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Final, Uncategorized

Third Annotated Bibliography Entry, White Space

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Morello, Robert. “Five Tips for Marketing to College Students.” Small Business. Houston Chronicle, n.d. Web. 06 Dec. 2014.

Robert Morello is a Columbia graduate, a writer, and professor of travel and tourism. He has also worked in marketing and consulting. This article stems more from his marketing experience. “Five Tips for Marketing to College Students” is a condensed set of ideas for companies of all fields to use in their marketing toward people of college age. The intended audience is small companies looking to market their brand toward young adults and especially college students. The five ideas stated in the article are: “Follow the Money,” focusing on parents that fund college students, “Get Them Involved,” acknowledging the importance of interactivity between the product and the consumer through social media and advertising, “Harness Enthusiasm,” which is essentially playing off of young people’s avoidance of mainstream anything, “Giveaways,” using free swag to get the company’s name out there, and “Responsibility,” associating the company with causes that college students believe in in order to win their moral approval as an establishment. Morello claims that these five advertising techniques are key to marketing toward college students.

This article provides some interesting ideas for marketing techniques, but only gives a general overview of ways to execute the ideas presented. It would benefit the reader more to have included some input from actual college students rather than just present an idea of how they think. The article does have the bias of an author who is thinking primarily of how to generate revenue, which works for making money but can create a superficial tone for the company in my view. The article suggests harnessing student ambassadors to spread the word about the company, but I have seen this happen before and it makes for a weird, kind of forced social exchange between student ambassadors and their peers that makes for a weird image of the company. Overall I think the most useful part of the article is the piece about giveaways. We had considered this before, but in a more restricted way than suggested in the article. Morello provides the idea of giving out living essentials to college students, for example hairbands, toothbrushes, or phone wallets, to keep the company’s name in mind when students are using these items. I think White Space would benefit most from this kind of advertising, making this article relevant to our paper, even if just by this blurb.

Final, Uncategorized

White Space Annotated Bibliography

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Byfield, Bruce. “Linux.com.” Online Word Processors: A Hands-On Comparison. N.p., 5 Sept. 2006. Web. 22 Nov. 2014. <http://archive09.linux.com/articles/114171>.

Bruce Byfield discusses word processing in his article “Online Word Processors: A Hands-On Comparison.” This article, written for people looking for information and advice on which word processors to use, compares four online word processing applications: ajazWrite, ThinkFree Online, Writely, and Zoho Writer, in the following categories: interfaces, basic formatting tools, advanced formatting tools and unique features, and document export and administration. Byfield outlines how each word processor addresses these word processing needs and compares their performance. At the end of each section Byfield declares a verdict, stating which processor he believes does its job the best in each category. In his conclusion Byfield makes a general comparison the word processors and is quick to point out that online word processors were still in their early stages, as the article was published in 2006. Byfield claims that online word processors were a regression, that their simplicity and reliance on the internet made them less efficient than other word processors.

Bruce Byfield is a computer journalist focusing on free and open source software. He has written over 1,200 articles for a variety of online journals and other websites. His past work includes working at as a university English professor and technical writer, as well as communications, marketing, and design consultant. His bias in “Online Word Processors: A Hands-On Comparison” is that of a person who is well-versed in word processing technicalities and has expectations for maximum efficiency in the programs he uses. This article has some weaknesses in that it is a short article and does not provide outside resources for the reader to go to to find more information. While its 2006 publishing date could be seen as a weakness because word processing has changed significantly since then, I believe it can be seen as a strength for our project. Seeing reviews of word processors in their early days can be very informative to the creators of White Space as they decide which features people have found most and least appealing in word processors throughout the years. Part of White Space’s goal is to give users the option to revert to a simpler software if needed, and this article provides ample information about older word processors and their relationship with the internet. Use of this source in our research would strongly support White Space’s thesis that the ideal processor takes the best from word processors already available.

Collier, Richard M. “The Word Processor and Revision Strategies.” College Composition and Communication 34.2 (1983): 149-55. JSTOR. Web. 23 Nov. 2014. <http://www.jstor.org/stable/10.2307/357402?ref=no-x-route:eae95b932ea3538933238188507e6a01>.

