Definition:
The HyFlex model gives students the choice to attend class in person or via synchronous remote stream and to make that choice on a daily basis. In other words, unlike online and hybrid models which typically have a fixed course structure for the entire semester, the HyFlex model does not require students to make a choice at the beginning of term and then stick with it whether their choice works for them or not; rather students are able to make different choices each day depending on what works best for them on that day (hence the format is “flexible”) (Miller and Baham, 2018, to be published in the Proceedings of the 10th International Conference on Teaching Statistics).
Definition from Horizon Report, HIgher Ed edition, 2014. p. 10 integration of Online Hybrid and Collaborative Learning
Definition from U of Arizona (https://journals.uair.arizona.edu/index.php/itet/article/view/16464/16485)
Beatty (2010) defines HyFlex courses to be those that “enable a flexible participation policy for students whereby students may choose to attend face-to-face synchronous class sessions or complete course learning activities online without physically attending class”
Online courses
Definition
Goette, W. F., Delello, J. A., Schmitt, A. L., Sullivan, J. R., & Rangel, A. (2017). Comparing Delivery Approaches to Teaching Abnormal Psychology: Investigating Student Perceptions and Learning Outcomes. Psychology Learning and Teaching, 16(3), 336–352. https://doi.org/10.1177/1475725717716624
p.2.Online classes are a form of distance learning available completely over the Internet with no F2F interaction between an instructor and students (Helms, 2014).
https://www.oswego.edu/human-resources/section-6-instructional-policies-and-procedures
An online class is a class that is offered 100% through the Internet. Asynchronous courses require no time in a classroom. All assignments, exams, and communication are delivered using a learning management system (LMS). At Oswego, the campus is transitioning from ANGEL to Blackboard, which will be completed by the Fall 2015 semester. Fully online courses may also be synchronous. Synchronous online courses require student participation at a specified time using audio/visual software such as Blackboard Collaborate along with the LMS.
Web-enhanced courses
Web enhanced learning occurs in a traditional face-to-face (f2f) course when the instructor incorporates web resources into the design and delivery of the course to support student learning. The key difference between Web Enhanced Learning versus other forms of e-learning (online or hybrid courses) is that the internet is used to supplement and support the instruction occurring in the classroom rather than replace it. Web Enhanced Learning may include activities such as: accessing course materials, submitting assignments, participating in discussions, taking quizzes and exams, and/or accessing grades and feedback.”
Blended/Hybrid Learning
Definition
Goette, W. F., Delello, J. A., Schmitt, A. L., Sullivan, J. R., & Rangel, A. (2017). Comparing Delivery Approaches to Teaching Abnormal Psychology: Investigating Student Perceptions and Learning Outcomes. Psychology Learning and Teaching, 16(3), 336–352. https://doi.org/10.1177/1475725717716624
p.3.
Helms (2014) described blended education as incorporating both online and F2F character- istics into a single course. This definition captures an important confound to comparing course administration formats because otherwise traditional F2F courses may also incorp- orate aspects of online curriculum. Blended learning may thus encompass F2F classes in which any course content is available online (e.g., recorded lectures or PowerPoints) as well as more traditionally blended courses. Helms recommended the use of ‘‘blended’’ over ‘‘hybrid’’ because these courses combine different but complementary approaches rather than layer opposing methods and formats.
Blended learning can merge the relative strengths of F2F and online education within a flexible course delivery format. As such, this delivery form has a similar potential of online courses to reduce the cost of administration (Bowen et al., 2014) while addressing concerns of quality and achievement gaps that may come from online education. Advantages of blended courses include: convenience and efficiency for the student; promotion of active learning; more effective use of classroom space; and increased class time to spend on higher- level learning activities such as cooperative learning, working with case studies, and discuss- ing big picture concepts and ideas (Ahmed, 2010; Al-Qahtani & Higgins, 2013; Lewis & Harrison, 2012).
Although many definitions of hybrid and blended learning exist, there is a convergence upon three key points: (1) Web-based learning activities are introduced to complement face-to-face work; (2) “seat time” is reduced, though not eliminated altogether; (3) the Web-based and face-to-face components of the course are designed to interact pedagogically to take advantage of the best features of each.
The amount of in class time varies in hybrids from school to school. Some require more than 50% must be in class, others say more than 50% must be online. Others indicate that 20% – 80% must be in class (or online). There is consensus that generally the time is split 50-50, but it depends on the best pedagogy for what the instructor wants to achieve.
definition
“Backchannel” is a mode of communication created by audience members to connect with other observers both inside and outside of the presentation space, with or without the speaker’s awareness (Atkinson, 2009).
