Clyde Street

Learning, Teaching, Performing

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Open to Sharing

I have come across four interesting posts about sharing this week.

The Open Cloud Initiative

A Code of Practice for the Fair Use of Online Video

ALISS’s 2011 Summer Conference

An interview with Sir John Daniel

I thought all four offered excellent insights into the disposition to share openly.

The Open Source Initiative defines Open Source licensing in relation to:

  • Free Redistribution
  • Source Code
  • Derived Works
  • Integrity of the Author’s Source Code
  • No Discrimination Against Persons or Groups
  • No Discrimination Against Fields of Endeavor
  • Distribution of License
  • License Must Not Be Specific to a Product
  • License Must Not Restrict Other Software
  • License Must Be Technology-Neutral

 Sir John Daniel suggests in his interview with Creative Commons that in relation to licensing of Open Educational Resources  “My advice is to just do it and don’t get too fussed about the license at the beginning”.  He adds that “our policy simply says COL will release its own materials under the most feasible open license, which includes the Creative Commons Attribution Share-Alike license … we encourage people to not use noncommercial if they can avoid it, and we follow our own recommendation.”

The Centre for Social Media’s Guide to Fair Use “is a code of best practices that helps creators, online providers, copyright holders, and others interested in the making of online video interpret the copyright doctrine of fair use. Fair use is the right to use copyrighted material without permission or payment under some circumstances.”

I thought the ALISS report of the 2011 Conference on the topic of Social Media, Libraries, Librarians and Research Support exemplified this disposition to share openly. In addition to links on the conference site, papers from the conference are available on SlideShare. I liked the range of resources available.

As an aside each of the alerts to these four items came from different sources. This in itself exemplifies for me of the power of self-organising groups and networks.

Photo Credits



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IASI 2011: Morning Session Day 1

Hartmut Sandner welcomed delegates to our workshop. He noted that nine countries and sixteen organizations and institutions were represented at the workshop from the North (Great Britain and Finland), the West (France and Germany), the South (Qatar, Australia) and the East (China and Japan). This Leipzig Workshop is an outcome of discussions started in Canberra 2009 that aimed to develop international exchange.

Hartmut noted that the focus of the Workshop will be “on practical solutions in the different centres and countries which reflect the actual state of our field of activity”. The Workshop will conclude with a design of “an organizational framework for our activities that reflects our interests and our capacity”.

The Deputy Director of the Institut fur Angewandte Trainingswissenschaft (IAT), Dr Jurgen Wick, opened the program officially with a presentation about IAT’s work and the role Information Kommunikation Sport plays in this work.

Chikara Miyaji (JISS Tokyo) presented the first talk of the workshop. His topic was ‘The success story of the JISS Video Monitoring Archives SMART’.

Chikara shared the evolution of the SMART system and discussed its use in judo and synchronized swimming. He reported the use twin cameras in synchronized swimming to present above and below water behaviour. He noted too the use of Microsoft’s Smooth Streaming to share video and its advantages (a quick Seek Response; dynamic changes of bit rate; and the use of http download).

Chikara demonstrated the web-based system (SMART 1.5) and showed its relational database functionality. He reported developments of collaborative work on this system with the Hong Kong Institute of Sport.

Chikara then discussed the emergence of SMART 2.0. This system will provide: new browsing capabilities; server support; and new ways to synchronise video with a web page. This version will become Open Source and provide the base structure of web applications. Collaboration may develop analysis tools; tactical tools; and educational tools. Chikara considered the possibilities of developing an open access archive that could be stored for 20+ years and wondered who will create this archive (Institutes, International Federations, Volunteers, Google?).

Chikara concluded his talk with a discussion of the lessons of working with SMART:

  • Video support requires an integrated solution
  • Each national federations has different views on video use
  • Technology can provide support
  • Now is the time to archive sport video

Gavin Reynolds (Australian Institute of Sport, Canberra) was the second presenter of the morning. His talk was titled Olympic broadcasting material for the purpose of performance analysis and performance enhancement.

Gavin discussed an IASI initiative to make an explicit agreement to use broadcast material for the benefit of all sports. His presentation is attached here.

Gavin noted the importance of working at a strategic, policy level to secure an agreement in principle to use broadcast material. He outlined 9 Steps in this process.

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Using Video To Promote Canoe Slalom

The 2011 Australian Canoe Slalom Open has started at the Penrith Whitewater Stadium. Australian Canoeing work with Sportscene to provide a video service to the canoe slalom community in Australia and globally.

