Skip to main content

Home/ beyondwebct/ Group items tagged crowd

Rss Feed Group items tagged

Barbara Lindsey

Sympoze - 0 views

  •  
    Sympoze: a network of high-quality academic publications that utilizes crowd sourcing for the peer-review process. Crowd sourcing the peer-review process resolves a number of problems with the current academic publishing model.
Barbara Lindsey

Star Wars Uncut: Director's Cut - YouTube - 0 views

  •  
    What a great way to discuss copyright, remixing and crowd sourcing creative work.
Barbara Lindsey

Cell phone novels come of age › Japan Today: Japan News and Discussion - 0 views

  • “Teenage girls began messaging with pagers in the early ’90s,” says Mizuko Ito, a research scientist who studies cell phone use among Japanese youth. “Because of this, Japan was the first country to have widespread mobile communications, even before mobile phones became affordable and popular.” Ito sees in the rise of cell phone novels a high degree of media and gadget literacy, a cultural willingness to experiment with new technologies, and a desire for private space and intimate communication.
  • The way it works is this: novels are posted by members of cell phone community sites to be downloaded for free and read on other cell phones. Reading often takes place in crowded trains during long commutes. The works are published in 70-word installments, or abbreviated chapters that are the ideal length to be read between shorter train stops. This means that, despite small cell phone screens, lots of white space is left for ease of reading. Multiple short lines of compressed sentences, mostly composed of fragmentary dialogue, are strung together with lots of cell phone-only symbols. The resulting works are emotional, fast-paced and highly visual, with an impact not unlike manga.
  • Following Starts, other publishers like Goma and Asuki Media Works moved in to cherry pick cell phone novel sites online and put out the next big hit. The number of cell phone novels in print began skyrocketing in 2006, when 22 books hit the shelves; the following year, there were 98. Even a no-name author with a cell phone novel publishing deal enjoyed a first run of between 50,000 and 100,000 copies.
  • ...1 more annotation...
  • Indeed, cell phone novels do not go through the editorial selection process; they first become popular with readers and then are published based on their ability to please a crowd. This rawness is at once their appeal and a major hurdle keeping the emergent genre from maturing.
Barbara Lindsey

#BLC100 - Google Docs - 0 views

  •  
    2012 fall syllabus
Barbara Lindsey

Tweeting the terror: How social media reacted to Mumbai - CNN.com - 0 views

  • One tweet from "Dupree" appeared to be coming from inside one of the hotels: "Mumbai terrorists are asking hotel reception for rooms of American citizens and holding them hostage on one floor." A group of Mumbai-based bloggers turned their Metroblog into a news wire service, while the blog MumbaiHelp offered to help users get through to their family and friends in the city, or to get information about them, and has had a number of successes. Flickr also proved a useful source of haunting images chronicling the aftermath of the attacks. Journalist Vinukumar Ranganathan's stream of photos were published by CNN and other major broadcasters. iReport.com: Are you there? Share your photos, videos and stories A Google Map showing the key locations and buildings with links to news stories and eyewitness accounts, and CNN's iReporters flooded the site with their videos and images of the terror attacks.
  • However, as is the case with such widespread dissemination of information, a vast number of the posts on Twitter amounted to unsubstantiated rumors and wild inaccuracies. For example, a rumor that the Indian government was asking tweeters to stop live updates to avoid compromising its security efforts was published and republished on the site.
  • As blogger Tim Mallon put it, "I started to see and (sic) ugly side to Twitter, far from being a crowd-sourced version of the news it was actually an incoherent, rumour-fueled mob operating in a mad echo chamber of tweets, re-tweets and re-re-tweets.
  • ...1 more annotation...
  • What is clear that although Twitter remains a useful tool for mobilizing efforts and gaining eyewitness accounts during a disaster, the sourcing of most of the news cannot be trusted. A quick trawl through the enormous numbers of tweets showed that most were sourced from mainstream media. Someone tweets a news headline, their friends see it and retweet, prompting an endless circle of recycled information
  •  
    Neha Viswanathan, a former regional editor for Southeast Asia and a volunteer at Global Voices, told CNN, "Even before I actually heard of it on the news I saw stuff about this on Twitter.
Barbara Lindsey

