Monday, 20 February 2012

Why can't I find a decent list of different wiki technology out there?

So imagine I'm an educator who wants a list of wikis and their pros and cons. I'm thinking from a teaching and learning perspective here, so I'm wanting to know what type of wiki would be good to get students working on a collaborative textbooks, to create their own wiki on a text or perhaps even for staff to collaborate on something. Google isn't my friend here though because any search for "Educational wiki" or "list of teaching and learning wikis," or even, "wiki engines and types for teaching and learning," tends to give mostly links that only list wikis already created by other people that could be used as a resource rather than resources which could be created and used by learners. I suspect this is something to do with the fact that search engine results largely cater for consumerist behaviour, rather than a comparison of the teaching and learning merits of various tools. It's all a bit too meta for google search I guess.

This wiki entry from EdutechWiki, in the section on "Wikis in education" has the comment: "this needs more work ! - DSchneider 22:07, 12 June 2006 (MEST)" Well, I for one definitely agree with DSchneider but also noted that he made his comment back in June 06. Hmmmm. Perhaps I need to delve more deeply than just two pages into a few different google searches. Unfortunately I need to get onto the next job on my list...

Sunday, 9 October 2011

I'm not a blogger

It's been a long time since I actually wrote anything postable. Anyways, the following sentence probably needing to be taken out of the article I was writing (it wasn't really relevant) but I wanted to put it somewhere, so here it is:


Personally, facebook drives me completely nuts. It’s an excellent example of a once simple, clean and easy to use application made turgid, horrible and completely unusable by its spiralling popularity leading to designers trying to make it the favourite application of millions of people worldwide who (and here’s the problem) all have different ways of using and understanding software.

Monday, 18 April 2011

Excerpt from "Losing Tracks"


