Author Archives: lianghui zhang
Task 12: Speculative Futures
The two speculative futures are created using Genially slideshow. Click the right and left buttons on the sides to move forward and backward in the slideshows. If the slideshows are not displayed properly in the blog, please use the alternative links to open them in a separate web browser tab. Thanks for watching!
Utopian Speculative Future
Alternative link: https://view.genial.ly/62c928de619c40001181bcbf/presentation-utopian-speculative-future
Dystopian Speculative Future
Alternative link: https://view.genial.ly/62c8f5aac4d0820018194ee4/presentation-dystopian-speculative-future
Task 9: Network Assignment Using Golden Record Curation Quiz Data – Helen
Task 9 Network assignment
I’m using the newer GoldenRecordB file for the analysis and reflection. In this file, I’m in community 3 with Junel and Yijun.
Link to Junel’s justification: https://blogs.ubc.ca/missjunetexttechnology/tasks/
Link to Yijun’s justification: https://blogs.ubc.ca/etec540trista/2022/07/09/task-8-golden-record-curation-assignment/
We have selected many instrumental songs, but due to different reasons. I focus on minimizing the possibility of aliens misinterpreting the lyrics. On the other hand, Yijun thinks lyrics are redundant to the “Greetings from Earth” track, so they do not need to be included. Nevertheless, we still share similar reasoning. The pieces of music we choose are created by musicians with different cultural backgrounds. And we make these choices because our goal is to include “diverse” music and be “inclusive”. However, does it mean people in other communities are not being “as inclusive as possible” as Carl Sagan would like to see (Twenty Thousand Hertz, n.d.)?
Motivated by curiosity, I have randomly selected another classmate from community 4, Erin. I quickly realized that Erin picked a variety of songs as well. The graph fails to reveal that we have the same goal to be inclusive. And it surprises me that although Erin and I are not grouped in the same community, we still share 5 vertices. Note I only have 5 and 4 vertices in common with Yijun and Junel, respectively. It is demonstrated that the graph is unique because of everyone’s presence and everyone’s choice. For example, if Yijun and all community 4 members did not select their 10 songs, I will be grouped with Erin, not Junel, since Erin and I have more connected edges (Palladio, n.d.).
The discovery inspires me to think about communities and social networks in the physical world. The communities are also shaped by both people inside and outside. People usually form a community or are perceived as a community based on similar ideologies and characteristics. However, they may have more similarities and connections with people outside the small circle than we think. In addition, the environment, people, and behavior form a system of triadic reciprocal causation as Social Cognitive Theory proposes (Bandura, 2011), which continuously changes the boundary of communities. In other words, communities are neither isolated nor fixed. Computer algorithms with no temporal information only capture a snapshot of the community ecosystem (e.g. association in LinkedIn) but fail to demonstrate the richer messages behind the shifts in time.
It would also be interesting to explore the notion of community in a weighted graph. If we were asked to rearrange the 10 songs instead of listing them, the orders can be assigned to the edges as the weight. The resulting graph may be a more comprehensive model showing our underlying assumptions about what is the most important thing that we can afford to keep.
References:
Bandura, A. (2011). Chapter 17: Social cognitive theory. In P. A. M. van Lange, A. W. Kruglanski, & E. T. Higgins (Eds.), Handbook of Social Psychological Theories, 349-373. London: Sage.
Palladio. (n.d.). Create a facet filter. Stanford. http://hdlab.stanford.edu/palladio/tutorials/facet/
Twenty Thousand Hertz. (n.d.). Voyager Golden Record. [Audio podcast episode]. Megaphone. https://cms.megaphone.fm/channel/20k?selected=TTH4214315391
Task 8: Golden Record Curation Assignment – Helen
As Smith (1999) points out, when converting from analog signal to digital signal, some pieces of the information are inevitably lost. Similarly, the songs included on the Voyager golden record lost their higher frequencies in the compression process hoping to provide more meaningful information to the aliens (Twenty Thousand Hertz, n.d.). Facing the difficult choice of making more trade-offs, the following criteria are used to further reduce the track to 10 pieces of music aiming at the same goal of conveying more meaningful information.
