text:
User:Daniel Mietchen/Talks/Wikimania 2012/FESIN North American Mycoflora Workshop/Quotes

"I want publishers to publish my workflows. — Philip E. Bourne"

 * "...thinking outside the paper doesn't come naturally! --David De Roure"

 * "what I think we need in scholarship is the web, but editable — Peter Sefton"

 * "There is but one journal: The scientific literature. — Richard Gordon"

"Science is already a wiki if you look at it a certain way. It’s just a highly inefficient one — the incremental edits are made in papers instead of wikispace, and significant effort is expended to recapitulate existing knowledge in a paper in order to support the one to three new assertions made in any one paper. — John Wilbanks. Illustration: papers and wikispace."

 * "What if everyone in the world were in your lab – a ‘hive mind’ of sorts, but composed of countless creative intellects rather than mindless worker ants, and one in which resources, reagents and effort could be shared, along with ideas, in a manner not dictated by institutional and geographical constraints? — Chris Patil and Vivian Siegel"

 * "Somewhere at the fringe of science, someone will start using wiki publishing for science publishing. — John Schmidt (2006)"

 * "Whenever danger exists of unnecessarily duplicating efforts to solve problems, ought not scientists try to discover whether the experiments have been performed elsewhere? Ought not all scientists be concerned about rapid publication and wide distribution of results, and even of experiments under way, so as to avoid waste? When a scientist in one field discovers evidence of methods which he cannot use but which may be useful in other fields, ought he not inform others about it? If a new and better technique has been discovered in one field, ought not scientists in other fields investigate its workability, or adaptability, in their fields? When a newly confirmed discovery in one field implies need for revising assumptions or conclusions in another field, do not scientists in the one field have a duty to publicize it and scientists in the other field a duty to hasten to inform themselves about it? — Archie J. Bahm"

 * "Better still, if you assert something said in another paper, sod the citation, transclude the relevant text, with a full electronic citation allowing you to verify it. — Christopher Gutteridge"

 * "The current Open Access model is provisioning for legacy genres and formats of scholarly communication. That's great for archival purposes, but this is not the next real destination for scholarly discourse. Why? Because consequential intellectual work takes place in myriad ways outside of traditional scholarly genres, that's why, and the digital realm is ready to capture, organize, value, and disseminate those other ways of generating knowledge. — Gideon Burton"

 * The internet allows for a much more powerful system than the current journal system, much more powerful than even an open journal system.
 * Some things I'd like to see in a unified online open system:
 * Hyperlinking between papers
 * Discussion threads for papers
 * Collaborative mark ups of papers, so that difficult papers can be communally dissected and fleshed out, or so that students can work through a paper and provide a mark up to ease the reading for other students
 * An ongoing wiki for every subfield, detailing current outstanding problems, papers to read to get up to speed, most recent progress, etc, as well as curating accepted knowledge. Wikis should also be able to be marked up by students, so that difficult material can be broken down and fleshed out for the sake of other students. — TheEzEzz
 * An ongoing wiki for every subfield, detailing current outstanding problems, papers to read to get up to speed, most recent progress, etc, as well as curating accepted knowledge. Wikis should also be able to be marked up by students, so that difficult material can be broken down and fleshed out for the sake of other students. — TheEzEzz

 * "So, we had the idea that you do your systematic review before you do your research; you do your research, and then if you haven't changed much, you haven't really made a big impact, whereas if you've actually shifted things one way or the other and made it more precise then you have. — Elizabeth Wager"

"What I wonder is why professors don't curate [pages on] Wikipedia and add course materials and open access sections of textbooks, much of which they post online anyways. We aren't really seeing the potential  that you would hope for with all of the Web 2.0 tools out there. We  aren't seeing the academic community take advantage of them as much as  other subsets of the community. — David Lipman"

 * "The Internet represents an opportunity to change this system, one which has created a 300-year-old, collective long-term memory, into something new and more efficient, perhaps adding in a current, collective short-term working memory at the same time. With new online tools, scientists could begin to share techniques, data and ideas online to the benefit of all parties, and the public at large. — Robert J. Simpson, paraphrasing Michael Nielsen"

 * "While scientists have gloried in the disruptive effect that the Web is having on publishers and libraries, with many fields strongly pushing open publication models, we are much more resistant to letting it be a disruptive force in the practice of our disciplines. — James Hendler"

 * "Technological revolutions are a privileged moment in which old customs and legitimations may be put under scrutiny. The world of academy should not risk at missing this opportunity to rethink about the fundamental aims and responsibilities of our profession. — Gloria Origgi"

 * "I’m feeling frustrated. What else can you feel when the system is broken, you know that system must change, but there is little incentive for those perpetuating the system to change it for the better. — Steven Bell"

