A Challenge for School Leaders
2 years ago
Wednesday, 31 March 2010
Yesterday's thought
I was walking down the street thinking about my upcoming dance class and McLuhan crossed my mind -I wonder how he'd describe the Web 2.0 world in terms of human's extensions (I should add I was feeling lazy and had begun wondering whether I'd actually make it to class or if I could find a nice program to replicate dancing).
Wednesday, 24 March 2010
Skating, dancing, learning about culture
It's been a while since I last wrote here, and my last post was different. I think I needed to take some distance from all the reflections about learning -this summer was pretty intense in terms of learning and thinking, and just enjoy another aspect of my life. I love dancing and music, and the Winter Olympics had just finished. I love to watch figure skating but I'm seldom able to -and, as if by fate, on the closing day of Vancouver 2010, I turned on the TV and caught the two wonderful performances you can see featured in my Glogster.
I've just finished watching a video about the Lakota way of life that one of the members of the Crosscultural ELT Ning Network (which I help to manage) uploaded and found it very interesting and wondered why I hadn't heard of them before. I also wondered about my own culture, and the aboriginal cultures of what politically is now my country and why I know so little about them (basically names and where they settled originally). I'm sure my own culture must have its positive side -all things do, but I doubt it'll be as rich and simple at the same time as that of communities like the Lakotas.
Values and virtues like generosity, fortitude, generosity, bravery, wisdom, balance...does the culture I belong to value those as much as the Lakotas? Probably not -but why? And what values does my culture uphold really? I'm tempted to point towards an Argentina movie called "Nueve Reinas" (Nine Queens) and say that it embodies all the more salient features of my culture.
But wait!
The movie is about two conmen, and it certainly feels very Argentinian (there was an American version of it of which I only managed to watch the first 15 minutes) so there is some essence captured there. But surely we're not all conmen? Nicholas Cage's Matchstick men comes to mind -it's also about conmen but they are different.
Fine, then, so each culture perhaps has conmen with very particular styles -but how do the rest of the members feel about that kind of life? Do they accept it because they don't think there's anything they can do to change it? Do they reject it actively? Do they live and let live?
Cultural issues are never one-layered in my view. They have lots of angles and nooks and crannies and they're flexible and changing, they overlap with those of other cultures sometimes...and I find it difficult to step aside and be a non-judgemental observer; probably because culture is a part of me, of everyone. culture is beliefs and values but also how we live our everyday lives, all the little things we do each day, like washing the dishes or greeting people or...
I've just finished watching a video about the Lakota way of life that one of the members of the Crosscultural ELT Ning Network (which I help to manage) uploaded and found it very interesting and wondered why I hadn't heard of them before. I also wondered about my own culture, and the aboriginal cultures of what politically is now my country and why I know so little about them (basically names and where they settled originally). I'm sure my own culture must have its positive side -all things do, but I doubt it'll be as rich and simple at the same time as that of communities like the Lakotas.
Values and virtues like generosity, fortitude, generosity, bravery, wisdom, balance...does the culture I belong to value those as much as the Lakotas? Probably not -but why? And what values does my culture uphold really? I'm tempted to point towards an Argentina movie called "Nueve Reinas" (Nine Queens) and say that it embodies all the more salient features of my culture.
But wait!
The movie is about two conmen, and it certainly feels very Argentinian (there was an American version of it of which I only managed to watch the first 15 minutes) so there is some essence captured there. But surely we're not all conmen? Nicholas Cage's Matchstick men comes to mind -it's also about conmen but they are different.
Fine, then, so each culture perhaps has conmen with very particular styles -but how do the rest of the members feel about that kind of life? Do they accept it because they don't think there's anything they can do to change it? Do they reject it actively? Do they live and let live?
Cultural issues are never one-layered in my view. They have lots of angles and nooks and crannies and they're flexible and changing, they overlap with those of other cultures sometimes...and I find it difficult to step aside and be a non-judgemental observer; probably because culture is a part of me, of everyone. culture is beliefs and values but also how we live our everyday lives, all the little things we do each day, like washing the dishes or greeting people or...
Friday, 12 March 2010
An aside...
