Maaf masih acak-acakan

Untuk membuat menu seperti yang ada di halaman Profile Blog ini.
ada dua hal yang perlu diketahui. yaitu Bookmark dan Hyperlink.
Kata yang diberi bookmark akan menjadi tujuan jika kita mengklik Hyperlink.
Cara 1 Menggunakan Kode
Cara 2 Menggunakan Frontpage

Cara 1
Karena Gw juga bingung ngasih tutorialnya jadi pelajari aja contoh di bawah ini :P .
di contoh ini ada menu yang sudah jadi dan dibawahnya ada kodenya.

Menu
1. Nama
2. Alamat
3. Tempat/tanggal Lahir

Biodata
1. Nama ^
kyuutaro
Penjelasan Disini
Penjelasan Disini
Penjelasan Disini
Penjelasan Disini
Penjelasan Disini
Penjelasan Disini

2. Alamat ^
http://kyuutaro.wordpress.com/
Penjelasan Disini
Penjelasan Disini
Penjelasan Disini
Penjelasan Disini
Penjelasan Disini
Penjelasan Disini
Penjelasan Disini

3. Tempat/tanggal Lahir ^
XX-XX-XXXX
Penjelasan Disini
Penjelasan Disini
Penjelasan Disini
Penjelasan Disini
Penjelasan Disini
Penjelasan Disini
Penjelasan Disini

Code

Cara 2

Untuk lebih mudahnya gunakan Microsoft Frontpage atau pengolah halaman Web lainnya

Membuat Bookmark

Bookmark 1

Bookmark 2

Bookmark 3

Membuat Hyperlink

Hyperlink 1

Hyperlink 2

I’d say at least three times a week I browse through nearly everything offered instantly from Netflix.  Typically there’s a heavy glass of red wine sitting next to me on my floor – that needs to be vacuumed with something of industrial strength – that I’ll get to once I put my X-Box controller down.  My intention is to see what is new on “instant watch” and then start buffering up a movie that hopefully doesn’t suck.  A good lot of the time I browse for too long then flash through my queue and can’t decide on any one thing.  Why?  Too many options.  I’ll even work together with my roommate Jordan to widdle down the choices, but usually I give up and head to my room for a comic or two before bed.

Sometimes too much is just too much.

I was born in ‘84 and I’ve seen the Super Nintendo (de)evolve into the Dreamcast then grow wings and become the 360.  Without having to read and recite a book about science, I’m saying that I’ve witnessed technology grow exponentially.  Today I have the option to watch hundreds of movies with the flick of joystick and a little pressure applied to a brightly colored button.  Oh, Band McMusic just re-released their live EP from the secret show they played in Hungary – circa ‘98 – during that accidental aerial bombardment from NATO Y-Wing.  ”Type type type” then “click click click” and I have that album sitting on my desktop.  It’s obvious that we’re spoiled when it comes to the entertainment that’s a hyperlink away and I’m not sure how I feel about it.

X-Box Live just added Last FM as an application for it’s fancy Gold Members – who pay 40 some dollars a year – and are given many more reasons to never bask in natural light.  Not that this invention is anything new to the interwebs, but I can pick an artist, make a station via that artist, and listen to music within the same vein of said artist.  I know, this sounds like the radio if you were able to put it under the microscope and manipulate what you wanted from it.  It is, but sometimes it’s just too much.

When I was a kid I had the radio, a small book of CDs, and the local Video Barn for entertainment.  I was content too.  As the years have passed and I now put onions on nearly every sandwich I make, it’s obvious my likes and dislikes have expanded.  My Mom would slice onions in our kitchen back home and just the scent was enough to keep me away from our downstairs for hours.  What used to sate or deter me as a child isn’t the case anymore.  Now I need three new movies in the mail twice a week to keep me from clawing at the walls.  There has to be a refresher from some new band I’ve never heard – or given any time to – at least a couple times a month, otherwise I start biting my nails down to the cuticle.  I’m American, I drink beer out of the can, and I need to be fucking entertained 24 hours out of the God damn day.  Yeah, it’s true.

I think I kinda lost my train of thought at some point in this rant, so I’ll get to some kind of point.

We used to worship idols made of stone and wood then men who said they were actual gods filled in that spot.  After that we started to hear these stories from wise elders about these powerful beings that have always been and will always be, so it was the smart choice to praise them.  Now we have the internet.  The internet knows all, tells all, and does all.  What else do we need?  If this laptop I’m typing on had a vagina built into it, could pour alcohol out one of it’s many ports, and ejected the makings for a sandwich from the CD drive… yup, wouldn’t leave the house.

I could go on with this, but I’d probably end up running my words and thoughts into solid wall of nonsense, which would most likely drive me to making dick and fart jokes.  Let me save you from that and tell you about some music you should be listening to.

1. Bang Maiden, they’re from San Francisco (make some unjustified generalizations from that fact alone because that’s what I’d do).  On Halloween last month they played their first show at The Parkside in the Misson and they definitely fit the bill if you wanna drink, dance, and bang your head.  They just uploaded a three song demo EP for download and I’m a fan.  Hardcore  - and whatever sub-genre within the same realm you babble about – is one of those sounds that’s in a bit of a slump as of late.  Don’t get me wrong, there are many greats acts currently putting out original and good tunes, but the majority is nothing more than the same old riffs that started in the ’80s, got reworked in the ’90s, and has continued the same cycle into the 2000’s.  What do these guys have that sets them apart from the fodder?  They don’t have drums, they got beats.  Patrick is the programming wizard in the three-piece that mixes the backbone of sound , which gives the group an artificial rhythm that is danceable… like boner-jams danceable.  It’s not too often you can listen to something that cuts a rug all Samurai Shodown 2 (I suck at that game), yet urges your veins to replace some of that red with drunk and maybe punch some random, all in good fun of course.  It’s dirty and fun, so give it a listen, go get tested afterwards, and pay me the ten bucks you owe.

2. Now these guys just got dredged out of the dungeon – I call it my iPod – and put a real dumb smile on my face.  Since the mammoth performance I witnessed a while back at the West Seattle Legion Hall, Giant became Brave Young, but the sound hasn’t changed a bit.  I’ve been allowing my music to grow a little more grand these days (drugs are bad), so the music I’m seeking needs to consume me and wall me up inside of it.  Brave Young is an undertaking that weighs on your ear drums with its heavy guitars and bass.  The sound becomes one looming entity that is lumbering with each bang of the drums and it’s one voice roars just far enough from the instruments before it melds back into the mass of noise.  This is one of those bands that I may never see live again, but from that one show – whatever summer it was ago – I feel lucky.

3. Oh yeah, I’m doing it.  Oingo Boingo has been the musical “first ice cold beer of the day” for me lately.  It’s fun, it’s upbeat, it can get a little spooky, and it’s one of those aspects of the ’80s that I don’t hate.  I’m not saying the 80’s were horrible, I mean come on, Earth Girls Are Easy?  You don’t have to say anything, just try not to get lost in Jeff Goldblum’s eyes, even though he does have mind powers.  There really isn’t any reason for me to explain any further.  Fire this shit up and let Danny Elfman do the rest.  Watch this too:

بسم الله الرحمن الرحيم

حين ترغب فى حذف أحد الروابط Hyperlink من ورقة العمل فإنك تتبع الخطوات التالى ذكرها لحذف ذلك الرابط (رابط واحد فقط)، لكن فى حالة وجود مجموعة من الروابط فإنك لا تستطيع تحديد هذه الروابط ومن ثم حذفها فى مرة واحدة؛ اليوم سنتعرف على كيفية القيام بهذه المهمة فى عدة خطوات بسيطة.

