Collaborative Transmedia Lectures

Session description:

The lecture is dead; long live the lecture! Today, instructors face a daunting task of teaching across face-to-face, online, and hyflex modalities where the traditional lecture is often deprecated as an outmoded method of instruction. But expert narratives can and should be reimagined in and across new media and new learning spaces. What I call a “collaborative transmedia lecture” is a framework for evolving lectures with new technologies. With an eye on video production and diverse learning platforms, this session highlights new opportunities for engagement and learning.

SXSW EDU is organized around similar themes as SXSW: innovation, multimedia, and networking. In short, it’s “a celebration of innovation and learning.” I’ve attended virtually for two years, and find it to be an exciting mix of viewpoints and formats. This year, I’ve submitted a proposal for the first time. I chose the format of a 30-minute solo presentation for my talk.

Some ideas I will define and discuss in my session:

  • Post-pandemic hyflex teaching
  • The instructor as copyleft DJ
  • Student-led content curation
  • TikTok edits and glam-casting
  • Transmedia storytelling

To me, these are all key aspects of the future of higher education. Why? Let’s briefly look at each idea:

Post-pandemic hyflex teaching

At Pace University, I help faculty create engaging multimedia (primarily video) for courses. Student preferences continue to evolve, and the pandemic has left us with the remnants of hyflex: the desire to access course experiences (lectures and in-class activities) on demand. This isn’t always possible, but faculty need to find ways to make their course content as accessible as possible without the downside of the recorded-with-the-webcam-during-class aesthetic.

The instructor as copyleft DJ

A simple way to enhance any slideshow or recorded lecture is with images. Used in the right way at the right time, images help students engage with and remember content. Searching for images (or generating them with AI) is a good strategy for illustrating lectures, and copyleft (and public domain) content provide a trove of possibilities. To me, this feels a bit like the work of a DJ curating a great multimedia experience.

Student-led content curation

Faculty don’t have to do all the work–and shouldn’t. Students should participate in activities that require research, like investigating the history of a topic. An instructor can incorporate student research, discussion, and share-outs into lectures. This content can be brought into the course platform during or after a class session. With a creative and playful mindset, students (and faculty) can also share course-related content on social platforms beyond university-sanctioned tools.

TikTok edits and glam-casting

Translating a lecture into a video format is hard. While it’s easier than ever to capture video, it still requires a lot of attention and time, starting with a great script. I believe many faculty members avoid video because it is much less forgiving than delivering a lecture in person–even poorly. Students see great videos every day, and have high standards. For example, YouTube creators deliver content with passion in well-lit, well-designed studio environments (even when it’s their bedroom). Students themselves continuously create media on platforms like TikTok and Snapchat, and are familiar with using dramatic camera angles, hip soundtracks, and flashy motion graphics. While these aesthetics might not be right for lectures (or are simply too time-intensive to sustain at length), faculty can borrow elements from these other mediums.

Transmedia storytelling

Putting all of the previous elements together sets the stage for a transmedia experience. The term “transmedia storytelling” denotes using multiple digital platforms to tell a story–where social media and multimedia converge to reveal a larger picture. The big idea here is to break lectures up into several segments that traverse in-person and digital media, while creating a more interesting, content-rich, active learning experience for students.

This fall I’ll be teaching Introduction to Podcasting in the Communications and Media Studies program. As a production-focused course with an emphasis on student-centered learning (i.e., “experiential education”), it’s a great excuse for me to use instructor-created video in creative ways.

With some luck–and your support via PanelPicker voting from August 8 – 20–I’ll have a platform to share this work with the SXSW community in 2024.

Learning and Storytelling

This week, I presented on the opportunities and challenges of storytelling at the 4th Annual Pace Online Conference. My talk, titled, “Creating Engaging Stories with Video,” was meant to inspire new possibilities for telling stories in our instructional videos at Pace University.

The main theme I explored was how stories that are even only indirectly connected to the subject matter have the potential to help students better connect with multimedia content. As David JP Phillips shares, stories can make your brain more receptive to learning. These could be personal stories or stories from your field that connect to the subject matter or lesson.

Image: David JP Phillips presents on storytelling at a TedX event.

But telling stories also requires students to spend more time with our media, and that can be a challenge. I shared the story of Quibi to reinforce how even 10-minutes videos fall awkwardly between short videos (that require less commitment) and long videos that rival media choices with higher production values and well-crafted stories (well, some of the time).

Image: My depiction of the “Battle for Eyeballs.”

A Call to Action

What’s the best way forward? It’s up to each faculty member to wrestle with this issue, but I challenged everyone to try to bring a story into lectures that are longer than 10 minutes.

After sharing a personal example, I asked everyone to reflect on a time or experience in their life that led them on their academic journey. I thought it would be helpful to experience this work of identifying possible stories, even though it can be frustrating sifting through memories and making connections to subject matter! And further complicating the path ahead, a professor will need a handful of ready-to-use stories to call upon over the course of a semester.

Image: I shared my experience as an early-career media maker working with comedian Josh Kornbluth on an instructional video.

For the final part of my presentation, I reviewed the resources and services of the Online Learning Center, and invited faculty to seek our help in bringing stories into their videos.