The sky above the Strip was porous and soaked up the glow of the neon. Even at night it seemed grey. Hairn sighed as his eyes adjusted from the darkly lit club, his voice trailing off into a silent exhale. Fingers closed on the yellow derm in his pocket, actions and consequences flicking through his mind. He sat down on a step across from the metal door at the back of the club.
He extracted the derm from his pocket and pushed down on the plastic casing, the short needle on the end piercing a vein on his hand. After a few moments the derm withered and he let it fall to the ground, its steady narcotic drive making a sure path towards his brain.
He sighed again. Recently the trips weren't as exciting as they'd once been. He wasn't sure whether his body had begun developing a resistance or if something had changed in his head.
The metal door swung open and clanged loudly against the smooth duracrete wall, a skinny, trashed-looking girl stumbled out into the alley, limp brown hair pressed to her forehead and face. Hairn thought her arms looked spiderly. She wasn't visibly hunched or holding her elbows up but somehow her arms still looked like spider's legs. He decided it must be the way she was moving them.
Regaining her balance she turned. Hairn assumed by the way her face had twisted into a disgruntled snarl that she was about to abuse whoever had decided she was either too wasted or didn't look on enough to belong. She discovered though, that she had missed her opportunity.
“Assholes! Give me the boot will ya. Izza hole anyway, aint gonna get any more of my good...”
Hairn was being fairly quiet but she paused then and turned from the unsympathetic door. Glaring at him, she muttered something unintelligible and stumbled away, eventually reaching the Strip beyond the end of the alleyway where she was absorbed by the flurried press of pedestrians.
Watching the pulsing flow of bodies consume her, Hairn pondered why some people bothered expending emotional energy on inanimate objects. It was intriguing and confusing to him that these individuals appeared to have a disposition or mental metabolism that made them emotionally volatile while they were using.
Whenever he partook – which was regularly of late – he found he tended to become thoughtful rather than aggressive and reactionary. Even the few times he'd done a jet and the famed warmth had begun to radiate, shift and soak him up he noticed that instead of his mind becoming less active in favour of physical action – as others reported theirs did – it usually did the opposite. He found himself not at all obsessed with the intense desire to socialise. Instead his mind worked overtime calculating all kinds of trivial variables; people, their behaviour, appearance, decisions, images, lights, textures, causes, aesthetics, shapes, whatever took his fancy.
In his discussions with other users he became aware of a tendency many of them had to over-dramatise the effect of narcotics, going so far as to pretend the negative effects weren't a big deal and that the positive stuff was quasi-spiritual. The deceit in this didn't surprise Hairn. He still found himself wondering whether or not there were any others out there who also suffered from over-active, regularly melancholic thought processes while fried.
Realising his reverie had led him to his frequently adopted position of staring vacantly at the ground, Hairn looked up. The dim alley was still deserted save for a couple of impressively-sized cockroaches who were cautiously making their way towards him from the pitted corner of a rusty dumpster. 
He'd heard stories of wasters falling asleep in alleys such as this, their softer appendages falling prey to opportunistic roaches before they were able to either move themselves or some passing stranger took pity on them and kicked them onto a doorstep. The large cockroaches common in the city didn't have an ability to climb vertical surfaces making their foraging chances slimmer than that of their smaller cousins. Their activities branched out beyond scavenging however as their increased size gave them new options when it came to eating pieces of live prey.
One of the advancing cockroaches stopped. It had apparently decided the movement of its intended meal made it no longer viable while the braver of the two continued its measured advance. Sitting as still as he could - which wasn't all that still given the yellow - Hairn waited until the cockroach touched the end of his boot. As the inch-long mandibles started to quiver, the roach's front legs inquisitively reaching out, Hairn flicked his foot, flipping the roach onto its back and in one swift movement crushed its head underneath his heel.
Despite the violence that had been a common part of his life to date, something about the sound of the cockroach's demise made him feel oddly sympathetic and disgusted at the same time. He looked away, frowning as he kicked the carcass back towards the dumpster.
The yellow was starting to permeate his spine now, making its way down to his legs and Hairn wondered if it was going to be a dark, busy mental trip or something mellow. He wasn't pleased to discover that his mind had shifted to his most recent girlfriend.
He liked to make up romantic reasons why Kara had left him. The mental instability – on his part – became too much for her. He was too dark and melancholy and she couldn't hack it and his favourite excuse of all, his life was just too dangerous and even though she'd known that from the beginning, eventually it all just got too real.
To some degree, Hairn suspected, all of these things were true but having always been a dogged analyser of variables – especially ones concerning people – he had found he couldn't quite ignore the host of small differences in her manner.
Her greetings when he opened the trap door to their small apartment, the corners of her mouth hinting at derision. Listening to his stories and analyses of experience – she had stopped tilting her head to the side in quite the same way when he spoke – being interested now a chore. Even the time between facing each other in bed and rolling over had become progressively shorter. Her turning away sometimes accompanied by a quiet, hopeless sigh.
It wasn't just her realisation that he was a coward and not as intelligent as he appeared that led to her ditching him though. Ultimately, he knew she'd left him because he was a loser. Not in an obvious way but after a while a host of small things seemed to compound, the end result in his relationships always the same.
He'd expected that particular realisation to make continued using easier, but life being the forever fucked-up and surprising mess it was, he actually found justifying his habit harder. Soon he'd stopped bothering with any justification at all.

