Searching for "digital storytelling"

school leadership and digital storytelling

Guajardo, M., Oliver, J. A., Rodríguez, G., Valadez, M. M., Cantú, Y., & Guajardo, F. (2011). Reframing the Praxis of School Leadership Preparation through Digital Storytelling. Journal of Research on Leadership Education, 6(5), 145–161. http://doi.org/10.1177/194277511100600504
http://web.stcloudstate.edu/pmiltenoff/lib490/literature.html#d
p. 149-150. Digital storytelling applies techniques that cross disciplines, fields, and subject matter. Digital storytelling pioneer Dana Atchley used the varied techniques such as case study, personal experience, introspection, life story, interviews, artifacts, cultural texts, observations, historical interaction, visual texts, and others (Lambert, 2002, 2006). Atchley’s techniques are firmly rooted in research methodology and collectively describe routine and problematic moments and meanings in individuals’ lives (Denzin & Lincoln, 2000; Lambert, 2006). Qualitative researchers often refer to this process as a bricolage, or the creation or construction from a variety of things. This bricolage helps Downloaded from jrl.sagepub.com at SAINT CLOUD STATE UNIV on June 8, 2016 Guajardo et. al./REFRAMING THE PRAXIS OF SCHOOL LEADERSHIP 150 to clarify our ontologies and inform epistemologies. Ladson-Billings (2000) explained epistemologies as more than the traditional way of knowing. Instead, epistemologies are a system of knowing that has both internal logic and external validity. The assortments of experiences used to inform our way of knowing then become the deliberate choices between hegemony and liberation. This process allows individuals to move beyond a traditional epistemological stance, or what Stanley (2007) has called the master narrative. Shujaa (1997) has called it a worldview epistemology that looks at knowledge as a symbiotic interaction of how we view the world, the knowledge we possess, and the knowledge we are capable of passing on to others.
p. 156 digital storytelling has been found to help organizations understand themselves (Militello & Guajardo, 2011). When organizations delve into introspective practices through the use of digital media, small and large organizations alike invite the opportunity to learn from deep, digital reflection.

digital storytelling

Stories are for sorting and storing
http://homes.chass.utoronto.ca/~lachance/S6D.HTM

> Willard,

>

> The post 29.126 has been niggling at me for days. I originally want to

> reply with a simple observation that the appeal to storytelling is

> cast in such a way to avoid the complications of narration’s relation

> to narrative (the telling and the told; shown and said). But it was

> the theme of “borrowing” from one domain by another that leads me to

> recall a counter-narrative where there is no need to borrow between

> domains since the military-industrial-entertainment complex is one entity.

>

> I contend that fundamental to human interaction is narration:

> attentiveness to how stories are related. Stories are for sorting and

> storing. *Sometimes this soothes paranoia induced by too much

> linearity.*

>

> A while ago (1996), I explored recursivity and narrativity. My

> starting point was the ability to ask questions (and learn from one’s

> bodily reactions). The musings may or may not have military relevance.

> Judge for

> yourselves:

>

> <quote>

>

> Pedagogical situations are sensory. They are also interpersonal.

> Because they are sensory this makes even learning by oneself interpersonal.

> Egocentric speech is like a dialogue between the senses. In

> Vygotsky’s and Luria’s experiments, children placed in problem-solving

> situations that were slightly too difficult for them displayed egocentric speech.

> One could consider these as self-induced metadiscursive moments. The

> self in crisis will disassociate and one’s questionning becomes the

> object of a question.

>

> Not only is the human self as a metabeing both fracturable and

> affiliable in itself, it is also prone to narrativity. That is, the

> human self will project its self-making onto the world in order to

> generate stories from sequences and to break stories into recombinant

> sequences. Its operations on signs are material practices with consequences for world-making.

>

> The fracturable affiliable self calls for reproductive models suitable

> to the interactions of multi-sensate beings, models that render dyads

> dialectical, questionable, answerable. Narrativity understood

> dialectically does not merely mean making sequences or strings of

> events into stories but also stories into things, strung together for

> more stories. From such an understanding, emerge non-dyadic

> narratives of reproduction, narratives where a thing-born transforms

> itself into an event, comes to understand itself as a process.

>

> </quote>

>

> http://homes.chass.utoronto.ca/~lachance/S6D.HTM

>

> Funny to consider that those remarks were based in a consideration of

> language and feedback mechanisms. Make me think that the storytelling

> as “potent form of emotional cueing” may be directed to undesired

> responses such as greater self-reflexivity. And depending on how they

> are parsed, Hollywood films can contribute to undesired responses

> including escape. 🙂

>

> Francois Lachance, Scholar-at-large

> http://www.chass.utoronto.ca/~lachance

>

> to think is often to sort, to store and to shuffle: humble, embodied

> tasks

>

> On Mon, 29 Jun 2015, Humanist Discussion Group wrote:

>

>>

>>

>>

>>

>> Sharon Ghamari-Tabrizi, in “The Convergence of the Pentagon and

>> Hollywood” (Memory Bytes: History, Technology, and Digital Culture, ed.

>> Rabinovitz and Geil, 2004), describes in some detail the adoption by

>> the U.S. military of the entertainment industry’s storytelling

>> techniques implemented by means of simulation. This chapter follows

>> on from her excellent “Simulating the Unthinkable: Gaming Future War

>> in the 1950s and 1960s”, Social Studies of Science 30.2 (2000). In

>> the 2004 piece she describes a U.S. National Research Council

>> workshop in October 1996 at which representatives from film, video

>> game, entertainment and theme-parks came together with those from the

>> Department of Defense, academia and the defense industries. There is

>> much about this convergence that we might productively take an

>> interest in. Let me, however, highlight storytelling in particular.

