The themes surrounding the SXSW Interactive Festival
Virtual Reality is quickly becoming a device that can be used to bridge gaps in understanding between cultures, transporting people into situations and locations dissimilar from their own.
Empathy Lab, a partnership between Refinery29 and the Columbia University Digital Storytelling Lab. Here attendees witnessed firsthand the power of empathy, via a series of exercises that sought to shift the way they saw the world – and each other.
immersive augmented (elements 4D, comes with iPAD) reality. MS Hololens
Google imcardboard.com
HTC Vive (comes with two handheld controllers), Oculus (special relation in front of user), OSVR, laser towers, spacial awareness in the room,
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
Experience explore expand. Adventure based how to collaborate in ways we have not collaborated before pedagogical guidelines internet driven
Instructor – content – design
Today: first think is design, content, instructor. So how do we design learning environments is the most important one
Guide learners as designers. Constructivism. Design for meaning. Through the power of the story.
Geotetic design a learning environment learn geography using GIS
Situated movies (student-centered learning)
Grant Earthducation go to the most remote parts of the world to align their education with their culture, instead of what the government is downing as culture
Use of phone: whoever answers instructor’s question first, gets to pose the next question to the rest of the audience.
Design based research
Self-narrative, referencing the experience real world issues in real time
the U Media Lab.
The Changing Earth. App GoX (instagram on steroids. tell their story through the app). How is this different from Google Earth
Raptor Lab (rehabilitate a raptor).
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
Storyboard template
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
crystalography dbase
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.
inclining habitat.
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.
Main speaker
David Wiley. Making Teaching and Learning Awesome with Open
MN Learning Commons
open educational resources
LUMEN
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)
open:
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.
so what?
open education infrastructure: open outcomes, objectives, activities, educational resources
the culture of glued legos must be eradicated. open pedagogy. open credentialing model
Alexander, B. (2021), “Macroauthorities and Microliteracies: The New Terrain of Information Politics”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 29-37. https://doi.org/10.1108/978-1-80043-906-120211003
Portelli, J.P. and Oladi, S. (2021), “Post-truth Society: Toward a Dialogical Understanding of Truth”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 11-28. https://doi.org/10.1108/978-1-80043-906-120211002
Patrinos, H.A. (2021), “The Learning Challenge in the Twenty-first Century * “, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 39-53. https://doi.org/10.1108/978-1-80043-906-120211004
Pauncefort, E. (2021), “Critical Literacy Is at the Heart of the Answer”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 73-94. https://doi.org/10.1108/978-1-80043-906-120211006
Balser, W.F., Diasio, S. and Kendal, T. (2021), “Societal Reorientation via Programmable Trust: A Case for Piloting New Models of Open Governance in Education”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 95-110. https://doi.org/10.1108/978-1-80043-906-120211007
This essay proposes the need to infuse open innovation (OI) and open source (OS) principles and technologies into schools as a means of tackling many of the most pervasive challenges in education, and by extension, society at large. It is argued that the principles of OI and OS, which are rooted in innovation management and software development, respectively, may be applied to the way we conceive of and approach organizational governance structures related to schooling, particularly in regard to harnessing innovation, updating management processes, and codifying new systems of trust. Whereas OI offers a novel approach to knowledge flow and the open exchange of ideas, communities rooted in OS principles breed tangible and generative effects through peer network democratization. These emergent, digitally defined networks have been proven to maximize innovation potential, expand collaboration, and enable the propagation of highly durable systems of trust and transparency, all catalytic and essential if we are to realize a future learning economy which favors equity, distributed systems, and common goods over profit, centralized decision-making, and proprietorship. It is within this framing that we articulate the core tenets of both OI and OS translationally as a means of stimulating thinking about how core principles of “openness” and the distributed technologies they enable may help to build common ground in an ever-evolving education and information ecosystem.
Sant, T. (2021), “How Can Wikipedia Save Us all?: Assuming Good Faith from all Points of View in the Age of Fake News and Post-truth”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 133-143. https://doi.org/10.1108/978-1-80043-906-120211010
Fusari, M. (2021), “The Kony 2012 Campaign: A Milestone of Visual Storytelling for Social Engagement”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 155-173. https://doi.org/10.1108/978-1-80043-906-120211012
Mallia, Ġorġ. (2021), “Post-truth Visuals, Untruth Visuals”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 175-187. https://doi.org/10.1108/978-1-80043-906-120211013
Basu, D. and Gabbay, M. (2021), “Karl Marx and the Blockchain”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 225-241. https://doi.org/10.1108/978-1-80043-906-120211016
Blockchain is often presented as a technological development; however, clearly it is not only that: the ‘Blockchain buzz’ exists in the context of current social and political developments. In this essay, we analyse blockchain technology and its social and political context from a perspective of Marxist economic theory. Since arguably the last great inflection point in society and technology was analysed by Marx in terms of labour and capital and since we seem to be experiencing a shift in the balance between these forces today, it makes sense to revisit the Marxist ideas and apply them to the current situation, to see how well they still apply and if necessary to update them for current events.
