http://hisz.rsoe.hu/alertmap/index2.php
http://mashupawards.com/winners/
http://gimmeshiny.com/ http://tweetcc.com/
A mashup is a web page or application that combines data or functionality from two or more external sources to create a new service
Example: the use of cartographic data to add location information to real estate data
Types of mashups: consumer mashups data mashups enterprise mashups
Data mashups combine similar types of media and information from multiple sources into a single representation
http://spotcrime.com/il/chicago
Enterprise mashups focus data into a single presentation and allow for collaborative action among businesses and developers. They are secure, visually rich web applications that expose actionable information from diverse internal and external information sources.
Mashups and portals are both content aggregation technologies. Portals are an older technology designed as an extension to traditional dynamic Web applications
The process of converting data content into marked-up Web pages is split into two phases: generation of markup "fragments" and aggregation of the fragments into pages.
Portal technology is about server-side, presentation-tier aggregation. It cannot be used to drive more robust forms of application integration such as two-phase commit.
Business Mashups: useful for integrating business and data services - provide the ability to develop new integrated services quickly, to combine internal services with external or personalized information, and to make these services tangible to the business
Service-oriented architectures (SOA)
Web services provide open, standardized protocols to provide a unified means of accessing information from a diverse set of platforms (operating systems, programming languages, applications).
Source: http://blogs.zdnet.com/Hinchcliffe/?p=106&tag=col1;post-872
Architecturally, there are two styles of mashups: Web-based and server-based.
Mashups can be used with software provided as a service (SaaS).
Web services provide open, standardized protocols to provide a unified means of accessing information from a diverse set of platforms (operating systems, programming languages, applications).
The consumerization of the enterprise as younger workers bring their Web 2.0 skills and habits to work
A classic hallmarks of the Web 2.0 era: the much larger community of the Web as a major source of innovation and leading edge behavior that subsequently moves across the firewall and into our workplaces
Key Aspects and Benefits of the Mashup Approach -Effective leverage of Web parts and the Global SOA
-Simple, lightweight software models and services.
-A focus on self-service and DIY
There are numerous smaller, ancillary benefits of mashups including the fact they are Web-oriented and 1) can leverage link structure, 2) tend to be more open and visible which results in more transparency and information sharing, and 3) their content can even be discoverable by search if some care is taken
Mashup Challenges:
-Deconflicting the two major mashup models
-Too many widget formats
-Not enough Web services exist in our enterprises or on the Web
-Security and identity need to be sorted out.
-No common creation metaphor
Mashup Opportunities:
-Defining the essential ingredients of a successful mashup ecosystem.
-Addressing the tension between the two major styles of integration
-Providing effective "enterprise context."
-Distribution and consumption.
-SEO, analytics, page views are all challenged by the mashup model.
Hybrid Media Aesthetics
(videos screened in class)
Friday, November 20, 2009
Monday, November 16, 2009
Machinima
http://www.machinima.com/film/view&id=346
2003 first machinima music video aired on MTV. Zero7's "In the Waiting Line"
Fountainhead Entertainment produced this beautiful video together with Tommy Palotta for British band Zero7. They developed their own machinima software tool called "Machinimation" based on id Software's Quake3 game.
The four most common machinima production techniques are: straight recording, the ‘puppetry’ approach, ‘recamming’ and scripting.
Straight recording: a game’s characters are left to their own devices and the machinimator simply records their activities.
The series "Red vs. Blue" from Rooster Teeth Productions.
http://redvsblue.com/home.php
Puppetry approach: game characters are manipulated to perform actions on cue according to a screenplay, which is recorded in real time for later editing.
Recamming: builds on the puppet approach, and combines it with re-recording. Additional characters might be added, lighting changed, or cameras moved
Scripted technique: programming the game’s characters to perform in particular and specific ways.
- lose the live-action immediacy of the puppetry approach, but gain the capacity to bypass the game interface, to expand a character’s basic repertoire of moves, or precisely plot a virtual camera’s motion through space (see: Journey)
Glossary
Clan
A clan is a group of people who play the same computer game as a team.
Massively Multiplayer Games often use the term "Guild"
FPS - First Person Shooter
- being perceived through the eyes of the virtual character that the user is directing with his input device (mouse/ keyboard, joystick, data glove).
-simple goal to get to the next level alive through killing lots of aliens/ zombies/ terrorists, thus the naming of the genre.
HUD - Heads Up Display
- part of the game interface
-shows basic game information (player's health, ammunition and the first person weapon model)
-information is vital when playing the game but distraction when you want to use your view as a camera.
-Most games have built in commands or options to make the HUD invisible.
MOD - Modification
Most games come together with toolsets to customize the game content or to create extra content. Using those tools, users can create their own levels, characters or even their own rules. These changes to the original game are called "MODs" or "Modifications".
