Book•
The Routledge handbook of multimodal analysis
01 Jan 2009-
TL;DR: Theoretical and Methodological Tools for Multimodal Analysis as mentioned in this paper is a toolkit for multimodal analysis with a focus on the analysis of the transmodal moment.
Abstract: Introduction: Handbook Rationale, Scope and Structure Part 1 Theoretical And Methodological Tools For Multimodal Analysis 1.An Introduction to multimodalit 2. Different approaches to multimodality 3.What are multimodal data and transcription? 4.What is mode? 5.Parametric systems: the case of voice quality Theo van Leeuwen 6. Modal density and modal configurations: multimodal actions 7. Transformation, transduction and the transmodal moment Part 1 readings Par 2 Key themes for multimodality 8. Historical Changes in the Semiotic Landscape From Calculation to Computation 9. Technology and Sites of Display 10. Multimodality and Mobile Culture 11. Multimodality, Identity, and Time 12. Multimodality and reading: the construction of meaning through image-text interaction 13. Power, social justice and multimodal pedagogies Part 3 Multimodality across different theoretical perspectives 14. Multimodality and language: A retrospective and prospective view 15. Multimodality and theories of the visual 16. Multimodality and New Literacy Studies 17. Using Multimodal Corpora for Empirical Research 18. Critical Discourse Analysis and multimodality 19. Semiotic paradigms and multimodality 20. Reception of multimodality: Applying eye-tracking methodology in multimodal research 21. Representations in practices: A socio-cultural approach to multimodality in reasoning 22. Indefinite precision: artefacts and interaction in design 23. Anthropology and Multimodality: The Conjugation of the Senses Part 4 Multimoda Case Studies 24. Practical function and meaning: a case study of Ikea tables 2 The use of gesture in operations 26. Gesture and Movement in Tourist Spaces 2 The kineikonic mode: towards a multimodal aproach to moving image media 28. Multimodal Analytics: Software and Visualization Techniques for Analyzing and Interpreting Multimodal Data 29. Colour: code, mode, modality -- the case of.
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Dissertation•
21 Apr 2016
15 citations
Dissertation•
29 Jan 2016
TL;DR: In this article, a new proposition must be constructed, involving a new predicate to denote the complex event described by the respective propositions of the text, but at this point our knowledge of the world, meaning our frames, must be taken into consideration, since they determine what is perceived as normal in the world.
Abstract: ed cannot be retrieved (ibid.). For example Fact 160: “Motive refers to the offender's purpose in killing the victim” was deleted as irrelevant. The next rule is CONSTRUCTION, in which propositions are ‘taken together’ “by substituting them, as a joint sequence, by a proposition that denotes a global fact of which the micropropositions denote normal components, conditions, or consequences” (van Dijk 1980: 48). The macroproposition is defined by the joint sequence of propositions and denotes a more or less stereotypical sequence of events, “an episode of which it is conventionally known what properties and facts are usually associated with it” (ibid.). In the construction rule, “a new proposition must be constructed, involving a new predicate to denote the complex event described by the respective propositions of the text” (ibid.). However, at this point our knowledge of the world, meaning our frames, must be taken into consideration, since they determine what is perceived as normal in
15 citations
01 Jan 2013
TL;DR: The Sydney Graffiti Archive (www.sydneygraffitiarchive.com.au) as discussed by the authors is a collection of graffiti writing and urban art production in Sydney's inner suburbs to reveal how graffiti reshapes and transforms place.
Abstract: This dissertation intervenes in the material traces of illicit graffiti writing and urban art production in Sydney’s inner suburbs to reveal how graffiti reshapes and transforms place. Graffiti’s engagements with time, space and place are understood as a poetic process of revealing and concealing inscriptive marks to construct new or hidden narratives. This research has four overlapping goals and aims. Firstly, to map the unfolding and unfinished meshwork of graffiti traces in three territories of production – the exterior, interior and subterranean habituses of Sydney. Secondly, to photograph graffiti’s fragmented and differentiated displays in situ to provide formal texts for analysis and archivisation. Thirdly, to analyse the tensions and dialogues embedded in graffiti’s multimodal formations to understand how place is constructed through the graffiti in the three territories. Fourthly, to design a dynamic and agile virtual interface to reimagine graffiti’s place as digital heritage. As a practice-based research project, it comprises a thesis and a digital image archive titled Sydney Graffiti Archive (www.sydneygraffitiarchive.com.au). Sydney’s graffiti subculture has largely been ignored in the scholarly literature to date. Council crackdowns, heavy fines and anti graffiti strategies, coupled with the increasing regulation, monetisation and institutionalisation of graffiti writing and urban art have contributed to the marginalisation of its illicit counterparts and the relentless sanitisation of public space. Moreover, there has been a resistance to engage with graffiti’s complex visual codes and the significance of its varied material expressions or attend to the less visible contexts of production. The spatio-temporal and material specificity of street, interior and subterranean fields of practice are critical to this research case, which implies that meanings and identities are not only situated in the socio-historical context of the sign, but embedded in the multi-layered fabric of the cityscape, the graffiti modes and their temporally elastic relations. I have developed a reflexive and interpretative framework to respond to the complexity of material and temporal disclosure associated with the photographic re-framing of graffiti’s traces. The research method combines and weaves connections between photography and archaeology, what Michael Shanks refers to as archaeography. I consider the photographic analysis of graffiti to be an archaeological concern because as artefacts of an archaeological method of disclosure, photographs capture temporal and material fragments, which through re-framing make further interventions possible. To trace the shifting and continuous landscape of graffiti production, I have drawn from Tim Ingold’s (2008) meshwork of place and Guy Debord’s (1958) theory of the derive. For the interpretative work I have turned to the concepts of multimodality and intertextuality to afford an effective reading of the differentiated material and semiotic assemblages of graffiti writing and urban…
15 citations
01 Jan 2018
TL;DR: This paper investigated international multilingual students' choices of multimodal resources and how they used their preferred resources to write about their previous and current English learning experiences, and how their social and literate identities are revealed from their multimmodal compositions.