>>

>> In a military context, Ghamari-Tabrizi points out, skilled

>> storytelling techniques are used to help participants in a VR

>> environment sense that they are in a real environment and behave

>> accordingly. Storytelling functions as a potent form of emotional

>> cueing that would seem to elicit the desired responses. But

>> especially interesting, I think, is the fact that “many conference

>> participants argued that the preferred mode of experiential immersion

>> in electronic media is not the unframed chaos of hypertext, but

>> old-fashioned storytelling.” She quotes Alex Seiden of Industrial

>> Light and Magic (note the date — 1996): “I’ve never seen a CD-ROM

>> that moved me the way a powerful film has. I’ve never visited a Web

>> page with great emotional impact. I contend that linear narrative is

>> the fundamental art form of humankind: the novel, the play, the film… these are the forms that define our cultural experience.”

>>

>> Comments?

>>

>> Yours,

>> WM

>> —

>> Willard McCarty (http://www.mccarty.org.uk/), Professor, Department of

>> Digital Humanities, King’s College London, and Digital Humanities

>> Research Group, University of Western Sydney

Turning Technophobia through Digital Storytelling

http://www.nmc.org/blog/turning-technophobia-through-digital-storytelling/

 

storytelling in the digital age

Story is a big deal – even in the digital age

https://www.linkedin.com/pulse/story-big-deal-even-digital-age-touseef-mirza

Digital storytelling—baby steps. Communicating through the digital medium, ie, through websites, social media, mobile apps, is a fairly new venture. It’s only been around for 15-20 years at the most (since the dawn of the Internet). So all things considered, we are still in the early stages of exploring and understanding how to communicate effectively in the digital medium.

More on digital and traditional storytelling in this blog:

https://blog.stcloudstate.edu/ims/?s=storytelling

computer games and storytelling

Computerspiele und Literatur Auswahlbibliografie 16.09. – 23.10.2014 Amerika-Gedenkbibliothek

https://www.zlb.de/fileadmin/user_upload/recherche/Bibliographien/2014_09_16_Bibliographie-Computer-Einzelseiten.pdf

Was haben Computerspiele mit Literatur zu tun?

Was haben Computerspiele mit Literatur zu tun?

Narrative Computerspiele als Gegenstände literarischen Lernens

https://www.stiftunglesen.de/download.php?type=documentpdf&id=1381

 

++++++++++++++++
more on computer games in this IMS blog
https://blog.stcloudstate.edu/ims?s=%22computer+games%22+

more on digital storytelling in this IMS blog
https://blog.stcloudstate.edu/ims?s=%22digital+storytelling%22

Immersive Journalism and Storytelling

My note: Consider these SCSU courses:

LIB 490/590 Digital Storytelling and Virtual Reality: https://web.stcloudstate.edu/pmiltenoff/lib490/

and

IM 690 Virtual and Augmented Reality for Instructional Designers

+++++++++++
more on immersive journalism in this IMS blog
https://blog.stcloudstate.edu/ims?s=immersive+journalism

and storytelling
https://blog.stcloudstate.edu/ims?s=storytelling

storytelling with data

Storytelling with Data: An Introduction to Data Visualization

Mar 04 – Mar 31, 2019

Delivery Mode : Asynchronous Workshop 
Levels : Beginner,Intermediate 
Eligible for Online Teaching Certificate elective : No

Data visualization is about presenting data visually so we can explore and identify patterns in the data, analyze and make sense of those patterns, and communicate our findings. In this course, you will explore those key aspects of data visualization, and then focus on the theories, concepts, and skills related to communicating data in effective, engaging, and accessible ways.

This will be a hands-on, project-based course in which you will apply key data visualization strategies to various data sets to tell specific data stories using Microsoft Excel or Google Sheets. Practice data sets will be provided, or you can utilize your own data sets.

Week 1: Introduction and Tool Setup
Week 2: Cognitive Load and Pre-Attentive Attributes
Week 3: Selecting the Appropriate Visualization Type
Week 4: Data Stories and Context


Learning Objectives:

Upon completion of this course, you will be able to create basic data visualizations that are effective, accessible, and engaging. In support of that primary objective, you will:

  • Describe the benefits of data visualization for your professional situation
  • Identify opportunities for using data visualization
  • Apply visual cues (pre-attentive attributes) appropriately
  • Select correct charts/graphs for your data story
  • Use appropriate accessibility strategies for data tables

Prerequisites

Basic knowledge of Microsoft Excel or Google Sheets is required to successfully complete this course. Resources will be included to help you with the basics should you need them, but time spent learning the tools is not included in the estimated time for completing this course.
What are the key takeaways from this course?

  • The ability to explain how data visualization is connected to data analytics
  • The ability to identify key data visualization theories
  • Creating effective and engaging data visualizations
  • Applying appropriate accessibility strategies to data visualizations

Who should take this course?

  • Instructional designers, faculty, and higher education administrators who need to present data in effective, engaging, and accessible ways will benefit from taking this course

+++++++++++
more on digital storytelling in this IMS blog
https://blog.stcloudstate.edu/ims?s=digital+storytelling

more on data visualization in this IMS blog
https://blog.stcloudstate.edu/ims?s=data+visualization

1 2 3 4 8