Digital Storytelling

1. The untold story as told by Jolandra White (EDUC 8841) Digital Storytelling

2. Stage 1: Need . . . What problem or need existed that gave rise to Digital Storytelling? “ ‘Digital Storytelling’ is an emerging term, one that arises from a grassroots movement that uses new digital tools to help ordinary people tell their own ‘true stories’ in a compelling and emotional engaging form” (Wikipedia, 2009, ¶ 1)

3. Stage 2: Research . . . What research organization or people developed a solution to this problem or need? What were their findings? Who were the ‘lead thinkers’ for this innovation, and how did they convince a manufacturer to produce it? “Some of the artists that have self-described as digital storytellers included Joe Lambert, Massimo Don, Massimo Laurel, Dana Atchley and Massimo Meyer” (Wikipedia, 2009, ¶ 3). “Digital storytelling has its roots in the American community theatre movement, emerging in California in the late eighties through the collaboration of performing artist Dana Atchley and actor Joe Lambert” (Tucker, 2006, p. 54).

4. Stage 3: Development . . . What problems did Digital storytelling encounter in the development process? Who was the intended audience for Digital Storytelling? The biggest problem found is the available technology. “Across Queensland, research by the Institute of Creative Industries at Queensland University of Technology (QUT) is showing that the uptake of computer use there is currently being affected by the digital divide” (Tucker 2006, p. 54). The original intended audience was the people or society.

5. Stage 4: Commercialization . . . Describe the production, manufacturing, packaging, marketing, and distribution of Digital Storytelling. Digital Storytelling is produced through workshops, in-class training, websites and the Center for Digital Storytelling.

6. The Innovation-Decision Process Click the picture for Introduction to Digital Storytelling. . . (University of Houston, 2008)

7. Knowledge . . . • - After viewing a production, Dana Atchley, local video producer, meets Joe Lambert, co-founder and executive director of the new Life On The Water Theater Company in San Francisco, California (Center for Digital Storytelling). 1988-90 – Atchley and Lambert collaborate to develop a Atchley’s Next Exit, an interactive theoretical performance. http://www.nextexit.com/nextexit/nextframeset.html

8. Persuasion . . . 1993 – “Joe assists Dana in teaching three ‘digital storytelling workshops’ for documentary filmmakers, at the American Film Institute in Los Angeles, California” (Center for Digital Storytelling).

9. Decision . . . 1993 - “Dana and Joe launch the ‘Digital Diner’ new media salons, which become a central point for dialogue among Bay Area new media producers” (Center for Digital Storytelling).

10. Implementation . . . 1994-1998 - “Life on the Water creates the ‘Home Movies’ digital storytelling workshops, leading Dana, Joe, and Joe's wife Nina Mullen to found the San Francisco Digital Media Center (SFDMC)” (Center for Digital Storytelling).

11. Confirmation . . . 1994 – “The SFDMC undertakes collaborations with numerous organizations in England, Germany, and Denmark and is featured in stories about digital storytelling on CNN and MSNBC, as well as in countless print and online articles” (Center for Digital Storytelling). 1996 – “With support from Apple Computer, the SFDMC publishes the first version of the Digital Storytelling Cookbook, outlining the ‘Seven Elements’ of digital storytelling and offering hands-on production tutorials” (Center for Digital Storytelling). http://www.storycenter.org/cookbook.html

12. Educational Uses of Digital Storytelling Click on the picture for an example of digital storytelling . . .

13. Collegiate use of DS . . .

14. K-12 use of DS . . .

15. The Digital Storytelling S Curve http://innovationzen.com/blog/2006/08/17/innovation-management-theory-part-4/

16. S Curve – Innovation Adoption . . . • S-shaped curve of adoption is the normal curve that “accelerates to a maximum until half of the individuals on the systems have adopted. Then it increases at a gradually slower rate as fewer and fewer remaining individuals adopt the innovation.” (Rogers, 2003, p. 272).

17. S-Curve of Digital Storytelling . . .

18. S-Curve of Digital Storytelling . . . • The graph presents the dates of adoption by various organizations over time. • The data reveals the adoption of Digital Storytelling does not fit the norm but does slowly increase over time. • Some organizations adopt this innovations at the same time.

19. References Center for Digital Storytelling. (2009). The evolution of digital storytelling:An abbreviated history of key moments during the first sixteen years (1993-2006). Retrieved July 2, 2009, from http://www.storycenter.org/timeline.html Innovative Teaching Concepts. (2009). Digital storytelling: The very last of the great whangdoodles [video recording]. Retrieved July 3, 2009, from http://www.todaysteacher.com/Digital_Storytelling/wangdoodle.wmv Tucker, G. (2006). First person singular: The power of digital storytelling. Screen Education, 42, 54-58. University of Houston. (2008). The educational uses of digital storytelling: An introduction to digital storytelling [video recording]. Retrieved June 25, 2009, from http://digitalstorytelling.coe.uh.edu/index.html Wikipedia. (2009). Digital storytelling. Retrieved June 25, 2009, from http://en.wikipedia.org/wiki/Digital_storytelling

20. Resource • Center for Digital Story Telling • http://www.nextexit.com/nextexit/nextframeset.html • http://www.storycenter.org/cookbook.html • http://electronicportfolios.org/digistory/