2011 integrated media notes: the catalogue

Integrated Media One wonders about what problems and questions the internet (specifically the World Wide Web) poses for video and audio as media. It thinks about this from the point of view of us as makers of video and audio rather than as consumers. To do this we need to wonder about what sort of network the web actually is, what sort of thing video/film and audio media is, what sorts of things digital video/film and audio, on computers, actually is. And then to think about what a story is, and how what a story is (or isn't) changes on the particular sort of network that the web is.

Work and Text - Notes

Barthes has seven propositions about the text: # "The text is not to be thought of as an object that can be computed." # "In the same way, the Text does not stop at (good) literature; it cannot be contained in a hierarchy, even in a simple division of genres." # "The text can be approached, experienced, in reaction to the sign." # "The text is plural." # "The work is caught up in a process of filiation." # "The work is normally the object of consumption" # "This leads us to pose (to propose) a final approach to the - (read on...)

Ways of Approaching

This is a list of the key things that need to be done for the second project. To build a chart you need to have a timeline across the page and down the side you break this down into the important parts. You can use different colours for different people in your group. Some things can be done by individuals, but there should always be opportunities for feedback. Other things might be done as a group. Some things are quite flexible. For example you might develop a protocol for filming and then write to that, or you might write then - (read on...)

thinking hats

In a nutshell as media makers we need to learn how to critique our own work. We need to learn this while at university because then you will be that much more employable. Why? * you will already have an ability to understand what makes good work good * you will have developed strategies so that your work will be good enough for the time, demands and expectations of a particular project * you will have a vocabulary by which you can provide constructive and relevant feedback to others about their own work (ie in ways that lets others learn - (read on...)

The Problem Is

This week we are going to think about meaning, interpretation, reading, closure and multilinear works. # what is an end? (book, film, k-film) # and end determines all that came before (teleology) # if the end is no longer fixed, what are the implications of this (the work doesn't decide, what does, and what does this then mean?) - (read on...)

Softvideo

Hard Copy Hard copy is when we use a computer to make our content but we still intend to publish (and/or distribute) it in hard copy. The simplest example is, of course, print. So when we talk about hard copy in relation to print we do not mean using a pen on paper, but using a computer to do our writing, but then printing it to paper. So hard copy is about using a computer for part of the process, but still relying or assuming, or wanting, to use more traditional forms as our medium of publication. Let's pause and - (read on...)

sketch films 2011

due: End of Week 7 (Friday April 15, 2010). To submit you must email the URL of the completed work and the online statement to your teacher by the due date. The key points for you: # it is an individual project # it utilises the videos that you will make each week # you will share videos within a group (to create a library of media) # it will be made using Korsakow software # it will be assessed orally, with your group and your teacher All the details are available in the pdf.... - (read on...)

Set Reading 4 - Sawhney, Balcom, Smith

This is an early essay delivered at the main computing conference dedicated to hypertext (this is an unusual academic conference as it has a mix of computer scientists and humanities scholars) about hypervideo. It uses a hypertext program called Storypace to build a prototype and to think about what a hypertextual video might be like. This is a key essay, but one that is not well known and pretty much completely overlooked in the literature on online and interactive video. Sawhney, Nitin, David Balcom, and Ian Smith, ‘HyperCafe: Narrative and Aesthetic Properties of Hypervideo’, in Proceedings of the the Seventh - (read on...)

Set Reading 3 - Adrian Miles

Softvideo is a term that refers to the ways in which video, when conceived as something made, distributed, and viewed only on computational platforms, can have the qualities of 'soft' media. Yes, it sort of begs the question of what is soft media? The qualities that video can have when it is never intended to be broadcast, or to viewed on some sort of device that only supports viewing (a mute audience) can be quite different to our traditional and usual uses of video. Set Text (required) Miles, Adrian, ‘Softvideography’, in CyberText Yearbook 2002-2003 (Jyväskylän: Research Center for Contemporary Culture, - (read on...)