أولاً : حذف رابط واحد

1. حدد الخلية التى يوجد بها الرابط Hyperlink
2. Right Click على الخلية
3. نختار Remove Hyperlink

ثانياً : حذف عدة روابط مرة واحدة

1. نكتب الرقم 1 فى خلية فارغة (يمكنك أن تكتب اى قيمة رقمية أخرى)
2. نقوم بعمل Copy لهذه الخلية
3. نحدد جميع الخلايا التى نريد حذف الروابط منها
4. من مربع الحوار Paste Special نختار Multiply ثم Ok (يمكنك إختيار أى عملية رياضية أخرى)


بذلك يكون الرابط قد تم حذفه من الخلية على الرغم من أن تنسيق الخلية يبدو و كأنه رابط Hyperlink وللتخلص من هذا التنسيق نقوم بهذه الخطوة الأخيرة

5. نختار Normal من القائمة Home » Styles » Cell Styles » Normal
   

أو Home » Editing » Clear » Clear Formating

إكسل 2003
من خلال القائمة Edit » Clear » Format

المصدر :
1137 Removing Hyperlinks

فى رعاية الله

»يمكنك الإطلاع على جميع موضوعات المدونة من خلال الأرشيف.
»إذا كانت هذه هى زيارتك الأولى للموقع، فلا تنس أن تشترك فى خلاصات الموقع عبر الـ RSS أو عبر الـ e-mailللحصول على جديد الموقع مباشرة.

Decorreu de 12 a 15 de Novembro a segunda edição do UM – Festival Internacional de Intermedia Experimental ‘09 que teve como tema a Paisagem enquanto espaço de vivência e a sua percepção. É, como diz a descrição, a presença humana no mundo. Pretendeu-se neste festival uma mistura de práticas experimentais que de alguma forma interpretem e fomentem a crítica do mundo.

No debate Desta Posição – construção da paisagem e as inter-relações entre som, imagem, arquitectura e espaço, Carsten Stabenow e Geert-Jan Hobijn (Staalplaat Sound System) focaram a construção do espaço e as relações deste com o som. Explorando ruídos quotidianos geralmente incomodativos, este colectivo cria instalações que misturam, ampliam ou simplesmente isolam estes sons de forma a torná-los mais atractivos e interessantes, através do reconhecimento da sua origem. Na instalação-concerto Yokomono (apresentada na inauguração da exposição no primeiro dia do festival), 10 vinyl killers (carrinhos vermelhos que funcionam como agulhas), giram ao longo dos vinis, cada um com o seu transmissor FM que comunica com a mesa onde são misturados e criam ritmos cada vez mais complexos. Com uma exposição tão clara do processo, compreendeu-se a origem de cada som e como ele encaixa em toda a construção sonora.

(Staalplaat Sound System na inauguração da exposição do festival, dia 12)

Na apresentação do workshop Construir o Próprio Interface Musical, Frank Baldé e Takuro Mizuta Lippit (STEIM) apresentaram técnicas de physical computing que permitem, com a interacção entre softwares apropriados (junXion e LiSa) e dispositivos associados, criar novos instrumentos musicais. Aliados à música electrónica desenvolvem projectos em conjunto com vários artistas performativos, tendo como objectivo “a human approach to technology” e promovendo uma aproximação diferente através do toque e da habilidade corporal (Cracklebox) ou vocal (Alex Nowitz – Voz, Wiimote e LiSa) de cada artista.

(apresentação do worshop STEIM, dia 12)

Na conversa Estudos e Sensibilidades Elevados: Aumentar a Consciência e o Conhecimento Sensorial, Evelina Domnitch e Dmitry Gelfand e Terike Haapoja introduzem uma linguagem científica aos seus projectos. Os primeiros criam experiências sensoriais através de processos físicos e químicos, procurando a transcendência do observador pela descoberta científica (Sonolevitation e 10000 Peacock Feathers in Foaming Acid). Terike Haapoja desenvolve instalações relacionadas com a vida do Homem na Terra, utilizando os novos media (Dialogue). No seu projecto Entropy, que se encontra na exposição do festival, podemos assistir à projecção de infravermelhos do arrefecimento do corpo morto de um cavalo.

Na exposição do festival (que decorre até 27 de Novembro no ECV Fiat Garage), conseguiu-se uma visão ampla do conceito de Paisagem aplicado aos vários media. Destacam-se Julius von Bismarck (Image Fulgurator – um dispositivo de projecção clandestino que manipula o resultado das fotografias, não sendo perceptível  a olho nú) e Torsten Posselt, Benjamin Maus e Frederic Gmeiner (Extracts of Local Distance – uma técnica de análise de imagem que cria novas percepções arquitectónicas por um novo ponto de fuga).

Os concertos de dia 13 na ZDB decorreram no formato QuWack, em que o público se situava no meio de dois palcos onde os vários músicos tocavam a solo durante 15 minutos e em colaboração improvisada durante 5 minutos. O tempo era cronometrado numa projecção e cumprido à regra. Katapulto e Bass Clef foram alguns dos projectos mais interessantes.

(post de colaboração entre Patrícia Matos, Marisa Charepe Dias e Joana Barata Pacheco)

There are millions of sites out there on the net and in my Web Design course we are taught many different methods for creating a profile on the net and getting your website/business/product known.

Blogging is a tool that can be used to share your creativity with the world, network, become famous, help on-line businesses lift their rankings, make money or connect with people who share interests, activities and information. Linking to other sites is a good way to create online connections.

Some other students of Web Design have created WordPress blogs associated with their profession or business. One such student has posted a very informative article about the Therapeutic Benefits of Massage on her blog. To view Yaninayoga’s blog click here

Scribd is a very popular service that people use to share information and creating links to their sites is one method for attracting visitors. I like sharing information and I have created a tutorial on Creating a Hyperlink in PDF File Using Adobe InDesign CS4 as people have had trouble making hyperlinks work in PDF files when uploaded to Scribd.

I have embed the tutorial here so people can print or download immediately. I also have created a tutorial on How to Embed a Scribd Document into a WordPress Blog

Realidade virtual, realidade aumentada, virtualidade aumentada, realidade mista.

E o que é a realidade?

Do not adjust your mind. There is a fault in reality:

The Network in the Garden: An Empirical Analysis of Social Media in Rural Life (1) é um estudo acerca das diferenças entre os modos de usar a tecnologia em ambientes rurais e urbanos. Para isto, utilizaram a rede social Myspace e abordaram questões como o número de amigos e a distância entre eles, o género dos utilizadores e a privacidade. A partir deste estudo, foram construídas quatro conclusões devidamente comprovadas:

1: Rural users will have far fewer friends and comments than urban users.

2: Females will account for a greater proportion of rural users than urban users.

3: Rural users will set their profiles to private at higher rates than urban users.

4: Rural users’ friends will live much closer than urban users’ friends. (2)

Em relação à privacidade, há alguns aspectos importantes:

1. Os utilizadores urbanos têm mais perfis públicos do que os rurais.

2. As mulheres urbanas têm mais perfis públicos do que as mulheres rurais.

3. As mulheres urbanas têm mais perfis privados do que os homens urbanos.

4. Os homens urbanos têm um número semelhante de perfis privados ao dos homens rurais.

Estas conclusões parecem contraditórias ao senso-comum. Como Jane Jacobs escreveu, privacy is precious in cities (3). No entanto, os utilizadores urbanos têm mais perfis públicos que os rurais, a quem associamos uma transparência e sinceridade maiores. Uma explicação possível é o facto de, como os outros dados do estudo comprovam, os utilizadores rurais não verem a internet como um lugar para conhecer pessoas novas. Em vez disso, vêm-no como uma oportunidade de comunicar com as pessoas com quem já têm uma relação forte.

