Fantasies in Frosting is a cupcake store which already has a reputable name in the wedding cake industry. They want to expand to the retail market and also opened the store to a new place in Moorhead area.
January 2014 - May 2014
Instrumented a marketing plan for a local pizza restaurant
o Conducted a SWOT analysis for the company determining the best methods to market the business
o Identified who the primary customers were for the business and concluded who the target market should be
Fantasies in Frosting is a cupcake store which already has a reputable name in the wedding cake industry. They want to expand to the retail market and also opened the store to a new place in Moorhead area.
January 2014 - May 2014
Instrumented a marketing plan for a local pizza restaurant
o Conducted a SWOT analysis for the company determining the best methods to market the business
o Identified who the primary customers were for the business and concluded who the target market should be
This powerpoint/slide was made for my fourth quarter reporting project in EsP 10. I hope it'll help you guys kahit hindi sa subject na pinaggamitan ko since this topic is connected to different subjects like Araling Panlipunan and Filipino.
Thank you!
We used this poster to promote our Research Help @ Your Residence project. We had librarians set up shop in student residences to see whether they would find asking for help less intimidating than the library.
This is a small PDF file of the poster I gave at the OLA SuperConference 2008. Here's the description from the program:
The University of Guelph Library recently agreed to deliver the second-year marketing course on Information Management in the Bachelor of Commerce program. As part of this project the course was redesigned to incorporate active learning strategies and group role-playing assignments. This poster session will discuss the challenges and opportunities involved in redesigning an entire course and offer suggestions for incorporating role-playing into more traditional information literacy instruction settings.
This powerpoint/slide was made for my fourth quarter reporting project in EsP 10. I hope it'll help you guys kahit hindi sa subject na pinaggamitan ko since this topic is connected to different subjects like Araling Panlipunan and Filipino.
Thank you!
We used this poster to promote our Research Help @ Your Residence project. We had librarians set up shop in student residences to see whether they would find asking for help less intimidating than the library.
This is a small PDF file of the poster I gave at the OLA SuperConference 2008. Here's the description from the program:
The University of Guelph Library recently agreed to deliver the second-year marketing course on Information Management in the Bachelor of Commerce program. As part of this project the course was redesigned to incorporate active learning strategies and group role-playing assignments. This poster session will discuss the challenges and opportunities involved in redesigning an entire course and offer suggestions for incorporating role-playing into more traditional information literacy instruction settings.
Innovation: The Language of Learning Libraries NotesM.J. D'Elia
This PDF summaries the PPT slides from the 2010 LOEX of the West Conference in Calgary, AB. Hopefully, these notes help explain the images in the slide deck.
Information Literacy in the Age of YouTube: Further ReadingM.J. D'Elia
This short bibliography of interesting (and free) resources relates to this presentation: http://www.slideshare.net/mjdelia/information-literacy-in-the-age-of-youtube
Innovation Boot Camp: Fostering a More Innovative Workplace (PPT)M.J. D'Elia
This PDF document provides some summary notes from our presentation at the CPSI conference in Buffalo. You can also find our PPT from the session on Slideshare.
Perceptions of Information Literacy: Presentation NotesM.J. D'Elia
Here are the presentation notes (mostly my part - Robin has her own notes) that go with our slides from WILU 2007 conference @ York University. Hopefully, these notes provide more context.
For the slides go here: http://www.slideshare.net/mjdelia/perceptions-of-information-literacy
Open Your Mind, Open Your Library (Handout): Texas Library Association 2016M.J. D'Elia
As libraries face new technologies, shifting priorities, and ever-increasing competition for resources, they must learn to respond creatively to problems. You'll leave this active, hands-on session with activities and strategies you can take back to your library to make it a more creative organization (see slide deck too)
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The ultimate guide to data storytelling | MaterclassGramener
Gramener collaborated with Nasscom to conduct an online masterclass session on "Storytelling With Data." Gramener's CEO, S Anand, led the masterclass and shared some important slides on how to make data stories and how to drive storytelling.
The slides talk about the structure of data stories and how to find meaning full insights from data. There are real-time examples of data analysis and visualizations we created a Gramener to communicate insights as stories.
This is an ultimate guide on data storytelling that offers tips to create data stories, things to keep in mind while making storylines, and choosing designs to make a design-led data story.
Know more about Gramener's data storytelling workshop for analysts and data scientists at https://gramener.com/data-storytelling-workshop
You can speak with confidence. If you follow the pointers
and tips in these coming pages, I have no doubt you’ll
become an accomplished public speaker. That may sound
like a bold assertion but I’m absolutely convinced it’s true.
Everybody can learn to speak well.
