Become a researcher while playing video games.

Want to make a real contribution to science?  Don’t have the time to get a degree in Human Genetics?  Want to let your significant other know that all of that time playing video games isn’t a waste?  Well then Massively Multiplayer Online Science might be just the thing for you.


As part of EVE Online, Project Discovery was developed to help with the Human Protein Atlas, an effort to catalogue proteins and the genes that encode them.  Check out this article in the New Yorker about this amazing project.  Become a citizen scientist, all in the comfort of your own couch.

Add your voice to the conversation.  I used to annotate this article. It’s a great tool for creating a conversation about online articles and readings.  Find out about how to get here. It’s easy and free.

Making video games smarter!


Welcome to the abandoned island.  You will receive very little guidance to prepare you for your journey on the island. There are few explanations or instructions.  Instead, you must discover the paths for yourself. Use your mind to open new doorways. Patterns are everywhere. Through the use of these patterns, you move through different areas of the island, with each pattern getting more and more difficult.  You must build from your past knowledge, never quite the same, always challenging you to think beyond the limits, finding new ways to recognize solutions, often thinking that this time you may have reached your limit, only to recognize that the solution was right in front of you.  Welcome to The Witness.

Jonathan Blow’s latest creation is a twisting puzzle that will make you think.  By design, it is different from many of the games on the market.  I invite you to share in the annotation of the Vanity Fair article –In the Wake of Gamergate, Jonathan Blow Is Still Out to Make Video Games Smarter

I used to annotate this article. It’s a great tool for creating a conversation about online articles and readings.  Find out about how to get here. It’s easy and free.

The Art of Digital Storytelling

This week I’m reviewing a conversation between Hall Davidson, Director of the Discovery Educator Network, and Bernajean Porter, author of Digitales: The Art of Telling Digital Stories.  Their conversation can be found in the article The Art of Digital Storytelling.  Davidson and Porter discuss a number of ideas about digital storytelling that resonated with me as an instructional designer who wants to use digital stories as part of my work.

Porter describes digital storytelling as designing information, but with a personal angle.  She describes some of the components of digital storytelling that she teaches her students, including to live in your story (being connected to the story), sharing your lessons learned (or how does it change your understanding of the world), creating dramatic questions that keep the interest of your audience, and showing, not telling, the information.  These are some of the components that make digital storytelling different from presenting information in a Powerpoint presentation.

Porter also shares that “point of view” is one of the hallmarks of digital storytelling.  She explains that where documentaries typically have multiple points of views, digital stories may consist of the same information but with a personal connection.  An example she uses is an explosion in a coal mine.  Where the documentary would get the point of view of the miners, or the families waiting to hear something, or the rescue teams trying to get to the miners, the digital story would show a personal connection to the story, such as what I learned from the story and how it changed me (such as the heroism of the rescuers knowing they could die during the rescue, but still going anyways).  This personal connection is what gives the information the quality of a story.

Porter and Davidson also discuss the best methods for preparing your students to  think about the stories as they explore them.  The first thing is to get them to look for the defining moment in the story.  The “a-ha” moment, as Porter describes it, is the one moment of the story that brings clarification and understanding of the lesson in the story.  Students can then use this moment of understanding to be the basis of the story they create by sharing how it effected them.

Porter also states that, “You don’t go to the technology until your script and storyboard are robust.”  It’s not about learning the technology.  It’s about using the technology to tell the story.  We should always ask ourselves – how does the technology help me get my message across?  Is it enhancing the message that I’m trying to deliver, or is it distracting from that defining moment.  All of the assets that we use in our stories (images, video, audio, music, etc.) should be there because they have meaning to me as a storyteller, and then used to share that same meaning with the viewers.

I felt this conversation was an important reminder that there is an art to storytelling.  That it isn’t always formulaic, but instead shares common components that are some times difficult to define.


Grassroot Soccer – The beautiful game changing lives through healthy living

This week I’m actually showcasing two digital stories, both part of Grassroot Soccer, an adolescent health organization in Africa.  The first story is David’s Story – about a young man in Zambia who uses soccer as a way to share his story of AIDS and the hardships it brought to his family.   The other story is about Athi and her struggles as a lesbian wanting to play soccer in South Africa, and how it brought her the freedom she was missing.

dsc_0349bDavid Kapata is a 27 year old coach and program coordinator for Grassroot Soccer, and he brings a message of hope to Zambia which has an HIV prevalence rate of 18.2% among young people.  His mother died from AIDS when he was nine years old, and then his younger sister died from an AIDS-related illness seven years later, which left him bitter and angry.  But at the age of 16 he became a participant in the GRS program, eventually working his way up to coach and a GRS staff position

He was so inspired by the coaches that he worked with that he decided to become one of them from the time he joined.  It not only gave him an avenue to face his own fears about HIV and AIDS, but it allowed him to develop his own way in life.   He came to realize that because of his own experiences that he was able to relate to and comfort children going through the same situation.  As David states, “…I choose, instead of becoming a victim to fear, to take a stance and make a difference in my community.”