-

1 The Network in the Garden: An Empirical Analysis of Social Media in Rural Life de Eric Gilbert, Karrie Karahalios e Christian Sandvig.

2 Eric Gilbert, Karrie Karahalios e Christian Sandvig no paper já mencionado, página 3.

3  Jane Jacobs citada no paper já mencionado.

Há um certo receio de não deixarmos nada nosso no mundo para ser recordado. Há sempre fotografias, palavras escritas, vídeos que ficam fossilizados para os vivos lembrarem os mortos. No contexto actual, como é que nós vamos querer ser lembrados?

Max Kalehoff refere a importância dos novos media no luto: For the living, social media can play a massive role in the mourning process that follows death. It can enable more efficient communications with our immediate and extended personal networks. For example, a blog or e-mail group could be set up to communicate key details and updates to family members, friends, colleagues and distant contacts, either at home or across the globe. (1)

Além da divulgação da notícia e dos detalhes das cerimónias (até agora resolvidas com os obituários nos jornais ou nas ruas ou pessoalmente/por telefone), a internet permite também uma homenagem ao falecido e um luto bem mais exposto. Warren St. John escreveu no New York Times: Personal Web pages have suddenly changed from lighthearted daily dairies about bands or last night’s parties into online shrines where grief is shared in real time. (2)

Mas parece-me que a questão mais curiosa acerca da morte e dos novos media é: virtualmente, podemos nunca morrer. A ideia de imortalidade pode muito bem ser redefinida. As nossas páginas web continuam a existir, mas isso tem o mesmo significado que uma fotografia, um vídeo: continua lá, mas é estático. No entanto, se deixar de ser estático, isto é, se puder existir alguma interactividade, podemos mesmo continuar a falar (e não só) com alguém que já morreu. E isso seria assustador. Talvez só no início.

(Auger-Loizeau – The Afterlife Project, 2009 – em exposição na Experimenta Design’09)

Em The Afterlife Project, Auger-Loizeau apresenta uma prova concreta de que existe vida depois da morte. Os fluidos expelidos do corpo morto são transformados em energia que é armazenada numa pilha comum colocada debaixo da “banheira”. Assim, os vivos podem usar a pilha num objecto à sua escolha. Isto, para Auger-Loizeau, é um benefício emocional para quem fica para recordar.

-

1 Max Kalehoff no artigo Mourning In The Internet Age (2006)

2  Warren St. John citado por Max Kalehoff no artigo já mencionado.

Não sei quantas vezes li A Espada do Samurai (1). Foram mesmo muitas. Era fantástico ser confrontada pelo próprio livro para fazer escolhas e viajar para trás e para a frente de acordo com as indicações recebidas pelo texto. Aquele livro-jogo era um suporte interactivo onde umas partes do texto nos remetiam para outras, conforme as nossas decisões para recuperar a espada perdida. Será este um hipertexto?

Paul Kahn baseia-se nas palavras de Ted Nelson para definir hipertexto: Hypertext is non-sequential reading. Non-sequential writing also, but the effect is manifest in non-sequential reading. You can write in any sequence but you can read it in another sequence. It could be prepared in any number of structures but you can reorganize it as a reader to follow from one place to another. (2)

Se considerarmos apenas esta parte do seu discurso, então o livro-jogo é um suporte com hipertexto. No entanto, se continuarmos a ler, entendemos que, segundo Paul Kahn, este conceito não se pode limitar a um livro de aventuras: [Ted] Nelson was imagining that you could take the power that is inherent in computers – as computers were holding information in digital form – and you could make a link from any piece of digital information to another piece of digital information, and all these pieces of computer memory would be one big network.” (2)

O hipertexto tem como objectivo o acesso universal ao conhecimento. É uma rede infinita de informações associadas por terem algo em comum. E tudo tem algo em comum com alguma coisa. Cada palavra de um texto pode ligar-se a uma imagem, um vídeo, até mesmo outro texto que, por sua vez, terá outras ligações. E isto permite, por um lado, uma dispersão pelo oceano de informação (podendo afogar-se ou não), alargando o conhecimento ou, por outro lado, encontrar finalmente aquilo que procura (Paul Kahn exemplifica isto com o Bookfinder, um sistema de hiperligações que ajuda a procurar livros).

A Wikipedia é uma fonte de hipertexto inigualável. Em cada página podemos encontrar ligações para outras páginas Wikipedia e para páginas ou documentos dispersos pela internet. Chris Harrison desenhou a Wikiviz, uma série de gráficos que mostram a quantidade imensa de ligações que podemos encontrar na Wikipedia. Harrison diz que Being a human edited entity, connections between topics are diverse, interesting, and sometimes perplexing – five hops takes you from subatomic particles to Snoop Dog. Wikipedia is revealing in how humans organize data and how interconnected seemingly unrelated topics can be. (3)

Chris Harrison’s Wikiviz

-

1 SMITH, Mark Smith e THOMSON, Jamie, A Espada do Samurai (1986), um livro-jogo juvenil que tem como objectivo recuperar a espada Dai-Katana do shogun, roubada pelo feiticeiro Ikiru.

2 KAHN, Paul, Designing hypertext is an intellectual task (pág. 1)

3 Chris Harrison citado no site Visual Complexity.

I was reading what some psychologist had to say about Facebook and Twitter and the following quote caught my attention.

“On Twitter you receive an endless stream of information, but it’s also very succinct,” Dr Alloway said. “You don’t have to process that information. Your attention span is being reduced and you’re not engaging your brain and improving nerve connections.” (via news.com.au)

I understand Dr. Alloway to an extent; however, tweets can contain hyperlinks that in turn, if clicked, take us to a constantly growing world wide web of information. In other words, tweets can exploit the power of the hyperlink.

I think of tweets as expanded headlines/titles/subject-lines and the effective use of these communication objects can be a powerful tool.

In a nutshell, for me right now, the power of Twitter is in who I follow.

Mungkin ada saat dimana kita mempunyai sederet cell pada ms-excel dengan hyperlink (misal pada kolom A) dan kita ingin meng-copy hyperlink-nya saja untuk di-paste pada kolom lain atau worksheet lain. Atau mungkin kita meng-copy sederet link text dari website tertentu yang akan digunakan pada website kita dan kita membutuhkan bantuan ms-excel, mungkin ms-word atau notepad, sehingga kita membutuhkan juga untuk meng-copy seluruh hyperling tersebut dan mem-paste pada cell lain. Saya sering melakukan itu karena daripada menuliskan “label” satu persatu lebih baik menggunakan ms-excel, tinggal tarik kebawah ; dan yang sudah disusun trus copy dan paste.

Kembali pada bagaimana meng-extract hyperlink pada ms-axcel, ada 3 cara:

1. Cara manual
Klik kanan mouse pilih edit hyperlink, copy url pada address; tutup dialog box dan paste pada cell yang diinginkan. Ini langkah standar microsoft office.
Tentu saja akan membutuhkan waktu yang sangat lama jika harus melakukan ini berulang-ulang seratus kali misalnya.

2. Menggunakan “macro”
Dengan macro kita dapat melakukan otomasi proses manual tadi. Macro berikut akan meng-copy seluruh hyperlink dan mem-paste pada cell disampingnya.