Despite this, many people are scared of getting up to talk
in front of an audience. There’s even a technical term for
this: glossophobia. It’s so common that it’s believed to
affect up to 75 per cent of the population, with an
estimated 10 per cent of those at the more extreme end of
the spectrum. If you are one of the many who make up this
number, it may strike you that your glossophobia is
insurmountable. It isn’t. With the right preparation and
support, you can overcome your barriers and stumbling
blocks. In the following chapters I will help you look at
speaking in a fresh way that will dissipate much of the
anxiety and put you in control. I say ‘much’, rather than
‘all’, because some nerves are a good thing. Harnessed in
the right way, they bring the necessary energy to your
performance. They help you to focus and connect.
One of the fundamentals of successful public speaking is
to understand that, no matter how good at it you become,
it’s always the audience that is the star. They’re the focus.
Not you. Later on in this book, I’ll explain how this works
and how to use it to your advantage – because by truly
understanding this, you can boost your self-confidence and
performance. I’ll also be exploring why public speaking is
most definitely not one-way traffic. The best speeches
mirror a conversation, and actively provoke interaction and
reaction.
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Reporting on Higher Education: What You Need to Know by Jeffrey R. Young, editor and writer for The Chronicle of Higher Education, 2014 Nieman-Berkman Fellow in Journalism Innovation, currently studying MOOCs
Cutting through the hype to make a confident future library and information p...Sheila Webber
This was given at the CILIP East of England ISG meeting, May 2009, in Foxton, UK. I have added some additional notes for Slideshare (mostly in boxes on the slides). It was part of a programme that was looking at what skills and knowledge library and information professionals needed to meet the needs of young people. "Cutting through the hype" (in my title) indicates that I think that we shouldn't accept steroetypes & generalisations of what generations are like.
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How To Be Successful In College Essay.pdfAlexis Mills
College Essay Examples - 9+ in PDF | Examples. College Essay Format: Simple Steps to Be Followed. Infographic: What Makes a Strong College Essay | Best Colleges | US News. Success with college writing from paragraph to essay. buy a custom essay. How To Write A College Essay | College essay, Scholarships for college .... School Essay: Being a succes
Handout for "Proven Presentation Techniques", an InfoComm approved workshop b...Thomas Zangerle
This workshop will show you how you can transform your ideas into convincing interactive presentations. The most important elements of successful presentations, training sessions and meetings are straightforward to name, but not always quite so easy to implement. It's essential for the presenter to capture and maintain the attention of the audience, to present effectively, create interest, encourage excitement and to captivate the participants. In this training session we will explore how you can increase understanding and retention in a presentation. You will receive background information based on scientific research, about improving communication techniques and about the workings of the brain. You will also see examples of best practices, effective communication, and presentation designs, all of which contribute to the creation of long-lasting impressions.
The 4 Most Important PowerPoint RULES for Successful PresentationsNed Potter
There are a million and one tips and tricks for using PowerPoint effectively, but what REALLY matters most? This presentation takes the 4 most important changes you can make to your presentations and explains simply how to go about them.
The focus is on use of images, making one point per slide, not using bullet points, and keeping things simple. Each of the rules is backed up by actual research, into multimedia learning principles, conducted at the University of California.
There's also several useful sites linked to, including 5 fantastic image resources, and a great place to download fonts.
See the associated blogpost for this slidedeck at http://www.ned-potter.com/blog/the-4-most-important-powerpoint-rules-for-successful-presentations.
If you're interested in more presentation tips, have a look at the other presentations on this Slideshare account, or head over to www.ned-potter.com/blog, where I've also written extensively about Prezi.
Tartuffe Essay. Commentaire De Texte Tartuffe Acte 1 Scene 4 - Exemple de TexteCrystal Adams
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This is an abbreviated version of a presentation given as part of a Residency program for graduate education students earning their Superintendent's letter.
Similar to Information Literacy in the Age of YouTube: Script (20)
Open Your Mind, Open Your Library (Slides): Texas Library Association 2016M.J. D'Elia
As libraries face new technologies, shifting priorities, and ever-increasing competition for resources, they must learn to respond creatively to problems. You'll leave this active, hands-on session with activities and strategies you can take back to your library to make it a more creative organization (see handout for more).
With all of the pitches, promises and promotion, it’s hard not to be a little skeptical of startup culture. But if we look past the hype, what can we learn from startup thinking? This session will unpack the core approaches, key concepts, and essential tools used by serial entrepreneurs. Start thinking and acting more like an entrepreneur – wherever you happen to be.
Participants will explore the merits of using prototypes and simple dashboards to test ideas and validate assumptions; learn how an iterative build-measure-learn cycle can accelerate development; and consider the importance of engaging stakeholders early in the design process.
SirsiDynix
Webinar: June 3, 2015
M.J. D’Elia and Helen Kula, co-organizers of Startup Weekend: Library Edition, will explore ‘startup thinking’ and what it means for libraries. What would it look like to run your library like a startup? This session offers five strategies, along with some practical tips to inspire you to approach your work differently. Come join the conversation.