Movies are usually produced in three subsequent stages:
1. Pre Production
2. Production
3. Post Production
Pre-production includes raising funds, writing the story, casting actors, producing storyboards and searching for locations. Basically, everything that needs to be done before a film can be shot is done in Preproduction. At this stage, traditional and virtual filmmaking aren't that far away from each other.
Production is actually shooting the movie; working with your actors and crew on location.
Post-production describes all the steps needed to complete the movie with the footage produced during the production stage. Editing and application of special effects, additional dialogue recording (ADR), titling and musical score generally all happen during this stage.
Making Machinima:
Jib jab tutorial:
http://www.youtube.com/watch?v=mrUrAcBdrpw
"[Games are] the most powerful learning technology of our age"
Henry Jenkins, Professor of Education at MIT
Games for learning: three different camps
1. using mainstream games in school;
2. creating 'educational' games (with both new and existing software);
3. pulling games to pieces and using them as a tool for young people to create new games or films themselves.
In machinima, we see a whole different approach is emerging that sees the technology on which games are built being used to enable children to create their own games, stories and dramas.
Challenges:
First - the 'violence' debate.
Second: what 'exactly' children are learning through games play and how this mesh with the current priorities of the education system.
Third: how young people themselves will respond to the introduction of their popular culture into the classroom
Bernstein (1999)
Vertical and Horizontal discourse:
Vertical Discourse: hierarchically organized and formally pedagogic, delivered instructionally and carefully sequenced
Horizontal discourse: relative free-for-all of discoursal practice in informal contexts; regarded in relation to media texts.
Horizontal discourse includes ‘computer literacy’ and ‘games literacy’ and the skills and competencies gained and practiced through interaction with these interfaces.
Prensky (2001) idea of digital natives: children born into these interfaces.
Suss (2001)
children have formed rich exchange networks in which artefacts and dialogue are always circulating between peers, adding continuously to the knowledge of the peer group as a whole;
Rheingold (2003)
Peer-to-peer web technologies help these exchanges to grow ever richer
Literacy:
1. a set of skills and competencies
2. a cache of linguistic resources or discourses for describing the experience of mobilizing them.
Donna’s Questions:
What kinds of literacy practices surround video game play?
What forms of literacy are relevant and important to discussions of children’s learning with digital and multimedia devices?
What is meant by ‘games literacy’ and its implications for children’s formal and informal learning?
What implications do 3D design and games aesthetics have for children’s construction of multimodal meanings and development of “multi-literacies”?
Bakhtin (1981)
Ventriloquism and parody
New London Group (1996)
Programmatic manifesto for change in literacy teaching:
Their theory of ‘design’ in learning:
Learning to formulate meanings is an active an dynamic process.
Learning and productivity are the results of the designs (the structures) of complex systems of people environments, technology, beliefs and texts.
Learning occurs through interaction with ‘available designs’ and include the grammars and modalities of semiotic systems such as film, TV, photography, or physical gesture and the conventions associated with semiotic activity in a given social space
Available designs: are both grammars of varied media, or semiotic systems, as well as a ‘socially produced array of discourses, intermeshing and dynamically interacting
Designing: a process of emergent meaning-making, of transforming available designs through re-presentation and re-contextualization, re-using old resources in new ways and re-articulating the possible combination of the available resources.
Learning is based around a continuous process of ‘appropriation’ of resources from former designs and their re-articulation for new purposes.
Appropriation: How individuals learn to interpret skills by socially interacting with others and transforming them for their own uses, creating new ways of working.
Bahktin (1981) refers to language as a continuous chain of utterances that we appropriate and re-use, re-shaping it according to context
E.g. “No” from a toddler
Engestrom (1987) appropriation, and thus development are driven by the contradictions and tensions between an individual and the sociocultural influences, which in part can be resolved in the creation of new artefacts and social practices.
Wertsch (1991) refers to these tensions as‘mediation’ or ‘mediated action’
Gibson (1977) the ‘affordances’ of the object or tool and the individual in a specific context
**the tensions between language and individuals and the tools they use are fundamental to understanding how people appropriate and carry out an activity.**
Bahktin: dialogue as a dynamic process in which ‘any utterance is a link in the chain of speech communication’
Bahktin’s theory of dialogism:
a speaker is always speaking through someone else’s words until they have transformed them to their own purposes
Prensky (2001) defines ‘games literacy’ as the ability to process information, often from different sources and in parallel, very quickly to determine relevance to explore information in a non-linear way and presented in different modalities and to communicate across non-geographically bounded networks.
Video games: simultaneously multimodal and intertextual, remediating the representational resource of older media as well as drawing on the strategies, patterning, implied values and subject positions demanded of readers or viewers of the spectrum of available texts.
