#NetNarr: Maps as Stories/Stories as Maps

 

Thanks to my friend, Daniel, for sharing this intriguing map-building/story-telling site with us on Twitter called Story Maps a few weeks ago. As we continue to dive into  Networked Narratives (NetNarr), I wonder if this kind of mapping site might be a useful resource for building maps and worlds, with stories.

I like the site seems to be open-source, with plenty of links for tutorials on how to build and share story maps.  The map that Daniel shared — Bruised Borders — looks at places where disputes over boundaries of countries have erupted into conflict. (The embedded materials aren’t great here … I suggest following links to the site itself for full experience. If your browser won’t load the embed, you might need to allow for unsafe scripts.)

 

Or this one, about economic inequities in American cities.

I am not sure how this Story Maps site might be useful for consideration of Networked Narratives — which has shifted into interactions around fictional worlds.

But the underlying idea is to nurture a “civic imagination” so that we can make the world a better place (or that’s how I am understanding it right now) and maybe these kinds of maps as stories might allow us another entry into that concept..

Peace (on the map and beyond),
Kevin

The Daily Arganee: A Slanted View

Daily Arganee video

I spent a good part of the first 100 days of the Networked Narratives adventure trying to do the Daily Arganee prompt just about every day, both in my guise as The Internet Kid and Horse with no Name, and as myself, using an app called Legend to create short bursts of creativity. I stopped at the 100th prompt but may soon jump back on board. (I hit 98 with the Kid/Horse combo but only 79 as myself, according to the Daily Araganee leaderboard).

I stopped to take a breather when it started to feel like a chore rather than like fun. In addition, the NetNarr experience has shifted into a Mirror World element, and that has included new personas (I have another alternative fictional character in play) and different activities. I’ve been concentrating on that NetNarr aspect for now.

Using the Legend app gave me both some freedom (merging art with words and movement) and structure (limited text/characters) and I worked hard to try to see each prompt from a different angle, to come at it from the slanted view. I can’t quite explain what I mean, except that I never tried to directly address the prompt. Instead, I tried to come at it from an unexpected angle. Obviously, some days were more effective than others.

I have now gathered up many of the prompts that I responded to (although you can find them one at a time at the Daily Arganee site, too) , and put them into Animoto as a curated video space. I like the effect of them all together.

Take a look.

Peace (each day),
Kevin

Where Social Media Tumbles into Civic Engagement


Wired Laundrette flickr photo by mikecogh shared under a Creative Commons (BY-SA) license

I was recently re-reading an interesting article by Clive Thompson, in Wired magazine, entitled “The Social Medium is the Message,” (which has a different title online, for whatever reason) and some of what he writes about resonates with the connection between social media, storytelling and civic imagination that forms the core anchor of the Networked Narratives course.

Here are some bits from Thompson’s article that stuck with me, and then some of my own commentary afterwards.

“Over the next year, the mainstream culture will grapple, for real, with the civic and political effects of our lives online.” — Clive Thompson, Wired, “The Social Medium is the Message”

That’s a fact. Whether it will be a productive discussion remains to be seen. The opening days of this presidency are not holding out great hope, with talk of “alternative facts” and outright lies to the American public and media.

“The most effective disinformation usually begins with an actual fact then amplifies, distorts, or elides; ban the distortion and you risk looking like you are banning the nugget of truth, too.” — Clive Thompson

See above. Trump, as Thompson notes, smartly understands this piece of how disinformation can be used. I suspect media outlets will be under gun until they find a way to harness the power they do have to hold officials accountable for their actions, and their words, and their tweets. We’ve already seen that happening in some of the major news organizations.

“There are limits to what technological fixes can achieve in civic life. Though social networks amplify American partisanship and distrust of institutions, those problems have been rising for years.” – Clive Thompson

Which means it may not be technology, but us, the people, who need to find ways to make this new system work. We need to pressure social media to reduce our bubbles (don’t just share with me things I want to read) and we need to reach out to others. Obama’s quote of calling on someone, in person, to discuss differences of opinions? Yes on that.

“The old order was flawed and elitist and locked out too many voices; it produced seemingly consensus by preventing many from being heard. We’re still fumbling around for new mechanisms that can replace that order and improve upon it.” — Clive Thompson

It seems to me that the Networked Narratives is evolving at the right moment in time, and that while we are celebrating the notions of digital storytelling in a very connected age, we also have to acknowledge and grapple with the reality of darkness that comes with such a shift. This week, we saw some of that darkness emerge with Facebook being the platform for a murder, playing out for the world to see, and all of the ensuing questions that arise about responsibility and censorship and viral natures of digital platforms.

