Update

Wednesday 26.11.08 – Reflective writing
Instead of reading writing, archiving and getting ready for the presentation I was compelled to create storyboards for Ken. I have devised five different routes based on the following;

1 Simple shapes, circles (stress dots) for Ken and triangular shapes for my voice again, changing shape and size when synchronized with the audio. The work is similar to Len Lye and Rhythmus by Hand Richter. This approach is concerned with word stress, it is not concerned about typography.

2 The second approach represents transcription convention and typography. De-constructing type and over-sizing the transcription symbols and allowing the text to crop out of shot or be deliberately broken apart into syllables and natural pauses.

3 Repetition of words is explored in the third route. When the word ‘yeah’ is repeated in the audio the same background image will appear with small text. The visual language of the old worn carpet will convey a flatness of voice. Repetition will be obvious as the frame ‘yeah’ will be repeated five times, in line with the audio. The animation will clearly highlight who is speaking and the tone of voice will be apparent from the type choice and backgrounds chosen.

4 The final route shows a combination of word stress dots, location and typography. Textured circles are used as word stress dots, the text can be simply placed within the shape. When Ken speaks the circles appear, when I speak strips of wallpaper appear (to keep my voice second in line and neutral). It would be useful to break out of these constraints when laughter occurs. The use of letterpress or typewriting will be explored for Ken and more modern text to represent my character.

5 Road markings will be used in connection with route 2. For example when Ken stops speaking it is quite abrupt, linguistically this is referred to as a ‘glottal stop’.
With this knowledge I can use the road making ‘stop’ to highlight linguistic references. The road, road signs and markings also relate well to Ken’s voice and personality, looking down wards and worn out in places!

The next stage is to work into each storyboard in more depth, edit and start small tests. I am also reviewing all written work and producing a guide for the assessment.
I have noticed that the written work is slightly disparate due to the fact that other commitments have interrupted the natural flow of the work. In terms of my development in the MA I am pleased to have been able to spend the time to find a method of work and a project that suits me.

Interview with linguist/Presentation Practice

Monday 18.11.08 – Reflective writing
Interview with Alan Patterson – Senior Lecturer ESOL (English for Speakers of Other Languages) University of Derby

Work shown:
Animations reviewed: Delyse “What’s your favourite part of the day?’
Audio reviewed: Ken “If you were about to be shot, what would be your last request?’
Sketchbook: Transcription conventions/lexical repetition/word stress dots

INTERVIEW TRANSCRIPTION
TAS: Are there other conventions to mark intonation and word stress?
AP: Yes, phonetic script or symbols can be very helpful to express how to pronounce the words.
TAS: Who are the linguistic pioneers within this field of study?
AP: I’m not sure, we deal with generic books on the subject.
TAS: Within your curriculum, is slang and everyday language addressed?
AP: We try to mix formal with informal and be realistic. We realise ‘good morning’ has long been replaced with ‘hi’ and ‘how are ya’?
TAS: How much or little do your students know about British culture?
AP: It varies, some have travelled a lot, very few haven’t been here before.
Seeing visual aspects of British culture in the animation wouldn’t harm the students’ knowledge.
TAS: What variety of materials are your students provided with to help their learning? i.e. books/internet/audio/TV/video/podcasts etc.
AP: All of these, we sometimes use clips from ‘youtube’ to make the work contemporary and up -to-date with the students age range, it always links to the topic of the day, i.e. useful to show aspects of grammar.
TAS: Approximately what percentage of the student’s time is linked to the printed word (text book)?
AP: I would say 70% is based on the printed word, because it can be accessed at the students pace.
TAS: What percentage of the student’s time is linked to audio work?
AP: Approximately 30% of the time it is pure audio (tapes/vt etc). The students are constantly listening to conversations and the classroom experience has audio aspects.
TAS: What are common/major issues your students have with acquiring
a second language?
AP: The greatest problem by far is word stress. Take for example how to pronounce the words photograph and photographer. The wrong emphasis on a word or sentence can result in miscomprehension. You can get grammar wrong and even the order of words, but the importance of word stress is of paramount importance.
It is also useful to recognise that spelling and pronunciation are wide apart. Think of word such as ‘thought/through/bough/bow/thorough etc.
It is confusing for new learners.
TAS: Are there many lessons about intonation of voice?
AP: No, only before formal presentations, we try not to over-correct this aspect as the student can lose fluency. If a student is monotone, we will highlight this as it will affect the delivery of their presentation.
TAS: Can you describe the student profile you are currently teaching (cultures, ages, ethnicity, nationality).
AP: It is varied. We have Spanish, Portuguese and Korean students from ages approximately 18-21.
TAS: Can you see parallels between typography and oral language?
AP: Not really. What I think will help students is printed work and slowing the pace down the way that typography on a page slows down in general.
It would be good to offer the students the script first, before they see the animation. Is there a way the sound can be slowed down without distorting the voice?
TAS: I am not sure, I will try to find out about this.
TAS: We only listen to 7% of the contents of speech, the rest is tone of voice…discuss! See comments from previous question about intonation.

