Her er mit “Hood”

Hvordan er det at være 2 og 3 generations invandrere i Danmark ?

‘Her er mit Hood’ er en udstilling, hvor de unge gennem kortfilm bestående af billeder, video, musik og speakes og med eksempler på hverdagens påklædning fortæller om deres liv og drømme.

The Hood, nærmere betegnet ’Farum neigbourhood’ er fyldt med fortællinger og de unge deler deres hverdagshistorier fra det multietniske nabolag, som de er vokset op i.

De unge er en gruppe frivillige bestående af en pige-gruppe og en drenge-gruppe i alderen 12-18 år.

Da der er tale om unge, hvis mediebrug er anderledes end tidligere generationers, er det målet at tilpasse indsamlingsmetoden så vidt muligt til netop denne gruppe i form af at benytte digital storytelling som metode – en indsamlings og formidlings form, hvor oplevelser og meninger om nærmere formulerede problemstillinger udtrykkes i audiovisuelle klip med fokus på at facilitere den personlige synsvinkel. Metoden svarer til at frembringe en mundtlig fortælling. Formålet i dette projekt er imidlertid at lade de unge kommunikere deres kulturarv i et for dem naturligt og dog varigt medie.

Hvorledes køres projektet?

De unge udstyres med et videokamera i 24 timer og bliver bedt om at optage deres liv/oplevelser. Disse optagelser redigeres. Råmaterialet indgår som dokumentation i museets samlinger.

• De unge bliver bedt om at forholde sig til deres drømme og forventninger og skal i den forbindelse være med til at indkøbe genstande, der kan formidle, hvordan man ser ud som ung, hvilken musik man lytter til, hvilke drømme man har til bil, karriere, rejser, hus osv. Dette bliver udtrykt i remix af musik, udarbejdelse af collager osv.

• Der indhentes statistisk data fra området.

• Endelig består indsamlingen af en række interviews med institutionerne omkring de unge, dvs. politi, kommune, kirke osv. for på den måde at undersøge kontrasten eller ligheden mellem de unge og ‘omgivelserne’.

Det er Furesø Museer, der i efteråret har gennemført et utraditionelt indsamlings- og udstillingsprojekt med og om unge i Farum Midtpunkt. Udstillingen kan ses indtil den 30 marts hvorefter den bliver en fast del af udstillingen indvandringens kulturhistorie på Farumvejgaard.
Kilde: Her er mit Hood

Udgivet 22. marts 2008 af nikoline

Her er mit “Hood”

Hvordan er det at være 2 og 3 generations invandrere i Danmark ?

‘Her er mit Hood’ er en udstilling, hvor de unge gennem kortfilm bestående af billeder, video, musik og speakes og med eksempler på hverdagens påklædning fortæller om deres liv og drømme.

The Hood, nærmere betegnet ’Farum neigbourhood’ er fyldt med fortællinger og de unge deler deres hverdagshistorier fra det multietniske nabolag, som de er vokset op i.

De unge er en gruppe frivillige bestående af en pige-gruppe og en drenge-gruppe i alderen 12-18 år.

Da der er tale om unge, hvis mediebrug er anderledes end tidligere generationers, er det målet at tilpasse indsamlingsmetoden så vidt muligt til netop denne gruppe i form af at benytte digital storytelling som metode – en indsamlings og formidlings form, hvor oplevelser og meninger om nærmere formulerede problemstillinger udtrykkes i audiovisuelle klip med fokus på at facilitere den personlige synsvinkel. Metoden svarer til at frembringe en mundtlig fortælling. Formålet i dette projekt er imidlertid at lade de unge kommunikere deres kulturarv i et for dem naturligt og dog varigt medie.

Hvorledes køres projektet?

De unge udstyres med et videokamera i 24 timer og bliver bedt om at optage deres liv/oplevelser. Disse optagelser redigeres. Råmaterialet indgår som dokumentation i museets samlinger.

• De unge bliver bedt om at forholde sig til deres drømme og forventninger og skal i den forbindelse være med til at indkøbe genstande, der kan formidle, hvordan man ser ud som

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ung, hvilken musik man lytter til, hvilke drømme man har til bil, karriere, rejser, hus osv. Dette bliver udtrykt i remix af musik, udarbejdelse af collager osv.

• Der indhentes statistisk data fra området.

• Endelig består indsamlingen af en række interviews med institutionerne omkring de unge, dvs. politi, kommune, kirke osv. for på den måde at undersøge kontrasten eller ligheden mellem de unge og ‘omgivelserne’.

