Archive for October, 2004

24th October
written by Tom Banaszewski

Amy – In thinking of students experience with Moose Crossing and the Palaver
project, do you agree with my premise that students could greatly
benefit from an interactive space(online or CD) where they can practice digital story
skills (eg. img sequencing, wtg scripts for provided storyboards, etc)?

Michael – I’d like to use my A Place at the Table project from last year to
contrast the past digital storytelling approaches and make a case for a
context-specific/collective narrative building approach. In thinking of
Terminal Time, what are the keys to engaging people in a collective story?
How do you set the stage for a story shaped my multiple authors?

Hi Tom,

In the case of Terminal Time, the mass audience mechanic really becomes a
spectacle. Because of the applause meter voting, the whole audience is
immediately aware of how everyone else is voting. Some choices meet with
virtual silence, which causes everyone to giggle and laugh. Sometimes
different groups of audience members will scream and shout, trying to outdo
each other, fighting for control of the machine. Sometimes, particularly in
the third section, the machine asks extremely provocative questions (e.g.
Should recreational drugs be legalized? Is it OK for two men to kiss in
public? etc.) – these are questions that people aren’t used to making a
public declaration about. Depending on the audience, there may be laughter
and a huge, loud, triumphant response (typical response to “should
recreational drugs be legalized” when we show Terminal Time at performance
art venues or universities) or an uncomfortable, tepid response. In all
cases, part of the goal of TT is to make audiences self-conscious of their
own choices and of the mass dynamics of voting. For your project, I’m not
sure if this mass audience effect will be appropriate.


– Given your oral storytelling bg and your interactive cinema work,
what you think of the established 7 Elements of an Effective Digital Story?
Accurate? Relevant?

Joe – Do you see the scripting process as the area of DS that in need of the
most support for students and teachers?


7th October
written by Tom Banaszewski

Project Production Class: Funding Sources

Recap: I’m writing a thesis that analyzes the past and present strategies for implementing digital storytelling projects in Grades 4-12 with a specific focus on the scripting/story process.


Arts in Education Model Development and Dissemination Grants Program

The program supports the development, documentation, evaluation, and dissemination of innovative, cohesive models that demonstrate effectiveness in:

*Integrating and strengthening arts into the core elementary and middle school curricula.
*Strengthening arts instruction in those grades.
*Improving students’ academic performance, including their skills in creating, performing, and responding to the arts.

The non-profit Streetside Stories was awarded one of these grants to implement digital storytelling in four Title 1 San Francisco public middle schools(I almost took a job with them to lead the project). This model supports the outside agency coming into the schools and planting a seed that will hopefully grow.


George Lucas Educational Foundation(GLEF) – more leads to other funders than a source of money
Bill and Malinda Gates Foundation – highly scrutinized, not a chance for a small fry like me
W.K. Kellog Foundation- very active in supporting DS in rural communities,
Southern Poverty Law Center – small teacher grants
Internation Center for Storytelling – just starting to become involved with DS
Kodak – long history of funding photo story/writing projects


Bill Gates loves digital storytelling and Apple NEEDS digital storytelling to succeed in schools if they are to hold onto their foothold in the educational multimedia market. It’s possible that they would be interested in funding continued research into my project.

Microsoft Windows MovieMaker and PhotoStory
Apple’s iMovie and Final Cut Express


StoryBooth(David Isay, MacArthur Fellowship)