Extracted Annotations (Monday, February 24, 2014 3:44:32 PM)
\n\"Story is learning, celebrating, healing, and remembering. Each part of the life process necessitates it. Failure to make story honor these passages threatens the consciousness of communal identity\" ( :5)
\n\"Why and how do we remember stories? What affects our ability to retain stories? How do we develop our own sense of voice and story? And what kinds of stories from our lives are likely to work as multimedia stories?\" ( :6)
\n\"In Schank’s 1992 book, Tell Me a Story, he suggests that the cyclical process of developing increasingly complex levels of stories that we apply in increasingly sophisticated ways to specific situations is one way to map the human cognitive development process.\" ( :6)
\nldfkjgl;erwkjgl;ewj;lgr (note on p.8)
\n\n
\"The official voice is the voice of our expository writing class, our essays and term papers, or our formal memos and letters to our professional colleagues. We have been taught that this voice carries dispassionate authority, useful perhaps in avoiding misunderstandings, but absolutely deadly as a story.\" ( :8)
\n\"And because we view the storytelling process as a journey, we feel that framing our approach around the metaphor of “Steps,” rather than “Elements,” will more practically guide storytellers along the path of creating a meaningful digital story.\" ( :14)
\n\"we are helping our storytellers fully visualize their story as a finished piece before they begin to write their script\" ( :14)
\n\"Story Circle, which is discussed at length later in the book, we want to help each storyteller not only find and clarify the story being told, but also check in with them about how they feel about it, identify the moment of change in their story, then use that to help them think through how the audience will see and hear their story in the form of a digital stor\" ( :14)
\n\"Finding and clarifying what a story is really about isn’t easy. It’s a journey in which a storyteller’s insight or wisdom can evolve, even revealing an unexpected outcome\" ( :15)
\n\"“Why this story? Why now? What makes it today’s version of the story? What makes it your version of the story? Who’s it for? Who’s it to? How does this story show who you are? How does this story show why you are who you are?”\" ( :15)
\n\"In other words, change came to you or you went towards change.\" ( :15)
\n\"archetype of the symbolic journey\" ( :15)
\n\"The way you tell a story depends on the audience. What you are trying to say, and how you say it, depends on who is listening, what they already know and don’t know, and what you want them to know.\" ( :15)
\n\"Roger Schank tells us that through storytelling it is in fact the teller, rather than the listener, who seeks to learn from the story told.\" ( :15)
\n\"become aware of the emotional resonance of their story.\" ( :17)
\n\"As you shared your story, or story idea, what emotions did you experience? Can you identify at what points in sharing your story you felt certain emotions? If you experienced more than one emotion, were they contrasting?”\" ( :17)
\n\"“Which emotions will best help the audience understand the journey contained within your story? Is there an overall tone that captures a central theme? Can you convey your emotions without directly using “feeling” words or relying on clichés to describe them? For example, how can you imply the idea of happiness without saying, ‘I felt happy?’”\" ( :17)
\n\"Thus having an awareness of the contrasting and complex nature of a story’s emotional content will not only help get us in touch with the core of the story’s meaning, but also determine which emotions to include, and in what sequence to present them to help the audience understand the story.\" ( :17)
\n\"So when a storyteller wants the audience to pause long enough to listen, to listen deeply and trust them as a storyteller, they have to convey a sense of awareness and ownership of the emotions contained with their story.\" ( :17)
\n\"Within every community, and within every shared experience, there are many different ideas of what it means to disclose information. Therefore, knowing your intended audience can shape the emotional content of your story.\" ( :18)
\n\"The moment of change might be the most memorable or dramatic moment, or it may have occurred without the storyteller even noticing it at the time or grasping its significance in their life\" ( :19)
\n\"ompelling storytellers construct scenes to show how change happened, how they dealt with it, what they were like before the change, and what they are like after.\" ( :19)
\n\"Showing” through scene is part of the pleasure for the audience as they are drawn into the moment of change and actively construct their own interpretations. If you can paint the audience a portrait of both you, and your experience of the moment of change, then you are creating a scene.\" ( :19)
