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Digital technologies have come to play an increasing role in students' lives, both

inside and outside of the classroom.

To address this, NAEP is transitioning from paper and pencil to digitally based assessments.

The National Assessment of Educational Progress, also called the Nation's Report Card, is

a leader in innovation for digital large-scale assessments.

NAEP experts use established best practices for delivering digital content and work continuously

to enhance the student experience by introducing new question types and activities while also

enhancing the student experience through engaging digital features.

Students read rich and engaging passages and have access to features, like highlighting,

to support their understanding of texts.

Students examine documents, images, and video to show their understanding of important events,

trends, people, and ideas in U.S. history.

To demonstrate their knowledge of geography, students analyze and interact with full-color

maps, charts, photographs, and videos.

Students can respond to questions in mathematics with digital tools, including rulers, calculators,

and interactive graphs.

They can enter mathematical symbols and notations using an onscreen keyboard.

In science, students engage with simulations and apply their knowledge of scientific concepts

and principles to solve problems.

These and other digital technologies allow NAEP to better measure the knowledge and skills

of students from across the nation.

These technologies also improve NAEP's ability to make its assessments more authentic, engaging,

and accessible.

Assessments for the 21st century and beyond.

For more infomation >> Going Digital: NAEP Assessments for the Future - Duration: 1:52.

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Digital Art | Mirror Effect in Photoshop | Photoshop Tutorial | click3d - Duration: 4:15.

document 1920p* 1080p, resolution 300px

color #c8c8c8

fill

drop this image in your document

rename as "lady"

now add new adjustment layer "black & white"

levels

now group all the layers except "bg" layer

rename as "work"

now duplicate the group

merge the group

rename the layer as "final"

now duplicate the "final" layer

and rename it as "scale"

now drop this circle/ring shape in your document

you can find this in the "Download files" in the description

now get the selection of "circles" layer (ctrl + click on layer thumbnail) and turn off the layer

now select "scale" layer and add layer mask

now unlink the layer mask from the layer as shown

select layer thumbnail and apply free transform tool

scale

now turn on the circle layer

drop the opacity to 5%

now take a new layer above

rename it as "overlay"

fill it with 50% grey

add noise

add gaussian blur

blending mode "linear light"

now add new adjustment layer "gradient map"

color #070423 - white

adjust opacity

now press (ctrl + shift + alt + e)

blending mode "linear light"

filter - other - high pass

we are done

For more infomation >> Digital Art | Mirror Effect in Photoshop | Photoshop Tutorial | click3d - Duration: 4:15.

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Your Digital Marketing Agency Should Be A Digital Neighbor - Duration: 2:02.

For more infomation >> Your Digital Marketing Agency Should Be A Digital Neighbor - Duration: 2:02.

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Data in Place: Using Digital Harlem to Map Historical Sources - Duration: 20:26.

>> From the Library of Congress in Washington D.C.

>> Our final talk before the break is from Stephen Robertson

who is Director of the Roy Rosenzweig Center for History

and New Media and Professor History at the George Mason University.

He will tell a story about Digital Harlem,

a project that won the American Historical Association's Roy

Rosenzweig Prize for Innovation in Digital History

and the ABC CLIO Online History Award

of the American Library Association in 2010.

You're on, Stephen.

>> Stephen Robertson: Good morning.

[ Applause ]

Applause [inaudible].

I just want to start with a quick shout out to the wonderful team

of people here at the Library of Congress

who have brought us all here today, and a fascinating group

of people they've brought.

I'm going to go back to maps which it shows you a lot at the beginning

to talk about data in place.

Historical sources are full of data about places and locations.

The spatial data is not very intelligible in textual form,

and even when extracted and organized in tabular form,

it really doesn't tell us a lot.

It's hard to discern the story that it has to tell us.

Now, mapping has been around for a long time as a tool for making sense

of the spatial data, but it's only really with the advent

of web mapping that it's become accessible

to a wider range of people.

You used to have to go find the GIS person in your university

to make you a map for a project, and that was going to be the one map

that you did if you had the months to do that.

The web has fundamentally transformed that, and the project

that I'm here to talk about today owes its form

to the launch of Google Maps in 2005.

Shane White put together a team of four historians,

University of Sydney, of which I was the junior member,

to do a study of everyday life

in New York City's Harlem neighborhood in the 1920s.

Our key sources for this to get beyond the political

and artistic elite that dominate accounts

of Harlem was New York City's two black newspapers, The Age

and the Amsterdam News and the records

of the Manhattan District Attorney.

Now, I was in that project because I'd used those legal records

in my dissertation, and I knew from the dissertation that they were full

of information about where things happened that I'd found no way

to use and analyze when I did the dissertation.

So, what I suggested as my contribution

to this larger project was an effort to map our sources.

Now, when we got funding for the project in 2004, the technology

for doing that was our GIS, and I went away to find collaborators

at the University of Sydney,

our experts in art GIS, to make that happen.

And, at Sydney at that time,

it was the archeological computing laboratory.

However, the problem with art GIS in 2004 was

that it was not possible to use it on the web.

It wouldn't run on our beloved Macintosh computers,

and it simply was, as it still is, far too hard to master

and far too complex to make it worth using

to analyze the qualitative data that we had.

So, and, thankfully, with the launch of Google Maps in 2005 and thanks

to Damian Evans, one of our team who created a hack between our database

and Google Maps, we launched Digital Harlem in 2009

as a web based form of mapping.

As with any large digital project,

there's a whole team of people behind that.

And, before I say anything more, I want to acknowledge all

of those people in addition to the ones I've already named,

a team of historians, graduate research assistants,

technologists of various kinds, and almost a million dollars

of Australian government money which always amuses people.

But, the Australian government, at least in the early 2000s,

was interested in funding innovative scholarship even

about black neighborhoods thousands of miles away.

Now, Digital Harlem was one

of the first historical we mapping projects,

and one of the first digital history projects to shift

from what the Valley of the Shadow was really interested in doing,

digitizing material, creating online collections towards visualizing

those sources.

Now better technologies now exist for web mapping projects.

Nevertheless, Digital Harlem remains a useful starting point for thinking

about mapping as a means of making sources more accessible,

more visual, and more useful.

The contrast here is research with access

and sources through a database.

I think Michell Whitelaw's formulation which I'm sure many

of you are familiar with, captures this best.

Search is ungenerous.

Demanding a query and returning only the terms you enter.

Withholding information about the structure and materials available

and filtering out any alternative hypotheses.

Visualizations, by contrast, are generous, rich, browsable interfaces

that reveal the scale and complexity of the data behind them

and provide a context, a context that enriches the exploration

and analysis of that data.