After a busy summer with courses and reflections, I thought it would be nice to have here another aspect of my life that makes me happy, and that is dancing. I danced for a number of years (always as an amateur) and over a year ago I stopped and didn't think I'd be able to dance again. But I can, and I have, so I made this Glogster to share my joy -and if you missed the gala at the end of the winter olympics, here's your chance to watch some amazing figure skating!!! If you prefer to see it in full, please click here
Wednesday, 3 March 2010
Thoughts after listening to L. Lessig on fair use, copyright and online video
On Thursday 25, thanks to OpenVideoAlliance, I watched live a very interesting conference that Lawrence Lessig was giving at Harvard School on "Fair use, politics and online video".
After having attended a few webinars an other online presentations, I've taken to taking down notes pretty much in the same way as when I'm in the same room as the presenter. My comments here will come from what I remember and what I wrote down during the talk and will have, of course, been sifted through the filter of my own interpretation.
The first thing that caught my attention was the word PASSIVITY.
I've been so immersed in learning about the possibilities of the Web 2.0 that I no longer associate as easily as before the concept of technology with passivity. So the question that ensued was "who took it away?". Now we're talking; there was passivity, now there isn't so much -there's been a change. But how did that passivity come to be? Well, partly because creativity was being consumed (the Web has some great sites), but consuming ends there -it doesn't create. And so a context of [online] CULTURAL CONSUMPTION began to take shape.
Around 2004 this cultural passivity that technology had created and maintained for so long suffered a change because of -according to Lessig- a revival of the Reading and Writing (R/W) culture. Technology was now making it possible to REMIX content. One of the examples shown was mixing Anime with audio; another one, a video featuring political leaders mixed with a love song in the background. Lessig considers another big change took place in 2006 with YouTube. Of course. YouTube increased participation: now anyone could make a video and upload it, comment on other people's videos, email their friends with links to those videos...
And a REMIX CULTURE emerged as a new kind of amateur culture.
Now, the topic of the talk was not participation in itself but discussing fair use and politics in relation to online video -amateur and professional. Lessig took us to the early Disney productions, which made use of works in the Public domain...PD was fine for Disney...that is, until Disney saw what could happen to their own productions and a Copyright Act was passed so now "no one can do to Disney what Disney did to the Grimm brothers". And yet Disney's "Little Einsteins" today are taking classical music and remixing.
Lessig's talk opened up my eyes and mind to the concept of remixing. Until listening to him I hadn't considered remixing as creating; it was using other people's works and putting them together. Period. Legally and ethically, they were part of plagiarism or just plain copying to me.
Now I see it isn't. When I use Animoto, for example, and take some of my photos (or someone else's photos in the PD), select PD/CC licensed music to go with them and choose the order in which I want to use them, as well as whether I want a particular image or piece of a video clip to have more prominence, let the program manipulate the images and then I give that video a title -I'm creating. The key for understanding this to me is the fact that I want to give my clip a title -if it were just putting together different works that someone else did and trying to make them pass as my own, why do I feel that choosing a title is so important? A title, as a category, is at the highest level of the superstructure of a work (text, video, anything) -most titles are not final until the whole work is finished. A title is mine, it embodies the synthesis of what I want to convey with my work. Semantically, and borrowing Van Dijk's terms, it is at the highest level of a text's macrostructure.
When I'm asked to write essays and I'm not allowed to choose a title for it, I feel something's missing.
Lessig sees amateur remixing as celebrating freedom and reincorporating it. He stresses, however, the importance of the existence and enforcement of a copyright law -for professionals, for those who profit financially from their remixes using other people's works. He sees progress in this direction coming from the Court (in the US) but not from Congress.
Then he moves on to the issue of responsibility; who's responsible for making this change -from passivity back (or forward) to creating? Immediately after this Lessig cites the (real) example of a captain that was too drunk to run his ship to make the point that if you are there and do nothing, you are responsible too. The "good people" need to step up and do something -let go of the passivity and improper dependencies that destroy.
He encourages amateurs to use their talent and technology to see and change the dynamics by which creativity is being stifled. According to Lessig, copyright does no good when it limits amateur creativity and exhorts to create and enforce a copyright law that focuses on commercial entities that are using and profiting from amateur creativity.
He looks at 2 ways of remixing: (1) the one used by (for example) G.Lucas for Star Wars: he reserves all rights for himself even if you created, for example, the music that went into your remix. That, Lessig says, is treating people not as creators but as "people doing stuff for you".
Remix way #2 gives the copyright to the remixers, thus treating them as creators and promoting more amateur creativity.