If we want ourselves, and our children and our students, to become engaged in civic life, then we need to find ways to harness the potential positive power of networks for the good of the world (even though what one person defines as “good” might be “bad” in the mind of someone else).

I’m curious to know what you think.

Peace (brimming through the wires),
Kevin

Experiencing the Art of Sound

It was by chance that my wife and I found ourselves inside Boston’s Isabella Stewart Gardner Museum the other day, and I realized with a strange sense of “of course” that one of the exhibits was something I had shared out to the Networked Narratives world a few week ago, during our work with Sound and Story.

And here I was, wandering into the Art of Sound.

Stewart’s museum is intriguing, as the inside “palace” inside is chock full of all sorts of artistic wonders, and a few missing pieces (the museum was the scene of a great unsolved art heist many years ago). She was a patron of musicians, as is evident from collections of letter and music-themed art.

The Art of Sound is a series of sound pieces scattered about the museum (and other public spaces around Boston, apparently) that seeks to offer “new insights into the spatial, social, and aesthetic dimension of sound,” according to the museum information.

Each piece does have an interesting aural experience for the listener, and I appreciated how difficult it must be to create a sound experience in a museum built on the visual. One work, with LED lights and hanging crystals, reacts to your presence, giving off a sonic hum, as if enveloping you into the experience.

Stewart Museum sound

Another work is centered the purring of cats, which my wife and I found quite amusing. As you stare at huge close-up portraits of cats, who seem quite content to get their image taken, you listen to headphones of purring, and you move through the different tonal qualities of each cat’s individual purr. We found ourselves trying to remember the purr of our late cat, Coltrane.

Stewart Museum sound

In another piece, a massive room has been converted into a soundscape, where lights flicker on and off on the floor as a melody plays. The walls are full of speakers, set at different heights, to give an other-worldly element to the exhibit. We were there during the day, but I bet in fading light, the colors connected to the music would be even more interesting.

I found this video at the museum site, talking about one of the exhibits out in Boston that you can experience via an app.

Peace (listen),
Kevin

 

A Collection of Comics: The (New) Adventures of the Internet Kid

Daily Dda17

The other day, I wrote about reaching my 100(plus) comic for the Networked Narratives Daily Arganee prompt with The Internet Kid and his friend, Horse with No Name. I just uploaded all of the Kid comics that I had created for NetNarr into Flickr.

If it interests you, here is the Flickr album where they now reside:

NetNarr -- The Internet Kid and Horse comics

There are comics in the collection that require some context, which is what the Daily Aragnee prompts are about so I am not going to give context for each comic. Phew. But you can check out the Internet Kid’s collection of prompts, and the Horse’s collection, too, at the Daily Arganee site.

I also wanted to put out a few comics that I liked …

Daily Dda67

Daily Dda77

Daily Dda80

Daily Dda63

Daily Dda37

Daily Dda44

Daily Dda29

Rope wrangling

World4

Peace (shine a light),
Kevin

Five Voices in Search of a Poem: This is the Truth

This is the Truth in Soundtrap

Inspired by my friend, Sheri, and her Poem for Three Voices about a young writer that she, and I and Melvina recorded and shared last week, I wondered if I could expand that notion a bit and write a Poem for Five Voices, and get four other people from different geographic locations to use Soundtrap to record.

I did, and we did, and it sounds like this:

My aim in writing the poem was to offer up a critique of the media/news landscape, and try to discern some central point about the elusive nature of Truth. I am a former journalist, a writer of news, and an avid reader of news now. I am both disheartened by the declining State of Media, and heartened (in a very strange way) that Trump’s imperial presidency and Bannon-led attacks on Media have actually galvanized and strengthened the major news operations, and attracted readers.

The use of multiple voices in the poem is designed to show all of us, together, sorting out what is real and what is not, and what is spin and what is not, and calling out media and political leaders to account for the information flow. Yes, we all have a responsibility. That doesn’t mean we can’t do this together, and find a way to make the world a better place for all. THAT is the truth, from my perspective.

You can view my poem here and feel free to remix it, use it or ignore it. This screenshot is the first of two pages.