ARS (or CRS) are[audience] response systems are instructional technologies that allow instructors to rapidly collect and analyze student responses to questions posed during class” (Bruff, 2009, p. 1)
Distance learning courses are indicated in the schedule of classes on BU Brain with an Instructional Method of Online Asynchronous (OA), Online Synchronous (OS), Online Combined (OC), or Online Hybrid (OH). Online Asynchronous courses are those in which the instruction is recorded/stored and then accessed by the students at another time. Online Synchronous courses are those in which students are at locations remote from the instructor and viewing the instruction as it occurs. Online Combined courses are those in which there is a combination of asynchronous and synchronous instruction that occurs over the length of the course. Online Hybrid courses are those in which there is both in-person and online (asynchronous and/or synchronous) instruction that occurs over the length of the course.
There is a free version and a paid “pro” version of Screencast-o-Matic. The free version will let you record for up to 15 minutes, record as many videos as you like, save to your Google Drive or local drive, and use your webcam while recording a screencast. The pro version removes the time limit, removes the Screencast-o-Matic watermark, enables cursor highlighting (that yellow circle you see on my screencast videos), enables drawing tools, and enables access to the offline editor.
1. Technology that Increases Access Hits the Slow Lane
Innovations in videoconferencing and lecture capture technologies have allowed universities to provide flexible learning experiences to students no matter their location. However, if internet service providers are allowed to create “fast lanes” and “slow lanes” of access, experts worry these learning experiences will be in jeopardy. “slow lanes” of internet access could make it difficult for students to access cloud software or applications without hitting data caps.
2. Inhibit Ability to Research and Access Materials
a 40-page commentary to the FCC explaining how a repeal would hurt universities, eCampus News reports.
“Institutions of higher education and libraries depend upon an open internet to carry out their educational and civic missions, and to serve their communities,” reads the commentary.
“almost everything” relies on the internet in higher education. Students use it for research, to take courses and turn in assignments while faculty use it for research and to create lesson plans. Roberts says his library needs it to archive and preserve materials. Slower internet could inhibit research and access to library resources.
3. Increased Costs Without Increased Educational Experiences
high cost of attending a university might see a bump without net neutrality. slower internet access would actually degrade the quality of education offered for a higher cost.
By creating engaging 360° tours, students are not only learning these new tools for themselves but are also helping local organizations see the possibility of VR for marketing and public relations.
some key takeaways from the projects that we have seen:
Let the students lead: In all of these projects, students are taking the initiative. The institutions are providing the technology, the space, organizational vision, and in some cases, academic credit. At NYU Tandon, students organized the entire conference, doing publicity, registration, catering, and scheduling (see figure 4). They brought in a diverse group of speakers from academic, tech, and startup backgrounds. The event included TED-style spotlights, talks, workshops, and demos.
Don’t compromise on space: Brown University’s Granoff Center for the Creative Arts is designed to encourage cross-discipline collaboration. The Tandon event used the main auditorium and the flagship NYU MakerSpace. Space influences behavior and is crucial in driving collaboration and active participation. In addition, to produce VR and AR/MR experiences students need access to high-end technology and, in some cases, motion-capture studios and 360° cameras.
Create opportunities for social impact: Many of these programs are open to the local community or have been designed to have an impact outside higher education. At Emporia State, students are using VR and 360° video to help local businesses. The Gaspee Affair VR experience at Brown University will become a resource for teaching middle and high school students.
Showcase student work: So often in education, the work students do in a course is only seen by others in the same class. Like the example at Texas A&M, all of these experiences have a connection with their campus or larger community. VR and AR engender a level of excitement that gets students engaged with each other and encourage peer learning. It’s worth it to seek out opportunities to bring this work to community events.
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more on VR in education in this IMS blog
ECAR collaborated with 157 institutions to collect responses from 13,451 faculty respondents across 7 countries about their technology experiences. ECAR also collaborated with 124 institutions to collect responses from 43,559 undergraduate students across 10 countries about their technology experiences. Please see the 2017 student and faculty studies hub for more about this year’s research.
When it comes to meeting technological support needs, students’ default modality is DIY. Students are more than twice as likely to figure out solutions to technology problems on their own, to search online sources, or to ask a friend than they are to use their campus help desk. Contacting the vendor or company to fix a technology problem is the last resort.
