Tag Archives: SXSW

Gamefication in Education at SXSW (2016)

(Following on from yesterday’s posting about how IT and games are changing the education world, here’s an interview I did for the Austin Chronicle with Grace Lau, director of VR the Global Nomads Group, a nonprofit dedicated to reducing the barriers of understanding between kids in different nations.)

It’s a small world, but, as the old saying goes, you wouldn’t want to walk it. For centuries, the only way to truly experience another culture was to visit it. Now international travel has never been easier, but it seems too much of the conflict-ravaged world is off-limits to the students most eager to learn about it. For Grace Lau, director of virtual reality for education nonprofit Global Nomads Group, technology can still help bridge the gaps of oceans and borders. She said, “When you put people in front of each other, whether it’s face to face or in the virtual world, we found that they’re able to draw out those natural human connections.”

The purpose of GNG is to make students into global citizens. So far, the nonprofit has linked students in the U.S. to kids in South America, Thailand, Afghanistan, Pakistan, and nations across Sub-Saharan Africa – “places with the largest culture gap between the U.S. and abroad,” said Lau. However, their biggest initiative at the moment is in the Middle East.

The core of this initiative was Project Syria, a collaboration with virtual reality pioneer Nonny de la Peña that connected South Central Los Angeles’ View Park Preparatory Charter High School and Mahatta Community Center in Amman, Jordan. Originally commissioned by the World Economic Forum, this VR tool simulates the experience of being in a conflict zone. Lau said, “Through CGI, Nonny’s team at Immersive Journalism re-created a street bombing in Aleppo, Syria. So with these headsets, the students in L.A. went through what it would be like on that street corner. Then we connected those students with Syrian refugees here in Jordan.”

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The Not-So-World Wide Web (2008)

(There’s been a lot of discussion about representation and access on the Internet in the last couple of years, but this piece I wrote for the Austin Chronicle’s SXSW 2008 coverage shows the issues have been debated, especially about the Anglocentric and Americentric nature of Internet culture, for a lot longer than that.)

Back in 1990, when Tim Berners-Lee wrote the code for a browser he called WorldWideWeb, it was supposed to connect everyone. “Its universality is essential,” he later wrote, saying it could “make sense of what we are doing, where we individually fit in, and how we can better work together.” But whose idea of universal? Is it a one-size-fits-all, anything-goes approach, with no restriction on content? Or a tamed Web, where no one can find anything upsetting?

Before content, there is language. The Web was built in English. All those acronyms (http, URL, TCP/IP) mean something in English. Most websites are in English. But an all-English Web can also be an excluding Web. “Providing a service in English only shuts out huge amounts of users,” says Stephanie Booth, Web consultant and writer of Climb to the Stars, one of the first major bilingual blogs. Living in Switzerland, a country with four national languages (German, French, Italian, and Romansh) where many citizens speak conversational English, she is exposed to the complexities of translation on a day-to-day basis. “People may speak enough English to communicate with the man on the street, but it’s not sufficient for them to try and tame new, potentially scary software or services in that language.”

Continue reading The Not-So-World Wide Web (2008)

Gamefication in Education at SXSW (2008)

(Gamefication has become the buzzword in education circles, and here’s a SXSW 2008 preview for the Austin Chronicle on those issues.)

The line between educational software and games has always been a blurry one. Now educators and game developers are doing more than just making toys with some redeeming qualities: They’re adapting lessons from gaming into the curriculum, from interactivity in Nintendo’s Wii Sports to cooperative play in Halo 3.

“Games are largely misunderstood,” said Suzanne Seggerman, president of Games for Change. “They are not inherently sophomoric.” G4C introduces activist groups to the educational benefits of situated learning – the cognitive process of learning through doing, or in this case simulated doing. The idea is nothing new. “The U.S. Army has [combat simulator]America’s Army,” Seggerman said, “and it’s their number one recruiting tool. So why shouldn’t nonprofits have access to the same tools?” ‘

She points to the award-winning Darfur Is Dying. It’s a different view of battle to, say, Call of Duty: a deceptively simple online game in which players are Sudanese refugees, avoiding Janjaweed militias while foraging for water. They learn and are inspired by doing, a process she argues has always been part of gaming. “Will Wright has had hundreds of people mailing him, saying they became urban planners because of SimCity,” said Seggerman.

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The Future of Film (As Seen in 2007)

(In 2008, I wrote this piece on the future of cinema and the Internet for the Austin Chronicle. So no surprise that some of the prognostications were way off target. However,  there’s some early wisdom about the way cinema was changing, including Arin Crumley and Susan Buice getting ahead of the curve on  predicting theatrical on demand.)

The Web was going to be a bottomless well of content. No matter what your interest, you could log on and find something to fit your tastes. And go as far as you’d like from there.

There’s a problem with that. Infinite is a big number. Audiences can’t browse online forever. Talented artists and content creators spent more time keeping up with software than actually creating content. Learn HTML; XML comes along. Master Shockwave; here comes Flash. When independent filmmakers finally get online, they’re competing for bandwidth with someone innovating new ways to drop Mentos into Coke.

