span></div>
<br />
Hocks' research question is, what visual rhetorical devices are in play behind digital writing that mixes passive and active participation in consumption and creation, and how do these function in different contexts? She defines three terms to conceptualize the visual rhetoric discussed in her evidence: Audience Stance, Transparency, and Hybridity. <b>Audience Stance</b> is how a document creates a feeling of camaraderie with the reader and encourages them to interact. <b>Transparency</b> is how a document sticks to preconceived notions of print layout, web layout, etc. that the user is already familiar with. <b>Hybridity</b> is how the visual and verbal are mixed. She then uses these terms to assess an essay posted on the <i>Kairos </i>journal website, a paper for an ethnographic study put online, and a William Shakespeare website created by students who aimed to make a resource helping other students. She concludes that, through making web content and having it assessed by users, students learn best how visual rhetoric functions (as well as what works and what doesn't). This is a point for the 'learn by doing' school of thought. For my own research, Hocks' three terms are definitely now in my database, and will definitely help me assess the usability in the layout of the syllabi I've collected. I think this piece could help the class in a similar way- it's a vocabulary expander. A lot of these concepts can be sort of "felt" just by looking at a document, so having the correct terminology when it comes to actually discussing it becomes very handy very quickly.<br />
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Sullivan, P. (2001). Practicing Safe Visual Rhetoric on the World Wide Web. <i>Computers and Composition</i>, <i>18</i>(2), 103–21.</div>
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The question this piece attempts to tackle is, 'what appeal does "safe" visual design have to students and teachers?' A lot of the sections' beginnings chronicle Sullivan's personal experience, both as a professor, and as a colleague to those who write professionally for a living. She'll give a small story, follow it by explaining how a trend towards "safety" played a role in the design happening in the story, and after that, explain what rhetorically drives the trend while generously padding with the names of the researchers whose data confirms her observations and the data they published their work. Sullivan concludes that there is no accurate yardstick for what is "safe" or "good" design. Every situation is contextual and dependent on taste on the web, and quite often, most design principles that aren't explicitly based in rhetoric don't concern themselves with rhetoric. She advises that design and rhetoric come together more often, and believes that fruitful theories for how to write "Safely" on the well will emerge from there. A lot of my sources are digitally rendered, and so I was hoping this would be a little more relevant, but unless I pull multimedia syllabi (not unlike Shelley Roderigo's Google Doc "Schedule") into my thesis, I'm not sure I can use too much from this one. That said, I certainly hope someone from the class can used the contents of this article for their project!</div>
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<span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fzotero.org%3A2&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Practicing%20Safe%20Visual%20Rhetoric%20on%20the%20World%20Wide%20Web&rft.jtitle=Computers%20and%20Composition&rft.volume=18&rft.issue=2&rft.aufirst=Patricia&rft.aulast=Sullivan&rft.au=Patricia%20Sullivan&rft.date=2001-01&rft.pages=103-21&rft.spage=103&rft.epage=21&rft.issn=8755-4615&rft.language=en"></span></div>
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Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-43832611036772117992015-02-18T21:15:00.000-08:002015-02-18T21:15:14.390-08:00ENGL685 #8 - Here's How It REALLY HappenedMethods methods methods methods.<br />
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<strike>Bloody Mary Bloody Mary Bloody Mary</strike><br />
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<ul>
<li>Jabareen, Y. R. (2009). Building a Conceptual Framework: Philosophy, Definitions, and Procedure. <i>International Journal of Qualitative Methods</i>, 8(4), 49–62.</li>
</ul>
<div>
<ul><ul>
<li>I went about this methods-finding journey by thinking about what I was already trying to do any working backwards. It seems like constructing a conceptual/theoretical framework seems to fit best with how I'm trying to apply rhetoric to a syllabus, so this was a good source to start out with. Jabreen begins with defining a conceptual framework and then goes on to give a standard methodology in 8 phases. It'll be between this or a theoretical framework for how I go about creating the ideas that I'll apply to my syllabi. Even if I end up using the other method, some of the 8 phases my be excellent supplementary recommendations to help me understand the framework building process in general.</li>
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<li><span style="font-family: Georgia, Times New Roman, serif;">Labaree, R. (n.d.). <i>LibGuides</i>. Organizing Your Social Sciences Research Paper. Theoretical Framework. Retrieved February 19, 2015, from http://libguides.usc.edu/content.php?pid=83009&sid=618409</span></li>