 * "Wikipedia is probably the most robust Petri dish we have for actually studying the process of words and contributions, because it is auditable. — Peter Frishauf"

 * "How cool would it be to fork articles, a la Github. - Jason Priem"

 * "What can you do with what you know? — Dale Dougherty"

 * "Healthcare is one of the areas where open data will potentially take off soonest and have the biggest impact. — Tim O'Reilly"


text:
2017 Open d'Orléans

The 2017 Open d'Orléans was a professional tennis tournament played on indoor hard courts. It was the thirteenth edition of the tournament which was part of the 2017 ATP Challenger Tour. It took place in Orléans, France between 25 September and 1 October 2017.

Seeds

 * 1 Rankings are as of 18 September 2017.

Other entrants
The following players received wildcards into the singles main draw:
 * 🇫🇷 Geoffrey Blancaneaux
 * 🇫🇷 Benjamin Bonzi
 * Ernests Gulbis
 * 🇫🇷 Paul-Henri Mathieu

The following player received entry into the singles main draw using a protected ranking:
 * Igor Sijsling

The following players received entry into the singles main draw as special exempts:
 * 🇷🇸 Danilo Petrović
 * 🇫🇷 Stéphane Robert

The following players received entry from the qualifying draw:
 * 🇦🇷 Guillermo Durán
 * 🇫🇷 Fabien Reboul
 * 🇫🇷 Gleb Sakharov
 * Antonio Šančić

The following player received entry as a lucky loser:
 * 🇫🇷 Corentin Denolly

Singles

 * 🇸🇰 Norbert Gombos def. 🇫🇷 Julien Benneteau 6–3, 5–7, 6–2.

Doubles

 * 🇦🇷 Guillermo Durán / 🇦🇷 Andrés Molteni def. 🇫🇷 Jonathan Eysseric / 🇫🇷 Tristan Lamasine 6–3, 6–7(4–7), [13–11].

source: wikimedia

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: 2017 Open d'Orléans


text:
Taylor Marshall

Taylor Reed Marshall (born March 29, 1978) is an American Catholic writer and YouTube commentator. A former Episcopal Church priest, Marshall converted to Catholicism and became an advocate of traditionalist Catholicism. He is the author of multiple books, including Infiltration: The Plot to Destroy the Church from Within and his bestselling historical fiction series Sword and Serpent. Marshall currently teaches at the New Saint Thomas Institute, an online Catholic education institute that he founded in 2013 with students from over 70 nations.

In 2023, Marshall announced he was running as a candidate in the 2024 United States presidential election.

Education and priesthood
Marshall graduated magna cum laude from Texas A&M University in 2000 with a Bachelor of Arts degree in philosophy. After studying at Westminster Theological Seminary and Nashotah House, Marshall was ordained a priest of the Episcopal Church in 2005 by Jack Iker, the Bishop of Fort Worth. Marshall had previously served as a youth minister at Saint Andrew's Episcopal Church while an Episcopal deacon.

Shortly thereafter, in 2006, he and his wife converted to Catholicism. They received confirmation from Bishop Kevin Vann in May 2006.

Post-conversion
In 2009, Marshall earned his Master of Arts degree in philosophy, and in 2011 earned a Doctor of Philosophy degree in philosophy, at the University of Dallas with his 600 page doctoral dissertation "Thomas Aquinas on Natural Law and the Twofold Beatitude of Humanity." From January 2012 until June 2013, Marshall served as the chancellor of the former College of Saints John Fisher & Thomas More. Prior to his administrative work at the college, he was a professor of philosophy. Marshall also formerly served as the assistant director of the Archdiocese of Washington's Catholic Information Center. He is a founder of the New Saint Thomas Institute, an online Catholic theology educational program, and the Troops of Saint George, a Catholic scouting organization.

Marshall has published books in the fields of theology, philosophy, and historical fiction. All but one have been self-published by Saint John Press and Media, a company held and managed by Marshall. His 2019 book, Infiltration, claims to demonstrate that, over the last two centuries, the hierarchy of the Catholic Church has been actively subverted to promote Freemasonic power. The foreword of the book was written by Bishop Athanasius Schneider. The book has been controversial in Catholic circles, drawing both positive and negative reviews from various media outlets. Marshall, on his YouTube channel, regularly comments on statements from Archbishop Carlo Maria Viganò, former Nuncio to the United States.

In October 2019, Marshall received media attention for publicizing an incident at the Catholic Church's Amazon Synod in which Alexander Tschugguel and an accomplice filmed themselves removing indigenous statues, reportedly of Pachamama, from the Church of Santa Maria in Traspontina in Rome and throwing them into the Tiber river. In March 2020, it was revealed that Marshall himself had personally funded Tschugguel's trip to Rome and uploaded the video of the theft.

Marshall briefly received attention from Donald Trump's 2020 presidential campaign for popularizing Archbishop Viganò's letter warning of a deep state working to undermine the United States of America. Marshall was noticed by the campaign in return, and retweeted on the president's Twitter account. Traditionalist Catholic writer Matthew Walther criticized both Marshall's advocacy for then-President Trump and his claims against Pope Francis. Walther accused Marshall of "distorting or simply lying" about the pope in order to anger Catholics.

Personal life
Marshall met his wife, Joy McPherson, in 1999. They were married on June 9, 2001, at Saint Andrew's Episcopal Church in Fort Worth, Texas. They have eight children.

Books
With the exception of Infiltration, Marshall's books are self-published under the imprint of Saint John Press and Media, a company held and managed by Marshall.
 * The Origins of Catholicism trilogy
 * The Crucified Rabbi: Judaism and the Origins of Catholic Christianity (Saint John Press, 2009)
 * The Catholic Perspective on Paul: Paul and the Origins of Catholic Christianity (Saint John Press, 2010)
 * The Eternal City: Rome & the Origins of Catholic Christianity (Saint John Press, 2012)
 * Thomas Aquinas in 50 Pages: A Layman's Quick Guide to Thomism (Saint John Press, 2014)
 * The Sword and Serpent trilogy
 * Sword and Serpent (Saint John Press, 2014)
 * The Tenth Region of the Night (Saint John Press, 2016)
 * Storm of Fire and Blood (Saint John Press, 2017)
 * Saint Augustine in 50 Pages: The Layman's Quick Guide to Augustinianism (Saint John Press, 2015)
 * Infiltration: The Plot to Destroy the Church from Within (Sophia Institute Press, 2019)
 * The Rosary in 50 Pages: The Layman's Quick Guide to Mary's Psalter (Saint John Press, 2020)
 * Antichrist and Apocalypse: The 21 Prophecies of Revelation Unveiled and Described (Saint John Press, 2022)

title: Taylor Marshall


text:
Talk:Axholme Joint Railway

Goods timetable
I have removed the following, as there is no indication where it comes from, or when it applies to. It appears to be the only edit ever made by User:W.S.Becket, who has no user or talk page, so I am not hopeful that leaving a message for him will produce a result. If anyone thinks it should be part of the article, and has a reference for it, please add it back in.

 * Unable to accept locomotives with a greater route availability than 3, the line was worked by lightweight LMS 2MT 2-6-0 engines: four of the engines being used daily on the following goods workings:

 * 1. 05.55 Goole – Fockerby/08.15 Fockerby – Reedness Jcn/08.50 Reedness Jcn – Peat Works/09.05 Peat Works – Goole/10.20 Goole – Reedness Jcn/11.20 Reedness Jcn – Goole/12.15 Goole -Reedness Jcn/12.40 Reedness Jcn –  Goole.

 * 2. 08.28 Goole – Hatfield/12.40 Hatfield – Goole

 * 3. 10.20 Goole – Reedness Jcn/11.20 Reedness Jcn – Goole/12.15 Goole – Reedness Jcn/12.40 Reedness Jcn – Goole

 * 4. 12.00 Goole – Reedness Jcn/12.45 Reedness Jcn – Fockerby/13.45 Fockerby – Reedness Jcn/17.30 Reedness Jcn – Goole

Bob1960evens (talk) 16:00, 19 May 2012 (UTC)

Assessment
I have assessed the article against the following criteria and am rating it B. Bob1960evens (talk) 21:23, 22 May 2012 (UTC)
 * Suitably referenced, with inline citations
 * Reasonable coverage - no obvious omissions or inaccuracies
 * Defined structure, with adequate lead
 * Reasonably well written for grammer and flow
 * Supporting materials - Infobox, map, images, POI table
 * Appropriately understandable

title: Talk:Axholme Joint Railway


text:
User:MatiJK420

matiJK420 is the dankest meme lord on the whole earth. There are rumours that he is TheLegend27. matiJK420 is a pro Counter Strike: Global Offensive player and plays for Virtus.(semi)pro He is also a csgoboss and is sponsored by Sennheiser, NVidia GEFORCE, Corsair, Intel and ASUS Republic of Gamers.

title: User:MatiJK420


text:
Digital storytelling

Ditigal Storytelling refers to using a variety of media outlets and tools to create a visual for a real-life story.

A New Technology
Digital storytelling brings word-of-mouth to life by adding images, motion, and sound to an age-old practice. When done properly, a digital story can be a highly effective tool for informing, persuading, or otherwise creating an emotional appeal that inspires others to believe in your message or take some action. It can also be a powerful teaching method for creating a memorable educational experience in the classroom.

Digital story telling is still a relatively new concept amd its definition is relatively broad and has yet to be specifically determined.

Elements of Digital Storytelling
The Center for Digital Story Telling, a leader in the digital storytelling industry, has been offering workshops for digital storytelling for 11 years. The goal of the workshop is to get students to design and produce a 3-5 minute digital story by piecing together still images and music and drawing from their own personal experience. Thenmozhi Soundarajan participated in one of those workshops and designed a story titled Momnotmom in which she told a story about her mother's life and how she beleives it has evolved of the years. This is a good example of a digital story because it applies sound, motion, and imagery to a documentary to create an informative story and garner emotional appeal. Digital Storytelling has several elements for creating an effective story. The University of Minnesota School of Journalism and Mass Communication's Institute for New Media Students and the Media Center has compiled an extensive list of these elements as follows:

Media
Media refers to the material(s) used to create the story package. The ability to use any type of media is unique to to digital story space. Configuration of the document, type of format, currentness of the delivery, and time/space issues in editing of the content are four issues to consider when looking as media.

Action
Action is present in digital stories in two different ways: content action and user action. Content action can be static like newspaper stories, in which the content never moves. It can also be dynamic, or have motion that is a part of the design. A combination of both of these techniques is often used to create a digital story. An example of this is text linked to a motion graphic.

User action can be also be passive, active, or a combination of the two.

When content and user are static/active, a user's actions will generate additional static content. When content and user are dynamic/passive, the content requires no prompting from the user to initiate motion. Finally, when content and user are dynamic/active, user action leads to additional content action.

Relationship
The relationship between the digital story and the user can be open or closed based on linearity, customization, calcuation, manipulation, or appendage.

Linearity refers to the order in which content can be accessed. When a story is nonlinear it is considered to be open because the user can decide in what order they wish to access the content. Linear content, on the other hand, has a fixed order that is set by the designer and cannot be changed by the user. This is considered closed.

Customization refers to the level at which the user can choose their own preferences. Content is considered open when it is customizable, and considered closed, or standard, when it cannot.

Calculation refers to the ability to tally. A story that is calculable is open and users are allowed to submit information that produces some result. Non-calculable stories are closed and have no such feature.

Manipulation refers to the amount of freedom a user has to play with the content.

Manipulable, or open, content allows the user to arrange the content themselves, while set (closed) content is arranged by the designer.

Appendage refers to the ability of the user to add additional content.

Appendable stories are considered open because they allow users to add content while finite stories are closed because they do not allow such actions.

Permanence
Permance addresses the amount of time content alterations can be viewed. Temporary altheration only last as long as the user is accessing the story, while permanent alteration can be viewed as many times as the user wishes.

Availability
When changes to content are only viewable to the user, that content is considered individual. Some content can be altered and the user can choose a select group of people to view those alterations. Some content changes can be universally viewed by anyone who wishes to see it.

Context
Context is the information that appears as part of story and gives it meaning. Digital story telling allows for unlimited context by linking, or appending, additional information. The technique, purpose, source, and content must be considered when linking stories.

Communication
Communication that has multiple ways of conveying information makes digital storytelling unique from other methods of conveying information. Two-way communication allows the user to interact with the designer or other users, while one-way communication lacks this type of communication. In in a two-way configuration, commuincation can be one-to-one, one-to-many, many-to-one, or many-to-many. Types of communication include chats, forums, e-mail, or short message service. Stories can be either live or recorded, moderated or unmoderated, and it can be muli-faceted.

How to produce a good digital story
It is important to design a digital story that is both interesting and memorable to your audience. J.D. Lasica, executive director of Ourmedia and the author of Darknet, has compiled a list of steps for writing a good digital story as follows:

Step 1: Decide on the Story You Want to Tell You probably already have a person or subject in mind. Think small. Focus. Don't get caught up trying to convey all the aspects of someone's life - you're not writing the great American novel, you're creating what will optimally be a three- to five-minute work that recounts a personal tale and reveals a small truth.

For ideas about what form your story should take, consider these options:

 * The story about someone important.
 * The story about an event in your life.
 * Travel stories - stories about a personal journey or passage - can be effective if they result in the narrator being transformed by the experience in some way.
 * Accomplishment stories
 * The story about a place in your life. Our sense of place serves as the focal point of a great many profound stories.
 * The story about what I do.
 * Recovery stories.
 * Love stories. We all want to know how someone proposed, met a spouse, experienced the birth of a first child, or came to terms with a parent. Exploring these kinds of relationships helps affirm our own.
 * Discovery stories. These stories probe how we uncovered a truth or learned how to do something.

Step 2: Gather Your Materials Start collecting memories. The most powerful images are often discovered during a treasure hunt in the family attic. Start gathering old photos, vintage film reels, digital video, flyers, mementos - anything that holds emotional resonance. Don't think you have to go out and visually capture a story with a camcorder or camera. Use what you have! Older "found materials" usually prove to pack more of an emotional wallop than new footage. Step 3: Begin Writing Your Script Next, start jotting down ideas. Discuss your ideas with family and friends. Play out a rough story in your head.

Sketch out a script that you'll soon record with your own voice. Resist the temptation to take the easy way out and create a story with only images and music. People want to hear a personal voice. Don't be self-conscious about how your voice sounds; we all think we sound odd on tape.

Draft a short script. That's where many people get bogged down. Get past the fear of committing words to paper. Some tips:

Step 4: Prep Your Equipment You'll need to purchase or borrow these pieces of equipment:
 * Get personal.
 * Write lousy first drafts. Get the main elements of your story down on paper, then go back and edit later.
 * Write short. You'll be surprised at how much you can convey with a few words and some key images.
 * Read your script aloud as you're fine-tuning it.
 * Use plain speech.
 * Don't hold back. Be real. You need to reach an emotional depth.
 * Look for a narrative arc for your story. All stories - even three-minute gems - have a beginning, middle, and end.
 * Work on the pace. The rhythm and tempo of a story is what sustains an audience's interest.
 * Read your script to a friend when you think you've finished. They may often notice ideas that you failed to mention.

 * A desktop computer or laptop
 * Video software such as Apple iMovie, Adobe Final Cut Pro, Adobe Premiere, or another software application designed to tell stories. Free and open-source software (FOSS) for this that is also cross platform includes Avidemux for video editing, Blender Video Sequence Editor (VSE) that supports animation using 3-dimensional models, and FFmpeg, which is command line.  The command line option is mentioned, because it is one of the easiest ways of producing content in the WebM free license format preferred by Wikimedia Commons.
 * A (desktop) scanner, if you want to include traditional photos in your story
 * Additionally, if you plan to record interviews, you'll need:

Sometimes you may want to conduct an interview with someone, most likely the subject of your story or her friends or relatives. Or, you may want someone to videotape or interview you. Either way, make sure you practice using your equipment before you sit down for the interview. Begin with some idde conversation. A minute or so after you begin, you may want to stop, rewind, and listen to the recording to make sure everything is working properly.
 * A recording device
 * A handheld microphone for audio interviews
 * Headphones

People like to see faces and hear voices. If you have enough photos of the story subject, snippets of an audio interview with the person can often add an interesting counterpoint to your voice-over narrative. Try to find a quiet location, or one that's appropriate to the subject. If you're recording video, make sure the lighting is bright enough to see the subject, but not so bright that he or she is washed out, as in direct sunlight.

In some cases, people find that talking into an audio recording device makes them self-conscious. Sometimes a friend can assist by interviewing you about the subject or person your story is about. Try using a digital recorder so that no conversion from analog tape to digital is required.

If you're interviewing another person, it's best to wear headphones while recording. Your headphones will tell you exactly what you'll hear in the finished recording. Adjust the microphone position for the optimum sound. The best setup typically involves moving the microphone between the questioner and storyteller. Hold it about seven inches from the speaker's mouth, and use a light touch to avoid the rumbling of mike-handling noise.

Feel free to ask questions spontaneously or to read from a prepared set of questions. Take breaks as needed. Use visual cues like nodding your head. Make sure the storyteller's gaze isn't wandering off into a hundred directions.

Step 5: Create a Storyboard A storyboard is simply a place to plan out a visual story on two levels: 1) Time - what happens in what order? and 2) Interaction - how does the voiceover and music work with the images or video?

Use index cards to layout your storyboard. Lay the visual elements that you plan to use on your desk or kitchen table. Jot down the main words that you'll be reading aloud as the image appears in the story on an index card and place it next to the element.

A good rule of thumb is to use no more than 15 images and no more than two minutes of video. As a general rule, four to six seconds is the ideal time for an image to appear on-screen, though feel free to linger longer on a few key images. A handful of good images makes a more powerful story than a scattershot of random photos that fail to connect to the narration. If you get stalled writing your script, try jotting down thoughts on an index card next to an image and let the cards serve as your script. Just write one true thing, and the rest of the words will flow. Step 6: Digitize Your Media You can begin this process earlier, but be aware that the production work involved in creating a short personal story can take many, many hours. Set aside enough time to do it right.

If you're using old photos, you'll need a flatbed scanner. Scan them and save them to a single folder on your computer. If you're using digital photos, make sure they're in JPEG format.

Keep in mind that your video will be horizontal in form, so crop accordingly. Don't distort vertical photos into horizontal ones, but realize that strong vertical shapes will appear with lots of black on both sides. Don't reduce the size of the image to the size your movie will appear; keep them in aspect ratio. Modern computer programs will automatically do this for you. Step 7: Record a Voice-Over You may decide that the microphone built into your laptop or desktop computer will suffice for recording your narration. If you want a more polished production, the Center for Digital Storytelling recommends devices such as a 4-channel mixer, a condenser microphone (Shure, AKG), an aspiration guard - a light covering over the microphone to prevent letters like p's from popping (optional, and stereo-phono to stereo-mini cable. The Center for Digital Storytelling recommends that you record your voice-over at the same quality level that you record your musical soundtrack: 16-bit, 44 kHz.

Many software programs are available to capture audio from an external sound source like a microphone. On a PC, these include the built-in Sound Recorder software, audio shareware, and several professional-level audio- and video-production software packages. The free, open-source program Audacity can capture sound from either a computer's built-in mike or an external microphone.

Above all, speak slowly in a conversational voice. Don't make it sound like you're reading from a script. Step 8: Add Music Choose music that evokes the rhythm and pace of your story. For many people, this is the easiest part of the process. Most of us have soundtracks running in our heads that reflect the mood of the story we want to convey. The most effective tracks are often instrumental: classical, ambient, folk or jazz, with no vocals.

Consider Copyright If you plan on publishing your work to the Web, you're likely violating copyright laws if you use an entire song as the soundtrack to your video. (See Ourmedia's fair use guidelines.) It's much smarter to use podsafe music (and, no, the fact that you're not making money from your story makes no difference under copyright laws). The same rules apply when appropriating copyrighted snippets of television shows or old movies. Use Google to help you find podsafe video and audio.

Finding a talented friend to play an original work on the piano or by strumming the guitar also solves this problem.

Step 9: Edit Your Story Make sure you have all the elements of your story in your video-editing program. If you haven't done so already, import all images, video, your voice-over, and musical elements.

Next, bring the images or videos down into the timeline to match the layout of your storyboard.

It's time to create an initial rough cut before adding transitions or special effects. The draft version gives you an overview of your project and spotlights areas where images or video are insufficient to carry the story.

Next, add titles to the beginning and end of your story. You may also want to overlay text onto an image or video. Avoid the urge to get too jazzy with typefaces or colors: Use a straightforward typeface that's easy to read.

Now comes the hard part: adding transitions - a simple cross-dissolve generally works best - and altering the length of each visual element to make sure it corresponds properly with the voice-over. Often, storytellers find that the "Ken Burns effect" on a Mac is a good way to add visual interest to an image, panning across and zooming into a photo to highlight an expression or important element.

The music is the last element to add (you may want to mute it until you're ready to tackle the soundtrack, usually by unchecking a small box in the timeline next to the music clip). When you're ready to add music, iMovie's controls easily let you adjust the volume to reduce the music volume during the voiceover. It's generally best to fade the music to a low level but not to drop it out completely for the sake of continuity.

Expect to spend a few hours editing your story to get it just right. Don't overproduce: often the spontaneity and directness of the initial drafts get lost with too much polishing.

Step 10: Share Your Story Almost finished! Now you need to produce your video in its final form. In iMovie, you can burn a DVD by launching iDVD. If you want to publish your story to the Web, choose Export>Expert Settings, click the Share button, and choose Export: Movie to MPEG-4. You can also export your file as an H.264 video for the iPod or as a QuickTime movie. I recommend MPEG-4 at a high bitrate of 500 or 600. Or, you can produce it as an H.264 video (the compression is stunning) and simply switch the format suffix from Apple's quirky .m4v to .mp4. If you want to publish your video on Wikimedia Commons, it will need to be in a free license format, preferably WebM. This can be accomplished by using, e.g., the Free and open-source software (FOSS) FFmpeg. FFmpeg is command line, which makes it impractical for many many edit tasks for many people. Fortunately, it's relatively easy to use to convert from, e.g., mp4 to WebM format.

You can also create an online video with QuickTime Pro (which will run you about $30) by choosing File>Export and follow the same steps as above. If you choose File>Share, QuickTime will compress your video as an email attachment. If you created your digital story in Premiere or another program, follow its instructions to export to the Web.

When you've finished compressing the final file, publish it to your blog or to a destination site such as Ourmedia. If you want to share it with just a few friends or family members, share it with SpinXpress, a private, secure peer-to-peer network. Or learn how to promote your videos to a wider audience by reading TechSoup's article Share Your Nonprofit's Videos with the World.

