The Learning Screen

ENG 1131-1801 Writing through Media Fall 2010



M 29-Nov    »”The Learning Screen” (Ulmer 2009)

and    » Conclusion “Culture Wars or Syncretism?” (299-324)
        — A Consultation (postponed); analogy: “MEmorial

     » Discuss:  WideImage (Emblem); “Heuretics” (method) & Apparatus Theory (update);
    Aporia, ATH, Remake (disciplinary target) — Final Project

» Due: Emblem (draft) 7pm

    Project 3 Part I — see textbook & links:
    “Design an emblem that evokes the look and feel of your mystory.” (p. 246)

» Workshop (period E1): online (Sakai chat room)


W 01-Dec Studio:    Emblem (progress) & WideSite

    “Design a website version of your image of wide scope (a ‘widesite’).” (p. 19)


F 03-Dec Studio:    Concept Remake (Assemblage Site)

Part II Using your emblem as a guide for decision (intuition), take responsibility for “re-inventing” or “updating” a topic from Career Field or a specific aspect of 20th-century culture: avoiding judgment & blindness (ATH) in favor of expressing the affect (lived dimension) of experience.



» Weekly Blog Entry: optional / extra credit
     (sketch / plans: Emblem → WideSite)





W 01-Dec — Band 4 review

  • Ben Wade *
  • Cristina Martinez
  • Kat Harlan
    Review (for Project Praxis):
    Internet Invention Ch. 9; address Project Part I Assignment: “Wide Emblem” (pp.18-21; 246-7)
    (tip: review Office & Ulmer pages/links, e.g. Noon Star);

    » New Media Relays: Accounts of the Glass Sky, FILMTEXT, in the white darkness

    → main focus, Q. of praxis: Emblem “recipe” & WideSite creation (Project Part I)


F 03-Dec — Band 1 review

  • Michelle Henninger *
  • Darshan Patel
  • Kennady Williams
    Review (for Project Praxis):
    Internet Invention Ch. 10 (tip: review Office & Exercises); Chp. 11 (Conclusion); plus “The Learning Screen”
    address Project Part II (concept remake, electracy)

    → main focus, Q. of praxis: Concept Remake, Digital Composition? (Project Part II)


» Reminder: In brief comments before class (required participation), group members should

  1. divide material (i.e. post what you would like/will cover)
  2. specify points and rationale
  3. collaborate in preparation: review, revise, refine specific points (i.e. discuss whether relevant, practical, sufficiently specific, etc)
  4. discuss questions (answering = optional; Qs to pose during presentation are good preparation, too); can be conceptual and technical: “should we…?” and “how do we…?” varieties work best.




Theory supplement” from Ulmer, entries @ Heuretics blog:

    on Avatar Invention:

  • Avatar Emergency (16-Sep 2009)    theory (general)
  • Absolute Pollution (05-Sep)    theory/praxis (example)
  • Figure 1 (01-Feb)    theory/praxis (optional)
  • Outside (05-May)    theory/praxis (optional / suggested)
  • Unheimlich (04-Mar)    theory (optional)
  • Fate Web (20-Feb)    theory (Part II Project)
  • Duende (24-Jun 2009)    example/theory (Part I+II, Project)
  • Writing: Middle Voice (01-Apr)    praxis (essential)
    • reading tip: read in reverse-chrono order here; or try navigating by tags/categories on GLU’s blog.


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21 Responses to “ScreenLearning”

  1. Gary Hink says:


    Ulmer Pages:

    » “How to Find Your Image of Wide Scope

    » “How to make an Emblem” (basic)

    Example here and @ NoonStar

    » Emblem section of NoonStar (GLU’s Mystory; note components, conductive links, transversal levels)


    • Gary Hink says:



      » Ideas for Themata (Emblem-sketch) & “Signature Theory”: ghink entry (Nov 2009)
      → missing from entry, in addition to Career – Childhood, recent patterning:

      Gilles (Deleuze)
      Garamond (signature typeface, this site);
      G-series (GATORade); litiGator (former Law ambitions, high school); aggreGator
      Key of G / Gmaj (initials = chord) / G-clef (“French Violin clef” image)


  2. Gary Hink says:

    Essential at this stage: provisional items for categories (4-5?),
    at least 2-3 plus image for Draft Emblem & Studio this week.
    — see Ulmer’s “Emblem” web pages above, as well as Office #2 (p.324)
    We’ll discuss practically developing our emblems during “Studio” Wednesday; in order to stay on track (incremental progress) and prepare/practice adequately, begin working on your WideImage (in draft form, possibly also idea “sketch” blog entry recommended).