Web 2.0: What does it constitute? | 11 Feb 2008 | ComputerWeekly.com - 0 views

  • O'Reilly identified Google as "the standard bearer for Web 2.0", and pointed out the differences between it and predecessors such as Netscape, which tried to adapt for the web the business model established by Microsoft and other PC software suppliers.
  • Google "began its life as a native web application, never sold or packaged, but delivered as a service, with customers paying, directly or indirectly.
  • perpetual beta, as O'Reilly later dubbed it
  • ...13 more annotations...
  • Perhaps the most important breakthrough was Google's willingness to relinquish control of the user-end of the transaction, instead of trying to lock them in with proprietary technology and restrictive licensing
  • O'Reilly took a second Web 2.0 principle from Peer-to-Peer pioneer BitTorrent, which works by completely decentralising the delivery of files, with every client also functioning as a server. The more popular a file, is, the faster it can be served, since there are more users providing bandwidth and fragments of the file. Thus, "the service automatically gets better the more people use it".
  • Taking another model from open source, users are treated as "co-developers", actively encouraged to contribute, and monitored in real time to see what they are using, and how they are using it.
  • "Until Web 2.0 the learning curve to creating websites was quite high, complex, and a definite barrier to entry," says the third of our triumvirate of Tims, Tim Bray, director of Web Technologies at Sun Microsystems.
  • Web 2.0 takes some of its philosophical underpinning from James Surowiecki's book The Wisdom of Crowds, which asserts that the aggregated insights of large groups of diverse people can provide better answers and innovations than individual experts.
  • In practice, even fewer than 1% of people may be making a useful contribution - but these may be the most energetic and able members of a very large community. In 2006 1,000 people, just 0.003% of its users, contributed around two-thirds of Wikipedia's edits.
  • Ajax speeds up response times by enabling just part of a page to be updated, instead of downloading a whole new page. Nielsen's objections include that this breaks the "back" button - the ability to get back to where you've been, which Nielsen says is the second most used feature in Web navigation.
  • "Everybody who has a Web browser has got that platform," says Berners-Lee, in a podcast available on IBM's developerWorks site. "So the nice thing about it is when you do code up an Ajax implementation, other people can take it and play with it."
  • Web 2.0 is a step on the way to the Semantic Web, a long-standing W3C initiative to create a standards-based framework able to understand the links between data which is related in the real world, and follow that data wherever it resides, regardless of application and database boundaries.
  • The problem with Web 2.0, Pemberton says, is that it "partitions the web into a number of topical sub-webs, and locks you in, thereby reducing the value of the network as a whole."
  • How do you decide which social networking site to join? he asks. "Do you join several and repeat the work?" With the Semantic Web's Resource Description Framework (RDF), you won't need to sign up to separate networks, and can keep ownership of your data. "You could describe it as a CSS for meaning: it allows you to add a small layer of markup to your page that adds machine-readable semantics."
  • The problems with Web 2.0 lock-in which Pemberton describes, were illustrated when a prominent member of the active 1%, Robert Scoble, ran a routine called Plaxo to try to extract details of his 5,000 contacts from Facebook, in breach of the site's terms of use, and had his account disabled. Although he has apparently had his account reinstated, the furore has made the issue of Web 2.0 data ownership and portability fiercely topical.
  • when Google announced its OpenSocial set of APIs, which will enable developers to create portable applications and bridges between social networking websites, Facebook was not among those taking part. Four years after O'Reilly attempted to define Web 2.0, Google, it seems, remains the standard-bearer, while others are forgetting what it was supposed to be about.
Barbara Lindsey

Web 2.0: A New Wave of Innovation for Teaching and Learning? (EDUCAUSE Review) | EDUCAU... - 0 views