Parameters and criteria:
– The record should send joyful and friendly messages, and avoid sad and angry messages in the tune and the lyrics
– Pretend that aliens understand human languages, the lyrics should be an introduction about Earth, not messages that one human wants to express to other humans
– Include tracks by different performers. If a performer has multiple tracks, choose the most joyful track
– Cover songs from different continents, about different genres, using different instruments as much as possible
The 10 tracks that I have chosen are:
Track 1: Brandenburg Concerto (First Movement)
Track 2: Kinds of Flowers
Track 3: Percussion (Senegal)
Track 8: Men’s House Song
Track 13: Panpipes and Drum (Peru)
Track 20: Night Chant
Track 21: The Fairie Round
Track 22: Panpipes (Solomon Islands)
Track 25: Flowing Streams
Track 27: String Quartet No.13 in B flat
References
Smith, A. (1999). Why digitize? Retrieved June 15, 2019, from Council on Library and Information Resources
Twenty Thousand Hertz. (n.d.) Voyager Golden Record. [Audio podcast episode]. Megaphone. https://cms.megaphone.fm/channel/20k?selected=TTH4214315391
Task 7: Mode-bending – Helen
Link to the video version of the what’s in my bag task: https://drive.google.com/file/d/1rkgKbHHoSW4cFv7dLipxyQK5JnLi0imr/view?usp=sharing
I have recreated the what’s in my bag task using a self-made video by utilizing multimodal design techniques proposed by the New London Group (1996) such as visual design (showing the items, zooming in on the item to draw attention), gestural design (movement, pointing with a finger), and audio design (talk when filming to describe the items). The video compresses the 1000 words of writing into a 5 minutes talk, reproducing and transforming (New London Group, 1996) it into something more casual and approachable. Words describing the position of the items (e.g. “from top left to bottom right”) are simply converted to visual representation (e.g. picking up an object in front of the camera and excluding the items in the background from the frame). In addition, the video version demonstrates more information than the writing by showing where each item is stored in my bag, and how they relate to each other. The organization also reflects on my habits and personality and serves the goal of introducing myself. Overall, using emerging forms of different media, I was able to practice multiliteracies skills (New London Group, 1996) by constructing my multilayered identity.
However, the process of creating the video is not as easy as it seems. The greatest challenge is to recreate the same content as completely and accurately as possible. My experience demonstrates that writing serves as a memory aid, and it can capture ideas precisely with material means (Haas, 2013) which is impossible to achieve with just orality. Instead of reading what I have written before, I tried to retell the story as I film. And I ended up pausing multiple times and modifying my original messages. After filming the video, I had to edit out about 30 seconds of pausing and repetition in different sections to make the video less awkward. Furthermore, note that in the writing version, I was able to translate the text from Chinese to English and polish the translation using the word editing tool embedded in my computer. However, without the technology, I had to use words that immediately come to my mind, and convey the general meaning without solidifying it. The differences are evident in almost every translation when comparing the audio to the writing.
References
Haas, C. (2013). “The Technology Question.” In Writing technology: Studies on the materiality of literacy. Routledge. (pp. 3-23).
The New London Group. (1996). A pedagogy of multiliteracies: Designing social futures. Harvard Educational Review 66(1), 60-92.
Task 6: An emoji story – Helen
– Did you choose the work based on how easy it would be to visualize?
Yes, I have chosen a different work from my initial thought because of two main difficulties. And I have found that selecting a suitable work vastly reduced the time to recreate the plot.
The first difficulty is the missing consensus. My initial idea was for a movie aired in China only. It would be difficult to represent its plot using emojis because very few people would be able to guess the movie, regardless of how accurate and precise the representation is. In the process of changing my mind, I realized that although emojis and pictures are both visual representations, emojis have more commonalities with words such that texts constructed by emojis are inevitably vague. We can extend Kress’s (2005) argument from words to emojis; when representing semantics with emojis, the meanings are ill-fitted into the limited amount of symbols, and interpretation based on conventions is necessary for understanding these signifiers. The cultural and social context must be considered to avoid misunderstanding or being offensive. For example, the open palm ✋ means high-five in western countries, but it is a curse in Pakistan (Ormerod, n.d.). In addition, “new rules” may assign hidden meanings or alter the original meanings (Zaltzman, 2019) of emojis, and such changes can in turn influence human perceptions. For example, the banana or eggplant emojis can represent more than the fruit and the vegetable in some contexts. The characteristics of the emoji language contribute to the difficulty of recreating the movie plot to a diverse audience group with different prior knowledge.