REVIEWING THE WORK
TAS: Which parts of the animation do you think will help the students to learn English?
AP: At the moment, I think it would be too confusing for them. It’s a more artistic than practical. I like the visual aspects though.
TAS: Would printed supportive material help the student to capture the message?
AP: Yes, definitely it would slow the pace and help comprehension.
TAS: Are there parts of the animation you think might hinder learning?
AP: The pace mainly, perhaps Ken’s voice will be better as he doesn’t say as much.
TAS: Can you see this work fitting into a module or during an
induction/introductory phase?
AP: Not at the moment it is too fast for a learner, I was struggling to watch and listen and it’s in my first language!





My reflections and conclusions from the interview:
1 PRINTED SUPPORTIVE MATERIAL
Printed materials will be helpful to show different aspects of language.
Small printed booklets could explore the following:
1 Word stress
2 Pronunciation (using phonetic script)
3 Transcription convention (how the words were said)
4 Regional Accents (highlight this more/’bus’/’buz’)
5 Patterns of speech (lexical repetition)

2 PACE OF VISUAL MATERIAL
Review how much content goes into the animation, ensure the work is not visually cluttered. Simplify your visual language and keep to one theme, ie road markings or tea related to reduce visual noise.

3 PACE OF ANIMATION
Can the animation be slowed down, paused stopped, points made then the work continues? This will be harder to implement and will alter the fluidity of the work.
I am not keen on doing this because it forces and unnatural stop where the audio and visual need to be continuous and flowing.

4 VALIDITY OF USING THE WORK TO AID ESOL STUDENTS
Is the animated work the right medium to teach aspects of language to ESOL students? It might not be. Currently the work is too fast, experimental and frantic.
I need to be mindful of selecting the right words to be experimental with. For instance, ‘in’ ‘then’ ‘on’ ‘yeah’ would be better to experiment with than more complex words. This has been Barnbrook’s approach.

If the animations aren’t right for ESOL students where does this lead
me to next?
I think that working with ESOL and overseas students has helped me to focus on specific parts of oral language and has helped my research become clear. I now see that if I continue to work with this department the outcomes could begin to be too restricted. I will aim to strike a balance between function and aesthetics.

Weds 19.11.08
I presented the work to my work colleague today in an auditorium and had the session timed and notes were taken. There were a few technical hitches connected to switching programmes to view movie files, which I have now resolved. The pace of the work and titles sequence and contents were well received. The presentation was perceived to be in a well-ordered and logical framework. The words ‘handmade’ were queried, does this sound glib or could it be misunderstood? I have altered the text to read as I have adopted a ‘hands on’ approach.
My colleague found it useful to see my influences and understood the hierarchy
of the artists/visual communicators chosen. Useful references were suggested, ‘Ursonate’ by Kurt Schwitters (see web references) and Johnny Hannah (‘the man with the beautiful eyes’). These references are broad ranging from historical to contemporary and audio dominant to visually dominant. I have spent some time researching these artists and include screen shots and references. Concrete poetry was mentioned again, this is in my context files but I will include it in the presentation as a research topic.
Suggestions for future animations are to consider hand-drawn letter/writing from the speakers themselves. This could add to the authenticity of the work and personify the speeches.