The Australian Open started on Thursday evening with the demonstration run.  For the first time in Australia the demonstration run was filmed the with a head camera. The video shows the:

  • Head cam footage
  • Course map with the position of the athlete,
  • Gate numbers

The video has a voice over which explains the course.

Sportscene posted a pre-Open video which had 1400 views within five hours. This video is available for download (25MB, 640×360, MP4). Sportscene has a Facebook page too that provides additional information.

Live results from the events can be found at the 2011 Australian Canoe Slalom Open website.

It is fascinating to see how a sport like canoe slalom with no television exposure can use social media to promote the sport. Australian Canoeing has a YouTube Channel that shares video openly. Canoe slalom was an early adopter of video technology and continues to do so.

2011 marks another milestone in the sport’s use of video.

QR Code link to this post

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The Occupational Culture of the Performance Analyst: Providing a Video Service

In the last couple of weeks I have been discussing an Honours’ project with a student at the University of Canberra. I have been encouraging him to think about researching the occupational culture of the performance analyst in sport. By coincidence I had just reviewed a paper about delivering a performance analysis service to a basketball team in Japan.

We have had almost two decades now of an occupation in sport that can be described as ‘performance analyst‘. Whilst I was discussing the project with the Honours’ student I was prompted to think about how little we share about the tacit knowledge of supporting and serving coaches and athletes with augmented information. Recent discussions of performance analysis as the practice of “recording, processing, and interpreting events that take place in training and/or competition in sport” are further stimuli to explore the occupational culture and community of practice.

Whilst searching through my electronic files to find material to share with the Honours’ student I discovered some pictures taken by colleagues at the Australian Institute of Sport. The pictures were of the video service set up for the 2005 ICF World Canoe Slalom Championships in Penrith, Australia.

As host organiser in 2005, Australian Canoeing provided a video service to competing nations. There were some significant logistical issues to overcome to provide this service. The aim of the team delivering the service was to provide an uninterrupted video feed. The service team comprised staff from the Australian Institute of Sport and the New South Wales Institute of Sport. It was a very young team. The video feed came into the raft shed at Penrith and was distributed to 30 end user points. We had a wired system for the video feed and to ensure minimal disruption ran a parallel back up system.

Given the distance from the furthest camera on the course to the raft shed we amplified all video signals. On the first day of competition the weather was so bad that we lost a number of connections and had to lay out new video lines. We used up a great deal of our redundant equipment in the first day and the proximity of the course to a Dick Smith store and a Bunnings DIY store saved us from running the event without any back up resources.

My role at the event was to oversee the team delivering the video service and to liaise with all nations requiring a video feed. It was a wonderful learning opportunity for me and the service team. My aim throughout was to offer an invisible service that provided uninterrupted augmented information for coaches and athletes. For the finals of the competition we provided a feed from the broadcast coverage of the event as an additional option for the nations using the video service.

Set up and testing of the video equipment for the event took three days. We managed to disassemble the equipment in one day. We kept a detailed inventory of equipment and did not lose one item at the event. We acquired a vast library of DVD, hard disk and DV recordings of the event that were used subsequently for coach education and development resources.

The Control Desk

Looking Out into the Room

Splitting the signals:

The view from the back of the room:

Down Time:

All of the service team have stayed in sport science after the World Championships. I am now searching for a picture of them at the event.

I hope this is the first of many posts about the occupational culture of the performance analyst. I see it as a way of exploring and sharing tacit knowledge. I like the way Wikipedia explains tacit knowledge:

  • While tacit knowledge appears to be simple, it has far reaching consequences and is not widely understood.
  • With tacit knowledge, people are not often aware of the knowledge they possess or how it can be valuable to others. Effective transfer of tacit knowledge generally requires extensive personal contact and trust.
  • Tacit knowledge is not easily shared. Tacit knowledge consists often of habits and culture that we do not recognize in ourselves.
  • The tacit aspects of knowledge are those that cannot be codified, but can only be transmitted via training or gained through personal experience. … It involves learning and skill but not in a way that can be written down.

Five years after the World Championships it is interesting to reflect on the learning opportunities available at large scale events. It struck me at the time that such events offer a different scale of event to apply the principles we use in 1:1 services to coaches in training and competition environments.

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Using video in sport: learning from artists

Sport has been voracious in its use of video. The availability of domestic video cameras and playback facilities since the late 1970s has made it possible to make permanent recordings of sporting events to augment the information available to coaches and athletes. Converging digital technologies have transformed the ways in which video can be captured, stored, analysed and represented. A plethora of on-line video tools stimulated by YouTube‘s success make video sharing increasingly possible and relatively easy (it is YouTube’s fifth anniversary this month and has a global audience of 400 million people).

Access to video through telephones and portable storage devices such as the iPod has extended the reach of video as augmented information. The transformation of broadcast images through High Definition technology is setting new expectations about quality and clarity of recordings.

Perhaps the next wave of developing the use of video in sport will come from the art community. Shaun Gladwell and Sylvie Bocher are two artists who might inform this change.

Shaun Gladwell was interviewed on Radio National Artworks. Shaun is the most recent war artist commissioned by the Australian war Memorial. His appointment was fascinating as his work to date “has displayed a keen eye for edginess, with meditations on road-kill, the outback and the mesmerising movements and symbols of urban hip-hop culture”. “Unlike most war artists who are invited to take the risk of accompanying soldiers into battle, Shaun didn’t wait to be approached.”

Examples of Shaun’s work can be found on his YouTube channel and Blue and White Linework.

Sylvie Blocher is “one of France’s most outstanding multimedia artists”. She produces “video and film installation pieces which explore the concepts of otherness, representation and art’s political responsibility”. Her work “encourages different ways of viewing and understanding the world”. Her website is a wonderful invitation to explore visual presentation. Sylvie’s exhibition What is Missing? is taking place at the Museum of Contemporary Art in Sydney until 26 April 2010.  This exhibition uses images collected in Penrith, NSW. A note about her exhibition reports that:

When creating What Is Missing? Sylvie Blocher stipulated only two conditions for people appearing in her ‘film’: that the volunteer subjects wear their best outfit, and that they lived in Penrith. Blocher’s interview technique often elicits responses of great candour from her subjects. Unveiling the unspoken needs, hopes, dreams and desires of individual residents of Penrith, What Is Missing? is a portrait of the city in which they live – it is challenging, provocative and riveting.

Shaun and Sylvie’s work have encouraged me to think how video might be used differently in sport settings. Their work inspires a new approach to visual literacy.

Photo Credits

Phillips Video Camera

Sylvie Blocher


Attention and Learning

This post about attention and learning started with some ideas stimulated by Noah Charney‘s novel The Art Thief (2007).

I liked his suggestion that “logic and observation are universal tools … that no one realises they have.” In the novel he points out that students in the Yale University Medical School are required to visit the Yale Centre for British Art. This post from earlier this year provides the non-fiction account of this relationship.(This is a post from 2006. See too this article (2001) on the use of fine art to enhance visual diagnostic skills and this link to data from the study.)

All first-year students at the School of Medicine are required to take the innovative class, which was developed by Yale medical school faculty member Dr. Irwin Braverman and Linda Friedlaender, curator of education at the Yale Center for British Art, which houses the world’s largest collection of British art outside the United Kingdom.

Braverman and other experts believe that, in an age when physicians rely heavily on high-tech imaging and tests, the art of detailed, careful observation is getting short shrift. But detecting small details can make all the difference in coming up with accurate diagnoses, believes the Yale faculty member.

Braverman began trying to find a way to increase observational skills of medical school students at around the same time that Friedlaender became frustrated with the continued misdiagnosis of a close friend. They happened to meet at a gathering and began laying the groundwork for the class, which makes the most of the museum’s collection by asking medical students to “diagnose” individuals portrayed in its artworks.

Their work brought to mind Max Lucado‘s observation that “to lead the orchestra, you have to turn your back on the crowd”. The combination of Noah Charney’s fiction and the real world work going on at Yale prompted me to think about attention and learning.

I am working through some of my ideas about feedforward and bandwidth.  This week a variety of sources amplified my interest. It started with a misplaced Google enquiry that led me to this discussion of the use of video in a hospital setting (and these citations).

I found John Bordeaux‘s post about personalised learning. John points out that:

  • You are designed to work with incomplete information.
  • You resolve ambiguous input data based on how you believe the world works.

He concludes that “we can provide a system that adapts to the individual minds in our care at every stage.  The science leaves us no option here – ‘personalized learning,’ by whatever name, is a central design principle for a transformed education system.” Some of these issues were raised by Graham Attwell in his post about virtual learning environments and in this post about digital identities.

Just after reading John’s blog post I came across the BrainBoard visualisation from Second Life shared by Jeff Lowe on Flickr.

