Walkthrough: posting to class Google map

First, accept the invitation to edit our Google map from your authorized gmail account.

google map invitation

This will navigate you to the map.  You should probably bookmark it for future reference.

Once in the map, copy and paste your GPS coordinates formatted as ##, -## from your Omeka item entry into the maps navigation bar.  Click search.

gps coords in searchbar

A new marker will appear in green.  Click on the marker and add it to the map.

click on new marker

add marker to map

You will now be able to edit your entry.  Click on the “edit” pen icon and begin copying and pasting the following fields from your Omeka item entry, where #=the item number in our archive.

Title

OIN#. Description. http://utvisualrhetoric.omeka.net/items/show/#

Now toggle away and add your picture data. DO NOT use Omeka hotlinks; they expire after a few days.  Instead, upload another copy of your photos to our Google account (UTVisualRhetoric).  Log out of any gmail account, log into UTVisualRhetoric, and click here to upload your photos.

Once you have uploaded your photos, right click on the photo you want to attach to your Google Maps entry and click “Copy Image Address”.

copy image url

 

Toggle back to your Google Map entry and click on the camera icon to add your item picture.  Paste your URL into the box when prompted.

marker with info

Voila! You now have a map entry linked to your Omeka item.  Do this for each item.

Walkthrough: posting to Omeka

Setting up your Omeka account

You should have gotten an email inviting you to create an account at Omeka.com.  The email looks like this:

omeka invite

This will take you to a screen with a lot of pay options.  Ignore those and pick the free option.

free option

Go to our Omeka archive and log in with your credentials.

omeka login

After logging in, toggle to your dashboard and click “Manage site“.

Naming your collection

Observe that I have made a collection for your group.  Change the name to something your group would like to call their collection of artifact photos.  You can choose anything you like, and you can change your name at any time in the data collection process.  (I tentatively named my collection “Graffiti, Access, and Erasure.”)

After you’ve named your group’s collection, you can add items to.  This is how we will track your group’s contribution to the archive.  Make sure you “collect” your group’s contributions in your collection.  No item should be hanging out uncollected.

Adding items to your collection

navigate to add item

From your dashboard, click “Add item.”  This will bring up the data entry screen for a new item.

add item

You can look at any of my items to see examples of field input at my collection here.  See that there are four categories of data field.  You need to fill out each one. Below is a list of the required fields of data for each item you add to our archive. Hypertext gives you a shortcut to best practices instructions for that field further down in this document.

Dublin Core

Item Type Metadata

Files

  • upload at least one image

Tags

  • assign at least one tag from class list

When you have finished entering your data, you should check the “public” box, select your group’s collection from the drop-down collection menu, and click “add item”.  You’ve just entered one item in our archive!  Now you’re ready to add it to the class Google map.

 

Best Practices for Cataloguing Data

Dublin Core.

Title.

  • If there are legible words, list words first. Preserve caps.
  • If there are no legible words, list a 1-2 word description first. Capitalize only proper nouns.
  • If there are no legible words or useful descriptors (e.g. illegible graffiti), list the location first.
  • List a descriptive type last. Types should be categorical and should match entry in “type” field below. Sample types: tag, mural, wheatpaste, stencil, etching
  • Sample titles: “STAY MELLOW wheatpaste” “NINJA STYLE KUNG FU GRIP tag” “3D glasses stencil” “Mopac pedestrian bridge rail etchings”

Subject (if applicable).

  • Only enter a subject if you collected a group of artifacts at a single location.  The location should be listed as the subject to help group the artifacts by site.  Example: Mopac pedestrian bridge, HOPE Outdoor Gallery.  If subject is applicable, refer to subject heading in description (below) as follows: “See related images under this subject heading.”

Description.

  • Give a simple, neutral, non-analytical description of the artifact, including potentially useful information about size, location, texture, proximity to other artifacts, etc..  Example: Etchings occur along Mopac pedestrian bridge in its entirety. Etchings occur near wheatpastes affixed to columns supporting Mopac automobile bridge (directly above pedestrian bridge). Pilings are difficult to access. See related images under this subject heading.

Creator.

  • List the creator of the photograph (likely, you).

Date. 

  • List the timestamp on the photograph in long format, e.g. April 17, 2016 10:42 AM.

Rights.

  • Choose the rights you want to reserve for yourself re: your photographic image.  Do you want to give permission to others to use it for purposes other than those specified under Fair Use?  Answer three simple questions to create a Creative Commons License for your photographic work and refer to it in this entry.  I generally use the same license for all of my work (Attribution-Non Commercial 4.0 International).

Languages. 

  • If there is text in your artifact, specify what language, if discernible.

Type.

  • The categorical type of graffiti.  Sample types: tag, wheatpaste, etching, stencil, mural

Item Type Metadata.

Item type.

