More data doesn’t automatically lead to better decisions. A shortage of skilled data scientists has hindered progress towards translation of information into actionable business insights. In addition, traditionally dense spreadsheets and linear slideshows are ineffective to present discoveries when dealing with Big Data’s dynamic nature. We need to evolve how we capture, analyze and communicate data.
Large-scale visualization platforms have several advantages over traditional presentation methods. They blur the line between the presenter and audience to increase the level of interactivity and collaboration. They also offer simultaneous views of both macro and micro perspectives, multi-user collaboration and real-time data interaction, and a limitless number of visualization possibilities – critical capabilities for rapidly understanding today’s large data sets.
Visualization walls enable presenters to target people’s preferred learning methods, thus creating a more effective communication tool. The human brain has an amazing ability to quickly glean insights from patterns – and great visualizations make for more efficient storytellers.
Grant: Visualizing Digital Scholarship in Libraries and Learning Spaces
Award amount: $40,000
Funder: Andrew W. Mellon Foundation
Lead institution: North Carolina State University Libraries
Due date: 13 August 2017
Notification date: 15 September 2017
NC State University, funded by the Andrew W. Mellon Foundation, invites proposals from institutions interested in participating in a new project for Visualizing Digital Scholarship in Libraries and Learning Spaces. The grant aims to 1) build a community of practice of scholars and librarians who work in large-scale multimedia to help visually immersive scholarly work enter the research lifecycle; and 2) overcome technical and resource barriers that limit the number of scholars and libraries who may produce digital scholarship for visualization environments and the impact of generated knowledge. Libraries and museums have made significant strides in pioneering the use of large-scale visualization technologies for research and learning. However, the utilization, scale, and impact of visualization environments and the scholarship created within them have not reached their fullest potential. A logical next step in the provision of technology-rich, visual academic spaces is to develop best practices and collaborative frameworks that can benefit individual institutions by building economies of scale among collaborators.
The project contains four major elements:
An initial meeting and priority setting workshop that brings together librarians, scholars, and technologists working in large-scale, library and museum-based visualization environments.
Scholars-in-residence at NC State over a multi-year period who pursue open source creative projects, working in collaboration with our librarians and faculty, with the potential to address the articulated limitations.
Funding for modest, competitive block grants to other institutions working on similar challenges for creating, disseminating, validating, and preserving digital scholarship created in and for large-scale visual environments.
A culminating symposium that brings together representatives from the scholars-in-residence and block grant recipient institutions to share and assess results, organize ways of preserving and disseminating digital products produced, and build on the methods, templates, and tools developed for future projects.
This call solicits proposals for block grants from library or museum systems that have visualization installations. Block grant recipients can utilize funds for ideas ranging from creating open source scholarly content for visualization environments to developing tools and templates to enhance sharing of visualization work. An advisory panel will select four institutions to receive awards of up to $40,000. Block grant recipients will also participate in the initial priority setting workshop and the culminating symposium. Participating in a block grant proposal does not disqualify an individual from later applying for one of the grant-supported scholar-in-residence appointments.
Applicants will provide a statement of work that describes the contributions that their organization will make toward the goals of the grant. Applicants will also provide a budget and budget justification.
Activities that can be funded through block grants include, but are not limited to:
Commissioning work by a visualization expert
Hosting a visiting scholar, artist, or technologist residency
Software development or adaptation
Development of templates and methodologies for sharing and scaling content utilizing open source software
Student or staff labor for content or software development or adaptation
Curricula and reusable learning objects for digital scholarship and visualization courses
Travel (if necessary) to the initial project meeting and culminating workshop
User research on universal design for visualization spaces
Funding for operational expenditures, such as equipment, is not allowed for any grant participant.
Send an application to firstname.lastname@example.org by the end of the day on 13 August 2017 that includes the following:
Statement of work (no more than 1000 words) of the project idea your organization plans to develop, its relationship to the overall goals of the grant, and the challenges to be addressed.
List the names and contact information for each of the participants in the funded project, including a brief description of their current role, background, expertise, interests, and what they can contribute.
Budget table with projected expenditures.
Budget narrative detailing the proposed expenditures
Selection and Notification Process
An advisory panel made up of scholars, librarians, and technologists with experience and expertise in large-scale visualization and/or visual scholarship will review and rank proposals. The project leaders are especially keen to receive proposals that develop best practices and collaborative frameworks that can benefit individual institutions by building a community of practice and economies of scale among collaborators.