\n\"What do you see? What do you hear? What’s being said? What are your thoughts? What are your feelings? What is the context behind your feelings? Have you been in this situation before or since? Have you been in these surroundings, or had these thoughts or feelings before or since? When? Is that part of this story?\" ( :19)
\n\"How much of a scene you build around the moment of change, how you integrate that scene into the story, and the total number of scenes depends on how much information the audience needs to know in order to understand.\" ( :19)
\n\"These types of literal or direct images that are used to illustrate a story are called explicit imagery.\" ( :21)
\n\"Explicit imagery is useful for conveying the necessary details of your story or helping to set the scene for your audience.\" ( :21)
\n\"Implicit\" ( :21)
\n\"imagery is useful for implying or representing another meaning beyond an image’s explicit or literal meaning. Two common techniques for a storyteller to convey their meaning through the use of implicit imagery are visual metaphor and juxtaposition\" ( :22)
\n\"Well-chosen images act as mediators between the narrative and the audience. As stated in earlier discussions, audiences enjoy stories that lead them to a metaphorical river of meaning and require them to “jump in” in order to make their own connections.\" ( :22)
\n\"But in a story, we are listening for the shape of an organic, rhythmic quality that allows us to drift into reverie.\" ( :23)
\n\"This requires answering two questions: How are you structuring the story? And, within that structure, how are the layers of visual and audio narratives working together?\" ( :24)
\n\"In other words, don’t give away too much information all at once. Allow your audience\" ( :25)
\n\"ence to enjoy the challenge. And rather than establishing a chronological telling of events with the moment of change positioned as the story’s climax, you might instead try moving the moment of change to the beginning with little or no context, which may leave the moment hanging to pique the interest of the audience, and then go back and fill in more and more details and scenes and allow the audience to piece together the meaning and resolution.\" ( :25)
\n\"your visual and audio narratives are working together within each of these layers, ask yourself: Do I want them to be redundant, complementary, juxtaposing, or disjunctive?\" ( :26)
\n\"economize each in relationship to one another\" ( :26)
\n\"You can ask yourself: If I have an image that conveys my meaning better than words can, how can I use my words to tell another aspect of the scene?\" ( :26)
\n\"This process of the audience understanding bits and pieces of information as a single idea is called “closure.”\" ( :26)
\n\"pacing is one of the final considerations\" ( :26)
\n\"Digital stories contain multiple visual and audio layers. The visual layers are: – The composition of a single image – The combination of multiple images within a single frame, either through collage or fading over time – The juxtaposition of a series of images over time – Movement applied to a single image, either by panning or zooming or the juxtaposition of a series of cropped details from the whole image – The use of text on screen in relation to visuals, spoken narration, or sound The audio layers are: – Recorded voice-over – Recorded voice-over in relation to sound, either music or ambient sound – Music alone or in contrast to another piece of music\" ( :27)
\n\"The story and the insight it conveys may have evolved throughout the process. Therefore, it is important to take time now to revisit the context in which the story was initially described in order to determine the relevant information to include when the story is being shared.\" ( :27)
\n\"Who is your audience? What was your purpose in creating the story? Has the purpose shifted during the process of creating the piece? In what presentation will your digital story be viewed? And what life will the story have after it’s completed?\" ( :27)
\n\"Contextualizing information can be either within or outside of the story’s script.\" ( :28)
\n\"Being clear about your purpose in creating the story and how it may have shifted during the process of creating the piece will help you determine how you present and share your story\" ( :28)
\n\"Just because the subject matter was clear to a workshop participant, it wasn’t always easy to get the script written.\" ( :30)
\n\"In this chapter we will discuss the notion of how to find your best creative voice for self-expression in writing, about how writing happens, and about what makes the way you write unique and powerful\" ( :30)