Delivered at the Library Leaders Summit (April 28, 2015) in Washington, DC.
Session Description
How using low-tech dashboards can increase data transparency, improve staff morale, and assist with better decision making.
Alternative title: What baseball can teach us about assessment
Delivered at the Computers in Libraries Conference (April 28, 2015) Washington, DC.
Session Description
Games are everywhere, and kids are playing games at home, in school, in libraries and public places. But releasing the potential of games and gaming for learning means knowing about trends in game designs, cultures, and genres, in the context of both educational games and commercial games, to better understand how they meet the pedagogical, curriculum, and individual needs of learners. D'Elia talks about alternate reality games (ARGs), interactive social games that transcend media and tell stories using multiple platforms. Players dive down the rabbit hole to interact with fictional characters, solve problems with other players, and, ultimately, unravel the mystery. Immersive ARGs have been described as “chaotic fiction,” but what if there is a method to all of this madness? This (highly) speculative talk asks: What can ARGs teach us about the future of elearning?
Workshop delivered at Computers in Libraries 2015 (Washington, DC).
Session Description:
How can the popular tool from Business Model Generation be used to map library value? What insights or opportunities exist when we tweak one of the building blocks? This workshop helps to understand the interconnected parts of your organization and what can push people to think of different models that might be applied. Join our business thinking librarian and learn how to use business models that work for your community and create value propositions that you can sell to your stakeholders.
On the surface startups and libraries couldn’t be more different, but when you put members of these communities in the same room you get some amazing results – and that’s exactly what happened at the first ever library-themed Startup Weekend in Toronto. Come hear how startup thinking can improve libraries and how libraries can support entrepreneurial activity on your campus.
This presentations was given "Ignite Style" at the VentureWell Open conference (March 2015) in Washington, DC. It probably won't make any sense, but I thought I'd upload it anyway!
You’ve heard of the proverbial elevator pitch, right? The one where you’re riding down the elevator with your boss and you need to sell her on your great idea before you reach the lobby. It’s a high-stakes conversation that you need to be prepared for.
What do you do? What do you say? Of course, you may never find yourself in an elevator with your boss (people don’t talk in those things anyway), but we’ve all been in situations where we need to move others. Whether you are pitching an idea to colleagues, negotiating a new contract with a vendor, or just trying to convince your seven-year-old daughter to clean up her room, you’ve experienced a selling scenario. This workshop will tackle the fundamental elements of crafting a message that resonates with the audience, attracts attention, and, ultimately, inspires action.
Startup Thinking 101 for Libraries: WorkshopM.J. D'Elia
This half-day workshop covers the basic thinking behind launching a new product or service. It uses the Business Model Canvas as a starting point followed by an application of the Customer Development Framework. Helen Kula and M.J. D'Elia presented this workshop at Internet Librarian 2014 in Monterey, California. The workbook (.doc) from the session has also been added to SlideShare.
Startup Thinking 101 for Libraries: Workbook M.J. D'Elia
This document provides a number of worksheets that were used in the Startup Thinking 101 workshop at Internet Librarian 2014 in Monterey, California presented by Helen Kula and M.J. D'Elia. The slides from the session have also been added to SlideShare.
Libraries are NOT startups - we all know that; however, startups use approaches that might be worth emulating in more traditional organizations like libraries. This presentation provides a high-level summary of startup thinking, using nine key concepts with examples. Helen Kula & M.J. D'Elia delivered this talk at Internet Librarian 2014 in Monterey, California (October 27).
Creating a Culture of Innovation (in Libraries)M.J. D'Elia
My slides for a short talk on creating a culture of innovation in Libraries delivered at the ARL Membership Meeting in Washington, DC (Oct 8, 2014). Observations fall into three categories: Platforms, People and Practice - with a dash of Persistence. Note: I'm not sure if the slides will make sense on their own!
Libraries Meet Startups: An Unusual Love StoryM.J. D'Elia
A light-hearted look at my attempt to smush libraries and startup thinking together. Basically, I relate a number of stories and introduce a few experiments that I've tried at the University of Guelph Library in the past few years. Presented at the Code Meet Print Toronto Meetup on September 18, 2014.
Startup Library Full Day Workshop: OCULA Spring Conference 2013M.J. D'Elia
The Startup Library is a crash course in entrepreneurial thinking for Library Land. It is about identifying opportunities, taking smart risks, and learning by doing. This one-day workshop will engage participants in a number of activities designed to inspire, energize, and challenge. Participants will work together to identify a problem worth solving, generate potential ideas to solve that problem, strengthen their solutions, and make a final “rocket pitch” to support their best idea.
