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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.
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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.
  •  
    By Bryan Alexander and Alan Levine
Barbara Lindsey

Team and Community Building Using Mobile Devices « User Generated Education - 0 views

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.
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  • 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

Fishing / Fish Nuggets » CogDogBlog - 0 views

  • Course Management Systems are huge fish nugget factories. And we spend a lot of time, effort, money keeping the assembly lines moving. Fishing? Most things web 2.0.
    • Barbara Lindsey
       
      How can we swim against the stream when university administration pays millions in initial and on-going costs (renewal fees, support staff, 'training sessions') for these lock-step CMSs and actively promote their use and discourage or prevent the use of flexible, interactive and user-defined social networking environments?
  • Most of the faculty that reach out to me are really just asking for tech support. They want to know how to perform certain tasks in Blackboard. They want to know how to edit a web site. They don’t tend to ask the bigger questions: what is appropriate technology for me to use to achieve my goals, how should I use x to help my students learn.
  • I had tremendous latitude to explore and try new technologies
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  • Do we foster an environment of “learned helplessness” among the faculty we support by most of our work being workshops on the tools rather than the craft?
    • Barbara Lindsey
       
      Why is it that so many educators don't get this?
  • And along these lines, I was part of some technology conversations with UBC faculty and I just relished watching my colleague Brian’s face contort when someone says, “how do I use twitter in my class?” He’d say in his sweet flip matter, “I am not going to answer that” — not because he doesn’t want to help, but because he wants to teach fishing, not toss them nuggets. You don’t find a freaking “job aid” that gives you a 8 step recipe to use twitter in your economics class– you spend some time in the environment, and let the affordances linger with your content area, and then maybe, you develop an idea that makes sense.
  • My thought is you do a lot of small things.
  • Toss ‘em something that might help on a personal level- be it flickr or doodle or diigo or heck, Blabberize.
  • it means less formal training, less workshops, and more learning by doing. It means using these tools a much as possible in our processes, so they become part of a fabric, not something strange and exotic.
    • Barbara Lindsey
       
      Yes--again, why is this such a difficult concept for educators?
  • They get so hung up on the basic that they can’t get into the cool stuff like expanding and applying their knowledge to more challenging problems. The same situation occurs with faculty. There are lots of folks out there…really…who don’t understand the Internet or servers or how web pages or email works or what the difference. For many folks, uploading links and icons and documents to Blackboard is a major accomplishment given their complete and total lack of understanding of the technological world. I am not even talking about understanding at the level of a techie but more an intuitive sense of how and why things work the way they do with technology.
  •  
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Barbara Lindsey

2008 Horizon Report » One Year or Less: Collaboration Webs - 0 views

  • A wide variety of webware applications exist to manage the creation and workflow of rich media projects
    • Barbara Lindsey
       
      How can this change the way your students learn and collaborate?
  • In contrast to productivity applications, which enable users to perform a specific task or create a particular product, collaborative workspaces are “places” where groups of people gather resources or information related to their personal or professional lives.
  • highly flexible
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  • these spaces conveniently lend themselves to almost seamless integration of content from other online resources, often quite transparently
  • They are easy to create, and they allow people to jointly collaborate on complex projects using low-cost, simple tools.
  • The essential attribute of the technologies in this set is that they make it easy for people to share interests and ideas, work on joint projects, and easily monitor collective progress. All of these are needs common to student work, research, collaborative teaching, writing and authoring, development of grant proposals, and more. Using them, groups can collaborate on projects online, anywhere there is Internet access; interim results of research can be shared among a team, supporting illustrations and tables created, and all changes and iterations tracked, documented, and archived. In class situations, faculty can evaluate student work as it progresses, leaving detailed comments right in the documents if desired in almost real time. Students can work with other students in distant locations, or with faculty as they engage in fieldwork.
  • Support needs are greatly reduced as nothing needs to be installed or upgraded.
  • A virtual collaborative workspace for a course or study group can be assembled quickly using tools, or widgets, that can pull information from a variety of sources
    • Barbara Lindsey
       
      This is the difference between a social network like Ning, and a CMS like HuskyCT
  • The same tools can be used to set up a personal portfolio where a student can display his or her work in any form—photos, blog posts, shared videos, and more can be pulled to the page by widgets that grab the student’s contributions on other sites.
    • Barbara Lindsey
       
