CYNTHIA JABAR / Children's Content Collaborator. Tinkering at the intersection of Transmedia Storytelling, Children's Publishing & Maker Education. Author, Illustrator, #GirlPower Editor & Relentless Web Literacy Mentor living in NYC. Available for illustration hoopla, cookie testing, workshops & maker collaborations with & for kids.
Transliteracy is an umbrella term encompassing different literacies and multiple communication channels that require active participation with and across a range of platforms, and embracing both linear and non-linear messages. -Dr. Susie Andretta, London Metropolitan University.
Transliteracy is a "convergence of literacies", (Lippincott, 2007:17) -Dr. Susie Andretta, London Metropolitan University.
Slideshare presented at the School Library Journal Leadership Summit where the theme was 'The New World of Reading'. Transliteracy and the Young Child: slides by Laura Fleming (@larfleming) & Buffy Hamilton (@buffyhamilton) & Andy Plemmons (@plemmonsa)
In THE LAND OF INFINITE MASHUPS, it's hard to keep up.
I count on my twitter friends to share information, inspiration or insight into the continually shifting transmedia/cross media landscape.
One needs a guidepost.
Enter Lance Weiler, the critically acclaimed writer & director. Wired magazine named him “One of twenty-five people helping to re-invent entertainment and change the face of Hollywood.”
"Given these limitations, we are proposing an alternative model which we think better accounts for how and why media content circulates at the present time, the idea of spreadable media.
A spreadable model emphasizes the activity of consumers — or what Grant McCracken calls “multipliers” — in shaping the circulation of media content, often expanding potential meanings and opening up brands to unanticipated new markets. Rather than emphasizing the direct replication of “memes,” a spreadable model assumes that the repurposing and transformation of media content adds value, allowing media content to be localized to diverse contexts of use. This notion of spreadability is intended as a contrast to older models of stickiness which emphasize centralized control over distribution and attempts to maintain ‘purity’ of message." -Henry Jenkins
SREADABILITY VS. STICKINESS
Stickiness seeks to attract and hold the attention of site visitors; Spreadability seeks to motivate and facilitate the efforts of fans and enthusiasts to “spread” the word.
• Stickiness depends on concentrating the attention of all interested parties on a specific site or through a specific channel; spreadability seeks to expand consumer awareness by dispersing the content across many potential points of contact.
• Stickiness depends on creating a unified consumer experience as consumers enter into branded spaces; spreadability depends on creating a diversified experience as brands enter into the spaces where people already live and interact.
• Stickiness depends on prestructured interactivity to shape visitor experiences; spreadability relies on open–ended participation as diversely motivated but deeply engaged consumers retrofit content to the contours of different niche communities.
• Stickiness typically tracks the migrations of individual consumers within a site; Spreadability maps the flow of ideas through social networks.
• Under stickiness, a sales force markets to consumers; under spreadability, grassroots intermediaries become advocates for brands.
• Stickiness is a logical outgrowth of the shift from broadcasting’s push model to the web’s pull model; spreadability restores some aspects of the push model through relying on consumers to circulate the content within their own communities.
• Under stickiness, producers, marketers, and consumers are separate and distinct roles; spreadability depends on increased collaboration across and even a blurring of the distinction between these roles.
• Stickiness depends on a finite number of channels for communicating with consumers; spreadability takes for granted an almost infinite number of often localized and many times temporary networks through which media content circulates.
Here are a few new digital partnerships that are worth noting in the children's APP space.
1. Ruckus will join Scholastic and create a new digital imprint.
"The venture is also looking to create “transmedia” properties, the
practice of creating new and distinctive versions of a property for
different media including film and print, gaming and online and
interactive formats. While Berger said it was unlikely that they would
be marketed as transmedia, she said works offered across multiple
platforms “will be developed with creativity to a high standard in all
the formats.” Read the full article here.
2. Pearson & TikaTok (Barnes & Noble) announced a strategic partnership to integrate an
interactive digital platform for creating personalized online storybooks
with Pearson’s new myWorld Social Studies elementary grades program.
"A growing body of research points to the effectiveness of digital
storytelling as an educational tool to engage students, to empower them
as writers, and to ensure they can retain and comprehend information.
Digital storytelling ensures students “know their facts, make decisions
about the key elements, and shape those within the parameters of telling
a story. Such work involves high-level information literacy, critical
thinking and creativity; the result is an original and authentic product
of the child's knowledge and imagination," said Dr. Lesley Farmer,
Professor California State University, Long Beach, in her report Using
Technology for Digital Storytelling: Tools for Children." Read the full article here.
3.Random House & Smashing Ideas (may 2011)
"Smashing Ideas was actually not a newbie formed around the tablet
opportunity; it was a digital developer with a decade of experience
working with a variety of big non-publishing brands. But they had the
tech chops to pursue the tablet opportunity and had been developing
children’s apps for Random House for several months before the
acquisition. Random House saw the opportunity to accelerate their own
development of digital product creation skills by cross-pollinating the
SI team with their own. And their stated intention, at least so far, is
to allow SI to sustain its third-party development business, even for
competing publishers. " - Mike Shatzkin Read the full article here
1. PLAY: The Capacity to experiment with the Surroundings as a form of problem solving
2. SIMULATION: The ability to interpret and construct dynamic models of real-world processes
3. PERFORMANCE: The ability to adopt alternative identities for the purpose of improvisation and discovery
4. APPROPRIATION: The ability to meaningfully sample and remix media content
5. MULTITASKING: The ability to scan the environment and shift focus onto salient details
6. DISTRIBUTED COGNITION: The ability to interact meaningfully with tools that expand mental capacities
7. COLLECTIVE INTELLIGENCE: The ability to pool knowledge and compare notes with others toward a common goal
8. JUDGEMENT: The ability to evaluate the readability and credibility of different information sources
9. TRANSMEDIA NAVIGATION: he ability to follow the flow of stories and information across multiple modalities
10. NETWORKING: The ability to search for, synthesize, and disseminate information
11. NEGOTIATION: The ability to travel across diverse communities, discerning and respecting multiple perspectives, and grasping and following alternative norms
How many new media literacy skills do you have as an adult?
Do you share them with the children in your life?
If you are a teacher, how do you share them in your classroom?
Transmedia methods used for education are transforming the classroom from an isolated top down system to a connected global network of virtual classrooms.
"Transmedia storytelling represents a process
where integral elements of a fiction get dispersed systematically
across multiple delivery channels for the purpose of creating a
unified and coordinated entertainment experience. Ideally, each medium
makes its own unique contribution to the unfolding of the story."-
Henry Jenkins, Sandbox Summit 2010
Here's what a media literacies class project might look like.
"Every idea I've ever had I've written down." -Isaac Asimov
Bill Moyers: Can we have a revolution in learning? Isaac Asimov: Yes
"As computers take over tasks, there will be nothing left for humans to do but the more creative types of endeavor."
"If from the start children are educated into appreciating their own creativity, then probably almost all of us can be creative." -Isaac Asimov
Did you know that Isaac Asimov was "self-trained" in astronomy and has a PhD in chemistry?
Michael Wu, Ph.D. is Lithium's
Principal Scientist of Analytics. You can find his blog Lithium Lithosphere here. This is a popular presentation he gave at Digital Surrey, a not-for-profit communtiy of digital professionals.
Right now I'm rereading reality Is Broken by Jane McGonigal. I'm sure I'll be reading it again. For GAME MECHANIC NEWBIES like myself it's a must read.
I've been pulling out quotes I find interesting and need to mull over a bit more.
Like this from Sam Willison, software developer hired by the Guardian to create the game Investigate Your MP'S Expenses in order to crowd source data investigation.
"Anytime you're trying to get people to give you stuff, to do stuff for you, the most important thing is that people know what they're doing is having an effect.
If you're not giving people the 'I ROCK' vibe, you're not getting people to stick around."
McGonigal goes on to describe the "I ROCK" vibe as "another way of talking about classic game rewards, such as having a clear sense of purpose, making an obvious impact, making continuous progress, enjoying a good chance of success, and experiencing plenty of fiero moments."
Still mulling it over in relation to collaboration spaces that inspire teens to take action for social good.