Awardees will be selected based on:
the ability of their proposal to successfully address one or both of the identified problems;
the creativity of the proposed activities;
relevant demonstrated experience partnering with scholars or students on visualization projects;
whether the proposal is extensible;
feasibility of the work within the proposed time-frame and budget;
whether the project work improves or expands access to large-scale visual environments for users; and
the participant’s ability to expand content development and sharing among the network of institutions with large-scale visual environments.
Awardees will be required to send a representative to an initial meeting of the project cohort in Fall 2017.
Rossiter & Garcia (2010) consider “digital stories are short vignettes that combine the art of telling stories with multimedia objects including images, audio, and video” (p. 37)
Is Digital Storytelling more then just storytelling on technology steroids?
What is Digital Storytelling (DS) for school leadership? A bibliographic research reveals a plenitude of research on DS in the classroom, for educators, but not much for educational leaders.
Guajardo, Oliver, Rodrigez, Valcez, Cantu, & Guajardo (2011) view digital storytelling for emerging educational leaders as “as a process for data creation, analysis, and synthesis.”
There is information for corporate leaders or community leaders and DS, but not much for ed leaders.
Let’s create our own understanding of digital storytelling for educational leaders.
Basic definitions, concepts and processes.
Learn about Web 1.0 versus Web 2.0; the Cloud; transliteracy and multiliteracy
Multimodal Literacy refers to meaning-making that occurs through the reading, viewing, understanding, responding to and producing and interacting with multimedia and digital texts. It may include oral and gestural modes of talking, listening and dramatising as well as writing, designing and producing such texts. The processing of modes, such as image, words, sound and movement within texts can occur simultaneously and is often cohesive and synchronous. Sometimes specific modes may dominate.
Digital Technology Is Changing the Career Landscape
People are living longer.
Technology can now augment and extend our own abilities.
Daily life is now computational as innovations in sensors and processing make our world a programmable system.
Our new media ecology and advances in communications systems require media literacies beyond text.
Social technologies are driving new forms of production and value creation.
Our world is now globally connected, highlighting diversity and adaptability.
Digital Literacy Is a Professional Competency
media-rich education, including interactive approaches such as digital storytelling or remix education, ensures that students are familiar with modern tools and “natural language” modes of expression. We are increasingly moving into what many scholars consider a post-literate world, one in which images, video, and the written or spoken word are used fluidly together, symbiotically, to communicate increasingly complex concepts. Modern rhetoric now includes TED talks, animated lectures, visual essays, and a plethora of other interactive and dynamic multimedia.
Smart Classrooms = Smart Workers
ten, technology-oriented strengths as “must haves” for future employers:
An ability to determine deeper meaning or significance of what is being expressed via all mediums.
An ability to connect with others in a meaningful and direct way via modern technologies and our global networks.
A proficiency in problem-solving and critical analysis, especially when working with digital relationships or data.
An ability to adapt to different cultural settings and modalities, necessitated by our global media ecosystem.
An ability to translate specific information and data into abstracts while understanding the underlying reasoning.
An ability to critically assess and develop content that uses evolving digital media, leveraging these tools for direct and persuasive communication.
A transdisciplinary, multimedia mindset that eschews specialized or localized intelligences.
A design or goal-oriented mindset that employs systems thinking and that develops tasks and work processes towards a desired outcome.
An ability to discriminate and filter both digital and analog information for importance, while maximizing cognitive and productivity efficiencies.
An ability to work productively and innovatively via virtual collaboration.
Digital Backpack, is certainly one of the first steps, as is developing an educational framework within which students can meanfully and productively interrogate our technologically driven world.
The Roll app will help you make sure your images are the best they can be. The Roll analyzes your photos, rates them on a zero to 100 scale, and adds keywords for easy search (much like Google Photos).
The Roll has more features than I have time to write about it here. Just do yourself a favor and check it out. Your visual content will thank you.
Tuurnt is a social media app and platform following in the ephemeral footsteps of Snapchat. Giving users 24 hours to respond to photos and videos, Tuurnt turns regular visual posts into social events where participation and contribution from both known contacts and public users is encouraged.
Yubl’s success can be attributed to not only the highly detailed interface, but the three main areas of the user experience. “Private” is for one-on-one or invite-only group, ‘Public’ is an open forum across the entire social network (including brands and celebrities), and ‘Explore’ is for searching and finding other users such as brands and celebrities.
