This post is organised in this way:
A word of warning: this is a long post
Dear Audience, I warn you: this is going to be quite a wordy
blog entry. It’s going to be insightful and helpful as well; you’ll see. Please,
go on reading. In this post, I’m reflecting on the knowledge I gained and the
skills I developed as I used web 2.0 tools to carry out five storytelling
activities.
In order to capture my thoughts and feelings
as I was trying out each tool during the
storytelling fortnight, I wrote the different sections of this post in
instalments following a series of steps (
process writing). But I
decided to put off publishing the whole entry until the digital literacy fortnight
was over.
I wanted to connect digital storytelling with thinking
skills (as described in
Bloom’s
Revised Taxonomy of Thinking Skills – my own agenda) and digital literacies
(as discussed by
Howard Rheingold and
Doug Belshaw – last fortnight’s topic). My
ultimate goal was to make sure new knowledge get well connected to prior one. I
also revisited several semiotics sources. In the final section below, you’ll also
find some ideas for activities and my unanswered queries about the topics.
|
Bloom's Revised Taxonomy of Thinking Skills |
Six word stories: complexity in simplicity
Writing six word stories is not as simple as it seems.
Obviously, first of all, you’ve got to have the topic and the plot of your
story. I think the most demanding stage in the process is to find the six key
words that convey the intended message in your story.
These words can’t be chosen at random. Unless you’re very
witty, you’ll need to have a thesaurus at hand and… plenty of time to think! You can use the RAFTS below.
All in all, a six word story is a very interesting activity that helps you develop HOTS (
higher-order
thinking skills). Basically, you have to synthesise your
focal idea in six
words that trigger off a given interpretation and evaluation on the reader
(Visit
Educational Origami and
learn more about Bloom’s Revised Taxonomy & ICT Tools
here).
A little trick: use visuals. These will lead the reader to
understand the text in the intended way. But be careful with the photos you
choose; the visual semiotic mode has its own
grammar (i.e. roughly how what is depicted in images is combined
into a coherent, meaningful whole). If you are interested in how to
read images, check out this untitled
paper
here, this
review of Roland Barthes’
Image, Music, Text. "The Photographic
Message"
here and
Daniel Chandler’s
Semiotics for
Beginners: Modes of Address
here.
I posted my two six word stories on my
blog
and on
Six
Word Stories site. Besides, the stories can be posted on
Twitter and collected to be
remixed on
Storify,
which can make the writing process more collaborative and creative.
Making an animated GIF: you don’t need to
be GIFted
In this activity, I explored how the non-stop iteration of a
carefully chosen scene helps you emphasise the message conveyed through a given
action. That is, you draw the reader/viewer’s attention to that action and the
repetition of that action adds something to the original meaning. So the
animated GIF enables you to somehow change the point of view in the original
story.
|
Another GIF from Fembots in Las Vegas part 2 (Bionic Woman, Season 3, Episode 4, 01.10.1977) |
This is the
video
clip out of which I made the animated GIFs. I picked out two related scenes
from a late-‘70s TV series in which physical and psychological violence is
shown. The fast iterative movements in
the
animated GIFs make violence even more salient. Maybe, this is so because
the scenes were de-contextualised from the video and re-contextualised into
another setting (my blog post) to fulfil my purposes.
Apparently, in the ideal GIF, you can’t tell the beginning
of the loop from its end. Well, in these animated GIFs, you can easily
distinguish the beginning and the end. Yet I think they fulfil my goal: to pass
negative judgement on the repeated actions. You’ll see that, in a way, the two
animated GIFs summarise the main events in the video.
Now, as regards the technical stuff, these are the
requirements you need to meet and the steps you can follow:
Some tips: according to
Jim
Groom, the animated GIF should be smaller than 1Mb. So check that you’re
not choosing more than 10 layers and that the size of the image is appropriate (the
bigger, the heavier!). Try out different settings till you find the one that suits
your needs best. I did so and it worked! I know it takes time but you can’t
have your cake and eat it.
I strongly recommend you take some time and navigate
Jim Groom and
Alan Levine’s
DS106.
If you don’t like literature, you’ll get to like it. If you already like
literature, you’ll get crazy about it! What’s more, the ideas and tools can be
applied to the field of
Knowledge Management (in education, health, business,
etc.). For further ideas and resources about Knowledge Management, check out
David Snowden’s
site.