Now as I write this I ask myself: why is it so important to have amateur creativity? Isn't it enough to pick and choose from commercially available creations?
And I think of teaching. I can go into my classroom and follow recipes time and time again, with different groups. Or I can see my students as individuals who, together with myself, form a particular group, with particular needs and interests, with feelings that change over the semester or the school year or even a week. I can remix the coursebook with them, I can ask them to think which part they want to change and why -what's useful, what could be tweaked to make it more interesting, what's fine as it is, what they'd like to bring in...
I could go into the classroom and set myself onto autopilot.
Or I can go into the classroom and help students grow, think for themselves, and express their ideas and emotions, and prepare them to continue learning when I'm not around anymore, to become independent thinkers and interpret the world in their own way and be aware that they're doing so.
Prepare them to collaborate with others and appreciate the good in other people's artifacts.
To contribute to a more tolerant and inclusive culture and society.
After having attended a few webinars an other online presentations, I've taken to taking down notes pretty much in the same way as when I'm in the same room as the presenter. My comments here will come from what I remember and what I wrote down during the talk and will have, of course, been sifted through the filter of my own interpretation.
The first thing that caught my attention was the word PASSIVITY.
I've been so immersed in learning about the possibilities of the Web 2.0 that I no longer associate as easily as before the concept of technology with passivity. So the question that ensued was "who took it away?". Now we're talking; there was passivity, now there isn't so much -there's been a change. But how did that passivity come to be? Well, partly because creativity was being consumed (the Web has some great sites), but consuming ends there -it doesn't create. And so a context of [online] CULTURAL CONSUMPTION began to take shape.
Around 2004 this cultural passivity that technology had created and maintained for so long suffered a change because of -according to Lessig- a revival of the Reading and Writing (R/W) culture. Technology was now making it possible to REMIX content. One of the examples shown was mixing Anime with audio; another one, a video featuring political leaders mixed with a love song in the background. Lessig considers another big change took place in 2006 with YouTube. Of course. YouTube increased participation: now anyone could make a video and upload it, comment on other people's videos, email their friends with links to those videos...
And a REMIX CULTURE emerged as a new kind of amateur culture.
Now, the topic of the talk was not participation in itself but discussing fair use and politics in relation to online video -amateur and professional. Lessig took us to the early Disney productions, which made use of works in the Public domain...PD was fine for Disney...that is, until Disney saw what could happen to their own productions and a Copyright Act was passed so now "no one can do to Disney what Disney did to the Grimm brothers". And yet Disney's "Little Einsteins" today are taking classical music and remixing.
Lessig's talk opened up my eyes and mind to the concept of remixing. Until listening to him I hadn't considered remixing as creating; it was using other people's works and putting them together. Period. Legally and ethically, they were part of plagiarism or just plain copying to me.
Now I see it isn't. When I use Animoto, for example, and take some of my photos (or someone else's photos in the PD), select PD/CC licensed music to go with them and choose the order in which I want to use them, as well as whether I want a particular image or piece of a video clip to have more prominence, let the program manipulate the images and then I give that video a title -I'm creating. The key for understanding this to me is the fact that I want to give my clip a title -if it were just putting together different works that someone else did and trying to make them pass as my own, why do I feel that choosing a title is so important? A title, as a category, is at the highest level of the superstructure of a work (text, video, anything) -most titles are not final until the whole work is finished. A title is mine, it embodies the synthesis of what I want to convey with my work. Semantically, and borrowing Van Dijk's terms, it is at the highest level of a text's macrostructure.
When I'm asked to write essays and I'm not allowed to choose a title for it, I feel something's missing.
Lessig sees amateur remixing as celebrating freedom and reincorporating it. He stresses, however, the importance of the existence and enforcement of a copyright law -for professionals, for those who profit financially from their remixes using other people's works. He sees progress in this direction coming from the Court (in the US) but not from Congress.
Then he moves on to the issue of responsibility; who's responsible for making this change -from passivity back (or forward) to creating? Immediately after this Lessig cites the (real) example of a captain that was too drunk to run his ship to make the point that if you are there and do nothing, you are responsible too. The "good people" need to step up and do something -let go of the passivity and improper dependencies that destroy.
He encourages amateurs to use their talent and technology to see and change the dynamics by which creativity is being stifled. According to Lessig, copyright does no good when it limits amateur creativity and exhorts to create and enforce a copyright law that focuses on commercial entities that are using and profiting from amateur creativity.