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<li><span style="font-family: Georgia, Times New Roman, serif;">I actually like this Library Guide from the University of Southern Carolina a lot! The layout is fairly clear, and broken up a little better than Jabreen's work, making it less of an evil wall of text and more of a "chunked" step by step guide for crafting a theoretical framework. Where Jabreen's source assumes the work of why you want to build your theory is already done, this guide does not. It offers several helpful questions for picking out the "angle" of your theory. It also says that, until you do a good lit review, it's pretty much impossible to pick out what theory you want to use to build your framework, which is totally true!</span></li>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Next time I go hunting, I want to find more sources about "Frankentheories". Goaru Getto!</span></div>
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Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-52655524246543740302015-02-18T20:00:00.002-08:002015-02-18T20:00:34.401-08:00ENGL706 - Survey Says?WE'RE PLAYING THE FEUD<br />
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Between the four commenters on my blog (you all are lovely, thank you) every nuance of the argument I intended was caught. Impressive! I was trying to use my collage to depict something like 'fitness is mostly mental', with a focus on female fitness (since I've been getting into working out lately). I attempted to add the female slant by using bright colors, one whole square of pink (which has been a moniker for female ever since WWII), and a female model as the focus of the largest image. While one commenter mentioned that this /could/ be read as my arguing that /only/ women have to overcome their own mental weakness in pursuit of fitness, but that certainly wasn't the intention. I guess that's one of the dangers of pure image arguments- you can't always anticipate every single way someone may interpret your argument!<br />
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I am definitely in the 'images can make an argument' camp, and I define argument rather loosely. Maybe something like 'point'. They make a point, they clearly stand for an idea, or inspire a non-tangible emotional reaction. Even if you're not sure what a visual piece is trying to argue, so long as it has an effect, it is an argument.Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-86433477666471378922015-02-15T19:02:00.003-08:002015-02-17T22:13:19.942-08:00ENGL685 #7 - Megapost! Transform and Roll Out!<strike><span style="font-family: Georgia, Times New Roman, serif;">I'm a bad so I'm rolling the last two annotated bibs into one because I'm still confused on what I'm doing</span></strike><br />
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<strike><span style="font-family: Georgia, Times New Roman, serif;">I owe you 7 entries the sadness abounds. This will be updated in the next few days to squeeze them all in. </span></strike><br />
<span style="font-family: Georgia, Times New Roman, serif;"><strike><br /></strike></span><span style="font-family: Georgia, 'Times New Roman', serif;"><i>Deadline for this post's contents is 2/15. All subsequent ABs will have their own post.</i></span><br />
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<li><span style="background-color: white; line-height: 20px;"><span style="font-family: Georgia, Times New Roman, serif;">Silver, R., Hu, G., & Iino, M. (2002). English Language Education in China, Japan, and Singapore. Graduate Programmes and Research Office, <i>National Institute of Education, Nanyang Technological University</i>.</span></span></li>
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<li><span style="font-family: Georgia, Times New Roman, serif;">In this work, Silver, Hu, and Iino write three pieces, each giving a detailed history of educational policy about teaching English has mutated since being included in the official government-recommended curriculum. In particular, Hu includes a timeline of government-recommended syllabus changes that took place in China from around the 60s to the 2000s. This is an excellent resource since it lets me look out how an Asian value system changed academic goals in one country. I still have to allow for cultural differences, but such changes may be trackable through Japan's academic history too.</span></li>
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<li><span style="font-family: Georgia, Times New Roman, serif;">While mostly the outlining of Japan (located in the center of the book) will probably be useful to me, the other two papers book-ending it help to provide an overarching narrative for English language education in Japan, China, and Singapore. This contextual timeline building seats national goals in place with one another, as well as nicely contrasts the 3 education system styles of each country. While I feel that Japan's insistence on only using Ministry of Education approved textbooks (there are 5- 1 of them is used in over half of all secondary schools) and "teaching to the test" style English education policy could use more digging into, this is an excellent beginning resource for foundational intercultural knowledge.</span></li>
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<li><span style="font-family: Georgia, Times New Roman, serif;">Baecker, D. L. (1998). Uncovering the Rhetoric of the Syllabus: The Case of the Missing I. <i>College Teaching</i>, 46(2), 58–62.</span></li>
