"The Cognitive Style of Powerpoint" makes the assertion that:

The core ideas of teaching- explanation, reasoning, finding
things out, questioning, content, evidence, credible authority not patronizing
authoritarianism-are contrary to the cognitive style of PowerPoint. And
the ethical values of teachers differ from those engaged in marketing.

To me, this informs much of the essay, and its contexts.  For some reason, I remembered a presentation I watched two years ago on presentations.  How does this presentation, and what it has to say, fit into Tufte's framework?



The easiest explanation is that Steve Jobs is marketing.  Which tells us that much of Tufte's argument applies within certain contexts, specifically teaching and information-presenting.  (The points of overlap are interesting, however.  Both the slideshow and Tufte are opposed to bullet points, for one thing.  Both make the claim that "the average Powerpoint slideshow has 40 words," from apparently disparate sources.)

Tufte is opposed to oversimplified explanations for complicated issues.  He makes the point that people have no trouble reading sports box scores, or stock quotes, for instance.  Why is it so insisted-upon that Powerpoint presentations be so limited in their scope and meaning as to "approach dementia"?

I think it's a combination of things.  I think we've gotten lazy.  Not lazy in the "I really don't want to go to class today"-lazy, but lazy, ethically.  We don't want to have to make hard decisions about the information we're presenting, and we certainly don't want to have to engage with other people about the limited scopes of what we're saying.  We would rather manage, massage, and market a message than actually deliver useful information or knowledge.  As Technical Communication Majors, as Rhetors, however, we have a responsibility to face those challenges--some of us will have the opportunity and the power to do so.  Others will keep marketing.  If you're in the latter group, remember--no bullet points!

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In class, we discussed Scott McCloud's "Understanding Comics," which is really the seminal work in well, understanding comics.  McCloud discusses just about every, and any aspect of comics that can be conceived, and our discussion on 'gutters' was interesting, as I hadn't read "Understanding Comics" in some ten years.

As an avid comics fan (buff?), I had always been told that Neal Adams was one of the genre-defining comics-book artists of his day (which happened to precede me by some 15 years).  As you can see in the examples to the right, his use of panel arrangement was completely "outside-the-box," to coin a phrase that came up in class.  That is not the interesting part, however.

Trap. The combination of the genres of trance and rap usually through sound mixing and editing, has become a staple of parties and festival shows. They share similar use of synth, heavy base and spoken words to create music. But what interests me out of these is the artwork and how the artwork mimics the mixing of themes between rap and techno much in the same way the music does.

Arguably one of the most recognizable symbols in the Western cultural lexicon, or even that of Eastern cultures, is the silhouette of Mickey Mouse. Popularized in the late 1920s by a series of short films, America’s favorite rodent has come to represent the Walt Disney Studios and the Disney corporation at large.

The above comic by Robert Berry appears in his Ulysses “Seen” adaptation of the James Joyce novel Ulysses.

We watched "The Machine is Us/ing Us" and had an interesting class discussion on whether it was a scholarly work or not. It was not, perhaps, “scholarly”; but it was an argument, and it made me think about the sociology of internet communication.

During our in-class discussion of Scott McCloud's "Understanding Comics: The Invisible Art," the composer brought up gutters, the space in between frames of a comic (or newspaper, cartoon or other media).  In a comic, as McCloud states in the image to the right, gutters "play host to the magic and mystery that are at the very heart of comics."  These gutters are vital, and can serve as more than a space to let the reader's mind wander.

When we talked in class about usability and the internet, it sounded like the conclusion as to what makes a usable website is simplicity. Creating a website to serve a very obvious purpose is the key to usability. But even when a site is usable, there are aesthetics that make a website a more enjoyable experience for the user. Color, formatting, and graphic elements can enhance usability by making a website visually appealing.

In Vitaly Friedman's article "10 Usability Nightmares You Should Be Aware Of," the first item listed is  problematic hidden login links on websites. Friedman uses Backpack as an example because the login link is very small and placed right underneath a block of text that looks like an advertisement, rather than placing the login somewhere else on the page where it can be easily located.

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Of the recent readings for this course, I feel most compelled to comment on the writings of Jakob Nielsen. I had heard of him before, touted as the leading expert of usability. A great deal of the discussion in class was devoted to some apparent contradictions between his ethos and one of his now defunct websites. However, I noticed contradictions on the very page we were asked to look at for class.

Professor John Logie teaches us that comics have a place in academia. He teaches it in Visual Rhetoric. Why not? Comics are visual and they are graphic and they are certainly full of rhetoric. Comics teach us to engage ourselves with the comic we are viewing, on our own time, in our own space. Professor Logie teaches that Scott McCloud's "Understanding Comics" is an essential book to do just that, understand comics.
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