This is the Truth poem

Process Notes: We used the online site, Soundtrap, as a way to coordinate our voices. It would have been a whole long easier if we had been in the same room, same space, with poem in front of us. That wasn’t physically possible.

So, what you hear is some vocal dissonance, as our phrasing weaves in and out of each other. Recording a poem like this is complicated, we quickly found, and I edited audio tracks to fit as best as I could. We began with Melvina doing a master track, which we then worked off individually, and then I edited to make it sound like a whole.

Notice the different sounds of voices. Quality of microphones becomes a potentially technical hurdle, and I used compression and other effects to try to align them as best as I could. In the end, maybe that flattening didn’t matter. Maybe, in fact, the different sound qualities are part of the composition — showing different views through sound. I might be stretching here.

I want to warmly thank Sheri, Scott, Melvina and Terry for patiently following me on this collaborative adventure. We organized ourselves on Twitter, and then had our voices meet in Soundtrap. It was a grand adventure.

Peace (in poetry),
Kevin

The #NetNarr Bus Pulls Into Creative Station

Remix Image by Mark

 

One component of the Networked Narratives is the concept of the “bus trip,” where Mia Zamora and Alan Levine took the show on the road. They did virtual visits with their  students, and assorted guests and open participants, to other places than Kean University campus, including Puerto Rico, Vermont and Egypt. As one of the Open Folks, who is part of NetNarr but not part of the graduate class at Kean, I pitched the idea a few weeks ago to some other open participants about organizing our own “Bus Trip.”

Last night, thanks to the organizing prowess of Wendy Taleo in Australia, we did just that, with a full Hangout House of folks — Terry E., Sandy, Alan, Mia, Mark, and Keegan. It was a fantastic time to gather together, and talk about our various creative projects that we have underway, and set the stage for some feedback for projects in the days ahead.

NetNarr Open Bus Hangout

Keegan talked about a text-based game project he has in the works for professors at his college; Terry talked about using a Federated Wiki concept for a Fall class; Wendy mentioned learning how to fly drones so she can drone-race her son, and Sandy also talked about drones, and how the technical interface made learning about them daunting for her; Mark talked about an independent research project underway to better understand open learning platforms in hopes of sparking social change; Mia and Alan discussed the framework of Networked Narratives, which is now moving into an online world-building game mode, and how they are scrambling to keep a few steps ahead of students and participants; and I chatted about a Poem for Five Voices project I am just finishing up this week with some online friends.

When this much creative energy comes together in one place, at one time, it is inspiring. I have been grateful for my open friends in NetNarr and beyond. I notice that many of us are willing to try new things, to see how and if they work, and to keep pushing the envelope of digital storytelling and digital narratives a little bit further each time. To know that we have others to support us, and to help us (or let us know we’re on the path to Crazytown … again), is heartening in so many ways.

The Open Bus Trip hangout last night affirmed an important realization of online projects for me: Taking the time to be in the same “space” as others, even virtually and even across many time zones, for conversation and sharing provides an important emotional connection to the online experience itself that no amount of tweeting, blogging, commenting, and social media liking can ever replace. We’re people, after all, and people like to find their Tribes. I’m grateful to be in this particular Tribe at this particular time.

Peace (stories unfolded),
Kevin

Slice of Life: 100 #NetNarr Comics (or more) over 100 Days

(This is for the Slice of Life challenge, hosted by Two Writing Teachers. We write on Tuesdays about the small moments in the larger perspective … or is that the larger perspective in the smaller moments? You write, too.)

I’ve been part of the Networked Narratives “course” as an open learner (there is a real course happening at Keane University, with professors Mia Zamora and Alan Levine, and open folks like me are satellites), and each day, there is a daily digital prompt called The Daily Arganee. It’s built off the DS106 Daily Create (I do those, too) and I love the daily challenges.

When the Networked Narratives was in planning stages, and Mia and Alan were talking about creating alternative personas for online interactions, I decided to dust off two comic characters from a previous project: The Internet Kid and the Horse with No Name. I wasn’t sure how two characters from the Wild West would work, but I was happy to see them again, after nearly a year of quiet.

Daily Dda100

Every day, for 100 days, I put Kid and Horse into a comic riffing off the Daily Arganee idea, and it was a blast. But now that the NetNarr course is moving into new direction, with worldbuilding and game playing, I have decided that the Kid and Horse need a rest, so today’s comic is the final one (for now).

