Categories
Creative Writing Research Project

Infomedia

“WordPress” – Latest 12 months: 404 articles.
(Infomedia 22. aug. 2016)

Categories
WWWhat

Stilarter

Hvis du vil bruge en stilart, skal du  vide, hvad det er stilarten bryder med. Nedbryd fortidens kedsommeligheder – og gør hvad du vil.

Categories
Kanban

Jim Benson fra: “Personal Kanban”

Narratives and maps
“The story” of our work is a familiar one, following the arc of stories from any era and any culture. Born in our backlog, work travels through different stages of our value stream where it develops, is tested, and ultimately finds resolution” (Benson 2009: 23 – 24)

 

(…)

 

“Personal kanban is a pull-based system. We pull work into DOING only when we have room to accomodate it. Pulling is a willful act. This is different from “pushing” which is how we normally take on work. (ibid. p. 39)

 

(…)

 

“Visualize your work.
Limit your work in progress.” (ibid. p. 26)

Categories
Kanban

Christian Dalsgaard “Mellem det personlige og det faglige”

Christian Dalsgaard (MedieKultur 51) “Mellem det personlige og det faglige” søger en definition på blogs og skriver:

“Problemerne med at karakterisere blogs hænger tæt sammen med en genrediskussion og med en diskussion af, hvorvidt bloggen kan karakteriseres som en genre eller et medie. Først og fremmest har problemerne med at formulere en entydig definition af blogs medført en type- eller genrediskussion, der har taget udgangspunkt i en skelnen mellem filter-blogs og de mere dagbogsagtige blogs: “Other sources confirm this perception of two major types based primarily on a different substantive emphasis: an earlier type that emphasizes infor- mation access with links to other sites of interest, and a later type that emphasizes personal, diary-like writing” (Miller & Shepherd, 2004). Denne inddeling er siden blevet udvidet med yderligere inddelinger og tæller nu (mindst) følgende typer eller genrer af blogs:

• Filter
• Personlig
• Faglig
• Politisk

Categories
Kanban

Lev Manovich: The Database

The sites always grow. New links are being added to what is already there. It is as easy to add new elements to the end of list as it is to insert them anywhere in it. All this further contributes to the anti-narrative logic of the Web. If new elements are being added over time, the result is a collection, not a story. Indeed, how can one keep a coherent narrative or any other development trajectory through the material if it keeps changing?

(…)

The editors of Mediamatic journal, who devoted a whole issue to the topic of “the storage mania” (Summer 1994) wrote: “A growing number of organizations are embarking on ambitious projects. Everything is being collected: culture, asteroids, DNA patterns, credit records, telephone conversations; it doesn’t matter.” Once it is digitized, the data has to be cleaned up, organized, indexed. The computer age brought with it a new cultural algorithm: reality-> media->data->database. The rise of the Web, this gigantic and always changing data corpus, gave millions of people a new hobby or profession: data indexing. There is hardly a Web site which does not feature at least a dozen links to other sites, therefore every site is a type of database. And, with the rise of Internet commerce, most large-scale commercial sites have become real databases, or rather front-ends to company databases.

(…)

As a cultural form, database represents the world as a list of items and it refuses to order this list. In contrast, a narrative creates a cause-and-effect trajectory of seemingly unordered items (events). Therefore, database and narrative are natural enemies.

(…)

With new media, the content of the work and the interface become separate. It is therefore possible to create different interfaces to the same material.

(…)

Montage is the default visual language of composite organization of an image. However, just as database supports both the database form and its opposite – narrative, a composite organization of an image on the material level supports two opposing visual languages.

(…)

Database – narrative opposition is the case in point. To further understand how computer culture redistributes weight between the two terms of opposition in computer culture I will bring in a semiological theory of syntagm and paradigm. According to this model, originally formulated by Ferdinand de Saussure to describe natural languages such as English and later expanded by Roland Barthes and others to apply to other sign systems (narrative, fashion, food, etc.), the elements of a system can be related on two dimensions: syntagmatic and paradigmatic. As defined by Barthes, “the syntagm is a combination of signs, which has space as a support.”

(…)

In the original formulation of Saussure, “the units which have something in common are associated in theory and thus form groups within which various relationships can be found.” This is the paradigmatic dimension.

(…)

The paradigm is privileged over syntagm in yet another way in interactive objects presenting the user with a number of choices at the same time – which is what typical interactive interfaces do. For instance, a screen may contain a few icons; clicking on each icon leads the user to a different screen. On the level of an individual screen, these choices form a paradigm of their own which is explicitly presented to the user.

(…)

Just as a language user constructs a sentence by choosing each successive word from a paradigm of other possible words, a new media user creates a sequence of screens by clicking on this or that icon at each screen.

(…)

Why does new media insist on this language-like sequencing? My hypothesis is that it follows the dominant semiological order of the twentieth century – that of cinema. Cinema replaced all other modes of narration with a sequential narrative, an assembly line of shots which appear on the screen one at a time. For centuries, a spatialized narrative where all images appear simultaneously dominated European visual culture; then it was delegated to “minor” cultural forms as comics or technical illustrations.

(…)

The ancient Greeks produced long narratives, such as Homer’s epic poems The Iliad and The Odyssey; they also produced encyclopedias. The first fragments of a Greek encyclopedia to have survived were the work of Speusippus, a nephew of Plato. Diderot wrote novels – and also was in charge of monumental Encyclopédie, the largest publishing project of the 18th century. Competing to make meaning out of the world, database and narrative produce endless hybrids. It is hard to find a pure encyclopedia without any traces of a narrative in it and vice versa.

 

(…)

 

Vertov’s goal is to seduce us into his way of seeing and thinking, to make us share his excitement, his gradual process of discovery of film’s new language. This process of discovery is film’s main narrative and it is told through a catalog of discoveries being made. Thus, in the hands of Vertov, a database, this normally static and “objective” form, becomes dynamic and subjective. More importantly, Vertov is able to achieve something which new media designers still have to learn – how to merge database and narrative merge into a new form.

 

Gensyn med Manovich, se artiklen her.

Categories
Kanban

Kanban vz. Scrum

Am I 100% sold on Kanban yet?  No, but neither was I on Scrum.  I really think the best approach may lie somewhere inbetween a Kanban + XP type of process.  See my post on pair programming.  Perhaps I’ll get a chance to try this out.  I already bring a large amount of XP to my Scrum, because XP has very good software construction practices.

(John Somnez “Kanban vs. Scrum“)

Categories
Kanban

Er Scrum nødvendig i dette projekt?

Min arbejdskanban på indersiden af en skabslåge.
Min arbejdskanban på indersiden af en skabslåge.

Spørgsmål: Hjælper Scrum eller er det en klods om benet?

Svar: Scrum er en metode blandt metoder. Kanban kan principielt anvendes i mange udviklingsmetoder. Men Scrum har bragt kanban på banen. Scrum er altså kun et eksempel på implementering af kanban. Måske er projektets essens nærmere at udvikle en mere visuel platform, der kan bruges til planlægning og evaluering af en multimedieproduktion.

Og dog: scrum får alligevel en betydning for den bagvedliggende logik i databasen. Måske. Det skal vist fintænkes.