Ellul, J., Grech, A. and Pace, G.J. (2021), “Two Sides to Every Story. The Truth, Post-truth, and the Blockchain Truth”, Grech, A. (Ed.) Media, Technology and Education in a Post-Truth Society (Digital Activism and Society: Politics, Economy And Culture In Network Communication), Emerald Publishing Limited, Bingley, pp. 243-253. https://doi.org/10.1108/978-1-80043-906-120211017
One of the rallying cries of the blockchain community is that of immutability: the irreversibility of the past, the absolute truth which, once stored, remains there forever. The technology was designed with this foundational pillar in mind to ensure that changes to history are inordinately expensive and practically impossible to execute – and increasingly so, the further in the past the event which one intends to manipulate lies. This platonic view of absolute truth is in stark contrast with a world of manipulated truth, and it is not surprising that it is being revisited as a means of combating fake news. We argue that claims to the absolute nature of the blockchain are at best exaggerated, at worst misrepresented or even ‘fake news’. We discuss implicit centralised points of trust in blockchains, whether at a technological, social or governance level, and identify how these can be a threat to the ‘immutable truth’ stored within the blockchain itself. A global pandemic has unleashed an unprecedented wave of contradictory positions on anything from vaccines and face masks to ‘the new normal’. It is only natural that the pursuit of blockchain as a placebo for society’s ‘truth’ problems continues.
Since 1992 I have been teaching a course on how to write electronics section. My students include freshman, writing majors, and media lab graduate students.
As I watch the yearly growth in ingenuity among my students, I find myself anticipating a new kind of storyteller, one who is half hacker, half bard. The spirit of the hacker is one of the great creative wellspring Safari time, causing the in animate circuits to sync with ever more individualized and quirky voices; the spirit of the bard is eternal and irreplaceable, telling us what we are doing here in about we mean to one another.
Set 600 years from now, describes a society that science has dehumanized by eliminating love, parenthood, and the family in favor of generating engineering, test tube delivery, and state indoctrination. Books are banned, and science has come up with a substitute form of storytelling to delete the masses.
p. 20 Ray Bradbury Fahrenheit 451
p. 22 this accounts of a digital dystopia but eroticize and demonize the computer. Cyberpunks surfers are like Cowboys on the new frontier motorcycle hoodlums with a joystick in their hand instead of a motorcycle between their legs. They are outlaw pirates on an endless voyage of exploration throughout the virtual world riding and plundering among the invisible data hoards of the world in many states by the stronger pirate parents who reach in and reprogram their minds.
p. 22 William Gibson Neurmancer
p. 28 The Harbinger on the the Holodeck
The technical in economic cultivation of this freestyle new medium of communication has led to several new varieties of narrative entertainment. This new storytelling formats very from the shoot them up video game in the virtual dungeons of Internet role-playing games to the post modern literary hypertext. This wide range of narrative art holds the promise of a new medium of expression that is S varied SD printed book or the movie picture.
Books printed before 1501 or cold incunabula; the word is derived from the Latin for swaddling clothes and is used to indicate that this books are the work of a technology still in its infancy.
The garish video games in tangled websites of the current digital environment or part of a similar period of technical evolution, part of a similar struggle for the conventions of coherent communication.
p. 29 now, in the incunabular days of the narrative computer. We can see how 20th century novels, films, and please have been steadily pushing against the boundaries of linear storytelling. We therefore have to start our survey of the harbingers of the holiday back with a look at multiform stories, that is, linear narrative straining against the boundary of pre-digital media like a two dimensional picture trying to burst of its frame.
p. 30 The multiform story
Frank Capra’s It’s a wonderful life
p. 34 Robert Zemeskis Back to the Future
p. 35 Harold Ramis’s Groundhog Day
Multi forms stories often reflect different points of view of the same event. p. 37 Kurosawa Rashomon, the same crime is narrated by four different people: a rape victim; her husband, who is murdered; the bandit who attacked them; and a bystander.