Det er Furesø Museer, der i efteråret har gennemført et utraditionelt indsamlings- og udstillingsprojekt med og om unge i Farum Midtpunkt. Udstillingen kan ses indtil den 30 marts hvorefter den bliver en fast del af udstillingen indvandringens kulturhistorie på Farumvejgaard.
Kilde: Her er mit Hood

Udgivet af nikoline

European Center for Digital Storytelling

After some month of hard work with Digital Storytelling here in Copenhagen something is now happening and here are some good news.

In the end of may there will be a videoconference meeting in Copenhagen where Joe Lambert from the Storycenter in Berkeley invites colleagues, storytellers, and organizations to dicuss the potential of developing the first European Storytellingcenter based in Copenhagen.
The vision is first to start the institution of ongoing Digital Storytelling public workshops in Europe. Joe describes the vision here:

“The Center for Digital Storytelling has had an intention to develop a permanent European presence for the last six years. The success of the BBC Wales program, follow-up successes of other projects in other parts of the U.K., the Netherlands, and Sweden (most recently the successful project started with Delta Garden in the Smaaland region), and a long standing interest among dozens of individuals across Europe, has suggested that an independent organization could be sustained on a European wide basis.


At the meeting the discussion will also address mechanisms for marketing digital storytelling history
of work in Europe, and seeking customized clients in the E.U.

If anyone wants to be a part of this interesting project or know about funding, or other regional funding to
support this effort you are more than welcome to participate or contact us.

——————————————————————————————————————————————————————————————
Joe Lambert is the Founding Director of the Center for Digital Storytelling (CDS). Joe founded CDS in 1994 together with Dana Atchley.

Udgivet 17. marts 2008 af nikoline

International Day for Sharing Life Stories

Find your time manager and circle in the date May 16th 2008. Why, you might ask. Because it’s time to value your friends, family and neighbors by listening to their stories.

“We want this day to be especially dedicated to celebrating and promoting life story projects that have made a difference within neighborhoods, communities, and societies as a whole” – say Karen Worcman, one of the principal organizer of the annual Sharing Life Stories day.

It’s the first year with an International Day for Sharing Life Stories and the goal of the campaign is to gain broad recognition of May 16 as an annual day for sharing, listening to, and gathering the stories of people’s lives.

International Day for Sharing Life Stories

CDS and the Museum of the Person are calling on people to gather in community halls, classrooms, public parks, theaters, auditoriums on May 16 to share their stories. They are also calling on organizations to mark the day on their websites and host virtual story circles via
online chats and

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exchanges, and publication of new stories.

What can you do?

Some of the other activities they are proposing include

  • Story Circles in people’s homes
  • Public open-microphone performances of stories
  • Exhibitions of stories in public venues as image, text, and audio-visual materials
  • Celebratory events to honor local storytellers, practitioners and organizations
  • Open houses for organizations with a life-story sharing component
  • Online simultaneous gatherings, postings, and story exchanges
  • Print, Radio and Television broadcast programming on life stories, and documentaries that feature oral histories and story exchanges

More information

Go to the website for International Day for Sharing Life Stories

Text from: CDS and the Museum of the Person website and International Day for Sharing Life Stories – Campaign Material.

Udgivet 12. marts 2008 af nikoline

Gallery out of order

Some mysterious things have happened to our picture gallery. We will work on getting it back on track as soon as possible.

Udgivet af nikoline

Danslish?

During some time we have felt quite schizophrenic according to choice of language on this site. We want to choose English so we can be read by others than Danes, and take part in the international movement of digital storytelling. On the other hand, English is not our mother tongue which results in incomplete English sentences and can indicate a less trustworthy content on the site.

Should we just accept Danish as the only language for us – or should we challenge ourselves and the readers by writing incomplete English?

So far we have written both Danish and English and I guess we will continue doing that until we know exactly what to do.

Udgivet af nikoline

Omlægning af sitet

Vi arbejder i øjeblikket på at forbedre nogle funktionaliteter på sitet – og det påvirke udseende og funktionalitet. Vi forventer at være oppe at køre igen i løbet af torsdag.

Udgivet 5. marts 2008 af nikoline

Storytelling som medicin mod Alzheimers

Folk der lider af Alzheimers i Wisconsin, USA har fået en ny medicin mod demens – nemlig Storytelling. Timeslips er et kreativt storytelling projekt, som blev opført af Anne Basting i 1998. Siden har projektet genereret over 100 historier fra folk der lider Alzheimer og deres pårørende.