So, Digital Harlem is not an interface to a collection of forces.

Thanks to copyright, licensing, and restrictions imposed by archives,

it's not possible for us, even if we'd wanted to, which we didn't,

to offer access to the sources on which the site draws.

But, those restrictions do not prevent the creation of data

from those sources which is what Digital Harlem contains,

information about events, an ill-fated tennis tournament

in this case, about people, and to a much lesser extent, about, sorry,

much lesser extent about people.

A lot about places.

It's worth noting that those of us who work on the 20th century

and beyond encounter this problem with access

to sources far more often than our colleagues

who work in earlier periods.

We need to be talking more about the way in which restrictions on access

to sources shape the kind of digital projects we can do

on the 20th century and how creating data is a way of getting access

to material that's otherwise under copyright.

To create data, however, requires a different engagement with sources

than humanity scholars typically have.

Whereas, to use Miriam Posner's words,

we usually immerse ourselves in our sources.

Dive in. Understand them from within.

To create data is to extract information.

And, features from sources requiring a decomposition of a subject

or object into attributes and variables.

If you're now increasing range of computational tools to do

that extraction for you, the data that we gathered

for Digital Harlem was done by hand.

And, because of the problems of access to digitized newspapers

and the limits of ACR, it's still a process

that needs to be done by hand.

So, myself and the team of research assistants who appear briefly

on the screen recorded details of every location

and every event associated with the location in those legal records

that I was talking about.

And, in the Harlem's two black newspapers.

And, crucially, in a way that Ed was alluding to, not just information

from the news stories, but information

from every section of the newspapers.

The fraternal reports, the church records, the sports pages.

There's far more information and far more spatial data in newspapers

than we're used to thinking about when we roll the microfilm through

and looked for the news stories that were part of that.

We organized that information into a data model,

entered it into a database, and geocoded it so that could be mapped.

Now, the metaphor that we commonly use to describe that process,

mining, sits awkwardly with humanity scholars concerned with development

of empathy with an appreciation of the position of the person or group

or the qualities of an object.

It sets up a sense of creating data as somehow dehumanizing.

Mapping data can somehow mitigate that consequence,

can align with an orientation towards [inaudible] data,

one element of which is articulated by [inaudible] as an appreciation

of context, interdependence, and vulnerability.

Maps as a visualization express this relationship of parts one to another

and to many to a greater whole.

Mapping data, mapped data is seen at its geographical context,

and [inaudible] Digital Harlem by the use of a historical map player.

A Bromley Real Estate atlas which shares a lot of the information

and qualities of the [inaudible] and Sanborn fire insurance maps.

It provides building footprints, information on the height

of those buildings, the material they're made out of,

whether they have shops or stores in them.

What it does most dramatically in terms of the maps that we're used

to looking at in historical scholarship is filled

in the spaces on a street map.

And, in that way, the space literally divides,

helps to subdivide and divide Harlem into multiple smaller places

and to give some indication of how those places interact.

And, if you know anything about the history of Harlem in the 1920s,

I chose this flock because on the corner is renaissance ballroom

and casino, the sight of a lot of dances and entertainment

and basketball games next

to the establishment Abyssinian Baptist Church,

one of the main line middle class moral racial [inaudible] of Harlem.

And, the hall to the right of that was the former headquarters

of Marcus Garvey's black nationalist UNIA.

A very interesting gathering of people walking down those blocks

in a way that we don't appreciate without this kind of level of data.

One of the very exciting things going on right here at the Library

of Congress is the digitization of Sanborn fire insurance maps.

We're just going to put these incredibly rich sources

into people's hand, make them freely accessible, transform the kind

of historical mapping projects we can do

by adding this incredibly rich layer of data

about what the place is like.

Layer the different data, and hence large quantities

of data can be combined on a single map, providing an image

of the complexity of the past.

And, I'm going to come back to this really complex looking map.

You can examine maps of sources at different scales, make comparisons,

discover relationships by visually detecting spatial patents

that remain hidden in those texts and tables that we started with.

Now, mapping data has become an increasingly common form

of interface for a lot of digital collections.

But, too often, those projects map only a single collection

of material.

That approach takes really only a small part of the power of mapping.

Geographic location provides a means to integrate material

from a wide range of disparate sources.

So, what's important about assigning a geographic reference to data,

as Karen Kemp puts it, then becomes possible to compare

that characteristic of the phenomenon, etc. with others

that exist or have existed in the same geographic space.

What were previously unrelated facts become integrated and correlated.

The power of maps to bring disparate things together is

where we really need to be going with them as a technology.

Used in this way, the geospatial web can help us capture the confluence

of multiple rhythms that [inaudible] argues make up everyday life.

So, this is one of my go to examples for talking

about Harlem in the 1920s.

It's a map of nightlife during prohibition using data

from newspapers, undercover investigations, legal records.

It shows the venues which drew crowds to Harlem, the night clubs,

the speakeasys, and the venues that black residents opened

in their apartments, known as buffet flats,

catering exclusively to blacks.

The map highlights the different geographies of those venues and,

in particular, the clustering of buffet flats in sections away

from the other venues, away from whites, and drew our attention

to how blacks developed spaces apart from whites as they flocked

to Harlem's night life in the 1920s.

Now, while this map captures some of how prohibition shaped night life

and leisure in Harlem, it's only a partial map

of the commercialized leisure available in the neighborhood.

Digital Harlem lets you create the context by adding dance halls,

theaters, pool rooms, the halls that hosted basketball games

and boxing bouts, and then you can add

to those commercial venues [inaudible]

to understand night life, all of the places

where noncommercial leisure took place in Harlem in this period.

Meetings of church groups, fraternal lodges,

community organizations, and social clubs.

You end up with this incredibly complex map.

Social clubs.

Incredibly complex map

which highlights fundamentally just how a small segment of leisure

and night life in Harlem actually appears in discussions focused

on prohibition which defines the way

that we understand what Harlem was like in the 1920s.

In regards to mapping events rather than places,

this is one of the first maps we created, arrests for numbers

in 1925, which gave our research a new focus.

It shows in the first instance the sheer pervasiveness

of numbers gambling which is a picture that a multitude

of sources reinforced in Harlem, and it's one reason why Shane White,

Steven Garton, and Graham White, and I wrote a book

about the wide ranging economic and cultural role of numbers gambling

in Harlem as one of the outcomes of our collaboration.

Zooming in to that map highlights how placing bets was woven

into everyday life.

Arrests occurred on street corners as residents get on their way

to work, and the businesses lining the avenues

as they went shopping and ran errands.

