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Barbara Lindsey

Envisioning the 21st-Century University - Abilene Christian University - 0 views

www.acu.edu/...index.html

21st century edutech higher ed

shared by Barbara Lindsey on 25 Sep 08 - Cached
  • will also let students access knowledge and information recursively, coming back to its advice and expanding on its vision with web research and real-world access to their peers.
  • The majority of students entering college today have always composed at the computer, yet an increasing amount of the writing they do consists of dashed-off messages to friends and family via email, IM, or Facebook. How can composition instructors increase the amount of time students spend in the writing process and encourage a greater investment in the final writing product? Dr. Kyle Dickson believes one solution lies in the audio essay.
  • Dickson, working with colleagues in the English department, developed an essay assignment based on the This I Believe program recently revived on National Public Radio.
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  • Students began by identifying a personal belief before writing drafts that refined their focus through vividly related examples. Finally, they were invited to submit essays to the NPR website and record them on iPods with a memo recorder attachment for transmission via iTunes U. Though public distribution was not required, this aspect of the assignment provided additional motivation for students carefully to hone their final essays. "I think it's very important to provide students an opportunity to write for a broader audience, instead of simply writing for the teacher," Dickson said. "These kinds of assignments put writing back into the public sphere as an essential skill of the future community leader. iTunes U helps create this broader audience."
  • This new form of writing assignment involves students in a wider debate of public and private beliefs and encourages them to add their own voices to this dialogue. Much like their NPR counterparts, the essay podcasts emphasize the diversity of viewpoints on campus through the simple power of the human voice. Assignments like these, in providing students a real-world audience, value the experiences and expertise each student brings to the classroom. Whether podcasts are shared with the class, the campus, or the world, students move from simply receiving messages to a higher-level of investment in crafting and refining messages of their own.  
  • In the converged space where the Internet and telecommunications meet, new possibilities exist for the convergence of in-class and out-of-class activities, curricular and extra-curricular learning. And as we've already seen, new tools enable new approaches, extending the classroom of the 21st century by making new learning opportunities possible.
  • It's not that post-millenials are ambivalent to news; it's just that they consume it in a new, digital way.
  • This trend simply opens up opportunities unavailable to print media in the past. Journalists who could publish only once a day now have unlimited publication opportunities and can send stories out by email, text message, and RSS feed.
    • Barbara Lindsey
      Barbara Lindsey on 25 Sep 08
       
      What do you all think about this?
  • Journalists who only had text and still pictures available to them in the past now can tell their stories with audio and video.
  • students are conditioned to consume news, like everything else, in a buffet style, offering them print, still photography, audio and video serves them the way they consume.
    • Barbara Lindsey
      Barbara Lindsey on 25 Sep 08
       
      Is there a danger to this mode of 'consumption'?
  • We don't know of any universities that are doing it exactly like this."
  • To take advantage of these changes, the university and the department have raised $1.2 million to fund the construction of a new media center. The "Convergence Newsroom" will house the student reporting staffs of all the respective ACU media: Optimist (a semi-weekly newspaper), The Prickly Pear (the annual yearbook), Paw-TV (bi-weekly television), and ACUOptimist.com (online print, audio and video). Internally, the convergence of staffs into a unified space will allow greater synergy in training and production among the student journalists.
    • Barbara Lindsey
      Barbara Lindsey on 25 Sep 08
       
      Could you think of physical convergence centers that would support intellectual synergies between, within and across disciplines at UCONN for the new building?
  • The New Media Newsroom is the first step in preparing future journalists for the newsrooms in which they'll work as they enter into their careers.
    • Barbara Lindsey
      Barbara Lindsey on 25 Sep 08
       
      What about preparing you for your future careers with your future students?
  • "True learning is a deeply emotional process.
  • Team members would also no longer have to be in the same location to prepare strategy presentations. They could share new ideas or notify one another about important market news immediately with an email, a text message, or a conference call, regardless of their location. During presentations, requests for additional information could be met immediately. Even calls with a company's investor relations office could be set up on the fly.Incorporating the new generation of converged devices into their studies would improve student managers' ability to conduct business. It would also make STAR more valuable to students by allowing them to practice with the type of cutting-edge technology that will be their everyday tools once they move into the war rooms of Wall Street.
    • Barbara Lindsey
      Barbara Lindsey on 26 Sep 08
       