Timeslips har til formål at:

1.Inspirere folk med demens til at ære og dele den gave de har fået i form af deres mange fantasier.

2. Inspirere folk til at se ud over den tragiske sygdom og det tab de har lidt af, men istedet at få pårørende til at indse den styrke patienterne stadig har.
3. Forbedre deres livssituation ved at fokusere på patienternes kreativitet og fantasi istedet for at få dem til at fokusere på deres hukommelse.

“Our outreach models provide ways for dementia care programs to use the stories that emerge in workshops to raise public awareness about the creative potential of people with dementia encourage volunteerism increase awareness of your program or organization.”

january_08.jpg

“TimeSlips marks a fundamental shift away from focusing on memory and reminiscence, toward encouraging people with memory loss to exercise their imaginations and creativity.”
Læs en af historierne her “Gambling”:

Udgivet 2. marts 2008 af nikoline

Pocket Movies – storytelling on the cell phone

The process of making a digital story does not have

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to be an expensive affair. Most cell phones have a decent camera and video recording integrated which allows you to record small movies. Some phones even offer an integrated video edition tool.

By using your cell phone you can easily make digital stories – and the costs could hardly be closer to zero.

The aesthetics of a pocket movie is raw. It gives your movie a realistic and authentic expression. In the tradition of digital storytelling you can still tell your personal story and with the cell phone it is done very easily and almost without any costs.

So far we have only heard of two projects using pocket movies.

We would love to hear and see what you have done with your pocket movie. Tell us how you made it and send us a link it you want to share your movie with others.

Udgivet af nikoline

See John Hartley in Denmark

Right now, I would love to be a Ph.d. student in the DREAM research consortium, since John Hartley will be giving a speak about Digital content creation: educational options and challenges on the second international DREAM conference (a conference for Ph.D students only).

John Hartley is the keynote speaker on the DREAM conference: Digital Content Creation: Creativity, Competence, Critique. I just love the title: Digital-Content-Creation. That is exactly what digital storytelling is about. To create content on computers or other digital devices, to obtain digital competences and to unfold a sceptical view on media content, publisher and consumers.

John Hartley is a well-reputed professor from the Queensland University of Technology. He is among the pioneers of media and cultural studies, and have published 16 books about how new media make impact on the cultural and historical institutions in our society.

The conference is to be held the 18-20 September 2008, University of Southern Denmark, Odense, Denmark.

To read more about the conference, please visit dreamconference.dk

Udgivet 26. februar 2008 af nikoline

No. 6: D.U.S.T.Y.

How can a digital storytelling project be formed? In this series we present projects from around the world to give you inspiration to your work with digital storytelling.

In the line of digital storytelling projects, we hereby present one of the most famous dealing with adolescents, the so-called D.U.S.T.Y. program.

“Tools are intrinsic to social relationships. An individual relates himself in action to his society through the use of tools that he actively masters, or by which he is passively acted upon. To the degree that he masters his tools he can invest the world with his meaning; to the degree that he is mastered by his tools, the shape of the tool determines his own self-image. Convivial tools are those which give each person who uses them the greatest opportunity to enrich the environment with the fruits of his or her vision.” (Illich 1979: 34)

Digital storytelling as a scientific research field is still young, less than six years. One of the main contributors in the academic field of digital storytelling is Glynda Hull, a professor in Language and Literacy, Society and Culture at the University of California, Berkeley. In 2001 Glynda Hull and Oakland filmmaker, Michelangelo James, founded a digital storytelling after-school program for at-risk youth, DUSTY, with a donation of old computers from CDS.

DUSTY (which is an acronym for “Digital Underground Story Telling for Youth) started out as a center for making powerful forms of signification available to children and adults who did not otherwise have such access to new communication technology (Hull & Nelson, 2005: 7). Today, DUSTY, offers digital storytelling and literacy development activities for children and young people as after school programs and short-term workshops. They do it in an effort to bridge the digital divide, an increasing problem all over the state, as well as in the world .

In 2007 the DUSTY program is run at two elementary schools, one middle school, and one high school with help from The Graduate School of Education at UC Berkeley and the Prescott-Joseph Center for Community Enhancement in Oakland and UC Berkeley undergraduates and graduates who tutor the students enrolled in the program.

To read more about DUSTY, please visit oaklanddusty.org

Udgivet 18. februar 2008 af nikoline

No. 5: Digital Faith Storytelling

How can a digital storytelling project be formed? In this series we present projects from around the world to give you inspiration to your work with digital storytelling.

