This week, at Networked Narratives, the focus is on using sound for writing and writing for sound. There are a few suggested activities (including gathering sounds from your surroundings), but I figured I would dig back into some past posts where I did focus on sound, both as a writer and as a teacher encouraging my students to write with sound.
Here are some annotated links:
Sound Stories — for the past two years, during Digital Writing Month, I have been teaching my students how to use Garageband to create Sound Stories. Their task is to weave in sound effects into a short story, and then work on the recording and engineering and publishing of those stories. The results are always intriguing.
The Rhizomatic Play — In DS106, a focus is often the creation and production of Radio Plays. We took that idea during a Rhizo online collaboration and created a very complex production, featuring participants (as writers and as voices) from all over the world.
No Words/Only Sounds: I also tinkered with a sound story, but tried to use no words at all, and let the sound effects tell the tale. It was an intriguing compositional process, let me tell you. But worth it.
Musical Conversations: In CLMOOC, a friend and I worked on converting language to music, and then creating a collaborative musical composition of our “conversation.” Another interesting use of sound.
Image Conversion into Sound: There is this program called AudioPaint (for PC only) that will take an image and convert the bitmap into audio. It’s strange and odd, and makes you think about the relationship of digital work across media. Here, I wrote a poem, which I made into an image, and then re-crafted it into sound.
I was reading through the suggested activities for last week’s Networked Narratives course, and came across Alan Levine’s suggestion for doing a “Four Icon Story” that uses icons to tell a story with no words. I’ve done those before on Twitter via DS106. The visual aspect of writing (and trying to guess another’s four icon story) is interesting.
One note: While Eric suggests that “control R” randomizes the emojis in the spreadsheet, my Mac wanted to do “command R” to get the randomizer working. So, you may need to tinker a bit.
I didn’t add any new emojis to Eric’s database, but it is certainly possible to do. Instead, I hit the “randomizer” button (Command R) and got my list of five emoji inspiration. How lucky is it that a saxophone was in the mix? Pretty cool!
And then, I wrote a story.
It was one of those blustery nights, the kind of night where every living thing in the jungle or the plains fell silent and tried to sleep, hoping for the sun in the morning. The Lion was hungry but not motivated to hunt. He knew there would be little out here, with the Wind blowing from the East. Hunting would likely be more trouble than it would be worth. Huddled in the leeward side of his rock, Lion pulled out his cell phone, and checked for service. Even with the Google Wireless Balloons in the air and Facebook towers dotting the plains, Internet service was spotty in these far reaches of the world. Lion imagined the Winds buffeting the Balloons, knocking over towers. Sure enough, there was no cell phone service on this night. Lion sighed. Hungry and disconnected from the world. He closed his eyes and sought out sleep. As he drifted off into dreams, he caught the faint sounds of music, as if someone were riffing off the melody of the Wind. The jazz floated above the plains, flatted fifths and augmented sevenths. Lion opened his eyes. Perhaps he might go hunting tonight, after all. The musician played on, unaware of the power of his song.
I grabbed out phrases, and met those words with images. The reader moves at their own pace, so the Zeega may not be in sync. That’s OK. I think the Zeega is a poem in and of itself, influenced by but different from the original.
You can move and read and listen at your own pace.
(NOTE: Some browsers don’t like Zeega because of “unsafe scripts.” This has to do with Terry hosted a version of Zeega on his own, I think. You can click on the option in the URL bar to allow the scripts to be read by your browser.)
Well, I did it. Check out the PeaceLove&Bot bot. Every six hours, the PeaceLove bot will send out a new tweet that begins with the lines made famous in the Elvis Costello song (but written by Nick Lowe) with random word replacing “Understanding” in the lyrics. I’ve included the #NetNarr hashtag in the code, too, so that the tweets get sent into the NetNarr twitter stream.
Phew. It was both easier and more difficult than I thought, and it took a long time on Saturday to get all of the programming pieces together. I used a free program called Tracery and hosting site called Cheap Bots by the very generous @GalaxyKate and George Buckinham.
Hey #NetNarr – What’s So Funny about Peace Love and Remix?
