Pitch: One Instrument: Propaganda and Censorship in the Post Atomic Occupation of Japan (A Virtual Reality Documentary)

Abstract

Immediately following the August 6, 1945, and the August 9, 1945,  bombings of the Japanese cities of Hiroshima and Nagasaki, the United States Office of Censorship imposed an embargo on the images coming out of the two cities. News reports, as well as scientific information, were tightly controlled and vetted by the Office of Censorship and later by the Supreme Commander ofthe Allied Powers which prevented the American public (and many others in the world)  from learning the truth about the impact of the bombings of Hiroshima and Nagasaki. In 2020, the 75th anniversary of the bombing will be observed by both the United States and the Japanese. The story of United States censorship and the impact this has had on the historical narrative about the bombings of Hiroshima and Nagasaki has implications not only for the burden of responsibility for the death of hundreds of thousands of civilians in Japan but also for the current narratives of wartime atrocities committed by the United States. This immersive Virtual Reality (VR) documentary will juxtapose the narrative told by the United States government that covered the human toll in the days immediately following the bombings against the actual embargoed images of the damage. The immersive world of post-atomic bomb Hiroshima and Nagasaki will give the viewer an opportunity to experience the cognitive dissonance of listening to the actual news broadcasts of the time played over the historical footage. This VR documentary will use the latest technology to bring conflicting narratives of the time to the general public. There are two phases to this plan, one to work on a short two-minute prototype of the documentary and the next phase to work on a longer 12 – 15 minute documentary that will be included in the events recognizing the 75th Anniversary.

Proposal Goal.

This proposal proposes the initial research and development of a prototype for an immersive VR documentary that addresses the ethical conflicts that the bombing of Hiroshima and Nagasaki should have immediately produced in the United States population but did not because of the narrative that was imposed by the government’s effective propaganda and censorship campaign. Specifically, this proposal seeks funding to support the investigation of film and audio footage that can be used for a self-directed immersive virtual reality documentary. The documentary will use original still images and footage of the damage to human life and property from the Hiroshima and Nagasaki while listening to the propagandistic narrative that was promulgated by the United States government officials and the press. This will include a 360-degree audio track that will change with the audience/participant’s head direction, so as to move the participant through the logic of the creation of the United States Government as savior and hero of WWII in spite of the atrocities that were committed against the citizens of the Japanese people.  This immersive experience will give the viewer a feeling of the cognitive dissonance that is created by the conflicting images and contrived narrative of the US government.

The idea is to show the viewer how the tightly controlled narrative was instrumental in the later justification of the bombings of Hiroshima and Nagasaki.

Problem

2020 will mark the 75th anniversary of the bombing of Hiroshima and Nagasaki. In 1945, in the confusion and obfuscation of the damage wrought by the atomic bombs, very few images were taken. A film crew from Nippon Eigasha was assigned to make a documentary of the bombing, but the film was later confiscated by the occupying Americans and never to be seen for the next twenty-five years (http://www.hiroshimapeacemedia.jp/?p=27622).

Some may argue about the exact start of the atomic age (The Manhattan Project or the bombing of Hiroshima), but it was following the bombings of Hiroshima and Nagasaki that impact of the nuclear age burst into the popular imagination, despite the absence of the actual images from the scene of devastation. The lack of a photographic record in the crucial first year, the censoring of most stories from Japan and a “heroic” propaganda narrative pushed by the government led to the United States citizens being woefully uninformed about the use of the atomic bomb.

From the outset, the Supreme Commander for the Allied Powers (SCAP) tightly controlled much of the information both within Japan and the international release of information (Braw 45). The persistence of the narrative is astounding, and all these years later it still interferes with what we know now regarding the bombings, the surrender of the Japanese, and the use of propaganda and censorship by the United States. Partly from the tenacity of the narrative in the education system throughout the US (take a look at the Wikipedia page on Japanese censorship under the occupation of Japan) and partly from the oral history that came down from the initial propaganda, the understanding of the bombings of Hiroshima and Nagasaki remains veiled in an argument of doubt and uncertainty.

