Author Archive

Copyright Videos

A Fair(y) Use Tale

Freedom of Expression

What is Creative Commons?

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Academy Award Winning Movie Trailer

Here is the Academy Award Winning Movie Trailer we looked at last week.

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Blog Highlights: Copyright

“As we near the stages of completion in our own digital stories, we can certainly see the value in protecting our work and ensuring that we have properly credited the resources from which we drew throughout the creative process. Beyond that, however; the fees, penalties, and restrictions seem to hinder the freedom of creation.” — Lapple

Is it Foreigner Suite (1973) or If I Could Fly (2004) . . . or Viva La Vida (2008)? “It’s all fun and games until someone loses an eye or makes a buck.” —Bergman

“The prevalent emotions that people describe after this week’s reading are fear, discouragement, and sadness. I’d like to offer an alternative: Rage. Anger and indignation.” —Suiter

“Copyright law involves a weird kind of trade off: how do you balance the need for an artist to have their work seen with the fact that they need to get paid for it?”—Warburton

“So, in short, I definitely think that if copyright protection isn’t dead yet, it may be well on its way.”—Parks

“Actually, if someone had the means to distribute my work and make money off of it, I’m not sure that I would mind. I would never be able to figure out how to use my digital story to sell Clorox.”—Odiorne

“Finding your way through the law is one thing, finding out who own rights is a whole other battle that can be maddening. You REALLY want your piece to get made when you start digging up copyright and trademark information on every image, musical note or prop used in your piece.”—Goodwin

“On the one hand we could use what we want and try to claim fair use and deal with the complaints as they come (if they come). On the other we could totally avoid using anything that is younger than 87 years and not published by the government. Which sometimes means we have far, FAR less to work with than we expected.” —Blaher

“p until this point, I had felt fairly silly asking each one of my interviewees to sign multiple release forms for my project. Now I feel as though you just can’t be too careful in getting permission…and very grateful that I interviewed them in places that provided very basic backgrounds with no need to edit out the corporate logos.”—Janes

“I had a great laugh reading through the article entitled “Copyright Basics,” because twelve pages highlighting the major points could not get any less basic!” —Plumb

“After all of the reading this week on the increasing restrictions of copyright law and the obvious corporate influences on the changes to said law, I’m ready for something completely different. I mean, I wasn’t expecting the Spanish Inquisition. . . .. NOBODY EXPECTS THE SPANISH INQUISITION! Our chief weapon is fear. Fear and surprise are our two main weapons… what?” —King

“Overall, reading about copyright made the idea of being creative seem a lot less exciting, and a lot more risky. Unless you are only working with original material, it seems like a lot of effort will need to go into researching and understanding copyright issues before you can publish your efforts.”—Cook

[Comment on Suiter] “Your copyrage blog was the first thing I’ve read regarding copyright that made me smile. It also made me realize that people probably fall into two camps: the rule followers who are stifled by issues such as copyright, and the rebels who create first and ask for forgiveness later, after they’re already famous and could care less if they’re forgiven.”—Cook

“Instead of applying for protection at LoC or letting a production company or distributor handle this task, digital stories seem, more often than not, to be uploaded without any assertion of ownership on behalf of the creator. This new way of self-publishing challenges our older understanding of what publishing even is.”—James

Category: W13: Copyright  Tags:  Comments off
Blog Highlights: Final Project Progress

“Another unexpected thing regarding the objectivity question and family stories–in some ways it’s easier to produce a video with family stories because you know them so well, yet it’s hard to objectively analyze them because you have so much emotional attachment.” Warburton

“Thinking about history in this way makes it fun and stretches the boundaries of conventionality that I often feel weighing me down when doing more “traditional” history. I’m just hoping I can find the sweet spot of storytelling that engages, provokes and even entertains a little bit.” Goodwin

“While the images and videos I am gathering are going to be essential to telling my story in a digital format, the story itself is still key.” Plumb

“Since I am relying so heavily on oral histories, I have felt like I have been almost entirely at the mercy of those willing to talk to me.” Janes

“Originally, I planned to do a historiography of the Sandro Botticelli’s painting, Primavera. While this may make for a great research paper, it wasn’t translating as well to a digital story. . .” Cook

“. . . I was able to see what I didn’t see by myself in terms of what’s missing, what’s too much, and what’s misplaced. . . .I timed the narration and doodle-oodled through the non-narration parts to sort of time them. After cutting a bunch of redundancies and excessively complex frames & text, the timing seems pretty close to 10 minutes.” Douglass

“We need to see beyond the chalkboard, the powerpoint slideshow, the monograph. And this *is* a good way to approach certain topics, and can lead to different sorts of learning outcomes for those who take the time to do it. . . . I’m just wondering– is it really compatible with most people’s classroom reality?” Suiter

Category: W12: Final Project Progress  Comments off
Blog Highlights: Interactivity

