Annoyed and Bored by Anachronisms in The Great Gatsby Movie

I just watched the recent Great Gatsby movie. I didn’t care for the use of modern hip-hop music, though I can accept it as a director’s choice to appeal to modern audiences — like the added narration about the stock market and prohibition. But with all the money they put into the costumes and the CGI camera effects (swooping across the bay between Gatsby’s pier and Daisy’s green light, like…

The Poynter Institute's Seminars

 I’m teaching a “New Media Projects” course, which aims to explore the connections between communication with words (linear, narrative) and communication with programming (interactive, procedural). Out in the wider world, The Poynter Institute hosted this session this week. I’m glad to see the profession moving beyond digital cameras and blogging. Programming for Journalists / Journalism for Programmers (N432-10) Never before have programmers offered so much promise to those who pursue…

The Work of Writing in the Age of its Digital Reproducibility — Computers and Writing 2009

Bill Cope, University of Illinois, Urbana-Champaign Began by noting the strangeness of talking to an audience about social media, while also seeing faces lit by computer screens suggesting multi-tasking. Referenced new translation of Benjamin’s The Work of Art in the Age of its Mechanical Reproducibility” (note the shift in the more familiar title). His talk will explore the peculiar affordances of the digital.

Clive Thompson on How YouTube Changes the Way We Think

What’s happening to video is like what happened to word processing. Back in the ’70s and early ’80s, publishing was a rarefied, expert job. Then Apple’s WYSIWYG interface made it drop-dead easy, enabling an explosion of weird new forms of micropublishing and zines. Laptop audio editing did the same thing, giving birth to the mashup and cut-and-paste subgenres of music. Then there’s photo manipulation, once a rarefied propaganda technique. Photoshop…