      Or your classrooms of the future?
  • Enhancing his interaction with students and their engagement in his courses, educators like Beck want to keep building relationships with students that change thinking - and change lives. They want solutions that "just work" to help them in those efforts. 
  • Using team-based learning, my classroom takes advantage of moving desks and chairs so that students can engage in problem-solving rather than focusing on me behind a podium. The stadium seating is a challenge, too, because I move among the teams, often sitting to have conversations with them as they work through the course materials." This kind of teaching is difficult to imagine in a fixed-seat space with small fold-away desks.
  • As the first semester of "American Identity in the Modern Period" neared, conversations about the logistics of team-teaching and the classroom space were replaced with discussions anticipating the integrative learning experience. As McGregor noted, 'What I looked forward to most was being a fellow learner along with my colleagues and students. This course was the first I ever participated in as a faculty member where I wasn't the exclusive 'expert.' I learned much alongside my students from my colleagues' fields of expertise and the connections they brought."
  • Students from this generation really want to do something bigger than themselves."
  • While it's nearly impossible to gather all 180 Barret students and faculty mentors together for a traditional meeting, a virtual meeting - where documents, audio, video, and web content are shared - could be more easily managed with this sort of technology.
  • Barbara Lindsey on 25 Sep 08
     
    will also let students access knowledge and information recursively, coming back to its advice and expanding on its vision with web research and real-world access to their peers.
Barbara Lindsey

Could animations hurt learning? » Making Change - 0 views

blog.cathy-moore.com/...could-animations-hurt-learning

blended learning

shared by Barbara Lindsey on 12 Sep 09 - Cached
  • elearning’s strength is in its ability to challenge learners with realistic interactions that make them interpret and apply new information. Animation could have a role in such an interaction—for example, it might be needed to duplicate a process in the real world.
  • How will business performance improve if we’re successful with this material? (More cynically, how can we justify the expense of creating this material?) 2. What do people need to *do* in the real world to create that business improvement? 3. What online activities will help people practice those real-world actions? (In an ideal project, these activities are also the assessment, avoiding a fact-based quiz.) 4. What’s the *minimum* information people need to complete those activities? Should it be in the course or in a job aid? This is the reverse of the common, “Here’s the content they need to know. Please make a course out of it.” The content is identified only after the performance (not learning) objectives are solid. Ideally all the stakeholders are involved in answering these questions, so we don’t have people adding additional content at the last minute. As Jenise points out, we have to please a lot of people who have sometimes conflicting goals.
  • here are some research-based principles from Efficiency in Learning (Clark, Nguyen, Sweller) that the animated version violates, and sometimes the non-animated version as well: –”Give learners control over pacing.” The slides were presented to a class that had no control over them. –”Present information in as few modes as needed to make it understandable” because “multiple content expressions actually overload working memory.” While we’re processing the audio in the slides, we’re also seeing redundant text, pictures, and animation, and some bullet points are inexplicably in different colors. –”Audio explanations aided learning only when the tasks were more complex and only for visuals that were not self-explanatory.” The only time audio seems useful to me is when the presentation explains the screen shot. –”Instructors should remain silent when presenting textual information to learners.” –”Sequence on-screen text after audio to minimize redundancy”
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  • This kind of research and discussion is valuable. At the same time, this focus on the fine points of content presentation obscures a larger question: Why is basic material delivered this way at all? Why is “instruction” so often equated with putting simple, factual content on tiny screens and spoon-feeding it to passive learners? Couldn’t that be part of the problem here–learners are resenting their treatment?
  • So the question might not be simply, “How do media choices affect our ability to process info?” I think we should also consider, “How do media choices affect our *willingness* to process info?”
Barbara Lindsey

Weblogg-ed » Reading to Find: Rip-Mix Classrooms - 0 views

weblogg-ed.com/...ing-to-find-rip-mix-classrooms

ripmix readmix student-created

shared by Barbara Lindsey on 25 Nov 08 - Cached
  • I’m thinking “Rip-Mix Classrooms” or “Rip-Mix Workshops” or heck, “Rip-Mix Conferences.” I’ve been railing of late at all the paper note talking conference attendees whose observations and reflections and experiences will never be connected after the conference ends. And I know that we’re already doing this to some extent on the conference level and the classroom level (i.e. Darren’s scribes and others.) Problem is, most schools would probably attempt to shut this down and call it cheating, especially if, as this group is doing, they are collecting and adding tests and quizzes to the mix.
    • Barbara Lindsey
      Barbara Lindsey on 25 Nov 08
       