Abstract: English learners’ literacy practices have become multimodal in today’s media and technology saturated world. Studies have investigated the application of multimodal composing in English language learning (ELL) classrooms and found that multimodal composing fostered students’ English achievement and understanding of course content more effectively than the lecture-type instruction (e.g. Yang & Wu, 2012). However, the examination of English language learners’ (ELLs) multimodal writing practices and their identity representation through out-ofclass spaces have not been fully explored. This qualitative case study investigated international multilingual students’ choices of multimodal resources and how they used their preferred resources to design multimodal compositions to write about their previous and current English learning experiences, and how their social and literate identities are revealed from their multimodal compositions. There were three overarching research questions: first, how do ELLs use multimodal resources to write about their experiences of learning English in and out of the U.S. in a multimodal composing workshop? Second, how are their identities portrayed in their multimodal compositions and self-descriptions? Third, what are their perceptions of using multimodal resources to express themselves? Data were collected through semi-structured interviews, workshop observation notes, video-recorded workshop sessions, participants’ multimodal compositions and researcher’s log. Social semiotic multimodal discourse analysis (MDA) (Jewitt, 2009, 2011), and grounded theory (Glaser & Strauss, 1967) were the primary data analysis methods. The study was situated in the frameworks of multimodality (e.g. Jewitt, 2008; Kress, 1997) and sociocultural and literate identities theory (e.g. Holland et al., 1998; Vasudevan et al., 2010). Participants were a group of ELLs recruited from an Intensive English Program (IEP) in a university located in the southeastern region of the U.S. A series of 10 workshop sessions were scheduled to investigate ELLs’ multimodal composing practices and identity manifestation. Participants were found to use a combination of words and images to compose multimodal texts to write about their personal journey of English learning regardless of their age, gender, and nationality. Revolutionary perceptions about multimodal composing both in and out-of-classroom spaces were advocated by participants to satisfy their various writing purposes and communication needs. INDEX WORDS: Multimodal composing, multimodal resources, international multilingual students, modes A Case Study of English Language Learners’ Multimodal Compositions and Identity Representations
15 citations
Cites background or methods from "The Routledge handbook of multimoda..."
...According to Jewitt (2011b), multimodal modes provide researchers with specific aspects to understand the cultural resources users utilize and organize in certain ways to represent themselves. In other words, the use of various modes and expressions in the local context represent ELLs’ understanding of themselves being in a specific culture and their semiotic choices could reveal their ideologies and their self-perceptions about themselves being an “English language learner”. Kress and van Leeuwen (2006) claim that interest in certain...
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...This indicates that although oral and written language is usually considered as the central media of communication, there are also other modal resources such as visual, gestural, aural through which individuals can represent significant meanings (Kress & Jewitt, 2003; O’Halloran, 2011). In this respect, it is expected that the ways participating students compose will draw on various modes that are not limited to speech or written language alone, but will include multiple forms of representations such as visual, aural, spatial and gestural. Today’s literacy practices are beyond reading written text, to reading multimodal texts with images, sounds, and various forms of modalities within different social and cultural contexts. Jewitt (2009) has articulated four assumptions of multimodality: first, language is acknowledged as the most important mode of communication, however, other representational and communicative modes all have the “potential to contribute equally to meaning” (p....
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...The social semiotic multimodal discourse analysis (MDA) (Jewitt, 2009, 2011a) and grounded theory (Corbin & Strauss, 1990; Charmaz, 2006; Glaser & Strauss, 1967) analysis methods were used as the major analysis methods....
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...Jewitt (2009) has articulated four assumptions of multimodality: first, language is acknowledged as the most important mode of communication, however, other representational and communicative modes all have the “potential to contribute equally to meaning” (p. 14)....
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...Social semiotic multimodal discourse analysis (Jewitt, 2009; 2011a) was used to analyze multimodal texts created by participating multilingual ELLs since this method is targeted at examining how multimodal writers purposefully select semiotic modes to design their multimodal texts....
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24 May 2017
TL;DR: A first step in theory-based understanding on how creativity in collaborative design sessions relates to the elements that are present in a creative act is contributed, which includes group composition, objects present, practices used, and previous knowledge of the participants.
Abstract: We contribute in this study a first step in theory-based understanding on how creativity in collaborative design sessions relates to the elements that are present in a creative act These elements include group composition, objects present, practices used, and previous knowledge of the participants The context of this study was our search for lightweight methods for technology design with children, which can be used in a school context with large groups, will require as little amount of training as possible, and can be set up quickly We formed a mixed group, consisting of young children, an older child and an adult, with the aim of involving children in creative collaborative brainstorming during the very early phases of design, so as to come up with fruitful ideas for technology development We report our process and examine the implications of our results in relation to different elements that trigger and affect creativity in the collaborative design process Use of Vygotsky’s cycle of creativity as our theoretical lens together with timeline analysis method presented in the paper were essential for seeing beneath the surface of what happened in this complex, collaborative creative process Our results can be used for further methodological development of creative collaborative sessions, both with children and adults
14 citations
Cites background from "The Routledge handbook of multimoda..."
...…we report our narrative account of the brainstorming workshop, treating it as a situated activity (Goodwin and Goodwin, 1996; Mondada, 2006), so as to make sense of the multimodal actions (Jewitt, 2009) of the participants and to reflect upon their relevance from the methodological point of view....
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