Digital Storytelling in Advertising
Due to the fragmentation of products and audiences across hundreds of television stations and thousands of magazines, companies are being forced to move away from traditional mass marketing and toward one-to-one marketing to avoid getting lost in the clutter. Therefore, digital storytelling is beginning to find its niche in marketing and advertising. Companies are increasingly using this type of media to engage their consumers in interactive online advertisements to build brand awareness.

Further Research
1. How has digital storytelling impacted the learning environment? 2. How are educators using digital storytelling to enhance learning in the classroom? 3. How do I use programs such as iMovie to create a digital story?

Learn by doing

 * Science Fiction Challenge

Index

 * Tooling

title: Digital storytelling


text:
Progressivism in South Korea

Progressivism in South Korea is broadly associated with social democracy, cultural progressivism and left-wing nationalism. South Korea's "progressivism" is often used in a similar sense to 'South Korean Left' or 'leftist'.

Historically, there have been communist forces, but most of them have been powerless in contemporary South Korean politics.

Domestically, they advocated the break-up of the large industrial conglomerates known as chaebols and voiced support for trade unions. They also advocated the withdrawal of US troops stationed on the peninsula.

Hyukshinkye
South Korea's early left-wing forces were mainly divided into 'communist' and 'non-communist'.

At that time, South Korean non-communist leftists were mainly called Hyukshinkye. At that time, it was politically repressed by both centre-right liberals and conservatives. In particular, the Korean War led to a significant weakening, as some of the Hyukshinkye were also driven to communism. After the forced dissolution of the Progressive Party led by Cho Bong-am in 1958, it virtually collapsed.

Progressive parties, including the United Socialist Party led by Kim Chul, continued the tradition of Hyukshinkye, but its power was minimal, and since the 1980s, Hyukshinkye's tradition has been completely cut off from power as Kim Chul and other key figures have shifted to pro-military conservative stances.

PD and NL
The United States remained silent about the Gwangju Uprising by the military dictatorship in the 1980s, and backed the Chun Doo-hwan government. This served as an opportunity for some of the democratization movement forces in South Korea to develop anti-American sentiment. As a result, some of South Korea's moderate liberal pro-democratization activists gradually accepted socialism and became more left-wing. During this period, the left-wing movement in South Korea was largely divided into Minjungminju-wing and Minjokhaebang-wing. After the collapse of the Cold War in the 1990s, they moderated their tendencies than in the past to form a political party named Democratic Force.

PD was a Western-style leftist party, influenced by American liberalism and social democracy, while NL was a left-wing nationalist party that mixes ethnic nationalism, reunificationism and social progressivism. PD and NL are political terms that refer to the two pillars of South Korea's progressive camp and are still frequently used today. As of now, the representative PD-affiliated progressive party is the Justice Party, and the representative NL-affiliated progressive party is the Progressive Party.

Shinjwapa
After the collapse of the Soviet Union in the 1990s, the New Left movement in Europe and the United States and postmodernist discourse became known, creating a Shinjwapa in South Korea. They advocate youth rights, LGBT rights and feminism. Currently, South Korea's representative Shinjwapa parties include the Green Party and Basic Income Party.

Communist or far-left socialist

 * Workers' Party of South Korea (1946–1949; banned)
 * Anti-Imperialist National Democratic Front → National Democratic Front of South Korea → Anti-Imperialist National Democratic Front (1969–; banned)
 * Socialist Revolutionary Workers' Party → Labor Party (2016–2022; unregistered; merged)
 * People's Democracy Party (2016–)

Hyukshinkye (Innovation-faction)

 * Preparatory Committee for National Construction → People's Party of Korea → People's Labor Party (1945–1950)
 * Socialist Party (1951–1953)
 * Progressive Party (1956–1958; banned)
 * United Socialist Party of Korea (1961–1967; banned 1961–1966)

Minjungminju (PD)

 * The People's Party (1990–1992)
 * People's Victory 21 → Democratic Labor Party (1997–2011)
 * Youth Progressive Party → Socialist Party → Hope Socialist Party → Korea Socialist Party → Socialist Party (1998–2012)
 * New Progressive Party (2008–2012)
 * Unified Progressive Party (2011–2012)
 * Progressive Justice Party → Justice Party (2012–) - However, there are a few Minjokhaebang and Shinjwapa factions in the Justice Party.
 * Labor Party (2013–)
 * Socialist Revolutionary Workers' Party → Labor Party (2016–2022; unregistered; merged)

Minjokhaebang (NL)