Scope

Ultimately, this VR documentary is modeled on the immersive documentaries of the XR for Change format. The XR for Change format designs immersive documentaries designed to create empathy and understanding of situations that are outside of the user’s everyday scope.

While there have been many immersive documentaries and “viewer directed” 360 films, very few of them have taken on historical events (outside of Zombie Nazi games!) and even fewer are working with historical footage and audio. This presents both challenges and opportunities. Some of the challenges are the physical limits of the actual footage because it is grainy, or shot at the wrong distance or angle. To create the immersive world the user needs to have the 360 vision and all footage has to be “seamed” to create a 360-degree vision of world inside the headset; no historical footage was shot with an immersive structure in mind. The opportunity is to open the door to others who might want to create immersive historical documentaries a la a Ken Burns type of story with still and moving images.

Eventually, this documentary will have a running time of 12 – 15 minutes but the initial goal of this abbreviated prototype will be a running time of about two minutes. The objective is to help create a different view of the history of the bombings and to bring the viewer into a fuller understanding of the way the US government’s narrative shaped and continues to shape our opinions about the bombings of Hiroshima and Nagasaki.  The two-minute video will be a proof of concept and hopefully a way to pique the interest of a larger group of editors and historians in order to have the longer video available for mid-2020 distribution.

The vision for this film is that the immersive experience brings the viewer closer to the historical reality of the time. Immersive documentaries are different from the other modes of learning. In the 360 experience, the viewer is inside of a particular world, much like our own lived experience this historical “world” has the advantage of sight and sound simultaneous, unlike the movie or television experience, the viewer is locked into a 360-degree experience of the world just like our lived experience. This allows the viewer to become aware of the moral conflicts through an empathetic experience (and the inability to turn away). But how much and for how long? This will take some trial and error on the part of researchers and editors. In addition, the use of spatial audio or ambisonic techniques in audio will help to guide the user through the documentary with sound cues and techniques such as head-related-transfer-functions where the audio adjusts to the user’s head movements. This should help to guide the viewer in and out of intense viewing periods within the documentary.

For this first part, the techniques, thesis behind the documentary, and the research will be useful to other VR filmmakers. Since the XR for Change Festival will be held in June of 2019, I have applied to present a talk about the process of making this prototype and why the digital humanities is interested in this type of programming for the public.

Issues addressed

Censorship has always been an issue in the humanities from the censoring of library books to the control of media stories; these acts weigh heavily on a healthy democracy, its freedom of speech, as well as academic freedom and first amendment rights. One Instrument will address acts that are antithetical to the functioning of an informed and vibrant society in which the humanities play a central role.

One Instrument sits right in the middle of social action, public information, digital innovation, and general public audience engagement in its humanities focus.

Social Action

One Instrument directly addresses the issue of censorship in a free society and in particular in the United States. As a vehicle for social change, it examines the place of information embargos for the purposes of control of a particular narrative that makes the US government look inept or monstrous. Since the United States has been in a wartime state for the last twenty years, what does that mean to our current society?

Public Information

One Instrument puts together information that while previously available has not necessarily been juxtaposed in this way before by taking old content and revealing it against the backdrop of censorship through immersive technologies.

Digital Innovation

Immersive XR/VR is one of the newest forms of technology for use with the general public. The experience, though, according to Sol Rogers in Forbes, is one that needs to be doled out in small increments of ten minutes. This form of filmmaking can reach a wide audience because it will be available for use on YouTube and other video platforms.

Public Audience Engagement

The level of audience engagement is great since the new technology draws in younger people already accustomed to engaging in this form of media consumption. The subject of Hiroshima and Nagasaki will bring in an older audience interested in looking at the experience of public censorship and WWII.