\nHOW connect idea of circle n community? (note on p.30)
\n\n
\"The physicalization of a memory, trying to remember a time by remembering the places of that time, the places you traveled through on a daily basis, a neighborhood, a house, or a room, usually leads quickly to events that are rich with the kinds of meaningful inspections that make good stories.\" ( :31)
\n\"fairly typical set of expository contexts, and a sequence of events that most people use to casually recall a major catastrophe in their lives.\" ( :32)
\n\"This approach is a fairly direct and distanced recitation of the facts, and it usually finishes with a statement that is conclusive.\" ( :32)
\n\"We have found that audiences really can build an elaborate understanding of the story if they can get a sense of the pretext of an event.\" ( :33)
\n\"Taking the audience to the moment of an important scene, one that either initiates or concludes your tale, and putting them in your shoes, is why we listen to the story.\" ( :33)
\n\"In our thinking about scene, we want to encourage people to share at least one portion of their narrative as a scene—to write as if they were there, inside the events as they unfolded, experiencing the shock, surprise, or amusement, for example, for the first time\" ( :33)
\n\"Personal storytellers are not judges or juries, they are witnesses. And as witnesses, we seek truth inside and around the simple lines of the sketch of their memories\" ( :34)
\n\"A storyboard is a place to plan out a visual story in two dimensions. The first dimension is time: what happens first, next, and last. The second is interaction: how the the audio—the voice-over narrative of your story and the music—interacts with the images or video.\" ( :36)
\n\"composition includes imagining the many choices available to a director regarding camera placement, focal point, shot duration, possible edits, and camera-based effects such as panning and zooming.\" ( :36)
\n\"storyboards clarify what you do not need, and saves you from scanning, photographing, shooting, designing, or recording things that don’t fit into a particular story.\" ( :36)
\n\"But for now, try to use the best effect of all: letting images speak for themselves, and using words to say the rest.\" ( :38)
\nSoundtrack
Images- rough, ready, final
Video
Scans
Titles
Voiceover (note on p.41)
\n
\"However, a moderate dpi of 200 in most cases will provide sufficient quality for digi-tal video and prevent slow image-processing time in both Photoshop and your digital video editor.\" ( :42)
\n\"However, the JPEG format will compress the file and lower the image quality.\" ( :42)
\n\"The pixel dimensions of width and height should add up to at least 1000 pixels. Examples: Good = 100W x 900H, or 500W x 500H, Bad = 100W x 200H.\" ( :43)
\n\"We have found these will do in a pinch, but it is much better to have a mixing board to control gain (volume in) and equalization (higher or lower range of voices).\" ( :45)
\n\"The higher the bit depth (8, 16, 24), the better the audio. Audio is also calibrated by the dynamic range of information recorded, from low (11 kHz) to high (44 kHz).\" ( :45)
\n\"We recommend that you record your voiceover at the same quality level that you record your musical soundtrack: 16-bit, 44 kHz.\" ( :45)
\n\"720 pixels wide by 480 pixels high (4:3 ratio). The reason for this is that 4:3 happens to be the ratio for most TV, video and computer screens\" ( :51)
\n\"720x480 pixels, our DV standard\" ( :63)
\n\"720x540 dimension and then we scrunch it.\" ( :63)
\n\"Helpful Tip Saving successive files, instead of saving over the same file, is recommended (and required at CDS workshops). This is done by using the Save Project As command every time you save. The first time you save your project, add 01 to the end of your name in the Save As field. The second time you save, add 02. Eventually, you will end up with a history of your work at progressively more advanced stages of completion. If the project file you are working on ever becomes corrupt or unusable for any reason, you can always start with the last clean file you saved, rather than starting everything over.\" ( :74)
", "tags": [], "relations": {}, "dateAdded": "2014-02-27T15:32:42Z", "dateModified": "2014-02-27T15:32:42Z" } }, { "key": "ZZWZ3IF2", "version": 3, "library": { "type": "group", "id": 251362, "name": "UCB PWR Digital Storytelling", "links": { "alternate": { "href": "https://www.zotero.org/groups/ucb_pwr_digital_storytelling", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/251362/items/ZZWZ3IF2", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/ucb_pwr_digital_storytelling/items/ZZWZ3IF2", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/251362/items/B2XS3T5P", "type": "application/json" } }, "meta": { "createdByUser": { "id": 299360, "username": "sinkinso", "name": "", "links": { "alternate": { "href": "https://www.zotero.org/sinkinso", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "ZZWZ3IF2", "version": 3, "parentItem": "B2XS3T5P", "itemType": "note", "note": "Extracted Annotations (Monday, February 24, 2014 10:36:03 AM)