Another difficulty is that emoji lacks the essential signifiers to represent the plot. In this activity, no words are allowed. However, in real life, words and emojis have not yet replaced each other; they co-exist with a constantly shifting hegemony (Bolter, 2001) and they are usually used together to convey the complete idea. For example, “good work” with an eye-rolling emoji represent sarcastic feelings, and the emoji in this case takes the primary role. On the other hand, “good work” with a smiley face emoji represents praise, and the words take the primary role to communicate the praise. It is argued that representing the plot of my initial idea, “conducting a rescue mission that saved millions of lives”, is very difficult with just graphical icons.
– Did you rely more on syllables, words, ideas, or a combination of all of them?
I relied on the combination of words, ideas, and visual recreation. The title of the movie only consists of descriptive words, so it is easier to “directly translate” the words into emojis. On the other hand, the plot contains emotions, social interactions, and complex activities, so it is more easily redesigned based on ideas. Note that both the primary “picture writing” (Bolter, 2001, pg. 59) technique and the effect of literary culture are manifested in the emoji representation. The visuals in the movie directly affected my choices of emojis, thus “showing the world” (Kress, 2005) to some extent. In addition, the emojis also “tell the word” (Kress, 2005) by constructing an ordered narrative following the conventions of English writing: from left to right, from top to bottom, moving to a new paragraph to express logical separation.
References
Bolter, J. D. (2001). Writing space: Computers, hypertext, and the remediation of print (2nd ed.). Mahwah, N.J: Lawrence Erlbaum Associates.
Kress. (2005). Gains and losses: New forms of texts, knowledge, and learning. Computers and Composition, Vol. 2(1), 5-22.
Ormerod, A.G. (n.d.). Caution! These emoji mean different things in different countries. Rest of world. https://restofworld.org/2021/list-emoji-different-meanings/
Zaltzman, H. (Host). (2019). New Rules. [Audio podcast episode]. In Allusionist. Omny Studio. https://www.theallusionist.org/new-rules
Task 5 Twine task – Helen
Please download and play my Twine game here: https://drive.google.com/file/d/1f6lJbWEoSlyOua1lfDLj5IlKTiXqH5NM/view?usp=sharing
Alternatively, you can play it online without the sound effect here: https://wusling.neocities.org/task5/index.html
Reflection
The temple of No (Crows Crows Crows, 2016) is a fun and engaging game that utilizes hypertexts. It remediates traditional printed fiction by converting audiences to players; it lets the players choose their paths to explore, experiment, and interpret (Bolter, 2001). The game inspired me to create a graphic novel that can invite the players to co-construct the plot with autonomy, so I created the game Locked in the Room.
To construct the alternative paths in an immersive way, multiple hyperlinks are embedded in the same frame for the players to “act”. Note that this approach to hyperlinks is the opposite of the intention of their inventor, Nelson (1999). Instead of visualizing the origins of ideas and transpointing parallel documents, these hyperlinks are single-way arrows that connect the action to its consequences. Different choices can change the frame that the hyperlink connects to, thus disrupting the “stable publishing” (Nelson, 1999, para. 14). However, it is argued that this approach is still liberating and does not “dissolve into a disordered heap” (Bolter, 2001, pg. 35). Players can go back to previous frames by clicking on the back buttons or restarting the game, redo the changes, and taking other paths. In addition, the approach can augment players’ thinking process by affording “automated external symbol manipulation” (Englebard, 1963, pg. 27). The secret of the plot is encoded in the texts and artifacts. The players can attach symbols to them, manipulate the symbols by using different methodologies and eventually reach their own conclusion of the story.