p. 37 Milorad Pavic’s Dictionary of the Khazars
p. 37 Multi form narrative attempts to give a simultaneous form to this possibilities, to allow us to hold in our minds at the same time multiple contradictory alternatives.
p. 38 active audience
When the writer expands the story to include multiple possibilities, the reader assumes a more active role.
p. 40 although television viewers have long been accused of being less active engaged in readers or theatergoers, research on thin culture provides considerable evidence that viewers actively appropriate the stories of their favorite series. In addition to sharing critical commentary and gossip, fans create their own stories by taking characters and situations from the series and developing them in ways closer to their own concerns.
p. 42 role playing games or theatrical in a non-traditional but thrilling way. Players are both actors and audience for one another, and events the purple tree often have the media seat of personal experience.
p. 43 Live theater has been incorporating the same qualities of spontaneity and audience involvement for some time.
p. 43 MUDs have allowed distant players on the Internet to share a common virtual space in which they can chat with one another in real time. A the social psychologist Sherry Turkle has persuasively demonstrated, mods are intensely “evocative” environments for fantasy play that allow people to create and sustain elaborate fictional personas.
p. 44 movies three dimensions
p. 51 dramatic storytelling in electronic games
p. 55 story webs
p. 59 computer scientist as storytellers
p. 65 Chapter 3 From Additive to Expressive Form
beyond multimedia
Sept 28, 1895 Arrival of the Train at La Ciotat Station
p. 66 photoplays
p. 67 one of the lessons we can learn from the history of film is that additive formulations like photo play or the contemporary catshall ‘multimedia” or a sign that the medium is in an early stage of development and it is still depending on the format derived from earlier technologies instead of exploiting its own expressive power. Today the derivative mindset is apparent in the conception of cyber space is the place to view “pages” of print or “clips” of moving video end of cedar rooms is offering “extended books.”
p. 60 ELIZA, 1966 Joseph Weizenbaum
p. 71 the four essential properties of digital environments
Digital environments are procedural
Digital environments are participatory
Digital environments are spacial
Digital environments are encyclopedic
p. 90 Digital structures of complexity
p. 95 part to the aesthetics of the medium
chapter 4 immersion
definition
The experience of being transported to an elaborate please simulator please it’s pleasurable in itself regarding of the fantasy contact. we Refer to this experience as immersion. Immersion is a metaphorical term derived from the physical experience of being submerged in water. We seek the same feeling from a psychologically immersive experience that we do from a plunge in the ocean or swimming pool: the sensation of being surrounded by a completely other reality, as different is water is from air, that takes over all of our attention, our whole perceptual apparatus.
p/ 99 entering the enchanted place
my note: ghost in the machine The computer itself, even without any fantasy content, is an enchanted object. Sometimes it can act like an autonomous, animate being, sensing it’s environment in carrying out internally generated processes, yet it can also seem like an extension of our own consciousness, capturing our words through the keyboard in displaying them on the screen as fast as we can thank them.
p. 110 the active creation of belief
In digital environments we have new opportunities to practice this active creation of belief. For instance, in an interactive video program set in Paris that may research group designed in the 1980s for language learners, we included a working telephone, represented by a photograph of a phone who’s keypad could be clicked on .
p. 112 structuring participation with a mask .
p. 119 regulating arousal According to Winnicott, “the pleasurable element in playing Carris whit eight employee Kasian that the instructional a razzle is not excessive”; that is, the object of the imaginary world should not be too enticing, scary, or real let the immersive trance be broken. This is true in any medium. If a horror movie is too frightening, we cover our eyes or turn away from the screen.
p. 126 chapter Agency
Agency is the satisfying power to take meaningful action and see the results of our decisions and choices. We expect to feel agency on the computer when we double click on a file and seat open before us or when we enter numbers in a spreadsheet and see the totals readjust. However, we do not usually expect to experience agency within a narrative environment.
p. 129 the pleasures of navigation
One form of agency not dependent on the game structure yet characteristic of digital environment is spatial navigation. The ability to move through virtual landscapes can be pleasurable in itself, independent of the content of the spaces.
p. 130 the story of the maze
the adventure maze embodies a classic fair-tale narrative of danger and salvation. as a format for electronic narrative, the maze is a more active version of the immersive visit (chapter 4).
p. 134 Giving Shape to Anxiety
p. 137 The Journey Story and the Pleasure of Problem Solving