Hairn grunted and pushed himself up with a sigh that tapered off into the cold, wiping his hands on the rear of his worn military fatigues. He looked up. The sky was crawling. The grey looked like static but had a biological quality, a strange method of movement more like seething than random pixels.
Walking quickly towards the end of the alley and out into the street he was soon absorbed by the late-night crowd of Nigh-high. He moved aimlessly. Soaking up the mood of the chemically-charged mass of people, ignoring the deep, messy rhythms emanating from competing clubs on the Strip.
Finding a waist high duracrete wall that once separated a garden from the street – now a thin dirt strip and a blank wall behind it – Hairn squatted on his haunches and picked out random individuals. A green-mohawked teenager, leather-clad but baring tattooed shoulders fingered a monoknife hanging at his side from a cord. A suited East-sider wasted on something – probably shizz given his leering wide eyes – stumbled, regained his footing and stopped to wipe some blood from his bright blue collar. Hairn was always intrigued at the number and diversity of people that frequented the Strip, especially given its reputation for quick-wired violence and drug-phased brutality.
He rubbed his eyes and resisted the urge to scratch his upper arm. It was best not to entertaining phantom itches while on yellows. Guess we're all alike in some way, some loose connection somewhere, a messed up neural pathway increasing the desire, ignoring the consequences.
Try as he might, Hairn had never rationalised or adequately described the addictive combination of depressive, self-destructive behaviour, Nigh-high and narcotics. It wasn't just the Strip, there were places less busy than this that he also found exciting. It wasn't just the drugs either. Hairn had gotten a kick out of being here before he'd started using.
Sometimes he even wished for a tragic event in his recent past so he could have a clear reason for his present fast track to a crash, a romantic slide into oblivion. Nothing that had happened to him over the past while seemed sad enough to really earn sympathy though. He'd long since recognised the tragedy lay somewhere in himself.
The first part of Kara's recent revelation that Hairn was a loser had been when she'd found out his story of being beaten by an alcoholic father was just that, total fiction. He chuckled, despite the wave of self-disgust that always came when he remembered that particular, sad little deceit.
'Well, this is certainly turning out to be a shitty trip.'
Hairn stepped down from the wall. Stretching his legs, he decided to add some alcohol to the yellow and started towards, The Slum Bar, an old haunt from slightly better days.
 

Acer Aspireone woes update

And wouldn't you know it, the awesome reinstall Windoze partition that the lovely Acer people put on my netbook doesn't actually do anything to the MBR Systemreserved partition. Like restore it! Or anything! So I've now reinstalled over my fully updated and OEM bloatware stripped copy of Windoze with the horrible default install and my netbook still won't boot into the Windoze partition. Maybe I'll just nuke whole hard drive, repartition and just use Ubuntu. Back to a single OS. Unbelievable. Well, not unbelievable really. I suppose it would be too much to ask to actually have some helpful options in there, like a command line/dos prompt option. *sighs*

Final update in the ongoing saga of the netbook:

20 April. It's stormy in my head! When will the voices of the dead  files leave me alone?

Well, things turned out good with the netbook in the end! Went to find myself a windoze 7 starter .iso, managed to also find some instructions on how to make my usb flashdrive bootable in XP and nuked the whole damn netbook! I'm even making this entry on it. It's got Ubuntu and windoze 7 on it and I won't ever put Android near it again. Not that it was really the Android distros fault I suppose, I should have read more carefully that they didn't bother to get GRUB to actually look for any other partitions when installing the damn thing.

To add a final note of happiness, the raw, non-Acer OEM install of windoze 7 starter is way better anyways!!! Only 35 processes, even after I added avast and malaware. The old, horrible Acer OEM version of windoze 7 had 69 processes!!! And that was after I stripped all the bloatware out I could find and used autoruns to ruthlessly purge all useless startup crap. Given the fact that the Acer recovery utility turned out to be totally useless, I also got rid of its partition and now have 15 gig or so of extra space. Nice.

Lesson: OEM bloatware installs of windoze really, really suck. Even more than I initially thought! Despite the pain of this lesson, I'm glad I went through it and have a nicer, cleaer install of windoze.

Lesson 2: Be careful what partition you're over-writing with GRUB! Fixing a windoze MBR on a laptop is much harder than I thought it would be. Sometimes staring all over again and reinstalling is just easier...

Sunday, 17 April 2011

Computers make me rage!

I really should be working solely on finishing my workshop for the IFTE English teachers conference but I have this HUGE problem with leaving new toys in an unworking state.

I was pretty happy with my new acer aspireone 522 netbook, of course I decided to install Ubuntu 10.10, planning to use the GRUB bootmanager. Nice one! 10.10 installed nicely and GRUB being as cool as it is discovered the other Windoze partitions (both the restore partition and the actual windows 7 one) and added them to my bootloader menu.

BUT then I decided to slap a copy of Android on there too. I thought it would be pretty cool to have 3 OSs and seeing as the android-x86 crew were using GRUB too, things should be sweet! Well, things would have been sweet if I hadn't let the Android distro do it's own job of reinstalling Grub. Suddenly all my boot entries were lost! Oh noes! Ubuntu and Windoze are gone. I can only use Android!

