This blog and my main web site has been shifted to a new server by my host ICDSoft. The migration and the upgrade to 10gbyte of server space was free. Excellent service and brilliant support.

As a result of the migration some image links and similar may appear ‘broken’ as the site propagates across the net and dns caches are updated.

If you do spot a persistent broken link please drop me a line or even a direct message via Twitter.

During the night the Illawarra coast of NSW experienced gale force winds as a low pressure system and a high pressure system battled to the south and east of the continent. I awoke during the night and literally cleared the decks just to ensure that some of the outdoor furniture decided it suddenly preferred life in the kitchen via the rear windows.

There were some very strong gusts early in the morning, well before sunset, so I climbed out of bed, got dressed, brewed some coffee and sat out by the back deck to observe the impact of the wind. I felt it was a good idea to keep an eye on our home and those of our neighbours just in case any decided that they wished to shift their location to one east of their current position.

As I sat and waited for the coffee to finish brewing I observed that some of the higher altitude clouds were beginning to show hints of red as they captured the rays of the sun which was still well below the horizon from my perspective on the ground. I grabbed my camera and took a number of photographs of the clouds to the west, south and east. Those shown are not in any chronological order. It i simply the order in which I resized them.

Winter approaches. It is an incredible Autumn morning here on the Illawarra coast.  See the little photo below.
 
Digital storytelling has crossed my mind of late. Recently conducted a workshop on the topic. It was most enjoyable. I had a creative and highly participative group of teachers and academic staff based in Singapore.
 
Digital storytelling is fine in itself. The term ‘digital’ does not rest well with myself. I tire of prefixing teaching and learning strategies with terms such as ‘digital’, ‘web 2.0′ and the like. At times I have no choice as such terms are required to market my workshops.
 
Storytelling is simply that. It is irrelevant which tool you apply to tell the story. Paper, paint, voice, keyboards. As long as the story is shared.
 
If the story can be shared via traditional approaches then why bother with ‘digital’ methods? The key to that question is to ensure that the digital strategy provides an avenue of expression and interaction not possible with the traditional approach. The technology has to make a difference.
 
Technology affords many possibilities in this regard. Where to begin?
 
Take good old Audacity, for example. You know, the free open source audio recording and editing software. A single storyteller can create a multitude of characters with some careful editing, selecting and filtering.
 
I would recommend storyboarding beforehand. Generate characters, a plot and the script, even just in general terms. Once the story is mapped out then the recording can begin.
 
Audacity allows multiple tracks to be recorded so a variety of characters can be recorded by an individual. Tracks can be named according to character and dialogue.
 
How to differentiate between the various characters if a single student has recorded the story? Select the track for a particular character and alter the pitch using the appropriate effects filter. Raise the pitch, lower the pitch. A single student can be a burly bouncer, an anxious astronaut, or a vexed vixen.
 
Plug in more than one student and you could have a virtulal panoply of characters.
 
You could even have an extraterrestrial in the mix. Record any dialogue. Filter the dialogue using ‘pitch’ and ‘backwards’. There you have it, one alien. Allow the remainder of the dialogue to generate an understanding of the conversation with the alien. Could be an exercise in itself: Codebreaking first contact with an alien species.
 
Audacity also allows for tracks to be easily shifted backwards and forwards in the timeline affording opportunities for flashbacks, stories to be told backwards, and the juxtaposition of contrasting dialogue.
 
You can also make use of both channels with some mixing. Play two pieces of dialogue simultaneously and simply ensure one is mixed to the left channel and the other to the right channel. A single student could generate an argument between two different characters.
 
The characters could come from different times, dimensions, places, planets, universes and states of being. Why interview a person when you could interview a ‘rock’, a ‘leaf’ or an ‘atom’? Give it a voice and let it explain the meaning of life. Personification is a great teaching and learning strategy when peppered with a little dose of Audacity.
 
Then there is the tool adored by many. Voicethread. It is a pity, dare I say it, that it is web based. Would love to see a software client for the tool that allowed offline storytelling creation that could then uploaded to the web.
 