Five Card Flickr Story: non-stop writing as
the ideas flicker through your mind
What makes this activity particularly challenging is that you’ve
got to establish meaningful, relevant connexions among 5 seemingly unrelated
photos you’re randomly dealt out. To be honest, I’m not very creative. Some
people can start writing about anything from scratch. I’ve never been able to
do such a thing.
|
Learning Perspective |
Photo Credit: Yelnoc via Flickr cc
I tried again. This time, I started to jot down my ideas once
I got all the photos and followed an abridged version of the typical process
writing steps. Here they are:
1. Brainstorm ideas about the sequence of 5 photos as a
whole (in the order they were given to you). Use these questions as guidelines:
What’s the setting? When and where does the story take place? Who are the characters? What’s the
turning point (problem, conflict or complicating event)? How can the problem be dealt with? What
are the alternative solutions? What are
the constraints on each possible
solution? How does who affect what? Why does who affect what? Why is what affected by whom? Which solution is the most appropriate according to what you
want to convey? Why? Taking the story as a whole piece of writing, what’s your point of view? What attitude is conveyed throughout the story?
2. Discover your
focal idea and
point of view
by non-stop writing the answers to the questions above. Get rid of what is
not relevant.
3. Structure your story carefully. Sure, there are stories
that have a complex structure which may include
flashbacks,
flashforwards,
stream
of consciousness and other devices that subvert chronological progression.
Yet according to
Labov (1972
as cited in McCarthy, 1997: 137-138 and Toolan, 2009: 137-140), a story with a simple
narrative pattern has this structure:
(Abstract à)
Orientation à
Complicating Event à
Resolution (à
Coda)
ß--------------------------------------
Evaluation ------------------------------------à
The abstract is an
optional element and consists of short statements that briefly summarise the
whole story without revealing the ending; e.g. ‘This story is about…’ (I left
out this element in my story)
The orientation
sets out the place, time, characters and the activities or situations; e.g. ‘It
was my 18th birthday and my dad gave me this watch as a present.’
The complicating event
is the main event of the story where a major change takes place (i.e. the turning point); e.g. ‘On our way
back home, we had a car accident.’ ‘I didn’t even notice that my watch was
missing.’
The resolution is
how the complicating event is overcome (or not); e.g. ‘…I started to think how
to go down the ditch and recover my precious gift.’
The coda is an
optional element and consists of short statements that signal that the story is
finished and help us connect what happened in the story to the moment of
telling the story. The coda brings the storyteller and the audience back to
point at which they entered the story; e.g. ‘… and ever since, I’ve not come
back to that place.’ (I left out this element in my story)
The
evaluation is the
element that indicates the point of the story; its
raison d’être (i.e. why the story is told and what the
storyteller is getting at). It is an element that constantly weaves in and out
of the story, making the story worth listening to (or reading or watching),
either by directly telling the audience how positive (or negative) the events
are or by using figures of speech such as
hyperboles,
litotes, etc. ; e.g. ‘It was a
very special watch.’ ‘…the clockwork – the heart and soul of the watch – was
made in Switzerland and it remained untouched.’ ‘Yet great fun is never meant
to last.’ ‘I knew I would be ticked off.’
4. Write the first draft.
5. Revise the content (check out that the whole piece of
writing is
coherent
and
cohesive)
and re-draft if necessary.
6. Edit the draft (check out use of lexis, collocations,
syntax, spelling, punctuation, etc)
7. Publish and share.
Just in case you haven’t realised, these writing steps are
not part of a close linear process. They are meant to be followed in a spiral
fashion in which as you make judgements
about what you’ve written, you make
adjustments to improve your piece of writing. It’s an open-ended (iterative)
process.
Bionic Woman Remixed: Fembot Flashback
(a pop-up video)
In this activity, I tried out
Mozilla Popcorn Maker to
superchange (i.e. enhance) a web video.
Basically, you choose a video from
YouTube
or
Vimeo and you add events (i.e.
pop-ups) to it. The tool is actually quite easy to use, and on the website,
there are some interactive tutorials, which I recommend doing before you have a
go at this tool. By interacting with the tutorials, you’ll learn the basics.
You can watch my pop-up video
here
and
here.
All this sounds very simple, but again, it’s not. As usual,
seemingly simple things tend to be rather complex… I realised I’d made some mistakes
when I read
Susan
Campo’s comments on Google+.