  • Web 2.0. It is about no single new development. Moreover, the term is often applied to a heterogeneous mix of relatively familiar and also very emergent technologies
  • Ultimately, the label “Web 2.0” is far less important than the concepts, projects, and practices included in its scope.
  • Social software has emerged as a major component of the Web 2.0 movement. The idea dates as far back as the 1960s and JCR Licklider’s thoughts on using networked computing to connect people in order to boost their knowledge and their ability to learn. The Internet technologies of the subsequent generation have been profoundly social, as listservs, Usenet groups, discussion software, groupware, and Web-based communities have linked people around the world.
  • ...26 more annotations...
  • It is true that blogs are Web pages, but their reverse-chronological structure implies a different rhetorical purpose than a Web page, which has no inherent timeliness. That altered rhetoric helped shape a different audience, the blogging public, with its emergent social practices of blogrolling, extensive hyperlinking, and discussion threads attached not to pages but to content chunks within them. Reading and searching this world is significantly different from searching the entire Web world. Still, social software does not indicate a sharp break with the old but, rather, the gradual emergence of a new type of practice.
  • Rather than following the notion of the Web as book, they are predicated on microcontent. Blogs are about posts, not pages. Wikis are streams of conversation, revision, amendment, and truncation. Podcasts are shuttled between Web sites, RSS feeds, and diverse players. These content blocks can be saved, summarized, addressed, copied, quoted, and built into new projects. Browsers respond to this boom in microcontent with bookmarklets in toolbars, letting users fling something from one page into a Web service that yields up another page. AJAX-style pages feed content bits into pages without reloading them, like the frames of old but without such blatant seams. They combine the widely used, open XML standard with Java functions.3 Google Maps is a popular example of this, smoothly drawing directional information and satellite imagery down into a browser.
  • Web 2.0 builds on this original microcontent drive, with users developing Web content, often collaboratively and often open to the world.
  • openness remains a hallmark of this emergent movement, both ideologically and technologically.
  • Drawing on the “wisdom of crowds” argument, Web 2.0 services respond more deeply to users than Web 1.0 services. A leading form of this is a controversial new form of metadata, the folksonomy.
  • Third, people tend to tag socially. That is, they learn from other taggers and respond to other, published groups of tags, or “tagsets.”
  • First, users actually use tags.
  • Social bookmarking is one of the signature Web 2.0 categories, one that did not exist a few years ago and that is now represented by dozens of projects.
  • This is classic social software—and a rare case of people connecting through shared metadata.
  • RawSugar (http://www.rawsugar.com/) and several others expand user personalization. They can present a user’s picture, some background about the person, a feed of their interests, and so on, creating a broader base for bookmark publishing and sharing. This may extend the appeal of the practice to those who find the focus of del.icio.us too narrow. In this way too, a Web 2.0 project learns from others—here, blogs and social networking tools.
  • How can social bookmarking play a role in higher education? Pedagogical applications stem from their affordance of collaborative information discovery.
  • First, they act as an “outboard memory,” a location to store links that might be lost to time, scattered across different browser bookmark settings, or distributed in e-mails, printouts, and Web links. Second, finding people with related interests can magnify one’s work by learning from others or by leading to new collaborations. Third, the practice of user-created tagging can offer new perspectives on one’s research, as clusters of tags reveal patterns (or absences) not immediately visible by examining one of several URLs. Fourth, the ability to create multi-authored bookmark pages can be useful for team projects, as each member can upload resources discovered, no matter their location or timing. Tagging can then surface individual perspectives within the collective. Fifth, following a bookmark site gives insights into the owner’s (or owners’) research, which could play well in a classroom setting as an instructor tracks students’ progress. Students, in turn, can learn from their professor’s discoveries.
  • After e-mail lists, discussion forums, groupware, documents edited and exchanged between individuals, and blogs, perhaps the writing application most thoroughly grounded in social interaction is the wiki. Wiki pages allow users to quickly edit their content from within the browser window.11 They originally hit the Web in the late 1990s (another sign that Web 2.0 is emergent and historical, not a brand-new thing)
