Katheryn Wright
Biographic Data
| ID | 5604288 |
|---|---|
| NAME | Katheryn Wright |
| GIVEN NAMES | Katheryn |
| FAMILY NAME | Wright |
| SIGNATURE | WRIGHT K |
| AFFILIATIONS | Champlain College |
| ORCID | 0000-0002-6485-9549 |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1991 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 0 |
Haptic Perception Meets Interface Aesthetics
The touchscreen is something other than a boundary between real and illusory worlds, or what Anne Friedberg (2009) calls a "virtual window" (p. 96). The aesthetics of that 'something else' is not determined by the technology itself, but by its use in a myriad of cultural practices including how it is represented as a commodity and an experience. This article examines the representation of touchscreen technology following the release of the iPhone…
Extending Generic Boundaries
African literature to renew and regenerate its forms as much as the to content expressed by those forms. Indeed, in an interview conducted in 1983, Liking states that it is the forme qui decide de l'efficacite du fond 'the form that determines the efficacy of the content.'1 Her novel Vamour-cent-vies (1988) is a hybrid text that includes numerous genres and stylistic features present in oral traditions: praise-naming, lullaby, allegorical and eti…
Satire and Censorship in Tchicay U Tam'si's Le Destin Glorieux Du Maréchal Nnikon Nniku, Prince Qu'on Sort
No abstract
No prominent works on this page.
Satire and Censorship in Tchicay U Tam'si's Le Destin Glorieux Du Maréchal Nnikon Nniku, Prince Qu'on Sort
No abstract
Extending Generic Boundaries
African literature to renew and regenerate its forms as much as the to content expressed by those forms. Indeed, in an interview conducted in 1983, Liking states that it is the forme qui decide de l'efficacite du fond 'the form that determines the efficacy of the content.'1 Her novel Vamour-cent-vies (1988) is a hybrid text that includes numerous genres and stylistic features present in oral traditions: praise-naming, lullaby, allegorical and eti…
Haptic Perception Meets Interface Aesthetics
The touchscreen is something other than a boundary between real and illusory worlds, or what Anne Friedberg (2009) calls a "virtual window" (p. 96). The aesthetics of that 'something else' is not determined by the technology itself, but by its use in a myriad of cultural practices including how it is represented as a commodity and an experience. This article examines the representation of touchscreen technology following the release of the iPhone…
Art (3 works) · Computer Science (2 works) · Psychology (2 works) · Adaptation (eye) (1 work) · Aesthetics (1 work) · African history and culture studies (1 work) · Art, Technology, and Culture (1 work) · Artificial Intelligence (1 work) · Caribbean and African Literature and Culture (1 work) · Censorship (1 work)