Thanks to
Susan Campo’s
feedback, I became aware of three key issues, which can be overcome if you
follow these simple rules of thumb:
1. Carefully choose the video you want to remix and/or mash
up according to your aims and your target audience.
2. Carefully choose the scenes where you’ll add the events; “Less
is more.”
3. Carefully choose the type of event (e.g. comment, speech
bubble, thought, information, Wikipedia, photo, Twitter search, etc) you’ll add;
“Variety is the spice of life.” If the audience have to read a long piece of
writing, you should consider inserting a timed pause. You should also consider
warning your audience that they’ll have to pause the video at different times.
Finally, as I was revising this post, an
interesting
video by
Amy Burvall came out.
I couldn’t help noticing how careful Amy was about crafting the
mise-en-scène. Some
days later, Amy decided to
superchange
her video into this
pop-up
video. As I was watching the enhanced version, I realised that in order to
create a
multimodal
text, you need to be aware of the grammar that governs each semiotic mode
and how these rules can be successfully flouted in order to create a new shade
of meaning in a remix or mash-up.
By the way, does anyone know how to download the pop-up
video on your desktop? I tried to do so several times but I just managed to
download the video without the pop-ups. :(
¨thinglink..: linking
thoughts, opinions, facts and much more…
"Photographs are as much an interpretation of the world as paintings and drawings are" (Susan Sontag).
Basically, the idea is to add more information about the
represented participants (i.e. the people,
places, things depicted in images). Thus, the story behind the image (what was
hidden in the photo) becomes visible and public in the enhanced version. The
tool is very easy to use. You can read the post with the photo I enhanced
here
or go directly to the photo
here.
Almost the same three rules of thumb I put forward for using
Mozilla Popcorn Maker apply to this tool:
2. Carefully choose the information sources you’ll link to
the photo. If it’s meant to be historical, scientific or factual, do your best
to strike a balance (among type of sources and points of views). “Less is
more.” + “Variety is the spice of life.” At this point, you might need to read
Daniel Chandler’s
Semiotics for
Beginners: Intertextuality
here.
3. Carefully choose the type of link (Wikipedia, photo,
video, comment, questions, etc) you’ll add carefully. “Less is more.” +
“Variety is the spice of life.”
However, you’ll easily notice that I didn’t follow these
rules to the letter in the photo I enhanced. The first problem I came across
was that I had to heavily rely on Wikipedia because the more academic resources
(books) about
Remedios
de Escalada (the place),
Remedios
de Escalada (the person) and
Edward
Banfield are copyright materials and can’t be used.
The same thing holds true about
the
photos of Remedios de Escalada published on Flickr; most of them are
copyright. I chose a photo that was taken from the footbridge at one end of the
railway station; the only place where you can take a photo of the building. This
choice of location affected the horizontal angle, which conveys the degree of
alignment between the
interactive
participants (i.e. the producer of the image and hence also the viewer) and
the
represented participants (in this
case, the building and the carriages), and the vertical angle, which conveys
the power relationship between the
interactive
participants and the
represented
participants.
Notice how the oblique angle conveys detachment from the represented participants, while the vertical
angle is interpreted in two ways. The high angle conveys that the interactive
participants have power over the carriages but the eye level angel conveys that
there is no power difference between the interactive participants and the
building.
Another problem was that I had to leave out some interesting
videos (Historia de los Ferrocarriles Argentinos
1,
2
&
3,
in Spanish) because they were strongly biased and were of very low quality. I added
a link to an educational resource with seven 28-minute
videos.
But mind you, these videos are strongly biased.
I also added links to a
documentary video in which a railway worker talks about his job passionately
(it’s in Spanish) and videos about the
local interactive railway
museum, library and club. I think this type of information gives us a quick
glimpse into the people that live in this city. In a way, these people now
become part of the represented participants in the enhanced image.
To sum up, the main problem in this case was not the tool,
but the topic itself. It’s unfortunate but some parts of the history of my
country are highly controversial. Sometimes, it’s extremely difficult to tell
what was real and what was just made up to be published as the official history
textbook.
As a teacher, I must be aware of how the choice and use of
the sources and tools help to convey certain political messages. The choice of
sources and the way information is presented overstate some issues and
understate others, conveying certain ideology. Anyway, this has been a good
opportunity to develop critical thinking skills (esp. analysing and evaluating).