Laptops are king, smartphones are queen, and tablets are on the way out.
Students’ experiences with their instructors’ use of and approach to technology in the classroom are a mixed bag. A majority of students said most of their instructors have adequate technology skills, use technology to enhance learning, and encourage the use of collaborative technology tools. However, students said fewer faculty use technology for sophisticated learning tasks (e.g., engagement, creative and critical thinking), and relatively few faculty ask students to use their own devices for in-class work.
Students are choosing sides in the online versus face-to-face debate. For the fourth year in a row, the number of students preferring a blended learning environment that includes some to mostly online components has increased. The number of students preferring completely face-to-face or completely online courses continues to dwindle. The number of students expressing no preference has been cut by more than half since 2014.
Students are satisfied with features of their LMS…except when they aren’t.Students have favorable opinions about the basic features and functionalities of their LMS. But, the more sophisticated the task and the more engagement required of students, the less happy they tend to be. This may be a function of the tools, the instructors who use them, or both.
Students would like their instructors to use more technology in their classes.Technologies that provide students with something (e.g., lecture capture, early-alert systems, LMS, search tools) are more desired than those that require students to give something (e.g., social media, use of their own devices, in-class polling tools). We speculate that sound pedagogy and technology use tied to specific learning outcomes and goals may improve the desirability of the latter.
Students reported that faculty are banning or discouraging the use of laptops, tablets, and (especially) smartphones more often than in previous years. Some students reported using their devices (especially their smartphones) for nonclass activities, which might explain the instructor policies they are experiencing. However, they also reported using their devices for productive classroom activities (e.g., taking notes, researching additional sources of information, and instructor-directed activities).
The digital attack that brought Estonia to a standstill 10 years ago was the first shot in a cyberwar that has been raging between Moscow and the west ever since
It began at exactly 10pm on 26 April, 2007, when a Russian-speaking mob began rioting in the streets of Tallinn, the capital city of Estonia, killing one person and wounding dozens of others. That incident resonates powerfully in some of the recent conflicts in the US. In 2007, the Estonian government had announced that a bronze statue of a heroic second world war Soviet soldier was to be removed from a central city square. For ethnic Estonians, the statue had less to do with the war than with the Soviet occupation that followed it, which lasted until independence in 1991. For the country’s Russian-speaking minority – 25% of Estonia’s 1.3 million people – the removal of the memorial was another sign of ethnic discrimination.
That evening, Jaan Priisalu – a former risk manager for Estonia’s largest bank, Hansabank, who was working closely with the government on its cybersecurity infrastructure – was at home in Tallinn with his girlfriend when his phone rang. On the line was Hillar Aarelaid, the chief of Estonia’s cybercrime police.
“It’s going down,” Aarelaid declared. Alongside the street fighting, reports of digital attacks were beginning to filter in. The websites of the parliament, major universities, and national newspapers were crashing. Priisalu and Aarelaid had suspected something like this could happen one day. A digital attack on Estoniahad begun.
“The Russian theory of war allows you to defeat the enemy without ever having to touch him,” says Peter Pomerantsev, author of Nothing is True and Everything is Possible. “Estonia was an early experiment in that theory.”
Since then, Russia has only developed, and codified, these strategies. The techniques pioneered in Estonia are known as the “Gerasimov doctrine,” named after Valery Gerasimov, the chief of the general staff of the Russian military. In 2013, Gerasimov published an article in the Russian journal Military-Industrial Courier, articulating the strategy of what is now called “hybrid” or “nonlinear” warfare. “The lines between war and peace are blurred,” he wrote. New forms of antagonism, as seen in 2010’s Arab spring and the “colour revolutions” of the early 2000s, could transform a “perfectly thriving state, in a matter of months, and even days, into an arena of fierce armed conflict”.
Russia has deployed these strategies around the globe. Its 2008 war with Georgia, another former Soviet republic, relied on a mix of both conventional and cyber-attacks, as did the 2014 invasion of Crimea. Both began with civil unrest sparked via digital and social media – followed by tanks. Finland and Sweden have experienced near-constant Russian information operations. Russian hacks and social media operations have also occurred during recent elections in Holland, Germany, and France. Most recently, Spain’s leading daily, El País, reported on Russian meddling in the Catalonian independence referendum. Russian-supported hackers had allegedly worked with separatist groups, presumably with a mind to further undermining the EU in the wake of the Brexit vote.