And, in their homes, on the cross streets

as numbers runners went door to door collecting bets.

Our original concept for Digital Harlem also included mapping

individual lives, but assembling enough data to reveal more

than a single moment

of an individual's life proved beyond our resources.

However, we did generate maps for a handful of people based

on information on their residence, work, and leisure

and probation and parole records.

Those maps make visible the extent to which the lives

of Harlem's residents were not bounded by the neighborhood,

made clear that the census data that we commonly rely on to determine

where people lived ultimately only tells us where they slept.

So, for example, during the five years that Morgan Thompson was

on probation, his work as a laborer took him not only outside Manhattan

but to the Bronx, Queens, and Brooklyn.

We've used lines linking residents with the workplaces and other places

that people frequented while [inaudible]

to suggest their movement through the city.

The geography of work was often different for women.

Annie Dillard, like the majority of Harlem women in the workforce,

found paid employment as a domestic servant in homes

on the upper west side, hotels in midtown,

and in a laundry in lower Manhattan.

The newest version of Digital Harlem adds a timeline to this

to understand how these lives evolved.

Two strikingly different geographies,

two strikingly different reminders that living

in a city is not living in the neighborhood.

It's moving across the city in a way

that we don't often place African Americans in places like New York.

Now, for all the maps that we feature on the site

and that we discuss in our scholarship, much of the usefulness

and impact of Digital Harlem comes from how it allows users

to make their own maps, to visualize the data that interests them rather

than being constrained to what interests the site's creators.

That capacity highlights that these maps are exploratory,

not illustrative, that they raise questions rather

than answering them.

But, the site itself, unfortunately, offers limited help in making sense

of a map and the data it visualizes.

That design is in keeping with the original conception of the site

which was as a research tool for those

of us collaborating on the original project.

When we decided to share the site, we added some material

about the places and events featured on the site

and on the individuals whose lives can be mapped.

And, we created a blog that linked to the site with posts

about additional maps of places and events such as traffic accidents

in this example that incorporate additional material

like photographs.

Unfortunately, those after the fact efforts can only go so far.

Creating a real context for understanding the data

in Digital Harlem is a project in its own right

that will require a wholesale redesign of the site,

and it's one of the things that we need to think about the difference

because producing sites that are research tools for people

who understand the data at some level and sites that are shared

and are going to be used by people

who don't bring the researcher's understanding to the site.

Now, an emerging offer, option for making data more accessible

and useful is to use what's in Digital Harlem as the basis

for a spatial narrative rather than simply a map.

I'm currently exploring that approach for a project

on the 1935 Harlem Riot for which we're creating another version

of Digital Harlem based on that single year.

By the 1930s, there's a much greater wealth of information about life

in Harlem than there is in the 1920s.

Now, a platform like the widely used story map [inaudible]

which creates a linear single path

through a map cannot effectively tell the story of a complex event

like the riot in which multiple things happened at any given time.

Neither, for that matter, can following the timeline

on Digital Harlem let you understand what is going on in the riot.

Neatline, a mapping plugging for [inaudible] which Ed was talking

about earlier, gives some scope for more complex storytelling,

and I've created a prototype narrative of the riot just

to think about, there we go, just to think about what's possible.

What I really like about Neatline is that the timeline slider

at the bottom of that image provides a means of navigating the exhibit.

Dragging it not only changes the points that appear on the map.

It also alters the way points visible on the right.

While points display information on particular events, way points,

way points can be used for broader arguments

which can be grouped together rather than being tied

to a single point on the timeline.

What that means is that it gives you some flexibility

in how a narrative is reared.

You can roll over each way point in a group or explore them

in a sequence, or out of sequence.

Each way point can be associated

with a zoom level on a specific location.

Clicking on a series of way points can, thus, move you around a map.

And, you can annotate those way points, attach them to polygons

and lines as I have in this prototype to draw attention

to the analysis of space in my understanding of what's going

on in the riot, to movement, direction, proximity,

connection, and patterns.

Used in that way, annotations shift some of the argument

into visual form, and that's ultimately where I think we're going

with the kinds of visualizations we've been making in maps,

that the future direction in visualizing data using maps

that this prototype points to is the capacity more extensively

and dynamically integrate maps in narratives.

To visually combine data

and interpretation while retaining the orientation towards putting data

in context, which, to me,

is the most powerful thing that mapping lets us do.

Thank you.

[ Applause ]

>> This has been a presentation of the Library of Congress.

Visit us at loc.gov.

For more infomation >> Data in Place: Using Digital Harlem to Map Historical Sources - Duration: 20:26.

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Best Way to Sell Digital Products Using WordPress - Duration: 6:37.

For more infomation >> Best Way to Sell Digital Products Using WordPress - Duration: 6:37.

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Dom Digital - Duration: 5:11.

For more infomation >> Dom Digital - Duration: 5:11.

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Game UX Summit '17 | Dorian Stewart & Rebecca Ford Digital Extremes | Community-driven UX - Duration: 30:02.

(applause)

- Alright, so yeah, what we are here to do today

at the second talk of the Game UX Summit is

Warframe, real world lessons from five years

of Community-Driven user experience.

So that's the story we're telling today,

and I'm telling the community half of it.

I'm so excited to do that 'cause our communities

been with us and really helping us with this game.

And I am Rebecca Ford, the live operations

and community producer at Digital Extremes.

- And I am Dorian Stewart,

I am the studio UI Art lead, as Rebecca mentioned

for a wonderful studio named Digital Extremes.

- [Rebecca] Yes, so Digital Extremes if you don't know,

this is like a quick history,

was founded in 1993 by James Schmalz who was watching

me try not to embarrass him or myself,

but it's a game that's had over 20 years of development

history, and the story we're telling today is the past

5 years of Digital Extremes.

It's Warframe.

- Yeah, so, we're actually headquartered in London.

Not the accent you expected, eh?

That's actually because we're from London, Ontario,

(audience laughs)

hold on, hold on. - Don't laugh!

Is no laughing matter, it's generally regarded as

the 2nd best London in the world.

(audience laughs)

- And I think we've rehearsed this part to try and point

to where London actually is from here,

but now that we're on the stage we've

lost our orientation.

- I can't see the sun, so--

- So as far as we're concerned,

it's two hours in a direction that might be that way.

Oh that way, there, thank you, thank you!

It's that way.

- So in addition to our London studio,

we're actually very excited to announce that

we are opening a studio in this beautiful city.

And in addition to that--

(audience applause)

we also have a west coast office in California.

- Yeah, we've never had more offices, so,

you're seeing us at peak office, so this is uh...