I can solve that, I thought to myself, I'll just find some instructions on reinstalling GRUB and it will find all my OSs in their various partitions. Now, here's the problem with letting boot managers do their own thing and having OEM copies of OSs already installed on your spanking new netbook. I assumed (foolishly it would seem) that the small sdb2 partition would be were GRUB had originally installed itself. After spending stupid amounts of time downloading and messing with the completely unhelpful rescatux I eventually I reinstalled GRUB to the partition from an Ubuntu live CD on USB flash drive via a bunch of crazy mount commands, some interesting if and do statements and other bits and pieces. Of course, it turns out this small, innocent partition wasn't the main boot partition for GRUB at all, it was where the factory OEM install of Windoze 7 puts it's MBR!!! OMG! I've just killed my Windoze 7 master boot table!

I suppose there's actually a good reason for putting an MBR in it's own partition, like it won't get fragmented, it stays near the start of the platter and all that bollocks but unfortunately, looking at all those partitions in gparted I just assumed sdb2 would contain my GRUB bootloader. Now I'm not only missing the bootloader entry for Windoze in GRUB, I can't even load it anyways! Typically, I didn't actually discover this until after I reinstalled Ubuntu 10.10, GRUB did it's magic again and on selecting the Windoze 7 bootloader entry I was given a bunch of nasty looking errors.

When it came to trying to restore my Windoze MBR, things got even worse. Obviously it would be too much to assume that the Acer recovery partition would actually contain helpful options, like repair Windoze, restore MBR or even give you a command line to run fixmbr from. But of course, it doesn't. The really helpful people who designed the OEM recovery for the Aspireone, in their infinite wisdom, decided the only options anyone would actually need would be 1) reinstall Windoze completely or 2) reinstall Windoze completely but ohhhhh, we'll also backup your user files to C:/backup. Good one people. You can see why I love hardware manufacturers doing fancy things with their OEM versions of Windoze.

I tried a few other tricks here but sadly the only other PC I have with Windoze on it, is running Windoze xp 64bit which can't format usb drives as bootable, which means I can't get a windoze recovery loaded to fix the mbr! Not to mention the fact that ms-sys doesn't appear to exist for Ubuntu 10.10 and lilo refused to mbr my sbd2 partition (sdb1 contains the restore files for windoze). Well, after all that (what a mission!) I've eventually admitted defeat and am now watching Windoze 7 reinstall itself. There goes all my time spent stripping away all the USELESS and INTRUSIVE software that came with the netbook, not to mention all the terrabytes (small exaggeration there) of annoying Windoze updates.

I so miss the old days when you could install your own OS, partition your hard drive however the hell you wanted and there was no such thing as annoying-as-hell OEM bloatware that fills you system tray along with foolish laptop/netbook manufacturers configurations of your hard drive. Sure, people like to bag Windoze 98 and especially ME but crikey, at least back then you didn't have to cope with the crap that hardware manufacturers load into Windoze and then deal with supposed recovery options that don't actually do anything useful.

And finally, to make the whole thing a completely pointless exercise, the Android distro didn't work anyway! Wireless throws an error whenever I try to turn it on and the PC doesn't come out of standby mode. I even tried the generic distro, one for eeeeepcs and another for spartans or some crap. I'm giving up on computers for a couple of days I think, judging by the gratuitous use of exclamation marks in this post, I suppose it's fairly obvious I'm fired up about the whole thing. I think I might have to get some PS3 time in after this damn workshop tomorrow. Speaking of which (and I talking about the workshop prep here, not playing PS3) I should probably get back to it....