What do you think? When and how can educators use stories to create the conditions for learning?

University-made Multimodal Curriculum?

How can schools, colleges, and universities offer sophisticated, up-to-date, and effective curriculum across diverse disciplines without relying on Publishers? While this is sometimes an informal faculty role (e.g., creating presentations, sharing original research), it is rarely a formal one. Could it be an administrative or library responsibility? Or is it just too hard to pivot away from Publishers?

Image credit: LearnUpon Blog. Read it for a quick review on “multimodal” learning!

My current role at Pace University has me thinking about multimodal curriculum on a daily basis. Using Open Education Resources (“OER”) is one response, but it is problematic (or, at least incomplete) in several ways. For one, if institutions rely heavily on open content, how do they distinguish themselves in the marketplace? (Maybe they don’t, but that’s another discussion.) And another issue: what kind of systems are in place to keep underlying resources up to date and accurate? And how are they jig-sawed together into a coherent whole? A university’s response must either be ad hoc, or rely on intermediary companies that prepare and deliver these open resources.

But the obvious alternative to using open educational resources as curriculum is for colleges and universities to produce their own. Assuming faculty have the appropriate expertise, the primary hurdle is the sheer time involved in producing and maintaining content. I think multimedia – and multimodal curriculum – will be the game changer here. I will be writing about new approaches to the development, production, and maintenance of multimodal content in the future.

Info-giraffe

Check out this insightful discussion of creative work from Rj Andrews at Info We Trust. It’s an interview with Fernando G. Baptista about his recent (and wonderful) giraffe illustration for National Geographic.

“An early sketch” shared by Baptista’s team with Andrews.

I particularly appreciate how Baptista discusses the team collaboration around this project. For anyone interested in creating beautiful educational content, this is a useful peek into one team’s process.

How We Created Our Immersive Learning Experience

We designed the Mars Mission experience for participants to experience:

  • play (going to Mars!)
  • surprise (audio and video cues, live action drama, actors)
  • awe (cinematic media and light)
  • curiosity (theatrical reveals)
  • flow (a continuous story with problems to solve)

With this video, we hope to share how our team thinks about our creative process in the work of creating educational experiences. We learned a lot about integrating several disciplines into one project. Kim was a great leader for our team!

I wanted to be Todd Howard

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When I was 15 years old, I definitely wanted to be Todd Howard:

On November 10, Howard’s latest project arrived like a thunderclap: Fallout 4 is the biggest game his team has ever made, a Skyrim-sized post-nuclear world brimming with more than 100,000 lines of spoken dialogue, coupled to a mammoth crafting system fed by all those wasteland odds and ends players can pluck from dilapidated desks and derelict trashcans.

In other words, he creates vast, virtual worlds for video games. These days I’m not as interested in the virtual worlds, but Howard’s work itself—the work it takes to create those worlds—is very interesting!

Learning with Apple Live

Apple’s live events keep evolving, and I would love to be able to use their “live broadcasting” toolkit—essentially turning their website into a media-rich live blog of the event. Here’s a screenshot of what today’s Apple Watch-focused event looked like:

Screen Shot 2015-03-09 at 2.17.49 PM

 

The key features of this mode of presentation are:

  • Live video of the main presentation—which is being produced somewhere (usually California) for a live audience.
  • Produced video elements are used during the presentation. Split-screens are sometimes used to juxtapose the speaker and other content (as above).
  • Pre-made, widget-like cards appear from top to bottom with short summaries (including images and video) of the presentation content. They have simple, built-in social sharing functionality.
  • When you scroll down to see older cards, the video is shrunk to a thumbnail and continues to play at the top of the page.

These elements combine for a simple, compelling online presentation. One can easily step away and come back, and skim the cards to see what was missed. It would be equally great if the presentation could be replayed from the point of any ‘card’… though I don’t think this is currently the case!

So, if I had this presentation toolkit, would I use it? Given the amount of pre-planning and multimedia in use, it would certainly take a significant up-front investment (e.g., time, money, preparation). However, to deliver a high-impact event to a web audience, it seems like a great place to start.

I especially like the live element—which underscores the event with the sense that, “this would be even more impressive in person, but I’m as close as I can get!”

Techitecture, The Emergence of

My involvement in Teacher College’s Learning Theater project makes me appreciate how fast-evolving audio/video technologies (or better: display/capture/collaboration technologies) challenge traditional architecture.

Our project feels like “techitecture”—a combination of technology and architectural design and development. (And I’m curious that, having imagined this fanciful term, I have not found it used before in this way.)

The fit and function of technology elements in our space will go beyond traditional theater. Not only will the audience not be “fixed” (in seats, etc.), but it’s not even clear to us what events will eventually unfold in the space.

article-2700073-1FD8588400000578-158_634x462Designing the learning theater space seems more akin to designing the holodeck. It will essentially appear as an empty grid until users imagine ways to activate it.

In undertaking this type of project, it’s clear that architects need to be brave, and AV consultants need to be braver still… We are essentially designing a digital space with bulky materials from the past, and just enough matter to support the needs of humans.

And coffee.