    Focus on personalizing your elements to plug into the “recipe” — “what is this for me?” — which you discover from Popcycle databases (all spheres)
    reminder: Emblem poetics are explicitly presented in Chp. 9:

    — Baroque Era (p.249-50) // see also Heraldry
    — — Relay? Montréal shield (9-10 aesthetic figures / components)
            (Relay, as we’re not making a Coat of Arms but an emblem. Contrast = logo & icon.)

    Armoiries de Montréal

    — “Remake” (p.254)
    — “Template” (p.267-8)
    Noon Star (Emblem) (p.271-6) — poetics for web examples above.

  3. Gary Hink says:


    “Internet Oracle” (?)

           —from external RSS feed



      Word of the Day
      Sunday, November 28, 2010

      namaste     \ NUHM-uh-stey \, noun;

      1. A conventional Hindu expression on meeting or parting, used by the speaker usually while holding the palms together vertically in front of the bosom.

      Read the Full Entry

    “This new strategy is a retrieval of an ancient, pre-Socratic stance of wisdom, articulated most authoritatively by Heraclitus in the Western tradition, cited by Heidegger, Hannah Arendt, and Derrida (in the lineage I am following). ‘The oracle at Delphi does not reveal or conceal, but intimates’.
    — Ulmer, “The Learning Screen” (2009)

    » Google as Oracle?

    Ask  |  (Explained @; also,

    Feeling Lucky, no longer? Hmm, or…

  4. I’m still concerned with what exactly our emblem should look like. Ulmer appears to have two…

    He has one image juxtaposed with another labeled as his emblem (this is more similar to what my idea looks like) and he has his “noon star” in his table for emblem.

    So which is it?

  5. Michelle Henninger says:

    I notice how we are all pretty content on what we want our emblem to be, I think were just concerned about getting it “wrong”, which in other terms, not a good grade on it.
    So I was reading through the chapter again and I think some important things to note that Ulmer focuses on is:
    “This emblem is a version of your wide image. It should evoke the mood of your ‘themata’”. I think were getting confused on the difference between themata, wide image, emblem, and wide site. I think if we recover these terms, it might sort out some of the confusion.
    If you read through pages 271-277 you can see how Ulmer explains his Emblem of Noonstar. I found it very helpful when creating my emblem.

    • Gary Hink says:


      Exactly right, good clarification & precise page references!

      But Michelle, you’re doing the work of Band 4 here for Wed. Studio! (they have to identify the “recipe”)
      Rest of us need to help the Bands (like yours on Friday) by adding ideas from the online video relays and the blog entries by GLU @ Heuretics…

      • Michelle Henninger says:

        I thought we were supposed to help band 4. So what am i supposed to be posting for discussion credit for wednesday then? And where i guess…

    • yeah that’s pretty much my concern (“getting it wrong”)

      Thanks, Michelle. This was helpful

  6. Gary Hink says:

    No problem, still credit.
    But here are the instructions once again (for everyone):

    » Band 4   Online Discussion (before & after class) — see prompt below.

    Rest of class, discuss Ulmer Entries & Relays:
        — Synecdoche, NY, Logorama, & online videos (selections)

    » No repeats, 9 different references from non-Band participants for each Studio day this week (of videos & Ulmer entries) — brief, concerning praxis (applied theory & poetics).

    → otherwise, we’ll have a final Fakebook Inventory Update required this weekend, if I don’t see any discussion of relays or required reading from Ulmer (including “The Learning Screen”) as I said yesterday….

