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Which clippings match 'Neologism' keyword pg.1 of 1
12 MARCH 2008

Broad and Narrow Folksonomies

"The broad folksonomy has many people tagging the same object and every person can tag the object with their own tags in their own vocabulary. This lends itself very easy to applying the power law curve (power curve) and/or net effect to the results of many people tagging. The power terms and the long tail both work.

From a high level we see a person creates the object (content) and makes it accessible to others. Other people (groups of people with the same vocabulary represented people blobs and noted with alphabet letters) tag the object (lines with arrows pointing away from the people) with their own terms (represented by numbers). The people also find the information (arrows on lines pointing from the numeric tags back to the people blobs) based on the tags."
(Thomas Vander Wal)

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TAGS

road folksonomy • folksonomiesfolksonomyindex systemjuxtapositionneologismtaggingThomas Vander Wal

CONTRIBUTOR

Simon Perkins
15 APRIL 2005

Parole: dictionary of the contemporary city

"parole is a dynamic dictionary of the contemporary city, or at least this was the intention when it was launched in June 2000 in occasion of the 7th International Exhibition of Architecture at the Biennale in Venice, Italy.

Since then parole has become a vast, loose, heterogeneous website, probably less easily defined with such a stringent term as 'dictionary'.

Currently about 900 words, related to the transformation of the urban landscape, are organised in a hypermedia database, along with more than 1000 links to & from the Internet.

Images, texts, quotations, comments, fragments of text, links to external websites, videos, sounds, webcams are some of the scattered elements which constitute its fragmented mosaic.

parole acts as an open platform for information, discussion, archive, gathering of data, it is a place where much of the material included is directly provided by its users. As in a type of 'Borgesian' dream it establishes a permanently fluid and unstable mapping of the actual urban condition throughout the world, looking at the variations and alterations in language and in the discourse of several different disciplines. Neologisms, slang terms, theories, utopic projects, nicknames attributed to specific sites, urbanism, architecture, anthropology, contemporary art are some of the multiple material included in parole.

As its nature is permanently unstable and deprived of any hierarchy, parole is subject to shifts and alterations towards directions which are actually unpredictable.

In occasion of its different presentations within localised conditions, such as a museum or a gallery space, we have tried to accomplish a certain degree of interaction with the context, in order to allow the project to present a direct vision of the condition of the contemporary city in its permanent state of change."

(Gruppo A12, Udo Noll and Peter Scupelli)

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TAGS

2000anthropologyarchitecture • architecture biennale • categorisationcityclassificationdictionaryhypertextItalyJorge Luis Borgeslangue and paroleneologism • nicknames • orderingparoleslangtaxonomythesaurusurbanismutopia • Venice
08 OCTOBER 2003

Readerly Texts and Writerly Texts

"Arising from work done during a seminar in the late 1960's, Roland Barthes's S/Z, which was first published in 1970, enacts a hypertextual reading of Honore de Balzac's short story, 'Sarrasine.' In S/Z, Barthes makes the distinction between readerly texts and writerly texts. The readerly text presents a smooth, linear reading where the reader is essentially passive. The writerly text, however, is nonlinear, made up of a infinite plurality of meanings and makes 'the reader no longer a consumer, but a producer of the text' (4). Translated from the French words, lisable and scriptable, the readerly and writerly texts delineate the distinction between 'classic' and modern works. As Barthes writes:'The writerly text is a perpetual present, upon which no consequent language (which would inevitable make it past) can be superimposed; the writerly text is ourselves writing, before the infinite play of the world (the world as function) is traversed, intersected, stopped, plasticized by some singular system (Ideology, Genus, Criticism) which reduces the plurality of entrances, the opening of networks, the infinity of languages'.Classic textuality (the readerly) is embodied in Balzac's 'Sarrasine,' and modern textuality (the writerly) is seen in Barthes's re–reading and re–writing of 'Sarrasine' in S/Z. Essentially through his reading of 'Sarrasine,' Barthes explodes the illusion of unity and wholeness that Balzac's tale presents. As Barthes writes, he 'interrupts' the text to 'star' it or cut it up in to (supposedly arbitrary) lexias or fragments. Each fragment is a 'space in which we can observe meanings' in their plurality. Hence each of these fragments constitutes a paper–version of hypertext. As Barthes writes: In this ideal text, the networks are many and interact, without any one of them being able to surpass the rest; this text is a galaxy of signifiers, not a structure of signifieds; it has no beginning; it is reversible; we gain access to it be several entrances, none of which can be authoritatively declared to be the main one; the codes it mobilizes extend as far as the eye can reach, they are indeterminable. . .based as it is on the infinity of language."
(Angela Mitchell, English Department at the University of Georgia)

1). Roland Barthes (1975). 'S/Z'. London, Jonathan Cape.

TAGS

Angela Mitchell • hypertext • intersected • lisableneologismnonlinearplasticisedpluralityreaderly textsRoland Barthesscriptible • stopped • traversed • UGA • University of Georgia • writerly texts
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