In his 1983 article “The Word Processor and Revision Strategies,” Richard Collier outlines a hypothesis about the way using a word processor will affect the editing process for students. The intended audience was fellow educators that were possibly looking to incorporate word processing into their curriculum. Collier predicts the word processing revision process will be difficult for those who are less computer-savvy and that they will stick to smaller revisions and only use the simplest features in the processor. He then tests his hypothesis on four female writers between nineteen and thirty-two years old, asking them to revise handwritten essays on word processors. Collier finds that the revision process was very difficult for those who were less computer-literate, but resulted in more active revisions and slightly longer, more experimental essays. He decides that his hypothesis was wrong because the changes in the essays were not as significant as he had predicted. At the end of the article Collier claims that word processing has a long way to go before it is an efficient process, but if students learn how to use it well they will benefit from it immensely.

Since the article was published by The National Council of Teachers of English, I can deduct that Collier was an English educator. His bias is that of an educator; he wants word processing to be a tool that enhances student writing. One weakness of this article, which basically outlines an experiment in word processing, is that Collier only tested four students, all of which were adult women. This does not provide a wide scope for the way word processing was used by students, it just gives a narrow glimpse into Collier’s classroom. The early article publication, 1983, limited the processing software that Collier could use as well. However, this article gives an interesting insight to the way people expected word processors to develop. In a time when word processors were still very new and had almost no precedent, Collier provides an academic’s goals and wishes for the future of the word processor. For White Space it is essential to go back to the original goals and intentions of word processors in order to find out what is needed to apply to its design.

Final, Uncategorized

Stacks

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Stacks is an application for mobile devices and computers that allows users to stream audiobooks. Users can stream any audiobook from an in-app library of content. Each book stream consists of audio, which is the reading of the text, and a visual component created by the app. While users listen to the audiobook they view a computer-generated animation that matches and complements the story. This animation is made by a computer’s analysis of the pitches, tones, and frequencies of the reader’s voice transferred into animated fractal art with a multitude of textures and colors. Through this audiovisual presentation of a book, reading novels becomes a social experience. People can “watch” books together the way they watch television shows or movies. In an academic application of the program, using two senses to experience reading a book increases attention rate during reading and results in a better absorption of the text. The application is therefore appealing to students as well as book clubs, friends, or families looking to experience reading together. Stacks makes reading a more social, more engrossing experience for users while still conveying the entirety of the original text.

The visual aspect of Stacks is a defining characteristic of the application. Fractal art, very aesthetically pleasing and specific to the text, is the backbone of the visual component to Stacks streaming. Made by computer software, it is essentially the visual representations of math equations. Because fractal art is made using specific mathematic formulas, the exact ratios and intricate detailing of the pieces are very pleasing to the eye. Fractals, while formulaic, can be presented in an infinite number of ways through variations in color, texture, and equations used in the software. Stacks uses the sounds of the audiobook to create an animated fractal that matches the verbal variations of the reader, complementing the text. While there are already programs that use sound to create visual animation, such as the Visualizer option on iTunes, these are often comprised of just flashing lights on a black background and are of little variation. In order to create Stacks, we would need to make a software that uses audio to create fractal animation. Once this software is created, Stacks will be easily made using streaming technology already present in Netflix and Spotify and distributed on the Apple and Android App Stores and Google Play, as well as downloadable for computers through a website.

I recognize that a number of books have already been brought to life through a combination of audio and visual aspects for audiences to enjoy. These take the form of movies or television shows based on stories from books. While these do share Stacks’s goal of bringing books to a wider audience in a new format, there are drawbacks to Hollywood interpretations of books that Stacks solves. First of all, movies are expensive to go see or buy. Users may stream any book for free with their monthly Stacks subscription, making it an economically smart alternative to seeing a film interpretation in theaters or even buying a physical copy of the book. Second, only a very slim percentage of books get made into movies, and almost all of the ones that get theatrically produced are fiction novels. If a reader wants to visually experience a little-known book of poetry, they are not going to find a film version of the book to enjoy. Even if the desired book does get made into a film, it takes at least a year and a half to produce and release a film before a viewer can pay up to fifteen dollars to see it in theaters. Stacks can quickly generate fractal animations for audiobook files, which accompany most books very soon after the print edition is released. Lev Manovich discusses automation of new media in his book The Language of New Media. He names the many talents of computer programming today, such as the ability to “automatically generate 3-D objects such as […] ready-to-use animations of complex natural phenomena” in support of the idea that automated creation means “human intentionality can be removed from the creative process, at least in part” (32). By taking away the human element of the visual creation the animation is left to work with the creative piece that is the book itself, and allows for a much quicker turn around of products than if someone made a film for every book ever made.