The easy piece was that Kate and George really make the programming possibilities fairly simple to use. The difficult part was the ins and outs of making sure I was writing my code correctly, for any little thing made the bot go boink (hard to resist that alliteration and Scooby Doo onomatopoeia).
First, I had to create an entire new Twitter account. Which I did. But then when I connected the Cheap Bots to the account, Twitter got mad and shut down my account, asking me for a phone number to reinstate the account. I did that, and then realized that now my main Twitter account could not use the same mobile phone number as my bot account … ack … I confirmed that Cheap Bots could use my new Twitter bot account, and then reversed the use of the phone number (which I use as a validation tool for my Twitter account).
Third, I was stuck with the question. I am making a Twitter Bot, but what should it say to the world? I had Elvis Costello in my head, singing along with What’s So Funny (about Peace, Love and Understanding) and wondered if that might be a way to keep true to staying positive in this negative time of Trump, while also keeping the underlying mechanics of the Bot simple. It would use a common phrase but replace a word each time with a random word from a database.
Fourth, what database? I realized that while ideally I would have my bot draw from some outside database, I could not take on the technical aspects of that. Tracery allows you to make your own database right in the code, so I did that, mulling over phrases and words that would remain positive and still fit in the song title. At one point (and I might return to this), I had this idea of using the invented, made-up words from my students’ Crazy Collaborative Dictionary (which I wrote about the other day) as the database for the bot. But when I experimented, the bot didn’t seem to want to recognize the invented words. It may have been something that I did wrong with the code. Not sure. So I went back to my original database.
And now? The PeaceLove&Bot is loose upon the world. Every six hours, a new tweet is sent out. I may yet add more words to the database, and heck … I invite you: What words or phrases should end the What’s So Funny about Peace Love and ?????? Leave a comment here at the blog. I’ll add your word in.
Peace (not so funny in these tumultuous days),
So, I am on another meander .. trying to parse out the possibilities of Twitter Bots as a means of digital writing. And wondering, is it? I don’t rightly know. Thus, the meander.
I’m on this line of inquiry thanks to the Networked Narratives crew, and one of the paths revealed during the recent “studio tour” with Leonardo Flores, whose work with generative Twitter Bots sparked some interesting annotation discussions.
Certainly, Twitter Bots — which are programmed to release writing or images or something from a data base at random or programmed times — are numerous (as I found when I started looking for them with new eyes) and funny and entertaining. Some bots mesh together ideas from other sites, creating a hybrid tweet. Others are original material, parsed together in odd ways. Some bots take on personalities from history, using archived texts as source material. Others are like programmed memes, making political fun of something through satire and sarcasm. Some are stories, unfolding in small bits over time.
Right now, I am following Mia Zamora and Alan Levine’s suggestion at Networked Narratives to “follow some bots” and see what happens over a few days time. I created a Twitter List of various bots that I have found (and feel free to follow the list if you want or you can ask Flores’ HotBots Bot to recommend Bots to follow based on your question or theme), and find myself dipping into the narrative stream now and then. It’s not a great strategy because the bot tweets are all mixed up, like a book whose pages have been put into disorder.
What I am wondering about in the larger picture, though, is this: can I make and launch my own Twitter Bot?
Yesterday, I started working on a Twitter Bot to send into the NetNarr twitter stream and I think I can pull it off, but I have been struggling with what would I want that bot to say to the world? What database might it mine for words and ideas? What message? Is my act of making a bot share writing out to the world an act writing?
More to come …. tomorrow, I will write about my bot experiment.
A few weeks ago, for the #CLMOOC DigiWriMo Pop Up Make Cycle, the focus was on animation. There are all sorts of apps that allow you to animate now, and StickNodes is one of my favorites (I paid the $1.99 for the Pro version). It’s an update on an old freeware that I used to use with students called Pivot Animator. When we shifted to Macs, I had to move away from Pivot (it is a PC-only freeware) and tried Stykz for a bit.
StickNodes Pro is pretty easy to use, and has a lot of powerful features for animating stick figures. It’s also pretty darn fun to use. You can create and then export your animation as video or gif files, which can be hosted elsewhere.
