RE: The Cognitive Style of PowerPoint
*Everyone* has their style-issues...but you could say, a style-sheet for every occasion and audience. After all, style sheets could deflect or inflate content as well as style if you wanted. As an engineer, I view this as progressive. As a poet, I'd rather take serendipity than prepacked ungoodness. "Bullard, Claude L (Len)" To: "'roger.day@g...'" <roger.day@g...> <clbullar@i... cc: "'xml-dev@l...'" <xml-dev@l...> m> Subject: RE: The Cognitive Style of PowerPoint 18/12/2003 16:18 But it was Allen Ginsburg who sat on the floor next to me, grabbed my left hand, and insisted that I play the normative blues hammer on pull off riff as he improvised his poetry rather than let me improvise in my own style along with him. He had his style issues and he stuck to his guns on them. He said I was playing too many notes and wandering off The Beat, and after all, The Beat mattered. He had a good point. Real time usually wants simplicity and familiarity. In a recording studio where we could have compared takes, he might have liked it better, but I would have also converged on The Beat. Feedback is the beginning of intelligence and perhaps all that discriminates creativity from repetition. I wish there were more random audiences. These days it seems to me they've become overspecialized, overfed, and are clinging to The Eagles and Lynard Skynard for dear life. Glad to see The OutKasts. XML succeeds because it is just enough rules and otherwise doesn't give a d**m. Should we write our presentations in XML? Well, how adaptive is the display engine to real time control? How well can one write the content to be adaptible? Tool AND talent AND practice. len From: roger.day@g... [mailto:roger.day@g...] content matches form meets audience distribution, at least that would be content's dream. Mozart had some complexity to say, but he left it up to the specialists to batter their heads against the semantic conduits. Music can carry complex abstractions better, I think, because it's received by a different part of the brain; sounds and words aim at other parts where complexities are less welcome in the arena of performance. I've attended John Ashberry and Allen Ginsberg readings; the heart and mind were engaged at different areas in both. But, as a rule of thumb, with a randomly selected audience, I'd go for simple. Of course, if I could guarantee an audience of PhD students, then the blackboard would be full of indecipherable and chalkdust take the hindmost.
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