In April 2012, Brain Mathews asserted in his white paper that libraries need to “Think Like a Startup." But how do startups think? If we are going to emulate startup culture, then we have some learning to do. This interactive session will tackle the build-measure-learn cycle, validated learning, iterative design, continuous improvement, and other components of lean thinking. We'll underscore the importance of hands-on development, prototyping, and hypothesis testing. Come join the conversation and help make entrepreneurial thinking a habitual part of our practice and profession. Presented by M.J. D'Elia & Helen Kula.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
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This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
Information Literacy in the Age of YouTube: Script
1. University of Guelph
APLA : 2009
Information Literacy in the Age of YouTube
M.J. D’Elia
INTRODUCTION
My name is M.J. D’Elia. I haven’t been back to Halifax since I graduated six years ago, so
I’m really happy to be here. There’s nothing quite like Halifax in the summer.
I’m currently working back in “Upper Canada” (as some of my friends used to say) at the
University of Guelph as a business librarian and I teach a second year marketing course on
information management. But today I’m here to talk about something completely
different‐‐and that’s a good thing (for all of us).
I’m here to talk about why information literacy bothers me. Well, let me be clearer. It’s
not information literacy that has me concerned. Like most librarians, I believe that information
literacy is an important component of education and lifelong learning.
INFORMATION LITERACY STANDARDS
Like many of you, I want to help people:
• Identify their information needs
o Articulate the research problem
o Locate potential sources
• Access that information effectively and efficiently
o Develop good research strategy
o Use appropriate tools
• Evaluate the information and sources they find
o Measure reliability
o Synthesize main ideas
• Apply information to a specific purpose, problem or puzzle
o Use information to make decisions
o Communicate solutions effectively
• Use information ethically
o Understand socio‐economic issues
o Follow the laws
These are fine goals. If you’re in an academic environment, these ideas should sound
familiar‐‐they were developed by the Association of College and Research Libraries and are
often cited in library literature.
Improving information literacy skills empowers people to take responsibility for their own
learning. It helps them find better information and make better decisions as a result.
What could be wrong with that?
1
2. TEXT‐BASED INFORMATION
Nothing actually.
My problem is not with the standards per se. My problem is with how we read and apply
those standards. While these standards provide a great foundation for education, I’m willing to
bet that when most of us think of information literacy, we think of one type of information:
text.
And now we’re circling a little closer to the problem I want to talk about today. What has
bothered me recently about information literacy is our profession’s emphasis on text‐based
information. If isn’t written down, frozen in the pages of a book, or published by a reputable
publisher, then we librarians just don’t seem interested.
Even though the ACRL specifically acknowledges graphical and aural information in their
discussion of information literacy, few of us have noticed:
“information is available through multiple media, including graphical, aural, and textual,
and these pose new challenges for individuals in evaluating and understanding it.”
http://www.ala.org/ala/mgrps/divs/acrl/standards/informationliteracycompetency.cfm
To put it crudely: If we don’t catalogue it, we don’t care about it.
KEEPERS OF THE BOOKS / CREATING, CONSUMING
Don’t get me wrong, I know that we are the traditional keepers of the books. I know we
play an important role in helping people find and use information‐‐and most of the time that
information is text‐based.
I’m merely suggesting that when it comes to information literacy, “information” is
broader. It applies to more than the just the printed word. Photographs, illustrations, icons,
videos, and other multimedia are all part of our current information landscape. Ignoring these
elements presents a very narrow definition of information literacy‐‐and one that we would do
well to avoid.
We must face the fact that the information environment is different. For example, just a
few years ago, the popular video sharing website YouTube simply couldn’t have existed. Not
because no one thought of the idea, but because the technology wasn’t mature enough and the
costs of running such a service were too high (Born Digital, p. 230). But now, the site hosts over
6 million videos and is one of the most visited sites in the world. Times have changed. Or, more
accurately: times are changing.
One thing is clear: we’re creating and consuming more visual information than ever
before. In response, we need to re‐think our notions of Information Literacy in the Age of
YouTube.
IMAGES
Today’s presentation is a little different‐‐if you couldn’t tell already. I’m not reporting on a
research project, I’m not talking about technology or library trends, and I’m certainly not
presenting a fully‐developed thesis. Today is simply an exploration‐‐an exploration of what
information literacy looks like in a visual culture.
2
3. Naturally, we need to focus on the most basic element of visual culture: images.
IMAGES TELL STORIES
Why are images so important? Well, to put it in three simple words: Images tell stories.
In mere moments, images can communicate an incredible amount of information. Let me
show you what I mean:
An image like this [ultrasound] can make two people more excited‐‐and more
scared‐‐then they’ve been in their entire lives.
An image like this [map] can tell you how to find it‐‐or possibly explain why you haven’t
found it yet.
An image like this [black sheep] can tell you who is the black sheep in the family—sorry, I
couldn’t resist.