      No proprietary, expensive, inflexible software 'solution' like our university's portfolio system...
  • Using similar approaches, online conferences and symposia can offer session archives that persist over time; simply request that participants use a particular tag when they post related content, and the widgets will continue to update the conference page as new content appears.
    • Barbara Lindsey
       
      What can this contribute to your conferences?
  • Instead of the campus LMS, the courses use Facebook as their primary interaction and information tool.
  • A course in Digital Entrepreneurship at Rochester Institute of Technology created a Ning network on the topic, bringing undergrads enrolled in the course into contact with over a hundred graduate students, venture capitalists, faculty, practitioners, and business owners around the world.
  • An educational technology course at George Mason University uses Pageflakes as the hub of a learning community. Content is dynamically assembled from a variety of timely sources, integrating it with student work from Flickr and other sources, all via RSS.
  • The Flat Classroom Project (flatclassroomproject.ning.com) uses a Ning workspace to create a sense of space that is shared by students located in the U.S. and in Qatar.
  • to allow faculty to collaborate on course materials and leverage one another’s work.
Barbara Lindsey

Print: The Chronicle: 6/15/2007: The New Metrics of Scholarly Authority - 0 views

    • Barbara Lindsey
       
      Higher ed slow to respond.
  • Web 2.0 is all about responding to abundance, which is a shift of profound significance.
  • Chefs simply couldn't exist in a world of universal scarcity
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  • a time when scholarship, and how we make it available, will be affected by information abundance just as powerfully as food preparation has been.
  • Scholarly communication before the Internet required the intermediation of publishers. The costliness of publishing became an invisible constraint that drove nearly all of our decisions. It became the scholar's job to be a selector and interpreter of difficult-to-find primary and secondary sources; it was the scholarly publisher's job to identify the best scholars with the best perspective and the best access to scarce resources.
    • Barbara Lindsey
       
      Comments?
  • Online scholarly publishing in Web 1.0 mimicked those fundamental conceptions. The presumption was that information scarcity still ruled. Most content was closed to nonsubscribers; exceedingly high subscription costs for specialty journals were retained; libraries continued to be the primary market; and the "authoritative" version was untouched by comments from the uninitiated. Authority was measured in the same way it was in the scarcity world of paper: by number of citations to or quotations from a book or article, the quality of journals in which an article was published, the institutional affiliation of the author, etc.
  • Google
  • Google
    • Barbara Lindsey
       