\n\"Story is learning, celebrating, healing, and remembering. Each part of the life process necessitates it. Failure to make story honor these passages threatens the consciousness of communal identity\" ( :5)
\n\"Why and how do we remember stories? What affects our ability to retain stories? How do we develop our own sense of voice and story? And what kinds of stories from our lives are likely to work as multimedia stories?\" ( :6)
\n\"In Schank’s 1992 book, Tell Me a Story, he suggests that the cyclical process of developing increasingly complex levels of stories that we apply in increasingly sophisticated ways to specific situations is one way to map the human cognitive development process.\" ( :6)
\n\"The official voice is the voice of our expository writing class, our essays and term papers, or our formal memos and letters to our professional colleagues. We have been taught that this voice carries dispassionate authority, useful perhaps in avoiding misunderstandings, but absolutely deadly as a story.\" ( :8)
\n\"And because we view the storytelling process as a journey, we feel that framing our approach around the metaphor of “Steps,” rather than “Elements,” will more practically guide storytellers along the path of creating a meaningful digital story.\" ( :14)
\n\"we are helping our storytellers fully visualize their story as a finished piece before they begin to write their script\" ( :14)
\n\"Story Circle, which is discussed at length later in the book, we want to help each storyteller not only find and clarify the story being told, but also check in with them about how they feel about it, identify the moment of change in their story, then use that to help them think through how the audience will see and hear their story in the form of a digital stor\" ( :14)
\n\"Finding and clarifying what a story is really about isn’t easy. It’s a journey in which a storyteller’s insight or wisdom can evolve, even revealing an unexpected outcome\" ( :15)
\n\"“Why this story? Why now? What makes it today’s version of the story? What makes it your version of the story? Who’s it for? Who’s it to? How does this story show who you are? How does this story show why you are who you are?”\" ( :15)
\n\"In other words, change came to you or you went towards change.\" ( :15)
\n\"archetype of the symbolic journey\" ( :15)
\n\"The way you tell a story depends on the audience. What you are trying to say, and how you say it, depends on who is listening, what they already know and don’t know, and what you want them to know.\" ( :15)
\n\"Roger Schank tells us that through storytelling it is in fact the teller, rather than the listener, who seeks to learn from the story told.\" ( :15)
\n\"become aware of the emotional resonance of their story.\" ( :17)
\n\"As you shared your story, or story idea, what emotions did you experience? Can you identify at what points in sharing your story you felt certain emotions? If you experienced more than one emotion, were they contrasting?”\" ( :17)
\n\"“Which emotions will best help the audience understand the journey contained within your story? Is there an overall tone that captures a central theme? Can you convey your emotions without directly using “feeling” words or relying on clichés to describe them? For example, how can you imply the idea of happiness without saying, ‘I felt happy?’”\" ( :17)
\n\"Thus having an awareness of the contrasting and complex nature of a story’s emotional content will not only help get us in touch with the core of the story’s meaning, but also determine which emotions to include, and in what sequence to present them to help the audience understand the story.\" ( :17)
\n\"So when a storyteller wants the audience to pause long enough to listen, to listen deeply and trust them as a storyteller, they have to convey a sense of awareness and ownership of the emotions contained with their story.\" ( :17)
\n\"Within every community, and within every shared experience, there are many different ideas of what it means to disclose information. Therefore, knowing your intended audience can shape the emotional content of your story.\" ( :18)
\n\"The moment of change might be the most memorable or dramatic moment, or it may have occurred without the storyteller even noticing it at the time or grasping its significance in their life\" ( :19)
\n\"ompelling storytellers construct scenes to show how change happened, how they dealt with it, what they were like before the change, and what they are like after.\" ( :19)