This led me to think about immersive learning and the possibilities created by virtual spaces. Erica and Sam Driver explore some of these ideas in their post about what makes a virtual environment immersive. They have a detailed table in that post that summarises the immersiveness continuum in which they characterise low and high immersiveness in a variety of factors including graphics, avatars, 3D environment, ability to control viewpoint, physics, size of display, haptics, voice, collaboration and interactivity.

This post about 3D video added to my interest in the attention and learning possibilities available in 3D environments.

It was a short journey from immersive spaces to a link I received about an interactive video platform.

I think this approach has enormous potential and reminded me of the Us Mob web site designed by Katalyst and their more recent Burn site. I think there are some wonderful opportunities available for attention and learning in these approaches and in the function of such innovations as Mag+ (Vimeo link).

And then I found IdeaPaint!

Whilst moving across web posts, I found a post about presentation that discussed the role of storytelling. This video in the post encouraged me to think about how young you can be to understand and share a story. This is the message from the original film:

“One game.  If we played ‘em ten times, they might win nine.  But not this game…not tonight.  Tonight, we skate with them.  Tonight, we stay with them, and we shut them down because we can!  Tonight, WE are the greatest hockey team in the world.  You were born to be hockey players – every one of you.  You were meant to be here tonight.  This is your time.  Their time is done.  It’s over.  This is your time.  Now go out there and take it.”

This is a four year old’s take on the message:

This is the link to Kurt Russell’s version.

The YouTube session set me up for an exploration of story telling and the use of narrative. By coincidence one of the Bush Telegraph programs on Radio National discussed Graham Seal‘s new book Great Australian Stories-legends, yarns and tall tales. This set me of thinking about the role storying plays in attention and learning and how many learning environments are a rich source for stories.

From stories I moved on to a post about pictures by John Medina. John points out the impact pictures have on memory (pictorial superiority effect) and he has some great points to make about text:

The inefficiency of text has received particular attention. One of the reasons that text is less capable than pictures is that the brain sees words as lots of tiny pictures. Data clearly show that a word is unreadable unless the brain can separately identify simple features in the letters. Instead of words, we see complex little art-museum masterpieces, with hundreds of features embedded in hundreds of letters. Like an art junkie, we linger at each feature, rigorously and independently verifying it before moving to the next. The finding has broad implications for reading efficiency. Reading creates a bottleneck. My text chokes you, not because my text is not enough like pictures but because my text is too much like pictures. To our cortex, unnervingly, there is no such thing as words.

John’s discussion of pictures is one of his twelve brain rules. His post led me to a discussion of mind over matter in the classroom and the role that visualisation plays in learning. This led me to Stephen Kosslyn‘s work and his Group Brain project with Richard Hackman.  (I liked this paper about using visual images to improve comprehension too.)

Reading about the Group Brain project took me back to Carl Wieman‘s work as an educator. I listened to a Radio National program about his thoughts on teaching methodology and peer instruction. This discussion led me to Eric Mazur‘s work:

It’s the middle of a class period and two hundred students aren’t listening to the instructor. Instead, they’re engaged in over fifty simultaneous conversations with their neighbors. This probably sounds like a disaster to many teachers. But it’s actually a rousing success: the students are discussing a question which challenges them to think about the material and justify their reasoning to their classmates.

What this wayfinding approach led me to this week was an incredibly rich set of resources around attention and learning. As the week came to a close mention of journalism as effective surprise in an ABC Radio interview with Mark Scott encouraged me to think even more about the learning opportunities skilled teachers and coaches construct. J S Bruner points out that humans tend to respond with “effective surprise” to concepts and artifacts that take familiar things and rearrange them in new ways.  Some observers discuss a chaordic model of change (where chaos and order overlap) and suggest that the most fertile territory for innovation is in the boundary zone, where unlike things co-mingle.

I liked Ursula Lucas‘s (2006) discussion of being pulled up short in this context. She notes in a discussion of teaching that “moments of surprise have two aspects. Firstly, they represent moments when the lecturer is “pulled up short” and recognises the unexpected impact of a learning activity and is propelled into reflection. Secondly, they represent moments when students are “pulled up short” and are propelled into questioning taken-for-granted assumptions about themselves and the subject.”

By the end of the week of exploring attention and learning I realised I still had to look at:

A J Cropley’s ideas about creativity and cognition.

David Hargreaves’ thoughts about conversive trauma.