- And this expansion has really been

all thanks to one thing.

- Yes, so we're gonna ask the same question from before.

How many of you have heard of Warframe?

(light cheers)

I didn't know what the answer would be, so that's great.

So maybe I don't need to explain it too much,

but if you don't know it's a free-to-play game.

This is a free-to-play cooperative game as a service.

We launched on the PC Steam Open Beta in March of 2013.

We were a launch title on the Playstation 4

in September of 2013, and then we quickly jumped

onto the Xbox One in the following year, in September.

And this is sort of a game that started as

Left 4 Dead in space,

and as Heather said we're kind of going open world late.

So how did we do that, what's our story,

what do we think we've learned from that process

is what we're gonna talk to you about today.

- So I'd love to start with a bit of a difficult statement,

perhaps, so we've been around for 5 years,

we've seen remarkable growth.

We don't have a UX designer.

- Oh shit.

- Oh my god, audible gasps from everyone in the audience.

So, why are we here, right?

And how did we achieve this growth that we've seen?

- So, we think we suppose we present today

that we have used the community as sort of a surrogate

for a user experience design,

because the nature of our game as a service title,

what we had to do to get Warframe out there for the company,

for what we wanna do, is kinda do it in partnership

with our community.

The people that have given us feedback,

given us their time to make Warframe a 5 years

and counting game that's now somehow adding open world late.

So that's the story here today,

but of course with all presentations you probably

want an agenda so you know the chapters.

- So we're gonna first in point one,

look at essentially our business philosophy,

our development philosophy, and how we arrived there

thanks to some really helpful analytics.

Next, we're gonna take a look at what we as developers

can do in conjunction with the community team

to really manage this real time feedback.

You know, games as a service is always running.

How can we manage this, and how can we interact with the

players in the best way possible

to essentially have them drive the user experience?

We're gonna look then at the solar map,

which is one of the core features in our game.

Some mistakes that we've made with this feature,

and how we've been able to use the community

to essentially rectify our ways

and proceed forward in a positive direction.

Rebecca is then gonna take you on a little ride

talking about fair free-to-play, so,

that should be quite exciting.

And then we're gonna look at what we have done

to really leverage the co-operative user experience

in our game, and finally we're gonna share with you

what we have been doing and hopefully what you guys

can take home to replicate the magic

that we've encountered with Warframe.

So, without further ado.

- Yes, and this is the part of the presentation

where we remind you we're not business people,

we just certainly have a reality that drives

Warframe's 5 year rapid update cycle.

So that's something that is Dorian's place to talk about.

- So who here came for graphs to this conference?

(light laughter)

Okay, cool, cool.

So I'm just gonna sketch this out really roughly.

(audience laughs)

this is a graph of our daily users,

you can see what I'm gonna do next is I'm gonna

superimpose another very rough graph of

our daily revenue.

Now these look pretty closely linked, right?

Now, I'm actually, I know you guys you had a little

bit hard time shouting stuff out,

can anyone shout out to me what they think

the correlation between daily users and daily revenue is?

- Am I allowed to shout?

- You can shout if you want.

- No, it's okay, I know it.

- Any guesses?

(man mumbles)

- Sorry?

(man mumbles)

- I dunno.

- It's 93%.

- Well that's not the right... there you go.

(audience laughs)

- You were correct, you were correct.

So, that's really really closely linked, right?

So what we can do then is we can actually take this graph,

and we're actually gonna permit ourselves to

combine them into a really magical thing

that we refer to as engagement.

And this engagement is not only

daily revenue and daily users,

it represents reasons for players

to come back to the game on a daily basis.

It represents the social ties that bring them into the game.

It represents really their investment as a player

in the long term, and in short term,

to come back to our game and play.

And so, it's really kind of a Nirvana essentially.

A benefit for everyone.

And so we use this a lot of kind of... it's our main metric.

Now what I'm gonna get you to do next is

looking at this graph

would you be able to, for example,

point out where you think our major updates were?

If you say something like this,

you'd be absolutely correct.

So marked by these emojis, these are updates.

And these are not just stuff to buy.

And that's gonna be something that's gonna be very

important as we continue forward.

I mean, these are so much more than that.

- Yeah, I mean, no update is the same really, in Warframe.

The quality of life changes that our community want

are just as impactful as something new.

So, every update is a balance, or it's something

completely unique to the quality.

The change, a complete overhaul of our melee system.

It could be anything.

- Exactly.

And the thing that we're gonna look at next is

Rebecca kind of talked briefly about the import

of frequency of updating the game.

And we're gonna look at what happens

when we fail to do that.

So, the graph goes down, and down.

And engagement plummets and pretty soon we're hanging

out with Dante in a very scary place.

And this really served as a valuable lesson for us.

Looking at this graph that spans many many months,

we can not permit ourselves for the users

to have this happen.

We don't want their engagement going down,

it's bad for everyone as we mentioned before.

And so I mean, we've been really lucky in the sense

that we were able to rebound from that,

and we've essentially since then taken that

as our mantra, our way of developing that we can not

permit ourselves to have that happen again.

And we haven't, and our updates have been continuing

to drive that engagement.

- And you can kind of see on the graph,

we started from nothing.

And that is very true with Warframe.

You know, this is a game that had no updates at first.

And no accounts made.

- So what does this philosophy look like numerically.

Well, it looks like this.

This is again where I said we started from scratch,

it was very scary, very exciting time for us.

Within year one we had actually published 175 updates.

- And that's the key thing about the word update here,

is it's not just something new.

It's something different, it's change.

It's something the community's wanted.

It's commitment to updating that live build.

- So to year two, we had gone up to 325 updates.

At this point we had reached just over 15 million

accounts created.

Year three, 475 updates, over 22 million accounts.

And currently we're sitting near year five,

and that's crazy, 670 updates and we're at over

30 million accounts right now.

So it really shows our commitment to

that essentially respecting the graph that we showed

you earlier, and that is what the players want the most.

And what's gonna drive their investment, their engagement,

their enjoyment especially.

- It's true, and I mean that 670 number is a lot.

And with that many deployments to the live build environment

people have opinions on what you're doing.

They wanna talk about it,

and we invite them to have that conversation.

So, the next part is managing that real-time feedback.

If you've updated your live build that many times,

again you bet people have something to say about it.

So, we have a little bit of a tool set,

it's not... you've probably of all these tools,

so I'll walk you through them clockwise from the top left.

Reddit, of course, you're probably familiar with the

feedback you can get there and how that can

change or allow you to make improvements to your game.

Again, we're game as a surface here.

