cover up tattoos | tattoo cover up | tattoo cover - TatJacket A Tale of Two Videos · Hatch for Good The difference between making a video and making an impact. Why do some nonprofit videos motivate donors more than others? Below are two videos produced for the same organization, Fresh Lifelines for Youth (FLY), a nonprofit focused on getting formerly incarcerated kids back on track. Andy Goodman thegoodmancenter.com/ Andy Goodman is a nationally recognized author, speaker and consultant in the field of public interest communications. On the surface the two videos appear to have a lot in common: both include staff and clients discussing the way FLY’s programs work, an external partner describing his experience with FLY, and shots of clients engaging in FLY’s programs. Marj Safinia, Kristina Robbins and Nick Higgins are documentary filmmakers who founded The Department of Expansion and understand strategic storytelling. “We don’t start by asking, ‘What are we going to film?’”
Ufunk.net - Art, Gadgets, Design and Amazing Stuff What meditation really is |Applying the Fullness of Emptiness to Our Lives How does emptiness help us? How do we apply an understanding of emptiness to our lives? Sometimes emptiness seems foreign to us. But in truth, we live and move about in emptiness because things, by nature, are not static or “objectifiable.” I often speak of resting in emptiness as an open question. Shutting down around answers puts an end to open inquiry…although, ironically, we never find final answers to any question. For me, the questioning mind is a powerful tool that protects us from the ignorance of trying to find static answers. When we put our minds to it, we find that we naturally understand emptiness is some basic ways. If you think about it, shutting down around static conclusions disables our intelligence, while seeing the empty-fullness of life gives us big vision and an ability to respond with great intelligence. Before soldiers go into combat they are trained to objectify the enemy. The same is true for attachment.
Our 11 favorite multimedia storytelling platforms Fear not, social media doomsayers, the art of storytelling isn’t dead – it’s just evolving, perhaps for the better. Apps and platforms aimed at multimedia journalism, social impact inspiration, education, and entertainment are proving that immersive, beautiful narrative works are now easier to produce than ever. Here are some of our favorites. Storehouse From National Geographic photographers to chefs to daytrippers, free iOS app Storehouse is home to a diverse crowd of digital storytellers. That’s a reflection of the platform’s flexibility – a minimalist layout allows for seamless blending of photos, videos, and text in just about every shape and size. Creatavist If any modern media house is redefining longform journalism, it’s Brooklyn-based The Atavist, a monthly collection of stunning, interactive multimedia pieces for purchase. Steller Who says the digital revolution spells the death of the book? iBooks Author Alas, how could we ignore Apple’s place in the storytelling sphere?
About the project Every Object Tells a Story – a short history Every Object Tells a Story was funded from the University of Sheffield’s Knowledge Transfer Opportunities Fund, which aims to turn research into something people can use. The original project was called ‘Ferham Families’ and was funded by the Arts and Humanities Research Council’s Diasporas Migration Identities fund. Kate Pahl, University of Sheffield, ran the project called Every Object Tells A Story. The exhibition celebrated the lives of Asian families who have lived and worked in Rotherham for more than 50 years. It tells their family history. In thinking about their sense of identity, the families agreed to contribute artefacts, photographs and personal stories to this exhibition. Click on the image below to view the gallery of the exhibition. The Ferham Families presentation contains individual stories of the Khan Family who have been gracious enough to provide a fascinating insight in to their family history. Designer Project secretary
Telling the story behind a memorable photo | Learn: Storytelling Amongst the thousands of photos we take these days, a few stand out as really special. If you have a photo with a powerful story behind it, you can record the story in text or audio to create a digital story you can share online. Whichever technique you use, here are useful tips to help you craft your story: Make sure you describe what’s going on in the photo, and try to focus on the moment it captures. Hint at the bigger story, but focus your story on the moment we see in the photo. A great story takes you to another place or time. This story is important to you - but why? You're telling this story not just for yourself, but to share with other people. SAMPLE QUESTIONSYou don’t need to ask all of these questions, just think about which ones will help get to the heart of the story. The most important questions to answer are: What are we looking at in the photo? Download this page as a PDF tip sheet. Learn more storytelling tips and tricks with ABC Open.
Empathy and the interactive documentary mode – Jasper Lauderdale As commonly attends the arrival of a nascent art form, the field of scholarship that surrounds the emergent interactive documentary mode is as yet highly contested, replete with suggested, sometimes limiting definitions and aspirational, perhaps totalizing taxonomies, mired in familiar questions of medium-specific features and properties and the dialectics of content and form. Indeed, McMillan has proposed that “interactivity may be in the eye of the beholder,” (2002, 165). But whatever new modalities of interaction bring to the table, whether they lay in the eye or the hand of the beholder, we must be wary of acclaiming the newness and novelty of interactive documentary when investigating or evaluating its artistic and political implications as an innovative digital approach to factual representation, “a form of nonfiction narrative that uses action and choice, immersion and enacted perception as ways to construct the real, rather than to represent it” (Aston and Gaudenzi 2012, 125).