The Kremlin has used the same strategies against its own people. Domestically, history books, school lessons, and media are manipulated, while laws are passed blocking foreign access to the Russian population’s online data from foreign companies – an essential resource in today’s global information-sharing culture. According to British military researcher Keir Giles, author of Nato’s Handbook of Russian Information Warfare, the Russian government, or actors that it supports, has even captured the social media accounts of celebrities in order to spread provocative messages under their names but without their knowledge. The goal, both at home and abroad, is to sever outside lines of communication so that people get their information only through controlled channels.
According to its detractors, RT is Vladimir Putin’s global disinformation service, countering one version of the truth with another in a bid to undermine the whole notion of empirical truth. And yet influential people from all walks of public life appear on it, or take its money. You can’t criticise RT’s standards, they say, if you don’t watch it. So I watched it. For a week.
My note; so this is why Oliver Stone in his “documentary” went gentle on Putin, so his son can have a job. #Nepotism #FakeNews
RT’s stated mission is to offer an “alternative perspective on major global events”, but the world according to RT is often downright surreal.
Peter Pomerantsev, author of Nothing Is True and Everything Is Possible, about Putin’s Russia, and now a senior visiting fellow in global affairs at the London School of Economics, was in Moscow working in television when Russia Today first started hiring graduates from Britain and the US. “The people were really bright, they were being paid well,” he says. But they soon found they were being ordered to change their copy, or instructed how to cover certain stories to reflect well on the Kremlin. “Everyone had their own moment when they first twigged that this wasn’t like the BBC,” he says. “That, actually, this is being dictated from above.” The coverage of Russia’s war with Georgia in 2008 was a lightbulb moment for many, he says. They quit.
“The reason we are inundated by culturally alien [kulturfremden] peoples such as Arabs, Sinti and Roma etc. is the systematic destruction of civil society as a possible counterweight to the enemies-of-the-constitution by whom we are ruled. These pigs are nothing other than puppets of the victor powers of the Second World War….” Thus begins a 2013 personal e-mail from Alice Weidel, who in this autumn’s pivotal German election was one of two designated “leading candidates” of the Alternative für Deutschland (hereafter AfD or the Alternative). The chief “pig” and “puppet” was, of course, Angela Merkel.
Xenophobic right-wing nationalism—in Germany of all places? The very fact that observers express surprise indicates how much Germany has changed since 1945. These days, we expect more of Germany than of ourselves. For, seen from one point of view, this is just Germany partaking in the populist normality of our time, as manifested in the Brexit vote in Britain, Marine le Pen’s Front National in France, Geert Wilders’s blond beastliness in the Netherlands, the right-wing nationalist-populist government in Poland, and Trumpery in the US.
Like all contemporary populisms, the German version exhibits both generic and specific features. In common with other populisms, it denounces the current elites (Alteliten in AfD-speak) and established parties (Altparteien) while speaking in the name of the Volk, a word that, with its double meaning of people and ethno-culturally defined nation, actually best captures what Trump and Le Pen mean when they say “the people.”
Like other populists, Germany’s attack the mainstream media (Lügenpresse, the “lying press”) while making effective use of social media. On the eve of the election, the Alternative had some 362,000 Facebook followers, compared with the Social Democrats’ 169,000 and just 154,000 for Merkel’s Christian Democratic Union (CDU).
Tiresomely familiar to any observer of Trump, Brexit, or Wilders is the demagogic appeal to emotions while playing fast and loose with facts. In Amann’s account, the predominant emotion here is Angst.
For eight of the last twelve years, Germany has been governed by a so-called Grand Coalition of Christian Democrats—Merkel’s CDU in a loveless parliamentary marriage with the more conservative Bavarian Christian Social Union (CSU)—and Social Democrats. This has impelled disgruntled voters toward the smaller parties and the extremes. The effect has been reinforced by Merkel’s woolly centrist version of Margaret Thatcher’s TINA (There Is No Alternative), perfectly captured in the German word alternativlos (without alternatives). It’s no accident that this protest party is called the Alternative.
this why metadata was entered in the post-processed MP4 file using the VLC player
export
H.264 . / iPAD 480p 29.9 fps
Shortcuts:
If you are using Premiere CC: 1. File/New/Sequence. 2. Ctrl M is the shortcut to export (M is for media)
Issues
the two Apple/Macs will deliver error messages with both the export to the MP4 format and for burning the CDs and DVDs.
e.g.
other issues
regular restart required for new capture
error messages e.g.
other issues:
audio. Audio synchronization during the digitization is off. Solution: possible solution is the last of this thread : https://forums.adobe.com/thread/2217377
open in in QT Pro copy an segment then past it into a new QT file and save. It then plays normally in Adobe products.
old Apple desktops. needed to be rebuild and reformatted.