      Where critical analysis comes in
  • The challenge for all those sites pertains to abundance:
  • Such systems have not been framed to confer authority, but as they devise means to deal with predators, scum, and weirdos wanting to be a "friend," they are likely to expand into "trust," or "value," or "vouching for my friend" metrics — something close to authority — in the coming years.
  • ecently some more "authoritative" editors have been given authority to override whining ax grinders.
  • In many respects Boing Boing is an old-school edited resource. It doesn't incorporate feedback or comments, but rather is a publication constructed by five editor-writers
  • As the online environment matures, most social spaces in many disciplines will have their own "boingboings."
  • They differ from current models mostly by their feasible computability in a digital environment where all elements can be weighted and measured, and where digital interconnections provide computable context.
  • In the very near future, if we're talking about a universe of hundreds of billions of documents, there will routinely be thousands, if not tens of thousands, if not hundreds of thousands, of documents that are very similar to any new document published on the Web. If you are writing a scholarly article about the trope of smallpox in Shakespearean drama, how do you ensure you'll be read? By competing in computability. Encourage your friends and colleagues to link to your online document. Encourage online back-and-forth with interested readers. Encourage free access to much or all of your scholarly work. Record and digitally archive all your scholarly activities. Recognize others' works via links, quotes, and other online tips of the hat. Take advantage of institutional repositories, as well as open-access publishers. The list could go on.
  • the new authority metrics, instead of relying on scholarly publishers to establish the importance of material for them.
  • They need to play a role in deciding not just what material will be made available online, but also how the public will be allowed to interact with the material. That requires a whole new mind-set.
  • cholarly publishers
  • Many of the values of scholarship are not well served yet by the Web: contemplation, abstract synthesis, construction of argument.
  • Traditional models of authority will probably hold sway in the scholarly arena for 10 to 15 years, while we work out the ways in which scholarly engagement and significance can be measured in new kinds of participatory spaces.
  • if scholarly output is locked away behind fire walls, or on hard drives, or in print only, it risks becoming invisible to the automated Web crawlers, indexers, and authority-interpreters that are being developed. Scholarly invisibility is rarely the path to scholarly authority.
  • Web 1.0,
  • garbed new business and publishing models in 20th-century clothes.
  • fundamental presumption is one of endless information abundance.
  • Flickr, YouTube
  • micromarkets
  • multiple demographics
  • Abundance leads to immediate context and fact checking, which changes the "authority market" substantially. The ability to participate in most online experiencesvia comments, votes, or ratingsis now presumed, and when it's not available, it's missed.
  • Google interprets a link from Page A to Page B as a vote, by Page A, for Page B. But, Google looks at more than the sheer volume of votes, or links a page receives; for example, it also analyzes the page that casts the vote. Votes cast by pages that are themselves 'important' weigh more heavily and help to make other pages 'important,'"
  • It has its limits, but it also both confers and confirms authority because people tend to point to authoritative sources to bolster their own work.
  • That kind of democratization of authority is nearly unique to wikis that are group edited, since not observation, but active participation in improvement, is the authority metric.
  • user-generated authority, many of which are based on algorithmic analysis of participatory engagement. The emphasis in such models is often not on finding scarce value, but on weeding abundance
  • Authority 3.0 will probably include (the list is long, which itself is a sign of how sophisticated our new authority makers will have to be): Prestige of the publisher (if any). Prestige of peer prereviewers (if any). Prestige of commenters and other participants. Percentage of a document quoted in other documents. Raw links to the document. Valued links, in which the values of the linker and all his or her other links are also considered. Obvious attention: discussions in blogspace, comments in posts, reclarification, and continued discussion. Nature of the language in comments: positive, negative, interconnective, expanded, clarified, reinterpreted. Quality of the context: What else is on the site that holds the document, and what's its authority status? Percentage of phrases that are valued by a disciplinary community. Quality of author's institutional affiliation(s). Significance of author's other work. Amount of author's participation in other valued projects, as commenter, editor, etc. Reference network: the significance rating of all the texts the author has touched, viewed, read. Length of time a document has existed. Inclusion of a document in lists of "best of," in syllabi, indexes, and other human-selected distillations. Types of tags assigned to it, the terms used, the authority of the taggers, the authority of the tagging system.
  • Most technophile thinkers out there believe that Web 3.0 will be driven by artificial intelligences — automated computer-assisted systems that can make reasonable decisions on their own, to preselect, precluster, and prepare material based on established metrics, while also attending very closely to the user's individual actions, desires, and historic interests, and adapting to them.
  •  
    When the system of scholarly communications was dependent on the physical movement of information goods, we did business in an era of information scarcity. As we become dependent on the digital movement of information goods, we find ourselves entering an era of information abundance. In the process, we are witnessing a radical shift in how we establish authority, significance, and even scholarly validity. That has major implications for, in particular, the humanities and social sciences.
Celeste Arrieta

:: PIMPAMPUM :: Bubblr! .:. - 1 views

    • Celeste Arrieta
       
      useful for learning dialogues, places, cultures, vocab, places in the city, shops, story telling
  •  
    A little trip to Buenos Aires for you to enjoy
  •  
    A little trip to Buenos Aires for you to enjoy
suzanne ondrus

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.
Barbara Lindsey

Visualize your GPS tracks with Breadcrumbs | Google Earth Blog - 0 views

  • Our users can log their ski trip, hiking trip or sightseeing trip, upload it to Breadcrumbs with their photos and videos, and send it to all their friends, who can relive the adventure in 3D. And this is only the start, as we plan to provide our users with a platform to not only edit and maintain tracks, but also to find new places to explore and interact within a social network.
  • Breadcrumbs is the first web application of its kind, where users can manage GPS tracks, photos and videos in one place - it can be thought of as 'Flickr for GPS tracks'.
  • The key features of Breadcrumbs include:Relive your adventure: Breadcrumbs brings together photos, videos and GPS tracks in one quick and easy process and our 3D playback function brings the track alive. Edit and manage: Breadcrumbs comes with a suite of tools which let users edit and manage their GPS tracks, photos and videos. These include:- Automated geotagging of photos.- Track editing tool to correct GPS points.- Add information to your adventure to help tell the story, such as show where you ate your lunch or spotted some wildlife.- Organize: Breadcrumbs offers a rich set of tools to help users to manage adventures.- Share: Breadcrumbs makes it easy to share adventures, with options including a public page for each track and direct integration with Facebook.
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  • Our utilization and heavy integration with the Google Earth plugin is also a big bonus for the user. Garmin allows you to look at your data in Google Maps and indeed Google Earth. However, Breadcrumbs builds on this as we have built a track playback feature on top of the plugin which allows you to hit play and replay your trip step by step. It's like watching a movie of your day out! This really does bring the users' GPS data to life especially when sharing with friends and family.
  • We are already integrated with one smartphone application allowing the user to push their tracks directly to Breadcrumbs from their phone.
Barbara Lindsey