The old days of a Web campaign for a film attracting audiences on novelty alone are over. According to Henry Jenkins, director of the comparative-media-studies program at MIT and a South by Southwest Interactive 07 speaker, “It’s no longer the case that, if you build it, they will come. If you drop your film on YouTube and do nothing around it, it will get buried under a billion other videos.” Instead, filmmakers are finding success in reaching out to online communities, and firms are developing new Web tools to build and maintain those links.

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Interview: Andrew Neel and Luke Meyer on Darkon

Skip Lipman, star of Darkon: The Movie
Skip Lipman, star of Darkon

When Ian McKellen pretends to be a wizard, he gets $8 million and an Oscar nomination. When a bunch of ordinary working people get together to pretend to be barbarians, warriors, and trolls on the weekend for fun, they get called geeks. Call them instead LARPers – live action role-players – and the subject of Darkon, an overwhelming favorite on the 2006 festival circuit.

In their debut documentary feature, co-directors Andrew Neel and Luke Meyer enter Darkon, a high-fantasy world in which orcs rampage across nations, mages cast arcane conjurings, and dark elves plot in caves. In reality, Darkon is a set of gaming rules, a map of fictional countries, and a series of weekendlong live-action events on borrowed farmland. Players come in homemade costumes, and vie for power and hexes on the map through negotiations, treachery, and intrigue. When that fails, they battle with padded maces and foam swords.

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Review: Grimm Love aka Rohtenburg (2006)

GrimmLoveDirected by Martin Weisz

Starring: Keri Russell, Thomas Huber, Thomas Kretschmann

When Armin Meiwes, a German computer technician, was found guilty of cannibalism, the world was shocked. Yet what was most shocking was not that he ate someone but that someone willingly volunteered to be eaten. Shooting this semifictionalized account of the crime in the washed-out blues of a German winter, debut director Weisz uses American grad student Katie Armstrong to coolly unravel this conundrum. Played by Russell, who has come a long way since Felicity, she reconstructs and tries to comprehend the incomprehensible. In flashbacks, veteran German actor Kretschmann is Meiwes’ analog Oliver; Huber is willing victim Simon. Both bring a dark, disturbing understanding to their characters.
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Review: Election Day (2007)


electionDirected by Katy Chevigny

After the 2000 elections, a swathe of political documentaries painted a grim portrait of the democratic process. For anyone embittered about the whole poll thing, Election Day takes a bittersweet snapshot of voting, American style. From the polls’ open to the final counts on Nov. 2, 2004, it shows the highs and lows of elections.
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Interview: Meredith Danluck on The Ride (2010)

therideThe cowboy isn’t dead – he’s working the PBR, the Professional Bull Riders circuit. It’s big business, a 32-date traveling extravaganza with all the pizzazz of pro-wrestling and millions of dollars – as well as lives – on the line. Yet the bull riders portrayed in documentarian Meredith Danluck’s debut feature, The Ride, don’t just strap on some chaps, throw on a 10-gallon hat, and feign John Wayne for the crowd. When they’re not risking life and limb on the back of a half-ton of angry beef, they’re a bunch of humble ranchers and small-town dreamers, tapping into something iconic about the Old West.

Richard Whittaker: How does an East Coast filmmaker, working for Spike Jonze’s VBS.TV online news network, get to travel with the PBR?

Meredith Danluck: I’d gone to the Indy 500 and had such an amazing time. When I got back to New York, our creative director Eddy Moretti and [producer] Jeff Yapp said we should do more Americana stuff like this. We should go to the rodeo; we should go to the Kentucky Derby; we should just explore all these things that are mainstream but are outside of our hipster radar. Jeff had just run into some cowboys at an airport bar, and they turned out to be from the PBR. The next weekend, we flew to Nashville, went to a PBR event, and after that I convinced both Jeff and Eddy that we needed to make a feature. Basically, I just badgered the hell out of them until they said, “OK.”

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Review: Otis (2008)

otisDirected by Tony Krantz

Starring: Daniel Stern, Illeana Douglas, Kevin Pollak, Jere Burns, Bostin Christopher

Otis is a serial killer, abducting and torturing that most stereotypical of Hollywood victims, the cheerleader. But he’s also slightly incompetent, and after accidentally killing one of his victims too soon, he kidnaps her replacement with plans to make her his latest plaything. Her very dysfunctional family has a very different idea about that. But like the killer’s clueless attempts at playing psycho, this vengeful but overenthusiastic family brings a cheese knife to a manhunt.
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Review: Four Lions (2010)

fourlionsDirected by Chris Morris

Starring Kayvan Novak, Riz Ahmed, Nigel Lindsay, Adeel Akhtar

Ever since the 2005 al Qaeda attacks on London, there has been a siege mentality in the UK. That makes first-time director Morris’ broad comedy about homegrown jihadists in the post-industrial English city of Sheffield so timely and essential. This extraordinary combination of high farce and lo-fi filmmaking is a textured and incisive examination of what drives ordinary people to become suicide bombers – with added exploding crows for giggles.

Controversial British satirist Morris made his reputation as a ruthless critic of the media and government on TV and radio, As he explained during the films debut at SXSW, even with his reputation this was a difficult project on which to sell backers, noting that  they saw it as “delicious like a lobster and revolting like a locust.”

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