Apple burner issues. issues with Premiere license (bigger organization, bigger bureaucracy – keep the licenses within the library, not with IT or the business department)
old VCRs – one of the VCRs was recording bad audio signal
old VHS tapes: the signal jump makes the digital recording stop, thus requiring a constant attendance of the digitization, instead of letting it be digitized and working on something else
the person who is uploading the digitized VHS movies can “Add Collaborator”
The collaborator can be “co-editor” and / or “co-publisher”
Thus, at the moment, Tom Hegert has been designated to a digitized VHS video as Co-:Publisher and Rhonda Huisman as “Co-Editor.”
Please DO log in into MediaSpace with your STAR ID and confirm that you can locate the video and you can, respectively edit its metadata.
If you can edit the video, this means that the proposed system will work, since the Library can follow the same pattern to “distribute” the videos to the instructors, who these videos are used by; and, respectively these instructors can further control the distribution of the videos in their classes.
issues:
sharing the videos from the generic Library account for MediaSpace to the MediaSPace account of the faculty who had requested the digitization either through sending the link to the video or publish in channel (we called our channel “digitized VHS”)
issue: ripping off content from DVD.
Faculty (mostly teaching online / hybrid courses) want to place teaching material from DVD to MediaSpace. Most DVDs are DRM protected.
Handbreak (https://handbrake.fr/) does not allow ripping DRM-ed DVDs. to bypass this Handbreak issue, we use DVD Decrypter before we run the file through Handbreak
Solutions:
From: “Lanska, Jeremiah K” <Jeremiah.Lanska@ridgewater.edu> Date: Tuesday, September 11, 2018 at 10:03 AM
I use a software on a MAC called MacX DVD Video Converter Pro. https://www.macxdvd.com/
I convert videos to MP4 with this and it just works for just about any DVD. Then upload them to MediaSpace.
From: “Docken, Marti L” <Marti.Docken@saintpaul.edu> Date: Tuesday, September 11, 2018 at 8:17 AM
Good morning Plamen. Here at Saint Paul College, we are asked to get permission from owner when we are looking at making any alterations to a video, tape, etc. This is true of adding closed captioning as well. The attached are forms given by Minnesota State which they may have an updated form.
Thank you and have a wonderful day.
Marti Docken Instructional Technology Specialist 651.846.1339 marti.docken@saintpaul.edu
From: Geri Wilson Sent: Friday, September 14, 2018 3:23 PM
What I do with DVDs is give a warning to the faculty that the MediaSpace link with the captions I’ve created should not be widely shared and should be treated as if it were still a DVD that can be shown in the classroom, but not posted on D2L. Because even if we use those forms, I don’t believe it gives us the right to use the video in a broader way. However, a safer approach might be to burn a new DVD with captions, so that it’s still in the same format that can’t be misused as easily.
Just my 2 cents. Geri
From: “Hunter, Gary B” <Gary.Hunter@minnstate.edu> Date: Friday, September 14, 2018 at 2:55 PM To: Plamen Miltenoff_old <pmiltenoff@stcloudstate.edu> Subject: RE: Process of ripping DVD video to mount it on MediaSpace
I’ll assume the contents of the DVDs are movies/films unless I hear otherwise from you. There’s a lot we need to consider from a copyright perspective. Let me know a day and time that we can touch base via a phone call. Next week my schedule is flexible, so let me know what day and time work for you. Until we speak, here’s some of the information related to making copies of copyrighted works for nonprofit teaching purposes.
There are two sections of the Copyright Act that authorize “copying” of copyrighted works for nonprofit educational purposes. It doesn’t matter if the copyrighted works are being copied from DVDs, CDs, flash drives, a computer’s hard drive, etc., the same sections of the Copyright Act apply.
Section 110(2), also known as the TEACH Act, allows nonprofit educational institutions to make a digital copy of a nondramatic copyrighted work and save it to a server for online and hybrid teaching. I have a TEACH Act checklist on the IP Tools & Forms webpage at http://www.minnstate.edu/system/asa/academicaffairs/policy/copyright/forms.html. The checklist identifies the few things that may not be copied under this section of the Copyright Act. If an instructor meets the various requirements on the checklist, than you can make a digital copy of the entire nondramatic copyrighted work and save it to MediaSpace. For nondramatic works, all MinnState instructors should be able to complete the TEACH Act checklist successfully, so I wouldn’t request a completed checklist from them.