Enhancing the humanities through innovation

Immersive technologies are currently used for gaming and to a lesser degree for immersive documentaries such as the NY Times “Displaced” an 11-minute 360 video about the perils children face when being displaced from the homes because they have turned into a war zone.  There is also the interactive video, “Terminal 3” which brings a user through the immigration experience at a United States airport port of entry meeting with an immigration agent. These videos are being used to see if they can help the viewer develop empathy towards the subject of the video. These technologies hold much promise to enhance the understanding of the “humanity” part of the humanities by leading people on a journey to investigate experiences that they might never have as a member of a certain group.

Works Cited

Brau, Monica. The Atomic Bomb Suppressed: American Censorship in Occupied Japan: American Censorship in Occupied Japan. Routledge, 2017.

“History of Hiroshima: 1945-1995 (Part 25, Article 2).” Hiroshima Peace Media Center, 2013, www.hiroshimapeacemedia.jp/?p=27622.

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Skillset: Sabina Pringle

Hello all, great to see you again and great to meet the new people.

This is my skillset (eeeegh I feel like I’m applying for a job!)

Outreach: I’m a sociable person most of the time, I talk a lot but have also learned to listen, so outreach comes to me naturally. I teach at City College and work in the Office of Legal Counsel at Baruch so I’m familiar with institutional bureaucracy. I build WordPress sites all the time, hardly ever use Twitter but keep meaning to get that together, have stopped using Facebook (haven’t deleted my account yet) and am interested in migrating to Mastodon or some other alternative to Facebook. I’m also a non-teaching adjunct at Baruch where I develop curricula and assist in writing grants with the English as an Additional Language program, which involves practicing my keen creative, organizational and interpersonal skills.

Project Manager: I can do this. I think projects should be managed collaboratively but it is necessary to have one person who is ultimately responsible for making sure everything gets done. I know I can do this because I conceived, wrote, managed and produced a huge project when I was Fulbright English Teaching Assistant and then Fulbright Senior English Teaching Assistant at Universidad del Atlantico in Barranquilla, Colombia, from 2015 to 2017. The project was a contemporary Caribbean adaptation of Shakespeare’s The Winter’s Tale, in Spanish. It started as my civic engagement project and morphed into an interdisciplinary public university production with a team of 80 students and 11 professors from four departments (Theater, Dance, Music, Fine Arts), who developed the project in five courses (three core courses and two electives) over one semester. I oversaw and coordinated the entire production team. I wrote and obtained a $17,000 public university grant for the project, which was no mean feat in Colombia where bureaucracy is totally Kafkaesque and getting $17,000 is like getting $70,000 in the U.S. The play was a great success and kept running for a whole year with numerous performances in Barranquilla as well as a performance in Bogota, one in Santa Marta and others in other Colombian towns. It was an amazing experience and took up a year and a half of my life.

Designer/UX: I build WordPress sites all the time (I know I already said that). I teach undergraduates how to build WordPress sites. I have a good intuitive sense of design but still a whole load to learn. I took DHUM 74000: Data Visualization last summer and really enjoyed figuring out what kind of visualization best serves a given dataset. I used Tableau and Github.

Developer: very little experience in this area, but a voracious desire to learn. I’m taking DHUM 71000: Software Design Lab with Patrick Smythe and a few of you this semester, so soon I’ll be unbelievably proficient in developing whatsoever a future team manager might require.

Other Skills: I write. I read. I love doing research. I speak fluent Spanish and French. I worked as truck dispatcher in an international transport company in Spain for five years and then as traffic manager in another for two years, so I know a lot about trucks, some of the challenges truck drivers face and the geography of European industrial zones.

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Pitch: Proposal for Building a Digital Humanities Course to be Taught in Prison

Problem and goals:

In view of the devastating effects of mass incarceration in the United States and in an effort to address the needs of incarcerated people as they rebuild their lives, I propose to design and develop a proof of concept for an undergraduate college-level course in digital skills and digital humanities to be taught in prison. The goals of this course are to help students learn technical skills that will be useful for reentry and to develop critical skills that will be useful for intellectual pursuits. Education is a right, the exercise of which is at present denied to over two million people in prison and jail. Only 35% of prisons in the United States offer college courses at the present time.[1] Amongst these, there are very few digital humanities courses. This is partly due to a scarcity of hard and soft infrastructure to support digital work and largely because incarcerated people are generally forbidden access to the internet.