      What do you think about this?
  • Barbara Lindsey on 25 Nov 08
     
    Rip Mix Learners is a student-run Open Courseware project, in which students make audio recordings of the lectures, compile class notes, and other materials and share them with their peers online.
Barbara Lindsey

Multimedia & Internet@Schools Magazine - 0 views

www.mmischools.com/...MmisXtra.aspx

media literacy reading education

shared by Barbara Lindsey on 18 Jul 09 - Cached
  • I would argue that postliteracy is a return to more natural forms of multisensory communication—speaking, storytelling, dialogue, debate, and dramatization. It is just now that these modes can be captured and stored digitally as easily as writing. Information, emotion, and persuasion may be even more powerfully conveyed in multimedia formats.
  • Libraries, especially those that serve children and young adults, need to acknowledge that society is becoming postliterate.
  • PL libraries budget, select, acquire, catalog, and circulate as many or more materials in nonprint formats as they do traditional print materials. The circulation policy for all materials, print and nonprint, is similar.2. PL libraries stock, without prejudice, age-appropriate graphic novels and audio books, both fiction and nonfiction, for informational and recreational use.3. PL libraries support gaming for instruction and recreation.4. PL libraries purchase high-value online information resources.5. PL libraries provide resources for patrons to create visual and auditory materials and promote the demonstration of learning and research through original video, audio, and graphics production. They also provide physical spaces for the presentation of these creations.6. PL libraries allow the use of personal communication devices (MP3 players, handhelds, laptops, etc.) and provide wireless network access for these devices.7. PL library programs teach the critical evaluation of nonprint information.8. PL library programs teach the skills necessary to produce effective communication in all formats.9. PL library programs accept and promote the use of nonprint resources as sources for research and problem-based assignments.10. PL librarians recognize the legitimacy of nonprint resources and promote their use without bias.
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  • Culture determines library programs; libraries transmit culture.
  • If we as librarians support and use learning resources that are meaningful, useful, and appealing to our students, so might the classroom teacher.
  • In Phaedrus, Plato decries an "alternate" communication technology:The fact is that this invention will produce forgetfulness in the souls of those who have learned it. They will not need to exercise their memories, being able to rely on what is written, calling things to mind no longer from within themselves by their own unaided powers, but under the stimulus of external marks that are alien to themselves.The Greek philosopher was, of course, dissing the new technology of his day: writing. Plato might well approve of our return to an oral tradition in a digital form. But his quote also demonstrates that sometimes our greatest fears become our greatest blessings.
  • Barbara Lindsey on 18 Jul 09
     