Set Reading 2 - Manovich Everyday Media Life

The version of this that we are reading is a word.doc that Lev Manovich has made available (via a Creative Commons Licence) from his own website. This essay uses Michel de Certeau's "The Practice of Everyday Life", a seminal book for cultural studies, to think about some contemporary media forms and practices. Manovich, Lev. "The Practice of Everyday (Media) Life". (Version March 10, 2008.) http://www.manovich.net/DOCS/manovich_social_media.doc - (read on...)

Set Reading 1 - Roland Barthes

Roland Barthes is a major figure in cultural and literary theory. Originally a key structuralist and semiotician through his writing and teaching he became a seminal figure in poststructuralism. The key reading is the famous essay "From Work to Text", which is available below. The distinction between the 'work' and the 'text' can be thought of as one of the axes upon which the move from structuralism to poststructuralism happens. In addition I have provided an extract from the opening of Barthes' S/Z (which is something like 220 pages of close analysis of a 34 page story) which also covers - (read on...)

Network Literacy Readings

Optional Readings These are introductory readings around what I think of as network literacy. The sorts of bread and butter understandings you need to know to be a participant in online ecologies. “RSS in Plain English,” Common Craft - Our Product is Explanation http://www.commoncraft.com/rss_plain_english (accessed March 1, 2010,). Duffy, Peter D, and Axel Bruns, “The Use of Blogs, Wikis and RSS in Education: A Conversation of Possibilities.” http://eprints.qut.edu.au/5398/ (accessed March 6, 2010,). Miles, Adrian, “Network Literacy: The New Path to Knowledge.” Screen Education. Autumn, no. 45 (2007): 24-30. http://vogmae.net.au/research/thinking/Network-Literacy-The-New-Path-To-Knowledge/ - (read on...)

Major Project 2011

Yes, this is it, the big, bold, bad, major Korsakow film project. Thumbnail points: * is a group task * make a major interactive Korsakow film * write a group essay (<3000 words) * publish both essay and film online * submit both the old fashioned way (so all media files, etc are on a CD) * due Monday June 6 * worth 50% of your overall mark Full details via the PDF of the assignment, and you can also see the assessment matrix. Previous Korsakow student projects are also archived. Oh, and you can find the rest of the - (read on...)

Links are Edits

Let's begin by thinking about the role of the edit in cinema, and in cinema history, which is where we more or less ended up last week. How it brings together different things, but also can create different meanings, what is known as the Kuleshov effect. If an edit can do this how? It would seem to indicate that meaning is outside of the shot, somewhere. Also if joining two things makes them connected this seems to be an act of force, not corporal or martial force, but a semiotic or other sense of force. I guess here I should - (read on...)

lab 9

To get the 'project management' 5% bonus you will need to submit a portfolio with the final project, this needs to include minutes of at least two group meetings, your Gantt Chart, and some discussion or notes indicating how you have allocated duties based on your respective strengths and weaknesses (the bar chart we did). Including the bar chart is probably a good idea. An example Gantt Chart is available, but basically time across top and bottom, main tasks down side, broken into parts, with people allocated to what they are doing. Each task is blocked out in time showing - (read on...)

lab 8

This one is a hot house, we have a series of steps to get through, each is quite intense in terms of the brain power and energy that they require. Each step is fixed. You complete one and move on. You don't go back (it is like a game to that extent). Reflective graph, the terms: # getting the brief # deciding thinking what to film # filming/doing it # getting it out of the camera and looking at it # editing the material # exporting/compressing the piece # uploading to the interwebs # publishing it via your blog - (read on...)

lab 7

Week 7, after today 5 to go. So in the flurry of replying to emails, troubleshooting, scheduling, blogging, forgive me if things are being reduced to point form. So, way back at the beginning we defined, discussed and documented the things you thought you'd need to do to learn something in integrated media. Time to do a road test to see a) how your participation is travelling, and b) are your criteria relevant. So have a look at your criteria, evaluate yourself against them and i) what mark do you think you are currently achieving, and ii) anything you think - (read on...)

