ABSTRACT
The chapter aims at answering the following question: How are aesthetic choices made among contributory modes to make meaning in the temporal and spatial dimension of moving images? There is growing interest among scholars of multimodality in looking at the semiotic resources available in the software that affords sign-makers the ability to make meaning within and across modes. The implications of these findings may provide a fresh look at aesthetics in multimodality, particularly on the role of the modal affordances provided by the software. Moving images can be understood in a temporal and spatial dimension, and editing software allows for semiotic work in both these dimensions because it provides agents with the ability to work with specific frames, as well as clips, on a timeline. Sign-makers transform and transduce semiotic resources as they try to communicate with moving images. A central theme in this redesign relates to the understanding of aesthetics and pleasure in digital editing practices.
