A Couple of Morons

Why examine such a mundane topic as Rn’B music?

Well the use of metaphor in interaction design could be perceived as somewhat obtuse. It’s sometimes viewed as a complicated mean of communication. To illustrate the truthiness of such a statement we hereby put a widely popular, and one must assume, widely understood user of metaphor, namely Robert Kelly.

His appeal must be categorised as wide based on his sale par example. Nevertheless he is still able to use an intricate structure of narrative. largely based upon metaphor, in his lyrics at the same time as maintaining his popularity. It is presumably the case that these metaphors are understood by his audience.
The use probably has its base in the once strict censorship of the American record industry. Not unlike the likewise intricate use of metaphorical levels established during the Soviet era. As the regulations have loosened the metaphorical use has sadly vanished. (Compare backdoor man w/ Young Jeezy)

We herein aim to show the plausibility of the metaphor as a narrative devise. We make no other comparison between our work and that of R. Kelly other than to illustrate the efficacy of metaphor. And the mutual aim of us and Mr. Kelly to pose as an idiot whilst still being a genius.

The Narrative use of Metaphor

The use of metaphor is wide in the field of interaction design. Often it is referred to via terms such as representation/representamen (Roland Barthes) derived from semiotics. The discussion of different kinds of metaphor has been, although pertinent, a bit in a state of stalemate. People thrive in discussions over the floppy disk in word being a one-level iconic metaphor at the same time as it’s a symbol since nobody referrers it the the act of saving it once didi anymore However intriguing this topic has it’s limits of explanatory power. If we turn to another linguistic school of thought on the other hand we might encounter explanatory power elsewhere. To illustrate why not put one of the acclaimed users of metaphor on the other side of the looking glass: Robert Kelly and his song Ignition (original version) of i album Chocolate Factory and delve deeper into the different levels of metaphor. We use the theories of H. Clark(Using Language) and Mark Johnson (The Body in the Mind).

He uses three main levels of metaphor in the song but also a lateral use of diegesis. This last narrative tool is especially refined since he at the same time is telling a story in two levels; and is in a self referencial way is commenting himself and addressing the listener: “Hold tight ‘cause I’m about to go faster”.

The main metaphorical levels are three

First level; Ground level

He and his girl are in the car
“We’re foggin’ up the windows”

Second level

1. He is the car: “Have you ever driven a stick babe”
2. She is the car: “back that thing so i can wax it babe”
On this level he also has an alternate state of being. Namely him being a set of car keys: “let my stick my key in your ignition babe”

Third level

They are both the car
“we’re gonna mess around and get a ticket babe”

– a premonition of which is referred in the dual-diegetic statement we mentioned above telling both her and us listeners to hold tight since he is about to go faster

This may or may be intentional from mr Kelly’s perspective; if that is the case we claim the Kantian definition of an artist as someone who is just the work’s mediator and does not grasp the full realms of his art. (Critique of the power of Judgement. Immanuel Kant) A perspective also embraced by the Auteur theoriy coined in Cahier du cinéma by Jean-Luc Godard and François Truffaut.

Twitter is supposed to be the equivalent of a status indicator. Status indicators are elsewhere visible in mail applications, social networks and instant messaging services which signifies to your contacts your present status. It’s an expression of telepresence, an extension of the “being there” and a way to get to also be “there” for the recipient. However, the problem with transferring this to the Twitter framework is not that it’s portable or length-restricted; it’s that it lacks the use quality of evanescence. It does not disappear when the stati ends which tells people a lot about how other people were feeling, was doing and wanted to communicate an arbitrary time period ago. This is not a case of telepresence, nor is it embodied in that it doesn’t necessarily relocate you to the present or “the there”.

After suspicion of connectedness addiction and the subsequent examination and evaluation of a specialist, the diagnosis is compulsive behavior with respect to networked technology. Or, as the common label has grown to signify the disorder; “The Tyranny Of Connectedness” (TOC).

The Treatment

Sufferers tend to disrupt most social settings with unwanted behavior such as text messaging, phone calls, emailing, “mobile gaming” etc. imposing problems in situations both of the intimate variety as well as on a larger scale. Therefore, it is important to try and inhibit damaging behavior at all hours of the day. For moderate problems, the treatment can be as simple as the collar shown in the pictures. Reducing coverage for the wireless device, as long as the subject is near others who may be bothered by unnecessary phone calls.

Will this instead force people to become hermits? As is the problem with many youths spending time in front of their computers instead of with friends? As bad as creating suicide web pages? No, in most groups there is expectations of physical interaction and not only through electronic means.

This kind of treatment, as well as equipping individuals with lead-lined garments – blocking out radiation and preventing personal digital technology from “calling home”.

Behavioral Therapy

For more extreme cases, altering the behavior of the subject may be the only solution. Therapy consisting of repeated indications of falsified incoming requests for attention has proven successful, although recovery comes at a high price.

Consequences

Will the subject become well-adjusted after such therapy?