lab 6

Class critique, table based, of the final constrained task. Make sure you are au fait with the first k-film assessment. So, where is everyone up to with k-films? What questions do you have? If you wanted to ask the Korsakow System a question, what would it be? Now, the main aim of this first k-film is to make sure everyone gets some basics in how to use some software (the fact that is is Korsakow is less important than what it lets us do and think in relation to our content), and to begin to see what sorts of problems - (read on...)

lab 5

Work at each table to critique your journey works, using the hats. Korsakow. What questions have arisen from last week and playing with it during the week? Right now, if you could ask any question and the answer would solve all that you wanted to know about k-films or the Korsakow software, what would it be? This week please work in your project groups and begin the sketch fllm project. Start looking at the media available, collect it, add it to a project. Make thumbnails for use in your project. Start building. Review the requirements of the project. It requires - (read on...)

lab 4

At this point in the semester, with two groups having missed a class due to a public holiday, and with each group now beginning to develop their own identity and pace, you can expect some variation between what happens between classes. In other words what is listed below is not the canonical list of what will be done in labs but is more of an outline of where we are headed. This is useful to understand, as (to put on the broken record once again) because we actually use reflective and process based teaching as the actual practice of teaching - (read on...)

lab 3

Welcome to the usual weekly collection of dot points about what the labs will involve. Key things this week are to ensure that everyone is now OK with video online, but then also understands the reasons why it is important to be able to get that video out of whatever system it is in. (Why is this important?) To Be Done In Class * table (small group) based critiques of the second video task * If not already done so, form your project team for the first assignment, you will work together on weekly tasks and the online interactive project - (read on...)

lab 2

More dot points about what week two in the labs will cover. There is a public holiday next Monday so there will be some mix of material across weeks two and three and four to get the labs back in some sort of sync. To Be Done in Class * class based critique of the first task, this will use the simple 'hats' model to provide feedback * look at and discuss the second video task, discuss, explain, outline * learn about RSS subscriptions, there are things like Google Reader (log in required) which is probably a good bit of - (read on...)

lab 10

What do you think you need to know about (or to learn about) to do/finish your k-film? Are you clear about what needs to be done, and submitted, for the final assessment? What two things can you do to gain a bonus for your final project? Each group will make a five minute presentation of their project during today's lab. First, let's revisit what qualities or properties you think a prototype needs to be a prototype. Think about what comments you think you want - what bits do you want to be questioned, challenged, feedback on? Tell us. Work in - (read on...)

Kuleshov

Ah, YouTube, here is what could be the original 'Kuleshov effect' experiment. (I've used this example in a couple of academic essays where I argue about how hypertext is actually cinematic, not literary.) References ‘YouTube - the Original Kuleshov Expiriment.mov’ . Miles, Adrian, ‘Cinematic Paradigms For Hypertext’, Continuum: Journal Of Media and Cultural Studies, 13 (1999), 217-226. - (read on...)

Korsakow Workflow

Work Flow This is one of the most important things to understand when using this software (and this applies to all projects on a computer!). Understand: # what files are needed # where they are needed to be # why # and have a system that is easy to use that achieves this Then # have a method for naming, storing, finding the media assets that your project needs # keep your media assets in the same place for the life of your project # same with your project and the export folder In Korsakow you need to keep your - (read on...)

Korsakow Tips and Tricks

To really understand what you're doing (if you are interested, otherwise potter around), then read the Korsakow manual, the faq, the quick-start guide, tips and tricks, and tutorials. These will be more up to date than mine below, which are largely based on the common problems that seem to have turned up in classes. # Some simple interface options. The interface editor in Korsakow has an element that is called "Media Area". This is a widget you can drag onto your interface and you can then use it to display other media. I haven't played with it much yet but - (read on...)

Korsakow Introduction

So, you've downloaded Korsakow. The first thing is to actually put the program in the right place on your computer. This is just good housekeeping. On a Mac this is in the Applications folder, think it is the same place on a PC. You do this so that a) you always know where it is, and b) some programs need to know where they are to work properly, and the applications folder is where they are supposed to live. Figure One: The Applications folder with the Korsakow Application Inside. When you open (launch) the application it either opens an existing - (read on...)