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<li><span style="font-family: Georgia, Times New Roman, serif;"> Baecker (not a typo) is (was) a Doctoral candidate in South Carolina at the time of writing this article. Considering that was years ago, I reckon she's graduated by now. The non-specific theory application of this article is definitely a point in its favor. It mostly discuses language use in the syllabus and how it communicates and distributes authority. For example, when a professor overwhelmingly uses 'you" (as most did) it can come off authoritarian and leave students feeling as if there is no sense of community. Additionally, the attempt to use the royal "we" (inclusive of the instructor) is just as dangerous. When syllabi claim "we" will learn new skills and strategies, the student can usually assume that, since the teacher is at the helm of the class, their development has finished in these areas. The false community created through this type of language use smacks of dishonesty and leads to a diminished sense of responsibility on the part of the professor.</span></li>
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<li><span style="font-family: Georgia, Times New Roman, serif;">This will likely be folded into my 'Methods' section, where I evaluate language usage as a rhetorical tool trending towards an end goal of increased comprehension. It has been a challenge thusfar to find a wholesale analysis of 'good' syllabus rhetoric analysis, so I will have to assemble its working parts peacemeal. One of many.</span></li>
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<ul><span style="font-family: Georgia, Times New Roman, serif;">
<li>Parkes, J., & Harris, M. B. (2002). The Purposes of a Syllabus. <i>College Teaching</i>, 50(2), 55–61.</li>
</span></ul>
<ul><ul>
<li><span style="font-family: Georgia, Times New Roman, serif;">My favorite of the Sunday roundup. This piece dictates the three types of syllabi (as recorded in the authors' study) as Contractual, Permanent Record, and Learning Tool. These three classifications give me a nice categorical starting place for looking into the differences in syllabi, and also a point of comparison, since it is yet to see whether a Japanese syllabus fits into any one of these three categories (or multiple categories). Additionally, this work is an absolute treasure trove of resources. They list several parenthetical sources related directly to syllabus research and state outright that, in 2002, they had been unable to locate /any/ studies done on syllabus composition and its effect on student comprehension. Coming from a Professor of Psychology and a Professor Emerita, that carries quite a bit of weight. It also says that I should be looking for resources post-2002 as I forge ahead.</span></li>
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<ul><ul><ul>
<li><span style="font-family: Georgia, Times New Roman, serif;">This will likely be another part of my methods, since I definitely need more ground to stand on before I pull naming categories and text-structure conventions out of thin air. Other sources I hope to investigate soon will probably have more to do with usability and the link between page layout and comprehension (since I know there's some data out there on that outside of an academic setting).</span></li>
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<li><span style="font-family: Georgia, Times New Roman, serif;">Riches, D. (2006). Innovating English Language Education by Looking beyond the Syllabus of the Typical Japanese University English Program. S<i>eijo University, Social Innovation Studies</i>, 1(2), 75–92.</span></li>
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<li><span style="font-family: Georgia, Times New Roman, serif;">An excellent look at /why/ Japanese ELE is the way it is. This source focuses a lot on the reason Japanese English classes are structured with such a limited focus on useful English (or, I guess, creating fluent English speakers) and more on a certain size vocabulary. The terribly difficult entrance examinations that stand between graduating High School students and their college education are the focus of most teaching, and every little attention is paid to whether or not the material is interesting to students, or even very practical outside of a test.</span></li>
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<ul><ul><ul>
<li><span style="font-family: Georgia, Times New Roman, serif;">This will be a part of my recommendations section in the end. Ideally, I will be able to hybridize US and JP syllabi with an equal focus in practicality and test-passing. If this seems impossible (whenever I get my hands on first-hand resources), then I can at least use this to recommend how to change the system towards a more student-friendly mode of learning.</span></li>
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<li><span style="font-family: Georgia, Times New Roman, serif;">Kostelnick, C. (1990). The Rhetoric of Text Design in Professional Communication. <i>Technical Writing Teacher</i>, 17(3), 189–202.</span></li>
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<li><span style="font-family: Georgia, Times New Roman, serif;">Finally, a source not about syllabi, or Japanese education, but pure, textual rhetoric RE: document design. This is an oldie but goodie. Although some syllabi are delivered digitally now (something which wasn't a thing in 1996), Dr. Kostelnick's theories on the rhetoric behind a coherent document do not suffer in meaning, whether viewed in print or on a screen. The best sections in this piece discuss how headings, bullets, and page design effect how the reader will understand and chunk page information, how bolding, italics, and underlining affect conveyed meaning, and how charts and their placement can vary greatly in meaning just depending on layout.</span></li>