  • Choose still image for standard entry.

Original format.

  • Type “photo” for standard entry.

Physical dimensions. This information is required for exhibited items only.  Recording the dimensions for all other entries is optional.

Geolocation.

  • List the photo-associated GPS data in X, Y format.  Use positive X values for N and negative X values for S; likewise, use positive Y values for E and negative Y values for W.  Unless you’re planning on leaving this quadrant of the globe, that generally means your GPS coordinates will be [#.#, -#.#].  Do not include brackets. Do not use any other format.  Do not round off; leave the long string of decimal points.

 

Files.

  • Upload at least one image.  Multiple images are acceptable, especially to give a sense of space, view, and/or access.
  • Resize images to 1024x968p max.  We have a 500 MB space limit on our archive and so we need to be economical with our file sizes.  It’s probably a good idea to keep the larger version available in your personal files in case your group or another group needs to request it.
  • Preserve highest image resolution possible. Save/export your images as .png or .jpg only.
  • Name the file something brief, descriptive, and related to the image title.

Tags.

  • assign at least one tag.  Sample tags: installation, deteriorating, tagging, wild style, throw up, etching, erasure

Fair Use Appeal Part 3

Question: How much of the work will be used?

Fair Use is a doctrine that justifies the use of a copyrighted work for predetermined purposes (like analysis, criticism, or news), under certain circumstances. There are four questions one must ask themself in order to determine whether or not the way they used copyrighted work qualifies as “fair use.” One of these deals with time length. According to Purdue OWL, “reproducing only a small part of a copyrighted work is more acceptable than using an entire work.” Fair use doesn’t specify a precise time length for how much copyrighted work can be present in a video, so I recognize that this is all subjective. To ensure that one does not run into such problems he or she should greatly limit the amount of material that they incorporate into their project. In [insert video title here] I only used [insert video length] of [title of copyrighted work] which should be covered under fair use, since the total length of the video was [insert time length here] and I only used [percentage] of it.

Pairing GPS data with your photos

IMG_4520

NB: I got a lot of good shots yesterday morning before/during the rain, so I’ll be adding them to our archive this afternoon!

As long as your settings allow for it, your phone attaches GPS data (lat, long) to your photos when you take them.  Make sure your wifi is enabled for best results.

About location services

How to enable for photos

Use your standard uploader (I use Image Capture, which is built into OSX) to get these images AND their attached geo tags (part of what’s called EXIF data).  If you edit or crop your photos, be sure to keep the original file for reference, as many editing and uploading softwares remove EXIF data for your privacy.

ADDENDUM: I thought GPS data would show up in the photo’s info, but I found that (at least on my Mac running OSX 10.6.8 [I know, it’s 2016, but I really hate OS updates]) I had to open the photo in a program to see the GPS data.  I used Preview as described here.  This article gives the same directions for Windows, as well as a rundown of mobile apps that give you the same info on your phone.

ethos

Happy exploring!

Fair Use: Group 2

The Nature of the Copyrighted Work


My video essay’s use of source material qualifies as fair use under the nature of the copyrighted work. Although I used creative work (film), it is also published work and served as a medium for my rhetorical analysis only. Given the context of my video essay, film analysis, the use of these clips was essential for a visual understanding of my argument. Therefore, using clips from the film itself aided in my rhetorical approach but was not meant for any other purpose beyond that of enriching my video essay. The intention was purely to inform and educate an audience on the rhetorical techniques used in [list of film(s)].

Fair use appeal part 1- “What is the purpose of the use?”

As a student at a non-profit higher institution, the purpose of my video is for the analysis of film form and teaching others. In the video I presented an analytical claim that (Insert Thesis of Video). I used copyrighted source material from (List clips) to further advance and build upon my claim and analysis. There is no commercial use for my video, just rhetorical criticism and comment. It was created as a response to a university project and is meant for educating and showing my analysis of codes in film.

Fair Use Appeal Part 4 : Market Effect

In regards to [my video essay], the market effect on the original work can only be positive.

[This video essay] is designated solely for the purpose of rhetorical analysis. It is presented in an educational manner for academia. By using short, less than 2 minute, clips, this video will not hurt any of the respective films’ stream of revenue. The film clips used in this educational video do not reveal any spoilers or key plot points that would refrain viewers from watching the films presented. If anything, [my video essay] encourages viewers to purchase and watch the films that are analyzed. It gives new perspectives and insights on films that ignite/reignite interest in the films depicted. In a way, it almost acts in the same way as trailers, making people interested in the entire film from the short clips that are presented and analyzed. [This video essay] would increase interest, and therefore the purchasing of the actual films. Because the video is so short and only features limited information, it doesn’t unfairly take away any earnings from the directors, actors, and producers of the films.