Gee (2003) defines specific games genres, such as first-person shooters, as semiotic domains with their own internal and external design grammars.
Internal design grammars: representational resources incorporated into a game, and with the typical ways in which the content of a game is design that lend it similarity with or difference to other games within the same genre
External design grammars: the complex of social activities by which players develop greater understanding of the mechanics and representational strategies of the games in question.
Individual’s understanding of these grammars cannot develop in isolation. Players develop ‘affinity groups’ around specific genres.
Real knowledge about games exists not in individual nodes, but in the interconnections between them as a network as a whole.
http://www.cbc.ca/arts/tv/cable.html
http://www.youtube.com/watch?v=y50k2sAXaRo
2003 first machinima music video aired on MTV. Zero7's "In the Waiting Line"
Fountainhead Entertainment produced this beautiful video together with Tommy Palotta for British band Zero7. They developed their own machinima software tool called "Machinimation" based on id Software's Quake3 game.
The four most common machinima production techniques are: straight recording, the ‘puppetry’ approach, ‘recamming’ and scripting.
Straight recording: a game’s characters are left to their own devices and the machinimator simply records their activities.
The series "Red vs. Blue" from Rooster Teeth Productions.
http://redvsblue.com/home.php
Puppetry approach: game characters are manipulated to perform actions on cue according to a screenplay, which is recorded in real time for later editing.
Recamming: builds on the puppet approach, and combines it with re-recording. Additional characters might be added, lighting changed, or cameras moved
Scripted technique: programming the game’s characters to perform in particular and specific ways.
- lose the live-action immediacy of the puppetry approach, but gain the capacity to bypass the game interface, to expand a character’s basic repertoire of moves, or precisely plot a virtual camera’s motion through space (see: Journey)
Glossary
Clan
A clan is a group of people who play the same computer game as a team.
Massively Multiplayer Games often use the term "Guild"
FPS - First Person Shooter
- being perceived through the eyes of the virtual character that the user is directing with his input device (mouse/ keyboard, joystick, data glove).
-simple goal to get to the next level alive through killing lots of aliens/ zombies/ terrorists, thus the naming of the genre.
HUD - Heads Up Display
- part of the game interface
-shows basic game information (player's health, ammunition and the first person weapon model)
-information is vital when playing the game but distraction when you want to use your view as a camera.
-Most games have built in commands or options to make the HUD invisible.
MOD - Modification
Most games come together with toolsets to customize the game content or to create extra content. Using those tools, users can create their own levels, characters or even their own rules. These changes to the original game are called "MODs" or "Modifications".
Movies are usually produced in three subsequent stages:
1. Pre Production
2. Production
3. Post Production
Pre-production includes raising funds, writing the story, casting actors, producing storyboards and searching for locations. Basically, everything that needs to be done before a film can be shot is done in Preproduction. At this stage, traditional and virtual filmmaking aren't that far away from each other.
Production is actually shooting the movie; working with your actors and crew on location.
Post-production describes all the steps needed to complete the movie with the footage produced during the production stage. Editing and application of special effects, additional dialogue recording (ADR), titling and musical score generally all happen during this stage.
Making Machinima:
Jib jab tutorial:
http://www.youtube.com/watch?v=mrUrAcBdrpw
"[Games are] the most powerful learning technology of our age"
Henry Jenkins, Professor of Education at MIT
Games for learning: three different camps
1. using mainstream games in school;
2. creating 'educational' games (with both new and existing software);
3. pulling games to pieces and using them as a tool for young people to create new games or films themselves.
In machinima, we see a whole different approach is emerging that sees the technology on which games are built being used to enable children to create their own games, stories and dramas.
Challenges:
First - the 'violence' debate.
Second: what 'exactly' children are learning through games play and how this mesh with the current priorities of the education system.
Third: how young people themselves will respond to the introduction of their popular culture into the classroom
Bernstein (1999)
Vertical and Horizontal discourse:
Vertical Discourse: hierarchically organized and formally pedagogic, delivered instructionally and carefully sequenced
Horizontal discourse: relative free-for-all of discoursal practice in informal contexts; regarded in relation to media texts.
Horizontal discourse includes ‘computer literacy’ and ‘games literacy’ and the skills and competencies gained and practiced through interaction with these interfaces.
Prensky (2001) idea of digital natives: children born into these interfaces.
Suss (2001)
children have formed rich exchange networks in which artefacts and dialogue are always circulating between peers, adding continuously to the knowledge of the peer group as a whole;
Rheingold (2003)
Peer-to-peer web technologies help these exchanges to grow ever richer
Literacy:
1. a set of skills and competencies
2. a cache of linguistic resources or discourses for describing the experience of mobilizing them.
