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Web 2.0 Storytelling: Emergence of a New Genre (EDUCAUSE Review) | EDUCAUSE - 2 views

  • A story is told by one person or by a creative team to an audience that is usually quiet, even receptive. Or at least that’s what a story used to be, and that’s how a story used to be told. Today, with digital networks and social media, this pattern is changing. Stories now are open-ended, branching, hyperlinked, cross-media, participatory, exploratory, and unpredictable. And they are told in new ways: Web 2.0 storytelling picks up these new types of stories and runs with them, accelerating the pace of creation and participation while revealing new directions for narratives to flow.
    • Barbara Lindsey
       
      Do you agree with this statement?
    • loisramirez
       
      I also agree with the statement. A story in this age can take a life of it's own (or many, depending one the variations created), it allows a constant input by others and consequently the evolution of the text and the author as well.
  • To further define the term, we should begin by explaining what we mean by its first part: Web 2.0. Tim O'Reilly coined Web 2.0 in 2004,1 but the label remains difficult to acceptably define. For our present discussion, we will identify two essential features that are useful in distinguishing Web 2.0 projects and platforms from the rest of the web: microcontent and social media.2
  • creating a website through Web 2.0 tools is a radically different matter compared with the days of HTML hand-coding and of moving files with FTP clients.
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  • out of those manifold ways of writing and showing have emerged new practices for telling stories.
  • Web 2.0 platforms are often structured to be organized around people rather than the traditional computer hierarchies of directory trees.
    • loisramirez
       
      I think this is a very important feature, since the web is not as static anymore and more people friendly, we as users feel more encourage to collaborate and create our own content.
  • Websites designed in the 1990s and later offered few connecting points for individuals, generally speaking, other than perhaps a guestbook or a link to an e-mail address. But Web 2.0 tools are built to combine microcontent from different users with a shared interest:
  • If readers closely examine a Web 2.0 project, they will find that it is often touched by multiple people, whether in the content creation or via associated comments or discussion areas. If they participate actively, by contributing content, we have what many call social media.
  • But Web 2.0's lowered bar to content creation, combined with increased social connectivity, ramps up the ease and number of such conversations, which are able to extend outside the bounds of a single environment.
    • Barbara Lindsey
       
      Does the definition of Web 2.0 given in this article help you to better understand your experiences thus far in this course?
  • Another influential factor of Web 2.0 is findability: the use of comprehensive search tools that help story creators (and readers) quickly locate related micocontent with just a few keywords typed into a search field.
  • Social bookmarking and content tagging
  • the "art of conveying events in words, images, and sounds often by improvisation or embellishment."4 Annette Simmons sees the storyteller’s empathy and sensory detail as crucial to "the unique capability to tap into a complex situation we have all experienced and which we all recognize."5
    • loisramirez
       
      I also agree with this comment, something as simple as a keyword can trigger a memory and bring back information that we have learned.
  • Web 2.0 stories are often broader: they can represent history, fantasy, a presentation, a puzzle, a message, or something that blurs the boundaries of reality and fiction.
  • On one level, web users experienced a great deal of digital narratives created in non-web venues but published in HTML, such as embedded audio clips, streaming video, and animation through the Flash plug-in. On another level, they experienced stories using web pages as hypertext lexia, chunks of content connected by hyperlinks.
  • While HTML narratives continued to be produced, digital storytelling by video also began, drawing on groundbreaking video projects from the 1970s.
  • By the time of the emergence of blogs and YouTube as cultural media outlets, Tim O'Reilly's naming of Web 2.0, and the advent of social media, storytelling with digital tools had been at work for nearly a generation.
  • Starting from our definitions, we should expect Web 2.0 storytelling to consist of Web 2.0 practices.
  • In each of these cases, the relative ease of creating web content enabled social connections around and to story materials.
  • Web 2.0 creators have many options about the paths to set before their users. Web 2.0 storytelling can be fully hypertextual in its multilinearity. At any time, the audience can go out of the bounds of the story to research information (e.g., checking names in Google searches or looking for background information in Wikipedia).
  • User-generated content is a key element of Web 2.0 and can often enter into these stories. A reader can add content into story platforms directly: editing a wiki page, commenting on a post, replying in a Twitter feed, posting a video response in YouTube. Those interactions fold into the experience of the overall story from the perspective of subsequent readers.
  • On a less complex level, consider the 9th Btn Y & L War Diaries blog project, which posts diary entries from a World War I veteran. A June 2008 post (http://yldiaries.blogspot.com/2008_06_01_archive.html) contains a full wartime document, but the set of comments from others (seven, as of this writing) offer foreshadowing, explication of terms, and context.
    • Barbara Lindsey
       