Contribution to the digital humanities:

This gap, or digital divide, presents us with an opportunity to build a much-needed course that does not exist at the present time and to innovate by developing minimal computing software that will allow us to teach specific digital skills without an internet connection. Furthermore, by developing minimal computing software, we will create course materials easily exportable to low-tech environments around the world.

Tentative final product:

We will produce minimal computing software, documentation, a course curriculum, a syllabus, lesson plans, datasets for lessons, open source documentation and a project website. I suspect it will be best to develop only one or two parts of the course (for example, introductory lessons and a unit on data visualization, text mining or coding), as proof of concept.

Long term goals:

We have been invited by Metropolitan Detention Center Brooklyn (MDC Brooklyn) to teach a pilot course there in fall 2019. The director of the John Jay Reentry Institute Prison to College Pipeline (P2CP) program is interested in incorporating our project as an experimental credit-bearing course to be taught at Otisville Correctional Facility in spring 2020.

Possible roles:

  • Project manager
  • Software developer (I think we will need two software developers)
  • Curriculum developer
  • Research
  • Outreach, Design/UX

Here is the full revised proposal: Pringle_Sabina_DH_in_Prison_2019

[1] Bender, Kathleen. “Education Opportunities in Prison Are Key to Reducing Crime.” Center for American Progress, March 2, 2018.

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Antonios Liamis #skillset

Development

Web Coding: HTML5, CSS3, Javascript, JQuery and Ajax, SEO, Server Administration.

CMS Platforms: Drupal, WordPress, Pegasus, Magento, Joomla.

I have some general programming skills but I am looking forward for the opportunity to develop python skills as well.
Also, I am in particular interessted to make a deep dive into the “world” of application programming interfaces (APIs).

Design/UX

User Interface (UI) experience: Created and designed icons, logos, interactive animations, banners and intros, landing pages, newsletters.

UX tools: Axure, Sketch, Invision, Photoshop, Balsamiq

I am recently certified in UX Design by the Fashion Institute of Technology.

Prototyping and Designing Newsletter Campaigns, Landing pages, Social media Banners, Google Affiliates for public e-commerce and digital marketing.

Wireframing, Mockups, Scenarios, Storyboarding.

This is what I’m interested mostly. Although I have enough knowledge regarding User Experience tools, I would like to have more experience concerning UX Research. I am in general interested in research objectives, since I was once employed as a photo researcher in order to find fitting matches between photos and features. I also undergraduated in the programm of European Civilisation of the school of humanities at which I was involed in many research projects (e.g. Inistitutions shaping European Civilisations, Human Geography and Material Culture of Europe Human Sciences).

While reading the other skillset-posts I noticed that with Natascha I would make a ideal duet, as she covers my communication skills in UX Research.

Project Management

Art Direction Photography Supervisor: Monitored the digital image assets, supervised the photo editing team department and developing workplans/deadlines.

Even if I worked as a supervisior in different companies for which I worked for, I have not really lived the role of a project manager. |
Although my skills as a project manager may not be as impressive and profound, if I am required to take that role I would definetly get it.

Outreach

Administrative work for social media accounts in order to engage followers and find best practices and methologies for improving Key Performance Indicators (KPI). Responsible for visual attractive and consistent content on companies accounts like for example Instagram, Facebook, Pinteres, YouTube, etc.

Public relations in photographic congresses (EU and USA) at which I tried to find copyrights of high-end photographers representing their rights in european printed media.

Although I am a journalist in various lifestyle supplements using fairly the Greek, German and English language, I have to remarke that I am not a native English speaker and therefore that position regarding communication skills has to be given to other students.