Following the goal stated above, variables are used to keep track of the selected options. And the debug mode is used to ensure the hyperlinks are constructed correctly. Although not created using microfilms, the browser in debug mode serves as a Memex that supplements the viewer’s memory (Bush, 1945). The value of the variables is listed next to the main frame, providing references for the game state. By comparing the contents on both “screens”, I was able to organize my ideas and implement the design.
References
Bolter, Jay David. (2001). Writing space: computers, hypertext, and the remediation of print. New York, NY: Routledge.
Bush, V. (1945). As we may think. The Atlantic Monthly, 176(1), 101-108.
Crows Crows Crows. (2016). The temple of No [Video game]. Crows Crows Crows.
Englebart, Douglas. (1963). “A conceptual framework for the augmentation of man’s intellect” In Hawerton, P.W. and Weeks, D.C. (Eds.), Vistas in information handling, Volume I: The augmentation of man’s intellect by machine. Washington, DC: Spartan Books. Available (as “Augmentation of human intellect: A conceptual framework”)
Nelson, Theodore. (1999). “Xanalogical structure, needed now more than ever: Parallel documents, deep links to content, deep versioning and deep re-use.” Online.
Task 4 Potato Printing – Helen
It took me about 45 minutes to create the potato stamps. I realized that carving by hand limits the number of texts we can reproduce and transmit in our lifetime, which restricts the sharing and construction of ideas. In addition, text technologies are situated in the physical environment with unexpected limitations. As a result, the process makes me appreciate computer printing.
The nature of the media (a potato) has heavily influenced my production process and the end result. First, it requires additional mental efforts. Unlike patterns and drawings were shown by Juniper in her tutorial (2015), the direction and organization of English letters matter. It’s particularly challenging because the carver has to be cognitively aware of the horizontal reversal when the stamp is flipped upside-down against the paper. I didn’t think about it at first and ended up having an erroneous copy.
It requires extra effort to convert the vivid printed results of asymmetrical letters like “P” and “R” to the meaningless shape to be carved. As the computer remediates printing by enhancing its function of transmitting and reproducing texts (Bolter, 2001), such cognitive ability is lost. Thankfully, the potato allows some levels of modifications to the text. The potato is thick and cuttable; so when I carved it wrong, I can just cut off the top layer. I can also convert an “R” to “P” by cutting off the last stroke. These are difficult to do with stones, animal bones, or turtle shells used in the past (Lamb & McCormick, 2021). Second, it has temporal restrictions. If I waited for a few days between carving and printing, the potato will dry off or rot. It implies that I can append more letters to the printed text, but I can’t duplicate more of the previous texts after a set amount of time. In addition, potato is seasonal. We need additional technologies like a greenhouse, fridge, or preservation chemicals to reproduce texts on an everyday basis. Third, it has spatial restrictions. The size of the potato makes it difficult to carve all five letters on the same surface. Therefore, it is difficult to align the potato-printed letters in reproducing texts. As shown in the results, the “PR” of the top-left word is slightly higher than “INT” which causes the differences in duplicates.
References
Lamb J.R. & McCormick J. (Hosts). (2021, May 8).
From the Vault: Invention of the Book. [Audio podcast episode].
In Stuff to Blow Your Mind. iHeart Radio. https://www.iheart.com/podcast/stuff-to-blow-your-mind-21123915/episode/from-the-vault-invention-of-the-82316952/?keyid%5B0%5D=Stuff%20To%20Blow%20Your%20Mind&keyid%5B1%5D=From%20the%20Vault%3A%20Invention%20of%20the%20Book%2C%20Part%201&sc=podcast_widget
Bolter, Jay David. (2001). Writing space: Computers, hypertext, and the remediation of print [2nd edition]. Mahwah, NJ: Lawrence Erlbaum.