O'Reilly Network: What Is Web 2.0 - 0 views

  • "folksonomy" (in contrast to taxonomy), a style of collaborative categorization of sites using freely chosen keywords, often referred to as tags. Tagging allows for the kind of multiple, overlapping associations that the brain itself uses, rather than rigid categories. In the canonical example, a Flickr photo of a puppy might be tagged both "puppy" and "cute"--allowing for retrieval along natural axes generated user activity.
    • Barbara Lindsey
       
      Key is flexibility for user-generated tags that are meaningful to them.
  • peer-production
  • RSS allows someone to link not just to a page, but to subscribe to it, with notification every time that page changes.
  • ...1 more annotation...
  • RSS is now being used to push not just notices of new blog entries, but also all kinds of data updates, including stock quotes, weather data, and photo availability
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    O'Reilly definition of Web 2.0
Barbara Lindsey

Social Annotations in Digital Library Collections - 0 views

  • While used textbooks are obviously less costly, they often carry another benefit new textbooks don't: highlights, underscores and other annotations by their previous owners. Even though the author of, and rationale for, the annotations may be unknown, the fact that somebody found particular sections of the book important enough to emphasize tends to make the eye linger. Ideally, annotations can make learning and knowledge discovery feel less like a solitary pursuit and more like a collaborative effort.
  • At first glance, it would seem that the trustworthiness of an unknown individual who has interpreted or appended an author's work would be questionable, but several reasonable assumptions can be made that contribute to the perceived authority of an unknown annotator. At the very least, they read the work and took the time to make the annotations, which may question or clarify certain statements in the text, and create links to other works, authors or ideas. The subsequent reader of an annotated work then has one or more additional perspectives from which to evaluate the usefulness of the text and annotations, and more implied permission to add his or her own interpretations than in an unannotated text. Published scholarly works are objects for discussion in an ongoing conversation among a community of knowledge seekers, and whether via formal citation in later publications or annotations in existing ones, all are designed to advance the generation and exchange of ideas.
  • Most critically, knowledge discovery and transfer is no longer restricted to a model of one expert creator to many consumers. In Web 2.0, consumers are creators, who can add their voices to both expert and non-expert claims. Users get the benefit of multiple perspectives and can evaluate claims in the best tradition of participative, critical inquiry.
  • ...3 more annotations...
  • However, as with annotations in paper books, sometimes the value of an annotation goes beyond its content. Marshall (1998) suggests that the very act of evaluating a handwritten annotation's relevance creates a level of critical engagement that would not happen while reading a clean copy of a book. Marshall studied university students' annotations in textbooks, and found that students preferred books that had been marked by previous readers, as long as the marks were intelligible.
  • Similarly, Sherman (2008) studied marginalia in English Renaissance texts and found that students of the time were routinely taught that simply reading a book was insufficient. In order to have a "fruitful interaction" (p. 4) with a text, marking it up with one's thoughts and reactions was considered essential. Marginalia and other signs of engagement and use – even such apparently content-neutral additions as food stains – Sherman sees as valuable evidence of reader reaction, and the place of the physical information object in people's lives.
  • In a study of flickr.com, Ames and Naaman (2007) created a taxonomy of motivations for annotation along two dimensions: sociality and function. The latter dimension echoes people's motivation to annotate printed textbooks: the function of making important or interesting passages more easily findable for later review. The sociality dimension is a component of the Web infrastructure – making photographs findable for others, and creating shared tagsets for people with similar interests, so they might collaborate more easily. In this sense, photographs are boundary objects (Star and Griesemer 1989), around which diverse individuals can interact and communities can build (Gal, Yoo and Boland 2006). Digital collection items can also be boundary objects, even if those conversations take place asynchronously.
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    This article analyzes the integration of social annotations - uncontrolled user-generated content - into digital collection items.
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