\n\"Showing” through scene is part of the pleasure for the audience as they are drawn into the moment of change and actively construct their own interpretations. If you can paint the audience a portrait of both you, and your experience of the moment of change, then you are creating a scene.\" ( :19)
\n\"What do you see? What do you hear? What’s being said? What are your thoughts? What are your feelings? What is the context behind your feelings? Have you been in this situation before or since? Have you been in these surroundings, or had these thoughts or feelings before or since? When? Is that part of this story?\" ( :19)
\n\"How much of a scene you build around the moment of change, how you integrate that scene into the story, and the total number of scenes depends on how much information the audience needs to know in order to understand.\" ( :19)
\n\"These types of literal or direct images that are used to illustrate a story are called explicit imagery.\" ( :21)
\n\"Explicit imagery is useful for conveying the necessary details of your story or helping to set the scene for your audience.\" ( :21)
\n\"Implicit\" ( :21)
\n\"imagery is useful for implying or representing another meaning beyond an image’s explicit or literal meaning. Two common techniques for a storyteller to convey their meaning through the use of implicit imagery are visual metaphor and juxtaposition\" ( :22)
\n\"Well-chosen images act as mediators between the narrative and the audience. As stated in earlier discussions, audiences enjoy stories that lead them to a metaphorical river of meaning and require them to “jump in” in order to make their own connections.\" ( :22)
\n\"But in a story, we are listening for the shape of an organic, rhythmic quality that allows us to drift into reverie.\" ( :23)
\n\"This requires answering two questions: How are you structuring the story? And, within that structure, how are the layers of visual and audio narratives working together?\" ( :24)
\n\"In other words, don’t give away too much information all at once. Allow your audience\" ( :25)
\n\"ence to enjoy the challenge. And rather than establishing a chronological telling of events with the moment of change positioned as the story’s climax, you might instead try moving the moment of change to the beginning with little or no context, which may leave the moment hanging to pique the interest of the audience, and then go back and fill in more and more details and scenes and allow the audience to piece together the meaning and resolution.\" ( :25)
\n\"your visual and audio narratives are working together within each of these layers, ask yourself: Do I want them to be redundant, complementary, juxtaposing, or disjunctive?\" ( :26)
\n\"economize each in relationship to one another\" ( :26)
\n\"You can ask yourself: If I have an image that conveys my meaning better than words can, how can I use my words to tell another aspect of the scene?\" ( :26)
\n\"This process of the audience understanding bits and pieces of information as a single idea is called “closure.”\" ( :26)
\n\"pacing is one of the final considerations\" ( :26)
\n\"Digital stories contain multiple visual and audio layers. The visual layers are: – The composition of a single image – The combination of multiple images within a single frame, either through collage or fading over time – The juxtaposition of a series of images over time – Movement applied to a single image, either by panning or zooming or the juxtaposition of a series of cropped details from the whole image – The use of text on screen in relation to visuals, spoken narration, or sound The audio layers are: – Recorded voice-over – Recorded voice-over in relation to sound, either music or ambient sound – Music alone or in contrast to another piece of music\" ( :27)
\n\"The story and the insight it conveys may have evolved throughout the process. Therefore, it is important to take time now to revisit the context in which the story was initially described in order to determine the relevant information to include when the story is being shared.\" ( :27)
\n\"Who is your audience? What was your purpose in creating the story? Has the purpose shifted during the process of creating the piece? In what presentation will your digital story be viewed? And what life will the story have after it’s completed?\" ( :27)
\n\"Contextualizing information can be either within or outside of the story’s script.\" ( :28)
\n\"Being clear about your purpose in creating the story and how it may have shifted during the process of creating the piece will help you determine how you present and share your story\" ( :28)
\n\"Just because the subject matter was clear to a workshop participant, it wasn’t always easy to get the script written.\" ( :30)
