theory 
(
800) Narrative is a fundamental means through which people live their lives
(
781) Communication codes are learnt and culturally defined
(
747) Law as a discourse framed by the world that it inhabits and creates
(
721) Images do not embody information about their use
(
690) The Reflective Practitioner: Choreography As Research In An Intercultural Context
(
687) Frayling: into, through and for art and design
(
641) Inside Out - Issues of interpretation in virtual heritage
(
640) Barthes: Death of the Author
(
617) Reflexive Modernisation: knowledgeable subjects able to reflect on their social conditions
(
587) Spectacle as Show - not an inferior part of tradegy
(
580) changing our footing in talk
(
579) Ernest Boyers: Priorities of the Professoriate
(
576) bystandering as a footing position
(
573) Thick Conceptions of Practice: cognitive skills that give rise to contextualised beliefs
(
560) topography of action: to rise above or drop below a field of experience
(
539) ICT-Based Learning Environments: transmission or active exploration?
(
536) discussion about culture anticipates and disseminates culture
(
532) Types of Research in the Creative Arts and Design
(
527) Bernstein: Horizontal Discourse and Vertical Discourses
(
521) Design scholarship as an alternative form of research grounded in practice
(
510) Self-Reflexivity: the natural sciences versus the human sciences
(
495) A Depiction Of The Process Of Picture Making: Emergence Of A Meta-Subject
(
481) Clive Wearing: procedural and declarative memories
(
477) Constructivism and Online Education
(
459) coalescing in the act of interpretation
(
449) Wittgenstein's picture theory of meaning
(
448) Differ
ance: formation of form
(
447) Interaction Design: university & applied research centres
(
426) Gestell: enframing and converting everything encountered
(
413) Empiricism: failing to secure contingency
(
406) post-traditional order contesting the hierarchy of legitimacy
(
397) Reflexive Modernisation: Beyond Modernism & Postmodernism
(
360) the mirror is both a utopia and a heterotopia
(
344) Francis Bacon: misconceptions in the discovery of causes
(
322) Sapir-Whorf Hypothesis
(
205) Donald Schön: The Reflective Practitioner Model
(
195) archaeology-poem: multiple registers
(
203) Julia Kristeva: The Abject
(
193) Defamiliarization and Making Strange
(
191) suture: revelation of constructed nature
(
178) insurrection of subjugated knowledges
(
168) Donna Haraway: situated knowledges
(
161) Historical Revisionism
(
146) every utterance generates a response
(
149) freemason: secular architect shaping the world
(
150) freemason: utopic representations of an orderly society
(
151) freemason: Solomon's Temple - classical order
(
154) heteroglossia: multilanguagedness
(
131) contingent product of contingently existing forces
(
92) authenticity: authority of the object
(
80) tends to perfection: nature
(
63) information is a commodity and is properly controlled by market forces?
(
61) Diachronic and synchronic
(
3) Walter Benjamin: das passagen-werk / the arcades project
(
38) Michel Foucault: Heterotopia
(
40) Kevin Hetherington: Heterotopia & Social Ordering
(
44) Henri Bergson: Tendencies and Composites
(45) readerly texts and writerly texts
http://folksonomy.org.uk/?s=45
Utterance:
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 test is a perpetual resent, 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".
(
48) Deleuzian Memory of Sans Soleil
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