Several projects about digital storytelling have evolved since Joe Lambert and Dana Atchley first came up with the idea of making workshops with digital stories in 1993.

Digital Faith Storytelling is a project founded by a professor of Oslo University, Knut Lundby. The DUSTY program from California has inspired the project in the sense of letting youth use digital storytelling to express themselves. Alike the previously presented projects, the principles of CDS are applied to the process of making stories.

The project is funded by the Norwegian government and aims to try out new forms of religious education in Norway. The Digital Faith Storytelling project engages a selection of 14-18-year-old young people in raising questions about faith and identity. During the participant in the project the young people makes a digital story related to the religious tradition of the Norwegian folk church (Intermedia.no).

In a scientific research perspective, the Digital Faith Storytelling project aims to:
”… explore how people – youth in particular – use self-representation in digital storytelling to shape and share their lives, and tries to understand these processes through theories of mediation and mediatization across media studies and the field of education.” (Lundby, from Hartley, in press)

In the quote above, I find an explanation on why digital storytelling is gaining so much popularity in the scientific fields of education and media studies. It seems to be the work with self-representation that makes digital storytelling so unique. Telling stories obviously has another important function, besides just sharing knowledge. According to Lundby digital storytelling is bringing clarity to the participants’ work with self-representation and this is might what digital storytelling is good for.

Udgivet af nikoline

No. 4: ACMI

In the line of projects working with digital storytelling we will present the The Australian Centre for the Moving Image (ACMI).

In a new cultural institution dedicated to the moving image, ACMI, digital storytelling is playing a key role in the center’s activities and have done it since the start in 2002. ACMI is working for an extension of the:

“…role of a traditional cultural institution by changing its relationship to the public, no longer perceiving them as merely passive receivers but rather creative partners in the production of moving image content.” (Hartley, in press).

The major aim of the ACMI is to engage the public in the art of moving images. At the center the public can walk in, sign up for a workshop and create a digital story while being tutored by experts in digital storytelling. Finally a selection of the digital stories is exhibited in the center’s showroom (with the creators’ permission).

Collecting and distributing diverse personal narratives also builds a notion of democratic society based on sharing collective mutual understanding and respect through story.

Unlike Capture Wales and We Shall Remain the ACMI is addressing the digital storytelling workshops to all the citizen of the country, not just a section of the population. As the other presented projects, ACMI is based on the principals of CDS, besides showing how the former audience for exhibitions and television can become creative partners in the production of content.

To read more about ACMI, please visit www.acmi.net.au

Udgivet af nikoline

No. 3: Capture Wales and We Shall Remain

How can a digital storytelling project be formed? In this series we present projects from around the world to give you inspiration to your work with digital storytelling.

Several projects about digital storytelling have evolved since Joe Lambert and Dana Atchley first came up with the idea of making workshops with digital stories in 1993.

Capture Wales is a broadcasting project, which can be said to bring new standards to the relationship between television audience and distributors. In the Capture Wales project digital stories are created by the audience and broadcasted by the BBC Wales.
The idea of the project is mainly to show the richness of life in Wales through stories made by the people of Wales (bbc.co.uk) and thereby reinforces the community of Wales.

The team behind the Capture Wales project runs monthly workshops around Wales, working with members of the public in order to help them create their own digital stories. The workshops are thought on the principals from the Center for Digital Storytelling in California. The contributors produce their own material, as well as edit it, and can get assistance with the creation process from the project team.

The Capture Wales project was the first digital storytelling project of its kind and can be said to have been the catalyst for the digital storytelling movement’s development inside broadcast television. The photographer and PhD Daniel Meadows started it up in 2001, after seeing the digital stories by Dana Atchley. Meadows is considered to be one of the founders of digital storytelling together with Dana Atchley and Joe Lambert.

Meadows express the ideology behind the Capture Wales project as follows:

“For television-as-we-know-it ‘acts passively upon individuals’. What Digital Storytelling does is open up the possibility that individuals can turn the television experience around, become its ‘active master’”. (Meadows, 2003)

In other words, the Capture Wales project is returning the voice of the people back to them (Meadows, 2003).

Projects like Capture Wales have become more common. Recently, The Citizen Storyteller Project “We shall remain” was launched in the United States. The project is giving a voice and tools to the Native Americans to record and tell their stories. 200 Native Americans across the country have been provided with the latest cell phone technology to produce their own two-minute video stories. The collection of digital stories will be broadcasted as part of a primetime television series in 2009.

