Portfolios Bits

In an earlier post I talked about a prototype academic sound design portfolio that has been implemented using Mahara.  Therefore, I thought it would be useful to tie this prototype back to the post that I wrote on the realisation of sound design portfolios.  Please note that I did not choose to use Mahara for any kind of performance reason, but rather this is the package that my institution has purchased as a portfolio platform.  Below is an image capture of the prototype and I have highlighted key elements of the portfolio.

These can then be linked back and reviewed against the components identified when considering the realisation requirements of the portfolios:

1. Embedding audio content from SoundCloud allows the audio to be hosted with text detailed that can also be embedded. Using Soundcloud also allows comments to be left at specific points on the audio timeline.
2. Blogging can be used form many different aspects of the portfolio, including: Personal Development Plan (PDP), planning, reporting, analysis and evaluation
3. Mahara fully support Web 2.0 services which allow content hosted on other web-sites to be fully integrated into the portfolios.  This not only allows audio content (via SoundCloud) to be embedded, but also other media, such as videos, scores, photos, scripts, showreels, animations, sound installations, etc.
4. Reflection
5. RRS feed from online forums
6. Social media

As I mentioned in my last post, I have built a prototype academic sound design portfolio using Mahara

Sound Design Videos - Synthesizer Sounds

I was recently putting together a list of videos for my students to watch that will hopefully give them inspiration in their synthesizer-based sound design portfolios.  I thought it would also be worth sharing them here:

http://www.youtube.com/watch?v=cveYosINMQM&feature=fvwrel



What the Future Sounded Like

Brian Eno - Imaginary Landscapes

Portfolio Bits and Bobs

Digital Portfolio, ePortfolio, bPortfolio, mPortfolio

networking via Blogs = reputation

Professional or Academic ?????

Art portfolio ????

Portfolio

http://www.pgcps.pg.k12.md.us/~elc/portfolio.html

http://www.luminous-landscape.com/columns/portfolio-8.shtml

http://www.ukcle.ac.uk/resources/personal-development-planning/portfolios/one/

http://www.schools.pinellas.k12.fl.us/educators/portfolio.asp

http://www.stanford.edu/dept/SUSE/projects/ireport/articles/e-portfolio/what%20makes%20a%20portfolio%20a%20portfolio.pdf

http://jmt.sagepub.com/content/4/2/14.extract

http://www.ncela.gwu.edu/files/rcd/BE019739/A_Portfolio_Assessment.pdf

http://www.career.fsu.edu/img/pdf/guides/Portfolio%20Preparation.pdf

http://www.scad.edu/forms/pdf/HowToPrepareAPortfolio-howto.pdf

http://mfaa.msde.state.md.us/source/PDF/Portfolio_Music.pdf

http://www.llas.ac.uk/resources/gpg/1441

ePortfolio

http://www.helenbarrett.com/portfolios/LLwTApr00.pdf

http://jmt.sagepub.com/content/13/1/7.full.pdf

http://jite.org/documents/Vol3/v3p065-081-127.pdf

http://electronicportfolios.org/balance/balancingarticle2.pdf

http://blip.tv/eportfolios/balancing-the-two-faces-of-eportfolios-3162109

http://www.slideshare.net/eportfolios/cic-cao-inst-nov09

http://sloanconsortium.org/effective_practices/bportfolios-blogging-reflective-practice

http://www.dontwasteyourtime.co.uk/eportfolio/eportfolios-are-out-bportfolios-are-in-apparently-eportfolio-bportfolio/#axzz1x1Sk6odT

http://edutechwiki.unige.ch/en/Learning_e-portfolio

http://www.jisc.ac.uk/media/documents/publications/effectivepracticeeportfolios.pdf

http://electronicportfolios.org/balance/balancingarticle2.pdf

http://sarah-stewart.blogspot.co.uk/2011/06/dithering-about-eportfolio.html

http://sarah-stewart.blogspot.co.uk/2010/11/few-questions-before-you-launch-into.html

Assessment

http://www.cmu.edu/teaching/assessment/basics/formative-summative.html

http://www.ukcle.ac.uk/resources/assessment-and-feedback/formative/

Sound Design Themes and Goals.....Revisited

A while ago a wrote a post about defining themes and goals for sound design (http://sound-sculpting.blogspot.co.uk/2012/04/sound-design-themes-and-goals.html).  In summary, I noted that one of the things I obverse with those new to sound design is that they can go about it in a very literal manner.  That is, one action = one sound.  I then suggested that possibly a better way to go about sound design is to clearly define what you are trying to achieve with the sound before actually starting.  The reason I mention this again is that I have just watch the Mavericks of Sound Design Panel video from Moogfest and I was taken by the reflection of a lot of my thoughts on this matter being articulated by the panel.  If you have time this video is worth a watch as it contains a lot of additional points of view.