An image like this [lobster] can tell you that dinner is good, but market price is a lot higher
than you think.
An image like this [man at toilet icon] can transcend language‐‐and help clarify
instructions (in case you weren’t sure).
VISUAL BEFORE VERBAL
Our minds are incredibly sophisticated when it comes to processing visual information.
But, we shouldn’t really be surprised. When we enter this world, images are our primary
language.
We see before we speak. We watch before we write. We’re visual before we’re verbal.
My daughter is almost two, and already she’s developing an incredible vocabulary. Like
any dad, I’m proud of her development, but I know that she loves her books because of the
pictures not because of the words. Someday, she’ll appreciate the words, but for now it is the
images help her understand the story‐‐and in some cases, the images *are* the story.
TWO CLAIMS
I want you to remember these two important claims. The first one I already mentioned: 1)
images tell stories, and 2) stories help us understand. Without stories it would be hard to make
sense of the world.
So it shouldn’t surprise you that this presentation 1) contains a lot of images and 2) this
presentation uses a classic story structure.
But unlike a typical story, I’m not planning a surprise ending, I’m going to tell you where
we’re headed.
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MAIN CHARACTER
As you may have guessed, our main character for today’s story is the image. Okay, so our
story is a little unusual, but go with me on this. Of course, when I say “the image” I’m not
referring to a particular image, but to any and all images taken together. In a visual culture,
everything pivots on the image. The image, it would seem, makes a great protagonist.
STORY ARC
For any English majors out there this is called Freytag’s pyramid.
We’ll start with a brief introduction [Exposition / Introduction] to the main character,
focusing particularly on how and why we use images. Then we’ll highlight the tipping point
[Inciting incident] which kicks off the image’s rise to prominence [rising action]. Of course, it
wouldn’t be a story without a few complications, so we’ll spend some time dealing with the
current crisis in image making [Climax]. This crisis creates numerous dilemmas that need to be
addressed [Falling Action], but with a little effort these issues can be resolved. That’s where we
come in [Resolution]. But this story doesn’t resolve itself so easily [Denouement]. There are still
some loose ends. If we’ve learned anything from Hollywood, we’ve learned that there is always
room for a sequel.
EXPOSITION: “A picture is worth a thousand words”
WHY IMAGES?
Perhaps we should start with a rather simple question: Why do we use images? Images
take a variety of forms, but what functions do they serve? Here are just a few possibilities:
We use images for documentation. Images are an important part of the historical record.
Any occasion that we want to remember (war, vacation, grand opening) we document it.
We use images for identification. Images help us identify people, places and things. When
it is important to tell one thing from another we use images (e.g. passport photos, architectural
drawings, etc).
We use images for elaboration. We use images to help us explain complex concepts (e.g.
schematic diagrams, graphs, charts, diagrams)
We use images to convey emotion. Sometimes emotion is easier to grasp in visual form
(e.g. abstract expressionistic painters, art)
We use images for direction. Maps and icons provide a classic example of how we use
images to help us navigate or tell us what to do.
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5. We use images for acculturation. We use images to learn how to belong to our
communities (e.g. Religious iconography, patriotism, local hockey team, symbols, etc.)
We use images for decoration [decoration]. Sometimes a picture or illustration just adds
interest (graphic design, decorative illustration)
Ultimately, we use images for communication [communication]. Images become visual
short forms that help us combat information overload.
We use images to show instead of tell.
THE PROBLEM OF INTERPRETATION
We’ve all heard it said that a picture is worth a thousand words. But, of course, the
problem is that my thousand words and your thousand words are probably different. You see, if
we rely too much on images, we end up with one key problem: the problem of interpretation.
Here’s a rather simple example. I’m going to show you three icons that you can find in our
library at Guelph and I want you to tell me what the icons are telling the viewer to do.
Any guesses?
Right. These icons appear on the hand dryers in our bathrooms and they’re pretty
straightforward.
The other day I walked into the bathroom and someone had redefined these images. Let’s
take a look: Press button, Grab bacon, Eat bacon.
I’ve used this hand dryer numerous times, and I can assure you it does not dispense
bacon. My interpretation of these icons differs from those of the bathroom artist. Obviously,
this is a silly example, but imagine how much more complex the issues become when it’s an
image like this [black teenager in a police car] or [people helping homeless man].
INCITING INCIDENT: “Picture perfect”
Okay, so it should be clear by now that using images for communication is not exactly
revolutionary. Our ancient ancestors drew pictures on cave walls, monastic scribes illuminated
their manuscripts with illustrations, Renaissance artists painted portraits of wealthy subjects,
and early printers supplemented their text with lithographs and etchings. The course of history
is littered with similar examples of image‐making. It’s in our nature to make images.
