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21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
21st Century Visual Storytelling and Visible Learning
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21st Century Visual Storytelling and Visible Learning

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Are we REALLY all photographers, publishers, visual storytellers? …

Are we REALLY all photographers, publishers, visual storytellers?
Photography has never been a more dominant and embedded part of contemporary culture than it is now. The pervasive eye of the world has arisen and new practices of visibility have emerged confronting the power of the establishment. The net has amplified our ability to connect and build communities across the globe and digital technology and the social media sharing and communication of images has facilitated an exponential growth in picture capture and seamless digital distribution.
In 2011 Peter Norvig and Sebastian Thrun at Stanford University shook up educational institutions by opening their doors to their ‘Introduction to Artificial Intelligence’ interactive MOOC (Massively Open Online Class). Two years earlier in the back of a converted cinema in the UK 1, Jonathan Shaw together with his colleagues Jonathan Worth and Matt Johnston seeking to enhance student engagement with photography and connect them with their wider professional networks, had explored a similar idea, allowing the world to peer into their classroom. Picturing the Body better known by its hashtag #picbod, a free and open undergraduate photography class was born. #picbod together with its sister open class #phonar (short for Photography and Narrative) are now referred to as Open Boundary 2 by JISC as a third distinct thread running within the wider weave of what might be commonly termed MOOCs.
This presentation will reflect upon and explore the motivations, rational and strategies that led to the development and support of open, online courses specifically within context of photography education. The workshop will also showcase Newfotoscapes, a 'living' book about the new topography of visual storytelling through lens-based media by Jonathan Shaw.
Newfotoscapes seeks to navigate the evolving topography surrounding the image in the twenty-first century, offering a focused eye on the contemporary creative author-curator and image-maker and on the possibilities afforded by an increasingly complex professional landscape. Jonathan advocates a new way of thinking about photographic production and education in a post-digital era.
Newfotoscapes can perhaps best be understood as a series of curated texts arising from a series of in-depth conversations with 10 key stakeholders in, and influential commentators on, photography; including: Andy Adams, Charlotte Cotton, Dewi Lewis, Mishka Henner and Stephen Mayes. Perspectives and views cover a wide range of topics such as photo-books, archives, mobile, community, value, curation, appropriation, power, open education, connected/networked image, governance, licensing and the agency.
In the spirit of today's mobile and connected world Newfotoscapes will be simultaneously available on the web under a Creative Commons license and versioned in ePub and print formats.