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Pitch: Teach Basic Concepts in Spatial Thinking and GIS Mapping to Digital Humanities Students

Project:  To develop a prototype for an online tutorial to Teach Basic Concepts in Spatial Thinking and GIS Mapping to Digital Humanities Students

There’s been a growing interest among humanities scholars in exploring the capabilities of Global Information Systems (GIS) and applying these tools in their pedagogy and research.  These tools provide a new lens for scholars to ask different questions and explore the relationship of place and space in innovative ways.  While this ‘spatial turn’ in the humanities is exciting, the adoption of these methodologies has been slow due to the lack of exposure to spatial thinking and geographic concepts, and the steep learning curve for using these tools.

This project will develop a prototype for an online tutorial with the objective of introducing students in the humanities to spatial thinking and geo-spatial concepts and methodologies.  It will outline the schematics, terms and analytic tools that are common across GIS software platforms.  We believe this will encourage the exploration and application of these tools in humanities research.

The project will employ innovations in interactive digital pedagogy and utilize open-access platforms.  The intent is to supplement traditional undergraduate and graduate courses by providing students access to foundational concepts not normally taught in the humanities.

The project team will develop a prototype for a series of open source, online tutorials intended to achieve the following learning outcomes:

  • to introduce students in the humanities to spatial thinking
  • to develop a basic understanding of geo-spatial concepts and methodologies
  • to provide a schematic that describes how GIS tools are organized, introducing the most common terms and analytical tools.

For more detail, see the attached proposal…….DH Praxis Proposal

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Pitch: Archive of Immigrant Newspapers

Sandy and I had originally proposed an aggregation and curation news site for stories produced by nonprofit media outlets. We decided to pitch another project, one that’s still journalism-oriented but focused on the digital archiving of historical immigrant newspapers in NYC. Here’s a partial version of our proposal, with a link to the more complete write-up at the end.

In the city, hundreds of media outlets make up the community and ethnic media sector, which targets select populations whether that be residents of a specific neighborhood or borough, or a particular ethnic group. These kind of specialized newspapers, especially ones that cater to specific ethnicities, have been a part of New York for much of its history. We want to gather, in one location, a record of some of these often overlooked publications. The digital archive, housed on a website, would include immigrant newspapers, founded within a specific time period, in the form of images and information.

For now, we envision the newspaper archive as including the following for each individual publication, depending on what can be found:

  • Image of the front page of a select issue and/or full issues (and if the newspaper still exists, images from present day)
  • Profile information: community served, language, years active, geographic reach, readership, location, facts, description, etc.
  • Links to libraries, museums and other sources to view issues of the newspaper

In addition to the archive, we also want to include a series of visualizations on the website:

  • Map of newspaper locations that can be adjusted based on language and country of origin
  • Animated map showing the emergence and disappearance of newspapers through the years
  • Timeline and other visualizations that reflect the waves of immigration in relation to the number of newspapers

Here is the full proposal: https://docs.google.com/document/d/18T7q_2eDhrIdC3YHRi9ejBFc8eO2hxnDaiN1XdHzAvA/edit?usp=sharing

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Project TRIKE — Project Proposal

MADH/MALS 75500 – praxis pitch summary

Nancy Foasberg, Hannah House, Rob Garfield

We’re presenting our summary as an FAQ for maximum clarity. Attached at the bottom are the key elements from our full project proposal.

What is Digital Humanities Data?

With the explosion of Intro to Digital Humanities (DH) courses, increasing numbers of humanities students are working with datasets. Digital humanities data is most commonly text, but can also be numbers, images, film, sound files, or can come in other forms. Datasets, however, are not sufficiently self-explanatory. As Gehru et al. propose in Datasheets for Datasets, data is best delivered alongside an explanation of its creation, as these circumstances shape the way it can be worked with and what conclusions which can be drawn. Our project seeks to present DH datasets in a more transparent, thoughtful way, highlighting both the decisions made during the process and the methods by which practitioners make sense of them.