What is revolutionary is how images came to dominate our culture. Making images was
once the profession of a few; now, it’s the practice of the masses. We all play a part in
image‐making. How did this happen?
INTRODUCTION OF THE CAMERA
The answer is simpler than you think. If we look back to the industrial revolution‐‐say the
1830s and onward‐‐we can see the seeds of our current visual culture in a single piece of
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6. technology. Any guesses? Which piece of technology is responsible for the widespread use of
images in our culture?
Right, the camera.
The invention, introduction, and adoption of the camera launched the image revolution as
we know it. The camera’s ability to create perfect pictures and reproduce reality trumped all
previous image‐making technologies. Pen and ink, or paint and canvas are good‐‐they’re just
not that good. Modern technology fundamentally altered image‐making and we’ll never be the
same.
RISING ACTION: “Seeing is believing”
ANALOG TO DIGITAL
At one time the only way to view a photograph that you took with your camera was to get
your film developed. Now, we’ve dispensed with the film entirely. To view your image, you just
have to look at the back of the camera.
Image making is no longer an analog activity. Welcome to the digital world. And in the
digital world we can afford to “waste” images. Take a picture. Don’t like it? Delete it. It’s as
simple as that.
PRODUCTION/DISTRIBUTION
The camera may have started a revolution in the production of images, but that’s not the
full story. We’re also experiencing a revolution in the distribution of images.
When you add the Internet to the mix, you have you have a global network able to
transmit images to millions of people in seconds. We’ve reached a whole new level.
ORALITY/TEXTUALITY/VISUALITY
Kevin Kelly, co‐founder of Wired magazine, wrote an interesting article in the New York
Times Magazine that talks about the idea of screen literacy. For him, it’s not just that we use
technologies like cameras to make images, it’s that we also use technology to view images. We
need to face the reality of the screen. Think about it, an increasing number of images you see
are mediated through a screen—including this presentation.
Kelly claims that if we look back centuries ago, we’ll see that human civilizations relied on
the oral tradition. In the oral tradition, we developed skills like memorization, recitation, and
rhetoric. We communicated through discussion. We passed information on through stories. In a
sense, the knowledge we shared was more fluid. We were more comfortable with ambiguity
and subjectivity.
Of course, as we developed writing, we started to shift our values. And the introduction of
the printing press changed our civilizations forever. We started to emphasize logic, linear
thinking, and authority. The knowledge we shared was fixed‐‐even frozen‐‐in place. We were
interested in the facts and complete objectivity.
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7. Kelly argues that we are currently undergoing a shift from textuality to visuality. Images
are forcing us to abandon the printed world‐‐or, at the very least‐‐reduce our commitment to it.
Images, especially moving ones, have much more influence than they’ve ever had. But so far
we’re not entirely sure what we will come to value. Here’s the interesting part: Kelly claims that
this new visual culture is much more fluid. In fact it’s more like our early oral tradition, than our
print tradition. We’re returning to an era of subjectivity.
In this new world, it would seem that “seeing is believing.”
Now you’re free to disagree with him, but if he’s right, then we’re in trouble. Librarianship
is situated square in this middle area here. The print world is where we’re most comfortable.
This is where information literacy has lived and breathed for decades.
We need to negotiate this transition to visuality like everyone else.
CLIMAX: “The Moment that Never Was”
REVISIT TWO KEY CLAIMS
Now we’re at the pinnacle of the drama, so let’s revisit the two claims I made earlier:
1) images tell stories
2) stories help us understand the world
Here’s a perfect example for you. [Walski photo]
WALSKI PHOTO
This photograph was taken near Basra, Iraq in March 2003. This photograph was taken by
Brian Walski, a staff photographer at the Los Angeles Times, who was an embedded
photojournalist in Iraq at the time.
If we look at the photograph we can see that it depicts a British soldier standing over Iraqi
civilians. The soldier looks like he’s telling them to seek cover, while one man carrying his child
appears to plead with the soldier. Even without the context that I just gave you, it’s a striking
image‐‐with an obvious power dynamic between the two central figures.
This photograph ran on the front page of the Los Angeles Times, the Hartford Courant and
was prominently featured in the Chicago Tribune.
There’s only one problem with this photograph. This moment never existed‐‐at least not
exactly like this.
WALSKI PHOTO BACKGROUND
Let’s dig a little deeper into the story that’s behind this image. Walski began the day near
Basra shooting 150 images of British troops battling Iraqi paramilitaries. He shot another 150
images of panicked civilians fleeing the fighting. Later when he was reviewing his images, he
realized that none of the photos really captured the feeling of the day.
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WALSKI MANIPULATION
Faced with a pressing deadline, Walski looked back over his shots of the day and selected
two photos.
He took this photograph [original 1] and this photograph [original 2] and did a little digital
painting.
Without doubt the combined version is a better photograph. Unfortunately, the
composite image contradicts the events of the day and misleads the viewer. The
cause‐and‐effect relationship that is implied is false.
WALSKI CAUGHT
Perhaps you’re wondering how he got caught. Well, an employee at the Hartford Courant
noticed several civilians crouching in the background appeared twice.
The following day, the newspapers published the three images along with apologies and
editor’s corrections.
REACTION TO WALSKI
As you might imagine, reactions to this photograph were quite varied. On one end of the
spectrum, people felt that Walski committed a cardinal sin. His manipulated image violated the
trust of the readers and tarnished the integrity of his entire industry. On the other end of the
spectrum, people felt that Walski was completely justified. All he did was improve his image to
convey a more accurate sense of the events. For them, he was improving his photograph in the
same manner that a journalist improves a story.
EDITORS REACTION
In the end, Walski’s employer was in the first category. Although the two photographs
were shot moments apart, Walski broke the rules. He was shooting a hard news image for a
leading newspaper, yet he ignored his better judgement and altered the photo on the front
lines. The fact is that photojournalists are not artists.
When the issue was reported to the editors, Walski was simply fired.
WALSKI COMMENTS
Walski has a number of comments about the event, here’s one:
“After a long and difficult day, I put my altered image ahead of the integrity of the
newspaper and the integrity of my craft. These other photographers are there [in Iraq] risking
their lives and I’ve just tarnished their reputation.” ‐ Brian Walski
WALSKI HIGHLIGHTS
I haven’t used this example to pick on Brian Walski or on photojournalism. I’ve used this
example because I think perfectly illustrates the issues around image making in our current
culture:
• This story shows how easily images can be altered.
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9. o Walski edited this before sending it to his editor (the editor had no idea it was
a manipulated image)
• This story demonstrates how subtle manipulation can change the entire meaning of an
image.
o The images were shot moments apart, but the new image sets a different tone
• This story questions our assumed “objectivity” of images.
o It’s published in a newspaper so we tend to believe it as we see it.
• This story points to the importance of the image maker’s credibility and integrity.
o Walski was a professional photographer working for a mainstream newspaper,
potentially his behaviour damaged the entire profession
• This story highlights the fine line between acceptable “manipulation” and deceptive
“manipulation.”
o Photographers need to crop, resize and correct color ‐ and all of those things
can change the content of the image too. If he was working in a different
context, like advertising, no one would batted an eye.
• But this story isn’t all about Walski. It’s also about our culture and our appetite for
increasingly dramatic images.
o A simple photograph of the war in Iraq wasn’t enough, it had to be an
incredible photo to be published.
o Perhaps our steady diet of entertainment images have led to this demand.
o Not to mention the demand to sell newspapers
DIGITAL INFORMATION
Of course, the real reason that we’re even talking about Walski is due to the nature of
digital information. When it comes to digital photography, each image is essentially a montage
of square electronic dots (known as pixels).
Once these pixels are encoded in binary code (0s and 1s), changing the photo is simply a
matter of changing a few zeroes and ones. It’s simply a matter of rearranging the blocks.
In other words, the dilemmas we face in an increasingly visual culture are closely tied to
the inherent flexibility of digital information.
LIQUIDITY
Sheila Reaves has written a lot about the digital manipulation of images and she has this
to say:
“To most people the great philosophical question is ‘what is truth?’ But to many people,
photography was as close as you’re going to come to as being truthful. There were clear cut and
dried areas. And now, we no longer have this metal formed by light, we have liquid pixels, we
have controlled liquid photos…This is the major revolution. It’s a quiet one. It’s a technological
one that people don’t understand.” Sheila Reaves (as quoted in Parker, 1988, p. 59).
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ANONYMITY
On the internet, the issue isn’t just the liquidity of the information that we need to be
concerned with; it is also the anonymity of the image maker. In Walski’s case, we know who
took the picture and we know who published it; in the online world, we’re not usually so lucky.
LONELYGIRL15
Take the case of this young lady, Lonelygirl15. Lonelygirl15 is better known as Bree, a
young teenage girl who used YouTube to post short videos about her life. She talked about her
strict parents, troubles with her boyfriend‐‐you know the typical drama of a young girl’s life. In
essence, she created a video diary of her life and posted it online for everyone to see.
Her videos were quirky‐‐or in her terms “dorky”‐‐but she was a hit. Fans loved her and
before long she had thousands of subscribers who waited eagerly for her next video.
LONELYGIRL15 FICTION: PEOPLE DIDN’T CARE
But just like Walski’s photo, Bree doesn’t exist. Well, Bree doesn’t exist as an actual
person. Bree was actually an actress named Jessica Rose and her scripts were written by a
27‐year old named Mesh Flinders.