He looks at 2 ways of remixing: (1) the one used by (for example) G.Lucas for Star Wars: he reserves all rights for himself even if you created, for example, the music that went into your remix. That, Lessig says, is treating people not as creators but as "people doing stuff for you".
Remix way #2 gives the copyright to the remixers, thus treating them as creators and promoting more amateur creativity.
Now as I write this I ask myself: why is it so important to have amateur creativity? Isn't it enough to pick and choose from commercially available creations?
And I think of teaching. I can go into my classroom and follow recipes time and time again, with different groups. Or I can see my students as individuals who, together with myself, form a particular group, with particular needs and interests, with feelings that change over the semester or the school year or even a week. I can remix the coursebook with them, I can ask them to think which part they want to change and why -what's useful, what could be tweaked to make it more interesting, what's fine as it is, what they'd like to bring in...
I could go into the classroom and set myself onto autopilot.
Or I can go into the classroom and help students grow, think for themselves, and express their ideas and emotions, and prepare them to continue learning when I'm not around anymore, to become independent thinkers and interpret the world in their own way and be aware that they're doing so.
Prepare them to collaborate with others and appreciate the good in other people's artifacts.
To contribute to a more tolerant and inclusive culture and society.
Tuesday, 23 February 2010
On reading again
I was feeling a little out of sorts this morning and stayed in bed. Officially, the EVO-TESOL courses finished on Sunday, but of course our minds don't stop there -nor have the meeting places disappeared.
And so, just like yesterday I was finally able to read a whole article from the Financial Times and a blog post response to it and a blog post on who made the best ESP teachers -professionals gone into teaching or teachers going into specialisation (I'm being reductionist here, the post went deeper than that) as well as a printed column by J.L. de Diego on cynicism...Just like yesterday I was able to read all that (something I hadn't been able to do on the past 6 weeks because I was more focused on doing things and then reflecting rather than on reading or listening to reflections and opinions and processing them) -today, it seems, I was ready to start reading the Keen vs Weinberger text debate from the online version of the Wall Street Journal (July 18, 2007) my fellow participants on the Multiliteracies course have been discussing these weeks.
I only got to page two before I wanted to come and write about it, which (I think) already says something about human nature.
So far Keen has explained his position -the topic being Web 2.0, and Weinberger has started to respond. Keen's argument seems to be taking an "either / or approach" so far: "Is Web 2.0 a dream or a nightmare?" "Is it a remix of Disney's Cinderella or of Kafka's Metamorphosis?" -I finally understood what "flattened"comes to mean in a context like this. Keen reminds us that there are arguments of great democratization in relation to Web 2.0. So flattened comes to mean "we are all equal in this new stage of the Web" (my emphasis), hence the democratization reference. I'd heard flat, flattened, and other derivations before in similar contexts but had never connected them to equality or democratic forces at work (granted, Keen uses it in a somewhat ironic way in my opinion, but that doesn't change the connection I've made in my mind).
And yet, if I go back to my childhood, I realize I should have connected it at once: I recall a local (Argentine) comic strip by Quino called Mafalda. Mafalda is a precocious girl interested in political issues (she "lived" in the 60s and or 70s). She has a group of friends and one of them is called Liberty (well, Libertad). Liberty is an advocate of class and social struggle. In one strip she's explaining to Mafalda what her father's explained to her: that today (I'm quoting and translating rather freely both in language and interpretation, but trying to be true to the original); "Today", she says as she points to a wall in the street, "we're like these bricks -one on top of the other, the ones on top pressing on the others. But one day,"she goes on,"we'll be like this", and she gestures towards the cobbles on the road, "all at the same level, without anyone above us or oppressing us".
In the next frame we see a luxurious car drive by.
And so, just like yesterday I was finally able to read a whole article from the Financial Times and a blog post response to it and a blog post on who made the best ESP teachers -professionals gone into teaching or teachers going into specialisation (I'm being reductionist here, the post went deeper than that) as well as a printed column by J.L. de Diego on cynicism...Just like yesterday I was able to read all that (something I hadn't been able to do on the past 6 weeks because I was more focused on doing things and then reflecting rather than on reading or listening to reflections and opinions and processing them) -today, it seems, I was ready to start reading the Keen vs Weinberger text debate from the online version of the Wall Street Journal (July 18, 2007) my fellow participants on the Multiliteracies course have been discussing these weeks.