The element of discussion surrounding texts is often dropped after a person graduates from high school or college and stops reading books for academic purposes. Stacks introduces a social element to books that will make their experience much more appealing to the masses.  When a person reads a physical book or an ebook, it is a quiet solitary experience that is very individualized. When the book is taken out of the inside of one reader’s head and projected onto a screen with an audio component, reading a book becomes a social activity. Stacks allows people to hear stories together the way they bond over television shows. With the opportunity to pause between chapters or at any time during the text, Stacks creates collaborative discussion. Everyone is on the same page, or rather, at the same part of the Stacks stream. By bringing back this discussion-provoking reading environment, people get much more from the texts than if they had read it alone.

According to Hayles’s How We Think, “the sheer onslaught of information has created a situation in which the limiting factor is human attention” (12). Students of all education levels, from elementary school to college level and beyond, have a difficult time focusing on reading texts due to the stillness of the activity, the need for a quiet setting and the act of thinking only about what they see on the page, ignoring all other senses. Stacks focuses the user’s attention and makes any text easier to absorb by utilizing two senses: sight and hearing. With two senses working at once the brain processes the text in two different formats, which develops stronger connections in the brain and makes the text easier to absorb. This creates an experience that fits Hayles’s definition of a “close reading,” which “correlates with deep attention, the cognitive mode traditionally associated with the humanities that prefers a single information stream, focuses on a single cultural object for a relatively long time” (12). Close readings and deep attention are brain functions that are being used less and less in our daily lives, but Stacks brings it back to the surface by incorporating it into our already technology-driven lives.

As far as marketing goes, Stacks would benefit most fro advertisements on websites like SparkNotes or Shmoop, which are centered around reading and literature analysis, as well as websites like College Prowler and Rate My Professors, where high school and college students are always online. The logo is the word “Stacks” in bold lettering, with the vertically straight part of the “k” made of a pile of books and a fractal web of lines inside the “a.” Advertisements will read: “Stacks: Stories for the Senses.”

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Works Cited

Hayles, Katherine. How We Think: Digital Media and Contemporary Technogenesis. Chicago: U of Chicago, 2012. Print.

Manovich, Lev. The Language of New Media. Cambridge, MA: MIT, 2002. Print.

Reflections

Matthew Kirchenbaum “Track Changes” Questions

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1. A topic that has come up in our class a couple times this past week is the inefficiency of the keyboard. Do you think there is a likelihood of a new keyboard system replacing the current QWERTY one, and if so, would some stick to it the way George R. R. Martin sticks to WordStar?

2. Are there any technologies or forms of writing that you think are so outdated, or so inconvenient, that no authors have or will ever go back to them as technology continues to develop?

3. You address the element of gender in the history of the typewriter. Do you think the association of the typewriter with the female secretary is dead or still present? Do you think gender standards plays any role in how we view certain forms of publication or media today?

Reflections

Oryx and Crake Provocation

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Margaret Atwood’s Oryx and Crake provokes a multitude of topics for discussion regarding our own society and where we are heading. One central aspect of the book, a necessary thread for its intended effect, is portraying characters with a severe lack of empathy or sensitivity in order to warn the reader about a possibly desensitized future society. For example, Jimmy publishes false words in his AnooYoo work and treats it like a game: “he’d come to see his job as a challenge: how outrageous could he get, in the realm of fatuous neologism, and still achieve praise?” (250). To an extent, this proves Atwood’s point: when reading about Jimmy’s manipulative treatment of women, his obsession with pornography, or his compulsion to lie in his writings for AnooYoo, I feel warned about people like Jimmy. In the back of my mind I am thinking of everything I can do to not become like him or to see who I know that is similar to him. However, when Jimmy and the other characters in the book are so lacking in humanity, like Crake’s distaste for Nature as a concept, I feel so drilled with the negativity of these characters that I just start to hate the characters instead of contemplate their environment. I get so busy hating Jimmy that I feel almost blinded to the commentary presented in the novel. Jimmy is definitely a product of an unfortunate situation, but I feel like it is easy to blame him for all the problems in the book instead of the world he exists in.