Donna’s Questions:
What kinds of literacy practices surround video game play?
What forms of literacy are relevant and important to discussions of children’s learning with digital and multimedia devices?
What is meant by ‘games literacy’ and its implications for children’s formal and informal learning?
What implications do 3D design and games aesthetics have for children’s construction of multimodal meanings and development of “multi-literacies”?
Bakhtin (1981)
Ventriloquism and parody
New London Group (1996)
Programmatic manifesto for change in literacy teaching:
Their theory of ‘design’ in learning:
Learning to formulate meanings is an active an dynamic process.
Learning and productivity are the results of the designs (the structures) of complex systems of people environments, technology, beliefs and texts.
Learning occurs through interaction with ‘available designs’ and include the grammars and modalities of semiotic systems such as film, TV, photography, or physical gesture and the conventions associated with semiotic activity in a given social space
Available designs: are both grammars of varied media, or semiotic systems, as well as a ‘socially produced array of discourses, intermeshing and dynamically interacting
Designing: a process of emergent meaning-making, of transforming available designs through re-presentation and re-contextualization, re-using old resources in new ways and re-articulating the possible combination of the available resources.
Learning is based around a continuous process of ‘appropriation’ of resources from former designs and their re-articulation for new purposes.
Appropriation: How individuals learn to interpret skills by socially interacting with others and transforming them for their own uses, creating new ways of working.
Bahktin (1981) refers to language as a continuous chain of utterances that we appropriate and re-use, re-shaping it according to context
E.g. “No” from a toddler
Engestrom (1987) appropriation, and thus development are driven by the contradictions and tensions between an individual and the sociocultural influences, which in part can be resolved in the creation of new artefacts and social practices.
Wertsch (1991) refers to these tensions as‘mediation’ or ‘mediated action’
Gibson (1977) the ‘affordances’ of the object or tool and the individual in a specific context
**the tensions between language and individuals and the tools they use are fundamental to understanding how people appropriate and carry out an activity.**
Bahktin: dialogue as a dynamic process in which ‘any utterance is a link in the chain of speech communication’
Bahktin’s theory of dialogism:
a speaker is always speaking through someone else’s words until they have transformed them to their own purposes
Prensky (2001) defines ‘games literacy’ as the ability to process information, often from different sources and in parallel, very quickly to determine relevance to explore information in a non-linear way and presented in different modalities and to communicate across non-geographically bounded networks.
Video games: simultaneously multimodal and intertextual, remediating the representational resource of older media as well as drawing on the strategies, patterning, implied values and subject positions demanded of readers or viewers of the spectrum of available texts.
Gee (2003) defines specific games genres, such as first-person shooters, as semiotic domains with their own internal and external design grammars.
Internal design grammars: representational resources incorporated into a game, and with the typical ways in which the content of a game is design that lend it similarity with or difference to other games within the same genre
External design grammars: the complex of social activities by which players develop greater understanding of the mechanics and representational strategies of the games in question.
Individual’s understanding of these grammars cannot develop in isolation. Players develop ‘affinity groups’ around specific genres.
Real knowledge about games exists not in individual nodes, but in the interconnections between them as a network as a whole.
http://www.cbc.ca/arts/tv/cable.html
http://www.youtube.com/watch?v=y50k2sAXaRo
Friday, November 6, 2009
Final Project Guidelines
IASC 2P60 Web 2.0 Guidelines for Final Project Due Dec 3, 2009
From the coursework throughout the term, pick a subject of your choice. Rather than a general question, devise a specific question that you can thoroughly investigate. The final project has to be a different topic than both your presentation and review.
Fore example: Which online activist networks provide the most effective political tool for Niagara region climate activists?
Via email or office hours, Please clear your topic with the instructor by November 12th.
Final project is due December 3. No late papers will be accepted without medical documentation.
This project can be either
1) A 1500 word essay or
2) A creative project accompanied by a scholarly statement. It allows you to connect the ideas proposed in the class to your own research interests.
IF you write an essay: Structure your argument (optional brief and snappy introduction, thesis paragraph, development of argument in subsequent paragraphs, conclusion, optional new hypothesis that “leads out” of the essay). Avoid simple narration, dictionary definitions, clichés, generalizations, and other writing that just takes up space. Make every sentence count. Aspire for a writing style, but first make sure your grammar and spelling are impeccable and your argument is wonderfully clear.
Length: 1500 words
If you make a project: You still need a thesis and an argument. The difference is that creating a Web project that demonstrates some aspect of your thesis will carry out part of your argument. The project itself should be very simple. Submit full description of the project with the essay.
Your accompanying essay statement will discuss your project in terms of the specific theoretical questions, and explore theoretical ramifications in terms of your project, topics stated as above. It is a scholarly essay and follows the guidelines above.