      Consider how these new media create rich dissertation and research opportunities.
  • As with the rest of Web 2.0, it is up to readers and viewers to analyze and interpret such content and usually to do so collaboratively.
  • At times, this distributed art form can range beyond the immediate control of a creator.
  • Creators can stage content from different sites.
  • Other forms leverage the Web 2.0 strategies of aggregating large amounts of microcontent and creatively selecting patterns out of an almost unfathomable volume of information.
  • The Twitter content form (140-character microstories) permits stories to be told in serialized portions spread over time.
    • loisramirez
       
      It is also a great way to practice not only creative writing but due to the 140 character limitation; this is a new challenge for a writer, how to say a lot in a just a few words.
  • It also poses several challenges: to what extent can we fragment (or ‘microchunk,’ in the latest parlance) literature before it becomes incoherent? How many media can literature be forced into—if, indeed, there is any limit?"
  • Facebook application that remixes photos drawn from Flickr (based on tags) with a set of texts that generate a dynamic graphic novel.
  • movie trailer recuts
  • At a different—perhaps meta—level, the boundaries of Web 2.0 stories are not necessarily clear. A story's boundaries are clear when it is self-contained, say in a DVD or XBox360 game. But can we know for sure that all the followers of a story's Twitter feed, for example, are people who are not involved directly in the project? Turning this question around, how do we know that we've taken the right measure of just how far a story goes, when we could be missing one character's blog or a setting description carefully maintained by the author on Wikipedia?
  • The Beast was described by its developer, Sean Stewart: “We would tell a story that was not bound by communication platform: it would come at you over the web, by email, via fax and phone and billboard and TV and newspaper, SMS and skywriting and smoke signals too if we could figure out how.
  • instead of telling a story, we would present the evidence of that story, and let the players tell it to themselves.”15
    • Barbara Lindsey
       
      How might your students who come to your courses with these kinds of experiences impact the way you present your content?
  • In addition, the project served as an illustrative example of the fact that no one can know about all of the possible web tools that are available.
    • Barbara Lindsey
       