  7. Michelle Henninger says:

    Empty House:

    I thought it important how the objects told the story as well as the narrator. He used the objects to move the story through to the ending. It made me think of the map to his parents divorce, like his xanadu situated in this particular instance. I think this relay helps us in noticing how objects can develop a story. Similar to how our emblem helps us to develop our wide image.

  8. Darshan Patel says:

    Logorama is an important relay because it is a very good example of utilization of the “ready made”. I think this is a key aspect of creating our own emblems, because we already have connections to the “ready made” items so it comes down to finding/associated different items with multiple popcycle dimensions.

    • I agree with this; though I feel logorama put in a lot of readymade items just because they wanted to incorporate as many logos as possible, and this is not what we want to do with our emblems.

      remember our emblems should tie directly to us; so we need to filter out all the other stuff.

  9. Steve Harris says:

    The Tarantino Mixtape:

    At first glance, this video may appear to be yet another mashup or remix; this time using many of Tarantino’s own films (Reservoir Dogs, Pulp Fiction, Jackie Brown, Kill Bill: Vol. 1 & 2, and Death Proof). I believe that it also captures and embodies many of the themes used by Tarantino. This is accomplished by displaying similar or recurring scenes found in his movies next to each other. In a sense, it helps to define Tarantino’s themata.

    • I definitely agree with you on this one. The mix makes use of repetitiveness, and the repetitiveness is created by items that Tarantino uses over and over again in his movies. Guns, the phone scenes at the beginning, dancing scenes, etc.

  10. San Francisco 1958
    This short film is made up of video captured by “the grandfather” of himself and his surroundings in San Francisco. I thought this was interesting because Jeff, the creator, put the video captures together to tell the story of the grandfather. It’s kind of like how we tell a story through the community and not a main character. Watching the film, you would never guess that there was a main character. I though the people pictured were just random people until I read the little description. So the film gives life to the city and tells the grandfather’s story without being about the grandfather.

  11. Gary Hink says:


    Are we forgetting something, folks?

    Band 1 is preparing to discuss Project Part II (w/r/t Conclusion & “Learning Screen” (article); everyone else should be discussing the many additional resources, whether Relays or Theory Entries for Project approach….

  12. Kat Harlan says:

    I found the Tarantino Mixtape as sort of a widesite of all of Tarantino’s big hits. It’s a mix of scenes, sound clips, songs from movies he directed. It’s so easy to pick out the themes of the films that are shown so many times throughout-drugs, sex, violence, witty banter, bad guys vs. bad guys, dancing, old music, bad guys getting shot, bad guys getting away with things, guns, bad language, blood…the list goes on.

    Perhaps this is what we should be looking to do, making it easy to see the themes from our blogging in our final widesite.

  13. 35mm
    This clip brought to my attention a detail that may help me in the making of my emblem and widesite and that is the use of many small clips. The caption under the video stated that the video itself was a compilation of various movies that were favorites of the authors for one reason or another. But they did not explain these reasons, or even say exactly what movie it was. To me this is similar to how our emblem and widesite should be made. Pieces of what best represent our popcycle. Not full explanations or detailed accounts of memories, but short reminders to ourselves. After all, we are the authors and the audience. We know what the details of these items are, we know the background information. We don’t need to reiterate our reasons for choosing these items because we know them. We just need small pieces, reminders.

  14. Kennady says:

    Ulmer touched on something very interesting in Chapter 10. He discussed how travelling to a far away place can help you identify your default mood. And of course for me this place was Turkey. After returning home I saw the differences in Americans compared to the rest of the world and why “other” places develop a since of distain towards Americans. Not just Americans but the “west” in general… East vs West. So Ulmer was right. After leaving my comfort zone I found out so much about myself. I was able to explore my “default mood” from a different prospective and inturn I found my career path.

  15. Ben Wade says:

    Yikes, forgot about this…
    Refraction is perfect for analysis in relation to part two of project three. Without the oil/water this is a simple video of moving images — nothing new really. However, the director inserts this new perspective and in turn creates a new method of viewing what would have been plain, possibly boring locations. In the same way we should be searching for a new method of viewing concepts of our career. This can create something fresh and relevant out of what is typically a cut-and-dry process.

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