Korsakow Export Problems

There have been a very small number of export problems scattered across computers. It is hard to find anything consistent as a cause but the following strategies have worked in all but two cases that I know of: First try: # make sure you have run all recent system updates on your mac (software update) # delete Korsakow (the software, not your project files!) # download it again (korsakow.org/download) if that doesn't work: # make sure you have the most recent version of flash installed (get.adobe.com/flashplayer) if that doesn't work: # change export to flv not h.264 if that doesn't - (read on...)

Korsakow as Hypertext

Korsakow is software. It lets you make and publish multilinear video (and sound) works online. That is pretty much all you use it for and all it does. Some questions: why do we use it? What might be learnt from using it? What can we make or do with it? How to Think Korsakow The Korsakow System is software that lets you make hypertexts. Unlike traditional hypertext the content nodes here are now video or audio, but all the principles, rules of making and reading are pretty much the same as for hypertext (or I guess more accurately hypermedia). The - (read on...)

k-films and closure

So how does closure happen in a k-film? One obvious way (which I don't think currently works) is to employ the 'end film' attribute for a video sequence. This means that when this particular film is selected any search results are (for want of a better term) suspended and nothing more appears. The film 'finishes'. When such a final film appears, and why, needs to be thought about very carefully. If it happens too soon in a project then you run a very real risk that the depth, complexity, scale or even basic parts of your film will not be - (read on...)

Hats and Critique Readings

Optional Readings Some introductory matter about how we are using the de Bono tricks of the trade to scaffold critiques of our work for the semester. “Six Thinking Hats,” Wikipedia: The Free Encyclopedia http://en.wikipedia.org/wiki/Six_Thinking_Hats (accessed February 25, 2010,). Miles, Adrian, “Developing Crits .” Vlog 4.0 (A Blog About Vogs) http://vogmae.net.au/vlog/2003/09/developing-crits/ (accessed February 25, 2010,). “Welcome,” Edward De Bono Personal Website http://www.edwarddebono.com/Default.php (accessed February 25, 2010,). - (read on...)

FAQ Putting Online

When you export your final K-film there will be an index.html page and a data folder. These two are both essential for your K-film to work. The data folder contains videos, thumbnails, and the whole 'engine' that drives the K-film through its keywords. You need to upload both to your web server account (using Cyberduck, Fugu, Transmit, or whatever SFTP client you like to use). The screencast below uses Transmit, but same deal. # log in to your server account # inside public_html create a folder for your korsakow film # move your film's index.html and data folder into this - (read on...)

FAQ Other K-Films?

Where can I find the K-films made by other students in Integrated Media? An archive of K-films is available via http://vogmae.net.au/classworks/. You can also find a wide range of other Korsakow films at the main Korsakow site, via their showcase page. - (read on...)

FAQ It is Online But Doesn't Work

You have uploaded your K-film to your web server account, gone to the URL but it isn't working. Two common causes. # The page that you load has been named index, rather than its glorious full title of index.html. All files on web servers need to have a three or four letter suffix (eg .jpg, .mov, .mpg, .jpeg) so that the web server can tell the web browser what sort of file it is. Otherwise the browser can't tell if it is picture, sound, movie, text and so on. TO FIX just add .html to the index file using Cyberduck - (read on...)

FAQ Current Version

Having the current version of Korsakow is generally a good idea (well, this pretty much applies to all software). Korsakow can usually check if you have the most recent version, but as it is software that is under development and Open Source and, well, let's call it small key experimental, for each version there are different releases (all software development does this). So the software checks version but not release (so to be clear, there are versions, and within versions there can be different releases). So to check what version, and release, of Korsakow, that you have just launch Korsakow - (read on...)

FAQ Changing the Size and Color of Text

How do I change the font, size, and colour of the text that the Korsakow film can display? For those things that Korsakow displays, for example the text that you can enter in a SNU (there are two different places, and categories, of text that you can add), you need to use the interface editor to make changes. The logic is pretty simple, things about presentation (which is what changing fonts and colours and sizes is about) are all interface elements. And so it is the interface editor that matters. Open up your interface, select the object in the interface - (read on...)