When you are planning your sound design projects ask yourself these questions, "What emotion do I want the listener/viewer to have at this point?" and "What aesthetics do I want to put across to the listener/viewer?"  If you can answer these questions you are at a good point to begin the sound design project.

Realisation of a Sound Design Portfolio

In my last few posts I have been considering the creation of academic portfolios for sound design.  In this post I will now examine the realisation options for building a portfolio.  Back in the "old days" a sound designers portfolio would normally consisted of a showreel that would be used as a showcase of their best work.  The advent of digital portfolios meant that it became possible to adopt the two faces of an academic portfolio that I have already spoken about in my previous posts.  From an academic point of view, the two faces makes lots of sense and can help to provide the foundations for a portfolio that can be carried forward into a professional career.  Recently work has been published that seems to advocate using different digital choices: Electronic Portfolios - ePortfolio (Dalziel 2006), Blog Portfolios - bPortfolios (Wicks 2011), Mobile Portfolios - mPortfolios (Barrett 2010), etc. However, in my opinion these seem to be missing the point!  I'm not sure that these different implementation technologies really make much of a difference.  For me it seems far more important to make sure that when implemented, the key elements that I highlighted in my previous post are covered with a suitable realisation.  For testing purposes I have built a prototype sound design portfolio using a platform called Mahara (https://mahara.org/). However, it should be possible to build a digital portfolio that meets all of these elements using different platforms.

• Planning what sounds need to be created to meet the brief and consideration of how the individual sounds will work together in the final content = blogging to create a Personal Development Plan (PDP) for the content being created and the portfolio itself 
• Log individual sound elements, complete with providing an inspiration for the sound created and details of how it was made and produced = blogging with possible document upload and SoundCloud can be used to embed audio content that can have comments placed at specific points in the content timeline
• Final content showing how the individual sound elements have been integrated together to create a final piece = blogging with text documents that can be either uploaded or embedded and SoundCloud can be used for audio content
• Formal report giving precise details of how one of the individual sounds was created and exactly how it was integrated into the final content = document created from the blog entries and can be either uploaded or embedded
• Provide a mechanism for students to reflect on what has been achieved = reflective blog entries
• Able to upload or embed different documents or media = support for web 2.0 technologies
• Provide storage for work in progress = local or cloud servers
• Allow formative feedback, ideally at corresponding points in the audio content = embed SoundCloud tracks
• Support for networking and conversation between both students and tutors = add "comments" to all content (audio, blogs, forums, etc.)
• Ability to keep some parts private and make others public = maintain an unpublished workspace and published showcases 
• Provide wider networking between to students and the "outside" world = externally visible blogs and forums
• Give confidential summative feedback and final grade = provide integration between portfolio and institutions Virtual Learning Environment (VLE) grade centre
• Allow the work to be showcased to the wider world when completed = combine appropriate elements from the above to create a showcase - use social media to help publicise

As well as these elements I have also identified that students need stimulation to develop their content and themselves, over an extended period of time.  The stimulation mechanisms maybe generated using the following elements:

• Student based reflection = reflective blog entries containing analysis and evaluation
• Formative feedback from the tutor = adding comments directly to the portfolio elements (audio, blogs, forums, etc.)
• Collaboration between students and the wider world = forums and making the content (showcases) visible on the internet

As I mentioned previously, I have created a prototype portfolio using Mahara as the complete implementation plateform.  Although Mahara fits very well with the academic requirements and does offer a very user friendly construction process (when you get your head around the different components), it does have a big drawback!  It does allow blogs, forums and networks to be created, however these do have a visibility issues.  In the sound design area there are already well established online communities and while using these institutional communities will work fine for collaboration between the students themselves, they will not open them up to the wider world.  This will then impact on the ability of the students to network with the professional/semi-professional sound community and build a reputation.  This is particularly important for the sound domain as most people work freelance and get into the industry through a long process of building a reputation and working their way up.  Ideally a portfolio started in their academic careers will form the foundations of a professional professional that will be continued through their Personal Development Plan (PDP).  Therefore, it seems important to not only use the institutional communities, but to also make the students aware of the wider communities and encourage them to fully engage with the networking possibilities.

Dalziel, C., Challen, R., & Sutherland, S. (2006). ePortfolio in the UK: Emerging Practice.  A. Jafari,& C. Kaufman, (Eds), Handbook of Research on ePortfolios. PA: Idea Group Reference. Ch. XXXIII

Wicks, D,, Andrew Lumpe, Henry Algera, Kris Gritter, Helen Barrett, Janiess Sallee (2011). bPortfolios: An Overview of Blogging for Reflective Practice. Seattle Pacific University School of Education August 2011.

