Experiences and outcomes of STORIES.COOP, the first digital campaign to choose the storytelling tradition as a way of communicating the cooperative experience to the general public.
An initiative of ICA (International Co-operative Alliance) and Euricse (European Research Institute on Cooperative and Social Enterprises)
The slideshow has been presented during 2013 ICA general Assembly in Cape Town, 3 nov.
Browse, Connect, Share, Inspire: www.stories.coop
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Experiences and outcomes of STORIES.COOP, the first digital campaign to choose the storytelling tradition as a way of communicating the cooperative experience to the general public.
An initiative of ICA (International Co-operative Alliance) and Euricse (European Research Institute on Cooperative and Social Enterprises)
The slideshow has been presented during 2013 ICA general Assembly in Cape Town, 3 nov.
Browse, Connect, Share, Inspire: www.stories.coop
This talk explores the theory and practice of designing a Bible study experience so that the distinctive property of digital media–interactivity at scale–enhances rather than constrains the participant’s agency, or ability to act. We’ll discuss how people’s psychological needs for competence, relatedness, and autonomy affect their approach to and expectations of the Bible and church life, and how developers can support these needs by considering agency during the design process. We’ll also look at a specific application that HarperCollins Christian Publishing has developed to put these ideas into practice and promote agency in the context of daily Bible reading, explaining how and why we transformed a product that wasn’t a good fit for print into one that feels digitally native.
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Copyright & Storytime for T is for Training
1. Copyright & Storytime for
T is for Training
1
Jill Hurst-Wahl Hurst Associates, Ltd. CC BY-NC-ND 4.0
2. Jill Hurst-Wahl Hurst Associates, Ltd. CC BY-NC-ND 4.0
“
”
This means that the new work has
significantly changed the appearance or
nature of the copyrighted work
What is Transformative? (From Justia)
2
3. Jill Hurst-Wahl Hurst Associates, Ltd. CC BY-NC-ND 4.0
Story Time
“Storytime introduces your
child to books, rhymes
and rhythm, music and
song, puppets,
flannelboard stories,
taking turns, paying
attention, and being in a
group.” (JCPL) Photo by Jill Hurst-Wahl
3
4. Jill Hurst-Wahl Hurst Associates, Ltd. CC BY-NC-ND 4.0
Example: A staff member does a live storytime for children through a
video conference platform.
Factor Comments Fair?
The purpose and
character of the use
• Education*
• Entertainment
• The use is transformed,
because the book is not
just read; new content is
added.
This leans towards
Fair Use.
The nature of the
copyrighted work
• Fiction; Creative work Creative works lean
away from Fair Use.
The amount and
substantiality
• Can you do a storytime
without using the entire
book?
Fair Use allows for
an entire work to be
used!
The effect of the use • The same as an in-
person, face-to-face
storytime.
5. Jill Hurst-Wahl Hurst Associates, Ltd. CC BY-NC-ND 4.0
Story time: Things to
consider
What does your story time include?
How are you integrating other activities into story time to
transform the book into a larger experience?
How are children and adults interacting with you and the
book? How are their actions helping to transform the event
to be more than just a reading of the book?
How is your online story time similar or different from your
in-person story time?
5
6. Jill Hurst-Wahl Hurst Associates, Ltd. CC BY-NC-ND 4.0
BONUS:
Online book
talk
A short presentation
geared to convince people
to read a specific book.
Brief sections are read.
Not the “heart of the work.”
Focus is on discussion
about the topic, book, and
author.
Microsoft Stock Photo
6