What questions are we answering? What problems are we solving?

  • How can we better present digital humanities datasets to communicate the choices made during data creation and manipulation and shine a light on how they shape analysis and the conclusions that are drawn?
  • DH curricula vary widely; methods of teaching data are still far from standardized. This project aims to develop a method of data presentation in the hopes of moving toward a more broadly applicable standard.
  • What data resources would be useful in digital humanities courses? This project will establish an open educational resource that may fulfill some of these needs.

What is the contribution to the field?

  • Supports DH pedagogy, particularly the growing number of Intro to DH courses, by providing professors and students with a collection of humanities datasets containing step-by-step examples of the data preparation and analysis process. This approach will demonstrate a humanistic approach to interrogating digital data.
  • Provide an open educational resource that allows DH instructors to focus on specific parts of the quantitative research process.
  • Model the presentation of research data alongside information about the creation and transformation of the data, in order to better contextualize research findings and other conclusions drawn from that data. The intent is to establish a convention that contextualizing information is always communicated alongside the datasets themselves.

What is the output?

  • The target output for this semester, our minimum viable product, is a website featuring at least 3 datasets, each on its own page and accompanied by information on its origin, transformations, and discussion of how decisions made during this process shape the conclusions that can be drawn from the data. A major consideration in the selection of datasets will be variety — that is, ideally, each dataset will represent a different type of data. The website will also include an About This Project page which will explain our project history and goals, thoughts on next steps, and provide contact information and/or a form for site users to give feedback. This website will be available for community review and potential in-class use for the Fall 2019 semester.
  • We have carefully tailored this proposal to ensure that a team of 4-5 people can feasibly complete work on the product by the end of spring break. A week-by-week work plan listing major activities and milestones is in development. We have procured faculty and technical advisement. Hosting will be on the CUNY Commons or other CUNY space. No extra budget is required.

Who is the audience / user?

We have three intended audiences:

  1. Instructors teaching Intro to Digital Humanities courses may use this tool in a course module on humanistic interrogation of data. We have tentative buy-in on some Fall 2019 use at the GC;
  2. Students of digital humanities may use this as a reference for examples of how data result from a series of choices that influence the conclusions they may draw when using processed data for analysis. This will help students draw more robust and meaningful conclusions; and
  3. Digital humanities practitioners, who we hope will find this method of presenting data broadly useful as a convention for the field. We will seek feedback from DH practitioners about whether our model is successful in this respect.

What are the sources? Will we need permissions?

  • As part of the research component of this project, we will identify 3 datasets that are openly licensed, are in the public domain, or for which we can easily obtain permission. One potential source we may use is a TEI-tagged Open Editions text, with project owner Jonathan Reeve’s permission.  We will also consult with Professor Matthew Gold and other faculty to help identify datasets.

Who is already involved?

  • Project staff
    • Nancy Foasberg: design, development, OER perspective
    • Rob Garfield: design, development, pedagogy perspective
    • Hannah House: project management/development, design, data critique perspective
  • Project advisors
    • Matthew K. Gold: Faculty perspective advisement
    • Jonathan Reeve (PhD candidate at Columbia): Technical advisement

Who might like to join our project?

  • We are all highly motivated and have a supportive, collaborative, friendly group dynamic. We are looking for positive and enthusiastic teammates to keep the good times rolling. Our primary need is for someone skilled at outreach. We also welcome participation from anyone excited about data, especially if you have a dataset in mind you think we should include, or if you are knowledgeable about pedagogy and methodologies for working with data. Of course, those who have  expertise in UX also have a lot to contribute! Let’s make something together!

 

Open the full(er) proposal (note that you will need to be logged into the Commons to open it): Project Trike proposal

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Carolyn A. McDonough #skillset

Research + Interactive, digital media Content Development + Editing/Writing/Blogging + Curation: Photo/Audio/Video + WordPress Blogging 

-Photographic Research/Visual Anthropology and Audio/Video Research include: multi-format research, procuring content, gaining permissions and/or licensing, and purchase of curated content (if budgets allow).