    Thanks to Russel Tarr via Twitter
Barbara Lindsey

New Tools: Blogs, Podcasts and Virtual Classrooms - New York Times - 0 views

www.nytimes.com/...03ethan.html

blogs podcasts students virtual classrooms

shared by Barbara Lindsey on 25 Sep 08 - Cached
  • These days, though, some teachers are building coursework around low-cost, software-based technologies. Some other programs include a blog shared among students in rural Maine and inner-city students in San Francisco to promote writing and cultural perspective; a voice over Internet protocol, or VoIP, exchange among schools worldwide to practice foreign language and debate skills; and an urban planning course that's taught using a virtual world.
  • At first, the students needed to be prodded to post. But the blog took off when Mr. Arquillos had them write about their neighborhoods. A student who lives in the Tenderloin district in San Francisco described her feelings about the drug dealing and gang violence in the neighborhood. The Maine students posted that they had thought neighborhoods like the Tenderloin were urban legends.
  • Soon, the students started posting on their own to find out what their peers cross-country thought about various subjects (the structure of the new SAT's, good reasons to skip the prom, etc.), discussions that almost came to match the assigned writings in volume.
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  • Ms. Chiang and Mr. Delaney were delighted to discover that the quality of the writing for the blog surpassed her students' previous work. Moreover, when Ms. Chiang had them record audio versions of their essays in English and Mandarin using school iPod's, the students' accents were vastly improved.
  • Still, some educators are not completely sold on the value of interactivity. "If interactivity becomes the fundamental basis of the educational process, how do we judge merit?" asked Robbie McClintock, a learning technologies expert at Teachers College of Columbia University.
  • The push by some teachers for greater interactivity in the classroom also goes against the current emphasis on testing. Testing requires a known body of material, but interactive learning often involves students' seeking out topics on their own.
  • It's a conflict that's familiar to Michael Cunningham, a high school speech and debate teacher at Del Valle High School in Del Valle, Tex., outside Austin. Mr. Cunningham runs the Skype Foreign Language Lab, a program that allows students around the world to talk with one another via computers and headsets using the free VoIP phone service Skype. He began the exchange in 2002 with three schools; this fall, the network will have 47 schools in seven countries. The program is interdisciplinary; last year, some Del Valle students were assigned phone pals in France, Italy and Turkey to practice foreign languages, while others participated in mock parliamentary debates.
Barbara Lindsey

The Chronicle: 10/28/2005: Lectures on the Go - 0 views

chronicle.com/...10a03901.htm

ed higher podcasting

shared by Barbara Lindsey on 07 Oct 08 - Cached
  • More and more professors, including Mr. Jackson, are turning to the technology to record their lectures and send them to their students, in what many are calling "coursecasting." The portability of coursecasting, its proponents say, makes the technology ideal for students who fall behind in class or those for whom English is a second language. And some advocates say that coursecasting can be more than just a review tool, that it can also enliven classroom interaction and help lecturers critique themselves.
  • One of the things you do by podcasting is participate in student culture," Mr. Jackson says
    • Barbara Lindsey
      Barbara Lindsey on 07 Oct 08
       
      Is this a good enough reason?
  • Make students listen to a podcast before class, and they will show up ready to converse.
    • Barbara Lindsey
      Barbara Lindsey on 07 Oct 08
       
      Do you think this would happen?
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  • Purdue's podcasting project arose from a desire to let students study without being tethered to their computers, according to Michael Gay, the university's manager of broadcast networks and services for information technology. "We're trying to give people as many options as possible if they miss a course and need to catch up — or if they just want to review," he says.
  • Duke University
  • Drexel University
  • Purdue University
  • American University
  • University of Michigan at Ann Arbor's School of Dentistry
  • "Everybody knows that when you say something in class, the first time, not everybody is paying attention," Mr. Jackson says. "But if you make your lecture available as a podcast, students can relisten to troublesome passages, and it's easy for them to slow things down."
  • St. Mary's College, in California
  • For a graduate-level course in quantitative analysis, Ms. Herkenhoff creates two different series of podcasts, each recontextualizing highlights from her lectures.
  • "When I talked about this with my colleagues, the first thing they all said was 'well, no one's going to go to class,'" says G. Marc Loudon, a professor of medicinal chemistry at Purdue who has posted lectures for students as both audio and video files. Mr. Loudon offers a fairly unsympathetic rejoinder to those concerns: "If a podcast can capture everything you do in class, you deserve to have nobody coming."
  • started penalizing students a grade point for every class session they missed.
  • "Those of you who didn't come to class, but are listening to the podcast, should know that one of the answers to the next test is on the screen," he said. "But I'm not going to tell you what it is."
  • But most students are savvy enough to realize that coursecasts aren't an alternative to class,
  • "a great way to complement the presentation slides many professors already offer online."
  • Richard Smith, a lecturer in instructional technology at the University of Houston-Clear Lake, hosts a weekly podcast on scholarship and education. But he is not convinced that the technology can revitalize pedagogy — because, he says, there is little evidence that recorded lectures will hold students' interest.
  • "I don't think most professors, no matter how good they are in the classroom, can avoid being boring as hell when they're recorded."
  • Students reared on iPods and the Internet do not come to class expecting to sit through an hourlong lecture, he says. Instead, they want to gather information on their own terms and spend their class time in discussion, not rapt attention.
  • "The 'sage on the stage' is dying, if not dead already," Mr. Jackson says. "Faculty members are no longer privileged sources of knowledge, so our job should be to get people to think critically and independently about things."
  • Coursecasting, he says, can help that process along. In Mr. Jackson's own courses, he has put lectures online as podcasts and asked students to listen to them before they come to class, a technique he refers to as "distance learning with a twist." "Think about how much classroom time you would save if you didn't have to lecture anymore," Mr. Jackson says. "You free up all this interactive personal space between you and your students. It changes the classroom experience."
    • Barbara Lindsey
      Barbara Lindsey on 07 Oct 08
       