Useful Urls for Kurt Schwitters Ursonate

http://www.ubu.com/sound/schwitters.html
http://www.schwitters-stiftung.de/bio-ks2.html
http://images.google.co.uk/imgres?imgurl=http://www.bbc.co.uk/radio3/cutandsplice/media/ursonate2_205.jpg&imgrefurl=http://www.bbc.co.uk/radio3/cutandsplice/merz.shtml&usg=__HJqHa8pSG6rL0VpjjS3Xz7XuLsI=&h=205&w=205&sz=7&hl=en&start=2&tbnid=YsZHoIPczN5rZM:&tbnh=105&tbnw=105&prev=/images%3Fq%3DUrsonate%26gbv%3D2%26hl%3Den%26sa%3DG
http://uk.youtube.com/watch?v=gPKpX0bGqps&feature=related
http://video.google.co.uk/videosearch?hl=en&resnum=0&q=Kurt+Schwitters+Ursonate&um=1&ie=UTF-8&sa=X&oi=video_result_group&resnum=4&ct=title#
http://video.google.co.uk/videosearch?hl=en&resnum=0&q=Kurt+Schwitters+Ursonate&um=1&ie=UTF-8&sa=X&oi=video_result_group&resnum=4&ct=title#
http://video.google.co.uk/videosearch?hl=en&resnum=0&q=Kurt+Schwitters+Ursonate&um=1&ie=UTF-8&sa=X&oi=video_result_group&resnum=4&ct=title#
http://video.google.co.uk/videosearch?hl=en&resnum=0&q=Kurt+Schwitters+Ursonate&um=1&ie=UTF-8&sa=X&oi=video_result_group&resnum=4&ct=title#
http://uk.youtube.com/watch?v=4JZfONAWMWg&feature=related
General typography (youtube ref)
http://uk.youtube.com/watch?v=4gzDgj5MFGY&feature=related

Reflective writing November

11.11.08
Continuing from the previous reflective writing, following is a list of preparatory questions for a linguist/lecturer Alan Patterson (ESOL)
Before the interview, discuss a broad overview of the brief ‘Typographic Conversations’ Exploring the relationship of the typographic representation of oral language.

Are there other conventions to mark intonation and word stress?
Who are the linguistic pioneers within this field of study?
Within your curriculum, is slang and everyday language addressed?
How much or little do your students know about British culture?
What variety of materials are your students provided with to help their learning? i.e. books/internet/audio/TV/video/podcasts etc.
Approximately what percentage of the student’s time is linked to the printed word (text book)?
What percentage of the student’s time is linked to audio work?
What percentage of the student’s time is linked to mixed media?
In your opinion, what is the most effective method?
Is there a typical day or pattern of teaching that occurs in your modules?
What are common/major issues your students have with acquiring
a second language?
What is the difference between intonation and word stress?
Can you describe the student profile you are currently teaching (cultures,
ages, ethnicity, nationality).
Do you have a particular area of specialism within linguistics, what about your colleagues?
Can you see parallels between typography and oral language?
We only listen to 7% of the contents of speech, the rest is tone of voice…discuss!

REVIEWING THE WORK
Which parts of the animation do you think will help the students to learn English?
Would printed supportive material help the student to capture the message?
Are there parts of the animation you think might hinder learning?
Can you see this work fitting into a module or during an induction/introductory phase?
Having written a varied scattergun approach to the question, I will edit the questions to a more focussed set of key questions. I will title the questions and cut them down, especially any that are similar. I have realised on my
MA journey that I have not always edited work and thoughts and this leads
to confusion and frustration for both parties. I am also aware that I have
to switch onto a different part of the project and come back to this to gain clearer perspective. So, I will go back to the PowerPoint amendments.


12.11.08 Preparing for your Presentation (PGC phase)
Notes from lecture at NTU (Stuart Hodges and Frank Abbott)


1 Why we need to present the work.
To disseminate our practice/treat it as a professional ‘pitch’/learn about other’s work/assessable component

2 Tips for the presentation
Keep it short/image based with supportive text around key themes/practice with colleagues/have a key point you keep to/keep it simple

3 Learning outcomes
1 articulate your project proposal to your peers (presentation)
2 illustrate the difference between your methodology and methods in your subject area
3 demonstrate your ability to research and analyse project (check this!)
4 show you have understood where your work fits in a broader context (social, technical, cultural)
5 Where is your work sited? (see above)
6 Look back at last years work, make some conclusions and then project forward to what you aim to produce (and how this has changed)
7 show how you have organised your time, have you managed your time appropriately?
Method:
How you have gained your research and processes e.g.

Primary research interviews and audio Recordings/ Creating animation/analysing research/reflective writing/analysing audio.
Secondary: theoretical research/Galleries/Design and animation events/Lectures

Methodology:
Methodology is concerned with the overall broad approach to your project. An example of my methodology has been making work based on analysing audio, testing it on a specific audience and analysing different methods to analyse audio.