Buka tools>macro>visual basic editor (Alt+F11)
Pada VBA project klik-klik “this workbook” dan copy – paste code dibawah

Sub ExtractHL()
Dim HL As Hyperlink
For Each HL In ActiveSheet.Hyperlinks
HL.Range.Offset(0, 1).Value = HL.Address
Next
End Sub

Save. Untuk menjalankan tinggal panggil tools>macro>macros (Alt+F8) dan pilih makro yang dibuat klik “run“.
Secara otomatis macro akan meng-extract seluruh hyperlink dan mem-paste pada cell di sampingnya.

3. Menggunakan “user defined function”
Masih menggunakan visual basic editor, tetapi kita menggunakan function yang artinya kita dapat memanggil function tersebut untuk melakukan tugas tertentu.

Buka visual basic editor seperti diatas dan copy – paste code dibawah:

Function GetURL(rng As Range) As String
On Error Resume Next
GetURL = rng.Hyperlinks(1).Address
End Function

Save. Untuk menjalankan, misal hyperlink ada pada cell A1, tuliskan formula

=GetURL(A1)

pada cell dimana kita ingin mem-paste hyperlink tersebut.

(Diambil dari http://excel.tips.net/Pages/T003281_Extracting_URLs_from_Hyperlinks.html)

Num espaço virtual, quando nos dizemos conectados numa rede, estamos a comunicar. Na verdade, a definição de comunicação e conectividade podem ser entendidas como a mesma: o transporte de informação de um ponto para o outro. Num sistema em rede, o que interessa para Gerfried Stocker (1), as duas continuam a ser a mesma coisa, só passam ambas a ser um transporte menos directo: transportam informação de um ponto para a rede ou mesmo de uma rede para outra (considerando a internet como uma rede de redes). Vou então considerar comunicação e conectividade como conceitos iguais e indistinguíveis.

A comunicação pode ser mais ou menos eficiente. Um dos factores que a pode debilitar, podendo mesmo alterar completamente a mensagem, é o ruído. Dan J. Rothwell (2) define três tipos de ruído na comunicação: psicológico, físico e semântico. O ruído psicológico resulta de estereótipos, reputações, preferências e assumpções. Estes preconceitos constituem um filtro pelo qual só passa a parte da mensagem que interessa, alterando o sentido da mensagem para um mais conveniente.

O ruído físico é composto por estímulos exteriores que provocam a distracção: música, outra conversa, sons incomodativos, etc.

Por fim, o ruído semântico ocorre quando a gramática ou linguagem não é perceptível para o receptor.

Estes três tipo de ruído são, como se pode perceber, aplicados apenas a conversas presenciais ou por telefone. No contexto dos novos media (considerando a noção de “novos media” adoptada por Golan Levin: A funny definition that I heard recently was: anything that was created after you were born) arrisco em acrescentar um ruído: o visual.

Martha G. R. Skogen começa o seu ensaio Simplicity in Complicated User-Interface Applications (3) com uma citação de Antoine de Saint Exupery: Perfection is achieved not when there is nothing more to add, but when there is nothing more to take away. Com a crescente intimidade que temos com os computadores, as funções que se vão adicionando tornam-no cada vez mais complexo, tanto quanto a nossa interacção com ele (ou através dele). Skogen defende que o design visual pode ser essencial nesta questão, ajudando a reduzir a intimidação das aplicações complexas.

Skogen é uma apologista da ideologia less is more (Mies van der Rohe, Buckminster Fuller) enquanto estratégia de design. Também John Maeda defende esta ideia no livro Laws of Simplicity (4), onde enumera dez leis que procuram definir o caminho para a simplicidade.

O ruído visual é, então, constituído por elementos que estão a mais. São componentes que, em conjunto, intimidam o receptor e desvalorizam a mensagem.

O oposto das leis de Maeda seriam algo assim:
1. A forma mais complexa de alcançar a complexidade é adicionar sempre mais
2. A desorganização torna um sistema de poucos num sistema de muitos
3. Desperdiçar tempo só contribui para a complexidade
4. A ignorância permite que tudo seja complexo
5. A complexidade não precisa da simplicidade
6. O que fica na periferia da complexidade é complexo também
7. Intimidar é imperativo
8. In complexity we trust
9. Tudo se pode tornar complexo
10. A complexidade trata de acrescentar mais do que o óbvio e o essencial

-

1 Four Pillars of Digital Art de Gerfried Stocker mediados por Golan Levin no festival Cybersonica: Transmediality (tangibility, audiovisuality, environment), Processuality (generativity, algorithmic processes), Connectivity (communication, connection) and Interactivity (creative flow, play, cybenetic feedback).

2 ROTHWELL, Dan J., In the Company of Others: An Introduction to Communication. New York: McGraw Hill, 2004.

3 SKOGEN, Martha G. R., Simplicity in Complicated User-Interface Applications. Institute for Industrial Design, Norwegian University of Science and Technology, 2006

4  MAEDA, John, The Laws of Simplicity. MIT Press Ltd, 2006

No festival Cybersonica, Golan Levin definiu que um dos quatro pilares da arte digital era a conectividade (1). Numa definição simplista, pode dizer-se que a conectividade é o transporte de packets de um ponto para o outro. Mas devemos ir mais longe para compreender o que faz da conectividade um pilar da arte digital.

Conectividade é  sobre o facto de que a tecnologia conecta as pessoas num espaço virtual como o telefone – nós estamos agora conectados num espaço virtual (2), define Golan Levin. O que a tecnologia permite é que a conectividade entre as pessoas cresça exponencialmente e torne mais eficazes as aplicações nela construídas. Cria condições para surgirem redes complexas de partilha de informação (artística, ou não), e emergir uma cultura participatória (3).

Um exemplo claro desta cultura de prosumers, é o Digg. A comunidade Digg tem a missão nada pretensiosa de reunir tudo o que vale a pena ver. O Digg Arc é uma ferramenta interactiva da Digg Labs que consiste numa esfera para cada história que o Digg conte, sendo que à volta de cada esfera é possível ver o número de diggs que aquela história tem, quem fez os diggs e quem disponibilizou a história na comunidade. As esferas mais espessas são, portanto, as que têm mais diggs.

(Digg Arc, desenvolvido pela Digg Labs e Stamen Design)

Estas comunidades crescem umas com as outras. A cultura participatória parece aumentar a olhos vistos, mas se restam dúvidas, Jenkins esclarece: De acordo com um estudo recente da Pew Internet & American Life project (Lenhardt & Madden, 2005), mais de metade dos adolescentes já criaram conteúdos media e quase um terço dos adolescentes que usam a Internet já partilharam conteúdos que produziram. (4)

-

1 Four Pillars of Digital Art de Gerfried Stocker mediados por Golan Levin no festival Cybersonica: Transmediality (tangibility, audiovisuality, environment), Processuality (generativity, algorithmic processes), Connectivity (communication, connection) and Interactivity (creative flow, play, cybenetic feedback).

2 Excerto de uma entrevista a Golan Levin, por  Alexandra Nemerov (2007): Connectivity is really about the fact that technology connects people in a virtual space like on the telephone—you and I are connected now in a virtual space.

3 Participatory culture decrita por Henry Jenkins em Confronting the Challenges of Participatory Culture: Media Education for the 21st Century como: A participatory culture is a culture with relatively low barriers to artistic expression and civic engagement, strong support for creating and sharing one’s creations, and some type of informal mentorship whereby what is known by the most experienced is passed along to novices.A participatory culture is also one in which members believe their contributions matter, and feel some degree of social connection with one another (at the least they care what other people think about what they have created).

4 Novamente Henry Jenkins: According to a recent study from the Pew Internet & American Life project (Lenhardt & Madden, 2005),more than one-half of all teens have created media content, and roughly onethird of teens who use the Internet have shared content they produced.

