Chapter 3

Every visual has participants- Carriers and possessive attributes. The book says that a representative structure "involve two kinds of participants: one Carrier (the whole) and any number of Possessive Attributes (the parts)" (87). When I read this I immediately sketched a little picture in the margin of my book. This concept was difficult to visualize. I am partly a visual learner and tend to draw alot in this book. Many times the few pictures they are refering to are on the next page. It made me wonder what other pictures I could use to help cement this idea in head. So here are a few I found. I tried to find ones that showed multiple part.

In addition to the carriers and possessive attributes page 105 discusses symbolic processes and states they "are about what a participant means or is." This makes perfect sense to me, other terms may be a bit fuzzy but after reading about attributes (page 50), symbolic to it adds an additional factor that is understandable. Symbolic= representative in nature. So a symbolic processes is a representative process. The authors go on with this concept further on page 106 and adds suggestive to the attribute and creates and discusses the symbolic suggestive process.

Digital Remix

Chapter 2 Narrative Representations

Vectors seemed to be one of the main focuses of this chapter. The original defintion given, "What in language is realized by words of the category 'action verbs' is visually realized by elements that can be formally defined as vectors"(p46) appeared to give an adequate definition, but as I continued through the reading I kept trying to nail down a clearer view of what it was. It seems that vectors can be signs, brackets, arrows and basically anything that helps to guide or give direction. Vectors are important for any communication model or any other model intended to inform.

In the discussion of visual structures creating reality, the authors states, "On the contrary, they produce images of reality which are bound up with the interests of the social institutions within which the images are produced, circulated and read. They are ideological, Visual structures are never merely formal: they have a deeply important semantic dimension" (47). Ideology and the beliefs one holds are a fliter in which people view images and the meaning they gather.

Non-transactional structures appear to be static and therefore do not take in the use of vectors. Non-transactional processes do not necessarily involve people and seems to be unrelational in nature. There is only one part that is has no goal or action. The book used nonhuman elements to describe this type of process, "the water of the Gulf Stream does not move something, it just moves; and the wind of the Mistral does not blow something, it just blows" (63).