      Your thoughts?
  • The "decentered classroom," as Mr. Jackson calls it, can be unsettling for students who are not eager to let the lecture-hall experience bleed into their free time.
    • Barbara Lindsey
      Barbara Lindsey on 07 Oct 08
       
      Is this the resistance Jessie and others have encountered?
  • Richard Edwards, an assistant professor of communication at St. Mary's College, is building a course around a series of 30-minute podcasts about film-noir classics that he and a colleague had made. Students will listen to the podcasts and then elaborate on Mr. Edwards's talking points in class. "Instead of having to run through all of our thoughts on Double Indemnity," Mr. Edwards says, "we can actually start our discussion in the 31st minute, in media res, without setting up the movie for everyone."
  • Mr. Edwards has made the podcasts that will anchor his film-noir course available to the public free through a license from Creative Commons, a group dedicated to making scholarly and artistic material widely available online. "I want people to download this stuff so they can feel free to engage with it," he says.
    • Barbara Lindsey
      Barbara Lindsey on 07 Oct 08
       
      Would giving your content away freely like this be a problem for you?
  • Michigan's dentistry school, for example, keeps its coursecasts locked behind a firewall so that only students can listen.
  • Administrators received enough complaints that they formed a faculty committee that is now examining BoilerCast's intellectual-property implications. "The fundamental question is who owns a faculty member's lectures," Mr. Loudon says. "If these classes have intellectual value beyond the classroom, who owns that?"
Barbara Lindsey

The FWK Licensing Model at iterating toward openness - 0 views

opencontent.org/494

OpenAccess copyright higher ed

shared by Barbara Lindsey on 27 Nov 08 - Cached
  • If we want to improve learning ~today~, we have to meet learners where they are ~today~. And today and for the foreseeable future the overwhelming majority of learners will be going to schools and universities where their teachers will adopt textbooks based on things like the name recognition of the author(s), the quality of the textbook, supporting instructional materials like test item banks and PPT notes, and the availability (and marketing!) of review copies.
  • having said that, there are some additional, very practical benefits of an open textbook for the faculty member who has to make the adoption decision. For example, when the license and the technology allow the faculty member to remove chapters from the book, change the order of chapters in the book, or even edit chapters in the book directly (e.g., adding locally relevant examples) BEFORE her/his students ever see the books online or in print, this gives the faculty member much greater control over the instructional experience. Most faculty members couldn’t care less about “open” for openness sake, but give them greater control over the instructional experience, and suddenly openness is translated into a concrete benefit - a difference beyond “openness for openness sake.”
  • The Plus in our CC By-NC-SA Plus will indeed be More Permissions - it will grant blanket permissions for anyone and everyone to make Commercial Use of FWK-published textbook materials in the context of the FWK Marketplace. The Marketplace will be an area of the FWK site where people can post and sell their own study guides, audio chapters, flash cards, videos, case studies, and other study materials related to FWK textbooks at whatever price they set (of course, they can alternately choose to openly license the things they put in the Marketplace, too). The Marketplace will be an “eBay for study materials,” and like eBay when somone sells material through the Marketplace, a small portion of the sale will come back to FWK and be shared with the textbook author whose work has been derived from or augmented by the new material.
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  • Every “strong copyleft” license is incompatible with every other,
  • Flat World Knowledge will be licensing it’s first books CC By-NC-SA Plus, with copyright held by the authors.
Barbara Lindsey

