Delagrange "When Revision is Redesign"

She goes through her process to revise and publish Wunderkammer.

"This webtext for Inventio describes my response to Kairos' invitation for "re-envisioning," which I took as a provocation, a challenge to literally re-see and reimagine the visual and conceptual design of my argument"

argue by example for publishing scholarship about new media in new media. Are butterflies arranged by species? by size? by color? by geographical habitat? by medicinal property? Each arrangement is part of a different worldview, as is the presence or absence of butterflies in the first place.

My goal (with Wunderkammer), then, was to enact my argument—that the (visual) canon of arrangement, as represented in the Wunderkammer and further demonstrated in the assemblages of Joseph Cornell, is a heuristic for invention and discovery—by combining the visual effect of theWunderkammer as a physical space with the embodied experiences of designing (for me) and exploring (for the viewer).

"My revision/redesign started with the premise that the design experience must contain elements of building a Wunderkammer, and the viewer experience must contain elements of exploring one" ---- This reminds me of my process for the midterm. Lay out all my quotes, pick the best, assign images and colors, and then write the prose to string them all together.

trope: A figurative or metaphorical use of a word or expression

Limitations of using Adobe Flash: need the program, the know-how, the time to learn it, the Internet speed, the memory space, the compatible device and browser to view

best multimedia digital scholarship: Anne Wysocki's (2002) "Bookling Monument," Adrian Miles et al.'s (2003) "Violence of Text,"or Anna Munster's (2001) Wundernet

Importance of motion: "Cognitive research supports the assertion that the brain is less computational than combinatorial, working through homology and affinity in a search for similarities (Stafford, 2001, pp. 47-48, 139-142). It makes sense, then, that new knowledge can be generated by the discovery of meaning in unexpected juxtapositions, and that those juxtapositions will be stimulated by wandering and wondering through a richly furnished imaginative space."

Horse running/arrow and flower bloom and die/circle: "I designed the animation to explore time as a metaphor, and to visualize the conceptual difference between time as an arrow, forever streaming out behind us, and time as a circle, repeating cycles of birth, death, and renewal. But by explaining, I undercut my argument that visual arrangement, juxtaposition, classification, and even serendipity are in themselves generative, epistemologically rich and powerful. And by explaining, I also inhibit the opportunity for new, different, and equally productive interpretations of the images to emerge."
THIS -- let them come up with their own interpretation. do not tell people how to think.

"(Larry Leifer) argued that a key to innovative thinking and problem-solving is maintaining ambiguity for as long as possible. Designers must preserve ambiguity so as not to exclude avenues of thought or experiment that might later prove productive. Learners too must preserve ambiguity, as premature certainty shuts down the process of inquiry and exploration that often leads to more sophisticated, more interesting, more generative knowledge."

"Compositionists too have long believed that the act of writing is a mode of learning; it is the putting down of words on a surface that generates thought."

"First, I wanted to publish on the technological bleeding edge so that the article would be readable by browsers for the longest possible time."

"Techné is a making, and involves knowledge in the hand and knowledge in the head. Knowledge in the hand comes from practice and experience, knowledge in the head from reflection on causes and effects."