In this chapter we look at the shifting writing workflows of Federico Viticci, a writer and creator of the influential MacStories review site, who has found ways to compose long-form texts on the iOS mobile platform (Apple's operating system for its iPhone and iPad devices). Despite growth in apps and accessibility, however, composing on mobile devices hasn't been easy, and many desktop practices simply haven't worked within the constraints of mobile operating systems. Additionally, mobile operating systems like iOS have offered innovations in computer accessibility through features like system-wide type scaling and voice-over narration. And the iPhone in particular has fostered a booming marketplace of phone- or tablet-based writing apps with names like IA Writer, Byword, Bear, Day One, and more. Note-taking services like Evernote and Google Keep focus on mobile capture-taking notes with a mobile device and saving those notes in a synced text database. Microsoft and Google both offer mobile versions of their word processors, as does the popular writing application Scrivener. We haven't seen research about long-form composing strategies on mobile devices, and today "computer" or "digital device" still signifies a desktop or notebook computer.Īn examination of software marketplaces tells a different story. With few exceptions (e.g., Swarts 2016), writing research about those mobile devices has focused mostly on the use of social network services (such as Facebook, Twitter, and FourSquare) or specific mobile features like GPS (global positioning system) and geomapping. But from the mid-2000s onward, "computer" for many people has meant either a smartphone or a tablet device-a machine that runs a mobile operating system and relies on a touch or voice-based input system. Much of that work, however, is firmly centered in the world of desktop computing-a place where "computer" means a device with a screen, an attached keyboard, a mouse or trackpad, and a desktop operating system like Windows, Mac OS, or Linux. Many writing researchers have met Manovich's call and examined a broad range of contemporary writing technologies, from the first word processors, to multimodal composing technologies, to social network services, to algorithms. Manovich uses cinema history as a way to warn about the digital computer and his concerns about the direction of analytical work at the time-or "speculations about the future rather than a record and theory of the present" (6–7). Instead we are left with newspaper reports, diaries of cinema's investors, programs of film showings, and other bits and pieces-a set of random and unevenly distributed historical samples" (6). "Unfortunately," he later continues, "such records do not exist. Songs from the Apple Music catalog cannot be burned to a CD."I wish that someone in 1895, 1897, or at least 1903, had realized the fundamental significance of the emergence of the new medium of cinema and produced a comprehensive record," Lev Manovich (2001) writes in the Language of New Media. iTunes-compatible CD or DVD recorder to create audio CDs, MP3 CDs, or backup CDs or DVDs.Internet connection to use Apple Music, the iTunes Store, and iTunes Extras.Screen resolution of 1024x768 or greater 1280x800 or greater is required to play an iTunes LP or iTunes Extras.To play 1080p HD video, a 2.4GHz Intel Core 2 Duo or faster processor, 2GB of RAM, and an Intel GMA X4500HD, ATI Radeon HD 2400, or NVIDIA GeForce 8300 GS or better is required.To play 720p HD video, an iTunes LP, or iTunes Extras, a 2.0GHz Intel Core 2 Duo or faster processor, 1GB of RAM, and an Intel GMA X3000, ATI Radeon X1300, or NVIDIA GeForce 6150 or better is required.To play standard-definition video from the iTunes Store, an Intel Pentium D or faster processor, 512MB of RAM, and a DirectX 9.0–compatible video card is required.PC with a 1GHz Intel or AMD processor with support for SSE2 and 512MB of RAM.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |