1. Digital Storytelling
Amanda Kasey Langston-Wilson
Dr. Toledo
EDUC 7107-2
Diffusion of Technology

2.  According to CDS, digital storytelling is a
short, first person video-narrative created by
combining recorded voice, still and moving
images, and music or other sounds.

3.  Element #1—Why was there a need for Digital
Storytelling
 Element #2—The Research leading to Digital
Storytelling
 Element #3—Development of Digital Storytelling
 Element #4—How and when introduced to the
public

4.  People needed a
way to tell a story
using video.
 Technology
enabled those to
produce works
that told a story
using images and
sound that were
very similar to a
movie.

5.  A group of media artists,
designers, and practitioners,
including Joe Lambert and Dana
Atchley, came together in the
early 1990’s to San Francisco to
explore how personal narrative
and storytelling could be
incorporated in a form of
technology .
 Digital Storytelling was also
used by Ken Burns in the Joe Lambert discussing digital
documentary ―The Civil War‖ storytelling

6. Reference:
Rogers, E. M. (2003). Diffusion of innovations (5th ed.). New York, NY: Free Press.

7. • In 1986, Joe Lambert, the executive director of
the new Life On The Water Theater Company,
meet a local video producer named Dana
Atchley after she viewed a production.
• In 1988, Lambert and Atchley worked together
to collaborate and develop Atchley’s Next Exit,
an interactive theoretical performance (White,
2010).

8.  In 1993, Lambert and Atchely taught three
digital storytelling workshops for
documentary filmmakers at the American
Film Institute in Los Angeles, California.
These workshops were provided by the
Center for Digital Storytelling (White,
2010).

9. In the years between 1994 and 1998,
Atchley, Lambert and Lamber’s wife, Nina
Mullen created workshops which
converted home movies into digital
stories that were created by Life on the
Water (White, 2010).

10. In 1994, Digital storytelling was featured on CNN and MSNBC.
The San Fransico Digital Media Center, SFDMC, collaborated with
numerous organizations in England, Germany, and Denmark during
1994. (White, 2010).
In 1996, the first Digital Storytelling Cookbook was published
by SFDMC. It was a hands-on production tutorial using SFDMC
narration. ‚With support from Apple Computer, the SFDMC
publishes the first version of the Digital Storytelling Cookbook,
outlining the ‘Seven Elements’ of digital storytelling and offering
hands-on production tutorials‛ (Center for Digital Storytelling).
http://www.storycenter.org/cookbook.html
Preview of a digital copy of the
Digital Storytelling Cookbook

12. Reference:
Center for Digital Storytelling (2005). Retrieved December 20, 2011, from http://www.storycenter.org/timeline.html

13.  The intended users
were film makers
and people wanting
to create and to
share personal
narratives.

14.  primary and
secondary education
 higher education
 public health, social
services, and
international
development
 museums
 libraries

15. What is the S- Curve?
S-Curve – Innovation
The S-shaped curve of adoption is the normal curve
that ―accelerates to a maximum until half of the
individuals on the systems have adopted. Then it
increases at a gradually slower rate as fewer and
fewer remaining individuals adopt the innovation.‖
(Rogers, 2003, p. 272).
Digital storytelling began in the 1990’s.
Digital storytelling hasn’t reached full potential or
complete adoption due to it’s newness.

16. The Adoption Process of Digital Storytelling
2002
2000
1998
1996
1994
1992
1990
1988
1986
1984
Adoption Process

17.  Administrators of
the school systems
 ELA teachers
 Reading teachers
 Technology teachers
 Computer teachers

18.  Teachers that would
include it in their
curriculum
 Students that are
creating stories to
help them
understand
standards in their
grade level
curriculum

19.  The teachers that
are using digital
storytelling, but only
because their fellow
colleagues are using
the innovation in
their classrooms.

20.  The teacher is
utilizing this
innovation in their
classroom as part of
their instruction.

21.  Staff members that are Strategies
not familiar with digital  Professional learning
storytelling opportunities
 Students that are not  Instructional videos of
teachers using digital
exposed to technology storytelling the classroom
in regards to with their students
understanding  Videos of students using
digital storytelling to
meet standards in core
classes

22. Critical mass ―occurs at Critical mass was reached
the point at which enough in 1999 when the demand
individuals in a system for CDS annual workshops
have adopted an innovation and training was requested
so that the innovation's nationally and
further rate of adoption internationally
becomes self-sustaining‖ (CDS, 2009).
(Rogers, 2003, p.344).
Critical mass is reached in education when the
teachers and faculty are wanting and attending
training for digital storytelling.

23. Teachers: Students:
Uses a variety of Encourages
learning styles
collaboration
Applicable in all grade-
levels Improves writing
can be implemented in Increases research
the classroom to introduce skills
new content Students are active in
students are exposed to their own learning
multimedia
make difficult content
easier to understand

24. As stated by Rogers, decentralized diffusion occurs when innovations
originate from numerous sources and then advance (Rogers, 2003).
Given an education environment, the users would be able to learn and
use this innovation without needing technology support from an
instructor. Specific faculty members such as leaders will adopt the
innovation. The teachers will have a sense of control when
implementing digital storytelling in their classrooms. There will be
time for teachers to discuss the pros and cons with each other in a
collaborative setting. The most important part is that teachers will be
able to focus on the individual needs of the students with success.

25. http://www.ddguild.org/examples.html

26. Reference:
Kieler, L. (2010). A Reflection: Trials in Using Digital Storytelling Effectively With the Gifted. Gifted Child Today, 33(3), 48-52.
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