>>ver também os posts gémeos da Marisa Charepe Dias e da Juliana Duque

Foi há mais de cem anos que Geppetto transformou um pau falante num boneco de madeira e, feitas as pernas, o viu fugir para a rua. Quando Geppetto criou o Pinóquio, não sabia que não ia ter controlo sobre ele e que ia acabar dentro de uma baleia.

No século XXI, os media são os nossos pinóquios. Há muito que deixamos de ter poder sobre aquilo que criamos. Henk Oosterling, em Dasein as Design or: Must Design Save the World defende que os media criaram os seus próprios mundos e nós aprendemos a viver neles (1). Deixaram de ser um meio de transmitir uma mensagem, são agora eles mesmo a mensagem. Entendem-se agora, como necessidades básicas, no sentido em que formam o espaço onde actuamos: são a nossa natureza.

Aos screenagers (2) já não lhes parece suportável viver sem os media que abundam e sobre os quais estão sempre a tropeçar. Isso seria estar psico-tecnologicamente sozinho (3). A esta atitude irreflectida, Henk Oosterling chama mediocridade radical (4). É fácil ser engolido pela baleia dos media, mas é preciso sair dela para entender que a mensagem que ela constitui pode ser, por vezes, vazia. Quando entendemos a abundância que nos envolve, conseguimos que as relações aconteçam e aumentem. Neste caso, os media constroem um espaço de relações e é aqui que o design actua, enquanto design relacional, também proposto por Oosterling.

Parece-me fundamental que se estude profundamente esta evolução dos media e, mais ainda, da forma como nos vamos acomodando a eles. No fundo, o que continua a interessar são as relações, mesmo no nosso Dasein (5) enquanto existência nos media. Segundo Gilles Deleuze e Michel Foucault, somos primeiramente um divíduo e só depois um indivíduo, isto é, somos um “nós” e a seguir um “eu”.

No filme Waking Life de Richard Linklater, acompanhamos o sonho de um rapaz que não consegue acordar. Durante o sonho, ele é confrontado com várias pessoas que levantam uma série de questões existenciais e a certa altura dizem-lhe que é possível controlar os seus sonhos. A partir do momento que entende que está num sonho e não se entusiasma o suficiente (o que o levaria a acordar), pode fazer dele o que bem entender.

Os media cada vez mais nos podem levar onde bem quisermos. Entendo isto como algo positivo. Desde que nos entusiasmemos sempre o suficiente para acordar.

(Fotograma do filme Waking Life (2001) de Richard Linklater)

-

1 Tradução a partir da versão inglesa de Laura Martz do livro referido (2009): Media create their own worlds, and we learn to live in them.

2 Termo utilizado por Douglas Rushkoff, no seu livro Playing the Future (1997), para se referir à geração que cresceu com a linguagem dos novos media.

3 Tradução a partir da versão inglesa de Laura Martz do livro referido atrás de Henk Oosterling: psycho-technologically alone.

4  Tradução a partir da versão inglesa de Laura Martz do livro referido atrás de Henk Oosterling: radical mediocrity.

5 Termo utilizado por Martin Heidegger em Being and Time (1927) para designar a existência, no sentido de existir-no-mundo.

A verdade está na velocidade, na máquina, na violência e na guerra. Tudo isto é celebrado por Filippo Tommaso Marinetti, poeta italiano e convicto futurista. Nos onze artigos que constroem o seu Manifesto Futurista (1), Marinetti encaminha-se para uma estetização da política. Walter Benjamin, numa análise deste fenómeno na política fascista, cita Marinetti:

A guerra é bela, porque graças às máscaras de gás, aos lança-chamas e aos blindados, funda o domínio do homem sobre a máquina subjugada. A guerra é bela, porque inaugura o sonho da metalização do corpo humano. (…) A guerra é bela, já que cria arquitecturas novas como as dos tanques, as das esquadrilhas formadas geometricamente, as das espirais de fumo nas aldeias incendiadas e muitas outras… Poetas e artistas futuristas!… Recordai-vos destes princípios fundamentais de uma estética da guerra para que iluminem o vosso combate por uma nova poesia, por umas artes plásticas novas! (2)

Perante a leitura de um manifesto tão aceso e uma análise funda sobre o futurismo italiano, é difícil apontar um resto de sarcasmo do autor em qualquer um dos artigos. A guerra é mesmo bela, a destruição e a violência são mesmo valores a adoptar. A beleza da velocidade é, para Marinetti, a beleza de todo o processo mecânico de um automóvel a funcionar. É tão simples quanto isto.

Pelo contrário, se em Marinetti o ideal estético era um fim em si mesmo, em Karl Marx e Friedrich Engels, a arte era preconizada como um instrumento de propaganda. Ao longo da história, ao designer, artista, cinematógrafo, arquitecto, foi muitas vezes atribuído um papel político: não é a estetização da política como no futurismo, mas a politização da estética, também teorizada por Walter Benjamin. O uso do cinema, da arquitectura monumental e austera e outras manifestações artísticas de propaganda serviam bem o comunismo de Marx e Engels.

Cem anos depois do Manifesto Futurista, a velocidade é novamente glorificada, ainda que com uma nova abordagem, pelo Digital Humanities Manifesto (3). Aqui pode ler-se a velocidade em duas formas distintas: a velocidade exponencial da corrente de informação disponível e a velocidade estonteante da alteração de costumes e valores a que estamos sujeitos nesta era digital. Quanto a esta última, convém seguir o conselho deixado em Tao Te Ching: Lida com a dificuldade quando ela ainda é fácil, lida com o imenso quando ele ainda é pequeno (4). Na geração transitória que hoje vive, a recusa de penetrar na cultura digital resulta no que futuramente será entendido como analfabetismo.

Em relação à velocidade da corrente de informação democraticamente disponível, os seus efeitos são já claramente favoráveis ao aumento do conhecimento. Por outro lado, ainda não é suficientemente intuitiva a busca pelo saber nos meios digitais. O papel do designer é essencial para este processo ser mais fácil, como escreve Clement Mok: O Design, no sentido lato, é quem permite a era digital – é um processo que cria ordem no caos, que torna a tecnologia usável para o negócio. (5)

-

1 Manifesto Futurista de Filippo Tommaso Marinetti.

2 Filippo Tommaso Marinetti citado por Walter Benjamin em A Obra de Arte na época da sua possibilidade de reprodução técnica (Assírio & Alvim, 2004), traduzido para português por João Barrento.

3 Digital Humanities Manifesto 2.0 é o resultado de nove seminários decorridos na UCLA (University of California, Los Angeles) ao longo de 2008.

4 Tradução a partir da versão inglesa do texto originalmente escrito em chinês (no ano 6 a.C, segundo a tradição), citada por Josh Greenberg no seu blog One Bite at a Time : Deal with the difficult while it is yet easy. Deal with the great while it is yet small.

5 Tradução a partir do original em inglês: Design, in its broadest sense, is the enabler of the digital era – it’s a process that creates order out of caos, that renders technology usable to business.

            Teleaction, according to Manovich, is a very different operation. This because it is a complicated operation used to access new media, representing a shift from representation to conceptual space with telecommunication.  Manovich argues that real-time communication technologies (telegraph, telephone, television, telepresence, etc.) became subsidiary to technologies of representation (film, digital storage, etc) because of a shift in aesthetic. He relates this to definitions by Roland Barthes and Nelson Goodman deeming only finite objects as “texts” that can be “read.” But doesn’t the Internet and the increase use other real-time communication change all of this?