Juniper. (2015). Revamping Your Stuff With POTATO STAMPS. [Video]. Youtube. https://www.youtube.com/watch?v=tRKyECgL1wY
Task 3 Voice to Text Task – Helen
I used the Voice to Text Dictation functionality on iPhone to generate the following text:
“Hello I’m Helen so today I want to tell a story about my experiences with animals in the cooler so I grew up in Beijing which is a pretty metro city was very few animals Derek some burgers but that’s pretty much it so I was pretty surprised when I first came to Vancouver to see there’s so many wild animals does pretty mean around in the city like in ABC I know there’s like a lot of squirrels and birds and seek goals Krauss and pay and a lot of other animals I was like pretty surprised to see you like squirrels actually eat out of the garbage cans I was so surprised to see them just like fly into like tongue into the garbage can and just like random garbage in it like at first I was like that’s a little bit disgusting and then I’ll sake and the squirrels was just trying to survive and they don’t have that much like paint horse laying around on campus sauce it’s probably better for them to actually eat garbage and like try to survive and also I was like pretty surprised to see you actually I haven’t seen rock form in the city he saw them in the zoo but I don’t see them moving around in a pack so one day I finish dinner and I walked from the bus station to make a resident I will say on this road by myself and it’s pretty dark and there’s some like you don’t lamb spider Lake pretty little I couldn’t see much and I just saw this group of shadows like it’s across the hillside like stopped and then I was like a little bit scared and trying to see what’s going on and I just saw the giant pack of raccoons like 15 or like 20 raccoons there’s like a really huge one that I like about a meter long till super fluffy movie behind their body and there’s like really tiny ones there’s like a really small like a 10 cm long like even smaller across the state following their parents or grandparents I guess I didn’t know that it raccoons come in such a huge pack I I thought they were just like a two or three in a small family but no they were like a lot of them moving and search pack and their eyes light up in the really dark Knight which is a little scary to enter green with the second shiny green color and yeah so high and they didn’t attack me or anything I was like I didn’t go in and mess with them either way is there’s like one raccoon go closer but there’s like 15 of them so yeah I’ll just say stop there and they’re just like than me to in and they just say didn’t really care so they go move on with their day I guess I saw them like going into the garbage can as well I was pretty surprised that clinic open the lid of a really large garbage can by themselves they turn out like squirrels first day only going to the open back for second open the Latin salsa and going to the sake treasure of food I guess for them yeah so yeah I I thought it’s really interesting to see the amount of animals in the cooler and it’s a second really when you experience for me which is pretty cool I guess I also had experience with coyotes which is a quarter because I’ve never seen coyote before Yep that’s it”
The original audio file is also included for reference:
– What is “wrong” in the text?
In the text, many words are transcribed to different words with similar pronunciations such as “Vancouver” to “the cooler”, “birds” to “burgers”, and “UBC” to “ABC”. My accent probably contributes to mistakes like these. Nevertheless, it demonstrates that oral messages are prone to errors in the transmission process. The details of the story can potentially change as it passes along, producing a chaotic or even conflicting collective memory for the society. Different interpretations can stem.
– What if you had “scripted” the story? What difference might that have made?
The text contains many instances of repeated words and meaningless words such as “I was like”, “yeah”, and “I guess”. They are signs that I have forgotten what I was going to say and trying to fill the pauses with something. Written storytelling can be modified and refined to eliminate these instances and convey more cohesive meanings. While it may “destroy” the memory, it can also “restore” the memory (Ong, 2002, pg. 15). In addition, it mediates the progression of thoughts by providing time and space and fosters the development of “higher psychological functions” (Haas, 2013, pg.14) by encouraging “abstractness and precision” (Haas, 2013, pg. 12).
– How does the text deviate from conventions of written English?
The largest deviation that caught my attention was the text did not have punctuation like commas or periods to separate the sentences. I found it more difficult to understand the meaning of the text by reading it than by listening to it because of the missing punctuation. Knowing that punctuation in Chinese is a quite recent invention, I am interested in exploring the history of punctuation in different cultures and examining its impact on writing systems and human cognition. The following discussions aim to dive deeper into punctuation, an important writing technology, and demonstrate that it enhances writing to serve the transmission and construction of knowledge.
Punctuation in western culture was invented in the 3rd century BCE by Aristophanes (Houston, 2015). He introduced three types of dots that represent pauses in oral speeches. They gradually evolve into modern punctuation to symbolize grammatical boundaries. Adding spaces and punctuation in texts can minimize ambiguity and ensure that the meaning of sentences is interpreted correctly (Houston, 2015). It is a unique writing technique that helps people organize ideas, express emotions, and convey messages precisely.