Dr. Mashup; or, Why Educators Should Learn to Stop Worrying and Love the Remix (EDUCAUS... - 0 views

connect.educause.edu/...44592

web2.0 mashup educause

shared by Barbara Lindsey on 01 Dec 08 - Cached
  • Remix is the reworking or adaptation of an existing work. The remix may be subtle, or it may completely redefine how the work comes across. It may add elements from other works, but generally efforts are focused on creating an alternate version of the original. A mashup, on the other hand, involves the combination of two or more works that may be very different from one another. In this article, I will apply these terms both to content remixes and mashups, which originated as a music form but now could describe the mixing of any number of digital media sources, and to data mashups, which combine the data and functionalities of two or more Web applications.
  • Electronic transmission has already inspired a new concept of multiple-authorship responsibility in which the specific concepts of the composer, the performer, and, indeed, the consumer overlap. . . . In fact, implicit in electronic culture is an acceptance of the idea of multilevel participation in the creative process.2
  • It is common to assume that remakes or reworkings are inherently lesser forms of creation than something that is "original" and that free reuse somehow degrades the value of the source. Modern copyright law and the intense social stigma associated with a term such as plagiarism speak to such assumptions.
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  • In his recent Harper's article "The Ecstasy of Influence," the novelist Jonathan Lethem imaginatively reviews the history of appropriation and recasts it as essential to the act of creation.3
  • He asserts that visual, sound, and text collage "might be called the art form of the twentieth century, never mind the twenty-first."
  • Lethem concludes: "Finding one's voice isn't just an emptying and purifying oneself of the words of others but an adopting and embracing of filiations, communities, and discourses."
  • It's no mere coincidence that the rise of modernist genres using collage techniques and more fragmented structures accompanied the emergence of photography and audio recording. Reading Walter Benjamin's highly influential 1936 essay "The Work of Art in the Age of Mechanical Reproduction,"4 it's clear that the profound effects of reproductive technology were obvious at that time. As Gould argued in 1964 (influenced by theorists such as Marshall McLuhan5), changes in how art is produced, distributed, and consumed in the electronic age have deep effects on the character of the art itself.
  • The result has been a flood of work created by largely anonymous media artists who are reimagining the iconography of popular culture, unearthing forgotten artifacts and contextualizing them anew. One only has to spend an hour surfing YouTube.com to get a sense of the subversive fun being had by hundreds of thousands of culture mashers.6
  • he statement "users will never add metadata" was becoming a mantra at gatherings of increasingly frustrated learning object promoters (again, I was often present) and when most learning object repositories were floundering, resource-sharing services such as del.icio.us and Flickr were enjoying phenomenal growth, with their user communities eagerly contributing heaps of useful metadata via simple folksonomy-oriented tagging systems.
  • Educators might justifiably argue that their materials are more authoritative, reliable, and instructionally sound than those found on the wider Web, but those materials are effectively rendered invisible and inaccessible if they are locked inside course management systems.
  • It's a dirty but open secret that many courses in private environments use copyrighted third-party materials in a way that pushes the limits of fair use—third-party IP is a big reason why many courses cannot easily be made open.
  • Pageflakes (http://www.pageflakes.com/), another RSS-based personal portal, supports a number of education-specific templates for tracking grades and displaying class schedules along with resources; pages with such sensitive information can also be made private.13
  • nother Pipe that Hirst has created is the "OpenLearn Unit Outlinks Search Hub Pipe," which extracts "all the outgoing links from a course unit, then feeds these into a Yahoo Search pipe, which uses the domains as search limits for the search."20 In other words, this Pipe can create a filtered search of trusted domains that are relevant to a particular course, and the filtered search will adjust automatically as new links are added to the course materials. Of course, this added functionality requires open content and a reusable data format in order to work properly.
  • If the course unit in question is locked away in a course management system behind a password firewall, Pipes cannot access the data required to create the customized search. As with content remixing, open access to materials is not just a matter of some charitable impulse to share knowledge with the world; it is a core requirement for participating in some of the most exciting and innovative activity on the Web.
  • . Working with the Scottish students they could then find out the stories behind these artefacts and create a Google Map which tracks these stories geographically, historically and anecdotally."21
  • All too often, college and university administrators react to this type of innovation with suspicion and outright hostility rather than cooperation. Witness the recent case at Harvard, where students, frustrated with the quality of the official institutional Web portal, decided to build their own portal, entitled Crimson Connect (http://www.crimsonconnect.com/), using RSS feeds and, for the most part, existing free software tools. University officials responded by demanding the removal of material that had been syndicated from password-protected course pages.25
  • those of us in higher education who observe the successful practices in the wider Web world have an obligation to consider and discuss how we might apply these lessons in our own contexts. We might ask if the content we presently lock down could be made public with a license specifying reasonable terms for reuse. When choosing a content management system, we might consider how well it supports RSS syndication.
  • Two of my favorite YouTube clips are the remix of The Shining's trailer (http://www.youtube.com/watch?v=iVjl7gK4HGU) and the mashup of the original Star Trek TV series with a Monty Python song (http://www.youtube.com/watch?v=eEnyT0_BjxA). These two videos themselves illustrate the difference between a remix and a mashup.
Barbara Lindsey