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<ul><ul><ul>
<li><span style="font-family: Georgia, Times New Roman, serif;">This is in the set of sources I'm preparing to analyze US syllabi at the University level, but I also hope to use these to find commonality between JP/US. My sincere hope (and, I guess, hypothesis) is that, although the contents focus and intended use of the syllabus may vary highly between countries, their visual layout and use of spatial and intra/extra-textual rhetoric will be very similar. Fingers crossed- my contact contacted me yesterday with word that I should have a primary source or two soon.</span></li>
</ul>
</ul>
</ul>
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<ul>
<li><span style="font-family: Georgia, Times New Roman, serif;">Kostelnick, C. (1996). Supra-Textual Design: The Visual Rhetoric of Whole Documents. <i>Technical Communication Quarterly</i>, 5(1), 9–33. doi:10.1207/s15427625tcq0501_2</span></li>
</ul>
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<ul><ul>
<li><span style="font-family: Georgia, Times New Roman, serif;">Another Kostelnick! What a rascal. This piece is a kind of continuation of the source above- a good deal of it goes back into spacial, textual, and graphic design and how this affects a created text. What makes this source better on that front is, since it doesn't spend as much time defining these things, it takes /extra/ time giving examples of how three different real-life documents go about performance in each category, and how to parse out the rhetorical intention of their design. There's also a section on Stylistic Functions, which is basically 'why presentation matters'. It ties nicely into the already defined categories, while providing a 'why do I care' (which, y'know, not all academic writers do).</span></li>
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<ul><ul><ul>
<li><span style="font-family: Georgia, Times New Roman, serif;">The examples in this piece actually helped solidify some of the things I read in his slightly smaller work. This one more explicitly talks about issues like page size, portability, tone, and context, then gives good examples. One of the example works actually uses a brown recycled paper, which I would have assumed would be a no-go if you were trying to look professional. Kostelnick points out that, since /contextually/ the paper choice is relevant to the subject matter, it's a-ok. Because thematic matching. Mind. Blown.</span></li>
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Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com1tag:blogger.com,1999:blog-1939332073123310376.post-56042029148433764282015-02-15T12:10:00.001-08:002015-02-15T12:10:03.737-08:00ENGL706 - Best Guess?<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdZRSz2FAgj1Bvp7YlGZ0gFjgKIV9ySdSmbns8k7b5XNwVaj8Tdw1Eso8GJzykRZm_9ASNOxk4cLU58a0NtgLlMvaXM46T-oyBAzp_oymKsyK13gyOaa1lLu4N09plV5sAnRZ8dNRYAvZo/s1600/FitSpo+Collage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdZRSz2FAgj1Bvp7YlGZ0gFjgKIV9ySdSmbns8k7b5XNwVaj8Tdw1Eso8GJzykRZm_9ASNOxk4cLU58a0NtgLlMvaXM46T-oyBAzp_oymKsyK13gyOaa1lLu4N09plV5sAnRZ8dNRYAvZo/s1600/FitSpo+Collage.jpg" height="640" width="640" /></a></div>
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Look forward to everyone's insightful comments!</div>
<br />Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com5tag:blogger.com,1999:blog-1939332073123310376.post-49798883725610614162015-02-11T15:35:00.000-08:002015-02-11T15:35:45.816-08:00Engl685 Redux<ul style="background-color: #ffffe5; color: #333333; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 14.4899997711182px; line-height: 1.4; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;"><b>Who </b></li>
<ul style="line-height: 1.4; list-style: disc; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">Who cam I gather information from about JP syllabi?</li>
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">Who can provide me with comparative materials?</li>
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">Who would be a good resource for rhetorical manuals based on syllabus composition?</li>
</ul>
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;"><b>What</b></li>
<ul style="line-height: 1.4; list-style: disc; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">What are some of the ethical concerns with this project?</li>
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">What are the questions I want to ask of the materials I'm assessing?</li>
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">What do I hope to prove/change through my research?</li>
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<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;"><b>Where</b></li>
<ul style="line-height: 1.4; list-style: disc; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">Where in Japan would be best to focus my material studies?</li>
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">Where can I look for faculty with tangential research focuses?</li>
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">Where would I need to get permission from to publish my findings?</li>
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<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;"><b>When</b></li>
<ul style="line-height: 1.4; list-style: disc; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">When do the "mass syllabi" get changed/updated in Japan?</li>