  • How do social writing platforms intersect with the world of higher education? They appear to be logistically useful tools for a variety of campus needs, from student group learning to faculty department work to staff collaborations. Pedagogically, one can imagine writing exercises based on these tools, building on the established body of collaborative composition practice. These services offer an alternative platform for peer editing, supporting the now-traditional elements of computer-mediated writing—asynchronous writing, groupwork for distributed members
  • Blogging has become, in many ways, the signature item of social software, being a form of digital writing that has grown rapidly into an influential force in many venues, both on- and off-line. One reason for the popularity of blogs is the way they embody the read/write Web notion. Readers can push back on a blog post by commenting on it. These comments are then addressable, forming new microcontent. Web services have grown up around blog comments, most recently in the form of aggregation tools, such as coComment (http://www.cocomment.com/). CoComment lets users keep track of their comments across myriad sites, via a tiny bookmarklet and a single Web page.
  • Technorati (http://technorati.com/) and IceRocket (http://icerocket.com/) head in the opposite direction of these sites, searching for who (usually a blogger) has recently linked to a specific item or site. Technorati is perhaps the most famous blog-search tool. Among other functions, it has emphasized tagging as part of search and discovery, recommending (and rewarding) users who add tags to their blog posts. Bloggers can register their site for free with Technorati; their posts will then be searchable by content and supplemental tags.
  • Many of these services allow users to save their searches as RSS feeds to be returned to and examined in an RSS reader, such as Bloglines (http://www.bloglines.com/) or NetNewsWire (http://ranchero.com/netnewswire/). This subtle ability is neatly recursive in Web 2.0 terms, since it lets users create microcontent (RSS search terms) about microcontent (blog posts). Being merely text strings, such search feeds are shareable in all sorts of ways, so one can imagine collaborative research projects based on growing swarms of these feeds—social bookmarking plus social search.
  • Students can search the blogosphere for political commentary, current cultural items, public developments in science, business news, and so on.
  • The ability to save and share a search, and in the case of PubSub, to literally search the future, lets students and faculty follow a search over time, perhaps across a span of weeks in a semester. As the live content changes, tools like Waypath’s topic stream, BlogPulse’s trend visualizations, or DayPop’s word generator let a student analyze how a story, topic, idea, or discussion changes over time. Furthermore, the social nature of these tools means that collaboration between classes, departments, campuses, or regions is easily supported. One could imagine faculty and students across the United States following, for example, the career of an Islamic feminist or the outcome of a genomic patent and discussing the issue through these and other Web 2.0 tools. Such a collaboration could, in turn, be discovered, followed, and perhaps joined by students and faculty around the world. Extending the image, one can imagine such a social research object becoming a learning object or an alternative to courseware.
  • A glance at Blogdex offers a rough snapshot of what the blogosphere is tending to pay attention to.
  • A closer look at an individual Blogdex result reveals the blogs that link to a story. As we saw with del.icio.us, this publication of interest allows the user to follow up on commentary, to see why those links are there, and to learn about those doing the linking. Once again, this is a service that connects people through shared interest in information.
  • The rich search possibilities opened up by these tools can further enhance the pedagogy of current events. A political science class could explore different views of a news story through traditional media using Google News, then from the world of blogs via Memeorandum. A history class could use Blogdex in an exercise in thinking about worldviews. There are also possibilities for a campus information environment. What would a student newspaper look like, for example, with a section based on the Digg approach or the OhmyNews structure? Thematizing these tools as objects for academic scrutiny, the operation and success of such projects is worthy of study in numerous disciplines, from communication to media studies, sociology to computer science.
  • At the same time, many services are hosted externally to academia. They are the creations of enthusiasts or business enterprises and do not necessarily embrace the culture of higher education.
  • Lawrence Lessig, J. D. Lasica, and others remind us that as tools get easier to use and practices become more widespread, it also becomes easier for average citizens to commit copyright violations.19
    • Barbara Lindsey
       