-PHOTO/AUDIO/VIDEO CAPTURE 

-PHOTO/AUDIO/VIDEO UPLOAD

-Embedded Video

-Embedded Timelines (specifically, Knight Lab JS3 Timeline, a WordPress plug-in that accommodates embedded video and static photographic imagery in a chrono timeline)

-Design/Layout/Navigation/Art direction which includes text/image/audio/video pacing (important for embedded videos and audio/visual narratives with text)

-Troubleshooting: both Tech and Content

-Twitter for Academics: Researching, Creating and Maintaining/Monitoring effective hashtags 

-Well versed in The CUNY Academic Commons [setting up URL’s, customizing blogs, etc.]

-Additional: Italian Language fluency; strong working knowledge of French

To better illustrate my skill set, here’s an example of the kind of project I love to do and be a part of, which combines my BA in Renaissance Studies with my first MA in Media Studies and my work as a digital media producer/editor: 

The Digital Aura: Selfie & Renaissance Gaze Shift an interactive paper by Carolyn A. McDonough, April 2014

[please note: This is an academic piece from my private venture blog, CultureArtMedia.com, which chronicles the  unique adventures I have in culture/art/media and was borne from a scholarship I received from the Museum of Modern Art to take the online course CATALYSTS: Artists Creating with Sound, Video and Time. Vimeo will advance the embedded video to additional videos from my blog, some of which are performing arts-related in voice and acting, which is another aspect of my professional life.]

Another example is my recent/current work that I developed in the Interactive Technology and Pedagogy Certificate Program, which is also my research at the New Media Lab and my Independent Study project toward the ITP certificate: 

Points of Reference, a humanities references digital blog/tool conceived, curated and produced by Carolyn A. McDonough

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Anthony & Raven Project Pitch

At this point, Anthony and I have been equally dividing the labor of this project, and envision a continuation of this within the expected roles. We have conducted outreach via the CUNY Community Colleges, and have acquired a list of supportive faculty who have offered their guidance along the way. Increased outreach might ideally manifest through classroom exposure of our game project, which aside from conferences and graduate level courses, have not been able to get more feedback from undergraduate students. The development of the game project has also been created in equal collaboration, and will continue to do so. It would be wonderful to have additional scaffolding or collaborative assistance in enhancing features of our game such images, and possibly sound effects which neither of us are proficient enough as of yet in CS skills. Design also falls within these parameters of development goals. Furthermore, given the scope of our project an additional 1-2 team members, particularly in the development sector might produce a productive expansion of our project without the original aim/mission becoming lost.  

Finally since the original submission of this project, we have continued to modify/expand the game under the guidance of Dr. Carlos Hernandez and had the chance to recently present our research at the CUNY Games Conference!

The details of our project proposal are attached below: 

MALS-75500-Project-Proposal (1)

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Skillset: Hannah House

Development

This is what I would like to focus on this semester. I have some python and am looking for opportunities to develop that further. I’m also interested in minimal computing and am just starting to learn about static site generators. I am looking for an opportunity in these praxis projects to grow my development skills.

 

Design/UX

I am good at information architecture and can do some graphic design. Accessibility is close to my heart. As part of my job I consult on accessibility of information in visual design systems for users with low vision and/or color blindness.

 

Project Management

I’m excellent at developing workplans, organizing information, estimating resources, and other aspects of the production side of project management. I don’t have particularly wonderful soft skills, but as long as the staff doesn’t need cajoling I can manage the heck out of a project. But I do a ton of it in my job, so I’m also happy to not project manage here if somebody else wants to step up.

 

Outreach

Not my strength. I understand some principles for planning an outreach campaign but have a gap in translating that into executions. Sort of the opposite of/complementary to Natasha! Maybe this would be a good team fit  🙂

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