“The cult of the individual student, the solitary, one-way communication only for the teacher’s eyes, and for a grade, has killed higher education’s lure for many young people–especially boys. The problem is suspension of life in school, waiting until school is “over” to contribute and truly express oneself. This is changing and the nature of learning and teaching is changing for the better due to these tools.”
Douglass

“storytelling 2.0 opens the possibilities of taking various tales, told by numerous characters, and re-arranging specific dialogue to create an original story. Suddenly, users can use modular dialogue and re-fashion them in a way they were not originally intended. In storytelling 1.0 and 2.0, the audience is a participant, is a creator (especially when the story is passed down to another generation). But what we can now achieve is a modular disassemble and re-assemble that can produce limitless results–with open and discoverable resources, open and transparent licensing, open and remixable formats needed. The question though, still comes back to the point we have discussed all along: is there a story worth telling?”
Sibaja

“I’ve been thinking about the term “storytelling” and wondering if it is really the best term for the interactive potential of the digital “Web 2.0” environment. Implied in storyTELLING is a focus of the “teller” of the story and not the interaction with and participation in the story. The author is the active party (i.e. the teller) and the audience is the passive party (i.e. the story tellee). An audience may not even be necessary for storyTELLING at all. Although it reminds me of the old riddle “if a tree falls in the woods and no one hears it, does it make a sound?,” storyTELLING implies that communication is not required for a story to be told. In other words, the term implies that if a story is told and no one hears, storyTELLING still took place. Might “interactive storyMAKING” better embrace the communal nature of web 2.0? . . . . Our social structure is so intimately tied to notions of authorship, ownership, and property that the role of the storyTELLER (and the product he/she creates) is buttressed in innumerable ways.”
Bergman

“‘Stories are now open-ended, branching, hyperlinked, cross-media, participatory, exploratory, and unpredictable.’” This statement seems most representative of the newest role of storytelling in an interactive environment. Stories have evolved from the pages of a book and the words of the orator’s mouth to the digital world’s landscape of possibility. Stories now exist to unite the collective thoughts of many voices and perspectives on a particular topic or event. These collaborative narratives come to life through an organic and ongoing process of interactivity; its users create and recreate the components and structure of a never-ending story.”
Lapple

“Digital storytelling works in an interactive environment by giving the user agency, rather than the medium acting upon the user solely. In TimeSpace: Inauguration, we saw the Inauguration from different vantage points–it gave us a sense of story across space. The user can see the big picture, and as we lose identity as a society, maybe we lose our social context.”
Warburton

“Not all storytelling in an interactive environment challenges the traditional role of reader or spectator. Breaking Ulysses into micro-chunks on twitter only effects the transmission of the story, challenging narrative coherence. Some storytelling might hold up better to fragmentation before becoming incoherent than James Joyce. Academic work might even benefit from increased fragmentation.”
Odiorne

“However, I think the main feature of storytelling in an interactive environment that distinguishes it from all others is its collaborative nature. Many people are involved in the creation process, combining microcontent from many different users, turning it into social media. While one person or small group of people may create the original story or idea, through comments, online discussion, response videos, and blog entries, the stories take on new life and new meaning.”
Parks

“All along we have been asking how digital storytelling will change academic arguments but perhaps we need to change digital storytelling to accommodate the academic argument. Fusing the old with the new seems to be an innovative move that our creative and intellectual minds can benefit from.”
Hubai

“But what has really sparked the Web 2.0 revolution is a third element: read/write/remix. Web 2.0 gives us the ability to pull information together from disparate sources, creating our own story from various elements. This is what makes digital storytelling work in an interactive environment. Storytelling 2.0 (Digital Storytelling utilizing Web 2.0 tools) combines an interactive environment with collaborative attitudes from the contributors – up to and including the readers!”
King

“I thought the article Before Every Child Is Left Behind really hit home with several of the discussions we’ve had in class recently. It addressed the need for innovative thinking, the lack of innovative education going on in the classroom, the difficulty of working epistemic games into a curriculum focused on standardized teaching and testing, and how devastating this will be to the future of our nation. I felt like I was reading a future chapter from a history book that describes how the U.S. fell from grace as a superpower.”
Cook

“It is not enough that these tools and creative means to teach through digital storytelling exist, it is incumbent upon us to take the brave step to learn, and incorporate these tools into our experience. “
Goodwin

“With web 2.0 platforms, collaboration can occur in real time, with real time feedback and critiques as well. This question reminded me of that youtube video we watched in class showing the use of google docs to ask a girl on a date. This same type of engaged discussion can translate to the world of academia in digital environments.”
Plumb

“The readings and stories explored for this week’s class show that interactivity can give the recipient greater agency in digesting the story. For example, The Washington Post’s “TimeSpace: Inauguration” allows the visitor to jump from photos to text to videos about President Obama’s inauguration. This format allows the viewer to interact with a timeline in the way that he or she desires; the participant is able to experience the event in a way that makes sense with his or her preferred style of learning. Interactivity also gives the author/creator more room for creativity.”
Janes