Length: 750 words.
Plagiarism is a terrible waste of time. You will learn nothing, and results in the failure of the assignment or entire course. Please consult the Brock website to ensure you understand what constitutes plagiarism.
Essay Guidelines
1. Essays should be double-spaced.
2. Essays should begin with an introductory paragraph in which you explain what you intend to do in the rest of the essay: 'In this essay I want to develop a reading of XXX in order to show that ...'; or 'This essay will focus on XXX in order to explore ...'; or 'In what follows we will analyze XXX in order to demonstrate ...' [or a variation on any of these]. It's often better to write your introduction after you have finished the rest of your essay when you know what you have actually done in the essay.
3. Make sure that everything you write contributes towards (and can be seen to contribute towards) your answer to the question. If it doesn't, cut it out. Don't waste your time or your reader's.
4. Essays should be written in properly punctuated, grammatically coherent sentences. If you don't know how to do this, consult a book that will help you.
5. Essays should be written in paragraphs: paragraphs are not arbitrary divisions on the page but related to divisions in the argument. Remember: same point, same paragraph; new point, new paragraph.
6. Each paragraph should make one main point (and each sentence in the paragraph should contribute to that point). Since every point you make needs to be supported by quoted evidence (see point 7), it follows that every paragraph should contain at least one relevant quotation. (This doesn't apply to the introduction and conclusion: in the introduction you don't make points but indicate what points you are going to make in the rest of the essay; in the conclusion, you draw together the points you have made in the rest of the essay.)
7. An essay should answer the question by developing an argument. This is done by presenting and analyzing textual evidence in support of all your important claims. This applies not only to the claims you make about what you are analyzing, but also (in this case) to your claims about the general concerns of Web 2.0. If you claim that the imagination is one of Web 2.0’s central concerns, you need to demonstrate that this is the case by quoting appropriate evidence from one or more writers (or from appropriate secondary sources - i.e., critics). Remember: assertions (claims unsupported by evidence) earn no marks in academic essays.
8. Textual evidence (quotations) should be presented according to the guidelines set out in the Department under which you study your major.
9. All quotations should be introduced in ways that make it clear who or what you are quoting, and why. Formulae such as the following are useful: 'Richardson suggests that childhood is a recent invention: [quotation]'.
10. All quotations should be followed by a reference. This should take the form specified in yours Department’s style guide. All references should be correlated with items in a bibliography or works cited at the end whose layout conforms to the guidelines set out in the Department Handbook.
11. Sometimes the passage that you quote speaks for itself. But often it's worth analyzing the passage that you have quoted, especially if it is long or complex, or if the point you are trying to make with it is not obvious.
12. Essays should discuss texts in the present tense: 'This metaphor implies that ...'.
13. Your essay should end with a concluding paragraph. This should consist of more than a single sentence. It should not normally introduce new material or ideas. Nor should it wax lyrical about how wonderful the author or text is. Instead, it should try to draw together and reflect on the main points that you have demonstrated or discovered in the essay (these points should, of course, add up to an answer to the question). The conclusion should announce that it is a conclusion by beginning with phrases like 'We have seen that...'. Phrases such as 'To conclude' can also be used, but they seem redolent of school essays, not university work.
14. The secret to good writing is re-writing. Most professional writers and literary critics will rewrite something several times in order to eliminate mistakes and improve the argument. You ought to do likewise. Word-processing is a great help here, though it's sometimes better to print out your essay and go through it with a pen, correcting errors, re-writing sentences, shifting paragraphs around, and so on. Such changes can then be made on screen. Then print out again, correct again, and so on. Try to read your own writing with a critical eye. Become your own best critic.
Please clear your topic with the instructor by November 12th.
From the coursework throughout the term, pick a subject of your choice. Rather than a general question, devise a specific question that you can thoroughly investigate. The final project has to be a different topic than both your presentation and review.
Fore example: Which online activist networks provide the most effective political tool for Niagara region climate activists?
Via email or office hours, Please clear your topic with the instructor by November 12th.
Final project is due December 3. No late papers will be accepted without medical documentation.
This project can be either
1) A 1500 word essay or
2) A creative project accompanied by a scholarly statement. It allows you to connect the ideas proposed in the class to your own research interests.
IF you write an essay: Structure your argument (optional brief and snappy introduction, thesis paragraph, development of argument in subsequent paragraphs, conclusion, optional new hypothesis that “leads out” of the essay). Avoid simple narration, dictionary definitions, clichés, generalizations, and other writing that just takes up space. Make every sentence count. Aspire for a writing style, but first make sure your grammar and spelling are impeccable and your argument is wonderfully clear.