Here is one of my early experiments: Stickman Walking. (I had uploaded it into Vine, which you can no longer do)
No surprise that there are tutorial videos on YouTube for using the app. Here is the first in a series done by this person.
Give it a try. Or try some other app, and let us know. We’re animating this week!
(A collage of “grounds” from the Look Down to the Ground Collaboration)
We’re wrapping up two weeks of Pop-Up Make Cycles that the CLMOOC Crowd (past participants who have stepped up to facilitate the Connected Learning MOOC this past year) organized for what used to be Digital Writing Month (but may be no more). We invited people to share photos, annotate and curate on the Web, make and share animations, discuss Digital Writing in a variety of formats, produce inspirational images and messages, and more.
It’s probably not the ideal time of year to hope that many, many people will take the CLMOOC up on the invitation to make, create, share. Still, that’s the beauty of the Pop-Up Make Cycle idea (first launched by Joe Dillon and Terry Elliott, I believe). It comes. It goes. It’s an open invitation.
Two of the pieces I am proud of making:
Do I wish more folks participated? Yes. But then I remember something we said early this past summer at all due to a different focus for the National Writing Project, when it seemed that CLMOOC might not happen in 2016.
A few us (participants and past facilitators) chatted and decided: Yes, CLMOOC will indeed happen, and those few soon grew to more than a dozen people who volunteered to become the CLMOOC Crowd (my name for it). We agreed that “small” is perfectly fine. The “M” in this mooc does not have to be “massive” anymore. It just has to be “meaningful.” So, “minimal” works, too.
We’re in the early days of our Video Game Design Project, in which my sixth graders are learning how to use a narrative “story frame” to design and publish a video game via Gamestar Mechanic. As a writing teacher, my aim is to show how story can become the backbone of a video game, and how the reader “plays” the story that the game designer has written. It’s all about expanding the notions of Digital Writing, and how games are emerging as the place for inventive storytelling.
This week, students have been brainstorming their “story frames” and that work is done before they can start designing their games. I want them to have a “map” of where they are going before they starting designing with blocks and avatars and rewards and more. I am always pleasantly surprise by the detail of their brainstorming and their imagination.
Our theme this year is “the Hero’s Journey/Quest” — a topic we have been building off since September (in the past, these games were all science-themed, but this year’s shift to Next Gen Standards for our science teacher created a bit of a problem for us, so we’ll try again next year).
We connect game design to writing process and we do a lot of writing in this unit, from Game Developer Reflections to writing persuasive Game Reviews (as podcasts) to using their “game worlds” as setting for short stories, and more. I aim to use their engagement in game design to spark their interest in writing across genres.
As a mentor text, I dissect my own game for them. My game – called The Odyssey of Tara — is a riff off The Odyssey, where our hero — Tara — has to make her way home, fighting monsters and battling obstacles along the way.
I’m looking forward to playing my students’ stories.
Here are steps to making and sharing a simple stopmotion animation with Para Para Animation (part of Mozilla’s Webmaker family … I think …) Warning: The site is kind of funky at times and not always completely stable. And I am not sure how well it works on mobile devices. Just warning you. But I have used it with students and they LOVE it for the simplicity and easy entry point. You will, too.
I was reading and commenting and enjoying the discussion that has been unfolding in both the body and the comments of this Open Document/Slow Chat format centered on the nature of images as digital writing as part of the CLMOOC Pop-Up Make Cycle last week. You should read it. And contribute.
I was wondering how to make sense of the various threads, and decided to try my hand at a Found Poem. I narrowed my reading to just the comments off to the side. As I dug around, some common themes and phrases began to emerge, and I assembled and then re-assembled them in another document, tinkering with the flow — adding a few words here, changing some endings there — until a poem emerged. Of sorts.
I decided, in the interest of Digital Writing, that I wanted to do something different with the poem, so I opened up Keynote and began constructing the poem as Kinetic Text, using the animation feature within the slideshow to have parts of the poem appear and disappear. I could have gone fancier, I suppose, but I wanted to keep things simple so the words would not get lost for the flash. (I’ve done this kind of piece before. See my resource at Digital Is.)