When reading the WaPo article, one relives the Inauguration, even if you weren’t there, allowing multiple perspectives and different stories that intersect (or not) within the greater story. This sort of interaction has profound implications for teaching, especially teaching history. . . . Text, like a history textbook, utilizes a linear format to tell the story, but using a digital environment one can create a timeline, multiple points of interest, allowing the viewer to see some of the things that were occurring at the same time and how everything blended together.
Fachner

“If the interactivity comes from collaborative form of interaction (like writing Exquisite Corpse or designing an ARG), the challenge comes from creating broad rules or a conceptual framework that can organize multiple storytellers with some overall coherence. . . That said, these readings convince me that we still don’t really know all of the ways that storytelling and academic writing can work in interactive environments.”
James

Category: W9: Interactivity  Comments off
Tech questions category

This new category is a place for posting/discussing/answering tech questions related to DST.

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Blog Highlights: Animoto

“The final project feels a bit like a movie trailer. . . . Perhaps that doesn’t really matter. If the purpose of these projects is to facilitate learning among video makers, then it is a great tool. If the purpose of Animoto is to make videos that facilitate deep learning among viewers, then I’m a convincible skeptic.” [bergman]

“At first I was really hampered by the text limitations, it impeded my ability to annotate the posters. I felt like I was writing a volume of propaganda haiku. In the end, though, I embraced the idea and grew to like the speed at which the images zoomed by.” [fachner]

I was originally going to make a digital story in response to Wesch’s “An Anthropological Introduction to YouTube” but I have not mastered the art of telling a complex story in a simple way. I am glad I decided not to because after doing the Animoto story I realized it would not have worked well. First lesson, know your technology before deciding to use it to write your story. . . Another lesson that I learned from this exercise is the power of the written word when accompanied by a photograph. It is really hard to tell a compelling story with just photographs. It is possible but it takes a lot of time and planning. I think this fits in with our readings in that, even though education is moving towards the digital, writing skills are still extremely important. Perhaps some traditional forms of education are important to integrate in new teaching methods. [hubai]

“Since it [Animoto] is limiting in ways, it proves that authors have to bend their strategies to certain mediums. The videos that Animoto produces are very meditative. McLuhan didn’t just say the medium is the message, he also said the medium is the massage.” [odiorone]

“Animoto creates an opportunity to engage the student- at any level. It can help an educator “redesign” the “learning environment ” as Wesch states.” [goodwin]

“I think I could probably improve on the quality of my future movies now that I understand the limitations of the program. I would rely less on the need for text, and more on the need for strong, linear imagery. This exercise helped me to refocus my expectations for my final project, and think more about the visual components that will be necessary.” [cook]

“At first I was angry that you couldn’t enter very much text, but it challenged me to put very few words in and is probably best as there are limitations as to how much one person can read. This bothers me about many Powerpoints–they put way too much information on one slide than is necessary. So more than anything, Animoto’s limitations helped drive creativity.” [warburton]

Category: W5: Animoto  Comments off
Blog Highlights: “Murder at Harvard”

“In the documentary, all we get for the alternative (Webster was not the murderer) is a brief statement by an armchair historian. It is not very convincing. So, Schama’s view of the story prevails, both in the book and the movie.” [douglass]

“I think that if we, as historians, force the public to see and read historical fiction that is completely historically accurate, or refuse to consult with film directors and authors that do not plan to have a completely historically accurate final product, then there is no future to history as a profession. I don’t know anyone who picked up The Decline and Fall of the Roman Empire at the age of 10 (or 40 for that matter) and fell in love with history. However, I know a lot of people who went to Williamsburg and came away wanting to learn about Colonial America, or who saw Casablanca or Schindler’s List and wanted to learn more about World War II.” [blaher]

“So, should we consider Schama’s work history or fiction? I think that was his point. The more I read about Dead Certainties and reactions from diverse people, the more I am inclined to believe that Schama intended to shake things up and make people question our discipline. We should be critically asking “What is history?” We should be questioning the methods, traditions, and ingrained perceptions academic historians before us have long accepted as the norm.” [sibaja]

“the unknowable truth is not synonymous with the nonexistent truth.” [bergman]

“Storytellers need to stay out of the story unless their presence is relevant.” [warburton]

“How does a filmmaker convert the written word into film when faced with the issue of footage shortage?” [cook]

“I think that perhaps the criticism of the film is the very thing that makes it interesting. Historians debate the ambiguity of fact vs. fiction and this film/book is no different. It just happens to make the statement more in our face.” [giampa]

“One thought is that history is a series of stories that come together through the voices and perspectives of many people, both involved with and removed from the actual events. If viewed in this way, Schama speaks to the very essence of history, which like a murder mystery, is filled with holes, inconclusive evidence, and much left to the imagination.” [lapple]

“Therefore it must be better to not report on the unknown (stick to the facts) than to extrapolate what is known to fill in the gaps. That is to say, this is a better representation of the past:
bones
than this:
T-rex
Which of these two historical representations gives you a better understanding of how the past fit into the surrounding environment?” [king]

Category: W4: Murder at Harvard  Comments off