            Take into account the rise of Internet and real-time communication. Isn’t it true that most people are now interacting through phones, the internet has become just as common place as interactions with representational technologies? Can’t these also be considered an aesthetic also? If so then teleaction must be considered in two forms: telepresence and image instruments.

            Telepresence is usually defined as the ability to see and act at a distance, or representational technologies used to perform an action, in this sense x-rays, architectural designs, etc. would be one of these technologies. Brenda Laurel defined telepresence as “a medium that allows you to take your body with you into some other environment…you get to take some subset of your senses with you into another environment. And that environment may be a computer-generated environment, it may be a camera-originated environment, or it may be a combination of the two.” This could be applied using video guided missiles in real-time action. In the virtual environment, like that of the metaphor of the desktop, produces a screen space where telepresence uses on-screen action directly affected by user action. Manovich takes this all a step further and asserts that hyperlinking can be a form of telepresence, as the user is literally teleporting from server to server to access documents on computers in different locations.

            Manovich uses the term image-instruments to refer to Bruno Latour’s idea that images have historically functioned as instruments of control and power, that is to “mobilize and manipulate resources across space and time.” Manovich argues that since telecommunication uses images, but can also function by solely the electronic transmission of signals that real-time manipulation and control from a distance can happen.

            Lastly, Manovich touches on the concept of distance and aura. Manovich first summarizes Walter Benjamin and Paul Virilo’s arguments of valuing distance.  Benjamin argues that by bringing things closer you ruin the natural/ unique location of them. Virilo discuss small optics, geometric perspective, and big optics, the real-time electronic transmission of information. He argues that as big optics takes over allowing global transmission of information small optics is lost and so is time for reflection and correct action.

The function of hypertext

We’ve been talking in class about the progression of media and how society has taken technologies from the past and, not only, built upon them but applied them to needs of today.  Steven Johnson’s discussion of hypertext does exactly this.  What is the function of hypertext?  Johnson connects the ideas about a machine conceived by an engineer, Vannevar Bush, in 1945 to links on the Web.  He argues that links have become a form of punctuation but have the potential to completely transform storytelling, or, more generally, how people relate to information.

In “As We May Think”, Bush observed that society had reached a point where it was incapable of handling the knowledge now accessible due to technological advancements.  He argues that information is useless until aids are developed that can provide quick access to and facilitate the processing of pertinent information—a direct path to knowledge (sect. 8).  He goes through current technologies and theorizes how each can be advanced.  Since compression technology allows the storage of data, the next step is a selection device.  Advancement is useless if it can’t be consulted for “man only profits by acquiring knowledge (sect. 5)”.  Selection devices help with narrowing down information but fail to aid the processing of data.  His ultimate answer is the Memex, a machine comparable to the internet.  The Memex is a desk with two levers (for going forward and backward), a screen, and a storage space able to hold any amount of information necessary.  It consists of a code book in order to recall information faster and the ability to allow the user to create trails and take notes on the information he is sorting.  The idea is that the user will be able to search for any information on a topic and link his findings by associations instead of using an indexing system which is inefficient.  The efficiency comes from the fact that it is not simply mimicking how the human mind works, allowing finding to hold more meaning, but improves the process by making it faster and permanent.  He projects that once a device like this exists, society will change:  “new forms of encyclopedias will appear, ready made with a mesh of associative trails running through them (sect. 8)”.

Multiple connections that can be drawn from the Memex to the internet: Bush’s code book is similar to today’s tagging feature and, the part Johnson focuses on; his trails are advanced versions of links.  Hypertext allows links of association to be formed; they can forge semantic relationships for they bind together ideas in digital prose and should be seen as a tool to bring multifarious elements together (111).  Links are inferior to trails for they do not allow the reader to create associations, and they lack permanency.  He also compares links to Charles Dickens’ “links of association” between characters which allows for the narrative to reach a conclusion.  He calls them “high-tech descendents” for they both have a stitching effect (116).  WEB 2.0 allows users more creativity than in 1997; however, it still lacks the personalization of the link back feature for readers.  The ability to embed media content allows for various types of media to be linked but a reader still cannot create their own trail, they would need additional program (to be the author of a blog, etc.) to be able to create an permanent association (though even then permanency can be contested as links die).

Even though links are most commonly used in a supplemental manner, separate from the text (as shown by recommended reading links), Johnson uses Suck’s website to show how links can progress; they take on a role of punctuation.  SUCK’S LINKS are a way to withhold information; it forces readers to be interactive in order to fully understand the column—they add another dimension to the text.  Though this is progress, Johnson’s argument is that links could be useful on the macro level of storyspace.  HYPERTEXT LITERATURE attempts this.  They are meant to allow readers control their own experiences instead of the authors (even though it had its failures).  It has yet to be actualized and Bush is still ahead of the times but progress is slowly being made.

Dans cet article, je vous propose d’ajouter des liens hypertextes dans vos fichiers .PDF créés avec la syntaxe de l’ODS PDF. Pour illustrer ce sujet, nous créerons une table des matières (table of contents ou TOC) rustique avec ODS PDF TEXT=’ ‘; où il suffira de cliquer sur la section qui vous intéresse pour l’atteindre.

1. Le principe de base

Pour ajouter des liens hypertextes, il faut deux informations :

• la location du point d’encrage/de destination (anchor)
• le lien vers ce point d’encrage

ods escapechar=‘^’;

ods listing close;
ods pdf file=‘C:/sasref/hyperlink_toc.pdf’;

ods pdf text=‘Table of Contents’;
ods pdf text=”;
ods pdf text=‘^S={url=’#hommes’}1. Hommes’;
ods pdf text=‘^S={url=’#femmes’}2. Femmes’;

ods pdf anchor=‘hommes’;
ods pdf text=‘1. Hommes’;
proc print data=sashelp.class(where=(sex=‘M’));
run;

ods pdf anchor=‘femmes’;
ods pdf text=‘2. Femmes’;
proc print data=sashelp.class(where=(sex=‘F’));
run;

ods pdf close;
ods listing;

Le point d’encrage : Le point d’encrage est donné par l’instruction ods pdf anchor=‘…’;. Entre guillemets est donné un nom de votre choix qui servira à l’identifier.

Le lien hypertexte : Le lien vers ce point d’encrage est donné par le mot URL à préciser sous forme de style donné au texte sur lequel cliquer.

ods pdf text=‘^S={url=’#…’}Je clique ici’;

Définition d’un style : Le style est défini avant le texte par S={…}. Pour indiquer à SAS qu’il faille interpréter ce texte comme un style et non un texte brut, un caractère doit précédé le tout. J’ai choisi le symbole du chapeau défini auparavant avec l’instruction ods escapechar=‘^’;

2. Personnaliser le style

Supprimer l’affichage du bookmark : Dans la version enrichie qui suit, j’ai choisi l’option NOTOC pour éviter l’affichage du bookmark sur la gauche de l’écran propre aux fichier PDF.

Les sauts de pages à la demande: J’ai aussi choisi d’enlever par défaut tous les sauts de pages ods pdf startpage=never; puis d’ajouter une fois un saut de page entre la table des matières et les tableaux avec ods pdf startpage=now;

Les en-têtes en moins : Le titre par défaut, la date et le numéro des pages sont enlevés :

title;
options nodate nonumber;

Les liens hypertextes invisibles : Par défaut, le lien hypertexte est présenté par un cadre bleu autour du texte à cliquer. Pour enlever ce cadre, travaillez le style avec ACTIVELINKCOLOR, VISITEDLINKCOLOR et LINKCOLOR.

ods pdf text=“^S={activelinkcolor=white
visitedlinkcolor=white
linkcolor=white
url=’…’}…”;

D’autres styles permettent ici d’affiner la présentation :

• VJUST : ajustement vertical du texte
• CELLHEIGHT : hauteur de la case contenant le texte
• CELLWIDTH : largeur de la case contenant le texte
• FONT_FACE : la police de style
• FONT_SIZE : la taille du texte
• INDENT : l’indentation du texte
• FONT_WEIGHT : mise en gras du texte

J’ai choisi de sauvegarder ces informations dans des macros variables pour pouvoir centraliser l’information en début de programme.