\n\"In this chapter we will discuss the notion of how to find your best creative voice for self-expression in writing, about how writing happens, and about what makes the way you write unique and powerful\" ( :30)
\nHOW connect idea of circle n community? (note on p.30)
\n\n
\"The physicalization of a memory, trying to remember a time by remembering the places of that time, the places you traveled through on a daily basis, a neighborhood, a house, or a room, usually leads quickly to events that are rich with the kinds of meaningful inspections that make good stories.\" ( :31)
\n\"fairly typical set of expository contexts, and a sequence of events that most people use to casually recall a major catastrophe in their lives.\" ( :32)
\n\"This approach is a fairly direct and distanced recitation of the facts, and it usually finishes with a statement that is conclusive.\" ( :32)
\n\"We have found that audiences really can build an elaborate understanding of the story if they can get a sense of the pretext of an event.\" ( :33)
\n\"Taking the audience to the moment of an important scene, one that either initiates or concludes your tale, and putting them in your shoes, is why we listen to the story.\" ( :33)
\n\"In our thinking about scene, we want to encourage people to share at least one portion of their narrative as a scene—to write as if they were there, inside the events as they unfolded, experiencing the shock, surprise, or amusement, for example, for the first time\" ( :33)
\n\"Personal storytellers are not judges or juries, they are witnesses. And as witnesses, we seek truth inside and around the simple lines of the sketch of their memories\" ( :34)
\n\"A storyboard is a place to plan out a visual story in two dimensions. The first dimension is time: what happens first, next, and last. The second is interaction: how the the audio—the voice-over narrative of your story and the music—interacts with the images or video.\" ( :36)
\n\"composition includes imagining the many choices available to a director regarding camera placement, focal point, shot duration, possible edits, and camera-based effects such as panning and zooming.\" ( :36)
\n\"storyboards clarify what you do not need, and saves you from scanning, photographing, shooting, designing, or recording things that don’t fit into a particular story.\" ( :36)
\n\"But for now, try to use the best effect of all: letting images speak for themselves, and using words to say the rest.\" ( :38)
\nSoundtrack
Images- rough, ready, final
Video
Scans
Titles
Voiceover (note on p.41)
\n
\"However, a moderate dpi of 200 in most cases will provide sufficient quality for digi-tal video and prevent slow image-processing time in both Photoshop and your digital video editor.\" ( :42)
\n\"However, the JPEG format will compress the file and lower the image quality.\" ( :42)
\n\"The pixel dimensions of width and height should add up to at least 1000 pixels. Examples: Good = 100W x 900H, or 500W x 500H, Bad = 100W x 200H.\" ( :43)
\n\"We have found these will do in a pinch, but it is much better to have a mixing board to control gain (volume in) and equalization (higher or lower range of voices).\" ( :45)
\n\"The higher the bit depth (8, 16, 24), the better the audio. Audio is also calibrated by the dynamic range of information recorded, from low (11 kHz) to high (44 kHz).\" ( :45)
\n\"We recommend that you record your voiceover at the same quality level that you record your musical soundtrack: 16-bit, 44 kHz.\" ( :45)
\n\"720 pixels wide by 480 pixels high (4:3 ratio). The reason for this is that 4:3 happens to be the ratio for most TV, video and computer screens\" ( :51)
\n\"720x480 pixels, our DV standard\" ( :63)
\n\"720x540 dimension and then we scrunch it.\" ( :63)
\n\"Helpful Tip Saving successive files, instead of saving over the same file, is recommended (and required at CDS workshops). This is done by using the Save Project As command every time you save. The first time you save your project, add 01 to the end of your name in the Save As field. The second time you save, add 02. Eventually, you will end up with a history of your work at progressively more advanced stages of completion. If the project file you are working on ever becomes corrupt or unusable for any reason, you can always start with the last clean file you saved, rather than starting everything over.\" ( :74)
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Storytelling Definition:
\n\n
\n
Fandom:
\n\n
New media storytelling examples:
\nBA Definition:
\n\"for a given audience, a story is a sequence of content, anchored on a problem, which engages that audience with emotion and meaning.\"
\nUbiquitous computing:
\nMark Weiser: \"the best technologies lose\"
\nWhat is story:
\n