Under the TEACH Act, nonprofit educational institutions are only permitted to make a digital copy of reasonable and limited portions of dramatic copyrighted works. Movies and films are usually dramatic works. Most people in higher education interpret “reasonable and limited portions” to mean something less than the whole and not the entire movie/film. There are several guidance documents on the TEACH Act on the IP Tools & Forms webpage that go into greater detail as to what is reasonable and limited portions. Unfortunately, this section only authorizes the copying of part of the movie/film and not the entire thing.
Section 107 Fair Use of the Copyright Act is the second section that permits copying of copyrighted works for nonprofit educational purposes. Fair Use is used more than any other section to make copies of copyrighted works for nonprofit educational purposes. An instructor needs to complete a fair Use Checklist showing the proposed copying is authorized by fair use. An instructor who completes a Fair Use Checklist that ends up being 50/50 or more in support of fair use for their proposed copying of a copyrighted work, should be able to make the digital copy. Fair Use has some nuances in it for unique situations. Let’s set up a phone call to further discuss them. There is also a flow chart that may helpful at http://www.minnstate.edu/system/asa/academicaffairs/policy/copyright/docs/Flow%20Chart-Using%20video%20in%20Online%20-%20D2L%20Courses.pdf.
We also have to consider whether or not the movies/films were purchased with “personal use” rights or “public performance” rights. Or if an educational license or some similar type of license gives us permission to make copies or publicly perform the movie/film. More layers of the onion that need peeled back to address the copyright concerns.
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Issue: confidentiality
All digitized material is backedup on DVDs, whether faculty wants a DVD or not.
Some video content is confidential (e.g. interviews with patients) and faculty does not want any extra copies, but the DVD submitted to them. How do we archive / do we archive the content then?
Burning (Archiving)
where to store the burned DVDs? their shelf life is 12 years.
DVD’s must be labeled with soft tip perm marker, not labels. labels glue ages quickly.
all our desktops are outdated (5+ years and older). We used two Apple/Macs. OS El Captain, Version 10.11.6, 2.5 Gxz Intel Core i5. 8GB memory, 1333 MHz DDR3, Graphic Card AMD Radeon HD 6750 MD 512 MB
Question about the process of archiving the CDs and DVDs after burning. What is the best way to archive the digitized material? Store the CD and DVDs? Keep them in the “cloud?”
Question about the management of working files: 1. Premiere digitizes the original hi-quality file in .mov format and it is in GB. The export is in .mp4 format and it is in MB. Is it worth to store the GB-size .mov format and for how long, considering that the working station has a limited HDD of 200GB
we decided to export two types of files using Adobe Premiere: a) a low end .MP4 file about several hundred megabites, which respectively is uploaded in SCSU Media Space (AKA Kaltura) and b) one high-end (better quality) one the realm of several GBs, which was the archived copy
We placed a request for two 2TB HDD with the library dean and 10TB file space with the SCSU IT department. Idea being to have the files for MediaSpace readily available on the hardrives, if we have to make them available to faculty and the high-end files being stored on the SCSU file server.
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Nov. 2019: transfer of accounts. The generic SCSULibraryVideo account is discontinued because of the August 2019 transition to the minnstate.edu. Agreed to host the accumulated digitized videos under the private account of one of the team members, who will be assigning the other members and the requesting faculty as co-editors.
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2. correspondence among Greg J, Tom H and Plamen
email correspondence Greg, Tom, Plamen regarding Kaltura account:
From: Greg <gsjorgensen@stcloudstate.edu> Date: Friday, November 17, 2017 at 11:32 AM To: Plamen Miltenoff <pmiltenoff@stcloudstate.edu> Subject: RE: Question Kaltura
Plamen,
Channels are not required using this workflow. Just the collaboration change.
–g–
From: Miltenoff, Plamen Sent: Friday, November 17, 2017 11:31 AM To: Jorgensen, Greg S. <gsjorgensen@stcloudstate.edu>; Hergert, Thomas R. <trhergert@stcloudstate.edu> Subject: Question Kaltura
Greg,
About the channel:
Do I create one channel (videos)?
It seems to be a better idea to create separate channels for each of faculty, who’s videotapes are digitized.
******* any user you wish to collaborate with, will need to first sign in to mediaspace in order to provision their account.**** After they have signed in, you will be able to add them as collaborator.