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  • 1. #photomedia JONATHAN SHAW Helsinki Photomedia 2014 26th - 28th March, 2014 Aalto University, School of Arts, Design and Architecture, Helsinki, Finland 21ST CENTURY VISUAL STORYTELLING: OPENING THE DOORS TO VISIBLE AND CONNECTED LEARNING
  • 2. #photomedia http://slidesha.re/1h1cpbO
  • 3. Practitioner jonathan-shaw.com #photomedia
  • 4. Researcher Centre for Disruptive Media #photomedia
  • 5. Teacher Re-imagining this for the 21st Century... #photomedia
  • 6. PRACTICETHEORY RESEARCH Privileged insights... Practitioner led educator #photomedia
  • 7. PRACTICETHEORY- -RESEARCH Hybrid Fusion A reflection on... #photomedia
  • 8. orytellers?" "Are we REALLY all photographer blishers, visual storytellers?" "Are we REALLY ographers, publishers, visual storytellers?" "A REALLY all photographers, publishers, visual orytellers?" "Are we REALLY all photographer blishers, visual storytellers?" "Are we REALLY ographers, publishers, visual storytellers?" "A REALLY all photographers, publishers, visual orytellers?" "Are we REALLY all photographer blishers, visual storytellers?" "Are we REALLY ographers, publishers, visual storytellers?" "A REALLY all photographers, publishers, visual orytellers?" "Are we REALLY all photographer blishers, visual storytellers?" "Are we REALLY ographers, publishers, visual storytellers?" "A #photomedia
  • 9. Analogue ...but with digital technologies... #photomedia
  • 10. Digital... ...it transformed into this! #photomedia
  • 11. Classroom ...but with digital technologies... #photomedia
  • 12. Collection ...to transform into this! #photomedia
  • 13. 1,000,000 listens 2 years later Interest grew... Photographic Mediations iTunesU Collection #photomedia
  • 14. Thinking differently... What can happen when you consider your approach and invite people join you! #photomedia
  • 15. © Cheltenham Art Gallery & Museum Provenance of arts education ...as craft #photomedia
  • 16. Relevance... ...Google Search App interview #photomedia
  • 17. Shaking up photo- education ” “ #photomedia
  • 18. We should be openly engaged ...politically, socially and culturally #photomedia
  • 19. Globally visible ...phonar.org in 10 weeks had 15,000 people from 152 cities #photomedia
  • 20. What does it mean to be a 21st century photographer? “ Networked ...Image: Jenny Swerdlow & Rachel Appleby #photomedia
  • 21. Open door ...establishing new rules #photomedia
  • 22. #AdobeEdu12 Connected ...conversational #photomedia
  • 23. Collaborative ...internationally #photomedia
  • 24. Personal ...meet the tutors Jonathan Worth and Matt Johnston #photomedia
  • 25. Open resources ...freely available under a Creative Commons license #photomedia
  • 26. Conversations ...before the doors of the classroom are open, dialogues have already been shared. #photomedia
  • 27. Integrated ...featured in What’s Hot in Photography apps! #photomedia
  • 28. Going back to the drawing board ...and work out what you want to say! #photomedia
  • 29. The ‘Reading List’ is now the most visited post in the class...(Friends of Phonar Book List) Revisited The traditional reading list... #photomedia
  • 30. Here, what we think of as ‘publication’ -- whether it occurs in ‘real time’ or after a long period of reflection and editorial review, ‘all’ at once or in fits and starts, in print-on-paper or electronic form -- is no longer an end point. Publication is rather just a stage in an ongoing process of temporal unfolding. “ Gary Hall On the unbound book: academic publishing in the age of the infinite archive. (2013) #photomedia
  • 31. New Partnerships! ...a ‘fluid’ book #photomedia
  • 32. #photomedia Fundamentally aspires to be understood as a node within the network; fluid, dynamic and responsive to its surroundings, rather than a fixed, definitive and bound container.
  • 33. CATALYST ENCOUNTER ANTENNAE Framework #photomedia
  • 34. CATALYST #photomedia is the impetus for each encounter. They are the present questions that occupy each contributor, having guided their current thinking, research and practice. ENCOUNTER ANTENNAE
  • 35. #photomedia the co-produced transcripts with each contributor ENCOUNTER ANTENNAE CATALYST
  • 36. #photomedia the sensorANTENNAE CATALYST ENCOUNTER
  • 37. Multi-platform ...Openly licensed #photomedia
  • 38. CHARLOTTE COTTON Collaborators Sample MISHKA HENNER STEPHEN MAYES KATRINA SLUIS DAVID CAMPBELL ANDY ADAMS COMMUNITY LEADER ACADEMIC WRITER POST-PHOTOGRAPHER AGENT DIGITAL CURATOR #photomedia
  • 39. It’s not a question of the mass audience versus the niche audience. The niche audience is something that is an aggregation of people in the mass audience “ David Campbell Newfotoscapes.org #photomedia
  • 40. The artists who I think will define this moment, who do define this moment for other artists are actually invisible to most cultural institutions “ Charlotte Cotton Newfotoscapes.org #photomedia
  • 41. The thirst for such acceptance from younger artists has been exacerbated by the proliferation of art fairs “ Donall Curtin & Nathaniel Pitt Newfotoscapes.org #photomedia
  • 42. My delight is that much more responsibility now sticks with the receiver of a photograph, to the point where I am now beginning to argue that the receivers (users, consumers…) of photographs are more important in doing things to them than the photographer “ Francis Hodgson Newfotoscapes.org #photomedia
  • 43. I think printed books will be around for a long time. It’s not that people will stop wanting to buy them. The problems are going to come because - will there be enough commercial printing out there? “ Dewi Lewis Newfotoscapes.org #photomedia
  • 44. The skill then of the, if you like, dedicated image maker comes about then harnessing those deeper levels of metaphor and storytelling “ Stephen Mayes Newfotoscapes.org #photomedia
  • 45. I use the image in a way in which to open up questions of provenance really, because really once a photograph is on a screen is it video, is it animation? “ Katrina Sluis Newfotoscapes.org #photomedia
  • 46. www.newfotoscapes.org/keep-in-touch/ #photomedia Join in...
  • 47. #INTED2013 Presentation available at: http://slidesha.re/1h1cpbO www.jonathan-shaw.com j.shaw@coventry.ac.uk @time_motion #photomedia

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