      How might we address this conundrum?
  • web video storytelling, primarily through YouTube
  • Web 2.0 storytelling offers two main applications for colleges and universities: as composition platform and as curricular object.
  • Students can use blogs as character studies.
  • The reader is driven to read more, not only within the rest of that post but also across the other sites of the story: the archive of posts so far, the MySpace page, the resources copied and pointed to. Perhaps the reader ranges beyond the site, to the rest of the research world—maybe he or she even composes a response in some Web 2.0 venue.
  • Yet the blog form, which accentuates this narrative, is accessible to anyone with a browser. Examples like Project 1968 offer ready models for aspiring writers to learn from. Even though the purpose of Project 1968 is not immediately tied to a class, it is a fine example for all sorts of curricular instances, from history to political science, creative writing to gender studies, sociology to economics.
  • it’s worth remembering that using Web 2.0 storytelling is partly a matter of scale. Some projects can be Web 2.0 stories, while others integrate Web 2.0 storytelling practices.
  • Lecturers are familiar with telling stories as examples, as a way to get a subject across. They end discussions with a challenging question and create characters to embody parts of content (political actors, scientists, composite types). Imagine applying those habits to a class Twitter feed or Facebook group.
  • For narrative studies, Web 2.0 stories offer an unusual blend of formal features, from the blurry boundaries around each story to questions of chronology.
  • An epistolary novel, trial documents, a lab experiment, or a soldier's diaries—for example, WW1: Experiences of an English Soldier (http://wwar1.blogspot.com/)—come to life in this new format.
  • epigrams are well suited to being republished or published by microblogging tools, which focus the reader’s attention on these compressed phases. An example is the posting of Oscar Wilde’s Phrases and Philosophies for the Use of the Young (1894), on Twitter (http://twitter.com/oscarwilde). Other compressed forms of writing can be microblogged also, such as Félix Fénéon's Novels in Three Lines (1906), also on Twitter (http://twitter.com/novelsin3lines). As Dan Visel observed of the latter project: “Fénéon . . . was secretly a master of miniaturized text. . . . Fénéon's hypercompression lends itself to Twitter. In a book, these pieces don't quite have space to breathe; they're crowded by each other, and it's more difficult for the reader to savor them individually. As Twitter posts, they're perfectly self-contained, as they would have been when they appeared as feuilleton.”21
  • A publicly shared Web 2.0 story, created by students for a class, afterward becomes something that other students can explore. Put another way, this learning tool can produce materials that subsequently will be available as learning objects.
  • We expect to see new forms develop from older ones as this narrative world grows—even e-mail might become a new storytelling tool.22 Moreover, these storytelling strategies could be supplanted completely by some semantic platform currently under development. Large-scale gaming might become a more popular engine for content creation. And mobile devices could make microcontent the preferred way to experience digital stories.
  • perhaps the best approach for educators is simply to give Web 2.0 storytelling a try and see what happens. We invite you to jump down the rabbit hole. Add a photo to Flickr and use that as a writing prompt. Flesh out a character in Twitter. Follow a drama unfolding on YouTube. See how a wiki supports the gradual development of a setting. Then share with all of us what you have learned about this new way of telling, and listening to, stories.
  • The interwoven characters, relationships, settings, and scenes that result are the stuff of stories, regardless of how closely mapped onto reality they might be; this also distinguishes a Web 2.0 story from other blogging forms, such as political or project sites (except as satire or criticism!).
  • in sharp contrast to the singular flow of digital storytelling. In the latter form, authors create linear narratives, bound to the clear, unitary, and unidirectional timeline of the video format and the traditional story arc. Web 2.0 narratives can follow that timeline, and podcasts in particular must do so. But they can also link in multiple directions.
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    By Bryan Alexander and Alan Levine
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Social Media in Africa, Part 1 - 1 views

  • undergoing a connectivity revolution
  • Africa
  • Part One of this series looks at social media contributions from Africans, Part Two looks at mobile and connectivity innovations and Part Three looks at how local Governments, NGOs and nonprofits are being affected.
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  • Technology unconferences and Barcamps have sprung up all over the continent, everywhere from Kenya to Nairobi to Madagascar to Uganda and Senegal.
  • The three biggest success stories of independent social media projects taking off in Africa are Afrigator (a South African aggregator of African blogs and news), Zoopy (a YouTube/Flickr like service also out of South Africa) and Ushahidi (an SMS crisis reporting and mapping engine from Kenya). All three have drawn international attention which resulted in a major investment for Zoopy and Afrigator's acquisition (ReadWriteWeb's coverage). Meanwhile Ushahidi has successfully raised several rounds of funding after winning the Net2 Mashup Compeition prize of $25,000.
  • Afrigator defines itself as "a social media aggregator and directory built especially for African digital citizens who publish and consume content on the web."
  • Zoopy is a South African social media tool created by Jason Elk that allows users to upload videos, podcasts, and pictures and share them on the web.
  • Ushahidi relies heavily upon GoogleMaps, which it uses for mapping reports of incidents. It's built on the Zend framework for PHP and uses a number of different protocols for SMS, GPRS and mapping data.
    • Barbara Lindsey
       