Barrett, Helen. (2010). The future of mPortfolios (m=mobile) for Lifelong Learning. mPortfolios web-site, http://sites.google.com/site/mportfolios/

What is a Virtual Portfolio?

In my previous couple of posts I have been considering from an academic point of view exactly what a portfolio is and what is required of a portfolio for sound design.  In doing so it has started to become obvious that one of the things that is unique to creating portfolios for this area is the diverse range of content that is required.

Another area for consideration is although this maybe an academic portfolio it is for an art based discipline where it is important that the content can be showcased as a professional portfolio for the sector, such as a showreel.  This may not actually be that different to any other discipline, but being an art it is important that the aesthetics are showed off appropriately via the portfolios medium itself.  How is the best way to showcase a sounds that have been designed?  The normal way is to show them in-situ in the final content.  Although this does immediately show the context for the sound it may not necessarily be the best way to show some of the aesthetics of the sounds created.

Something else that I have considered is that not all content naturally lends itself to representation in a portfolio.  For example, if I were a sculpture of stone then my artistic medium would be blocks of stone.  This being the case then a paper or digital portfolio would contain virtual representations of the sculptures rather than the sculptures themselves.  This is the same for certain aspects of sound design, where the mediun is sound.  For example, if a sound is created with a synthesizer the artefact is the patch itself that makes that sound.  Although the patch file itself could be uploaded, assuming it's a soft synthesizer of cause, it will not mean a lot as it can't be played.  Therefore, a virtual representations, such as audio files or samples will need to be included.  This will also allow appropriate delivery content to show off the aesthetics of the artefact.  In this case the portfolio become a virtual portfolio of the actual output artefacts.  Hence it is a virtual portfolio.

Sound Design Portfolios

In my last post I tried to clearly define what a portfolio is and its purpose.  Having done this it is now time to start considering what this means for a sound design context. A sound design portfolio is not that different really to any other portfolio, except that many, although not all, of the artefacts will have a high media content.  This is likely to be different to other more academic disciplines, where the content range maybe less diverse.  For example, a sound design portfolio might contain elements of the following different types of media: audio recordings and tracks, samples, MIDI files, FX libraries, DAW projects, synthesizer patches, FX chains, videos, photos, FX and track list, scores, scripts, showreels, animations, sound installations etc.  As can be seen this is an extremely diverse range and some of these may not naturally lend themselves to digital delivery.

As well as considering the different artefact types that are likely to be required in a sound design portfolio, it is also worth considering what is required from both the student and the tutor perspectives.  In doing this I am very much thinking about my students and me as their tutor, but if you think I've missed anything then please let me know.

Sound Design Students

My undergraduate Music & Audio Technology students start developing a Sound Design Portfolio in their first year and continue through their studies.  However, in the first year this is what it is required:

• Planning what sounds need to be created to meet the brief and consideration of how the individual sounds will work together in the final content 
• Log individual sound elements, complete with providing an inspiration for the sound created and details of how it was made and produced
• Audio tracks, MIDI, patches, samples
• Final content showing how the individual sound elements have been integrated together to create a final piece
• DAW Projects, track lists and/or FX lists, final mixdown  
• Formal report giving precise details of how one of the individual sounds was created and exactly how it was integrated into the final content
• Provide a mechanism for students to reflect on what has been achieved
• Allow additional media content to be retained
• Images, videos, scores, scripts    

The portfolio should provide space for all of these individual elements to be formulated and developed over a period of time - like a true "workspace".

Tutor Requirements

As a tutor of sound design these are the elements that would be expected of a sound design portfolio:

• Able to upload or embed different documents or media
• Provide storage for work in progress
• Allow formative feedback, ideally at corresponding points in the audio content
• Support for networking and conversation between both students and tutors
• Ability to keep some parts private and make others public
• Provide wider networking between to students and the "outside" world
• Give confidential summative feedback and final grade
• Allow the work to be showcased to the wider world when completed

Having given this a bit of thought, for me the key to effectively using a portfolio as a "workspace" is providing the students a space to "develop".  This takes time so an important part of a portfolio assessment process is engaging students so they use the portfolio over an extended period of time.  As well as giving them time, they need stimulus to develop.  It seems that this will come from three areas:

1. Student based reflection
2. Formative feedback from the tutor
3. Collaboration between students and the wider world

Any portfolio system must provide a mechanism to foster all three of these area.