I had imagined I would be doing more storytelling, unfolding in comics over many days, but it turns out, I got caught up in the one-off comic from the daily inspiration. That’s not bad, but not quite what I had hoped. I did one stretch of comics as story, of the Kid and Horse rescuing the NetNarr World from the Digital Alchemist, releasing the comics slowly over a single Saturday, and have done other assorted Kid/Horse comics in the last few months.

Kid and Horse Tumblr view

I have not had all that much reaction to the comics — a few re-shares and hearts and reaction from a small circle of friends on Twitter, plus one cool imaginary cow friend from Australia — so I settled into the mindset of, I’m writing this comic for my own amusement. You know, that worked. I was amused.

Not every comic worked as humor every day, and more than a few rely on the context of the Digital Arganee prompt. They might be headscratchers out of context. I purposely did not spend much time on them — I read the prompt, opened up my comic app, went with whatever strange idea bubbled up in my mind, made the comic, send it to Twitter/Tumblr and moved on. Seriously, some days, that process took me all of 15 minutes.

I am sure the Internet Kid and the Horse with No Name will return for some future project. For now, after more than 100 comics, they have earned their rest, and apparently, Horse is booking a flight to Australia to see his friend, Jolt, another animal pal in the Networked Narrative atmosphere with a bit of attitude and enlightenment. Even imaginary characters can connect.

Some other day, I’ll be sharing out all of the comics I made during this part of the Networked Narratives course. Given the quantity, it might just be a Flickr Album or something simple. Last time around, I created an ebook as an archive.

You can also view the Tumblr site where I shared every day. It’s also archived with the original comics from Western106, where Kid and Horse were first born.

Peace (framed with friendship),
Kevin

Hashtags as Roots of Resilience

A hashtag home #CCourses

(Note: I wrote this piece quite some time ago, thinking it would be submitted to a new publishing site. That got stalled. This piece sort of floated in my Draft bin. Time to release it. — Kevin)

A funny thing happened on my way to the Rhizome sometimes last year … the hashtag got switched. Now, normally, this would not be a big issue. But I have come to realize more and more how much I rely on the columns of my Tweetdeck app (sorted by hashtags) as a place to keep connected to various projects. So, when someone switches a conversation from one hashtag (say, #rhizo16) to another (say, #resilience16), I suddenly feel disorientated. Lost.

And I depend on the kindness of strangers. A few rhizo folks had made some initial tweets with both hashtags (which is quite generous because together, they take up a good portion of the 140 characters to begin with, you know?). In the end, in an ironic twist, neither took hold, and there was no Rhizo16. To be fair, it had nothing to do with hashtags, as far as I can tell.

It’s happening again right now for me, with National Poetry Writing Month. Do I use the new hashtag #GloPoWriMo (for GLOBAL Poetry Writing Month? Or do I use the old one #NaPoWriMo?). I have been using the GloPoWriMo because I like the concept of the world as writers of poetry. But I often think, what’s going on with NaNoWriMo and who decided, let’s shift to something new?

Still, the experience had me thinking of the concept of common hashtags in terms of the theme of resilience anyway because I know this is how I stay connected to an online course, or mooc, or activity, or movement, or whatever it was over time. I’ve just added a second column for Networked Narratives, as an example, as that class moves into another project phase with a new hashtag.

All this shuffling and worrying about lost contact also reminds me of the importance of naming a hashtag at the start. Add a year designation and suddenly, the clock is ticking on its timelessness. Make the hashtag murky with lettering and it becomes a meaningless jumble of the alphabet. Make it too short or too common, and other problems crop up.

I’ve noticed, for example, the #NWP hashtag (for National Writing Project) sometimes gets accidentally intruded upon by some music sharing tag. So suddenly, there will be a wave of posts that veer away from teaching and writing and into something completely different. It’s disorientating, in an intriguing way. Maybe we are the intruders on their hashtag, not the other way around, right?

Or maybe the hashtag becomes an impromptu shared space.

Then, there are the hashtags-within-hashtags, which can take on a life of their own. For example, within the #CLMOOC hashtag, there is a #SilentSunday hashtag. #CLMOOC represents the echoes of the Making Learning Connected MOOC while #SilentSunday is an activity of sharing an image with not context each Sunday (although, it too, is shared with other people doing other kinds of Silent Sunday-ing). It began as an activity in the CLMOOC but now has its own orbit, living on long after the CLMOOC summer ended.