Our lives, our cultures, are composed of many overlapping stories. Novelist Chimamanda Adichie tells the story of how she found her authentic cultural voice — and warns that if we hear only a single story about another person or country, we risk a critical misunderstanding. As you watch Tweet summaries and key phrases of her talk: @ChimamandaSays
From MyFunCity to government-structured approach to “digital citizenship,” this is recent trend, which is seriously considered by educators as a must in the curricula. While habitually connected with technology classes, it is a much larger issue, which requires faculty attention across disciplines; it encompass digital and technology literacy, netiquette and online behavior (cyberbulling most frequently addressed), as well qualities and skills to be a functional and mindful citizen of a global world.
here is some general literature on digital citizenship:
Lenhart, A., Madden, M., Smith, A., Purcell, K., Zickuhr, K., Rainie, L., & Pew Internet & American Life, P. (2011). Teens, Kindness and Cruelty on Social Network Sites: How American Teens Navigate the New World of “Digital Citizenship”. Pew Internet & American Life Project, http://eric.ed.gov/?id=ED537516
podcast pontification (audio version of blog self reflections)
Greg Steinke The U
A Digital Story Assignment using WeVideo
WeVideo is the Google response to iMovie cloud
The U is on Google email and thus google drive and all other google tools
The Center for Digital Storytelling. short videos, 3-5 min incorporate photographs with the author narration, reflection
Assignment (verbal directions). process (write a 2 page script, every page is about a minute of video), gather images that support the story; edit the script (rewrite); record audio to the script (use an app on the phone instead of WeVideo), WeVideo can edit the audio recording; edit the story, edit the photos to match the story; YourTube and/or Google+
working with faculty: is the digital story a good fit for your course? two questions: does the course have many writing assignments? does everyone have to do the same type of assignment? do you want to offer choices? do you want your students to share their work outside of the class? to you want to explore opportunities for students to develop 21 century skills?
google communities for sharing
wewideo has a tutorial at Center for Digital Storytelling
students can use the digital story for their eportfolio
the entire exercise is entirely based on mobile devices
time frame: scaffolding options
3d printing products were the tangible result of the project and the digital storytelling just the format to present
Google Drive master folder for the phone images and video; iOS apps: MoviePro, FiLMc Pro, VoiceRecord Pro (including mp3); Android: WeVideo
Faculty Development Programs: Digital Storytelling Community of Practice
chemistry professor. 3D printing with different materials.
what else can be made (e.g. reaction vessel)
printing of atoms
Karen: pre-service teachers professor: how to use 3d printers and be comfortable with them. Steve Hoover. Thinkercad and Autodesk123D>
3D academy http://www.team3dacademy.com/index2.html. Pinterest board for3d Printing with resources
Lisa: graphic design. not intuitive. Rhinoceros (not free anymore). 123D strong learning curve. 3d printing will be incorporated in the curriculum. sculpture students and others don’t like fudging on the computer, but Adobe people love it. Some items takes up to 4 hours to print out. when working on the computer is difficult for some students to visualize the dimensionality.
collaborative learning opportunities.
no makerspace or fab lab. additional interest from the theater and business dept. 3d printing is connected to future work skills. new media ecology or media literacy set of skills.
the main presenter: build excitement and interest and gradually step back. how much material goes through and should we charge back. clean and maintenance involved; not too bad. better then a copier. plastic inexpensive. sizes with plastic – $25 and $50. how many project of a spool: depending on the size of the projects but considerable amount. two printers one art dept and one in the faculty dev area.
non profit visually impaired students. how 3d can make difference in special ed.
3d printing lab with access for everybody. ownership brings policy. where housed: neutral place.
only one printer is barely sufficient for faculty to figure out how to use it. purchasing two more if students and curricula to be involved.
The Balancing Act: Team-Creating an eBook as an Alternative Method for Content Delivery Tom Nechodomu, University of Minnesota
Susan Andre uses a slide titled “trust” to elucidate how the entire project was enabled. “trust” and “transparency” are sparse currency in the environment I work in. if she is right an ebook ain’t happening anytime soon at my place.
students involvement. use stipends. student artists. food for the video interviews. create a community, student centered.
people able to change the book.
copyright process; did you find it cumbersome. copyright permission center.
time span and amount of hours spent: 3-4 months per chapter.
David Wiley. Making Teaching and Learning Awesome with Open
MN Learning Commons
open educational resources
education – sharing feedback, encouragement with students passion about the discipline, yourself
open is not the same as free. free + permissions + copyright permission: 5 r = retain (make and own copies), reuse (use in a wide range of ways), revise (adapt, modify, and improve), remix (combine two or more), redistribute (share with others)
free and unfettered access
perpetual, irrevocable copyright permissions
(look but don’t touch is not open)
tech enables OER permits
traditionally copyright materials on the Internet – not so good ; jet on the road
openly copyright materials on the internet _ yes: jet in the air
permission-less innovation. relatively inexpensive and broad permissions.
intellectual infrastructure of education: learning outcomes/objectives; assessments; textbooks. they are relatively expensive and narrow permissions.