Length: 1500 words
If you make a project: You still need a thesis and an argument. The difference is that creating a Web project that demonstrates some aspect of your thesis will carry out part of your argument. The project itself should be very simple. Submit full description of the project with the essay.
Your accompanying essay statement will discuss your project in terms of the specific theoretical questions, and explore theoretical ramifications in terms of your project, topics stated as above. It is a scholarly essay and follows the guidelines above.
Length: 750 words.
Plagiarism is a terrible waste of time. You will learn nothing, and results in the failure of the assignment or entire course. Please consult the Brock website to ensure you understand what constitutes plagiarism.
Essay Guidelines
1. Essays should be double-spaced.
2. Essays should begin with an introductory paragraph in which you explain what you intend to do in the rest of the essay: 'In this essay I want to develop a reading of XXX in order to show that ...'; or 'This essay will focus on XXX in order to explore ...'; or 'In what follows we will analyze XXX in order to demonstrate ...' [or a variation on any of these]. It's often better to write your introduction after you have finished the rest of your essay when you know what you have actually done in the essay.
3. Make sure that everything you write contributes towards (and can be seen to contribute towards) your answer to the question. If it doesn't, cut it out. Don't waste your time or your reader's.
4. Essays should be written in properly punctuated, grammatically coherent sentences. If you don't know how to do this, consult a book that will help you.
5. Essays should be written in paragraphs: paragraphs are not arbitrary divisions on the page but related to divisions in the argument. Remember: same point, same paragraph; new point, new paragraph.
6. Each paragraph should make one main point (and each sentence in the paragraph should contribute to that point). Since every point you make needs to be supported by quoted evidence (see point 7), it follows that every paragraph should contain at least one relevant quotation. (This doesn't apply to the introduction and conclusion: in the introduction you don't make points but indicate what points you are going to make in the rest of the essay; in the conclusion, you draw together the points you have made in the rest of the essay.)
7. An essay should answer the question by developing an argument. This is done by presenting and analyzing textual evidence in support of all your important claims. This applies not only to the claims you make about what you are analyzing, but also (in this case) to your claims about the general concerns of Web 2.0. If you claim that the imagination is one of Web 2.0’s central concerns, you need to demonstrate that this is the case by quoting appropriate evidence from one or more writers (or from appropriate secondary sources - i.e., critics). Remember: assertions (claims unsupported by evidence) earn no marks in academic essays.
8. Textual evidence (quotations) should be presented according to the guidelines set out in the Department under which you study your major.
9. All quotations should be introduced in ways that make it clear who or what you are quoting, and why. Formulae such as the following are useful: 'Richardson suggests that childhood is a recent invention: [quotation]'.
10. All quotations should be followed by a reference. This should take the form specified in yours Department’s style guide. All references should be correlated with items in a bibliography or works cited at the end whose layout conforms to the guidelines set out in the Department Handbook.
11. Sometimes the passage that you quote speaks for itself. But often it's worth analyzing the passage that you have quoted, especially if it is long or complex, or if the point you are trying to make with it is not obvious.
12. Essays should discuss texts in the present tense: 'This metaphor implies that ...'.
13. Your essay should end with a concluding paragraph. This should consist of more than a single sentence. It should not normally introduce new material or ideas. Nor should it wax lyrical about how wonderful the author or text is. Instead, it should try to draw together and reflect on the main points that you have demonstrated or discovered in the essay (these points should, of course, add up to an answer to the question). The conclusion should announce that it is a conclusion by beginning with phrases like 'We have seen that...'. Phrases such as 'To conclude' can also be used, but they seem redolent of school essays, not university work.
14. The secret to good writing is re-writing. Most professional writers and literary critics will rewrite something several times in order to eliminate mistakes and improve the argument. You ought to do likewise. Word-processing is a great help here, though it's sometimes better to print out your essay and go through it with a pen, correcting errors, re-writing sentences, shifting paragraphs around, and so on. Such changes can then be made on screen. Then print out again, correct again, and so on. Try to read your own writing with a critical eye. Become your own best critic.
Please clear your topic with the instructor by November 12th.
Thursday, November 5, 2009
Podcasting (and Internet War Diaries)
Podcast Primer The greatest advantage that podcasting has over radio, TV, and even PVRs, is that material can be consumed at any time, any place and as many times as desired.
A podcast is a multimedia file transmitted via the internet to a personal computer, often-then downloaded to a portable device, such as an iPod, for viewing or listening.
The greatest advantage that podcasting has over radio, TV, and even PVRs, is that material can be consumed at any time, any place and as many times as desired.
