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|From E-Learning V|
I clicked on this to find an image of a brain for my last post. Many of the images in Pixabay are from commercial operations such as Shuttershock ; their images have a great big digital watermark across them and a request to pay a large subscription fee. On the other hand, I did find the image of neurons below that does the job and has the Creative Commons Non-Attribution Distribution rights – i.e. use as you please without the need to link to or attribute the image. No fus, no future problem, just help yourself – I like that.
The easiest way to find the perfect image though is simply to search in Google for an item adding the word ‘images’ in the search and then click through ’til you find what gets your attention; click on the image and decide if the conditions are onerous. Depending on what you are looking for most are free with a share-alike creative commons, all you are supposed then to do is to link back to the source.
Pixabay must be an open platform: anyone can contribute images. Perhaps Pixabox are making money by having commercial stock libraries use it too? Flickr is pretty good, but the Google search would include Flickr images anyway.
I have some 2,000 images in five galleries in Google Pics, E-learning I (1000 images, H807, H800), E-learning II (385 images H808, B822), E-learning III (521 images, H810), E-learning IV (349 images, H809, H818) and E-learning V (Ouverture, once I get started). As well as module specific, even EMA specific galleries, such as H818: The Networked Practitioner. and H818: EMA (29 images, L120). Grabbed from everywhere, many CCS (share-alike) just about all related to illustrating various MAODE modules over the last four years. However, I’ve not been meticulous about identifying where the copyright always lies. It’s true, that it is irksome, just adding that extra link or creating the correct Creative Contributions copyright tag as an icon – though we ought to do that. There is a bonus for doing so as the links to and from your post and the image host generates traffic but I’d only do that for a commercial blog, which this isn’t.
The other thing to do is to draw your own images, saying using the Apps ‘Paint’ or ‘Brushes” or to take or have your own gallery of photographs to use (smart phone snaps, photos) then you will never have a copyright issue as they are yours. The other one is to screengrab images you like and then manipulate them in a App such as ‘Studio’. All of this takes time and a blog is a blog, not an article for a magazine don’t you think?
E-Learning I – MAODE Modules, include innovation in e-learning, professional practices, open learning and ‘creativity, innovation and change’.
E-Learning II Research Practices in use of technology in learning
E-Learning III The Networked Practitioner
Google offers a myriad of ways to share content, whether images or words, from galleries to entire conversations. with circles and hangouts. Unwittingly I’ve been part of their ‘game’ since the outset, an early adopter of Picasa having migrated from Flickr. I’ve not invited much in the way of sharing though I now have over 175 ‘albums’ some of which contain a thousand images (the album max). Many of these albums are closed, or linked only to key family members or friends as they contain family snaps or holiday pictures. Some now contain an archive of deceased relatives (a grandfather, father and mother no less). Others are concept boards or scrapbooks, not just of OU work, far from it … but a place where these snippets of ideas and moments will be for decades while the hardware changes or breaks down, or hard copies, albums and scrapbooks, get lost, or damaged (or both).
I have THREE e-learning album galleries of screengrabs and photos, graphic mash-ups and such like spanning the three years and nine months I’ve been on the MA ODE.
This current E-learning III album is taking everything from H818. It is in every respect an OpenStudio platform – if I chose to share its contents then people may, with various copyright permissions (creative commons) use and re-use the content – though plenty of it I grab as a personal aide memoir and is therefore of copyrighted material.
The value of these becomes greater over time – it is a short hand back into a topic, and in time, indicative of how swiftly things are moving. These platforms are leaking out into formal learning contexts; there could be a tipping point, where someone or something happens that galvanises massive interest, say the ‘Stephen Fry’ personality of Twitter, or the Arab Spring of Twitter where J K Rowling or Tracey Emin open their galleries to the world. Meanwhile, without meaning to be unnecessarily derogatory, OpenStudio is the ‘sheep pen’ while Picasa Web Galleries or Google Galleries are the ‘market’ – the sheep pen is closed and local, while the market is global, open, virtual, connected and online.
‘The power of images is very great and it can be harnessed as many interpreters of fairy tales in pictures and on film have understood’. Marina Warner
‘What’s the use of a book without illustrations?’ Ask Marina Warner reading from Alice in Wonderland.
A question she goes on to answer.
To mark the bicentenary of the first edition of the Grimm brothers‘ Children’s and Household Tales in 1812 Marina Warner explores the many compelling and often controversial aspects of the tales in this BBC Radio 4 Series.
Fig.2. Marina Warner
These evocative stories have always stirred vivid images in the minds of artists, from the angular drawings of an early David Hockney to Dickens’ Victorian illustrator George Cruikshank. Through these artists’ impressions, we paint a new picture of the tales’ vital contribution to the long tradition of visual storytelling.
- What do the artists add to our understanding of these stories?
- What is the value of illustration and art direction in narrative, from books to film?
- How do we impact on a person’s memory of the story?
- What role therefore do impactful images have on a learning experience?
- What remembered images do the conjure up?
- Why do artists chose and crystallize certain moments?
Filling up your mind scape.
Fig.3. David Hockney – Etchings for Grimms Fairy Tales
‘The pot is winking … brimming with poisonous menace, the banal hold terrible’.
You should attract then hold the attention of your audience – these may be readers, listeners or students, but you have to be sensitive to the craft skills of storytelling. It requires a good deal to keep the mind alert.