We're talking about a game that tries to iterate

weekly with something.

The forums are sort of our library of everything

we've ever said officially on our own forums.

It's all every patch note, every dev workshop.

The panels are a live place for us

to just talk to our player base and see what they're saying.

If you're talking face to face,

how does their opinion change, how does it improve.

Or what can you garner from such an experience.

Social media is its own thing,

so I'm sure I don't need to explain Facebook,

but the middle one is the one that has a little bit

of a story with it.

This is our in game chat system.

By no means did we invent in game chat.

But we use it in a way on the community side

that really helps us to trouble shoot

and enhance the in game community experience.

So, for example, if you are a Warframe player,

so I know you know it but maybe you don't play it,

the word Arcwing.

This is a game mode that isn't particularly popular

with our players, so one week we were doing a sample,

a wordcloud of everything that was being said

in our public chat for that week.

And we did not expect to see the word Arcwing there.

But there it was.

So we saw Arcwing, and we said to ourselves

uh oh, something's wrong.

No one would be talking about it this much.

And it turns out that there was a bug

that was progression stopping that got people so frustrated

they didn't go anywhere else to report it.

So we had to use our in game chat to isolate issues

and we regularly do that just to see that the players

are doing what we expect them to do and talk about.

- And the real value of the in game chats,

particularly a global chat,

so this is essential everyone can go in and talk

in the same spot, is really the lowest friction area

for players to share their experience with the game.

So if you haven't implemented a global chat in your game,

we would really highly recommend,

because we've seen huge dividends pay off from using it

as the way we have essentially.

- Indeed, and the last one is Twitch.

They've really been an up and comer

over the past 5 years or so,

and since 2013 we have been on Twitch streaming.

What have we been streaming? Dev streams.

This is when we sit down on a couch

and have the devs show what they're working on

real-time to our community.

This is the... like if you want opinions on your game,

this is a way to do it.

And this is a way that Dorian joined us

on our 23rd dev stream.

Much less bearded, but none the less he was there

to talk about UI.

And we were presenting to our community

a proposed change to the game.

And that change was--

- So this was a really interesting experience.

Basically, when I arrived at DE,

this is what our heads up display looked like.

And one of the first things that I wanted to do

when I arrived there was really revisit this.

Modernize it, both functionally and aesthetically.

And so we had our opinions,

we had our thoughts on what would make it better.

We did at the start, as you would on any product you have

go with your assumptions, use community feedback

that already exists on the internet

and also working with the community and getting a sense

of what the players want.

And so what we did is we actually brought it

to this first dev stream this proposal

of what it could look like just kind of based

on that work behind the scenes.

And it was a really interesting experience for us,

especially if you are used to kind of the boxed title model

where, I'm sure some of you have done this,

where you're anticipating eagerly for the reviews

to start coming in and you're kind of

sitting behind your computer waiting for

these sites to kind of say what they think about a game.

And even so, it's quite rare for reviewers

to even mention UI in general.

So it's quite interesting to kind of

be sitting on this couch.

And what we have is we actually have a set up where

we're giving our presentation on the stream and we actually

have a monitor with a Twitch chat that shows.

And it's quite daunting if you're not used

to that level of direct contact with your player base.

They're essentially going to be referring to you by name

and saying "I hate what you're doing,

I love what you're doing."

and you have to have a thick skin to really adapt to that,

and kind of continue going on with

continually putting your work out there

for the world to see and to judge, and to critique.

- And with our dev streams,

the feedback doesn't end with the Twitch setting.

We go on to, you know, we have 30 million registered users.

- That's right.

So, this is our total registered...

These are all the total registered users for the game.

And just out of curiosity,

how many of you, by show of hands,

have purchased a game as a consumer in retail,

played it, and then gone and commented on forums

for that game, can you raise your hands if you've done that?

Okay, so not a ton.

I haven't myself.

But our number is actually quite staggering.

What percentage of users participate in the forums?

- [Rebecca] What we see is 10% of our players

actually come to our forums and their account is there.

So they have made their way to the forums at some point,

and made an account, which means you have 3 million people

that could potentially be giving their voice

to the feedback loop we've invited them to.

So after dev stream, it doesn't just end when

the camera turns off, it continues 'cause you're essentially

iterating live and then post,

and then you have to make it work and you have

to ship something at some point.

So, one of those voices always, you know, typically says--

- Yeah, so I mean as you'd expect,

people have love, people have hate.

I'd love to give you an example of one negative one.

This is by far not the worst that we have received,

but you know, I'll read it to you.

"The pillars of good UI design are shape and color.

The proposed design uses neither.

Please leave Swiss design to 1950's where it belongs."

(audience laughs)

- So, yeah and that's not the worst one.

This is a work conference, we've brought safer work.

- There has been much worse things,

and again, going back to having a thick skin

and kind of it takes a long time coming from

a triple a box title background

to really adapt to kind of taking

this brunt force from players and

the thing in the air has the positive things

are so positive it makes you feel really good,

and gives you a lot of motivation to continue.

But the most interesting thing in terms of

our direction for the game is we'll get comments like this.

Let's say half the comments are like this

for a certain feature, but then we'll actually get

comments like this.

"I like it.

It minimizes UI and maximizes play area,

which is a good thing.

Also, who hates clean and uncluttered?

It's like hating IKEA for god's sake."

(audience laughs)

Right?

So, the tricky thing for us as a UI team and as developers

how do you reconcile both of those differing opinions?

It's like, what do you decide what to do next

when you have people saying opposite things?

And this is where I would encourage all of you

to really leverage your community team as much as you can.

Because they're gonna be the people next to you

that have the tightest connection to the players,

they have the best idea of the general sentiment

in terms of the player base,

in terms of the temperature, what people are feeling,

and they're gonna be able to guide you

towards the right direction.

And so that's exactly what we did, Rebecca,

we worked a lot closer, you and I,

with the community reading all of the comments

that they had on our first iteration.

We basically were able to take the HUD

from something like this

to what is now in game now today,

which looks something like this.

So this is taking into account all the feedback

we got back during the live streams, on the forums,

the work that you guys did on the community side

in terms of keeping us informed all the time.

And that's really where the value of this,

our collaboration today comes from.

Is that we have to work together to access the players

and really make their UX what they expect it to be.

- Indeed.

- Yeah, so, very exciting.

This has been here to this day,

it's been changing, we've made improvements along the way.

But it's really stood the test of time

in a sense of we're very happy with it

and can't thank the community enough

for their time and their generosity in helping us get there.

- Indeed, and there's been one section of the game's UI

that has seen even more change.

- That's right, so, that's the solar map.