      Which is why he led the Creative Commons Movement and why he exhorts us to re-imagine copyright.
  • Web 2.0’s lowered barrier to entry may influence a variety of cultural forms with powerful implications for education, from storytelling to classroom teaching to individual learning. It is much simpler to set up a del.icio.us tag for a topic one wants to pursue or to spin off a blog or blog departmental topic than it is to physically meet co-learners and experts in a classroom or even to track down a professor. Starting a wiki-level text entry is far easier than beginning an article or book.
  • How can higher education respond, when it offers a complex, contradictory mix of openness and restriction, public engagement and cloistering?
  •  
    Web 2.0. It is about no single new development. Moreover, the term is often applied to a heterogeneous mix of relatively familiar and also very emergent technologies
Barbara Lindsey

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.
  • ...44 more annotations...
  • 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.
  •  
    By Bryan Alexander and Alan Levine
Barbara Lindsey

Cognitive Surplus: The Great Spare-Time Revolution | Magazine - 0 views

  • Somehow, watching television became a part-time job for every citizen in the developed world. But once we stop thinking of all that time as individual minutes to be whiled away and start thinking of it as a social asset that can be harnessed, it all looks very different. The buildup of this free time among the world’s educated population—maybe a trillion hours per year—is a new resource. It’s what I refer to as the cognitive surplus.
  • Shirky:
  • Pink: A surplus that post-TV media—blogs, wikis, and Twitter—can tap for other, often more valuable, uses.
  • ...8 more annotations...
  • he very nature of these new technologies fosters social connection—creating, contributing, sharing. When someone buys a TV, the number of consumers goes up by one, but the number of producers stays the same. When someone buys a computer or mobile phone, the number of consumers and producers both increase by one. This lets ordinary citizens, who’ve previously been locked out, pool their free time for activities they like and care about. So instead of that free time seeping away in front of the television set, the cognitive surplus is going to be poured into everything from goofy enterprises like lolcats, where people stick captions on cat photos, to serious political activities like Ushahidi.com, where people report human rights abuses.
  • All the time that people devote to Wikipedia—which that guy considered weird and wasteful—is really a tiny portion of our worldwide cognitive surplus. It’s less than one-tenth of 1 percent of the total.
  • Our third drive—our intrinsic motivation—can be even more powerful.
  • Shirky: Right—because television crowded out other forms of social engagement. Look, behavior is motivation filtered through opportunity. So if you see people behaving in new ways, like with Wikipedia and whatnot, it’s very unlikely that their motivations have changed, because human nature doesn’t change that quickly. It’s quite likely that the opportunities have changed.
  • When we lacked the ability to efficiently connect and collaborate with each other, that intrinsic motivation often didn’t surface. So we assumed that productive, public activities revolved around extrinsic motivation and external rewards. And we assumed that all rewards were substitutable for all other rewards. So I can pay you more or I can praise you or I can put a Lucite brick on your desk and it all works the same way.
  • When Deci took people who enjoyed solving complicated puzzles for fun and began paying them if they did the puzzles, they no longer wanted to play with those puzzles during their free time. And the science is overwhelming that for creative, conceptual tasks, those if-then rewards rarely work and often do harm.
  • Pink: Yes, often these outside motivators can give us less of what we want and more of what we don’t want. Think about that study of Israeli day care centers, which we both write about. When day care centers fined parents for being late to pick up their kids, the result was that more parents ended up coming late. People no longer felt a social obligation to behave well. Shirky: If you assume bad faith from the average participant, you’ll probably get it. In social media, the design principle that has worked remarkably well is to treat good faith as the normal case and to regard defections from that as essentially a special case to be solved.
  • Shirky: Well, organizations that are founded to solve problems end up committed to the preservation of the problems. So Trentway-Wagar, an Ontario-based bus company, sues PickupPal, an online ride-sharing service, because T-W isn’t committed to solving transportation problems. It’s committed to solving transportation problems with buses. In the media world, Britannica is now committed to making reference works that can’t easily be referred to, and the music industry is now distributing music that can’t easily be shared because new ways of distributing music undermine the old business model.
    • Barbara Lindsey
       
      Does the same hold true for education?
  •  
    Pink and Shirky talk about the shift in technology-enabled human interaction.
1 - 11 of 11
Showing 20 items per page