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">When do I have enough theory to start analyzing primary sources?</li>
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">When do I know I have enough data to begin drawing conclusions?</li>
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<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;"><b>Why</b></li>
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<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">Why Japan and not an English-speaking country?</li>
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">Why look at syllabi instead of lesson plans, or other course materials?</li>
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">Why?</li>
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<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;"><b>How</b></li>
<ul style="line-height: 1.4; list-style: disc; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">How can I apply what this project will teach me to other projects in the future?</li>
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">How does syllabus rhetoric affect class understanding/productivity?</li>
<li style="border: none; margin: 0px 0px 0.25em; padding: 0px;">How do syllabus structures function in relation to comprehension?</li>
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Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com0tag:blogger.com,1999:blog-1939332073123310376.post-35042100121777691742015-02-04T13:21:00.001-08:002015-02-04T13:21:47.532-08:00ENGL685 #6 - I Have Jitters, but It's Probably Fine<strike>Seriously starting to feel overwhelmed yet AGAIN - does this terrible feeling ever go away?</strike><br />
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<b>Ask the journalistic questions on your focused research topic (at least 3 questions for each: who, what, where, why, and how). Identify top 2-3 questions. Briefly discuss what/how/why they are your favorite.</b><br />
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<li><b>Who </b></li>
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<li>Who can my research potentially help?</li>
<li>Who would be interested in helping me if I furthered this study?</li>
<li>Who would I submit this project to if I wanted I published?</li>
</ul>
<li><b>What</b></li>
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<li>What are some of the ethical concerns with this project?</li>
<li>What kid of person wouldn't want to be polled in such a study?</li>
<li>What impact with this research have on my daily life?</li>
</ul>
<li><b>Where</b></li>
<ul>
<li>Where are the women I'm polling located geographically?</li>
<li>Where would I get funding to do this project with a larger group?</li>
<li>Where would I need to get permission from to publish my findings?</li>
</ul>
<li><b>When</b></li>
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<li>When would it be best to start making up questions for a poll?</li>
<li>When is it acceptable to re-post, asking for more poll responses?</li>
<li>When do I know I have enough data to begin drawing conclusions?</li>
</ul>
<li><b>Why</b></li>
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<li>Why did I choose this route for my research?</li>
<li>Why didn't I stay with my older, broader thesis and work from there?</li>
<li>Why?</li>
</ul>
<li><b>How</b></li>
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<li>How can I apply what this project will teach me to other projects in the future?</li>
<li>How many women is enough when it comes to poll data?</li>
<li>How can I apply my data in other fields?</li>
</ul>
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<b>SHORT LIST</b></div>
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<li>Where are the women I'm polling located geographically?</li>
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<li>This actually relates to if I chose to expand and re-do this project later on. Does their geo-location affect what they buy and when they buy it? This might just be one of those things that, in /real/ science, you'd have to control for, but I'd be interested to know if it tinges the results any.</li>
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<li>How can I apply what this project will teach me to other projects in the future?</li>
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<li>Well, in theory, the methodology I'm using right now will help me do better research in the future. Especially RE: coding and ethics, I definitely feel like I know more now than I did a few weeks ago. It's a more general kind of help, but I still feel it's totally valid.</li>
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Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com1tag:blogger.com,1999:blog-1939332073123310376.post-41763841232119306572015-01-31T17:52:00.001-08:002015-01-31T17:52:56.124-08:00ENGL685 #5 - Focus? Focwe? Focthem?<b>Discuss what you see as your focused research topic for the class. Why are you interested. Based on your research topic/question thus far, answer/freewrite “so what?” questions on BWR p. 34.</b><br />
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<b>3 robust annotated bibliography entries on focused research topic.</b><br />
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<span style="color: purple;">"Do the female members of the Nerd Fitness Facebook group perceive increased motivation to adhere to the program when using new/personalized equipment? If so, what equipment caused this effect, and roughly how long does this increase last?"</span><br />