I only got to page two before I wanted to come and write about it, which (I think) already says something about human nature.
So far Keen has explained his position -the topic being Web 2.0, and Weinberger has started to respond. Keen's argument seems to be taking an "either / or approach" so far: "Is Web 2.0 a dream or a nightmare?" "Is it a remix of Disney's Cinderella or of Kafka's Metamorphosis?" -I finally understood what "flattened"comes to mean in a context like this. Keen reminds us that there are arguments of great democratization in relation to Web 2.0. So flattened comes to mean "we are all equal in this new stage of the Web" (my emphasis), hence the democratization reference. I'd heard flat, flattened, and other derivations before in similar contexts but had never connected them to equality or democratic forces at work (granted, Keen uses it in a somewhat ironic way in my opinion, but that doesn't change the connection I've made in my mind).
And yet, if I go back to my childhood, I realize I should have connected it at once: I recall a local (Argentine) comic strip by Quino called Mafalda. Mafalda is a precocious girl interested in political issues (she "lived" in the 60s and or 70s). She has a group of friends and one of them is called Liberty (well, Libertad). Liberty is an advocate of class and social struggle. In one strip she's explaining to Mafalda what her father's explained to her: that today (I'm quoting and translating rather freely both in language and interpretation, but trying to be true to the original); "Today", she says as she points to a wall in the street, "we're like these bricks -one on top of the other, the ones on top pressing on the others. But one day,"she goes on,"we'll be like this", and she gestures towards the cobbles on the road, "all at the same level, without anyone above us or oppressing us".
In the next frame we see a luxurious car drive by.
Monday, 15 February 2010
Brainstorming
Last week was an interesting one as we worked with audio on the digital materials preparation techniques course (I recorded myself reading one of Shakespeare's sonnets -I'm awful at reading poetry...). It was fun to choose some music tracks and mix it all down and the music helped to cover my flawed performance (trimming also helped!).
I enjoyed listening to the recordings made by the other participants -quite different in tone: a nonsense poem that I loved, a poem written by the participant herself -powerful and passionately read...
I also had a go at creating digital stories and that was a lot of fun too (my first script was lousy but I liked the voices I chose for the characters). The second story didn't have voices; it was a cartoon with speech bubbles and background music. Fun to choose as well. And it was lovely to read and watch other people's stories...I especially liked the feel of those created at Mixbook, but the Flickr 4-6-frame stories with no words were also nice. Simple is good too -and they may appear simple but some (if not all) demanded quite a lot of preparation. I remember two with more than one version where family members posed specifically for the various scenes. Storytelling has that power...it brings people together at various stages and in various ways.
I'm also quite involved in a crosscultural project and thrilled at the positive feedback and interest we've been getting from the people we're inviting to join. It's very exciting.
Last but not least, I've joined the Flickr group that Plurkers have and it's a real treat to get into Flickr and see everyone's photos. I like building galleries there too.
And I love having a PLN that's not only growing but getting stronger, more fun and affectionate each day.
I enjoyed listening to the recordings made by the other participants -quite different in tone: a nonsense poem that I loved, a poem written by the participant herself -powerful and passionately read...
I also had a go at creating digital stories and that was a lot of fun too (my first script was lousy but I liked the voices I chose for the characters). The second story didn't have voices; it was a cartoon with speech bubbles and background music. Fun to choose as well. And it was lovely to read and watch other people's stories...I especially liked the feel of those created at Mixbook, but the Flickr 4-6-frame stories with no words were also nice. Simple is good too -and they may appear simple but some (if not all) demanded quite a lot of preparation. I remember two with more than one version where family members posed specifically for the various scenes. Storytelling has that power...it brings people together at various stages and in various ways.
I'm also quite involved in a crosscultural project and thrilled at the positive feedback and interest we've been getting from the people we're inviting to join. It's very exciting.
Last but not least, I've joined the Flickr group that Plurkers have and it's a real treat to get into Flickr and see everyone's photos. I like building galleries there too.
And I love having a PLN that's not only growing but getting stronger, more fun and affectionate each day.
Thursday, 4 February 2010
I was listening and a white rabbit ran past me...
This week the Images4Education course centres around the world of "digital storytelling". I love stories in any from: from the well-told anecdote to the printed and bound thick saga.