One aspect of our second reading of Oryx and Crake that I found really interesting and thought-provoking was the way Oryx differed from the rest of the children that had been sold into sex slavery and child pornography. When Oryx’s story is first told, I was shocked by her lack of anger or distress over the horrible things that had happened to her. When Jimmy becomes upset upon hearing about Jack’s abuse of Oryx, she replies: “‘Why do you think he is so bad?’ […] ‘He never did anything with me that you don’t do” (141). While reading this I was beginning to think that the common traumatic psychological effects of abuse were being ignored for the sake of having some sort of dream girl to be Jimmy’s love interest. However, when Jimmy’s second discovery of Oryx is told, it is revealed that her strangely positive view of her situation was abnormal for children in her same situation. Some of the other girls said they’d “been drugged,” “smuggled in container ships,” or “made to perform obscene contortions” (254). Whether they are true or not, these girls’ stories are more evident of the kind of trauma they suffered than what Oryx accounted. Compared to them, Oryx is strangely content. It is comforting to know that Atwood recognizes the true effects of abuse, and I am interested to see how Oryx develops considering her strange emotional history.

Why does Jimmy love Oryx so much? Could it be because he feels like he can fix and protect her when no one could protect him? Is it because she is beautiful? Is it because she loves him? Could it be any combination of these, or something totally different?

Reflections, Uncategorized

Questions for Kari Kraus

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1. Will books aided and enhanced by interactive technology replace books as we know them today in the traditional ink-on-paper format?

2. Is it possible that enhancements added to books, such as the audio component to Mozafari’s “Kubla Khan,” will distract from the core feeling and meaning of the text? Is it crucial to have an initial feeling to a text by itself before diving into its context, or is it more important to understand where a text comes from before reading it?

3. We see a classic piece of literature molded into a microblog in Hancock and Skutlin’s The House of Her. Is there a future where original microblogs could be considered literature? Where Tweets are turned into novels, or held to the same level of literary importance?

Reflections

Book Traces at Columbia

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Book Traces at Columbia University started with a short talk about the purpose of the event and the procedure for searching through the books. After seeing the slideshow of annotated books found at the University of Virginia and those found at Columbia that morning, I was excited to start looking through the stacks myself. The Butler Stacks at Columbia are the closest thing to a Hogwarts library I have ever seen: the aisles are thin and some books are so old that that small pieces of the pages sprinkle out when the book is opened.

The Book Traces coordinators told us at the beginning of the process that more people had found interesting annotations in poetry and fiction, so I sat down in the poetry section and started flipping through books. I searched through about four shelves in the course of an hour, which totaled to almost seventy books. Many of them were of works written in the 19th century, but most of the copies I found were published in the 1950s or 1960s. About a quarter of them were published during our desired period, before 1923. Of those published before 1923 I found five with some sort of annotations in them.

Ford Madox Hueffer’s The Good Soldier featured extensive annotations, mostly pencil notes in the upper corners of the pages and check marks next to parts of the text.  It had a note on the copyright page under the publication date, 1915, that said “Portions published in Blast (ed. Wyndham Lewis), 1914.”

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The other book I found was a collection of poems also by Ford Madox Hueffer. This book had very few annotations, but one of the pages featured a poem with dashes and lines around the words, which I can only assume was the reader mapping out the meter of the poem as they read it. Under the poem an annotation reads “takes my heart away.”

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I was surprised to see the inconsistency of the annotations in the books that I found. The poem collection, for example, was only heavily annotated on a couple of pages. Many books had scattered checkmarks throughout the pages but no written notes. The use of pencil to annotate also surprised me, but if quill pens were the primary use of ink in that time then it makes sense that pencil would be easier to use. Most of the written annotations were in cursive as well, which is far less common in writing today, even for annotating a text.

I think the best way to use the books found through Book Traces is to establish a part of the library just for books published and annotated before 1923. I know that as a student, reading and annotating are two essential parts of my education, and I would love to sift through a section of books that were all annotated a hundred or more years ago. Setting aside these gems in libraries would be an efficient way to bring attention to what we can learn from past annotations, from the way people wrote to their reading skills to their vocabulary use. Additionally, separately the original publications from newer copies of the same text is a way to preserve the books themselves. If all of the older publications are in one place, readers will know to be more careful when handling the books. Book Traces could be the start of a movement to find and preserve a history of reading through books.