- Yes, so if you don't play Warframe,

solar map really quickly is the gateway

to playing missions in Warframe.

It is the solar system in front of you,

you pick what planet, you pick what mission you wanna do,

so it is that gateway to actually engaging

in the shooting gameplay, the powersuits and everything.

But it's changed a lot, and we've made a lot of mistakes.

- So, it started off like this.

Rough, right? I can hear some of you laughing at me.

- [Rebecca] That was 5 years ago, it's fine.

- Honestly, the reason why we're showing this is because

honestly we believe really deeply that it is

totally acceptable, even encouraged,

to put rough content into the game.

This rough, yes.

It's scary, people are gonna rip you apart, absolutely.

But that's gonna allow you to then over time develop

and develop further.

And it's really difficult, I'm not gonna lie,

but you have to do it because it does something

that's so important in terms of your relationship

with the user and it sets expectations

that you are going to continually improve,

and that you are taking them along on a ride

to collaborate with you,

and to co-create what they want the game to be.

And so you see it's gone through quite a few iterations.

And players have stuck around with us through those,

and they really feel like they have a huge input,

and they do, and we hugely value that.

And what's interesting here is that

we had actually just launched on PS4 at this point.

Which is a complete paradigm shift,

going from mouse navigation to a joystick navigation.

And we were very frustrated

with this solar map in particular.

Lots of diagonal lines that are not the most easy

to navigate with a controller and so we said okay,

let's go back, start from the drawing board,

we're gonna do something that's awesome.

And we came up with this.

And we were so hyped internally.

Maybe a little bit too much,

and that's what we're gonna look at next.

We didn't really, honestly, do our due diligence

with presenting this to the community that we should

and we put it in game, and what happened?

- So, with this particular iteration of the solar map,

people liked it, a lot hated it, and no one really loved it.

It posed problems of no real progression.

How do I know what node leads to what?

And it really created a bad experience,

and the single gateway for people choosing

what they're gonna do, they didn't know what they were doing

and they didn't really know why they were doing it.

So it was a big problem.

- So, it took time for us to kind of,

because again we were so excited about this,

we really thought that it was gonna be the

be all end all and it was gonna be fantastic.

And so it took us time, it took us really seeing that

community user experience feedback that essentially

thousands of tears later as Kelsey in the crowd

can attest, thank you for all your work on this.

- Thanks Kelsey.

- We essentially arrived at something like this.

And this is really, it's a throwback to the segment system

that we had before that the players had been clamoring for,

and we've really seen engagement improved

since we've brought this back.

- It's true, we presented it on a dev stream,

what I would like to say a little more properly

because we invited people early on in its process

for the change, the background was actually originally white

and people didn't like that,

and we found out pretty quickly so we were able to rapidly

iterate and then release something that is really

a throwback to that original linear map of progression

and all these things that kind of guide people

through all the planets.

- So the big lesson from this is

you're gonna make mistakes, don't be afraid to take it

in a completely different direction if you're not

feeling that the community is liking it.

And especially don't be afraid to go back to something

that was working so well previously.

And this is, again, this is a very difficult thing to do.

Because you're basically, you have to put yourself into

question a lot and kind of put your pride aside

and really focus on what the community

drives you to do.

So, speaking of the next thing, this is gonna be a very

exciting section I think.

- He passes it over to me, because this is where my non

UI artist art enters the presentation.

So, it's all on me, if you don't like that.

But, this is the fair free-to-play portion of the talk.

It's really a lesson only a handful of slides.

And I think sometimes fair free-to-play is a little bit

of a paradox, and oxymoron, and we get that 'cause we

actually made mistakes early on,

which I'm gonna show you.

This was very very early Warframe,

and that beautiful red arrow, it's not Dorian's, it's mine,

that is pointing to a gold shaped item.

Our community lovingly calls it a potato.

And what that represents in Warframe's gameplay

is you can purchase power.

You can use money to become more powerful

than your co-operative squad mate.

Because again, we're talking co-operative gameplay here.

And people hated that.

Not only did the people that wouldn't spend money hate it,

as you'd expect, the people that were buying it and

supporting us said "I don't like this, it's unfair.

I don't want to be more powerful than someone

I'm playing my mission with."

so what did we do?

Well, we allowed you to build it.

We put a system in that if you were in the game

you could learn how to acquire these items

if you're on at the right time.

And over time we've actually added more ways

to earn these items to give you a free path.

We've put up long duration events

in game for you to get them.

And that's been great, it's been a lesson for us to remember

that this is actually the most important thing of all

if you want free-to-play to really be taken seriously,

I think, and we've continued that.

That's a lesson we've added to one of the more

controversial places I suppose, which is the market.

This is where you enter Warframe, it's free,

you go to the market and ta-da,

you can buy things in Warframe.

But we iterated on that interface a lot.

And what we did quite relatively recently in the 5 years

is we actually added a build tab to that marketplace,

again that red arrow is pointing to it.

And it's showing a player that may be about to

make a purchase that they don't have to.

They can build this, they can read the crafting requirements

and come up with a plan to earn it,

as opposed to paying for it.

And a player that does that is a huge,

they're just wonderful for the community 'cause

they've learned something, they are now a source

of information for a player who's engaged in Warframe,

but maybe can't afford it.

They wanna play it for free because that's what they can do

and someone that knows how to do the free-to-play path

to things can teach other players that.

- And it's something that seems really counter intuitive,

especially in a place like the market.

It seems counterintuitive until you think back to the graph

that we showed you at the very start,

where engagement is the most important thing.

So, the fact that people are invested in the game.

Everything else is positive in the world

is gonna happen as a result of engagement.

So it's not really about selling things, you know, dirtily.

We want players to have a good time,

and everything good will come as a result of that.

And we take that very seriously.

- It's true, and we propose that the Warframe

user experience for a player is made up of

these two things.

That the immersive experience, of course,

someone who's casting their powers with their warframe,

they're seeing someone dressed in gold looking really cool

in the game, that's a pretty cool sci-fi experience.

But there's also the social experience, pardon me,

this is when someone knows how to build something

in Warframe, this is when someone knows that DE

four years ago said they were never gonna do something,

and they remember that.

And the community becomes involved in this sort of

alive product that is this game as a service of Warframe.

- So onto the next section.

We're gonna talk a little bit more about that.

Is leveraging the corporate of user experience.

And I'd love to before passing this onto Rebecca

to kind of preface this with this notion that we had

very early on that complexity is a death sentence.

It's not the case, not in what we found.

Yes, it depends on where you place that complexity,

it depends on where you put the learning curves.

But there are actually lots of positives that come from

integrating a bit of complexity into your game.

For us, for example, players conquering difficulty in

the right place begets a huge sense of ownership.

It begets a sense of accomplishment for the user.

And secondly, in actually in terms of players socializing

together there's a positive on two fronts.

First of all, there are the people who are helping others,

whether they are hanging out in the global chat,

whether they are curating our Wikia page.

Which is actually one of the biggest

Wikia pages for games at the moment.

And something we were actually very against at first,

but we realized that hey,

we give these players a sense of ownership,

we make them feel like they're really actively

commuting to the community,

and we're gonna see huge dividends from their engagement

and their enjoyment and especially

passing that joy onto others.

And that's the second part of it.

Is people who are being helped by these awesome

community members they feel like they've entered

a really warm and welcoming community.

And that's gonna make them

feel really good about themselves.

- It's true, and in the same way that they teach other

players things they teach us a lot too

about what are the strongest reasons

for someone to play Warframe, why do they stay,

why do they like it?

And there's one system in our game that is

an explicit social system,

and that is the clan system.

So this is a clan screenshot of the Raw Steel clan,

they're a very popular clan, they're a great group of people

and they participate in this clan system.

This is an area that you can kind of build,

a space tree fort, and really it's...

what we see is the sooner you're in a clan,

the better things are in Warframe for you.

You stay longer, you play longer, you engage more.

- Great, so to finish things off, replicating the magic.

So we're in a very fortunate position

where we are actually, we have a very exciting new title

right now called The Amazing Eternals.

And this is a squad based, free-to-play first person shooter

set in a, as you can see, a really charming

pulp art style.

And we don't necessary believe in formulizing,

in the sense that you know when you're dealing with

such a long lifespan, you wanna keep things different,

you wanna keep things having character, you want novelty.

But there are a couple things that we have repeated

from our lessons on Warframe.

And one of those is obviously

our openness with the community.

So we've actually had our first dev stream already,

but stuff like this where we'll essentially

go onto the forums and do developer workshops.

And what I'd like to precise with this

is that this is not a process workshop,

this is not showing the community hey,

we've put this together, we're gonna show you what we did,

how we did it, et cetera, no.

It's not also just a marketing thing.

Yes, that's a part of it,

we want players to get excited about what's coming next.

But what this really is you can't see under the fold

but there is open conversation happening under there,

and it's really that's the most important thing

to consider about that is that this is an invitation

to the players to co-create the product

that they will have ownership of in the future.

- Alright, so we do need to wrap things up here on stage,

but so we're quickly gonna wrap up sort of

three things that we think

are take aways from this presentation.

But first is frequency over perfection.

We really like to iterate our game a lot.

670 updates speaks to that.

The second one is you know, we like to create citizens,

not fans, we kind of don't call our players fans

around the office 'cause to us they really

have much more of a stake than that.

Our stakeholders are out community,

and the last thing of course is nothing is ever final.

Iteration is everything.

I don't think we can say content is final in our game.

- No, this presentation however is,

so thank you so much for joining us--

- I don't know if we have time for questions,

but thank you everyone.

(audience applause)

I think we have time, we can do questions?

Okay, yeah, so if anyone--

- [Woman] A couple questions, yeah.

- A couple questions, great, so if anyone has any I think

the mics have not moved so that's good,

'cause that means I can point and it's true.

- [Woman] So, I'd love to know if you've ever been

in a situation where you've designed a feature

or a mechanic that maybe worked well in terms of usability,

but the community feedback wasn't great.

Have you ever run into that, and how did you react?

- For usability in the sense that like it felt good to do,

it was cool in the game?

- [Woman] Yeah, it was simpler interactions or maybe

visually something was easier to process.

- I mean this isn't UI,

but I feel like PvE vs PvP is a great example of that.

You know, I think that our PvE feature set is

really fun to play and some people really enjoy it,

but the user experience of our game,

their expectations, their expectations of a PvE game.

So I think that would be my example.

- And one other thing we did was we the solar map,

going back to that, we actually put...

They have resources on them, and we put them in

a different area that made the screen more clear

and you actually had to hover to see what was there,

so that actually still creates a bit of controversy

in the community, they kind of want it back to

everything on the screen at once,

when we're trying to simplify, so there's... yeah.

- [Woman] Thanks.

- Thank you. Hi.

- [Man] So, going back to what you guys were saying

about the free-to-play model,

is that you mentioned that engagement allows

a better incentive to purchase, or not to purchase.

So, what do you think are the other baby steps

in terms of developing a free to play game

that allows more engagement,

other than what you just mentioned?

- That's a good question.

- We've experimented a lot.

I think for us, when a player plays Warframe

and they love it, they love their Warframe,

and we added a really robust cosmetic system into the game

about a year into development.

So we started with sort of just color palettes,

that you can change your color customization.

And people love that, and we realized oh my goodness,

they really want to customize the way they look.

Free-to-play does this quite frequently,

maybe we should take a shot at it

and then we added what now I think is just kind of

pretty crazy customization system in Warframe,

so just looking to your peers

for examples of what's done, what's fair,

because of course for us it's all about fairness

and we've gone as far as to add in game currency trading,

so what you pay for on the currency side of things

you can actually trade for a free player.

So everything truly can be earned in game

if you have the trade economy to support it.

- I think that might also add that make sure players

are having a good time and they have a reason

to enjoy coming back every day.

And as I mentioned before,

everything good comes from that fact.

And that's really, you gotta start there in my opinion.

Make sure the player's having a good time,

and you'll see the benefits of that in many ways.

- [Man] Okay, thanks for your opinion guys.

- [Dorian] Thank you.

- [Rebecca] Howdy.

- [Man] Hi, thanks for a really interesting talk.

I just had a question, when you were iterating on the

solar map I was wondering if you had

members of the community come in and try and use it

and if so what you learned from that process?

- We didn't have anyone come in from the community

for that segment.

- And that's where we failed, I think, to be honest.

Are you talking about the console one?

- The rings?

- Yeah and that's honestly where a lot of our failure

came from is that we didn't do our due diligence there

and we certainly paid the price.

- Like it worked, it was functional,

so you know it was just a flavor thing.

And then an ultimate thing that we had to completely change.

- [Man] Cool, I actually asked because I was actually

one of those players that joined when you launched on PS4

and I just had some feedback,

I found the text too difficult to read because

it was so small from sitting in front of a television.

And just going forward, it might be something to consider

is bringing people into the studio to play the game

prior to release, prior to updates,

just because you'll find a lot of those sort of things

that people might not comment on in the forums,

but definitely affect the player experience.

