![]() ![]() Reading the physical copy of redactor as an anthology of calls and responses apprehended brings the audience into the immediate moment of poetry. When Truman Capote slurred the work of Jack Kerouac as typing – not writing – few could have anticipated the personal computer (and by extension the smartphone / tablet) and the impact that these online typing machines would have not simply on creation, but on communication. Formally, the monologues (and implied dialogues) in redactor are performed through statistics, articles, emails and instant messages. In the same manner that Basquiat’s strikethroughs inevitably highlight the partially obscured text on his canvases, Paterson’s redactions demand the reader’s attention by their suggestion of silence in the steady flow of (non-acoustic) monologue. This evasive performance of subjectivity negates the possibility for a reader to experience direct empathy or cathartic transference with the speaker and correspondingly the stage is cleared for the creation of an elaborate aesthetic through language. By obscuring names and gendered pronouns, the Rimbaudian je est en autre is here remixed to establish a subject that, much like an online avatar, is capable of transcending the limits of the physical. This redactor (or (red)actor) elicits a verfremdungseffekt by creating distance between the ‘i’ of the poem and the reader as the Brechtian directive suggests. That the redactions are not random and that they are persistent throughout the collection remind us there is one actor performing. Paradoxically, the poetic practices of attention-grabbing and attention-holding are best exemplified by Paterson’s with-holding, embodied by the black mark: the redaction. Whilst found poetry and cut-ups, epistolary poems, and lyric monologues are all present in this collection, Paterson affirms a poetics of attention in the context of a superabundance of cultural production, naming his way through film titles, basketball players, critical theorists and fashion accessories. ![]() Out of the deep web’s detritus, Paterson’s collection discovers new poetic spaces of beauty in the banality of our metadata.Īs feeds refresh and emails are automatically vetted for junk, redactor reclaims writing that would otherwise be lost, all the while preserving the decadent excess of digital information and communication, as the reader traverses the ‘aisleform’ of images that fit-out the collection’s mise-en-scène. The juxtaposition between the white of the page and the black of the ink has long provided a site for textual collision, one that was used to great effect by the concrete poets and the French Symbolists. ![]() FunnyEducation should be taken as a tool in favor of teachers and encourage the desire to study their students improving the quality of education.As a physical object with an online extraction, Eddie Paterson’s new book of poems, redactor, presents the performance of mark-making in an ever expanding digital sphere. For the design of the software Startup wit.ai is used which is the main attraction of the software since it will allow to interact with the children through the voice with certain commands that facilitate the teaching. ![]() The software FunnyEducation as its name indicates it seeks to amuse the children as they learn, thus allowing them to gain self-confidence and improve their performance at the time of studying. 2018, vol.10, n.1, pp.296-299.Īmong the new ways to facilitate learning in educational institutions or work areas is the use of educational software, which is no more than a tool that seeks to promote a new method of teaching more attractive for those who benefit from using it. Digital editor using the Startup Wit.ai focused on Parvulary Education. DRUET, Alan GOROZABEL, Melvin y ARROYO, Alexander. ![]()
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