This link has been bookmarked by 10 people . It was first bookmarked on 21 Feb 2008, by Lori Emerson.
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22 Mar 13
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YouTube hack
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Learning From YouTube: An Interview with Alex Juhasz (Part One)
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ollege students are rarely asked to consider the meta-questions of how they learn
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all the learning for the course had to be on and about YouTube
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it did allow us to really see its architecture
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how well trained they actually are to do academic work with the word
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students realized how well trained they actually are to do academic work with the word
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and how poor is their media-production literacy
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ranslating it into 10 minutes of video demands real skills in creative translation of word to image, sound, and media-layers.
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forced by me to be atypically creative and responsible
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Furthermore, and quite impressively given their lack of skills and deep initial qualms, the students devised a series of methods to do academic assignments in the form of video.
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identify myself as someone with a very limited interest in mainstream or popular culture
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massive user access to production and distribution of media
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I believe that for engagements with the media to be truly transformative, the fact of expanded access to its production and exhibition is only one in a set of necessary conditions that also include a critique, a goal, a community, and a context.
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it consolidates media action to the video production and consumption of the individual
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degenerated standards o
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slurs, phrases, and inanities stand-in for dialogue.
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For YouTube to work for academic learning
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highly trained archivists
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It is a hallmark of the academic experience to carefully study, cite, and incrementally build an argument. This is impossible on YouTube.
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entertainment
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easy to understand
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it was downright baffling to me how my students initially could not seem to see the systems of popularity or celebrity as constructed, as made to keep them distracted
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the idea of celebrity as an unquestionable good in itself was easily cracked open for the students.
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22 Feb 10
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Finally, it seems important for me, at this earliest stage in the interview (and I hope this will not alienate some of your readership), to identify myself as someone with a very limited interest in mainstream or popular culture, even as I am aware and supportive of the kinds of work you and your readers have done about the complex and compelling (re)uses of dominant forms. While I, too, focus on the liberating potentials of people's expanded access to media, I have specialized in (and made) alternative media connected to the goals and theories of social movements. This is a lengthy, and formative history within the media (what I call Media Praxis) that includes some of the best media ever made, like early soviet cinema, Third Cinema, feminist film, AIDS activist video, and a great deal of new media. I continue to be concerned about why I am not seeing more on the site that is influenced by, and furthering this tradition, and my orientation in the course was to push the students to consider why serious, non-industrial, political uses of the media were not better modeled or supported on the site. Another way to say this is through a concern I have articulated about the current use of the term "DIY." I think it is being used to identify the recent condition of massive user access to production and distribution of media. My concern is that the counter-cultural, anti-normative, critical, or political impulses behind the term (as it came out of punk, for instance), drop out of the picture--just as they do in most DIY YouTube video--when access to technology occurs outside other liberating forces. I believe that for engagements with the media to be truly transformative, the fact of expanded access to its production and exhibition is only one in a set of necessary conditions that also include a critique, a goal, a community, and a context. I'll get to more about this in my later answers, but one of my great fears about YouTube is that it consolidates media action to the video production and consumption of the individual (this, of course, being a corporate imperative, as YouTube needs to get individual eyeballs to ads).
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Given that the site is owned by Google, a huge, skilled, and wealthy corporation, and that all these functionalities are easily accessible on other web-sites, we were forced to quickly ask: why do they not want us to do these things on this particular, highly popular, and effective site? This is how we deduced that the site is primarily organized around and effective at the entertainment of the individual. YouTube betters older entertainment models in that it is mobile, largely user-controlled, and much of its content is user-generated (although a significant amount is not, especially if you count user-generated content that simply replays, or re-cuts, or re-makes corporate media without that DIY value of critique). The nature of this entertainment is not unique to YouTube (in fact much of its content comes from other platforms) but it certainly effectively consolidates methods from earlier forms, in particular those of humor, spectacle, and self-referentiality. As YouTube delivers fast, fun, video that is easy to understand and easy to get, it efficiently delivers hungry eyeballs to its advertisers. It need provide no other services. In fact, an expanded range of functions would probably get in the way of the quick, fluid movement from video to video, page to page, that defines YouTube viewing. Of course, this manner of watching bests older models of eyeball-delivery, which is not to even mention that users also rank materials, readily providing advertisers useful marketing and consumption information.
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14 Jun 09
skoelkerLearning From YouTube: An Interview with Alex Juhasz (Part One)
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29 Feb 08
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27 Feb 08
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26 Feb 08
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22 Feb 08
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21 Feb 08
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What does it mean to learn from Youtube and what would it mean to treat YouTube itself as a platform for instruction and critique?
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