Wednesday, 13 April 2011

Post-Apocalyptic and Dystopian Landscapes



I have vivid memories of watching the gripping 80s film “Red Dawn” when I was pretty young. It was fairly late at night, probably one of those Fridays when there wasn't a teenaged party to go to and I remember being thrilled by Charlie Sheen and Patrick Swayze facing up against the Cuban and Russian attackers threatening the American way of life. While I find it a bit harder these days to avoid falling asleep if it's later than 00.00 I still get really wrapped up in many aspects of novels, films and games – in particular, a certain aspect of post-apocalyptic and dystopian texts that makes them stand out from other texts types. I also remember watching “Brazil” – all that crazy ducting and strangely behaving characters - and being interested in and entertained by zombie texts which have since, of course, become very popular. I would have been about eleven when our teacher read all of “Z for Zachariah” to us. I guess it would have been on a Friday afternoon and it was the highlight of my week. Reading was an avid pastime at home too, as were computer games. Not much has changed. Some of the early top-down post-apocalyptic games really got my imagination firing and I haven't even played close to most of them. All the Fallouts, X-Com games and even good old “Twilight 2000”, what!!?! Wikipedia doesn't have this in its list of post-apocalyptic games! With a bit of work, I'm pretty sure I can remember all of the books I read, films I saw and games I played as a kid. Looking back and considering my present reactions to texts I often wonder why some post-apocalyptic and dystopian texts have a particularly intense appeal and why others are just OK.

Something about messed-up futures have always fascinated me. It's worth pointing out here than I'm going to widen a few definitions in this exploration. I'll go for post-apocalyptic as meaning: after a world-mashing disaster but also during and then after the relevant disaster. Another consideration with PA texts - my thinking tends to include (as it goes in many of them) almost apocalyptic events – at least every part of the characters' context and lives have been effected so for them it still pretty much equates as an apocalypse. And as for dystopian texts, lets go with: a future that might or might not look perfect but is actually really crappy. The dystopian text may also include things like oppressive governments and technology gone awry but a primary defining factor is the overall grimness of the setting.

Now that the definitiony bit is sorted, I'll briefly detail the aspects of the PA and dystopian fascination that I won't go into in any detail. Part of it obviously comes from the plot, a really good text needs some tasty plot at some point, even computer games imo; the characters, whether they're convincing, face challenges and either do or don't undergo some kind of compelling change; and a varying amount of the usual goodies, scifi technology, survival (and -ism) violence and hopefully some intriguing discourse and discussion. This is all in the text stuff though (I think there's a technical term for that) but what about the out of text stuff? Well, the big one there (that I think it is particularly relevant to PA and dystopian texts) is the escapism argument. It seems to crop up a lot with computer games. Dylan Horrocks informed our students a couple of weeks ago, in a fascinating presentation on comics, that this argument used to not only be levelled at comics but also books! While the escapism argument doesn't really work much for me (I've always thought that my primary motivator is that I like doing stuff that's exciting - surfing and computer games score well here) a part of the appeal of post-apocalyptic texts is imagining myself in these situations. Would I go to pieces and hide in the corner gibbering or perhaps in a more organised fashion in an underground shelter or stocked-up survivalist hideaway? Or would I pick up my shotgun (I don't own any firearms irl but I'm sure being the resourceful chap I like to think of myself as, I could find one somewhere) and mess up any fools before they messed up me, or is that me up? At any rate, in my younger years (and now) a part of the appeal is certainly about wondering how far I could and would be willing to go to survive in a whacked-out, messed-up future full of gangs of spiked shoulder pad wearing, metal pipe wielding maniacs.

