This text is articulated, in the spirit of above’s rules (see post here), by means of a series of different voices and positions. These are often demarcated by alignment and font type, some sneak in a little under cover. For an articulation of these different voices, please see Appendix 11.1 Voices and positions in this document)(dissertation draft, May 2021)
This follows the following note from Research 4 tutorial:
Voices in the document
G: One of the points for me to ask is of how the excising of the case studies from text to audio works and the hyperlinking there. This leads to Rachel raising the range of voices in and across the text, the use of different font types and alignments to indi-cate this, so that quotes and case studies can be part of practice and thus not part of the word count. We discuss various ways of designating the word count and how to then conclude what it actually is.
A main action point here is to work on further clarifying and strengthening the dif- ferent voices (reflective, practical, academic, [check if there are others].
Rachel: You might even think of them as geographer, social scientist, artist, writer, educator, as these are all part of your arsenal and play different roles or have different interests and concerns which surface at different times?
G: Voice then functions for the text as Marks’ discussion of the erotic [write this out in text of blog].
I listen to the audio recording again to get to the one of how voice functions for the text as Marks’ discussion of the erotic:
How does voice/ position interact with the viewer? What is happening here in relationship with the viewer: appendix and glossary sit on safe ground, single observations in addition; the case studies sit aside. How can different voices work within an essay, trying to separate out and to layer. It is part of the animation principle of the work, and a common form for me to write and now needs to fit into an assessment format.
With the different voices, the text moves close and further away from the reader, reveals and hides and thus enacts the autonomy of movement that Marks identifies in the erotic: the submersion, the haptic, embodied encounter and the seeking of distance, of visuality.
I edit subsequently the Research draft and enact (for the word document) a series of font types and alignments accordingly. These are some voices and positions, I also identify a few others which I name in Appendix B as follows:
Voice then also orientates differently to the audience and centrally relates to the work’s relationship to the reader, the audience, the participants (and folds forward into SYP).