4 Skills Qualities Attributes
Confidently debate your project/reflect on peers’ work/show research skills/apply subject skills/demonstrate time management skills.

5 Submission requirements
Written report (review of research question, use of variety of methods)
Presentation (burn onto CD)
Print out hard copy of the presentation
Learning agreement (proposal) (Plan for the future, clarify your objectives)
Body of research (sketchbooks/maquettes/prototypes/journal/diaries/blogs/cd/harddrive etc)
clearly labelled for assessment with name/pathway

6 Where have I been?
Life/work/experience – your critical review as a maker
Identify strengths and growth areas
What are your objectives, how will you get there?
Skills development/timeplan/resources/action plan.
Use assessment criteria to evaluate your work

7 What to expect
Pass or referral/written feedback/feedback tutorial (no % marks)
The feedback tutorials will provide you with specific comments
at this point to help you with future work.

8 MA culture blog
Ensure you check the blog for relevant events, this is the MA course information (not an addition to it)
http://ma-culture.blogspot.com/




14.11.08
I have added in more sketchbook images for the presentation to show working processes in a looser way (less edited). This will help to communicate ‘handmade’.
Three tests of talking aloud with the presentation have led to further amendments.
I have reduced text on the slides and emboldened type to help my speech. I have also omitted 2 films (Early Delyse and Barnbrook) as the talk was going over by 5 minutes. There are 2 more tests I will do with my partner and a work colleague who will give me objective feedback.
The separate films have been numbered to help synchronise the presentation. I will print the slides as a small series for my 2 tests to gain written feedback.
Other aims for the next week are to continue with dope sheet and analysis of audio transcription for pre-production of ‘Ken’ and ‘beach’ animations.
It is a difficult period of work, as I feel that I am waiting for the PGC phase to shift in order to allow me give my full attention to my project. In short, it is looming over me! My usual way of dealing with this is to tackle the work early then keep amending it- I have been doing this since August, so this stage has over-run in my view. I need to recreate a realistic timeframe for the next series of work.
Despite tutor advice to not worry about this, I do not work effectively without structure. I will be able to relax more if I can reach goals that are attainable also this is a required part of the learning outcomes.

Reflecting on reading

Tuesday 4.11.08 – Reflective writing

Having read ‘Talking Voices’ and reviewed the transcription of the ‘beach’ and ‘Ken’ audio I have started to apply my findings directly into the transcription.

I have spent more time analysing the words and how they were said and have utilised transcription conventions. It has been interesting to revisit the audio after a long break. As I applied the linguistic symbols I realised that there were small parts of the audio I had omitted or misheard, even though the recording was so familiar.
Another difference in my approach for this series of work is to include the narrator (my voice) and not ignore it. The main reason for this has been reading and reflecting on the importance of the interaction of one voice with another. I have recognised that the personal interaction and intertwined dialogue is inseparable, there is a subtle dance between interviewer and interviewee, on cannot exist without the other.

Scollon believes the following;
“As musicians use the term, ensemble refers to the coming together of the performers in a way that either makes or breaks a performance. It is not just the being together, but the doing together.” (p.19) Tannen, D Talking Voices (1989) Cambridge University Press

This research has opened up more directions and themes to explore relating to typography and language. Increasingly, details within speech and patterns within dialogue are becoming more apparent. I am also aware that the study of language in relation to typography is limitless and has proven to be a rich and engaging subject that will sustain my research beyond the MA.

I was not aware, in the field of linguistics, that symbols to express intonation and emphasis existed.

Examples of these devices are as follows;

. indicates sentence final falling intonation
, indicates clause
?! denotes exclamatory tone
CAPS reflect emphatic stress.

The transcription conventions could appear in the animation almost as a faint blueprint. However, in my opinion changes in voice quality by the speaker can be reflected directly by type scale, colour or composition more clearly than including the visual clutter of transcription conventions. This thinking is also echoed in a similar comparison by Tannen.

“ writers used print conventions to identify dialogue, speakers had even more effective inexplicit means to do so: changes in voice quality and prosody which marked entire utterances as representing, literally, a different voice.” (Tannen, D (1989) p126


In terms of process, I have redrafted the PGD presentation and am cogent that elicitation needs to take place. With this in mind, I have organised a meeting with ESOL (English for Speakers of Other Languages) to review previous work and discuss the merits of showing the work to a small group of students for their reactions and feedback.