Podcast types can be broken down in many ways. The most obvious division is the primary format of the file:
1. Audio podcast -can include “album art” embedded into a file which consists of a show name, company logo, or photo of the host
-frequently included in the file itself are ID3 tags, which contain information (”metadata”) such as the episode title, host, topic, show number, and any other relevant information
Format: -most podcasters keep the show under a half-hour, encrypted at 128kbps or lower to keep the file size down and the content digestible
2. Video podcast Also known as ‘vidcasts’ or ‘vodcasts’, video podcasts Critical mass for the vidcast is expected to hit as next-generation handsets better capable of video download/playback become more common
Within these two types of podcast formats, production categories can also be identified: * Original Content * Re-purposed Content * Reference * Professional Content
Content Categories: iTunes breaks the down into 16 categories including; Arts, Business, Comedy, Education, Games & Hobbies, Government & Organization, Health, Kids & Family, Music, News & Politics, Religion & Spirituality, Science & Medicine, Society & Culture, Sports & Recreation, Technology, TV & Film
Is podcasting social media? -Infinite remixability -maximum viral capability -ability to respond in other channels -liberation of ‘control’
Continuous Partial Attention (CPA) -coined by Linda Stone in 1998 -is about scanning continuously for opportunities across a network
(CPA) vs. Multi-tasking When we multi-task, we are motivated by a desire to be more productive and more efficient
Multi-tasking We're often doing things that are automatic, that require very little cognitive processing -we give equal attention to all activities -do it to be more efficient and more productive
CPA: To pay continuous partial attention is to pay partial attention -- CONTINUOUSLY. It is motivated by a desire to be a LIVE node on the network
Why do we want to connect and be connected?
To be busy, to be connected, is to be alive, to be recognized, and to matter
Attention Questions: * What types of attention do we have * What captures my attention at various times? * What captures my attention in social situations? * Where does attention go during sleep? * Who pays attention? Who attends? * What do I avoid attending to?
Internet War Diaries
People wrote these to reach out to people not in war: 1) as a way of sense-making, 2) for impression management, 3) to be participants in the social production of news and opinions about the war
New genre: war diary as a public narrative -descriptions of events can be published as they unfold, disseminating information to a global audience
In both countries people experienced a prolonged major disruption to their daily lives
The routine aspects of everyday life such as conversation and cooking, allow people to maintain a sense of reliability in everyday situations. When war broke out these everyday were no longer available.
They developed new routines of communicating regularly using the Internet. Why?
Communicating with others in normal non-war environments helped our informants to conduct sense making. When people encounter uncertain situations, they often communicate with each other to reduce uncertainty and recover a sense of order.
Media shapes people’s perceptions.
When interacting with others our actions influence people’s impression of us, and we conduct ourselves in a certain way in order to manage how we are perceived.
Blogs and videos allow our informants more control over their image in contrast to other media channels.
Values and normal are institutionalized in society, reinforced by the media (Castells). Informants targeted communications to outside their culture to report the “real” version of events.
They were able to participate in the production of news and thus in the social production of how the war was perceived outside of their country. They could manage the impression of their cultural image.
Internet empowers people whose physical actions were constrained in their disrupted war time environments. 1. People felt empowered by knowing many people viewed their writing. 2. The informants were able to take action through the internet, while severely restricted in travel an socializing face to face.
Managing their impressions to others was one way of taking action. Enabling people as citizen journalist to report alternative views to the official media channels or their detailed accounts further complimented mainstream media reports
Mass media plays a key role in the production of culture.
Digital culture is characterized not only by the actual media artifacts or the posting or exchange of messages, but by the norms values and expectations that are associated with these communications.
Implications for cross-cultural communication: As organizations continue to spread globally, blogs can be used to ameliorate several issues.
1. blogs as communication mediums can help bridge the cultural divide.
2. blogs can be used to create empathy for different work environments
3. rich communication mediums (such as video, audio-conference, face-to-face) are significantly better than text when building trust from a distance.
Links:
Josh On
http://www.theyrule.net/
http://theinfluencers.org/en/josh-on/video/3
CBC Podcast: Spark # 90 @ 26:45 run podcast to 36:00
Attention:
Breathing exercise online
http://podcast.cbc.ca/spark/spark_20091030_breathing.mp3
lumosity game
http://games.lumosity.com/chimp.html
How to Podcast with Skype and Audio hijack
http://www.blogarithms.com/index.php/archives/2007/12/23/skype-for-interviews/
http://www.engadget.com/2004/10/05/engadget-podcast-001-10-05-2004-how-to-podcasting-get/
Link to Presentations:
http://www.donnaszoke.fatcow.com/2P60/podcasting.html
A podcast is a multimedia file transmitted via the internet to a personal computer, often-then downloaded to a portable device, such as an iPod, for viewing or listening.
The greatest advantage that podcasting has over radio, TV, and even PVRs, is that material can be consumed at any time, any place and as many times as desired.