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My idea was that this is a group I have easy access to, that I could probably convince a fair amount of to take a short, multiple choice poll, and that this would lead to qualitative data easier than looking at how/why questions (where a lot of coding is needed to make numbers). Additionally, in Visual Rhetoric, we were just discussing how good aesthetics scientifically make people work better. I'd be curious to see if people report this perceived change with fitness programs as in interface design.<br />
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Unrelated to L337 H4X, I would also be interested in the effect of "actual benefit" versus "perceived benefit". That'd take a lot of science and research data I don't have, so this is a smaller, more subjective slice off of that parent interest.<br />
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<strike>now I guess I'll answer these questions formally blegh blegh blegh</strike><br />
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<li><span style="color: purple;">Who will care about the research you do?</span></li>
<ul>
<li>In all likelihood, just me and the group (with whom I'll probably share my final product, since they'll have been so good as to be my number base). This is (allegedly) already hard science. I'm not breaking hard ground so much as affirming what I saw in one field as fact in another.</li>
</ul>
<li><span style="color: purple;">Who will your research affect?</span></li>
<ul>
<li>Maybe no one. My hope, though, is that there is an increase in activity based on good equipment aesthetics, and that'll motivate others to use 'getting what they need' quickly to get themselves un-stuck. Additionally, I'd like to justify my own motivation-based spending habits.</li>
</ul>
<li><span style="color: purple;">How will your research affect your own situation?</span></li>
<ul>
<li>I mean, hopefully I'll pass the class. Also, next time someone asks me if I /really/ need a new pair of running shoes, I can have a sweet comeback with data to back it up waiting in the wings.</li>
</ul>
<li><span style="color: purple;">What other situations or contexts will your research affect?</span></li>
<ul>
<li>Maybe this will help motivate me and my fitness group to help us help ourselves and get good workout/food-making gear?</li>
</ul>
<li><span style="color: purple;">Who does your research need to matter to and why?</span></li>
<ul>
<li>Probably only to my professor, and to myself, but that's okay. Sometimes your research can't be all things to all people. That's a pipe dream, textbook, and you gotta let it go.</li>
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<span style="color: purple;">Norman, D. A. (2004). Emotional design: <i>Why we love (or hate) everyday things</i>. Basic books.</span></div>
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Right now I have the prologue and chapters one and two, detailing how aesthetics play into better users (like how good aesthetics make people more happy, which makes them more creative, which leads to better problem solving. I haven't investigated the rest of the book and right now, I don't really plan to. If needed, tho, I'm sure the rest of his work will be super helpful in defining how aesthetics changes users.</div>
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<span style="color: purple;">Hassenzahl, M. (2008). The Interplay of Beauty, Goodness, and Usability in Interactive Products. <i>Hum.-Comput. Interact.</i>, 19(4), 319–349. doi:10.1207/s15327051hci1904_2</span></div>
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This study comes the closest to the ideas of the "parent study, where in this case there is a distinction between "goodness" (in usability) and "prettiness". Like the next one down, this is done with usability testing, so it has nice science numbers to back up the testing. I still need to take a deeper read on this one, but it's going to help back up the visual rhetoric I have in the book above and apply it to something other than teapots.</div>
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<span style="color: purple;">McCormack, G. R., Friedenreich, C. M., Giles-Corti, B., Doyle-Baker, P. K., & Shiell, A. (2013). Do Motivation-Related Cognitions Explain the Relationship Between Perceptions of Urban Form and Neighborhood Walking?. <i>Journal Of Physical Activity & Health</i>, 10(7), 961-973.</span></div>
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This one is also super sciencey, but the result of it is that constructed environments do motivate people to walk outside more. I think this'll help back up the idea that environment gives extra motivation based on how "pleasing" it is to the senses. This is another win for aesthetics, and it has tables too! If we're supposed to worry about data or numbers to give advisers for program funding, this will make excellent back up evidence.</div>
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Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com1tag:blogger.com,1999:blog-1939332073123310376.post-9742897815378320152015-01-31T08:56:00.002-08:002015-01-31T08:56:29.687-08:00ENGL706 - Mind Map Links<h2>
<b><a href="https://coggle.it/diagram/54bd8b9a43fb5f45218eb7a2/5d9b7b8e5a97448d7dd5f3368c756730ce122862b93f85136d3603ed27379044">Week One Coggle</a></b></h2>
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<b><br /></b><a href="http://popplet.com/app/#/2297581"><b>Week Two Popplet</b></a></h2>
Anonymoushttp://www.blogger.com/profile/18189460020606790049noreply@blogger.com1