Barthes - structuralism, semiotics and ideas

Where to even begin on the reading that is the basis, no not basis, sort of river of ideas and currents and arguments and thoughts that today will constellate and make epicycles around. One place is below. The other is the reading itself where I have added some audio annotations to a second pdf of the reading which, if you're interested in, you can download and listen to (you must open this in Adobe Acrobat, something like Preview on OS X doesn't support embedded audio in PDFs.) Roland Barthes. French literary theorist and scholar. A patron parent of structuralism and - (read on...)

annotated reading - Readerly and Writerly

OK, there's a link below to a PDF version of one of the Barthes reading. But let's be clear about what I am doing with this commentary. It is partly about elucidating, casting light, on Barthes' writing, to help contextualise some of it. But this is not the only thing being done. This extract is from an introduction to a book, and Barthes is arguing for a style and form of writing and reading that is an active 'thinking in the act of'. What I mean by this is writing is not about reporting what you know, it is - (read on...)

A Sketch

Let's remember the Kuleshov effect, editing makes cinema, where wholes are able to be made from what were previously fragments. It also shows us that making is all about the relations between parts because the same part/piece can mean different things depending on what relation (sequence) it is placed within. Now, hypertext is all about linking. This too is the connection of otherwise discrete parts to make new wholes. Though a strange difference is that such 'wholes' are now always open and partial (never finished or complete as they are so mutable). From this we can see that edits in - (read on...)

A Narrative Of Sorts

This is the sledgehammer of this subject, outside - other making, form, software, teaching. And realising that this 'outside' is necessary to whatever it is you think might lie 'inside'. Figure One: Lecture Slide 1 Figure Two: Lecture Slide 2 Figure Three: Lecture Slide 3 Figure Four: Lecture Slide 4 Figure Five: Lecture Slide 5 Figure Six: Lecture Slide 6 Figure Seven: Lecture Slide 7 Figure Eight: Lecture Slide 8 You can find larger versions of each of these listed (click on each to view). - (read on...)

A Library Of Clips

I have provided a simple library of video clips for you to use in playing around with Korsakow, before you have enough media of your own to use. To use this library just download it, move it to a project folder, and create a new Korsakow project. Some things to keep in mind: # the video is already compressed appropriately for a K-film project # the video has a particular dimension, so you need to change the interface so that the video displays at this size # no thumbnails have been created, so you need to create still images from - (read on...)

05 'I'

Make a video work that represents yourself, but it cannot contain any images of you. It cannot use words. It can use images, and sound. It may either be a series of images, or (of course) a long take. The aim is to think about what things you would film to represent who you are, but also, how should they be filmed? (Imagine someone who did not know you watched this 30 seconds, knowing that it was made by you and was describing or performing who you are, how would this person describe you, based on this clip? This video - (read on...)

04 my journey

Make a video work about coming or going (or both?) from uni. This video should be: * 640 x 480 (or if you work in 16:9 640 x 360) pixels in size * 30 seconds in duration (no shorter, no longer) * it may or may not have sound (but be careful of copyright) * compressed using H.264 in QuickTime (frame rate can be what you like but no higher than 24 fps, I would use automatic keyframes, restrict data rate to 800 kbits/sec and select best quality, and optimised for download) * published to your blog You can film - (read on...)

03 my round things

Make a video work about the round things you can find in your home. This video should be: * 640 x 480 (or if you work in 16:9 640 x 360) pixels in size * 30 seconds in duration (no shorter, no longer) * it may or may not have sound (but be careful of copyright) * compressed using H.264 in QuickTime (frame rate can be what you like but no higher than 24 fps, I would use automatic keyframes, restrict data rate to 800 kbits/sec and select best quality, and optimised for download) * published to your blog You - (read on...)

02 structuralist basics

Some words and terms to get us started. You may have met them already, you may not. * structuralism * langue * parole Structuralism arose in linguistics in the first quarter of the 20th Century, and it was extremely influential for the development of cultural studies as an academic discipline. This was because it provided some theories that seemed to explain how 'meaning' happens in language, and this theory was then applied to think about narrative (stories), and from there a key part of cultural studies was about studying, understanding, and critiquing the stories that a culture produces for itself - (read on...)