- We did start a private test cluster

very soon after that to never make that mistake again.

So while the tile solar map didn't get focus tested,

we now have something set up.

So we learned very dramatically

from that particular experience to try

and set something up for that so yeah,

if you wanna talk after I can give you details on that.

- [Man] Cool, thanks very much.

- [Dorian] Fantastic, thank you.

For more infomation >> Game UX Summit '17 | Dorian Stewart & Rebecca Ford Digital Extremes | Community-driven UX - Duration: 30:02.

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Digital Media Minute: Remind - Duration: 1:45.

For more infomation >> Digital Media Minute: Remind - Duration: 1:45.

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TEC Digital: somos más que una plataforma - Duration: 1:23.

For more infomation >> TEC Digital: somos más que una plataforma - Duration: 1:23.

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Create a Digital Boardroom agenda: SAP Analytics Cloud (2017.20.2) - Duration: 6:34.

SAP Digital Boardroom enables us to leverage existing stories

to provide a view of business performance across an entire company

to board members, executives, and decision-makers in agendas and dashboards.

In this example, we will compile existing stories into an SAP Digital Boardroom agenda.

Note that the user creating agendas and dashboards in SAP Digital Boardroom

must be assigned the Boardroom Creator role.

All other individuals accessing the agenda or dashboard --

for example, the individual presenting the meeting -- must be assigned the Boardroom Viewer role.

First, we will take a quick look at one of the stories we want to include in our agenda to see how it is set up.

Ideally, pages that we want to use in an agenda or dashboard should be responsive,

meaning that they are formatted into horizontal and vertical lanes

that allow content to be rearranged when viewed on different devices.

Although canvas pages are supported, the viewing experience will not be optimal.

We have the option to make a page responsive when we create it,

and choose from multiple pre-defined responsive layouts.

We can also configure individual components in the story to act as widgets.

When we are presenting the story through the SAP Digital Boardroom agenda or dashboard,

these options allow us to open a chart in Explorer mode,

which means that we can allow users to change the dimensions and measures that are represented in the chart

on the fly, based on parameters we set here,

and enable sorting and ranking.

Note that there is also an option to set up alternative navigation

for stories used in the legacy format for SAP Digital Boardrooms agendas.

For tables, we can also enable the keyboard slider

so that users can change values when presenting an agenda or dashboard.

Now that we know how the story is set up, we can create our agenda.

In this example, we will create a new agenda in the Public folder for an Annual Review of corporate data.

Here, we can choose between two formats:

an agenda, which allows us to present the content in a traditional boardroom meeting structure;

or a dashboard, which allows us to explore the same data in a corporate steering dashboard.

In the new agenda, we can define the subtitle, location, and date for the meeting,

and choose whether it should be enabled for mobile devices.

Now we can start adding agenda items.

First, we will have a senior board member present a corporate overview at 8:00 AM.

Note that we can upload an image for the agenda item, such as a photo of the presenter.

We will navigate to a local file.

Once the details for the agenda item are set, we can add any topics.

Note that we can add topics in sequence

or nest them.

In this example, we are creating a topic for Corporate Insights.

To add pages to our topic, we need to load the stories to the Story Library.

Note that, when we import stories into the library,

only the responsive and canvas pages in those stories are available to be added to the agenda.

We can expand the story to see the pages in it,

and add individual pages

or all pages in a story.

Note that the pages within a topic can come from different stories, if desired.

We can repeat the same process for any other items we want to add to the agenda.

Here, we have added additional agenda items for Finance, Sales, and HR.

Note that we can also control how the agenda will look when it is presented. This includes choosing a theme,

and defining our preferences for layout,

display,

and the context menu.

Note that we must remove existing features from the context menu

if we want to replace them with new features.

Once the agenda is complete, we can save it and test what it will look like when presented.

For more details on how to present the agenda,

refer to the Present Digital Boardroom agendas and dashboards video tutorial.

Note that, from the main Digital Boardroom area, we can search for agendas and dashboards, refresh the list,

create new agendas or dashboards,

copy, edit, delete,

or share the selected agenda or dashboard and adjust the Sharing Settings.

Thanks for watching!

For more infomation >> Create a Digital Boardroom agenda: SAP Analytics Cloud (2017.20.2) - Duration: 6:34.

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The New Digital Citizenship: Empower Proactive Digital Learners - Duration: 2:04.

As an educator, you want your students to be good digital citizens.

To be kind, safe and secure online.

You want learners to become positive agents of change

to use their technology-driven powers to help make the world a better place

The new digital citizenship takes learners beyond the protective, to the proactive

To be a well-rounded digital citizen, each learner must be...

A digital agent

a digital agent uses technology to solve social problems and models compassion and kindness

85% of millennials believe they can make their world a better place.

and more than 80% want to give back to their community.

An effective digital citizen must also be a digital interactor

A digital interactor communicates with empathy and authenticity

Digital interactors collaborate with one another online and rigorously vet online sources

In a recent study, 80% of students mistook sponsored content ads for legitimate news

highlighting the urgent need for media literacy education and critical thinking skills

finally, learners must be empowered to develop their digital self

to cultivate their digital self, students must actively manage their digital identity

and property, while respecting the digital privacy and rights of others

only 47% of teens feel confident that they are doing everything they can

to protect their identity online

these are the three spheres of the new digital citizenship

society needs proactive, empathetic, and responsible citizens

As educators, you are on the front lines of this important work.

But you're not alone.

We can help you get started with ISTE Standards for Students

visit iste.org/StandardsForStudents to learn more.

For more infomation >> The New Digital Citizenship: Empower Proactive Digital Learners - Duration: 2:04.

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Go!Animate Network Analog switching off Digital mode - Duration: 1:21.

The awful life of rosie and daisy,saturdays at 7 p.m.

...on Go!Animate Network

We interup this program to give you a special report from Peynapple,the announcer of Go!Animate Network

This special news is dtv switchover,we are now live to Go!Animate Network transmitter

There is Eric on 8th floor

Hey guys,i'm in the 8th floor of Go!Animate Network transmitter room,its about time to switch the analog into digital

If you are see this message,i'm about to switch the analog to digital,if you still have an analog,it will turn snow and says no signal,which means,the analog is gone forever

If you have digital,you will continue watching Go!Animate Network,if you have a satellite cable,there is no rescanning and no signal

So,the moment we've all been waiting for,goodbye to analog and hello digital,lets count,5 4 3 2 1,thank you for watching Go!Animate Network

Yay 100% Digital

Well,there you have it guys,the analog is gone forever,now,we will continue our regulary schedule programming