Learning without limits

Errorless learning

The ABC of XYZ: understanding the global generations


The aim of this blog post is to share these ideas about attention and learning and to support explorations in personalised teaching, coaching and learning. Fortunately I did not lose a lot of sleep over this post. Researching attention and learning is a wonderful way to ensure high quality of sleep. But just when it is safe to go to bed you might want to think about the attention and learning possibilities of sleep, dreams and nightmares. Richard Stickgold‘s work and Antti Revonsuo‘s research open up fascinating opportunities to explore the learning possibilities of dreams and nightmares.

Photo Credits

Primer in the Classroom

Irwin Braverman and Linda Friedlaender

Aerial move

Open Air Schooling

Horns of a dilemma

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Judging Canoe Slalom 2009

This blog post brings together three earlier blog posts about judging gates in canoe slalom with the 2009 ICF rules.

Video 1

This is a brief video to support the training of officials for gate judging in canoe slalom. The video was filmed at the Penrith Whitewater Stadium in July 2009 at the Selection Race for the World Championships. The gates used in the video comply with the ICF’s Canoe Slalom Competition Rules 2009 (see Sections 27-30 for information about Marking of the Gates (27), Negotiation (28), Penalties (29), and Signalling by the Judges (30)).

There is no audio commentary in the video to enable any user to create their own voice over. There is a water sound track. The video has an embed code. The video was compressed for this blog post (approximately 25 Mb). There is a 1Gb file available if required.

Key Points

  1. There are two sets of four gates.
  2. Gates 1-4 involve two of the new gate set ups. Gate 1 is a downstream gate where the paddler must pass to her or his right to negotiate the downstream gate correctly. Gate 4 is an upstream gate on the left side of the course. The video shows the gate line of both these gates.
  3. The sequence of Gates 14-17 has two ‘new’ gates and a split gate. Gate 14 is an upstream gate on the left side of the course. Gate 15 is a split gate and the paddler must negotiate it to her or his right of the top pole. Gate 17 is a downstream gate and the paddler must negotiate this to their left of the single pole hanging over the water.
  4. Examples of C1M, K1W and C2 paddlers negotiating the course are included in the video.

Note that the video illustrates the potential lines of recirculation for gate 1 if a paddler misses the pole to the left.

Video 1 is included here under a Creative Commons Attribution-Noncommercial 2.5 Australia licence.

Video 2

This is a companion video for Video 1. The video was filmed at the Penrith Whitewater Stadium in July 2009 at the Selection Race for the World Championships. The gates used in the video comply with the ICF’s Canoe Slalom Competition Rules 2009 (see Sections 27-30 for information about Marking of the Gates (27), Negotiation (28), Penalties (29), and Signalling by the Judges (30)).

The video is taken from a different perspective than the first video. The aim is to show the sequence of gates.

There is no audio commentary or sound track in the video to enable any user to create their own voice over. The video has an embed code. The video was compressed for this blog post at full quality (60 Mb).

Key Points

  1. There are two sets of four gates.
  2. Gates 1-4 involve two of the new gate set ups. Gate 1 is a downstream gate where the paddler must pass to her or his right to negotiate the downstream gate correctly. Gate 4 is an upstream gate on the left side of the course. The video shows the gate line of both these gates.
  3. The sequence of Gates 14-17 has two ‘new’ gates and a split gate. Gate 14 is an upstream gate on the left side of the course. Gate 15 is a split gate and the paddler must negotiate it to her or his right of the top pole. Gate 17 is a downstream gate and the paddler must negotiate this to their left of the single pole hanging over the water.
  4. One K1M is shown.

The paddler negotiated both parts of the course without penalty. An interesting point is that Gate 16 is moving before the paddler enters the gate line. From the perspective in the video a judge sitting above the gate cannot see the bottom of the pole. During the race there was a judge in line with Gate 16 on the left bank and a second judge above the gate on the bridge.

The video is included here under a Creative Commons Attribution-Noncommercial 2.5 Australia licence.

Video 3

This is a short test of C1M judging.

The video was taken from the top bridge at the Penrith Whitewater Course, Australia. There are four gates in the video. The video is in an m4v format. It may need to play all the way through on some computers to give you the option of replaying it.

The first paddler (Bib 7) negotiates the first three gates all downstream correctly and is judged clear. There is a fourth gate an upstream gate on the river right of the course.

The video shows five more paddlers:

Bib 1

Bib 2

Bib 3

Bib 5

Bib 6

This document provides the penalties given during the event.

More information about the videos and how to download them can be found on the CSAus wiki page in the Section titled Developing Resources for Officials.