Once they’ve been added, they will have access to the video in their MedisSpace account.
Like so:
From the My Media area:
Click ‘Filters’:
Then choose either media I can publish, or media I can edit:
If you want to simply change ownership to the requestor (for video available only to a single person), just choose change media owner on the collaboration tab.
The process above will allow for any number of collaborators, in a fashion similar to ‘on reserve’.
–g–
From: Miltenoff, Plamen Sent: Friday, November 17, 2017 11:19 AM To: Jorgensen, Greg S. <gsjorgensen@stcloudstate.edu>; Hergert, Thomas R. <trhergert@stcloudstate.edu> Subject: FW: Supplemental Account Request Status
Tom,
I submitted the request to Greg with the “SCSULibraryVideo” name
Greg, I submitted, Tom, Rachel W and Rhonda H (and you) as “owners.”
Pls, if possible, do not assigned to Tom ownership rights yet and add him later on.
I also received your approval, so I am starting to work on it
This message confirms your request for a new Supplemental Account with the requested username of SCSULibraryVideo. Please allow 2-3 business days for processing. You will be notified by email when your request is approved or denied. You may also check the status of your request by returning to the Supplemental Accounts Maintenance site.
Thank you for your request and please contact us with questions or concerns.
Once you’ve done that, just let me know the name of the account. (LibraryVideoDrop, SCSULibraryVideo, etc….)
I’ll then add it to the Mediaspace access list.
If there’s already an account to which you have access, we can use that, too. Remember, though, credentials will be shared at least between the two of you.
Well, that is a good question. Do we need a “STAR ID” type of account for the library?
If so, who will be the person to talk to. After Diane Schmitt, I do not know who to ask
Tom, can you ask the library dean’s office for any “generic” account?
Greg, for the time being, is it possible to have me as the “owner” of that account? Would that conflict with my current Kaltura account/content?
Can I participate for this project with my student account (as you helpled me several weeks ago restore it for D2L usage)?
Yes, except that there may be needs for multiple faculty to access the files. Think of it as analogous to DVDs on reserve or even in the general collection.
I think we’re hoping for an account from which we can share Library resources such as the digitized versions of VHS tapes that Plamen and I are creating. As I understand it, a closed channel is probably not the best answer. We need a common repository that can have open access to SCSU Kaltura users.
A single account can’t really be shared in the way you’re asking, but we can easily add a dept. supplemental account to Mediaspace. I just need the name of the account.
Depending on what you intend, maybe a closed channel? Create a closed channel and add individuals as needed?
Can you help me create a MediaSpace account for the library use.
How can it be tight up to the STAR ID login specifications?
Is it possible, let’s say Tom and I to use our STAR ID to login into such account?
Any info is welcome…
Plamen
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3. correspondence on the LITA listserv regarding “best practices for in house digital conversion”
From: <lita-l-request@lists.ala.org> on behalf of Sharona Ginsberg <lita-l@lists.ala.org> Reply-To: “lita-l@lists.ala.org” <lita-l@lists.ala.org> Date: Tuesday, November 21, 2017 at 10:07 AM To: “lita-l@lists.ala.org” <lita-l@lists.ala.org> Subject: Re: [lita-l] best practices for in house digital conversion
I’m at an academic rather than public library, but you can see what we offer for digital conversion here: https://www.oswego.edu/library/digital-conversion. We’ve been generally happy with our equipment, and I especially think the Elgato Video Capture device (VHS to digital) is a good tool.
– Sharona
From: <lita-l-request@lists.ala.org> on behalf of Molly Schwartz <mschwartz@metro.org> Reply-To: “lita-l@lists.ala.org” <lita-l@lists.ala.org> Date: Tuesday, November 21, 2017 at 10:03 AM To: “lita-l@lists.ala.org” <lita-l@lists.ala.org> Subject: Re: [lita-l] best practices for in house digital conversion
I would also definitely recommend DCPL’s Memory Lab and the project to build a Memory Lab Network, which is more applicable to public libraries.
best,
Molly
On Tue, Nov 21, 2017 at 10:49 AM, Stewart Wilson <SWilson@onlib.org> wrote:
Hi all,
I know there is a lot of information already out here, but is anyone up for a conversation about media conversion technologies for public library patrons?
I’m interested in best practices and recommended technologies or guides that you use in your system.
Anything that converts projector slides, 35mm, VHS, photographs, cassette, etc.