All that stuff is kinda obvious though. There was another appeal to PA and dystopian texts that wasn't just about context and situational connection. I'd lived vicariously in plenty of other texts before and there was another attribute that many of these PA and dystopian texts had that I hadn't experienced elsewhere - something that made them both appealing and wondrous. I'll stop for a moment here to describe just a few of my favourite moments in PA and dystopian films, novels and games. As Jed and Robert look down from the Rockies, (every mountain range in the States is the Rockies to me – apologies to all those with a more secure geographical knowledge) Eli stands on a shattered overpass with the vast expanse of some unplaced wasteland stretching out beneath him, Gibson puts us above Chiba City imagining a world controlled by mega-corporations and technology gone bad, I wandered a blasted Europe (or America, I forget which) top-down in Twilight 2000 (I bought the paper and pen RPG after playing the computer game) or explored the wastes, first in top-down in Fallout, Fallout 2 and Fallout Tactics (the sound of banging corrugated iron still makes me think of post-apocalypses) then in first person as the wanderer in Fallout 3... I could go on and on here. I was aware, if only vaguely, of another omnipresent character that some post-apocalyptic texts have and others don't – the landscape.
Novels, films and games all have their relevant methods to develop landscapes. And by landscapes I mean anything relating to physical setting, in particular the literal landscape (land) and also urban environments along with the interiors of buildings and other enclosures. Despite the variance in the ways these mediums express landscape in PA and dystopian texts (the language they use) the effects on me as a reader were often much the same. Regardless of medium, the really good ones often tended to evoke a feeling not exactly Déjà vu but something with a definite sense of a 'hinge,' something in the language that evoked a partial memory or fragment of an emotion from a memory that was relevant to what I was reading. Possibly the process was like those times I'd visited a new neighbourhood or place as a kid (perhaps they were all urban environments – I can't remember) and found they evoked a strong negative reaction of some kind, impossible to articulate but nevertheless, identifiably bad. The hinge was much more vague than a straight-up: oh that smell reminds me of the streets of Bali, or: golly, the way the ocean moves like that - those heaving slabs look a lot like the waves down at Purakanui, or even: that song reminds me of that night when... They were were not so much a direct connection with a past memory but more a connection with a fragment of memory, impossible to ascertain where exactly it sat or what the original event was. Lengthy descriptions (via words, shots or game environments) or regular and relevant interjections from the landscape can evoke these less-specific connotations in a way that keeps the reader in the setting (rather than letting their own concrete memories take over) and through hijacking or utilising a fragment of the reader's past simultaneously forms a new emotional response. A response consisting of an intriguing combination of the memory fragment, the current action and setting in the text and the style in which it was described. They were also usually subtle enough to not distract from the other important action and details but strong enough to be an identifiable response that wasn't as present for me in other kinds of texts. There was something about many of the scenes from Bladerunner that harked back to something I'd experienced in the past, perhaps even something from another text, that made me feel like I'd been somewhere like that place before. It's even gotten to the point where occasionally as I'm standing in some real-life wild environment I'll begin to think of some random scene from “The Postman” – a pretty average film in some ways but with some amazingly expressed landscapes. Wholly unlike the book, apart from the beginning, but with cinematography that evoked some amazing responses – a living landscape that permeated the entirety of the text in a variety of different physical locales across the course of the film.


There was and still is something else going on with reader response for me in PA and dystopian texts too. As well as evoking emotional memory fragments, a really cunning text also seemed to be able to appeal to my memories of the physical presence of locations and settings. Again, this appeal wasn't so grounded in concrete memories of places that were directly recognisable - indeed I was never particularly interested in either adult or teen fiction that was set in a contemporary and geographical locale that was a place I recognised directly from real life. Along with the unexciting nature of settings too close to real life, the action and events in these texts often lacked the excitement of PA and dystopian texts and more often than not I would find myself not being able to relate to someone else's version of a place I knew with some degree of familiarity. I didn't resent PA or dystopian texts on the other hand because they re-created a messed-up futuristic version of landscapes that while they weren't generally recognisable settings I knew, there was a hinge or some kind of echo in there I recognised. Blasted wastelands that looked a bit like deserts I'd seen in other films, the central North Island's desert road or the road to Motunau; decaying cityscapes that reminded me of abandoned or near-abandoned industrial zones and those pictures of a deserted Pripyat and visions of cyberpunk mega-cities looked similar to buildings and built-up areas I vaguely remembered being in. There was a mix starting to form here – a combination of real and fictional landscapes blurring in memory. “STALKER” (the game) got me interested in Tarkovsky (I'd already heard his name after hearing “Solaris” was based on an older film by a Russian dude) and I managed to sit through all of Stalker (the film) in one go just because of the fragmentary 'place' echoes evoked by the various settings in the film. I'm pretty darned sure I haven't been to any of the locations used in the filming “Stalker” but due largely to the cunningly crafted scenes and depictions of the landscape, they certainly linked (I suspect both consciously and subconsciously) to memories of places I'd been that were like the settings from the film.