Digital
literacies in context: making connexions and posing some questions
“Access to many media empowers only those who know how to use them. We need to go beyond skills and technologies. We need to think in terms of literacies” (My emphasis).
For the sake of space, I’ll just focus on how these
literacies were developed in the storytelling activities I did by picking out some
relevant examples. I’ll also suggest some activities that can be designed to cultivate these literacies. Attention becomes an issue when watching
a pop-up video and ‘reading’ the enhanced photo. The viewer/reader has to
decide what to pay attention to and what to (momentarily) block out.
So attention could be developed by designing an activity
(based on these resources) in which the viewer/reader has to find (global)
information (skimming different semiotic modes) during the first
watching/reading, within certain time limit. Another activity could involve
finding specific information in the pop-ups/links so that the viewer/reader has
to choose the type of pop-up/link which they will scan beforehand. Finding
detailed information in the pop-ups will imply flouting some grammar rules of
this particular visual semiotic mode; that is, the video will have to be
paused, rewound and or fast-forwarded (Cf. a film/video is meant to be
continuously moving forward, from the beginning to the end).
Then, by asking the viewer/reader to make a pop-up video
and/or enhanced photo, critical
consumption, participation and network awareness can be developed. To
ensure this activity is successful, a set of criteria about the relevance of
the theme chosen and the validity/reliability of the sources should be agreed
upon beforehand.
For instance, if the pop-up video or enhanced photo is about
a historical monument, which monument should be chosen? Taking account of the gaze,
the size of frame, the horizontal and vertical angles, which photo should be
chosen? Why? What for? How will this enhanced video/photo contribute to the
learning experience of others? Then, there should be some balance between
primary and secondary sources of information, and between facts, points of view
and opinions.
If these activities are carried out applying appropriate
techniques of group dynamics (e.g. each member of the group has a well define
role to play and they are expected to swap roles at certain times),
participation and
collaboration are also developed. The remix button in both
Mozilla Popcorn Maker and
¨thinglink.. seem to be useful to
encourage these literacies.
Yet one key issue here is how successfully we can set relevant,
meaningful purposes that help to contextualise each activity. That is, ideally
the activities should have a real-life purpose to have face value. We must
consider what people usually do in
real
life (i.e. both in the analogical and digital world) and how the
development of digital literacies by deploying digital technologies can enhance
those practices. Otherwise, we’ll be just
practising
(i.e. in the sense of meaningless drilling). We’ll run the risk of, in
Marshall McLuhan‘s words, letting
the tools shape us without even noticing
potentially negative side effects.
For instance, as a real life application in professional
development programmes, digital storytelling activities can be used to help
professionals identify what they know and reflect upon their decision-making
procedures in their own (complex) context (For further ideas, read:
Storytelling:
An Old Skill in a New Context). These activities can also be used to help professionals
revise and (re-)conceptualise their own cognitions/representations of learning
in a digital age (For further ideas, watch
Las
Narrativas Docentes en Entornos Digitales) and they can make the learning
process open, public and transparent.
However, the issues raised by the questions
Audrey Watters poses in this Blackboard
Collaborate presentation
T3S4
Who Owns Your Education Data? (and Why Does It Matter?) need to be
considered at this point. Who owns the reflections posted on our blogs? Us? The
software providers (Blogger, Mozilla Popcorn Maker, YouTube, Google)? The
government? Which government: the local gov or the US Gov (since the server is
located in the US) or both? How is the data on our blogs being used? (
learning analytics)
By whom? What will happen with all the data once we die? It seems these
questions will remain unanswered for a long while…
Another important issue raised by
digital
literacies, as discussed by
Dr. Doug
Belshaw, has to do with the features of these literacies; they are
subjective (i.e. ideological;
temporarily constructed in an active relationship with the socio-cultural world)
and
highly context-dependent (i.e. they
are developed in response to changes in the context, so they are defined and
redefined as the context changes over time).
Belshaw argues that these characteristics, together with
academics’ taste for
umbrella terms
(i.e. vague general terms used as
superordinate terms),
explain the pervasive ambiguity in the use of the concept (either in singular
or plural) to mean different things. In his
doctoral thesis,
he suggests that these problems can be overcome if we start to conceptualise
digital literacies (plural) as a
heuristic
or
matrix (i.e. in the sense of a womb;
not in the mathematical sense) of eight essential elements (i.e. cultural,
cognitive, constructive, communicative, confident, creative, critical &
civic) applying a continuum of ambiguity to avoid circular discussions about
umbrella terms and applying third-party definitions to specific contexts (Belshaw,
2011: 95-112, 206-219 & 221-224).
