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Blood in the Gutter

Page history last edited by Boda 13 years ago

Blood in the Gutter 1

Blood in the Gutter 2

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Please read Chapter 3 of Understanding Comics, "Blood in the Gutter," where Scott McCloud takes us between the panels, where anything is possible: readers create meaning, writers suddenly change directions, and all involved instantaneously travel vast distances in time and space. Like sound synthesis, and definitional argumentation, the art of comics "is as subtractive an art as it is additive" (McCloud 85). When comic artists experiment with between-panel transitions to make available what art historian E.H. Gombrich called "beholder's share," a rhythmic space of participation is made available at the level of perception itself (see also MHG chapter 13, "Using Strategies that Guide Readers"). Texts become "animated," or come to life, when the readers, or "beholders" have space to work and play. Here, if we really want to get to audience involvement and interactivity, we can think of call and response traditions (In a sense, call and response is always happening, even when we read silently). Although we might not necessarily want to call this space the "gutter," remembering the elastic space between the panels in comics can help us find and create resonant transitions in our writing. As we revisit and revise our writing (1102: WTI/Earth Democracy), we can can find resonance if we get "between the panels." In this chapter, McCloud analyzes the gutter, and identifies 6 transitions common to most action comics. I find this attention to transitions to be helpful for telling stories, for creating new/compelling definitions, and other modes of writing to inform.  Keeping our readers (and the limitless potential of their imaginations) in mind will help us find the best transitions as we sequence our sentences, paragraphs, links, and ideas. I look forward to further experiments that consider the implications of writing in and creating such granular, "hole-y" spaces.

 

 

 

 

Even if inspiration is your primary guide, a certain amount of craft is needed to share your inspirations and ideas with others, so let's really focus on the art and science of transitions. As you select, re-order, revise, and remix each other's narrative/definition arguments, experiment with McCloud's 6 transiton types, and think of them as 6 techniques for sentence-level editing, paragraph revision, and for persuasive organization/presentation of information:

 

 

 

or any combination of the above. You could also ask: how does the paper you are editing transition from making a claim to supporting that claim? How does the paper you are editing move between moods, or between ethos, logos, and pathos appeals? There are, of course, other ways to imagine and navigate transitions between sentences, between paragraphs, and between ideas in an argument. Try to focus on the flow of information in your peer's writing. Can you see his/her sequence? Analyze/edit a peer's draft and your collective WTI draft with special attention to transitions. Write a transition.

 

5 October

 

Blog Prompt Nursery

 

Understanding Comics

 

Crowdsourcing Earth Democracy

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