      Example of mashup and use of geomapping.
  • The applications to follow are definitely the ones that leverage the mobile telephony infrastructure. An overwhelming portion of African users have no convenient access beyond cellular terminals - and that has spawned very innovative solutions based on existing and widely accessible technologies such as SMS. Examples abound such as Mpesa, Celpay, Etranzact and everyone else who is thriving in that formerly almost entirely cash-bound insecure environment. Underdeveloped banking and underdeveloped fixed telecommunications infrastructures are huge opportunities.
  • The Web Community
    • suzanne ondrus
       
      Internet is expensive in Africa, at least where I was in Benin. It was a dollar an hour where I was. And teachers only earned $3 a day.
  • Mobile phones
    • suzanne ondrus
       
      I was in Benin for nine months in 2006-2007 and can attest to how expensive it is to talk on cell phones- for local calls! A 15 min. local call cost about $20. I remember thinking how calling from the U.S. to Benin was cheaper than making local calls in Benin.
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Higher Education Reimagined With Online Courseware - Education Life - NYTimes.com - 0 views

  • M.I.T. officials like to tell about an unsolicited comment they received one day about the online course “Introduction to Solid State Chemistry.” “I learned a LOT from these lectures and the other course material,” the comment said. “Thank you for having it online.” The officials did a double take. It was from Bill Gates. (Really.)
  • But just 9 percent of those who use M.I.T. OpenCourseWare are educators. Forty-two percent are students enrolled at other institutions, while another 43 percent are independent learners like Mr. Gates. Yale, which began putting free courses online just four years ago, is seeing similar proportions: 25 percent are students, a majority of them enrolled at Yale or prospective students; just 6 percent are educators; and 69 percent are independent learners.
  • Professor Shankar is working on his second semester of recorded videos, and says that the experience has improved his teaching.
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  • So Professor Shankar has begun inserting links to specific portions of Professor Lewin’s course, and, “since any mistake would affect larger numbers of students listening online,” he says, he thinks harder about every topic he teaches in the classroom.
  • His intense, animated ruminations — the title of his course is “Death” — have brought fan mail from Mexico, Iraq, Korea and China. Several months ago, he got a response from somebody suffering from a brain injury and who was using the lectures to exercise his mind. “I don’t think anyone knows what this will do to education 15 years from now,” Professor Kagan says. “But even if it does nothing more than that, that’s enough.”
  • The backers of free courseware acknowledge the benefit of self-enrichment. Still, they say they expect open education not only to expand access to information but also to lead to success in higher education, particularly among low-income students and those who are first in their family to go to college.
  • Carnegie Mellon’s Open Learning Initiative is working with teams of faculty members, researchers on learning and software engineers to develop e-courses designed to improve the educational experience.
  • Carnegie Mellon is working with community colleges to build four more courses, with the three-year goal of 25 percent more students passing when the class is bolstered by the online instruction.
  • The intended user is the beginning college student, whom Dr. Smith describes as “someone with limited prior knowledge in a college subject and with little or no experience in successfully directing his or her own learning.”
  • . “We now have the technology that enables us to go back to what we all know is the best educational experience: personalized, interactive engagement,” Dr. Smith says.
  • That won’t happen, and in the terms-of-use section of Open Yale Courses, the university makes that clear. Besides not granting degrees or certificates, open courses do not offer direct access to faculty. They, in other words, are strictly “for those who wish to learn,” as the Web site says. “Its purpose is not to duplicate a Yale education.”
  • Open courseware is a classic example of disruptive technology, which, loosely defined, is an innovation that comes along one day to change a product or service, often standing an industry on its head. Craigslist did this to newspapers by posting classified ads for free. And the music industry got blindsided when iTunes started unbundling songs from albums and selling them for 99 cents apiece.
  • Mr. Schonfeld sees still more potential in “unbundling” the four elements of educating: design of a course, delivery of that course, delivery of credit and delivery of a degree. “Traditionally, they’ve all lived in the same institutional setting.” Must all four continue to live together, or can one or more be outsourced?
  • P2PU’s mission isn’t to develop a model and stick with it. It is to “experiment and iterate,” says Ms. Paharia, the former executive director of Creative Commons. She likes to talk about signals, a concept borrowed from economics. “Having a degree is a signal,” she says. “It’s a signal to employers that you’ve passed a certain bar.” Here’s the radical part: Ms. Paharia doesn’t think degrees are necessary. P2PU is working to come up with alternative signals that indicate to potential employers that an individual is a good thinker and has the skills he or she claims to have — maybe a written report or an online portfolio.
  • David Wiley, associate professor of instructional psychology and technology at Brigham Young University, is an adviser to P2PU. For the past several years, he has been referring to “the disaggregation of higher education,” the breaking apart of university functions. Dr. Wiley says that models like P2PU address an important component missing from open courseware: human support. That is, when you have a question, whom can you ask? “No one gets all the way through a textbook without a dozen questions,” he says. “Who’s the T.A.? Where’s your study group?” “If you go to M.I.T. OpenCourseWare, there’s no way to find out who else is studying the same material and ask them for help,” he says. At P2PU, a “course organizer” leads the discussion but “you are working together with others, so when you have a question you can ask any of your peers. The core idea of P2PU is putting people together around these open courses.”
  • Mr. Reshef’s plan is to “take anyone, anyone whatsoever,” as long as they can pass an English orientation course and a course in basic computer skills, and have a high school diploma or equivalent. The nonprofit venture has accepted, and enrolled, 380 of 3,000 applicants, and is trying to raise funds through microphilanthropy — “$80 will send one student to UoPeople for a term” — through social networking.
  • Mr. Reshef has used $1 million of his own money to start the University of the People, which taps open courses that other universities have put online and relies on student interaction to guide learning; students even grade one another’s papers.
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Stanford University prepares for an amazing "bookless library" - San Jose Mercury News - 0 views