Interesting.


flickr photo shared by Théo La Photo under a Creative Commons ( BY-NC-SA ) license

In Tweetdeck, I often struggle with the question: Do I delete this column with a particular hashtag? If I do, and activity suddenly kicks in, will I miss it all? Yes, probably. Maybe I’ll hear some activity around the edges of the hashtag. But once I delete it from my view, I am not likely to return it there. (So, if people from last year are still using #rhizo15, I have no idea what they are talking about.) A good example for me is the #ccourses (connected courses), which I sort of regret removing and may add back in. Although activity can be sparse at times, it often provides interesting resources. That’s what I call “Hashtag Regret.”

Many of my hashtags have had a long, fruitful life in my Tweetdeck. I toggle around areas of interest. Reading across the top row, I see (other than my own timeline):

Given the whole history of the hashtag, and how it was never a planned structural element of Twitter, it is such an intriguing design element that plants roots and seeds, and connects people together in interesting ways. (Rhizomatic thinking, there)

Of course, some people use fake/invented/momentary hashtags to make a joke or a point about something or to note sarcasm or take a political stance. #ImwithHer #techquity  The Trump Presidency has given rise to this witty art form, using hashtags as social commentary and political action. Trump, of course, invents his own.


flickr photo shared by princessavampyra under a Creative Commons ( BY-NC-SA ) license

And I had never thought too deeply until now about how hashtags are at the very core of our social interactions on Twitter, and now on other social networking platforms, too. Like “tags” in photos or blog posts, hashtags are connectors that make the Internet a social gathering space.

Without hashtags, we might as well be yelling into deep space. With hashtags, we have the possibility to connect.

#Peace (it’s tagged),
Kevin

A Strange Concoction to Consider: Fan Fiction and State Testing


aafad 225/365 under new management … flickr photo by lamont_cranston shared under a Creative Commons (BY-NC-SA) license

We’re into state test prep season (our ELA test is a few weeks away) and our state of Massachusetts is in the midst of some pretty significant changes to what we call MCAS. The state claims to have moved away from PARCC, but that’s not really the case with its MCAS 2.o or MCAS Next Generation.

Everything MCAS is moving to computer-based testing over the next two years, which is already posing a logistical challenge at my school, and the kinds of texts and questions and tasks being asked of my sixth graders are also changing, becoming more complex on many levels (reading across multiple texts and genres, paired multiple choice questions, etc.)

As I work with my young writers on learning how to approach what is known as the Narrative Task, I find myself amused at how the whole concept seems like a riff out of the Fan Fiction textbook. This is something we were exploring in Networked Narratives, too.

Let me explain …

The MCAS Narrative Task is built on the concept of reading a story, or a passage from a novel or larger piece of text, and then writing the “next section” of the story, with consideration of some concept — mostly, we’ve been seeing a focus on character and setting in sixth grade but fifth grade has been about shifting point of view.

So, for example, in a sample we did last week, my students read about a girl and a nanny, in a rainstorm, rushing to meet an unknown aunt. Their assignment was to continue the story, with the characters and setting, and determine what happens next. And yesterday, I had them plucking minor characters from novels we are reading, or have read, and write a new story.

In other words, just like fan fiction, you take characters that exist in literature and bring them into an imaginary space (or world) that you create, with a story that you write, and you bring them to life in ways that you choose. That’s fan fiction, in a sort of nutshell, right? For example, let’s pluck Hermoine and Malfoy from Harry Potter series and send them off on an adventure. Or what would happen if Katniss Everdeen bumped into Luke Skywalker? (At least, they’re not siblings. Or are they?)

We’ve been talking about Fan Fiction in Networked Narratives, as a way that writers find spaces to write, outside of school confines, with interests that bring them into a larger, but slightly hidden, online community. Fan Fiction has many elements of what we term Connected Learning.

Now, granted, some fan fiction gets a little … adult, in content. I don’t think the state folks want to see any slash fiction (note: not necessarily violent and not about the GnR guitar player, but a genre in which two characters from different books meet, and likely hook up) in my students’ writing samples. But this notion of taking a character for a walk into your own story has its roots in fan fiction.

Which makes it odd, and interesting, that the idea behind fan fiction would be the underpinning of the Narrative Task on a state test.

Peace (a fan of it),
Kevin