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This is an old revision of ReadingDiagrammaticWritingBJR made by BonnieRobinson on 2018-03-25 07:44:14.

 

Notes on Diagrammtic Writing by Johanna Drucker

The subscript to the copyright/licensing information right away lets the reader know the content of this book is going to be different. The author is up to something by commenting on the actual text, placement, appearance of the simple copyright info.

The following page is another example of the text representing the content in a way. The two sentences are about the mutual relationship, and these statements are placed side-by-side, in solidarity against the white blizzard of nothingness surrounding them.
The sea of white continues on the next page
whiteness everywhere
again, finding ones way in a blizzard comes to mind. Then, as she wrote, the "defining" words appear - like a beacon of light - even though these words don't really tell us much. The content is lean, but the placement elevates them as important.

Lost again in white. When she begins again, she deconstructs the structure of the very text she's putting on the page. She writes about how we respond to certain stylings - but also how much of this is culturally programmed into the reader. Readers come with certain expectations. Readers from a western culture also feel differently than Eastern readers about things like symmetry and when/how to enter a reading space.

It's interesting how she forces us to remember the text, because of the expectation that it will pick up and continue later on...
The header on page 6 is meant to be ironic, I guess
not sure if that's the word
but the header does not capture the main ideas presented in the paragraph. The paragraph isn't really about how to use headers so much; it's more about conventions used to structure the paragraphs themselves; whereas the header on page 7 (Juxtaposition and (non)Parallelism seems to actually reflect how she's arranged the text on page 7.

The "less important" text she displays in small print on pages 8 and 9 is an interesting arrangement because even though it's not given a place of prominence on the page, the reader still wants to finish the text that was started on page 8 before reading the more prominent paragraph on page 9. I was willing to postpone reading the isolated paragraph on 9 to finish reading the fine print at the bottom.
The aside on page 10 describes exactly what I was feeling ReadingTheWhiteSpace of Islands. A bit of anxiety is induced by blank pages. However, when the reading is an assignment, and the reader has a lot of reading/work to do, the white also comes as a relief because it's one less page of work. So context matters.

Page 11 made me laugh because while we know, as writers, that the page is finite (except in Wikis!!!), we try to do all we can to manipulate the text we want to fill the page. When the writer has much to say, he/she will play around with smaller font sizes to get more content in. When a writer is struggling to meet that page requirement, the fonts will be manipulated another way to fill the space.

Hierarchy is again addressed on page 12. - She points out that visual hierarchy does not always translate to value. As she says, a snark footnote can undercut the argument of a long, sustained text block.

Not sure what's happening on 13. The juxtaposition here is confusing. The visual and textual hierarchies comment on each other. Does she need the footnote at the bottom? What's the purpose of this? I find this strange.. Actually, the aside on page 10 was strange too. I feel like she's telling us what we already know, so is that on purpose? Is this that affirmation Krug says we need when reading? Are we supposed to read her notes and say, "Oh, good. I got that. I'm reading this the "right" way?"

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