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The Art and Science of Transitions

Page history last edited by PBworks 12 years ago

In Chapter 3, "Blood in the Gutter," 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. 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 resonant transitions in our narratives, and, soon, in our definition arguments, as well. As we revisit and revise our writing and peer-writing, we can can find resonance if we get "between the panels." 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, and ideas. I look forward to further experiments that consider the implications of writing in and creating such granular, "hole-y" spaces.

Even when when inspiration is your 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 definition arguments, experiment with these 6 techniques for sentence level editing, paragraph-level revision, (re)contextualizing, and storytelling:

 

 

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? 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?

 

JanTwentyNine: rough draft workshop

 

the Cut Up Method

 

source: Scott McCloud's Understanding Comics Chapter 3

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