Some years ago I was studying Italian, and on our 5th year we'd start studying art&literature as well as language. The syllabus was structured chronollogically for arts&lit and so the texts we'd discuss were very old -for some we had modern Italian translations available, or a glossary. this happened mostly with short poems. With longer pieces, we had extracts in our coursebook. Now the extracts were not always the beginning of the stories, so some context was needed. Our teacher (who also had lovely anecdotes from her growing- up days in Italy) would then tell us what these stories were about. I was mesmerized; I'd forget about everything and go (internally!) "awww" when she'd finish. Dante's Inferno was never so appealing, I'm sure, as when she told it; Orlando Furioso and Orlando Innamorato were incredibly long poems and could have been terribly tedious, but Adriana made them gems -the gems they must have been to have endured the passing of time. She'd bring out all the internal suffering, the love, the violence...just with her voice standing in a classroom of 15 seated adult students.
That is the power of storytelling.
A few years ago I attended a session of storytelling by A.W., artist, EFL teacher and author of EFL books. The stories were not terribly elaborate, his telling made them wonderful.
Finally, in 2008, I attended (twice) a storytelling session by a Hugh Lupton, "professional storyteller". What a treat!! The stories were mostly folk tales and he must have told between 5-10 with only a break in between (leaving us expectant with only part 1 of a story having been told). Some of the stories were repeated in the second session. It didn't matter at all. I was as enthralled as the first time -if not even more, because I anticipated my favourite bits.
And now for a more recent approach (I think): that same year I also saw Francesca Beard perform her poems in her one-woman show "Chinese Whispers" . What an experience!! She used to have her Tesco poem up in her website but I can't see it now. You can still listen to some others, though. Her "how would you rather die" compatibility survey is coming to mind...
And there are other poets who perform their poems -and it makes the experience so much richer: Tony Harrison performing "Them and [us]" (it requires phonetic script between brackets). Benjamin Zephaniah...
Telling and listening to stories is a much richer experience than reading them or watching them on TV. It's not an everyday thing, though. I'd like to keep it special by indulging in it only when the right atmosphere has a chance to be established.
Now, the digital world is offering new possibilities -we can all tell stories to people far and near, in the way that suits us best.
Some years ago I was studying Italian, and on our 5th year we'd start studying art&literature as well as language. The syllabus was structured chronollogically for arts&lit and so the texts we'd discuss were very old -for some we had modern Italian translations available, or a glossary. this happened mostly with short poems. With longer pieces, we had extracts in our coursebook. Now the extracts were not always the beginning of the stories, so some context was needed. Our teacher (who also had lovely anecdotes from her growing- up days in Italy) would then tell us what these stories were about. I was mesmerized; I'd forget about everything and go (internally!) "awww" when she'd finish. Dante's Inferno was never so appealing, I'm sure, as when she told it; Orlando Furioso and Orlando Innamorato were incredibly long poems and could have been terribly tedious, but Adriana made them gems -the gems they must have been to have endured the passing of time. She'd bring out all the internal suffering, the love, the violence...just with her voice standing in a classroom of 15 seated adult students.
That is the power of storytelling.
A few years ago I attended a session of storytelling by A.W., artist, EFL teacher and author of EFL books. The stories were not terribly elaborate, his telling made them wonderful.
Finally, in 2008, I attended (twice) a storytelling session by a Hugh Lupton, "professional storyteller". What a treat!! The stories were mostly folk tales and he must have told between 5-10 with only a break in between (leaving us expectant with only part 1 of a story having been told). Some of the stories were repeated in the second session. It didn't matter at all. I was as enthralled as the first time -if not even more, because I anticipated my favourite bits.
And now for a more recent approach (I think): that same year I also saw Francesca Beard perform her poems in her one-woman show "Chinese Whispers" . What an experience!! She used to have her Tesco poem up in her website but I can't see it now. You can still listen to some others, though. Her "how would you rather die" compatibility survey is coming to mind...
And there are other poets who perform their poems -and it makes the experience so much richer: Tony Harrison performing "Them and [us]" (it requires phonetic script between brackets). Benjamin Zephaniah...
Telling and listening to stories is a much richer experience than reading them or watching them on TV. It's not an everyday thing, though. I'd like to keep it special by indulging in it only when the right atmosphere has a chance to be established.
Now, the digital world is offering new possibilities -we can all tell stories to people far and near, in the way that suits us best.
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