It can be surprising that although Chinese writing characters can date back to 1250 BCE (Schmandt-Besserat, 2009), punctuation was not used until the 20th century (Chengye, 2007). Note that punctuation serves a similar functionality in Chinese compared to English, despite the two writing systems being different — English is a completely phonemic writing system whereas Chinese is not (Gnanadesikan, 2011). A famous example to demonstrate this is the ambiguous interpretations of the sentence “下雨天留客天留我不留” in “New Collection of Xie Ren Yi” (《增订解人颐新集》) by Tianyang Zhao. One way to break up the sentence is “下雨天留客,天留我不留”, which translates to “It is raining outside like the sky wants the guest to stay, but I do not want the guest to stay”. Another way to break up the sentence is “下雨天,留客天,留我不?留”, which translates to “It is raining outside, so it is a perfect day to let the guest stay. Do you want me to stay? Yes, please stay” (Baidubaike, n.d.).
Writing is situated in culture and society with inseparable connections “to knowledge, to truth, and to power” (Haas, 2013, pg. 5). The late invention of punctuation in China has political roots, and the introduction of punctuation by Hu Shi (Chengye, 2007) is seen as a democratic movement. Similar to western culture, in ancient eras, literacy or writing is preceived as a privilege of the authorities. And it is widely believed that people need to “hold the words of Sage in awe” (Confucius, 1999) — putting punctuation in books written by authoritative figures is disrespectful. After adding the punctuation, people found that texts become easier to read and learn. In addition, punctuation makes it possible to freeze the precise record of information “in a visual field forever” (Ong, 2002, pg. 11). The writing technology further separates writing from “orality” (Ong, 2002, pg. 5), and it consolidates the “materiality of writing” (Haas, 2013, pg. 1). It also opens up spaces for discussion and critiques instead of letting the readers blame themselves for the incorrect interpretations. Overall, punctuation has a profound impact on education in China.
References
Baidubaike. (n.d.). 下雨天留客天留我不留. Baidubaike. https://baike.baidu.com/item/%E4%B8%8B%E9%9B%A8%E5%A4%A9%E7%95%99%E5%AE%A2%E5%A4%A9%E7%95%99%E6%88%91%E4%B8%8D%E7%95%99/7298117?fr=aladdin
Chengye, H. (2007). Hu shi and the first advocate of the new punctuation, wang yuanfang. Chinese Studies in History, 40(4), 86-92. https://doi.org/10.2753/CSH0009-4633400406
Confucius. (1999). The analects of Confucius : a philosophical translation. New York :Ballantine Books,
Gnanadesikan, A. E. (2011).“The First IT Revolution.” In The writing revolution: Cuneiform to the internet. (Vol. 25). John Wiley & Sons (pp. 1-10).
Haas, C. (2013). “The Technology Question.” In Writing technology: Studies on the materiality of literacy. Routledge. (pp. 3-23).
Houston, K. (2015). Commas, semicolons and question marks are so commonplace it seems as if they were always there – but that’s not the case. Keith Houston explains their history. https://www.bbc.com/culture/article/20150902-the-mysterious-origins-of-punctuation
Ong, W. (2002). Orality and literacy: The technologizing of the word. New York; London: Routledge.
Schmandt-Besserat, D. (2009). “Origins and Forms of Writing.” In Bazerman, C. (Ed.). Handbook of research on writing: History, society, school, individual, text. New York, NY: Routledge.
Task 1 What’s in your bag – Helen Zhang
Hello, I’m Lianghui Zhang (or you can call me Helen). After graduating from UBC computer engineering, I started to work in my hometown Beijing. I have worked in a large technology company for a few months, and now I’m working in a small company as a data analyst and teacher for part of our professional development program in data analysis.
