chuckrogers04

[chuckrogers04]

When looking at this copy of The New Yorker, the bright color schemes of the front cover are what jump out at me first. The design is very floral, giving the essence of a blooming flower or tree. Upon more inspection the depiction of a man is easier to see, though the pink outlines against the pink background mean it takes closer attention to notice these things. The two large giveaways are the portrayal of the human face (notably flushed such that even this blends into the warm pink tones which populate the cover.) The small splashes of green act to draw attention to other places of the cover, pulling you from the top where the label and face appear, the latter somewhat obscuring the former. This covering implies a level of familiarity with the label such that one doesn’t need it in its entirety to be capable of understanding the meaning of the title. Physically the cover feels smooth, a side-effect of this being a sheen that crosses the cover when it is positioned under the light.

The interior of this form becomes far less uniform, unlike the clear unity of the cover with its colors and layout. The only apparent consistency from the outside to the inside is the shine of the pages, as all of them share a similar smooth texture and sheen. They vary greatly in their layout, some featuring more depictions of products and people, others covered in their entire spread by columns and lines of text, and others still where both imagery and bodies of text share the page. There are few places where any two of these are seen next to one another, if one page holds mostly text the other is likely to have a visual covering much of if not its entirety. For the most part the text pages are a simple off-white color, with many of the visuals having vibrant pops of color that draw the viewer’s attention.

When looking at the layout of articles, there appears a general pattern: each article becomes sandwiched between visuals. Either in the form of advertising or a visual to tie into the article, the masses of text become diluted by imagery. The text itself follows its own patterns, with most of the bodies being laid into three columns, breaks being separated with a gap in the column and the typeface of the first letter after a break being several points larger than the rest of the text. These distinctions make separations readily noticeable. The separations are something worth thinking of, because they tie into the magazine as a whole. There is a notable irony that the cover does so much to be very monochrome, unifying, and singular in its design, only for the reader to see these very important methods of laying out information inside the magazine. It makes this collection of different stories and advertisements something whole and together, despite it having an array of content that seems unrelated from one piece to the next at a glance.

[chuckrogers04]

In Hannah Crafts' novel "The Bondwoman's Narrative," the decision made by Henry Lewis Gates to include strikeouts that Crafts left behind makes the reading quite a lot deeper. One that stuck out to me was this one at the bottom of page 149, where Crafts changes the way the Slave owner and sympathizer Mr. Henry reacts to his wife asking for two runaway slaves to be let go. The struck out passage provides a depiction of Mr. Henry directly telling his wife not to respond through the shaking of his head, but Crafts removal of the line changes the way that the interaction can be read. It keeps us inside of Mr. Henry's head, makes us consider the actual consequences before you move on from the thought, how they could be ostracized from the community or even attacked in retaliation. The revised passage exaggerates this further by making the transition from one paragraph to another more harsh, giving the reader the sense that Mr. Henry spoke quickly so as to avoid making the situation with Mr. Cropp and the Trader worse than it already was.

[chuckrogers04]

Due to the model of ChatGPT, it is limited in the information it can take in, and it has an unintended censor of some content due to pulling in sources from its specific training first, and then going to broader sources. In this way, it could have an ideology depending on the ideology of the sources it was specifically given during its model training. It also pulls from other AI models in some cases, which has the potential of allowing errors to pass through due to the nature of AI in this stage of development.

[chuckrogers04]

With the first line of Blake's "London," ChatGPT was able to recognize and finish the first stanza, then provide some possible context to the poem and it's meaning. It gives the user the most common reading, as that's what it finds most through its research model. This gives a base for the user to build upon, especially considering the complicated language that is inherent in reading older English texts and how it becomes difficult to understand and find meanings and themes while swimming through the old English alphabet soup.

[chuckrogers04]

ChatGPT as a tool seems like it'll be best for finding previously made claims and arguments about different literary works, as it's basic model is centered around finding information and giving it in a model conducive of conversation. It specifically says it can summarize articles, books, and research materials such as essays, as well as provide historical and scientific information from publications in their respective fields. I think it will be best used for finding the common interpretations of literary works in their respective forms.

[chuckrogers04]

[chuckrogers04]

[chuckrogers04]

[chuckrogers04]

[chuckrogers04]

[chuckrogers04]

[chuckrogers04]

[chuckrogers04]

[chuckrogers04]

Heres something i never noticed, this little square cover for the screw on my turn signals.