Concerning the effect on theater and distribution markets, [this video essay] does not infringe on any business. It is only being used for educational, not commercial, uses. It is not competing with legal distribution methods, such as DVDs and authentic streaming services like Netflix, as it serves more of a complementary function to the actual movies.  Also, realistically, [this video essay] will only be seen by a small audience of the 22 students in the class. This is nothing compared to the capacity of a large, commercial theater. Because of this, my video essay does not violate any fair use restrictions.

Note : anything in brackets can be substituted for the title of your actual video essay.

Discussion Questions (Ephemeral Visibility and the Art of Mourning)

1. What are some pros and cons of ephemeral memorialization?

2. With recent advances in technology, how is memorialization changing to incorporate virtual space?

3. What are some other examples of ephemeral memorials? Do these examples use ephemerality out of necessity or as part of the memorial?

4.  How did the AIDS quilt and Eyes Wide Open establish ethos? Do you think that their respective strategies were effective?

5. What are the advantages of ephemeral memorials over permanent ones? Which one do you feel is more effective and why?

By: Cuillin and Sam

Groups, Fair Use Assignment

Drum-Roll-Please

 

Group 1: Cuillin, MG, Don, Daniel, Madison
Group 2: Jamie, Victoria, Kaitlin, Pearl, Yessenia
Group 3: Sophia, Angel, Savannah, Michael, Harrison
Group 4: Christian, Alfredo, Sam, David, Bo

Your first research group assignment is to draft a paragraph arguing that our video essays’ use of source material qualifies as Fair Use.  Recall the Purdue Owl handout on Fair Use we went over in class:

This resource works mostly with 17 U.S.C. § 107 on fair use, which provides the conditions that allow the limited use of copyrighted works. Again, these strategies are general rather than specific, and fair use is determined on a case-by-case basis. Four factors are considered when determining fair use:

  • What is the purpose of the use?
  • What is the nature of the copyrighted work?
  • How much of the work will be used?
  • What is the market effect on the original work of the use?

Fair use is determined by weighing these four factors either for fair use or for asking permission to use the work. If the answers to the majority of the questions are “yes,” then the use can be considered fair use;. However, if the majority of the answers are no then permission to use the work must be obtained.

The purpose of this draft is to give class members a template to work from when drafting a Fair Use appeal to YouTube.  Feel free to leave blanks/ indicate where specific content from each video might be useful evidence for a classmate to add to the general template.  We will compile all four pieces into one template to use for our Fair Use appeals.  Your group should submit your assigned section to the blog by 5 pm on Friday, April 15.  

Group 1:  “What is the purpose of the use?”

Group 2: “What is the nature of the copyrighted work?”

Group 3: “How much of the work will be used?”

Group 4: “What is the market effect on the original work of the use?”

Web 2.0 to Web 3.0

Since this article was published in 2009 there have been several significant advancements to Youtube and web 2.0 in general, to the point where several of the points made in Urrichio’s piece seem quaint and antiquated.

Youtube specifically has become a media giant, and is now unquestionably a separate entity from the traditional media that it was only a companion to six years ago. Content creators such as PewDiePie have made careers out of creating videos for the website. The Swedish gamer in particular raked in $7.4 million last year largely due to advertising revenue from his videos.

The trademark of Web 2.0 has been individual content creators gaining notoriety through uploading their own content. This is on the surface a very democratic approach, and if you create quality content you will be recognized and celebrated for it. In practice, the barrier for entry is still very high, and most of the well-known Youtube celebrities use very expensive recording and audio equipment. Tech reviewer MKBHD, for example, uses a $50,000 RED video camera to record his videos. Popular vlogger Casey Neistat uses his previous experience in advertising to create videos with cinematography that would be impossible for a novice to create. This influx of money and experience to the Youtube scene is a far cry from the early days of the site when videos such as Charlie bit my finger were all the rage

.1411665597000-XXX-MARQUESTECHREVIEWER-EMB314-67496510

Still, even with this influx of money and experience to web 2.0, it still operates around the principle of individual creation. I believe that this will change with the advent of Web 3.0, and I think that we have begun to see the start of Web 3.0 already. Web 3.0 will likely be defined as the introduction of corporations into the web, who create their own content and charge for it. The most obvious Web 3.0 candidate right now would be Netflix, which charges for access to their catalogue of movies and shows, which include their own television shows published on the service.

Other companies are starting to experiment with broadcasting their content on the web first. VICE media has deals with Snapchat, Go90, and Apple Music to produce exclusive series and publishes their flagship television series on HBO, which has recently developed HBO Now, a Netflix clone that publishes HBO’s series at the same time that they come on TV.

Even sports, traditionally a stalwart of cable TV, has begun to move to the web. The NFL reached a deal with Twitter today to broadcast its Thursday Night Football games on the app. The ability to stream NFL games without a cable subscription, which this deal will likely entail, will be groundbreaking for the web.