02 my living things

Make a video work about any or all the living things in your home. (This is from the second week...) This video should be: * 640 x 480 (or if you work in 16:9 640 x 360) pixels in size * 30 seconds in duration (no shorter, no longer) * it may or may not have sound (but be careful of copyright) * compressed using H.264 in QuickTime (frame rate can be what you like but no higher than 24 fps, I would use automatic keyframes, restrict data rate to 800 kbits/sec and select best quality, and optimised for download) - (read on...)

02 critical theory

When you first try to read something like Barthes' "From Work to Text" common responses might be: * why write in such a difficult way? * why use some many difficult terms? * that it is difficult just for the sake of being difficult These are 'reactive' ways of responding to something that offers a challenge, it is the sort of way we respond when there is an expectation that some thing will give us what we expect, and when it doesn't we punish the object. (This is grounded in what we call object relations psychology and goes all the - (read on...)

01 Where Integrated Media Fits

Some students do Integrated Media in their third year, however it is designed primarily as a compulsory second year media subject. That is all Bachelor of Communication Media students complete this in semester one of their second year. It complements Networked Media, and of course leads into Integrated Media Two, and the third year subjects. The media course has a simple structure. The first year first semester subjects break the media down into very simple structures (editing, reading, and so on) and investigates these through a mix of introductory theoretical readings and exercises. The second semester of first year continues - (read on...)

01 what is practice?

When I talk about 'practice' I don't mean the sense of practice where you repeat something, like "practice makes perfect". It is related to this but quite different - and as I read somewhere recently, they pointed out that practice doesn't make perfect, practice makes permanent! The sense of practice meant here then is closer to the same sense when you describe someone as a practitioner. As someone who does something. So this sense of practice includes a particular sort doing where we think of 'doing' as the heart of the activity. To be an architect is to design buildings. - (read on...)

01 video my objects

Make a video work about all the objects in one room in your house. It can be any room you choose, but it should be limited to the one room. The completed work is to be published via your blog. This video should be: * 640 x 480 (or if you work in 16:9 640 x 360) pixels in size * 30 seconds in duration (no shorter, no longer) * it may or may not have sound (but be careful of copyright) * compressed using H.264 in QuickTime (frame rate can be what you like but no higher than 24 - (read on...)

01 the to dos

Below is an outline of the key things that need to be understood, or done, from this week's classes. It contains links to the relevant bits (where available), though generally think of this list as a skeleton with the rest fleshed out in the lectures and labs. * how assessment is structured (what is required) * why assessment is structured this way * some sense of what reflective practice and process based learning involves, and why * the group activities that are required * key assessment dates What You Need to Have Done You should have emailed your blog url - (read on...)

01 the roadmap

Week one is an introduction to what we're doing, how we're doing it and why. The workshop will be making sure we're all on the same page and able to start doing. From these preliminaries we are going to look at some theory. Even though the subject concentrates on sound and video online, it does so from the point of view of what we can describe as hypermedia narrative structures or forms - what happens when sound and video is no longer made up of whole bits (films, episodes, shows) but fragments, and fragments that can have lots of different - (read on...)

01 readings on practice (optional)

A collection of readings about reflective practice, learning and the like. On the basis that one of the things we are learning about this semester is how we learn (and why). These are not required readings, but for the idle, the curious, and the curiously idle, knock yourselves out. Claxton, Guy, What's the Point of School?: Rediscovering the Heart of Education. (Oneworld Publications, 2008). van Manen, Max. "On the Epistemology of Reflective Practice." Teachers and Teaching: Theory and Practice 1.1 (1995): 33-50. Loughran, J. John. "Effective Reflective Practice." Journal of Teacher Education 53.1 (2002): 33-43. Freidus, Natasha, and Michelle Hlubinka. - (read on...)

