I like how Cara mentioned how easy this will be to transition from hypertext to the portfolio, as “a portfolio is a collection of multimedia works, and, digitally, contains hypertext in how the web of content is strung.” Even though I felt, at times, that hypertext was taught a bit late in comparison to other things in the course, it makes sense to me now.
Most of the projects in the class that I have completed have comprised of musical aspects. My digital genre project focused on music sharing websites. I remixed poems I wrote into songs and created an album that now exists in the world of wide web. For my final project, I will have created a few songs to correspond with music videos and a short story. I’m just full of audio-related surprises. Kathleen Blake Yancey says in her essay, “Portfolio, Electronic, and the Links Between” that “a portfolio always shares what is important to the portfolio’s composer, what is valued in the context in which that student works, and so on” (130). Songwriting has always been what has mattered to me the most, since the first song I wrote on a business card when I was six. This class has been among the first where I could truly employ this genre is a way that is beneficial.
That being said, the portfolio certainly needs to be able to be listened to. Without a listening aspect, it would just be a lot of showing song titles, and what’s the fun in that? I would like to connect things in a cohesive way, which I feel can be accomplished, especially since the digital genre project mentions such platforms that I have posted other projects on. This would be the “hyperlinked” aspect, which, in fact, might actually be comprised of hyperlinks.
I imagine that in the reflective process, I will touch upon how these projects have benefitted my life in ways I had not thought possible. How redefined my understandings of the genres I had kept so separate, and how the things that I once thought were insurmountable are actually not far from my reach.
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Yancey, Kathleen Blake. “Portfolio, Electronic, and the Links Between.” Computers and Composition, 1996, p. 129-133.