3. Le résultat

Deux pages sont donc créées. La première contient la table des matières. Vous pouvez cliquer sur le texte 1. Hommes ou 2. Femmes pour rejoindre le tableau qui vous intéresse.

Annexe : l’intégralité du code

%let titl=vjust=middle
cellheight=30pt
cellwidth=17cm
font_face=arial
activelinkcolor=white
visitedlinkcolor=white
linkcolor=white;
%let titl1=&titl indent=5cm font_size=16pt font_weight=bold;
%let titl2=&titl indent=6cm font_size=12pt;

title;
options nonumber nodate;
ods escapechar=’^';

ods listing close;
ods pdf file=‘C:/sasref/hyperlink_toc.pdf’ notoc startpage=never;

ods pdf text=“^S={&titl1.}Table of Contents”;
ods pdf text=”;
ods pdf text=“^S={&titl2. url=’#hommes’}1. Hommes”;
ods pdf text=“^S={&titl2. url=’#femmes’}2. Femmes”;

ods pdf startpage=now;

ods pdf anchor=‘hommes’;
ods pdf text=“^S={&titl2.}1. Hommes”;
proc print data=sashelp.class(where=(sex=‘M’));
run;

ods pdf anchor=‘femmes’;
ods pdf text=“^S={&titl2.}2. Femmes”;
proc print data=sashelp.class(where=(sex=‘F’));
run;

ods pdf close;
ods listing;

When one considers the effect that modern technology has had upon scientific and social progression, it is nearly impossible to imagine our culture in the days of non-existent or even old technology.  As the flow of knowledge becomes greater and greater each day, the expectations of technology grow exponentially as well.  Everyday, a new technology, scientific breakthrough, artistic creation or even something as minor as a new interest posted on my Facebook page all become part of the information highway.  The Internet has allowed this constant knowledge flow to be recorded and stored in the World Wide Web, however, it is fundamentally incorrect to assume that the abilities of new media have completely surpassed and replaced old media.  Important minds in the scientific and technological fields have examined the ways in which some new media (i.e., the Internet) have appropriated and integrated old media models.  This paper will examine the works of Steven Johnson and Dr. Vannevar Bush, and the ways in which both men understand new media and the evolutionary processes that occur from old to new media.

Scientific author, Steven Johnson, posits in his book Interface Culture: How New Technology Transforms the Way We Create and Communicate that the Internet, for example, has incorporated more old technology characteristics than many would assume.  One of the first things that he focuses upon is the idea of links and hypertext.  It is literally written in code that the one page is associated with the other, thus a link was created (through hypertext) to get the user to his destination in a much more efficient manner, much in the same way that Dr. Vannevar Bush describes the mental associative processes of the brain (to be discussed in more detail below).  Steven Johnson believes that the ‘link’ has created a language in and of itself.  Links have transformed the simple written language into a more complex and technologically infused means of communication, and have also enabled an organization of the mass of information that is found on the Internet.  Through hypertext, this technology of association has evolved the early ways of navigating the Web into a more concise, meaningful process.  Johnson writes, “As the word suggests, a link is a way of drawing connections between things, a way of forging semantic relationships.  In the terminology of linguistics, the link plays a conjunctive role” (111).  In other words, hypertext has created new ways to read and write, giving multi-level meaning to data.  If one is reading an article about Dr. Vannevar Bush, for example, he/she can click on the word for his invention, the memex, and be immediately connected to an entire site dedicated to the object.  You no longer have to be fluent in computer technology to navigate through the Web.   An article is no longer limited to a two-dimensional piece of paper, hypertext provides a multifaceted way of displaying ideas.  Although these provide specific examples from Johnson’s argument, they highlight the ways in which new media have integrated the old and how these new systems appropriate old ways of thinking and recontextualize them to fit into the language of modern technology.  Newspapers, books, magazines each represent old media models, however, the new technology of the Internet and the advent of the hypertext have evolved that old technology.

Dr. Vannevar Bush, a twentieth century engineer and scientific figure, also comments on the ways in which new media have integrated old media and technology in his article, “As We May Think.”  He also considers the importance of links—albeit different from the form which Steven Johnson discusses—in the organization of information and in sorting data in meaningful ways.  Bush posits that there is a constant influx of new information being introduced into our world every second, but technology’s ability to recall and retrieve the information in a useful and concise manner is not as efficient as it should or could be.  Bush wrote his article in the early twentieth century, a time when computing devices were in their most basic of stages compared to what they have become today, but also a time when he was able to truly foresee the potential that automated technology held.  Bush writes that during his lifetime, “The machines for higher analysis have usually been equation solvers,” however, their inability to sort and recall information in a logical manner limits their maximum efficacy, which in turn, is detrimental for scientific and mental progress.  Bush believed that the perpetual flow of information exceeded technology’s ability to recall it in a sensible way, an enormous deficiency of the media.  He writes, “So much for the manipulation of ideas and their insertion into the record.  Thus far we seem to be worse off than before—for we can enormously extent the record; yet even in its present bulk we can hardly consult it” (8).  Bush believed that the fundamental problem was technology’s customary ways of indexing information.  He saw the major flaw being the lack of a machine’s ability to ‘associate’ from one idea to another in the speedy, flexible way that the human mind is able to.  This form of logic thus posits the computer to actually be detrimental in a sense to man’s already rather adept mental capabilities, however, Bush does argue that where the computer lacks in adequate logical reasoning like the human mind, the mind is unable to recall data with the same exactitude that computers are capable of.^[1] Thus, he presents his invention of the memex, an automatic, mechanized device that has the ability to store and retrieve information through selection and association through a practical and constructive approach.  He refers to the ability to retrieve information through association as “associative indexing” (10), a process of correlating two ideas together (much in the same way that Johnson discusses the abilities of hypertext).  Links of association, or ‘trails’ in his language, created a way in which information could be sorted in a logical manner when chronological sorting was no possible (i.e., the information was such that chronological or alphabetical sequencing would not make sense).  Bush saw the use of trails as a way in which to link seemingly abstract, or ‘transient,’ ideas together in a sensible way.   Associative indexing would literally enable the machine to interpret data and connect information in a meaningful way for the user.  In the same ways that Steven Johnson understood the importance of hypertext and links, Dr. Bush believed that the memex would enable the user to more easily retrieve information in a more efficient manner and it would provide a way to maximize man’s scientific discoveries by providing an environment in which to store pertinent information.  It would combine the reliability of a computerized memory with the human mental process of association (although Bush did understand that the speed and flexibility of the human mind could not be mimicked exactly in computer form).  If science were to undertake the memex and create an economic and labor-friendly way to produce it, Bush believed that “science may implement the ways in which man produces, stores, and consults the record of the race” (11).

Ultimately, Steven Johnson and Dr. Vannevar Bush understood new media to be a continuation and evolution of past media models.  Both figures believe the most efficient way to store and retrieve data in a useful way is through a computer’s ability to associate and ‘link’ ideas together, much in the same way a human brain is capable of.  Giving a computer the ability to link through association provides a way for the machine to literally interpret information being inputted into it, thus, providing a very useful service for the user to relate pertinent pieces of information together.  Although the two men existed in different technological contexts, they each understood similar ideas of a computer’s capability and the method of association and the evolutionary processes that occur from old to new media.