Reflections

Inevitable Innovations

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In What Technology Wants, Kevin Kelly proposes that the way evolution occurred was inevitable, and therefore technology’s path of development was inevitable. He is very convincing in his proposal of inevitable evolution in nature. He utilizes Australia as an example of an isolated place where evolution occurred parallel too, as opposed to being integrated with, the other continents: “Saber-canine teeth are found in both the extinct marsupial thylacosmilus and the extinct saber-toothed cat. Marsupial lions had retractable claws like feline cats” (106). Kelly also uses the example of the triceratops that “evolved beaks similar to those of both parrots and octopus and squid,” even though it lived in a totally different time and environment than those animals (107). This evidence of all forms of life, despite their different settings and living conditions, are on a seemingly predetermined path of development. Kelly is very convincing in his argument, and I am fascinated by his application of this principle to technology. New innovations often occur at the same time in slightly varying forms, because “when the necessary web of supporting technology is established, then the next adjacent technological step seems to emerge as if on cue” (138). I absolutely agree with his claim that certain technologies were invented at their respective special boiling points of sorts, when the conditions were just right and the world had a use for them at the time.

I do not believe this destiny of technology applies to the specifics of stories in the media. Kelly uses J.K. Rowling’s Harry Potter series as an example of his claim that certain ideas are inevitable. There are many basic similarities between the Harry Potter series and other books and comics published before J.K. Rowling’s novels. Kelly claims that “Multiple invention happens all the time in the arts as well as technology […] strange as it sounds, stories of boy wizards in magical schools […] are inevitable at this point in Western culture” (146). I do acknowledge that all ideas for creative works are either derivatives of previous works or are bound to be similar to other works in one way or another. The human brain can only imagine so much. However, to claim that something as specific as the Harry Potter series was an inevitable cultural development is a far reach. The light bulb, another example Kelly uses as an invention invented multiple, almost simultaneous, is an extremely influential part of technological history that changed the way humans live. However, while the Harry Potter series is incredibly influential in culture, it is not such a powerful creation that it changed the way we live and was an inevitable part of our human history. For Kelly to claim otherwise would be to contradict himself in the “Convergence” chapter: “the specifics of any invention are not inevitable” (138). Harry Potter, and any other story, is far too specific to be lumped in with inevitable, essential inventions like the light bulb.

Where do we draw the line between what creations are inevitable, and what is a product of the creator’s specific background and imagination?

Reflections

Defining New Media

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“New Media” is any format of sharing and receiving communication, whether it be factual information, storytelling, advertisement, or other communications, that is translated or created through some hardware or device. The “new” aspect comes from the ability of that information to be adapted and customized for the individual. Older media, like books, early photography, and newspapers, were set in stone when they were created. While they could be mass produced, they did not change once they were made. New media, however, shares “objects,” as Manovich calls any piece of media in The Language of New Media, such as a picture, web site, or movie in in a way that is adaptable to the user (14). Examples of new media include web sites, digital photography, blogs, iPhone apps, and other sources of sharing “objects.” New media refers to the combination of the hardware used to share objects as well as the software that adapts to the user. It is not purely the Internet world of wireless clouds and wifi hotspots, it requires a hardware to support it. According to Jussi Parikka’s “The Geology of Media,” “we are more dependent than ever on the geological earth.” Recognizing the significance of the physical devices that create and share new media, like cell phones, televisions, and computers, are essential to defining the term “new media.” So, it requires a physical device and some object to share. However, it is not totally dependent on computers and similar digital devices. In New Media: A Critical Introduction, Martin Lister states that the very general term of new media is similar to what many would call “digital media,” which “is accurate as a formal description, [but] presupposes an absolute break (between analogue and digital) where we will see that none in fact exists.” New media includes all digital media, but does not exclude all analogue media, as Lister argues that much of digital media is based on analogue media (12). For example, digital photography is a new media that is based on film photography, an older media. The photograph is the object to be communicated but the way it is created and shared is through new media. To conclude, new media is a very general term that applies to the way objects are created and communicated, which is composed of the information being shared and the device that communicates it to the user.

Bibliography

Lister, Martin. New Media: A Critical Introduction. New York, NY:     Routledge, 2009. Print.

Manovich, Lev. The Language of New Media. Cambridge, MA: MIT, 2001. Print.

Parikka, Jussi. “The Geology of Media.” The Atlantic. Atlantic Media Company, 11 Oct. 2013. Web. 23 Sept. 2014.