 * People's Victory 21 → Democratic Labor Party (1997–2011)
 * Unified Progressive Party (2011–2014; banned)
 * People's United Party (2016–2017)
 * New People's Party (2017)
 * Minjung Party → Progressive Party (2017–)

Shinjwapa (New Left)

 * Green Social Democrats (2004)
 * Green Peace Party (2002–2004)
 * Social Democratic Party of Korea (2002–2004)
 * Green Party Korea (2012–)
 * Future Party (2017–)
 * Basic Income Party (2020-)
 * New Progressive Alliance (2024)
 * Social Democratic Party (2024)

Progressive-liberal

 * Democratic Independent Party (1947–1948)
 * Progressive Party (1956–1958)
 * People's Party (1988)
 * Hankyoreh Democratic Party (1988–1991)
 * Popular Party (1989–1992)
 * Participation Party (2010–2011)
 * Unified Progressive Party (2011–2012, factions)
 * Youth Party (2012)
 * Justice Party (2012–)
 * Peace and Justice (2018)

 * Future Party (2017–)
 * Basic Income Party (2020–)
 * Let's Go! Environmental Party (2020–)
 * Democratic Alliance of Korea (2024–; satellite of the liberal DPK, the NPA and the Progressive Party)

Progressive media

 * OhmyNews - liberal-leaning bias
 * Pressian - progressive
 * Voice of the People - progressive, resistance nationalism
 * Yeoseong Shinmun - feminism

Progressive personalities

 * Bong Joon-ho
 * Ha-Joon Chang
 * Han Sang-gyun
 * Hong Sehwa
 * Hong Seok-cheon
 * Jang Hye-young
 * Jeon Tae-il
 * Kim Yeo-jin
 * Kwon In-sook
 * Lim Su-kyung
 * Lee Hyori
 * Lim Ji-hyeon
 * Lee Yeong-hui
 * Lyuh Woon-hyung
 * Moon Ik-hwan
 * Park Chan-wook
 * Rhyu Si-min
 * Roh Hoe-chan
 * Roh Su-hui
 * Ryu Ho-jeong
 * Pak Noja
 * Shin Hae-chul
 * Sim Sang-jung
 * Yun Hyon-seok

title: Progressivism in South Korea


text:
User:Danski14/prep4

http://www.3villagecsd.k12.ny.us/Elementary/minnesauke/3villagehist/FrankMelvillePark.htm

http://www.northshoreoflongisland.com/Articles-i-2010-09-09-85215.112114_National_recognition_for_Frank_Melville_Park.html

http://frankmelvillepark.org/

title: User:Danski14/prep4


text:
1952 in Chile

The following lists events that happened during 1952 in Chile.

Incumbents

 * President of Chile: Gabriel González Videla (until 3 November), Carlos Ibáñez del Campo

January

 * 3 January – Election violence begins in Chile when supporters of del Campo threw tear gas bombs into a theater where right-wing candidate Arturo Matte was addressing a meeting.
 * 13 January – Foreign Minister Cristiano E. Irrarrazaval resigns.
 * 26 January - The Paipote foundry is inaugurated, located in the Atacama Region

April

 * 24 April - The National Statistics Institute (INE) carries out the XII National Population Census and the I Housing Census.

August

 * 18 August - Alberto Hurtado SJ dies, priest of the Society of Jesus, apostle of Catholic trade unionism and charitable works, leader of Chilean Catholic Action, first doctor in Education, lecturer and author of numerous books, founder, among others, of the Faculty of Theology of the Pontifical Catholic University of Chile, of the Chilean Trade Union Action (ASICH), of the Revista Mensaje and of the Hogar de Cristo. Alberto Hurtado was canonized on October 23, 2005 by Benedict XVI.

September

 * 4 September – Chilean presidential election, 1952

December

 * 31 December - The first Trolleybuses in Valparaíso is inaugurated, a transportation system that continues to this day.

Births

 * 9 February – Gunther Uhlmann
 * 21 April – Jorge Pizarro
 * 10 October – Miguel Ángel Neira
 * 21 November – Pedro Lemebel (d. 2015)
 * 4 December – Álvaro Fillol
 * 27 December – Álvaro Salas

Deaths

 * 18 August – Alberto Hurtado (b. 1901)

title: 1952 in Chile


text:
How To Search/AND-plus

AND - "+" skunk +tomato This is a list of searches that use "+" for the AND boolean operator. For example typing the example above in a search box would find all items searched which have both of the words "skunk" and "tomato" in it.

title: How To Search/AND-plus


text:
Athina Christoforaki

Athina Christoforaki (born 6 November 1980) is a Greek basketball player who competed in the 2004 Summer Olympics.

title: Athina Christoforaki