The difference in this project is the use of the technology and the level of involvement from the television companies. In the Capture Wales project the digital stories are produced during workshops on the spot held by employees at BBC Wales. In the We Shall Remain project the Native Americans have the access to the technology over a longer period of time due to the use of cell phones. However they are not in charge of what context their recordings will be shown in.

In both examples the television companies say they work towards a reinforcement of a community and preservation of stories. The Capture Wales project is working to bring the media back to the people, and in this case they follow the spirit of the movement: to give the man on the street a voice. However, one must remember that companies that are permeated by a financial agenda claim this. Actually not all the stories are to be shown on BBC Wales, only a few elected.

Compared to the goals of the digital storytelling movement, as described by Joe Lambert, there are challenges within the use of digital storytelling in the television industry, due to the sorting of the stories. On the other hand, the use of television can increase the audience of the personal stories and encourage more people to share their stories.

To read more about the Capture Wales project, please visit www.bbc.co.uk/tellinglives

To read more about the We Shall Remain project, please visit www.pbs.org

Udgivet af nikoline

No. 2: Digital Clubhouse

How can a digital storytelling project be formed? In this series we present projects from around the world to give you inspiration to your work with digital storytelling.

Several projects about digital storytelling have evolved since Joe Lambert and Dana Atchley first came up with the idea of making workshops with digital stories in 1993. One of these is the Digital Clubhouse project.

Digital Clubhouse is a digital storytelling project with two Clubhouses so far, one centered in Silicon Valley, California and another in New York City. In the clubhouses people of all ages come together in an effort to create new applications for digital technology. The mission is to use of the media to enrich education and lifelong learning, promote public health, preserve history, and encourage a deeper appreciation of cultural diversity (Digiclub.org).

All programs and projects are free in the sense that everyone who participates must “pay back” in terms of tutoring the next group of participants. The Digital Clubhouses offer different kinds of programs, from programs in creating a personal digital story to programs that are devoted to preserving the stories

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of the American nation’s war veterans and programs geared toward telling the stories of ethnic minorities and making a community for people at risk.

The Digital Clubhouse is based on the methods of Center for Digital Storytelling. The programs are also similar to programs thought at the Center for Digital Storytelling, except for the obligations of every participant to contribute her/his time and effort after completing a program. It’s a good example of a user-driven project. Moreover it shows how seniors and youth can benefit from each other and bridge a divide in age.

To read more about Digital Clubhouse, please visit www.digiclub.org.

Udgivet af nikoline

No. 1: Father of Digital Stories: Center for Digital Storytelling

How can a digital storytelling project be formed? In this series we present projects from around the world to give you inspiration to your work with digital storytelling.

Center for Digital Storytelling is the most important institution in the movement and practice of digital storytelling. Center for Digital Storytelling is to where it all started.

In 1994 the media producer and artist Dana Atchley, had developed NEXT EXIT, a multimedia autobiography. In his work he met the local theater producer/dramatic consultant Joe Lambert. Joe Lambert and Dana Atchley soon found out that they had a common interest in storytelling and media use. When they met Nina

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Mullen the Center of Digital Storytelling was born. The Center was built around a unique training process, the Digital Storytelling Workshop.

The Center for Digital Storytelling became to be the primary institution associated with digital storytelling.

The center offers workshop all over the United States and beyond in the process of creating digital stories as well how to teach the process of making digital stories, involving media professionals, teachers, students and any other people with interest in telling their stories.

Usually it is a three-day intensive workshop, which offers an introduction to working with digital imaging and digital video software. Students craft and record first-person narratives and collect still images and music to illustrate their pieces. In managing the software tools they get help from computer tutorials, which enable them, with teacher support, to edit their own stories. At the end of the workshop each student presents a personal 3-5 minutes digital story (Storycenter.org).

After 14 years of practice, the knowledge gained from these workshops is available in a so-called ‘Cookbook’. ‘The Digital Storytelling Cookbook’ is a practical guide in how to make digital stories and is considered to be the bible in the field of digital storytelling.

The model practiced at Center for Digital Storytelling is referred to worldwide as the Californian model.

To read more about the center, please visit www.storycenter.org

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Definitions of digital storytelling

When we talk about digital storytelling two definitions comes to my mind. In general, I tend to describe it as a movement and practice, however I recently encountered a more detailed description of the fields of digital storytelling.