It took an army of suspicious viewers to expose the series as fiction. Here’s the interesting
part: Even after the series was exposed, people didn’t seem to care. They viewed it as
entertainment, even if it wasn’t true‐‐it resonated with the viewership because it was true
enough. In this environment, the line between fiction and reality becomes blurred even further.
Hopefully, you can see the trouble here. Instead of knowing whether or not something is
true, we just use our instincts to tell us whether something sounds true, or looks true. We’re
taking a cognitive shortcut.
FALLING ACTION: “If you can imagine it, you can image it”
WHAT SHOULD WE DO?
So what should we do? How should we handle the “liquid” state of the image? How might
we deal with the anonymous state of the image maker?
Here are three suggestions:
1) things are not always as they appear.
2) content and the context.
3) Recognize that visual culture is in its infancy.
Let’s take these one at a time.
NOT AS THEY APPEAR
First we have to train ourselves to remember that things are not always how they appear.
Images don’t have to be manipulated to mislead‐‐there are plenty examples of images that have
been staged, but presented as reality. Remember that we’re born visual, so it is going to take
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11. some conscious effort to learn to question images as rigorously as we question the words we
read.
We also have to embrace subjectivity‐‐even if we don’t necessarily endorse it. As we’ve
seen, images are subjective and stories are subjective. But in the visual world, subjective
doesn’t have to mean unreliable. Quite the opposite actually. Images provide an incredible
opportunity for discussion and learning.
CONTENT AND CONTEXT
Second, it’s not enough to focus on the content of the image. We need to focus on more
than the people, place s or things depicted in the image. We also need to remember the
context. Where did we find the image? What type of image is it? Is there a reason to suspect it?
The context provides clues to reliability‐‐and these details can be especially important when the
identity of the image maker is unknown.
Understanding how and why images are manipulated can go a long way to helping us
decode the images we see. For example, if we know that advertisements regularly manipulate
images to convey emotion, we can put less stock in their ability to represent reality.
VISUAL CULTURE IN INFANCY / BOOK INNOVATIONS
Lastly, we need to recognize that visual culture is still in its infancy‐‐we’re still trying to
figure out how to deal with it. If you think about it, our current print culture evolved over
centuries. Now we have a whole system and syntax for the book or the printed word, but this
wasn’t always the case. For example:
• We use quotation marks to indicate that we’ve borrowed text from someone else
• We use the Table of contents as a map to the book’s topics.
• We use an index to cross‐reference topics that are more granular than the Table of
Contents.
• We use page numbers in conjunction with the Table of Contents and the Index to
find things easier.
• We use footnotes to introduce tangential information and explanatory notes.
• We use bibliographic citations to indicate sources and point people to related
material.
IMAGE INNOVATIONS
In part we can participate in the world of the book because we understand such
strategies. In a visual culture, we simply haven’t developed the same cues. We don’t really have
established syntax or standards.
• If you’re making a movie, how do you “quote” from another source so that it’s
apparent to the viewer?
• How do you “index” each scene in a television show, or even every item in an
image?
• If you’re an animator, how do you add extra information for interested viewers?
These are not simple questions. It’ll take time to develop new methods of communicating
with visual images. Here, it would seem, patience is a virtue.
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RESOLUTION: “Learning a new language”
FURTHER RESEARCH
If you’re interested in digging into this topic further, you’ll find that there are a lot of
“literacies” devoted to non‐textual information. I’ve got a bibliography here and I’ll make sure
it’s posted on the conference site (if it’s not already).
You might read about media literacy (which tends to be tied to information produced and
delivered by mass media), you might read about digital literacy (which tends to be tied to
information technology and computer skills), you might read about screen literacy (which
focuses on how technology mediates our visual experiences), or you might read about visual
literacy (which focuses almost exclusively on visual stimulation).
IMPORTANCE OF INFORMATION LITERACY
While these literacies have incredibly useful perspectives‐‐and we should certainly consult
them—I’m not sure they have enough breadth for the digital age. I believe that information
literacy is perfectly adequate to handle the challenges of the visual age.
We don’t have to rewrite the standards, we simply have to remember that the
“information” in information literacy is bigger than we typically imagine. We need to help
people:
Identify their visual information needs
Access that visual information effectively and efficiently
Evaluate the visual information and sources they find
Apply visual information to a specific purpose or problem
Use visual information ethically
DENOUEMENT: “Where do we go from here?”
IMPORTANCE OF LIBRARIANS
Of course the other huge advantage that information literacy has over these other
literacies is librarians.
While there are those who educate people about media literacy, digital literacy and even
visual literacy, they occupy relatively small niches. In contrast, librarians are spread far and wide
in public, school, academic and special libraries. We have championed the cause of information
literacy for decades.
Marion the librarian may have been the stereotype, but the profession is changing.
In my opinion, librarians are best suited to carry the commitment to literacy into the visual
culture as well.
Thank you.
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