01 participation outline

We discussed and listed participation elements in the first lab. Use this list (but you're welcome to add to it) and write a blog post that describes the things that define participation for you this semester. These things must be described - what are they, what do they involve, and why are they important to your learning, for you. In addition they must be quantifiable, so you need to state, very plainly, what each one will require you to do each week. For example, if I decide that a key participation task is to do the readings, then I do - (read on...)

01 lecture

Hand out all paperwork (which includes assessment outline). Outline what will be done in workshops and lectures. How does Integrated Media fit within the larger media degree? Discuss process based teaching. Why an emphasis on process? Why does this matter? What we will make? Why we will make these things, and why will we make them in these ways? What we will try and cover through the semester (the intellectual roadmap). The Korsakow software we will be using this semester, this lets us make online interactive media works. It is available as a free download for Mac or PC. An - (read on...)

01 learning by making

To learn in Integrated Media One you have to do. By do I mean make, reflect on what you made, and make another one. Another what? Well there will be blog posts. There will be short video and audio pieces. There will be a substantial online interactive video/audio project (which will go through several cycles of development and critique). This is about tacit knowledge. Tacit knowledge is knowing how to do something, it is difficult to learn and difficult to teach. Reflection helps reveal and make explicit tacit knowledge, and also provides strategies for developing and enhancing tacit knowledge (about - (read on...)

01 lab

This is just a very brief lot of dot points to help remind me (and you) of what is happening in the first lab. Make sure everyone has the paperwork. To Be Done in Class What questions do you have about the subject? Any? What do you think you might like? Not like? Why? This is going to be slow teaching, we are not going to teach technology, computers, or learning, as a black box (what do we mean by 'black box' - if you don't know how might you find an answer?). I will often stop and ask, what - (read on...)

01 Korsakow and QuickTime some background

Korsakow is the software that we are using to make interactive video and audio works online. Florian is the creator of the system, and the Interactive projects listed are what students have made previously. Mog is the reblog used for the subject. “Korsakow — Home of the SNU,” Korsakow: Home of the SNU http://korsakow.org/ (accessed February 25, 2010,). Thalhofer, Florian, “[Florian Thalhofer].” Florian Thalhofer http://www.thalhofer.com/ (accessed February 25, 2010,). Miles, Adrian, “Interactive QuickTime Projects at Mog.” Mog: Integrated Media @ RMIT http://media.rmit.edu.au/mog/interactive-quicktime-projects/ (accessed February 25, 2010,). Mog: Integrated Media at RMIT. http://media.rmit.edu.au/mog - (read on...)

01 assessment the handouts

Everyone should have a copy (on real dead paper) of: # the course guide (PDF) In the interests of not printing tons of stuff the other material is only available as a pdf. Personally I'd just link to it in your blog rather than print it, but it's up to you. # the sketch film project # the major project (will be available later) # the participation assessment protocol lives within this docuverse The course guide outlines the key themes of the subject, the learning outcomes, has some observations about how things will be taught, and lists what you can expect - (read on...)

01 assessment participation

Within Integrated Media One 30% of your overall grade is given over to participation. This is self assessed and an assessment exercise is undertaken in the first and final labs of the subject to facilitate this. A discussion will be held in class to define what participation actually involves. We will make a list of all those actitivies that you think you might need to do to successfully learn stuff in Integrated Media. How is this participation? Why does particiaption actually matter? Now, you are going to assess this, but what do you need to be able to assess this? - (read on...)

01 assessment overview

So, all this chatter about problem and process based learning. The importance of practice. Yeah, OK, great. But how do I get good marks here? What hoops do you actually want to make me jump through to prove that I have learnt something? You'll hate the first answer to this. I don't know. What hoops do you think you need to jump through to have learnt something here? Seriously. Given the comments about reflection, practice, and process who do you think knows what you may have learnt? Think about that for a bit. As a teacher it is easy to - (read on...)

These pages are written by Adrian Miles ('official' and 'real') as part of the course material for Integrated Media One. This is a second year subject within the Bachelor of Communication (Media) program at RMIT University, Melbourne, Australia. These pages are notes to support students in this course and are best regarded as an informal aside to the lectures and workshops that constitute the subject. Views expressed here are not necessarily those of RMIT University.