Professor John Hartley from Queensland University of Technology in Australia outlines the following elements as parts of ‘digital storytelling’:

  • As a form, it combines the direct, emotional charge of confessional disclosure, the authenticity of the documentary, and the simple elegance of the format – it is a digital sonnet, or haiku.
  • As a practice, digital storytelling combines tuition of the individual with new narrative devices for multiplatform digital publishing across hybrid sites.
  • As a movement, it represents one of the first genuine amalgamations of expert and consumer/user-led creativity.
  • And as an elaborated textual system created for the new media ecology, digital storytelling challenges the traditional distinction between professional and amateur production, reworking the producer/consumer relationship. It is a contribution to (and test of) contemporary thinking about media literacy and participation, storytelling formats, and content distribution. (Hartley, in press)

So I must admit, that my definition of digital storytelling was quite short. Digital storytelling represents more than a new media practice; it also includes an emergent form and an activist/community movement.

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The beginning of digital storytelling

”Cultural anthropologist Gregory Bateson was asked in the 1950s if he believed that computer artificial intelligence was possible. He responded that he did not know, but that he believed when you would ask a computer a yes-or-no question and it responded with “that reminds me of a story” you would be close.” (Lambert, 2002:21)

As long as humans have existed on this earth we have used whatever medium we have had available to share our stories, from the gatherings around the bonfire to papyrus to the digital media of today. Without going into detail, I will state that storytelling is to be seen as the core of human activity and the creation of narratives always has been the most significant symbol of humans’ way of communicating, such as Bateson emphasized in the quote above (further readings; Aristotle’s Poetics, Roger Schank 1990). In other words, as humans we have a need to express ourselves, and we tend to do that through stories.

Nowadays the digital media facilitate a variety of modalities, through which anyone with the appropriate computer skills can tell his or her story. It is in this area that digital storytelling operates. Digital storytelling as a method and a movement gives people a voice through the use of computer tools (Lambert, 2002) or as one of the founders of the digital storytelling movement Daniel Meadows precisely express it:

“Digital Stories are short, personal, multimedia tales, told from the heart. Anyone can make them and publish them on screens anywhere.”(Meadows, 2001)

So Digital Storytelling is about sharing stores and build a better world… is that all, I keep wonder? My intuition tells me no. I have to found out, what it is good for?

/Anne Hvejsel

Udgivet af nikoline

What is it good for? – Power of Multimodality (No.2)

Why make digital storytelling? What are the benefits? We are trying to find theoretical and practical answers in this serie, where we ask the question: what is it good for?

“In our experience, digital stories have wide appeal among children, in part simply because they are multimodal and digital, and thereby allow individuals those compositional means and rights that used to be associated just with the world of mass media”

In the paper “Locating the Semiotic Power of Multimodality” the authors, Glynda Hull and Mark Evan Nelson, examine what makes digital storytelling so appealing and helpful for at-risk youth. With a theoretical focus on new literacies or multi-literacies they analyze the effects of learning through a different system of signification.

The authors notes that it’s problematic that the educational politics (In US. red) outline a focus on reading and writing as the only way to be literate. The new forms of reading and composing should be considered as supplement to the traditional perspective on literacy rather than a treath.

In thinking of multimodal texts, the student suddenly have a array of choices to make about semiotic features, and the process of design becomes more diverse. He/She has more choices to be made and there will be more possibilities that the student find that semiotic significant system which express his feelings.

”The point is that images, written text, music a so forth each respectively impart certain kinds of meanings more easily and naturally than others. ”

Reference:
Locating the Semiotic Power of Multimodality
By Glynda Hull and Mark Evan Nelson

Udgivet 10. februar 2008 af nikoline

What is it good for – Crafting an agentive self (No.1)

Why make digital storytelling? What are the benefits? We are trying to find theoretical and practical answers in this serie, where we ask the question: what is it good for?

“To tell others who you are can play an important role in the contruction of an agentive self.”

The point is taken from the paper “Creating an Agentive Self”, a paper based on fieldstudies of a digital storytelling program for at-risk youth called DUSTY – Digital Underground StoryTelling for Youth.

Dealing with at-risk youth, the authors aim to ”illustrate how alternative spaces for learning can sometimes effectively support adolenscents´interests in literacy and foster their developing sense of agency.”

With a solid theoretical framework based on Miller (1994), Bruner (1994), Bakhtin (1981) and Baumann & Briggs (1990) they draw the conclusion that a digital storytelling program helped two students ”to articulate pivotal moments in their lives and to assume agentive stances toward their present identities, circumstances and futures.”

Reference:
Crafting an Agentive Self. Case studies on Digital Storytelling, by Glynda Hull and Mira-Lisa Katz

Udgivet af nikoline