Novels, films or games require this connection with the reader's past experience to create a strong feeling of place and crafting the language in such a way so that it does this is often a deliberate process. While this isn't really news to anyone, being aware of the technique and doing it well are very different things. In really effective post-apocalyptic texts especially and some dystopian texts (Bladerunner comes to mind here) the landscape permeates the whole text and consciousness of the reader so acutely that regardless of the medium or engagement around characters, ideas or plot, the reader can't help but imagine the various settings of the text as if they were there. While this effect isn't just confined to PA and dystopian texts (I have vivid memories of staying up all night with a friend to play Another World on his Amiga 500 – perhaps one of the best games ever for landscape ambience) the permeation of landscape through an entire text is a must-have imo in any decent PA or dystopian text. It can work well in all three types of texts too. The inescapable greys, browns and even more versions of grey in the film adaptation of “The Road” made me nearly want to expire along with the land just as the regular interjections of the landscape in the book wouldn't let me forget how sick the geography had become. I'd wager this permeation is a difficult thing to achieve and simply devoting large passages of text to describing landscapes won't necessarily achieve it. It is also, in my mind, quite different from imbuing geographical settings with symbolic meaning – a great technique if you can manage it but one that is vastly different from developing landscape as character. Beautifully crafted passages (there's a nice example at the beginning of “England” by Richard Jefferies) are great for articulating a landscape and associated emotions accurately just as working to develop landscape as a symbol is super for informing a reader of important ideas though neither of these techniques effects the reader in quite the same way as a text in which the landscape permeates the entirety of the language. The landscape isn't just a place where things happen, it's an emotive lever, an experiential device that doesn't speak obvious, specific meanings but tweaks the reader in a quite different and sometimes much deeper manner.

Landscape as character then, seems to consist of two areas that involve considering reader response and experience and one that doesn't. Evoking fragments of emotional memory and linking to memories of locations from the past (both real and fictional – the lines seem to blur over time) both take into account reader response and experience. Although planning for this might seem fraught, I doubt any of the authors (I use the term widely to refer to any creator of a text) of the really awesome texts planned the landscape in them specifically for me. I imagine the reason they appealed so much is that the landscape was a character or something tangible for the author to begin with. Probably their personal experiences and relationship with landscapes (both real and imagined) was developed enough so that the landscapes in their texts were able to achieve both the evoking of emotional fragments and geographical memory in the reader -and- that they were able to permeate the entire text and consciousness of the reader.

There are plenty of PA and dystopian texts that don't achieve this effect too, and comparisons here might assist in illustrating what I'm on about. I enjoyed “The Hunger Games,” by Suzanne Collins - it had some compelling characters who developed in the course of the text, a really interesting setting (at least politically and socially) and some engaging ideas. We've also had a really fantastic response from the students at school and have ended up buying a few hundred copies for our year 12 students. Check out WikiEducator for their collaborative textbook effort. For me though (and yes I know it's teen fiction but the criticism still stands) “The Hunger Games” didn't excite enough to make me want to read the next two in the trilogy. Despite all the great stuff in the novel, the landscape just didn't cut it for me – it didn't evoke any emotive fragments, geographical memories or permeate the text in the way it could have. Landscape was utilised nicely at times to develop the reader's understanding of the challenges the main characters faced both within the games and outside in wider Panem and to develop the vision of the controlling and oppressive Capitol. The landscape wasn't alive however. It wasn't a character that linked to other things from my previous experiences. One might argue that this could just be due to my less than impressive knowledge of American geography and simple fact that the places Collins had in mind when describing scenes in the novel were too different from those I'd experienced. Obviously it's difficult to engage with such an argument subjectively but when I compare the text to any of the others I've mentioned, the landscape in “The Hunger Games” as far as I could ascertain, really only served to further the plot – a serious problem in any PA or dystopian text.