Based on
Quine’s
web of beliefs (i.e. all our beliefs,
which are always subject to potential revision, are arranged in a web in which
the ones firmly anchored at the centre are mistakenly taken for granted), Belshaw
claims that some of the eight essential elements of digital literacies are more
central than others in certain contexts and that, since we operate in different
semiotic domains
within the digital sphere, it may be more appropriate to apply
McLuhan’s
tetrad of media
effects to these semiotic domains and
affinity spaces (ibid.: 139-143,
201-203).
That is, the tetrad can help us determine which of the eight
essential elements of digital literacies are more salient in a given context,
leading to a more accurate definition of digital literacies. I must confess
that I was tempted to apply the tetrad to the semiotic domains involved in the
use of the digital storytelling tools above. It would have been interesting to
see what patterns emerge… and it would have rendered even a much longer post.
Anyway, to finish off this post, I’d like to suggest that any
emerging patterns should be analysed by trying to answer the questions Belshaw
poses on the slides 17-33 of his presentation
Getting
Started with Digital Literacies. To those queries, I’ll add my own
concerns:
The cultural element
Context and
culture are two notions that are quite
pervasive in the sources we’ve been working with in
#ETMOOC.
However, I haven’t come across a single explicit definition of any of these
terms. Every time I come across these concepts, I wonder what
context we’re talking about and what
conceptualisation of
culture is
implied.
Are we talking about the environment or the circumstances,
in a broad or narrow sense? That is, are we referring to a concept akin to
the context of situation [i.e. the
immediate physical, spatial, temporal, social environment in which verbal
exchanges take place (Kramsch, 2000: 25-26, 126)] – a narrow sense – or
the context of culture [i.e. the members
of a social group that has a broadly agreed set of common public goals and
purposes in its use of language share a set of historical knowledge, beliefs,
attitudes and values that that contribute to the meaning of their verbal
exchanges (ibid.)] – a broader sense – as defined by
Bronislaw
Malinowski? I’m
not suggesting that
we should use these concepts and definitions (which have to do with language
studies); I’m just pointing out that we should consider that each context has
specific features that define it.
In other words, when we’re referring to the digital sphere
or the digital world as a context, which are the features that define this digital context? Does this digital
context include culture (a kind of context
of culture)? Or does culture include the digital context? What is the role
of the digital context? Is it a variable or a category of analysis? Both?
In
La Importancia del Contexto, Diego Leal discusses
how individual factors (e.g. an individual’s
background and mindset) could affect –
much more than we think about –
what we do and think. He suggests that we should learn about ourselves
through introspection and include these individual factors in what we call context. What do you think?
The following questions contain the highly vague and
ambiguous term context.
The cognitive element
The constructive element
Which artefacts are considered valid in each context? By whom? Why?
The communicative element
To what extent communication technologies and devices are
fairly distributed in each context?
Who has open/free access to all of them? To what extent is the how-to knowledge
accessible to everybody?
The confident element
What status is given to learning
by making mistakes in each context?
To what extent is this way of learning considered valid? Why? How is this way
of learning validated? By whom?
The creative element
To what extent are creativity and its development taken into
account in the curriculum of each context?
To what extent is the learner allowed to push the boundaries?
The critical element
To what extent do teachers reflect upon their own
decision-making procedures? To what extent are they encouraged to do so? How
does their context (e.g. working
conditions, available resources, hidden curriculum, school community ethos, interaction
with authorities, peers and students, etc.) affect their practice?
The civic element
To what extent do educational policies encourage or sustain
the emergence of opportunities to innovate?
References
Kramsch, C. (2000). Language
and Culture. Oxford: Oxford University Press.
Kress, G.
& T. van Leeuwen (2006). Reading
Images. The Grammar of Visual Design. 2nd edition. London:
Routledge.
Labov, W. (1972). Language
in the Inner City. Oxford: Basil Blackwell.
McCarthy, M. (1997). Discourse
Analysis for Language Teachers. Cambridge: Cambridge University Press.
Toolan, M. (2009). Language
in Literature. An Introduction to Stylistics. London: Hodder Education.