Voicethread is nevertheless a useful tool. Take an old photograph. Upload it and invite others to recollect or tell their story. “I was there too…”
 
Upload a fake photograph to Voicethread courtesy of a little photoshopped magic. Invite analysis and feedback.
 
Invite your students to generate a storyboard. Paint the story, scan the artwork, upload to Voicethead and have others tell the story. More artwork, more ideas. A Voicethread soap, saga or serial.
 
Need to go. Lunch and an impending flat battery. More later.

Sent via iPhone through a Posterous wormhole to alternative universes in Twitter, Facebook and the Watershed.

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Just on two years back I wrote a post about a particularly interesting album by David Bowie entitled Station To Station. That blog post attracts more comments than most on this blog.

The album was released in 1976. The album is excellent in its own right and marks Bowie’s transition from his US influenced ‘plastic soul’ period of Young Americans through to the experimentation of the Berlin influenced trilogy of Low, “Heroes” and Lodger. Bowie collaborated with Brian Eno on those albums.

My original post sets out the variations in the artwork that were planned for and finally graced the Station To Station album sleeve. The original artwork incorporated a full colour photograph of Bowie taken on the set of the film, The Man Who Fell To Earth. This artwork, apparently, was not favoured by Bowie and a cropped black and white incarnation of the photograph was utilised instead. That album sleeve is shown below. Some of you may own a copy.

Many fans were oblivious to the existence of the full colour artwork until a copy was published in David Bowie: An Illustrated Record by Roy Carr and Charles Shaar Murray. The full colour artwork was an impressive revelation at the time and many wondered why the decision was made to go with the cropped black and white photograph.

Full colour printer proofs were produced by RCA in the USA in 1975. Michael Olsen, who was working for Bowie’s record company in 1975 obtained copies of the printer proofs amongst a collection of materials that the company felt was no longer needed. Michael himself commented about this on my earlier post. In addition to the RCA full colour proofs printed in the USA a number of 24″ X 12″ full colour flat mock-ups of the sleeve were produced by RCA in the UK and these were used by sales representatives to market the forthcoming album. One of these RCA UK mock-ups is illustrated below. Promotional posters printed at the time featured the full colour artwork as well.

During the late 1980s one of the full colour RCA proofs was sold or passed to a collector in the UK and it was utilised to produce a counterfeit of the full colour artwork. One could pick up a copy of the counterfeit sleeve for £10.00. As I commented on my original blog post the counterfeits were excellent and nicely reproduce the RCA USA colour proof. They were folded and glued and they were ubiquitous amongst Bowie fans from that time. Some collectors bought half a dozen or more. It was a genuine bargain. One of these counterfeits is illustrated below. I bought two.

Most fans thought that they would never ever get to see a copy of the authentic artwork for the full colour Station To Station sleeve and when the counterfeit turned up it it was a real god-send. We all knew it was a counterfeit but we did not care. It was simply neat to have a copy and thus get an idea of what the full colour RCA sleeve would have looked like if it had actually been officially released.

The counterfeit is a little flawed however. When one looks closely at the artwork it is blurred. The colours do not blend well and appear to be ‘bleeding’. This is illustrated below. The counterfeit is on the left. The official RCA product is on the right.

Well today, Jeff Gold, a famous record collector and dealer commented on that blog post as well. Jeff confirmed Michael’s account of the original colour proofs in the USA and shed light on yet another version of the Station To Station artwork that featured white lettering across the top of the album sleeve. A copy of that proof was placed on eBay today. I illustrate that proof below.

This new revelation adds another chapter to the history of this album sleeve. It will surprise many fans.

Finally, in order to confuse all of you further, when the Station To Station album was reissued with bonus tracks by both Ryko and also EMI during the 1990s they utilised the full colour artwork. A Japanese CD reissue in 2007 featured the black and white artwork.

Addendum. This is a photograph of the two late 1908s reproductions and the RCA UK flat mock-up, in the foreground, that I possess. The test pressing of the album is on the right.

Shao Ping, Mary and I have gone for a drive to check out the big seas. A decent storm just crossed the coast traveling up from the south east after gathering some intensity on the Pacific.

Sent via iPhone and routed via Posterous to Twitter, Facebook, Flickr and my blog, Watershed.

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