Athi grew up in Khayelitsha, one of the largest townships outside of Cape Town, South Africa.  Living in a township with a high crime rate, it was a particularly difficult place to live due to the violence against women and girls.  But as she says in the video, “football gave me hope… And when I’m on the field, I am free.”  Athi is now a coach for Grassroot Soccer, teaching other young girls that they can be healthy and live a healthy life style.  She feels that she and her players support each other both on and off the field.  But it’s her love of football that made the difference in her life. In 2015 her team won the Coca-Cola Cup, a major tournament.  One of my  favorite lines from Athi is, “I can show the world who I really am…All because of this beautiful game.”

These two digital stories provide us with a glimpse into the lives of these two people who didn’t let the difficulties of life stop them from becoming role models for the many people they help.  It is the emotional struggle to overcome life’s hardships that make us intrigued by these digital stories. Something that we should always understand and appreciate as creators of digital stories.

Ohler’s Assessment Traits:

  • Presentation and performance – Both of these stories are presented on the same web site.  David’s story is a nicely crafted web site that leads us slowly through his story by using interesting images and a series of text blurbs.  Athi’s story is done the same way, but it also includes a short video presentation.  The video presentation adds a great deal to the story because we get a much better look and feel for Athi and the place where she lives.
  • Media application – I thought that the web sites were well done because they slowly revealed the story as I scrolled down the site.  And not every text blurb was associated with an image, so it actually gave more emphasis to the text when it was the only part that was visible.  And Athi’s video short was nicely produced with a voice over and accompanying text that made the few things she said seem very important.
  • Flow, organization and pacing – Once again, I thought the pacing was well done because the web sites let the viewer set their own pace.  And I thought the organization was well done because it gave a good introduction, but then emphasized the things that they accomplished, which is really what makes these stories so interesting.


Seven Steps of Digital Storytelling – my perspective

This week I’m reviewing another chapter by Joe Lambert in his book Digital Storytelling: Capturing Lives, Creating Community.  In this chapter, titled Seven Steps of Digital Storytelling, he gives us an in-depth look at how to actually create a digital story, and the components that we need to consider as we put together our own digital story.

There are a number of thoughts and ideas from Lambert’s book that struck me, and I wanted to reflect on a few of them.  First is the idea of “Owning your insights”, or finding what the point of the story means to me as the storyteller.  It’s important that we believe in the insights of the stories that we’re telling, otherwise there will be an in-authenticity to it.  We need to understand and express the meaning of the story in a way that leaves a lasting impression, otherwise it will soon be forgotten.  This expression doesn’t need to be flashy or overly produced.  I believe people know and appreciate when a storyteller really believes in what they are saying, whether it’s the tone of their voice, or the sharing of either difficult or joyful moments.

Lambert also talks about “Owning Your Emotions”, or knowing and experiencing the emotions that prompted us to tell the story in the first place.  It’s the emotions that will connect us with our audience, and sometimes it can be the most difficult part to include in the story.  A story without the emotion is just a description.  It can be any number of emotions that make a story memorable: fear, happiness, sadness, a sense of beauty, pride, hatred, love, or others.  And contrasting emotions can be highlighted within the same story.  For example a great sense of sadness can give way to pride as someone overcomes a debilitating loss.  The emotions can be subtle or blatant, but they make the listeners feel that the time they invest in listening to your story worthwhile.

I very much liked the quote from W.D. Wetherell, “A story isn’t about a moment in time, a story is about the moment in time”.  As Lambert shares, the story should be about that moment when change came into our life.  It may be that one moment when everything changed, or it may be that point some where down the road where we finally understand the meaning of the moment and how it changed us.  This moment of change is what our audience wants to hear.  How the events of the story changed us will reflect on how it will change the understanding of the listener.  We walk into a room one person, and we walk out a different person.

Lambert also shares a number of insights into the structures of stories, such as how we see our story (visually), how we hear our story (the voice-over, music, etc.), and how we sequence our story.  All of these dimensions of our stories are important to consider as we construct our story, and it was good to reflect on them in depth.  I would recommend reading this chapter to anyone considering developing digital stories of their own.