Reflections, Uncategorized

Alex Hanson: A Digital Literacy Timeline

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Reading and writing have always been very influential parts of my life, and various forms of media and technology have played important roles in shaping the development of my literacy. I started learning how to read using the Hooked on Phonics program, which uses board games, card games, and videos to increase vocabulary and make learning to read fun. When my younger brother got old enough, he and I would play with Hooked on Phonics every day. Our favorite game was learning how to read. Our competition continued with computer games that were centered around puzzles and challenges related to reading, grammar, and sentence structure. My love of storytelling caught flame when I picked up a copy of Harry Potter and the Sorcerer’s Stone.

Reading Harry Potter on the train with my dad one morning
Reading Harry Potter on the train with my dad one morning

In middle school I discovered a love for writing and explored it in every way I found possible. In sixth grade I started a newspaper for homeroom called “The Hazard Headlines” using the Pages program on my home computer. Journaling about my day-to-day life became an essential part of my weekly routine. At the end of eighth grade, I got to write a story about a third-grade student from my school and give it to her as a gift. This project, written on my Mac desktop at home, was my longest work of writing I had ever done at the time. It was very exciting to see my story be published and read by a younger student.

In high school I continued to find new ways to tell stories and work with different kinds of media. Through my high school’s video production program, I got to write and direct short films. Most of my projects, including “Doodle” and “Ursula,” were written on a script-formatting software called Celtx, shot on Sony cameras, and edited using either Final Cut Pro 7 or X. Some, like “Alex Hanson…In the Form of a Personal Essay” or “Creative People Are Drawn to Creative People: A Proof” were documentary style movies that didn’t utilize a script, but still involved forms of writing in the production. My personal essay was structured by a voiceover compiled of journal entries from my middle and high school journals. “Creative People” showcased the artistic endeavors of my friends, including their scripts and poetry, but was also accompanied by a related Storehouse blog made up of text, pictures, and short video clips from the documentary.

In addition to video production, I sought out more forms of writing and sharing my work. I continued journaling and started doing more creative writing outside of class. Each year of high school my writing and art was published in my school’s literary magazine, “Reflections.” In my senior year I became a co-editor-in-chief and utilized InDesign, Photoshop, and GoogleDocs to put together the publication. The summer before my junior year, I interned at Tone It Up!, a company that promotes women’s health and fitness through workout and nutrition programs. During my time there I got to see how media and business work together by managing Twitter feeds, Facebook pages, and blog posts to connect with the company’s large consumer base. I put those skills and my creative writing together when I started my own personal blog the summer before my senior year of high school. Alex in Wonderland is a Blogger site where I post my short stories, poetry, art, short movies, and ideas. All of this experience with reading, writing, and media came to be incredibly useful when I applied to colleges in the winter of my senior year. College applications, submitted through online application portals, require not only a significant amount of writing experience to speak of, but a tone that emits both personality and intelligence, which only comes by practicing often.

This picture was featured in my high school's newspaper when they ran an article about student bloggers.
This picture was featured in my high school’s newspaper when they ran an article about student bloggers.

I found a love of poetry through Poetry Out Loud, a national recitation contest in which contestants choose poems from an online data base and memorize them for recitation contests at their schools. I participated in this program my sophomore through senior year. At the tail end of my senior year I participated in open mic nights to practice my recitations and share my work.

A collage illustration for "Jupiter's Pink Balloons," a poem that is both featured on my blog and that I recited at Coffee Cartel and In-House Arts.
A collage illustration for “Jupiter’s Pink Balloons,” a poem that is both featured on my blog and that I recited at Coffee Cartel and In-House Arts.

Whether it be through VHS tapes, paperback books, handwritten journals, blogging platforms, or pure memorization, the technology that has influenced my relationship with reading and writing has varied throughout the years. Creating this timeline has been eye-opening to the wide variety of forms of reading writing I have experienced in my lifetime so far, and leaves me excited to see how technology will shape my applications of writing in the future. My digital literacy timeline showcases these important elements of my life, how they affected me, and the tools used to build and interact with them. Where applicable, the events include links to the short films, blogs, poems, and websites I refer to in my timeline.

http://www.tiki-toki.com/timeline/entry/336098/Alex-Hanson-A-Digital-Literacy-Timeline/