For this task, I took a photo of my work backpack. Here is a list of all my items from top left to bottom right:
– Alcohol wipes from two brands. One brand is “Xinxiangyin” with the label “New packaging. Skincare wipes that contains APG cleaning molecules and lemon and seaweed extracts. Softly clean the skin and deeply moisturize it. One piece.” The other is from the restaurant “Song Fa” with labels “established in 1969. Singapore Bak Kut Teh”;
– Annual ticket for visiting the local parks. The cost is 100 yuan. And it lists the terms and conditions for using it, “1. Visiting range: Summer Palace, Temple of Heaven, Zhongshan, Beihai, Jingshan, Taoran Pavilion, Zoo… 2. During legal holidays and cultural events, you need to visit the parks with tickets according to the park rules. 3. Restricted to entering the main park entrance, not for special locations. 4. Only the ticket owner can use it. Limited to two usages per park per day. Reselling the ticket is prohibited. 5. Time limit: 1/1/2020 to 1/31/2021. Recharge is necessary for extended use”;
– ID card;
– The access card for my apartment’s main entrance. The first line says “Prevent and control the epidemic, everyone is responsible”. And it is followed by the “Guanghuaxincheng Community residents access card”;
– Band-aid labeled with “tear from here” on the left side;
– Pen;
– Packet tissue labeled with “This is not normal daily tissue. This is BANBU (it has a similar pronunciation to bamboo). From simplistic and moderate living style. New (as opposed to recycled) bamboo tissue that feels like cloth”. I didn’t choose it because of its branding though. I chose it only because it was cheap;
– Portable power bank for my phone;
– Face masks labeled with “experience Beijing”, a giveaway for shopping at the subway grocery store;
– Apartment and office keys;
– Work laptop with earbuds, mouse, and charger.
Normally, I would leave my laptop at work and carry a much smaller bag. I’m working from home this month due to the new quarantine policies for COVID, so I still have my work laptop here. COVID also influenced my other carry items. The alcohol wipes and tissue are used for cleaning my desk at work and my hands. The expired park ticket is in my bag, but I did not visit any park in 2020; reservations and the limitations on the number of visiting people are preventing me from utilizing the ticket well. ID card is necessary for doing the COVID test that we do every day now. Face masks are still mandatory in public places. Sometimes the strap breaks, so I usually carry a backup in my bag. The mask would not be in the bag in the pre-COVID era. And hopefully, COVID will go away, so I don’t need to carry it around anymore (the stripped “experience Beijing” masks are cool to wear though).
Another item that I carry with me every day is my phone. It is used to take this photo, so it is not in the photo. In a sense, it is still evident as the power bank is carried to prevent it from dying. My phone’s battery life is relatively short. The power bank can largely reduce my anxiety.
Text technologies
There are both print and digital text technologies in my bag. Laptops and phones provide digital reading and writing spaces. For example, I use my laptop to store documents, write reports, and make presentations. And I use my phone to read news and novels. They are also used as the main communication device to express my ideas and feelings to friends, families, and co-workers. The communication can take the form of synchronous (Zoom meetings, calls) or asynchronous (texts, emails, and social media). Earbuds help me focus on the most important message in noisy public spaces for these synchronous communications, so it is also a text technology.
The ID card is both a print and a digital text technology. The ID number is printed on the physical medium, but it is only meaningful when it is connected to the large database to identify the corresponding person. If there is no digital database storing the bijection relationship between the number and the person, it becomes impossible to communicate the person’s basic identity (name, age, address) with this printed card. The parking ticket looks similar to the ID card, but it works differently to my knowledge. The ticket owner’s information is not digitally stored, so the only way to match the user to the owner is to manually compare the photo to the face. The photo is a text in the sense that it is used to communicate the person’s identity. And the camera used to take the photo is also a text technology because it is a practical art to facilitate communication.
The pen is clearly a writing tool. In addition, the packaging of the alcohol wipes and tissue serves as a mini advertising sign. They are also text technology that helps communicate the brand’s trustworthiness to its consumers.
Archeologist findings
The archeologist will notice that I live in China or a country that speaks Chinese. The most valuable findings will come from my phone as it reveals both my personal life and a snapshot of the way people communicate with each other at this time. If the digital device dies, they can still find out more correct or misleading information about my culture, values, and favorite food by looking at my choice of alcohol wipes and tissue.