Podcast types can be broken down in many ways. The most obvious division is the primary format of the file:
1. Audio podcast -can include “album art” embedded into a file which consists of a show name, company logo, or photo of the host
-frequently included in the file itself are ID3 tags, which contain information (”metadata”) such as the episode title, host, topic, show number, and any other relevant information
Format: -most podcasters keep the show under a half-hour, encrypted at 128kbps or lower to keep the file size down and the content digestible
2. Video podcast Also known as ‘vidcasts’ or ‘vodcasts’, video podcasts Critical mass for the vidcast is expected to hit as next-generation handsets better capable of video download/playback become more common
Within these two types of podcast formats, production categories can also be identified: * Original Content * Re-purposed Content * Reference * Professional Content
Content Categories: iTunes breaks the down into 16 categories including; Arts, Business, Comedy, Education, Games & Hobbies, Government & Organization, Health, Kids & Family, Music, News & Politics, Religion & Spirituality, Science & Medicine, Society & Culture, Sports & Recreation, Technology, TV & Film
Is podcasting social media? -Infinite remixability -maximum viral capability -ability to respond in other channels -liberation of ‘control’
Continuous Partial Attention (CPA) -coined by Linda Stone in 1998 -is about scanning continuously for opportunities across a network
(CPA) vs. Multi-tasking When we multi-task, we are motivated by a desire to be more productive and more efficient
Multi-tasking We're often doing things that are automatic, that require very little cognitive processing -we give equal attention to all activities -do it to be more efficient and more productive
CPA: To pay continuous partial attention is to pay partial attention -- CONTINUOUSLY. It is motivated by a desire to be a LIVE node on the network
Why do we want to connect and be connected?
To be busy, to be connected, is to be alive, to be recognized, and to matter
Attention Questions: * What types of attention do we have * What captures my attention at various times? * What captures my attention in social situations? * Where does attention go during sleep? * Who pays attention? Who attends? * What do I avoid attending to?
Internet War Diaries
People wrote these to reach out to people not in war: 1) as a way of sense-making, 2) for impression management, 3) to be participants in the social production of news and opinions about the war
New genre: war diary as a public narrative -descriptions of events can be published as they unfold, disseminating information to a global audience
In both countries people experienced a prolonged major disruption to their daily lives
The routine aspects of everyday life such as conversation and cooking, allow people to maintain a sense of reliability in everyday situations. When war broke out these everyday were no longer available.
They developed new routines of communicating regularly using the Internet. Why?
Communicating with others in normal non-war environments helped our informants to conduct sense making. When people encounter uncertain situations, they often communicate with each other to reduce uncertainty and recover a sense of order.
Media shapes people’s perceptions.
When interacting with others our actions influence people’s impression of us, and we conduct ourselves in a certain way in order to manage how we are perceived.
Blogs and videos allow our informants more control over their image in contrast to other media channels.
Values and normal are institutionalized in society, reinforced by the media (Castells). Informants targeted communications to outside their culture to report the “real” version of events.
They were able to participate in the production of news and thus in the social production of how the war was perceived outside of their country. They could manage the impression of their cultural image.
Internet empowers people whose physical actions were constrained in their disrupted war time environments. 1. People felt empowered by knowing many people viewed their writing. 2. The informants were able to take action through the internet, while severely restricted in travel an socializing face to face.
Managing their impressions to others was one way of taking action. Enabling people as citizen journalist to report alternative views to the official media channels or their detailed accounts further complimented mainstream media reports
Mass media plays a key role in the production of culture.
Digital culture is characterized not only by the actual media artifacts or the posting or exchange of messages, but by the norms values and expectations that are associated with these communications.
Implications for cross-cultural communication: As organizations continue to spread globally, blogs can be used to ameliorate several issues.
1. blogs as communication mediums can help bridge the cultural divide.
2. blogs can be used to create empathy for different work environments
3. rich communication mediums (such as video, audio-conference, face-to-face) are significantly better than text when building trust from a distance.
Links:
Josh On
http://www.theyrule.net/
http://theinfluencers.org/en/josh-on/video/3
CBC Podcast: Spark # 90 @ 26:45 run podcast to 36:00
Attention:
Breathing exercise online
http://podcast.cbc.ca/spark/spark_20091030_breathing.mp3
lumosity game
http://games.lumosity.com/chimp.html
How to Podcast with Skype and Audio hijack
http://www.blogarithms.com/index.php/archives/2007/12/23/skype-for-interviews/
http://www.engadget.com/2004/10/05/engadget-podcast-001-10-05-2004-how-to-podcasting-get/
Link to Presentations:
http://www.donnaszoke.fatcow.com/2P60/podcasting.html
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