It's not just a criticism of teen fiction either, some teen fiction I've read does it really well. “Unwind” by Neal Shushterman didn't really create landscape as a character to begin with but in last part of the novel in the aeroplane graveyard I really felt like I was there. Sure, I've never been to an aeroplane graveyard before but I've looked at them on google earth and something about the ongoing descriptions of the place resonated for me, definitely because of permeation and also, possibly because of some echoes against some fragment or past geographical memory. There's plenty of adult PA and dystopian texts that didn't create these effects for me too and many of them are films and games. Sure, I haven't been to New York before but I've sure seen a lot of it in films. “I am Legend” just didn't provoke any kind of spatial or emotional response from me for its landscapes. “Far Cry” did - the levels were well thought-out and varied enough to keep me interested even though the entire game was all set on tropical islands while Crysis, on the other hand, just seemed repetitive to me. After the third or fourth level, it started to feel like the same shit different sandwich. I'd be interested to hear whether anyone finds Crysis 2's setting in a PA New York does it for them and if the conversion of the game to a completely linear journey (thanks consoles! Not!) totally ruins it. Sure, films are linear but I think they can still develop landscape effects OK but games, on the other hand, rely hugely on non-linear play to help create landscape as character. But I digress, I'll get back to to finishing something I started a while back on non-linear games being awesome.

There's no doubt (at least in my mind) that all texts need to resonate in some way with their readers. Developing landscape as character through evoking fragments of memory (emotional and geographical) along with ensuring that the landscape permeates the text is an important way of achieving resonance with readers. Engineering this can be difficult just as over-engineering it can be disastrous. It is perhaps more obvious that this process needs to take place with characters and ideas but not so obvious with landscape. I'd suggest that landscape resonance through develpoing it as character is equally important as the more traditional concerns with themes and characters and even more so with PA and dystopian texts. In post-apocalyptic texts, a huge part of the appeal and potential development of ideas both for individual characters and the text as a whole, is the readers being able to identify just how messed-up the world has become. Exactly how different is the landscape from what we know now? Sure, the social and political environment is important too but you just don't get to feel them in the same way you do the landscape both in real life and in works of fiction, whether they're games, novels or films. To fully appreciate this context dissonance and then be able to properly utilise the lens science fiction texts have to offer for examining the modern world, a reader has to be able to compare what's in the text with what they know already and not just in a thinking way but also from an emotional response with a subconscious connection to geography and spatial memory. This comparison just isn't as effective when the reader hasn't engaged closely with the landscape and also compared that with what they alreadybknow. Sure, these comparisons aren't all about landscape. There's plenty of other cool things in PA and dystopian texts like the negative effects of technology, exciting turns of plot, interesting characters and the brutal violence and issues of survival just to name a few, but any PA or dystopian text that fails to develop landscape in its own right misses out on one of the core features of the type. While creating an immersive and evocative landscape obviously isn't the only necessary factor for a great text it's certainly a necessary one. I expect on a world survey of people who have seen “Red Dawn: and read “The Hunger Games” most would vote the latter as the better of the two. I would suggest however, that for a truly great text that sits in or between the labels of post-apocalyptic and dystopian, landscape as character is a vital consideration.

Tuesday, 12 April 2011

Writing hurts my head!

I hate the process of eliminating unnecessary detail! What makes some detail unnecessary anyway dammit!?? I spend a fair amount of time trying to drum into students' heads the rule that each paragraph should only have one main idea, knowing full well as I'd doing it that the concept of: "one main idea," is horribly flawed.

I hate getting rid of digressions when they're often the only thing that makes a paragraph interesting. The connections I didn't think would crop up in the exploration of an idea (both in creative and formal writing) that don't seem big enough to confine to their own paragraph not to mention the fact that separating them from the paragraph they occurred as part of would take something vital away from them anyway.

I hate writing something that at the time that seems really awesome - a bunch of ideas that felt like they made a kind of deeper sense or revelation (at least to me) - and then on a re-read seem turgid and overcomplicated.

Actually, my frustration is more likely to be from all those things combined along with the fact that I'm really tired and need to go to bed. Guess the now-not-quite-seeming-as-awesome-as-it-did-last-night piece on post apocalyptic and dystopian landscapes will have to keep until tomorrow. It really needs a tidy up. Either that or an excommunication to the unchecked depths of my hard drive. To save it from that date, someone (I suppose me) will have to go through and make a bunch of harsh judgement calls about which details are unnecessary and cull them without sentimentality or mercy.