Forget E-Books: The Future of the Book Is Far More Interesting | The Penenberg Post | F... - 0 views

www.fastcompany.com/...say-so-long-book-we-know-it

ebooks books

shared by Barbara Lindsey on 25 Dec 09 - Cached
  • But technology marches on through predictable patterns of development, with the initial form of a new technology mirroring what came before, until innovation and consumer demand drive it far beyond initial incremental improvements. We are on the verge of re-imagining the book and transforming it something far beyond mere words.
  • Like early filmmakers, some of us will seek new ways to express ourselves through multimedia. Instead of stagnant words on a page we will layer video throughout the text, add photos, hyperlink material, engage social networks of readers who will add their own videos, photos, and wikified information so that these multimedia books become living, breathing, works of art. They will exist on the Web and be ported over to any and all mobil devices that can handle multimedia, laptops, netbooks, and beyond.
  • where there's chaos, there's opportunity
  • ...4 more annotations...
  • For the non-fiction author therein lie possibilities to create the proverbial last word on a subject, a one-stop shop for all the information surrounding a particular subject matter. Imagine a biography of Wiley Post, the one-eyed pilot from the 1930s who was the first to fly around the world. It would not only offer the entire text of a book but newsreel footage from his era, coverage of his most famous flights, radio interviews, schematics of his plane, interactive maps of his journeys, interviews with aviation historians and pilots of today, a virtual tour of his cockpit and description of every gauge and dial, short profiles of other flyers of his time, photos, hyperlinked endnotes and index, links to other resources on the subject. Social media could be woven into the fabric of the experience--discussion threads and wikis where readers share information, photos, video, and add their own content to Post's story, which would tie them more closely to the book. There's also the potential for additional revenue streams: You could buy MP3s of popular songs from the 1930s, clothes that were the hot thing back then, model airplanes, other printed books, DVDs, journals, and memorabilia. A visionary author could push the boundaries and re-imagine these books in wholly new ways. A novelist could create whole new realities, a pastiche of video and audio and words and images that could rain down on the user, offering metaphors for artistic expressions. Or they could warp into videogame-like worlds where readers become characters and through the expression of their own free will alter the story to fit. They could come with music soundtracks or be directed or produced by renowned documentarians. They could be collaborations or one-woman projects.
  • Serious literature, and even perhaps much fiction will however, will be published in old book form…or maybe in the current “text on screen” form. The point of reading fiction IS to imagine your own characters and use your imagination…that’s why you read rather then watch a video about it!
  • Traditional books (especially literature) will be relegated to smaller, specialty houses and self-publishing, in its infancy, will boom!
  • The question is, how will the media companies (not just book publishers) respond? We're already seeing the effect on newspapers, as their ad revenue (and business model) collapses. Perhaps history can offer another analogy: When home refrigeration became affordable, it posed an existential threat to the large ice-delivery companies. Some of these firms manufactured ice by the ton in order to warehouse and deliver it at retail. They saw the threat, but not the opportunity - didn't realize the value of their core technology, the ice-making equipment itself. They saw only the falloff in their retail delivery logistics model. Had they licensed their chillers, they could have made a fortune. Likewise, buggy-whip-makers could have retooled as purveyors of leather goods for automobiles.
  • Barbara Lindsey on 25 Dec 09
     
    But technology marches on through predictable patterns of development, with the initial form of a new technology mirroring what came before, until innovation and consumer demand drive it far beyond initial incremental improvements. We are on the verge of re-imagining the book and transforming it something far beyond mere words.
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