Ketika pertama kali membuat blog, setelah menulis beberapa postingan, tentu jenengan sudah nggak sabar ingin jalan-jalan (blogwalking). Mengunjungi blog tetangga, membaca-baca tulisan yang ada, kemudian segera meninggalkan komentar di sana.

Berharap blogger lain tahu keberadaan kita, dan berdoa semoga mereka juga mengunjungi blog yang baru kita buat. Tapi, ketika komentar dikirim, muncul di layar jenengan bertanya-tanya…

Kok, nama saya tidak bisa di-klik? Tidak seperti pada komentar lain yang dengan meng-klik namanya kita segerabisa menuju blognya? Bagaimana blogger lain atau si tuan rumah bisa balik mengunjungi saya?

Itulah gambaran pengalaman saya waktu pertama kali ngeblog. Dan, sampai sekarang saya juga masih menjumpai beberapa blogger yang nama pada komentar tidak bisa di-klik, tidak bisa dikunjungi. Entah karena mereka memang tidak punya alamat blog, ingin anonym saja, atau belum ketemu caranya?

Pertanyaan itu pula-lah yang dilayangkan pada saya, oleh seorang temen yang sedang mulai ngeblog, si IwakLele. Temen kerja yang tertarik ikut ngeblog karena virus yang saya tularkan. Sebenarnya saya bisa saja menyarankan dia menuliskan alamat blognya bareng komentar, tapi takut dianggap kurang sopan atau jangan-jangan nanti malah dianggap spam. Atau, menyuruh dia mengirim komentar secara manual tanpa Log-in. Tapi sepertinya kurang praktis juga.

Terus?

Saya sempat bingung juga. Saya yakin, dulu saya juga pernah mengalami hal yang sama. Sempat dibuat pusing karenanya. Meski akhirnya terpecahkan juga, sayangnya saya lupa caranya. Itulah efek buruk tidak menuliskan ilmu yang didapat, bukan saja kurang manfaat tapi bisa jadi lupa-lupa ingat… He.he.

Awalnya, saya mengajari dia membuat Gravatar terlebih dahulu, perkiraan saya hal ini bisa di-atur lewat setting yang ada di sana. Gambar avatar sudah muncul, tapi nama Iwak Lele tetap aja berwarna hitam, tanda tidak mengandung hyperlink.

Akhirnya, setelah utek-utek, membuka satu per satu menu di Dashboard WordPress, ketemu juga caranya.

Begitu mudah ternyata, tapi berhubung nggak tau yap using juga…

1. Log-In ke akun WORDPRESS.COM jenengan.

2. Dari menu-menu di sidebar, pilih menu Users kemudian pilih Your Profile.

   

3. Jika halaman profile sudah muncul sempurna, tarik scroll ke bawah, temukan Contact Info di sana. Ketemu?

1. Isikan alamat blog jenengan di kolom Website ( contoh : http://iwaklele.wordpress.com)

2. Ada banyak setting di sana. Silakan isi sesuai keinginan jenengan. Tapi jika cuma ingin agar nama bisa di-klik, sampai sini sudah cukup.

3. Pilih Update Profile di pojok kiri-bawah.

   

4. Selesai. Hasilnya :

   

5. Untuk mengecek apakah sudah berhasil, silakan kunjungi blog lain dan tinggalkan komentar di sana.

Semoga bermanfaat, khususnya bagi temen-temen yang baru belajar ngeblog. Semangat!!!!

I was in my office at Milligan College with my friend Phil Kenneson the first time I went online. I sat at the computer and he stood next to me and leaned over and said something to the effect that you had to put the “address” of the “web page” in the “little box” at the top of the “screen”. I carefully typed out the “URL”, hit enter and merged onto the “information superhighway”.

I don’t remember the first page we viewed. However, I do remember seeing that some of the words appeared in bright blue letters. With Phil’s encouragement, I “clicked” on one of those words, something happened and, after a few seconds, I found myself on another page. I tried that several times.

As I clicked from link to link, I wondered how I would get myself back to the original page so I could get off the “information superhighway”. Apparently my first trip on the Internet was informed by the story of Hansel and Gretel. I had forgotten my bread crumbs and wondered whether I was condemned to live forever in cyberspace.

After several weeks of clicking on one hyperlink after another I had an epiphany. I realized that the Internet with its hyperlinks served as a good model for how my mind works except in my mind every word and every image is linked to every other word and image.

My mind is more a non-linear network of ideas and images than it is a road map or outline that leads from point A to point B to point C. I suspect (perhaps even fear) that the longer I am online the more hyperlinked, non-linear, and networked it will become.

For example, when I read in the story of the calling of Abram that God promised that “all the nations of the earth” would be blessed through Abram, my mind immediately jumps from one text to the next. Within a few seconds, I think about Jonah and his reluctant trip to Ninevah, Isaiah’s promises about “that day” when all the nations of the earth will stream to Zion, Paul’s teaching that Jesus is the seed of Abraham through whom all the nations will be blessed, his recollection of the great hymn that concludes with every knee bowing and every tongue confessing, Jesus’ encounter with the Gadarene demoniac, Paul’s sermon to the folks in Lystra who thought he and Barnabas were “gods come down to earth”, Jesus’ teaching that the rain falls and the sun shines on the righteous and the unrighteous, the inter-related connection between the Creator and the Redeemer, love of enemy, the first fish in Genesis, the healings of Jesus, the feeding of the 5000, the great celebration of worship at the end of Revelation, and Paul’s sermon on Mars Hill.

See what I mean?

I do not mean to imply that one can just jump from one story or idea to another without regard to context. All I am saying is that in my mind everything seems to be connected, for better or worse, to everything. (Note takers who want everything reduced to bullet points or numbered lists have a difficult time following me when I teach.)

Please understand, I do not know if this tangle of wires that is my mind is a blessing or curse! And, I make no claim at all that I am even qualified to write about these stories and ideas. I’m just an old boy from Georgia, a humble country preacher, a hungry dog in a meat factory.

I am pointing this out so as to reassure some of my readers regarding the phrase I wrote yesterday- “blessing is living in the service of Life” – that in my mind each word, whether legitimately or not, is linked to a lot of stuff.

I do not think of that little sentence as a grand explication of the meaning of blessing. Rather, I think of it as my way to invite some someone to sit down and talk with me.

Yesterday I told a story about a woman who asked me what I was writing about in the Starbucks. I replied, “Blessing”. Apparently that word, for whatever reason, did not “invite”. Maybe she really needed to get back to work. Maybe the word’s religious connotations scared her off. Maybe she thought I was trying to “hook her” into something she wanted no part of. I don’t know and can’t know.

Maybe she would have felt more “invited” had I said, “Oh, I’m exploring what it might mean to live in the service of Life”. Maybe that would have intrigued her enough to sit down and think with me about what that might mean. Maybe we could have traveled a little ways down that road together. I suspect I would have learned something from her, something about life or Life or barriers or obstructions along the journey of life to Life.

I love writing about “blessing”. I love thinking about “blessing”. I love imagining what a life committed to blessing might look like and what it might mean. I love turning the idea over in my mind and playing with it. I love having folks join me in the conversation. Some may learn from me. Most will teach me.

I like to think that in those moments of conversation, whether here online or there around a table in Starbucks, that each of us, whether believer or non-believer, sinner or saint, will saunter together into the land of blessing and find ourselves filled with awe and yes, gratitude.

I like to imagine that God will have to walk up behind us and say, “Close your mouths before a bug flies in!”