We are building a new PC for this and 3D rendering, so any recommendations for things like soundcards or video capture cards are also useful.
Thanks for your help; this group is the best.
Stew Wilson
Paralibrarian for Network Administration and Technology
Media literacy. Differentiated instruction. Media literacy guide.
Fake news as part of media literacy. Visual literacy as part of media literacy. Media literacy as part of digital citizenship.
Web design / web development
the roles of HTML5, CSS, Java Script, PHP, Bootstrap, JQuery, React and other scripting languages and libraries. Heat maps and other usability issues; website content strategy. THE MODEL-VIEW-CONTROLLER (MVC) design pattern
Social media for institutional use. Digital Curation. Social Media algorithms. Etiquette Ethics. Mastodon
I hosted a LITA webinar in the fall of 2016 (four weeks); I can accommodate any information from that webinar for the use of the IM students
OER and instructional designer’s assistance to book creators.
I can cover both the “library part” (“free” OER, copyright issues etc) and the support / creative part of an OER book / textbook
“Big Data.” Data visualization. Large scale visualization. Text encoding. Analytics, Data mining. Unizin. Python, R in academia.
I can introduce the students to the large idea of Big Data and its importance in lieu of the upcoming IoT, but also departmentalize its importance for academia, business, etc. From infographics to heavy duty visualization (Primo X-Services API. JSON, Flask).
NetNeutrality, Digital Darwinism, Internet economy and the role of your professional in such environment
I can introduce students to the issues, if not familiar and / or lead a discussion on a rather controversial topic
Digital assessment. Digital Assessment literacy.
I can introduce students to tools, how to evaluate and select tools and their pedagogical implications
Wikipedia
a hands-on exercise on working with Wikipedia. After the session, students will be able to create Wikipedia entries thus knowing intimately the process of Wikipedia and its information.
Effective presentations. Tools, methods, concepts and theories (cognitive load). Presentations in the era of VR, AR and mixed reality. Unity.
I can facilitate a discussion among experts (your students) on selection of tools and their didactically sound use to convey information. I can supplement the discussion with my own findings and conclusions.
eConferencing. Tools and methods
I can facilitate a discussion among your students on selection of tools and comparison. Discussion about the their future and their place in an increasing online learning environment
Digital Storytelling. Immersive Storytelling. The Moth. Twine. Transmedia Storytelling
I am teaching a LIB 490/590 Digital Storytelling class. I can adapt any information from that class to the use of IM students
VR, AR, Mixed Reality.
besides Mark Gill, I can facilitate a discussion, which goes beyond hardware and brands, but expand on the implications for academia and corporate education / world
Instructional design. ID2ID
I can facilitate a discussion based on the Educause suggestions about the profession’s development
Microcredentialing in academia and corporate world. Blockchain
IT in K12. How to evaluate; prioritize; select. obsolete trends in 21 century schools. K12 mobile learning
Podcasting: past, present, future. Beautiful Audio Editor.
a definition of podcasting and delineation of similar activities; advantages and disadvantages.
Gender, race and age in education. Digital divide. Xennials, Millennials and Gen Z. generational approach to teaching and learning. Young vs old Millennials. Millennial employees.
Vicky Steeves (@VickySteeves) is the first Research Data Management and Reproducibility Librarian
Reproducibility is made so much more challenging because of computers, and the dominance of closed-source operating systems and analysis software researchers use. Ben Marwick wrote a great piece called ‘How computers broke science – and what we can do to fix it’ which details a bit of the problem. Basically, computational environments affect the outcome of analyses (Gronenschild et. al (2012) showed the same data and analyses gave different results between two versions of macOS), and are exceptionally hard to reproduce, especially when the license terms don’t allow it. Additionally, programs encode data incorrectly and studies make erroneous conclusions, e.g. Microsoft Excel encodes genes as dates, which affects 1/5 of published data in leading genome journals.
technology to capture computational environments, workflow, provenance, data, and code are hugely impactful for reproducibility. It’s been the focus of my work, in supporting an open source tool called ReproZip, which packages all computational dependencies, data, and applications in a single distributable package that other can reproduce across different systems. There are other tools that fix parts of this problem: Kepler and VisTrails for workflow/provenance, Packrat for saving specific R packages at the time a script is run so updates to dependencies won’t break, Pex for generating executable Python environments, and o2r for executable papers (including data, text, and code in one).
a plugin for Jupyter notebooks), and added a user interface to make it friendlier to folks not comfortable on the command line.