  • "The role of this new library is less to do with shelving and checking out books — and much more about research and discovery," said Andrew Herkovic, director of communications and development at Stanford Libraries.
  • It is only half the size of the current Engineering Library, but saves its space for people, not things. It features soft seating, "brainstorm islands," a digital bulletin board, and group event space. There are few shelves and it will feature a self-checkout system.
  • The sciences are the perfect place to test bookless libraries, librarians say. In math, online books tend to render formulas badly. And those in the humanities, arts and social sciences still embrace the serendipitous discoveries made while browsing. Johanna Drucker, UCLA professor of information studies, moreover asks: "What version of a work should be digitized as representative? Leo Tolstoy's original Russian text? Or the Maude translation? Should we digitize the sanitized version of Mark Twain's classics, or the originals?"
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The Gwigle Game - 0 views

  •  
    an educational game to help you use Google more effectively
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Hyperpolitics (American Style) | the human network - 0 views

  • They matter not at all. The mob, now mobilized, will do as it pleases. Obama can lead by example, can encourage or scold as occasion warrants, but he can not control. Not with all the King’s horses and all the King’s men.
  • Only a decade ago the network was all hardware and raw potential, but we are learning fast, and this learning is pervasive. Behaviors, once slowly copied from generation to generation, then, still slowly, from location to location, now ‘hyperdistribute’ themselves via the Human Network. We all learn from each other with every text we send, and each new insight becomes part of the new software of a new civilization.
    • Barbara Lindsey
       
      Similar to what Michael Wesch says in his videos
  • We may have had great hardware, but it took a long, long time for humans to develop software which made full use of it.
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  • when Gutenberg (borrowing from the Chinese) perfected moveable type, he led the way to another and even broader form of cultural sharing; literacy became widespread in the aftermath of the printing press, and savants throughout the Europe published their insights, sharing their own expertise, producing the Enlightenment and igniting the Scientific Revolution. Peer-review, although portrayed today as a conservative force, initially acted as a radical intellectual accelerant, a mental hormone which again amplified the engines of human culture, leading directly to the Industrial Age.
  • Sociability has always been the cornerstone to human effectiveness. Being social has always been the best way to get ahead.
  •  
    Mark Pesce's talk
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