Digital Assigments & The New Curriculum
Writing In Digital Media
by Michael Rectenwald
A consideration of visuality in writing should convince us of the importance of rethinking writing in terms of design. As subjects of print culture, we have been indocrintated into a belief that alphanumeric marks are only important carriers of signification in writing. Studies in the semiotics of design and the rhetoric of visuality should disabuse us of these ideas.
The bias of print media has too often led writers to ignore page design. This design blindness has been partly due to the division of labor that obtained in print culture, such that writers were told not to concern themselves with anything but writing itself, conceived of as typing words onto a page. Writers were advised to leave design concerns to type-setters and designers. In digital media, all writers are type-setters and designers. Writing is more than typing text onto a page. Writing is design.
Under the print notion of writing, only verbal information has any value. Yet non-verbal information is conveyed in print culture in any case. Visual cues inform our perceptions of all printed texts, especially noticed when we come across books that are ill-designed, or not designed (consciously) at all.
The blindness to the visual components of textuality also distorts our understanding of earlier writing forms that obtained prior to print, which in turn reinforces the bias. The assumption that only verbal markers communicate meaning is a product of the ideal unitary, identical text, itself a myth.
The importance of visual elements has been a mainstay of poetic meaning, where stanzaic schemes, line-breaks, spatial positioning and other visual cues have been carriers of signifcation for centuries.
Unlike print culture, digital media pays more attention to visual elements. While in print visual elements -- including spacing, paragraphing, textual styles, etc. -- are less noticed, in digital media visual devices are a necessity.
Numerous features are available in digital media that were impossible within print culture. They include the following:
File hierachies in hypertextual digital media are not only useful for organizing virtual files for websites, they also can help teachers and their students to visualize the relationships between items and broader categories. They show superordination and subordination visually, which aids cognition and learning. Superordination and subordination allow students to see how subtopics of an essay they are writing fit under a broader topical umbrella, or how types of artworks, literary texts, or philosophical theories can be seen as subtypes of larger categories.
Consider the following file hierarchies as presented by the site manager tool within Dreamweaver CS4. The site represents the material used for a course entitled "Science and Literature," which I taught at Carnegie Mellon University. The first file organization shows minimal subcateorgization. (Click on thumbnails for larger images.)
all of the readings are in one readings file, the organization says
nothing about the relationship between readings. "Harding.pdf," for
exsample, represents a contemporary feminist critique of science. It
follows alphabetically under "Godwin1.pdf.," a facsimile of the first
edition of An Enquiry Concerning Political Justice, the epochal late 18th-century text.
contrast, the second file organization has divided the readings into
primary and secondary readings. Further, the primary readings are
subdivided into "Literature," "Science," and "Socio_Political " C.P.
Snow's famous essay, The Two Cultures,
a text that liminally stands between primary and secondary material, is
renamed "Snow_Two_Cultures.pdf" and placed in the Secondary readings
folder, while retaining its previous name of "cultures.pdf" and taking
its place among the "Socio_Political" readings with "Godwin1.pdf."
Like file hierarchies, links are not merely a technical feature of digital, hypertextual media. As George Landow points out in Hypertext, Hypertext 2.0, and Hypertext 3.0, links help to redefine textuality itself, providing for hypermedia spaces of intertexuality. Intertextuality in hypermedia challenges the borders of individual texts or lexia, disrupting the usual separations between discrete textual objects. Links reify the intertexuality pointed to in post-structuralisst textual theories.
Numerous kinds of links are possible in digital hypertext, including unidirectional one-to-one page links, bidirectional one-to-one links, string- or phrase-to-page links, one-to-many page links, many-to-one page string-to-string links, and many-to-one-page-to-string links. All of these forms of linking, described by Landow in Hypertext 3.0, as linked here (see pages 14-19), are by now familiar to most users of the web. The implications for academic work are less well-known, however. As Landow points out, links affect many aspects of scholarship, including 10: