302 Creating Captivateing Podcasts

Transcript

October 7 & 8, 2010 Integrating Media into Your e-Learning 302 Creating CAPTIVATEing Podcasts Jeff Blackman, The Methodist Hospital System   Podcast  Script                                 ©  2009  Teachers  College,  Columbia  University,   Program  in  Arts  Administration.     Table  of  Contents     WELCOME!.......................................................4   ABOUT  OUR  SPONSORS....................................5   ACCESSIBILITY  KEY............................................8   STOP  ONE.    Teachers  College  and  Macy  Gallery 9   STOP  TWO.    Riverside  Church ...........................13   STOP  THREE.    Alfred  Lerner  Hall .......................15   STOP  FOUR.    St.  Paul’s  Chapel ..........................20   STOP  FIVE.    Revson  Plaza..................................23   STOP  SIX.    History  of  Columbia  in  the  Arts ........30   STOP  SEVEN.    Avery  Architectural  and  Fine  Arts   Library..............................................................34   STOP  EIGHT.    Le  Marteleur ...............................36   STOP  NINE.  Scholar’s  Lion.................................39   STOP  TEN.  Barnard  College...............................41   Page  2   STOP  ELEVEN.  Low  Library  and  Alma  Mater......42   STOP  TWELVE.    Miller  Theatre  and  the  School  of   the  Arts ............................................................45   References .......................................................49   Page  3     Welcome!   Welcome!    The  following  is  a  guided  tour  of   Columbia  University’s  cultural  landmarks  that   showcases  the  university’s  contributions  to  the   worlds  of  sculpture,  architecture,  literature,  film,   the  stage,  and  more.       This  Podcast  was  sponsored  in  part  by  the  Arts   Initiative  at  Columbia  University.    This  funding  is   made  possible  through  a  generous  gift  from  The   Gatsby  Charitable  Foundation.    Also,  a  thank  you   to  Professor  Joan  Jeffri,  Director  of  the  Arts   Administration  program  at  Teachers  College,   Columbia  University,  and  the  students  and  alumni   in  the  program  in  Arts  Administration  for  creating   the  Columbia  Culture  Map.    Finally,  a  special   thanks  to  the  annual  sponsors  of  the  Columbia   Culture  Map  and  Student  Advocates  for  the  Arts.   This  tour  was  compiled  by  Jonathan  Rohner,  Justin   Goldberg,  Elizabeth  Sullivan  and  Shannon   Houston,  and  written/researched  by  Jonathan   Page  4   Rohner,  Eliana  Glicklich,  Arielle  Garber,  Rebekah   Beaulieu,  Sara  Oldknow,  and  Carla  Costa  in   conjunction  with  Student  Advocates  for  the  Arts.       If  you  need  accessibility  information  for  this  tour   and/or  would  like  to  view  references  for  the   information  given,  please  download  a  copy  of  the   accompanying  PDF  guide  to  this  Podcast.    A  large   print  option  is  also  available  should  you  require  a   larger  font  size.    Finally,  you  can  download  a   Spanish  and  Chinese  version  of  this  podcast,  and  a   Columbia  Culture  Map,  also  in  English,  Chinese,   and  Spanish,  to  accompany  you  on  this  tour  at   www.columbiaculturemap.com  .     About  Our  Sponsors   This  Podcast  is  sponsored  in  part  by  the  Arts   Initiative  at  Columbia  University,  the  Program  in   Arts  Administration  at  Teachers  College,  Columbia   University,  and  Student  Advocates  for  the  Arts.   Page  5     As  described  in  the  organization’s  mission   statement,  “The  Arts  Initiative  at  Columbia   University  is  President  Lee  C.  Bollinger's   pioneering  venture  to  make  arts  and  culture  a   meaningful  part  of  every  Columbian's  experience.   Its  diverse  programs  encourage  students,  faculty,   and  alumni  in  all  fields  to  generate,  study,  and   engage  the  creative  life  of  the  campus,  the  city,   and  the  wider  world.”   This  Podcast  was  funded  in  part  by  the  Arts   Initiative  at  Columbia  University.    This  funding  is   made  possible  through  a  generous  gift  from  The   Gatsby  Charitable  Foundation.       For  more  information,  please  visit:   www.cuarts.com  .       Page  6         The  Arts  Administration  program  at  Teachers   College,  Columbia  University  reflects  the   conviction  that  the  management  of  cultural   institutions  and  arts  organizations  requires   strategic  planning,  artistic  creativity  and  social   commitment.  The  arts  managers  capable  of   responding  to  the  challenges  and  responsibilities   of  the  arts  must  possess  integrated  management   and  financial  skills,  knowledge  of  the  artistic   process  in  which  they  are  involved,  and  sensitivity   to  the  dynamics  and  educational  needs  of  the   communities  they  serve.    For  more  information,   please  visit:  www.tc.columbia.edu/academic/arad.       Founded  by  students  in  the  Program  in  Arts   Administration  at  Teachers  College,  Columbia   University,  Student  Advocates  for  the  Arts  (SAA)  is   Page  7   a  grassroots  student  organization  dedicated  to   educating  on  and  advocating  for  public  policy   affecting  the  arts  in  the  United  States.    Acting  as  a   conduit,  SAA  unifies  and  mobilizes  a  large  body  of   advocates  to  bring  about  positive  change  in  the   arts  sector.    SAA  provides  a  platform  for  students   to  engage  in  open  discussion  about  arts  advocacy   issues  allowing  them  to  participate  as  active   citizens  in  the  democratic  process.    For  more   information,  please  visit:   www.StudentAdvocatesForTheArts.org  .     Accessibility  Key          Wheelchair  Accessible                                                                  Stairs              Accessible  Restroom                  Accessible  Elevator   Page  8     Stop  One.    Teachers  College  and  Macy  Gallery     Please  begin  this  tour  in  front  of  the  main  steps  of   Teachers  College,  Columbia  University.      These   steps  are  on  the  north  side  of  120th  street,   between  Broadway  and  Amsterdam,  in  front  of   Zankel  Hall.       You  are  standing  in  front  of  Columbia  University's   graduate  school  of  education,  Teachers  College.     Teachers  College  is  one  of  the  oldest  schools  of   education  in  the  country  and  home  to  the  Macy   Art  Gallery.    Originally  set  within  what  was  known   as  the  Macy  Manual  Arts  Building,  the  Macy  Art   Gallery  has  been  presenting  public  art  exhibitions   Page  9   since  1895.    The  Macy  building  is  named  for  Mr.   Josiah  Macy,  whose  wife  had  the  building   constructed  in  her  husband's  honor  in  the  early   1890s.   The  first  exhibition  at  Macy  Gallery  was  launched   shortly  after  the  Manual  Art  and  Form  and  the   Drawing  and  Color  departments  merged  to  form   the  Manual  Training  and  Art  Education   department.    The  exhibition  opened  on  May  18th,   1895  and  presented  art  work  from  both   departments  including  design,  carpentry,   mechanical  drawings,  casting,  and  ornamental   stoves.    Since  then,  the  gallery  has  sponsored   hundreds  of  art  exhibitions  and  has  truly  become   an  integral  part  of  the  campus  arts  community.   Today,  the  Macy  Art  Gallery,  which  is  now  part  of   the  Art  and  Arts  Education  Program,  exhibits   artworks  from  a  variety  of  different  media,  such  as   painting,  ceramics  and  photography  by  national   and  international  artists,  students  and  faculty   members  of  Teachers  College  and  children  from   local  schools  such  as  the  Bank  Street  School  For   Page  10   Children,  the  Rita  Gold  Early  Childhood  Center  and   the  Frank  Sinatra  High  School.    The  gallery's   mission  is  "to  present  a  wide  range  of  exhibitions   from  around  the  world  reflecting  the  commitment   of  Teachers  College  to  cultural  diversity  in   education  and  the  arts".  The  gallery  is  also  a  forum   for  scholarly  symposia  focusing  on  cutting  edge   research  in  the  education  of  the  artist.   Teachers  College  is  also  the  home  of  the  Arts   Administration  program.    The  program  represents   an  alliance  of  four  disciplines:  arts,  education,   business  and  law.    It  is  designed  to  help   professionals  meet  the  challenges  of  the  next   decade:  these  challenges  include  questions  about   the  long-­‐term  health  of  arts  organizations,  their   missions,  governance  and  management,  sources   of  income  and  tax  regulations.    Such  issues  as   freedom  of  expression,  First  Amendment  rights,   censorship  and  government  intervention  in  the   arts  have  important  implications  for  international,   educational  and  cultural  policy,  and  are  integral  to   the  Program.    With  close  to  three  decades  of   Page  11   experience  training  students  from  all  over  the   world,  the  Program  in  Arts  Administration  at   Teachers  College,  Columbia  University  is  proud  of   its  talented  community  of  policy  makers,  funders,   record  moguls,  museum  directors,  festival   coordinators,  gallery  owners,  marketing  and   development  directors,  heads  of  finance,   education,  and  television  and  film  producers.   Attendees  of  Teachers  College  have  included   painters  Agnes  Martin,  Ad  Reinhardt  and  Georgia   O‘Keeffe.     Please  use  the  following  directions  to  reach  our  next  stop:     Estimated  Time:    2  minutes,  45  seconds     •     •     Go  west  along  120th  street,  continuing  past  Broadway  to   the  northeast  corner  of  120th  Street  and  Claremont   Avenue   Face  northwest,  looking  up  at  the  main  tower  of  Riverside   Church             (Accessible  restrooms  are  provided  in  Teachers  College  on  the   entrance  levels  in  Thompson,  Zankel,  Grace  Dodge  Halls,  and   Milbank  Memorial  Library)   Page  12       Stop  Two.    Riverside  Church     You  are  now  standing  in  front  of  one  of  the  best   examples  of  neo-­‐Gothic  architecture  in  the  United   States.    Riverside  Church  was  built  in  1930  as  an   interdenominational  church,  with  major  financing   by  John  D.  Rockefeller,  Jr.  and  inspiration  from   European  cathedrals  –  the  nave  is  based  on  13th   century  Gothic  architecture.    The  bell  tower   houses  74  bronze  bells,  one  of  which  is  the  largest   in  the  world,  weighing  20  tons.    Riverside  Church  is   also  notable  for  the  remarkable  speakers  who   have  given  lectures  and  sermons  within  its  walls,   including  Martin  Luther  King,  Jr.,  Nelson  Mandela,   and  Barack  Obama.    Also  be  sure  to  look  for  the   Page  13   massive  organ  and  the  four  paintings  by  German   artist  Heinrich  Hofmann.   Columbia  Stages  is  the  producing  arm  of  the  Oscar   Hammerstein  II  Center  for  Theatre  Studies  of   Columbia’s  School  of  the  Arts.    Columbia  Stages   presents  a  season  of  graduate  actor  and  director   productions  as  well  as  an  annual  festival  of  new   plays  by  emerging  playwrights  here  at  the   Riverside  Theatre,  located  within  the  Church.     Please  use  the  following  directions  to  reach  our  next  stop:     Estimated  Time:    7  minutes     •   •       •   Go  east  along  120th  street,  traveling  to  the  east  side  of   Broadway   At  the  northeast  corner  of  Broadway  and  120th  Street,   turn  south  and  follow  Broadway  down  to  the  main  gate  of   Columbia  University,  found  between  117th  and  116th   Streets   Turn  left  onto  College  Walk.    On  the  first  path  to  the  right,   take  the  path  south  until  you  reach  Alfred  Lerner  Hall               (All  restrooms  in  Lerner  Hall  are  accessible)     Page  14     Stop  Three.    Alfred  Lerner  Hall     Our  third  stop  is  Alfred  Lerner  Hall,  a  center  of   activity  for  students,  faculty,  staff,  and  alumni  on   Columbia  University’s  Morningside  campus.     Lerner  Hall  was  completed  in  1999  and  replaced   Ferris  Booth  Hall,  which  was  constructed  in  the   1950s  and  served  as  the  center  of  student  life  for   nearly  40  years.    Designed  by  Bernard  Tschumi   Architects  and  Gruzen  Samton  Architects,  Lerner   Hall  includes  two  distinct  parts  to  signify  both   continuity  with  the  original  features  of  the  campus   and  ultra-­‐modern  revisioning  of  these  earlier   themes.    The  5,600-­‐square-­‐foot  glass  campus   facade  embodies  the  central  themes  for  the   Page  15   building:  accessibility,  visibility,  and  an  open,   welcoming  space  in  which  students  can  interact   both  spontaneously  and  intentionally.    Lerner  Hall   provides  event  space,  dining,  computer  labs,   mailboxes,  and  student  and  administrative  offices.   Conceived  in  2004  by  Columbia  University   President  Lee  C.  Bollinger  and  directed  by  former   theatre  director  and  producer  Gregory  Mosher,   the  Arts  Initiative  at  Columbia  University  aims  to   make  the  arts  and  culture  a  part  of  the   educational  experience  of  all  members  of  the   Columbia  community.    From  discounted  Broadway   tickets  to  a  sortable  list  of  all  arts-­‐related  student   organizations—graduate  and  undergraduate—to  a   centralized  calendar  of  most  major  campus   events,  you  can  find  your  24/7  campus  culture   connection  at  the  Arts  Initiative’s  website,   www.cuarts.com  .   Lerner  Hall  houses  the  Arts  Initiative’s  Ticket  and   Information  Center,  or  TIC.    The  TIC  is  your  one-­‐ stop-­‐shop  for  tickets  to  arts  and  culture  events  on   and  off  campus.    It  also  sells  cheap  movie   Page  16   vouchers,  and  the  staff  will  answer  any  question   you  have  about  the  arts  on  campus  or  in  NYC.   In  addition  to  the  TIC,  the  Arts  Initiative  sends  out   a  weekly  e-­‐newsletter,  offers  arts  grants  for   individual  students  and  student  organizations   through  the  Gatsby  Charitable  Fund,  provides  for   free  museum  entry  with  a  student  CUID  to  over  30   major  cultural  institutions  in  New  York  City,  and   runs  the  Columbia  Alumni  Arts  League,  a   membership  program  for  alumni  that  includes   discounts  and  special  benefits  to  over  50  New  York   City  cultural  organizations.   The  Black  Box  Theater,  located  on  the  sixth  floor   of  Lerner  Hall,  seats  104  people  in  three  different   seating  configurations.    During  the  year  it  is   reserved  for  student  productions  but  is  rented  in   summer  months  for  outside  companies  and   events.    The  black  box  was  created  in  response  to   demand  from  undergraduates  who  needed  a   performance  space  of  their  own.    The  studio  plays   host  to  many  undergrad  performing  arts  groups.   Page  17   The  Roone  Arledge  Cinema  seats  306  people  in   fixed  stadium  seating.    While  it  often  plays  host  to   events  and  lectures,  the  hall  is  equipped  with   state-­‐of-­‐the  art  projection  equipment  and  is  an   excellent  place  for  Columbia  to  showcase  budding   filmmakers.  The  cinema  and  the  adjoining   auditorium  are  named  for  sportscaster  and   chairman  of  ABC  News  Roone  Arledge.   Columbia’s  radio  station,  WKCR  Radio,  also  calls   Lerner  Hall  home.    The  radio  station  was  created   in  the  early  1900s  by  a  group  of  students  who   were  excited  about  radio  technology.    The  station   operated  as  an  academic  entity  until  1968,  when   students  protested  and  programming  changed  to   involve  talk  radio  and  all  forms  of  music  including   pop,  jazz  and  classical.    The  radio  station  features   state-­‐of-­‐the  art  equipment  and  a  recording  studio,   making  live  recordings  one  of  the  highlights  of  this   historic  station’s  capabilities.       Page  18   Please  use  the  following  directions  to  reach  our  next  stop:     Estimated  Time:    2  minutes,  45  seconds     •   Please  go  north  towards  the  center  of  campus  and   proceed  up  the  long  set  of  stairs  to  Low  Library   • Once  at  the  library,  turn  right  and  then  turn  left  in  front  of     the  brick  building  (the  Maison  Française  or  French  House)       • Past  the  French  House,  on  the  right  you  will  see  St.  Paul’s     • You  may  enter  if  the  Chapel  is  accepting  visitors            Accessible  Route:     • From  Lerner  Hall,  go  north  towards  the  center  of  campus     • When  you  reach  College  Walk,  turn  right,  and  follow  the   path  east  until  you  reach  the  backside  of  Kent  Hall     •   Enter  Kent  Hall  using  the  accessible  entrance,  and  use  the   elevator  to  reach  the  3rd  floor   • Exit  the  elevator  and  use  the  front  (main)  entrance  ramp     to  Kent  Hall  to  exit     • Turn  left,  and  make  your  second  right     • Past  the  French  House,  on  your  right  you  will  see  St.  Paul’s     • Go  around  the  west  side  of  the  small  brick  building  (the     Miason  Française  or  French  House)       • You  may  enter  if  the  Chapel  is  accepting  visitors             Page  19   (Accessible  restrooms  are  not  provided  in  St.  Paul’s  Chapel)     Stop  Four.    St.  Paul’s  Chapel     Welcome  to  St.  Paul's  Chapel!    Columbia   University  is  the  oldest  institution  of  higher   education  in  the  State  of  New  York,  and  the  fifth   oldest  in  the  United  States.    It  was  established   under  a  royal  charter  from  George  II  in  1754  as   King's  College,  an  Anglican  institution,  for  the   purpose  of  providing  "the  Instruction  and   Education  of  Youth  in  the  Learned  Languages  and   the  Liberal  Arts  and  Sciences."    From  Columbia’s   inception,  a  house  of  worship  was  integral  to   campus  life  and  planning.    St.  Paul’s  Chapel  was   Page  20   built  in  1904,  twelve  years  after  the  upper   Manhattan  home  was  established,  through  the   generous  contributions  of  the  Stokes  sisters.    In   1966,  the  chapel  was  among  the  first  buildings   designated  an  official  landmark  by  the  New  York   City  Landmarks  Preservation  Commission.       Today  the  chapel  serves  as  the  center  of  spiritual   life  on  campus  as  well  as  provides  a  unique  space   in  which  art  flourishes!    Music  at  St.  Paul's  includes   a  variety  of  performances  of  sacred  music  in  St.   Paul's  Chapel  as  well  as  performances  by  stellar   musicians  from  the  New  York  City  community.     Additionally,  the  basement  of  St.  Paul’s  hosts  the   Postcrypt  Art  Gallery,  a  student-­‐run  organization   designed  to  provide  student  artists  and  curators   with  the  opportunity  to  create,  curate,  and  exhibit   their  work.           Page  21     Please  use  the  following  directions  to  reach  our  next  stop:     Estimated  Time:    1  minute,  15  seconds   • When  you  exit  the  Chapel,  go  to  your  left  and  then  take   another  immediate  left  past  the  Maison  Française  or     French  House     • As  you  go  straight,  you  will  come  to  a  footbridge  which     will  take  you  to  Revson  Plaza,  our  next  stop         •   •        Accessible  Route:   When  you  exit  the  Chapel,  go  south  around  the  west  side   of  Maison  Française  or  French  House   Turn  left,  go  south,  and  then  make  another  left  to  reach   Kent  Hall   • Go  through  the  accessible  main  entrance  ramp,  and  take     the  elevator  down  to  the  2nd  floor     •     • Exit  the  back  of  Kent  Hall  onto  College  Walk.    Turn  left  and   go  east  through  the  gate  and  across  the  street  to  Jerome   Greene  Hall  (Columbia  Law  School  Law  building  at  116th   and  Amsterdam  Avenue)     Keep  going  east  until  you  reach  the  main  entrance  to   Jerome  Greene  Hall     • From  the  elevator,  turn  right  and  go  down  the  hall  to  the   • Go  through  the  main  entrance  and  take  an  elevator  to  the     3rd  floor   Page  22   last  set  of  double  doors  on  your  right   • Use  the  wheelchair  lift  to  reach  the  next  level  down   • If  you  have  a  Columbia  ID  card,  access  to  use  the  lift  can   be  requested  from  the  Office  of  Disability  Services  at  (212)   854-­‐2388   • If  you  are  a  visitor  to  Columbia,  you  will  need  assistance   from  Public  Safety  at  (212)  854-­‐2797   • Turn  right,  and  go  straight  until  you  reach  the  glass  door   that  leads  to  Revson  Plaza.                 (Accessible  Restrooms  are  provided  in  Jerome  Greene  Hall  on   the  100  and  300  levels)   Stop  Five.    Revson  Plaza     Page  23   Our  next  stop  is  on  Revson  Plaza,  which  connects   Columbia’s  main  campus  with  the  Law  School  and   SIPA,  the  School  of  International  and  Public  Affairs.     As  you  can  see,  the  plaza  is  built  on  a  bridge  which   spans  the  width  of  Amsterdam  Avenue.    We  will   look  at  two  sculptures  in  the  plaza,  the  first  of   which  is  Bellerophon  Taming  Pegasus  by  Jacques   Lipchitz.    Lipchitz  was  approached  by  the  Law   School  in  1964  to  create  a  work  of  art  for  the   campus.  The  artist  replied,  “Don’t  expect  a  blinded   lady  with  scales  and  all  those  things  from  me.  I  will   try  to  think  of  something  else”.  The  result  is  the   23-­‐ton  bronze  sculpture  Bellerophon  Taming   Pegasus  above  the  west  entrance  of  Jerome   Greene  Hall.    Measuring  approximately  30  by  28   feet,  it  is  one  of  New  York  City’s  largest  outdoor   sculptures.   Lipchitz’s  sculpture  depicts  the  Greek  hero   Bellerophon  wrestling  with  the  winged  horse   Pegasus.    In  Greek  mythology,  Bellerophon  tames   Pegasus  with  a  golden  bridle  from  the  goddess   Athena  and  with  the  horse’s  help  accomplishes  a   Page  24   series  of  tests  Zeus  assigns  to  him.    According  to   Lipchitz,  the  story  of  Bellerophon  represents  the   dominance  of  man  over  nature.  He  said,  “You   observe  nature,  make  conclusions,  and  from  these   you  make  rules…and  law  is  born  from  that.”     Commissioned  in  1966,  Bellerophon  took  eleven   years  to  arrive  in  Morningside  Heights.     Enlargements  made  in  1969  from  plaster  casts   were  not  approved  by  Lipchitz,  who  started  the   project  over.    After  his  death  in  1973,  work   continued  at  a  foundry  in  Pietrasanta,  Italy.    Four   years  later,  the  sculpture  was  transported   overseas  in  pieces  and  brought  up  the  East  River.     Installation  on  the  Law  School  campus  took  place   six  days  later,  and,  after  final  work  on  the   structural  details  was  complete,  a  dedication   followed  on  November  28,  1977.    The  Law  School   community  has  interpreted  the  sculpture  in  a   variety  of  ways.    At  the  installation  ceremony,  one   professor  said,  “That  looks  like  me  trying  to  teach   criminal  law.”   Page  25   At  the  northwest  corner  of  Revson  Plaza  is   Tightrope  Walker  by  Kees  Verkade.    Artist  Kees   Verkade  created  this  sculpture  as  a  memorial  for   General  William  J.  Donovan,  Class  of  1907.    For   inspiration  he  watched  archived  films  of  the  war   hero  and  interviewed  his  colleagues.    With   Tightrope  Walker,  Verkade  meant  to  portray   Donovan’s  courage  and  “controlled  daring.”   “Wild  Bill”  Donovan  as  the  General  was  known,  is   considered  to  be  the  father  of  the  modern   American  intelligence  service.    He  earned  the   Congressional  Medal  of  Honor  in  World  War  I.     After  the  U.S.  entered  World  War  II,  Donovan   became  head  of  the  Office  of  Strategic  Services,   the  forerunner  to  the  Central  Intelligence  Agency.     When  Donovan  died  in  1959  at  age  76,  he  had   received  the  nation’s  four  highest  decorations.     Looking  south  of  the  plaza,  down  Amsterdam   Avenue,  you  might  be  able  to  spot  the  unfinished   tower  of  the  Cathedral  of  St.  John  the  Divine.    St.   John’s  is  the  fourth  largest  Christian  church  in  the   world.    Construction  began  in  1892,  but  it  remains   Page  26   unfinished  even  today,  with  construction  and   restoration  a  continuing  process.   Looking  north  on  Amsterdam  Avenue,  you  can   spot  the  neo-­‐Renaissance  style  palazzo  of  the  Casa   Italiana,  or  Italian  house.    Casa  Italiana  is  home  to   The  Italian  Academy  for  Advanced  Studies  in   America  at  Columbia  University.    The  palazzo  was   originally  designed  and  built  in  1927  by  the  well-­‐ known  architectural  firm,  McKim,  Mead  and   White.       Casa  Italiana  offers  a  200-­‐seat  theater,  salon,   library,  conference  room,  exhibition  space,  studios   and  offices.    Each  room  takes  on  its  own  character   with  elegant  details  such  as  coffered  ceilings,   chandeliers,  parquet  floors  and  deep  red  curtains.     Today,  The  Italian  Academy  provides  the   opportunity  for  scholars  to  practice  advanced   research  in  Italian  culture,  science  and  society.     The  Italian  Academy's  Fellowship  program  for  arts   and  neurosciences  and  the  Premio  New  York  (New   York  Prize)  for  outstanding  work  in  visual  arts  are   just  two  of  its  respected  endeavors.   Page  27     Please  use  the  following  directions  to  reach  our  next  stop:     Estimated    Time:    1  minute,  30  seconds     • Cross  back  over  the  bridge  onto  the  main  campus     • Please  stop  to  hear  about  Columbia  University's  history  in   the  arts   • Proceed  directly  to  the  rounded  bench  directly  across     from  St.  Paul's  Chapel           Accessible  Route:     •   •   Go  back  to  the  accessible  glass  door  in  the  southeast   corner  of  Revson  Plaza   Enter  through  this  door,  and  go  straight  to  the  end  of  the   hallway,  and  turn  left   • Use  the  wheelchair  lift  to  reach  the  next  level  up     •     •   If  you  have  a  Columbia  ID  card,  access  to  use  the  lift  can   be  requested  from  the  Office  of  Disability  Services  at  (212)   854-­‐2388   If  you  are  a  visitor  to  Columbia,  you  will  need  assistance   from  Public  Safety  at  (212)  854-­‐2797   • Go  through  the  set  of  double  doors,  and  turn  left  until  you     reach  the  elevators     • Take  the  elevators  to  the  first  level  and  exit  the  main   Page  28   entrance  of  Jerome  Greene  Hall   • Turn  right  and  walk  west  across  the  street  and  through   the  gate  to  the  back  of  Kent  Hall  off  of  College  Walk   • Enter  Kent  Hall  and  use  the  elevator  to  reach  the  3rd  floor   • Exit  the  elevator  and  use  the  front  (main)  entrance  ramp   to  Kent  Hall  to  exit   • Turn  left,  and  make  your  second  right   • Go  around  the  west  side  of  the  small  brick  building  (the   Miason  Française  or  French  House)   • Past  the  French  House,  on  your  left  will  be  a  rounded   bench  directly  across  from  St.  Paul's  Chapel   • Please  stop  to  hear  about  Columbia  University's  history   in  the  arts                   Page  29     Stop  Six.    History  of  Columbia  in  the  Arts     The  Beat  generation,  a  group  of  bohemian,   alienated  youths  who  rejected  traditional  social   and  artistic  forms,  got  started  at  Columbia  with  a   chance  meeting  in  1943  between  two  freshman   floor-­‐mates,  Allen  Ginsberg  and  Lucien  Carr.    Carr   introduced  Ginsberg  to  Jack  Kerouac  who,  in  turn,   introduced  Ginsberg  to  William  S.  Burroughs  and   John  Clellon  Holmes.    Ginsberg  and  Kerouac  were   students  of  legendary  professors  Mark  Van  Doren   and  Lionel  Trilling.    Kerouac's  novel  On  the  Road   Page  30   and  Ginsberg's  poem  Howl  were  two  critically   acclaimed,  famous  works  to  have  been  born  in  the   Beat  movement.   Columbians  also  founded  four  major  American   publishing  houses:    Clifford  Brace  and  Alfred   Harcourt  founded  Harcourt  Brace  and  Company,   now  Harcourt,  Inc.;  Bennett  Cerf  founded  Random   House,  Alfred  Knopf  founded  Alfred  A.  Knopf   Publishers,  which  is  now  part  of  Random  House,   Inc.;  and  Richard  Simon  and  Max  Schuster  founded   Simon  and  Schuster.    Columbia’s  Graduate  School   of  Journalism  was  founded  by  Joseph  Pulitzer,  and   Columbia  University  is  home  to  the  Pulitzer  Prize,   which  has  rewarded  outstanding  achievement  in   journalism,  literature  and  music  for  over  a  century.   Jacques  Barzun,  the  celebrated  historian  and   education  writer,  had  a  life-­‐long  affiliation  with   Columbia.    After  graduating  top  of  his  class  from   Columbia  College  in  1927,  Barzun  went  on  to  serve   as  a  professor  and  Dean  of  Graduate  Faculties,   and,  later,  to  serve  as  Provost  of  the  University.    At   84,  Barzun  began  writing  his  most  acclaimed  work,   Page  31   From  Dawn  to  Decadence,  which  became  a  New   York  Times  bestseller.   The  American  composer  Jack  Beeson  was  also  a   professor  at  Columbia,  serving  as  the  MacDowell   Professor  Emeritus  of  Music  and  associating  with   the  Columbia  Theatre  Associates.    Best  known  for   his  operas,  Beeson  wrote  Lizzie  Borden,  Hello  Out   There!  and  The  Sweet  Bye  and  Bye.       Art  Garfunkel,  Herman  Wouk,  Ira  Gershwin,  and   many  other  influential  arts  alumni  were  also   affiliated  with  Columbia.   Columbia  is  also  home  to  the  oldest  center  for   Electroacoustic  music  in  the  country.    Founded  in   1958,  and  originally  known  as  the  Columbia-­‐ Princeton  Electronic  Music  Center,  today  the   Computer  Music  Center  conducts  research,   teaches  courses,  gives  concerts,  and  holds  many   other  events  to  explore  the  relationship  between   technology  and  the  arts.   Serving  as  Columbia’s  oldest  performing  arts   tradition,  The  Varsity  Show,  is  an  annual   Page  32   performance  in  April  that  attracts  students  from   across  the  University  to  put  on  a  full-­‐length  show   that  speaks  to  life  at  Columbia.    Started  in  1894,   alumni  include  Lorenz  Hart,  I.A.L.  Diamond,   Richard  Rogers,  and  Oscar  Hammerstein.     Please  use  the  following  directions  to  reach  our  next  stop:     Estimated  Time:    45  seconds     •   Proceed  north  to  the  upper  part  of  the  Columbia   Morningside  campus   • Go  straight  until  you  reach  Avery  Hall,  home  to  the     Architectural  and  Fine  Arts  Library,  on  your  right     • You  may  enter  the  building  if  you  like               (Accessible  restrooms  are  provided  on  the  main  level  of  Buell   Hall)               Page  33     Stop  Seven.  Avery  Architectural  and  Fine  Arts   Library     Located  in  Avery  Hall,  the  Avery  Architectural  and   Fine  Arts  Library  is  one  of  twenty  five  libraries  on   the  Columbia  campus,  and  is  the  largest   architectural  library  in  the  United  States.     Collections  include  books  and  periodicals  in  art   history,  sculpture,  painting,  decorative  arts,   architecture,  photography,  historic  preservation,   and  archaeology.    These  collections  are  vast  and   include  materials  from  Francesco  Colonna's   Page  34   Hypnerotomachia  of  1499  to  a  Frank  Lloyd  Wright   collection.   One  of  the  most  important  programs  of  the  library   is  the  Avery  Index  to  Architectural  Periodicals.     First  begun  in  1934,  this  includes  article  citations   for  architectural  design  and  history,  garden   history,  urban  planning  and  design,  historic   preservation,  landscape  architecture,  real  estate   development,  interior  design,  environmental   studies,  archaeology,  and  furniture  and  decorative   arts.       The  building,  including  the  historic  reading  room   on  the  first  level  of  the  library,  was  designed  by   the  architectural  firm  McKim,  Meade,  and  White,   which  also  designed  the  master  plan  of  the   Columbia  Morningside  Campus.       Page  35     Please  use  the  following  directions  to  reach  our  next  stop:     Estimated  Time:    1  minute     •   From  Avery  Hall,  continue  traveling  north   • You  will  go  past  Uris  Hall,  home  of  Columbia's  Graduate   School  of  Business,  on  your  left     •   Keep  going  straight  until  you  see  the  Le  Marteleur   sculpture  in  front  of  Mudd  Hall               (Accessible  restrooms  are  in  Mudd  Hall  on  the  400  level)       Stop  Eight.  Le  Marteleur     Page  36   Le  Marteleur,  or  The  Hammersmith,  as  it’s   translated,  by  Constantin  Meunier  is  a  bronze  cast   of  one  of  Meunier’s  most  famous  works.    The   sculpture  depicts  a  pincerman,  a  19th  century   laborer  who  used  giant  pincers  to  grasp  bars  of   hot  metal.    The  Hammersmith  was  originally   installed  in  front  of  Lewisohn  Hall,  home  to  the   United  States’  first  school  of  mining  and   metallurgy.    In  1864  it  became  Columbia’s  School   of  Engineering  &  Applied  Sciences  and  the   sculpture  was  moved,  along  with  the  department,   to  its  home  here  on  Seeley  Mudd  Terrace.   By  the  time  Meunier  was  more  than  60  years  old   he’d  built  a  career  on  paintings,  drawings,  and   glasswork,  mainly  consisting  of  religious   commissions.  Devastated  by  the  death  of  his  sons   through  various  illnesses,  Meunier  took  a  break   and  traveled  through  his  native  Belgium  where  he   saw  The  Black  Country,  the  heavily  populated   industrial  areas  smothered  in  the  smoke  of   metalworking  centers.    Meunier  was  overwhelmed   with  inspiration,  and  upon  returning  to  Brussels  he   Page  37   began  the  sculptures  that  would  compose  his   Monument  to  Labor  series,  of  which  The   Hammersmith  is  a  piece.    Looking  at  the  work  of   artists  like  Diego  Rivera  it’s  easy  to  see  how  works   like  The  Hammersmith  continued  to  influence  the   realist  movement  during  the  first  decades  of  the   20th  century  both  in  the  U.S.  and  abroad.     Please  use  the  following  directions  to  reach  our  next  stop:     Estimated  Time:    2  minutes     • From  the  Le  Marteleur  sculpture,  head  west     • On  the  west  side  of  Uris  Hall,  go  south     • Stop  at  the  lion  sculpture   • You  will  pass  the  curved  backside  of  Uris  Hall,  home  of     Columbia's  Graduate  School  of  Business,  on  your  left       • You  should  see  the  lion  sculpture  directly  ahead  of  you                       Page  38     Stop  Nine.  Scholar’s  Lion     The  Scholar's  Lion,  given  to  the  University  in  2004   by  a  group  of  alumni  including  the  sculptor  Greg   Wyatt,  might  look  familiar  to  you.    After  briefly   studying  journalism  at  Columbia  in  1917,  Howard   Dietz  became  vice  president  for  advertising  and   public  relations  for  the  Goldwyn  Pictures   Corporation,  later  MGM,  where  he  adopted  the   Columbia  Lion  for  the  studio's  logo.    Possibly   inspired  by  the  University's  fight  song,  "Roar,  Lion,   Roar!",  the  Goldwyn  lion's  debut  roar  was   delivered  by  phonograph  on  July  31,  1928,  at  the   Page  39   beginning  of  the  silent  movie  White  Shadows  of   the  South  Seas.   Columbia  University's  campus  has  also  appeared   in  many  films,  including  Spider-­‐Man,  where  Peter   Parker  attains  his  powers  after  being  bitten  by  a   radioactive  spider  in  a  laboratory  at  Columbia   University;  Ghostbusters,  where  Bill  Murray  and   Dan  Aykroyd  conceive  their  ghostbusting  plan  on   the  steps  of  Low  Memorial  Library;  and  A  Beautiful   Mind,  the  scene  in  which  John  Nash  writes   equations  on  the  library  window.       Please  use  the  following  directions  to  reach  our  next  stop:     Estimated  Time:    1  minute     •       From  the  lion  sculpture,  go  to  the  right,  or  west,  until  you   reach  an  overlook  to  Barnard  College         Page  40     Stop  Ten.  Barnard  College     Barnard  College,  the  all-­‐female  undergraduate   college  of  Columbia  University,  houses  an   exceptional  dance  program  that  is  integrated  with   a  liberal  arts  curriculum.  Many  critically  acclaimed   performances  take  place  here  on  campus  and  at   various  venues  throughout  the  city  during  the   school  year.    Barnard  is  also  home  to  a   distinguished  music  department  and  theatre   department.   Barnard  College  has  many  distinguished  alumnae,   including  actress  Cynthia  Nixon  from  Sex  in  the   City;  singer/songwriter  Suzanne  Vega;  Sheila   Nevins,  executive  director  of  programming  for   Page  41   HBO;  and  modern  dance  choreographer  Twyla   Tharp.     Please  use  the  following  directions  to  reach  our  next  stop:     Estimated  Time:    2  minutes,  45  seconds     •   •   •     Go  back  to  the  Scholar’s  Lion  sculpture  and  turn  right,  or   south,  back  toward  the  center  of  campus   Go  south  around  the  west  side  of  Low  Library   Turn  left  and  continue  going  straight  until  you  are  at  the   seated  statue  in  front  of  Low  Library         Stop  Eleven.  Low  Library  and  Alma  Mater     Page  42   Low  Memorial  Library  was  completed  in  1897  and   served  as  Columbia’s  main  library  through  1934.     Built  in  the  classical  style,  this  building  houses  the   offices  of  the  President  and  the  Provost.    Low’s   rotunda  is  distinguished  by  its  dome,  the  largest   all-­‐granite  dome  in  the  United  States.    The  rotunda   formerly  served  as  the  Library’s  main  reading   room.    It  is  now  used  for  exhibitions  and  major   University  events.   Next,  we’ll  turn  our  attention  to  the  Alma  Mater   statue.    Harriette  W.  Goelet  commissioned  Daniel   Chester  French  to  make  a  memorial  to  her   husband,  Robert,  who  graduated  from  Columbia   University  in  1860.    Design  of  the  statue  (in   bronze,  on  a  marble  and  granite  base)  began  in   1900  and  it  was  unveiled  and  dedicated  on   September  23,  1903.    Alma  Mater  sits  in  front  of   Columbia  University's  Low  Library.    The  statue  and   its  base  underwent  a  comprehensive  conservation   treatment  in  2003,  in  preparation  for  the  100th   anniversary  of  its  installation.    Sculptor  Daniel   Chester  French  is  also  known  for  carving  the   Page  43   marble  statue  of  Abraham  Lincoln  on  the  Lincoln   Memorial  in  Washington,  D.C.  and  produced  more   than  100  statues  and  memorials  during  his  60-­‐year   career.   Alma  Mater  has  many  legends  associated  with  it.     One  says  that  the  first  freshman  to  find  the  hidden   owl  in  the  sculpture  will  be  valedictorian  of  his  or   her  class.     Please  use  the  following  directions  to  reach  our  next  stop:     Estimated  Time:    1  minute,  30  seconds     •   Please  go  back  the  way  you  came,  going  west   • Turn  left  at  your  first  available  opportunity   • Turn  right,  and  then  face  south     • You  are  directly  in  front  of  our  last  stop,  Dodge  Hall               (Accessible  restrooms  are  provided  in  Dodge  Hall  on  the  300     level  in  the  building’s  lobby)             Page  44     Stop  Twelve.  Miller  Theatre  &  School  of  the  Arts     Dodge  Hall  contains  the  Miller  Theatre  and  School   of  the  Arts  at  Columbia  University.    Miller  Theatre   is  a  performing  arts  producer  dedicated  to   developing  and  presenting  new  work  from  world-­‐ class  artists.  Acclaimed  for  its  innovative   programming,  Miller  Theatre  provides  an  intimate   exploration  of  the  creative  process  through  its   programs,  and  a  look  into  the  personalities  and   emerging  trends  in  contemporary  classical  music,   opera,  dance,  and  film.    Its  adventuresome   performances  and  elevation  of  advanced  ideas   Page  45   have  established  Miller  Theatre  as  a  nationally   recognized  cultural  center  for  artistic  discovery.   In  addition  to  Miller  Theatre,  Columbia  is  home  to   many  other  world-­‐renowned  arts  organizations   and  academic  centers.   Columbia  University  Center  for  Jazz  Studies  began   in  1995  when  Professor  Robert  O’Meally  convened   the  Jazz  Study  Group,  a  group  of  scholars,   journalists,  musicians,  writers  and  others,  to  share   their  perspectives  on  jazz.  Unique  in  its  approach,   the  Jazz  Study  Group  examines  jazz  not  only  as  a   musical  form  but  as  a  cultural  phenomenon  that   has  influenced  all  aspects  of  American  culture,   including  dance,  photography,  journalism,   painting,  literature,  and  history.    Meeting  topics   have  included  Jazz  and  Spirituality,  Latin  Jazz,  the   Jazz  Singers,  and  Jazz  and  the  Avante  Garde.    The   Center  hosts  an  annual  lecture  and  concert  series   that  brings  together  scholars,  artists,  musicians   and  the  public  to  discuss  jazz  as  a  culture.     The  Gabe  M.  Wiener  Music  &  Arts  Library’s  onsite   collection  totals  over  60,000  printed  items,   Page  46   including  monographs  and  serials  on  western  and   non-­‐western  music,  as  well  as  music  scores;   20,000  sound  and  video  recordings  in  multiple   formats;  CD-­‐ROM  indexes  and  multi-­‐media  titles;   and  several  hundred  microforms  of  scholarly   interest.    Particular  strengths  include  early  printed   works  on  music  theory,  scholarly  score  editions,   and  vocal  scores  of  18th-­‐  and  19th-­‐century  operas.     Also  collected  are  scores  and  recordings  by  over   350  contemporary  composers.    The  Library   provides  access  to  digital  audio  selections  for   course  reserves  use.    For  the  graduate  program  in   the  Film  Division  of  the  School  of  the  Arts,  the   Library  maintains  a  collection  of  feature  films  on   laser  disc.   The  Neiman  Center  Gallery  hosts  a  wide  array  of   exhibitions  throughout  the  year,  showcasing  the   work  of  invited  artists,  Visual  Arts  faculty,   undergraduate  and  graduate  students  and  work   produced  in  the  professional  print  shop.    The   exhibits  give  student  work  public  exposure  in  a   professional  setting  and  bring  outside  voices  to   Page  47   the  Neiman  Center,  creating  a  rich  environment  of   display  and  dialogue.   For  the  last  twenty-­‐one  years,  the  Columbia   University  Film  Festival  has  been  showcasing  some   of  the  world's  most  talented  emerging  directors,   screenwriters  and  producers.    The  festival  is  the   annual  premiere  of  thesis  short  films  and  feature   screenplays  created  by  graduate  students  at  the   Film  Division  of  the  School  of  the  Arts.   Notable  Columbia  students  in  the  performing  and   visual  arts  include  actors  James  Cagney,  Brian   Dennehy,  Maggie  and  Jake  Gyllenhaal;  musicians   John  Kander  and  Fred  Ebb,  Ira  Gershwin,  Richard   Rogers  and  Oscar  Hammerstein  II;  pop   singer/songwriter  Lauryn  Hill;  writers  Langston   Hughes,  E.L.  Doctorow  and  Tony  Kushner;  sculptor   Isamu  Noguchi;  and  architect  Edward  Pierce   Casey.   you  for  listening,  and  we     That  concludes  our  Podcast  –  thank     hope  you  enjoyed  the  tour!         Page  48       References   Alfred  Lerner  Hall.    Retrieved  October  23,  2009,   from  Columbia  University,  History  and   Architecture:       Overview,  Alfred  Lerner  Hall:   http://www.columbia.edu/cu/lernerhall/docs/Hi story_and_Architecture/index.html     Alma  Mater.    Retrieved  October  23,  2009,  from   Wikipedia:       http://en.wikipedia.org/wiki/Alma_mater     Avery  Architectural  and  Fine  Arts  Library.     Retrieved  October  23,  2009,  from  Columbia   University  Libraries:     http://www.columbia.edu/cu/lweb/indiv/avery/     Avery  Architectural  and  Fine  Arts  Library.     Retrieved  October  23,  2009,  from  Wikipedia:     Page  49   http://en.wikipedia.org/wiki/Avery_Architectura l_and_Fine_Arts_Library     Barzun,  Jacques.    Retrieved  October  23,  2009,   from  Wikipedia:     http://en.wikipedia.org/wiki/Jacques_Barzun     Barzun,  Jacques.    Retrieved  October  23,  2009,   from  The  Rathouse:     http://www.the-­‐ rathouse.com/JacquesBarzun.html       Beeson,  Jack.    Retrieved  October  23,  2009,  from   Wikipedia:     http://en.wikipedia.org/wiki/Jack_Beeson     Beeson,  Jack.    Retrieved  October  23,  2009,  from   Boosey  and  Hawkes:     http://www.boosey.com/pages/cr/composer/co mposer_main.asp?composerid=2689&ttitle=Bio graphy&ttype=BIOGRAPHY       Page  50   Bellerophon  Taming  Pegasus.    Retrieved  October   23,  2009,  from  Columbia  Law  School:    Flying   Horses,     Tightrope  Walkers  and  Other  Campus  Icons:     http://www.law.columbia.edu/media_inquiries/ news_events/2007/august07/sculptures       Computer  Music  Center.    Retrieved  October  23,   2009,  from  Computer  Music  Center:    About  the   Center:       http://music.columbia.edu/cmc/contact/index.h tml       Influential  and  Notable  Columbia  Alumni  in  the   Arts.    Retrieved  October  23,  2009,  from  Columbia   University     Arts  Initiative:     http://www.cuarts.com/page/legacy     Low  Library.    Retrieved  October  23,  2009,  from   Columbia  University  Virtual  Campus  Tour:    Low   Library:     Page  51   http://www.columbia.edu/about_columbia/tour /01.html     Postcrypt  Art  Gallery.    Retrieved  October  23,  2009,   from  Postcrypt  Art  Gallery:       http://www.postcrypt.info/     Program  in  Arts  Administration.    Retrieved   October  23,  2009,  from  Arts  Administration  at   Teachers  College,     Columbia  University,  The  Program:  Overview:       http://www.tc.columbia.edu/academic/arad/det ail.asp?Id=The+Program&Info=Overview       Riverside  Church.  Retrieved  October  23,  2009,   from  The  Riverside  Church:                                                                                                             http://www.theriversidechurchny.org/         St.  Paul’s  Chapel.    Retrieved  October  23,  2009,   from  The  Office  of  the  University  Chaplain:       http://www.columbia.edu/cu/earl/chapel.html     Page  52   Tightrope  Walker.    Retrieved  October  23,  2009,   from  Columbia  Law  School:    Flying  Horses,     Tightrope  Walkers  and  Other  Campus  Icons:     http://www.law.columbia.edu/media_inquiries/ news_events/2007/august07/sculptures       Varsity  Show,  The.    Retrieved  October  23,  2009,   from  The  Varsity  Show:    About:       http://www.thevarsityshow.com/about           Page  53   Keeping Food Safe [Announcer] This podcast is brought to you by the Centers for Disease Control and Prevention. CDC - safer, healthier people. [Kaya] Hi kids! Welcome to CDC Kidtastics Radio! I’m Kaya Kidtastic! Today, we’re going to talk about food safety. [Chris] Food safety? You mean food has to look both ways before crossing the street? [Kaya] No. Food safety means keeping food safe - before, during, and after it’s served. If we don’t, bad germs can grow. [Kids] Eeeewww!!! [Karmen] So how do we keep food safe? [Kaya] To start with, some foods need to be stored in the refrigerator or freezer and some foods need to be cooked so germs don’t grow. [Caydan] What happens if a bad germ stays on the food and I eat it? [Kaya] You could get very sick. [Caydan] Oh no! [Kaya] I’m going to teach you some great food safety tips so you can help your parents and other adults be ‘food safe’ in the kitchen! [Kids] Cool! [Kaya] Kids, you should always have an adult with you when you’re making something in the kitchen. OK. There are four words you need to remember: CLEAN, SEPARATE, COOK, CHILL. [Kids] CLEAN, SEPARATE, COOK, CHILL [Kaya] So, what’s the first word? [Chris] CLEAN! [Kaya] Right! Make sure everyone cleans their hands with warm, soapy water. Then, have an adult clean all the surfaces that foods touch, like counters and cutting boards. [Kids] OK! Keeping Food Safe Page 1 of 3 May 2009 [Kaya] What’s the next word? [Karmen] SEPARATE! [Kaya] Good! Make sure you and your parents keep cooked foods separate from uncooked foods. Don’t use the same fork, knife, or spoon on cooked foods that was used on uncooked foods, unless it’s washed first with hot, soapy water. Do the same thing with plates. A cooked hamburger should never be put on the same plate it was on before it was cooked. [Kids] Right! [Kaya] Who knows the third word? [Caydan] I do! I do! COOK! [Kaya] Make sure you and your parents cook all foods to the proper temperature. You can find temperature information at www.usda.gov. Use a meat thermometer when cooking any type of meat. Never, ever eat raw foods that are supposed to be cooked, like cookie dough. Cookie dough has raw eggs in it, so wait until the cookies are totally baked before eating them. [Chris] Aww man, I love cookie dough! [Kaya] I know. But you can get really sick if you eat the dough before it’s cooked. [Chris] OK, I won’t eat cookie dough. [Kaya] What’s the last important word? [Kids] CHILL! [Kaya] Right. Chill foods right away after using them. Never leave food out of the refrigerator for more than two hours. When you bring your lunch to school, use an ice pack to keep the food cold. [Karmen] Ok, I’ve got it. We need to tell everyone the four food safety words they need to remember: CLEAN, [Caydan] SEPARATE [Chris] COOK, and [Kids] CHILL! [Kaya] Right! It sounds like you know all about food safety! Now go spread the words, not the germs! Keeping Food Safe Page 2 of 3 May 2009 [Kids] YAY! [Kaya] Thanks for listening to CDC Kidtastics Radio. We’ll talk to you again soon. Until then, be a safer, healthier kid! [Announcer] For more health information, go to www.cdc.gov or call 1-800-CDC-INFO, 24/7. Keeping Food Safe Page 3 of 3 May 2009 Integrating Media into your e-Learning October 7 & 8, 2010 Podcast script for: _______________________________ (Fade In) Music (Fade Out) Introduction: You are listening to Episode _____ for ______(say date here)______________ We are your hosts: _______________________________ Program Overview: Join us today as we cover: (Fade In) Music (Fade Out) Program Script: (enter your show content here) Closing: Thank you for listening to today’s podcast. Don’t forget to visit our web site located at: _____________(say web address here)________________ and also look for our web address in the podcast description. *Optional Closing: Please join us for our next podcast as we cover (Fade In) Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 1 Integrating Media into your e-Learning October 7 & 8, 2010 Music (Fade Out) Copyright © 2005 Brad Niessen The TechTeacher Podcast Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 2 Integrating Media into your e-Learning October 7 & 8, 2010 Sample Podcasting Script Podcast Title Music Podder Up: Podcasting in the Classroom Title of music and special notes on fades (supermusic) Introduction Example of Introduction: Welcome to The Edutainers Podcast. You are listening to Episode 12. Today is February 29, 2008. Your host on the show is David Widener, a Technology Educator from Atlanta, Georgia. Program Overview Today on the show we are discussing educational podcasting. We will be looking at how to record, produce and publish a podcast. Program Welcome to the show. Today we are recording at the NCCE conference. This session is on getting started in podcasting. I am using Audacity to record the audio, edit the audio and then save as an .mp3. Closing Thanks for listening to The Edutainers Podcast. This was episode 12 and we were recording live at the NCCE conference. For more information on this podcast and others please visit theedutainers.com. Please tune in for the next podcast when we will talk about social bookmarking. Have a great day! Music Title of music and notes on fades( supermusic) http://blog.woodward.edu/widener Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 1 Integrating Media into your e-Learning October 7 & 8, 2010 Recording in sync        Contents [Hide] Recording equipment Tips for recording audio Set audio recording preferences Calibrate microphone Record audio Record audio while creating a project Record audio for objects Add sync sound (synchronized sound recording) to your projects by narrating the movie into a microphone as you record it. The movie is recorded in the stereo format. Recording equipment Having the right audio equipment makes a big difference in the quality of recorded audio. Computer with sound card The sound card installed with your computer acts as a digital recorder for audio. Microphone If possible, avoid using the inexpensive microphone packaged with your computer. Also, use a proper microphone cable and a stand to hold the microphone while you are recording. Microphone preamplifier A preamplifier boosts the signal of the microphone. The microphone input of your sound card probably includes a preamplifier, but it is most likely of poor quality. When purchasing a preamplifier, you can choose a small mixer or a stand-alone version. Mixers let you connect several microphones and devices to one location and adjust their volumes independently. Stand-alone preamplifiers are considered better than mixers at filtering out unwanted noises. Speakers The speakers that came with your computer are probably good enough for recording purposes. You can change some of your speaker settings if required. However, if you are working on a laptop, use standard desktop computer speakers instead of the built-in laptop speakers. Note: In Microsoft Windows, the speaker settings are located in the Control Panel. Headphones Headphones are important because when the microphone is on, speakers can cause distracting feedback. Additionally, it is best to use closed-ear headphones that prevent leaking sound (which can be picked up by the microphone). Media players Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 1 Integrating Media into your e-Learning October 7 & 8, 2010 Any software that can play audio files on your system. Recording software A wide range of recording software is available. Important software features include editing functionality (to fix mistakes), music and sound effect options, and the capability to create the file format you require (such as mp3 or WAV). Recording area After you have acquired the necessary audio equipment, the most important action you can take before recording is an obvious one: find a quiet place to record. Try closing doors, turning off any unnecessary computer equipment, turning off or lowering lights, turning off phone ringers, beepers, and pagers. Inform your coworkers that recording is in progress. Tips for recording audio Follow these tips to ensure that you are recording the highest quality audio possible. Setup After you have acquired the necessary audio recording equipment, ensure that it is set up properly. First, plug your microphone into your mixer or preamplifier, and then plug the output of that device into your computer sound card's “line in.” Plug your headphones into your computer. Then, set the volume on your mixer or preamplifier. Begin speaking to test the volume levels, and carefully raise the volume until it shows just under zero. Sound card settings Open the software application that controls the sound card. The sound settings are located in the Control Panel. Select the recording source (Line In) and adjust the volume to 100%. You control the actual recording level with your mixer or preamplifier. Audio recording software settings Start your audio recording software. Change the settings as necessary. Note that mixers and preamplifiers do not have sound-level controls, so you rely on the meters when recording. While recording, ensure that you do not exceed zero on the meters, or the sound will be distorted. Microphone placement Positioning your microphone correctly can make a big difference in the finished audio file. First, get close to the microphone (within 4 to 6 inches), so any other nearby sounds have less chance of being recorded. Don't speak down to the microphone; instead, position it above your nose and pointed down at your mouth. Finally, position the microphone slightly to the side of your mouth, because this can help soften the sound of the letters S and P. Microphone technique Have a glass of water nearby so you can avoid “dry mouth.” Before recording, turn away from the microphone, take a deep breath, exhale, take another deep breath, open your mouth, turn back toward the microphone, and start speaking. This trick can eliminate breathing and lip-smacking sounds frequently recorded at the beginning of audio tracks. Speak slowly and carefully. You may feel that you are speaking artificially slowly, but you should be able to adjust the speed later by Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 2 Integrating Media into your e-Learning October 7 & 8, 2010 using your audio recording software. Finally, bear in mind that you don't have to get everything right the first time. You can listen and evaluate each recording and rerecord if required. Audio editing Editing sound is similar to editing text. Listen carefully to your recording. Delete any extraneous sounds and then use the options available in your software to polish the track. Add any music or sound effects you require. Make sure you save your audio track in the correct format (mp3 or WAV files). Adding audio files to Adobe Captivate When you are finished recording the audio file, add it to the Adobe Captivate project. Additional feedback After you add the audio to the Adobe Captivate project, listen to it again. Play the project as users normally would. Finally, ask others to preview the Adobe Captivate SWF/audio file. If necessary, edit the audio file again. Set audio recording preferences Audio files present the common challenge of balancing quality against size. The higher the sound quality, the larger the file size. The more you compress a sound and the lower the sampling rate, the smaller the size and lower the quality. Adobe Captivate lets you control the way sound is recorded and compressed based upon your input and output requirements. Creating audio in Adobe Captivate is essentially a two-part process. You record audio in WAV format, and then Adobe Captivate converts the WAV file into an mp3 file. When files are in WAV format, they have a degree of flexibility. You can edit and adjust them “downward,” compressing them into mp3 files uniquely tailored to their playback scenario. When working with audio, keep your users in mind. If a user is likely to access the Adobe Captivate project by using a dial-up modem, use a higher compression/lower sampling rate, such as 56 Kbps. However, if you are distributing the project on a CD-ROM, you can use a lower compression/higher sampling rate, such as 144 Kbps. In the best development case, experiment to find the optimal balance between sound quality and file size for your users. Using Adobe Captivate, you can record an audio file for a single slide, group of slides, or for the entire project. Note: For slides with unique audio files, the Timeline of the slide is stretched to meet that of the audio file. However, audio files for a project are cut short if they exceed the project Timeline. 1. In an open project, select Audio > Record. 2. In the Record Audio dialog box, configure the following according to your preferences: Project Record the audio file for the entire project. This Slide Record the audio file for the selected slide. Slide Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 3 Integrating Media into your e-Learning October 7 & 8, 2010 Record the audio file for a group of slides starting with the selected one. To finish defining the range of slides included in the group, enter a slide number in the To field of the Record Audio dialog box. Movie Preview The recording window displays a Preview panel where you can view the project as the audio gets recorded. Continuous Play Select this option if you want the file to play until the end of all the selected slides or the end of the project. Preview Pane You can preview the slides as they are being recorded in this panel. Captions and Slide Notes Use these options when you want to record voice-over narration that matches the caption text or slide note text. Read aloud the text that you have added to these areas when recording audio. Record New Audio Click to begin recording audio. Play Audio Click Play Audio to play the audio file after you have completed the recording. Stop Audio Click Stop Audio to stop playing the audio file. Edit Audio Click to open the Edit Audio dialog box, which lets you make the following changes to the audio file:     Select portions of the audio file and copy them. Delete portions of the audio file. Insert silence. Export to podcast to save the file in WAV or mp3 format. Settings Click to open the Audio Settings dialog box, which lets you set recording device and audio quality. Input Devices Specifies the type of device you are using to create audio. The options available in your computer are listed in the menu. Encoding Bitrate In the Encoding Bitrate area, you can select the bitrate at which audio encoding must be performed. Select one of the following options based on the audio encoding quality you require: Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 4 Integrating Media into your e-Learning October 7 & 8, 2010 CD Bitrate (128 Kbps) Specifies the amount of audio information (in Kbps) that will be stored per second of a recording, which is of CD quality. Near CD Bitrate (96 Kbps) Specifies the amount of audio information (in Kbps) that will be stored per unit second of a recording, which is of a near-CD quality. By default, this option is selected. FM Radio Bitrate (64 Kbps) Specifies the amount of audio information (in Kbps) that will be stored per second of a recording, which is of FM radio quality. Custom Bitrate Specifies the amount of audio information that will be stored per second of a recording, which is of a user-defined quality. You can drag the slider bar to set the required bitrate. Encoding Frequency The sampling frequency that is used when the audio file is published. Encoding frequency is the sampling rate of the audio file. The higher the frequency, the better is the quality of the published audio file. However, the increase in quality also results in an increase in the size of the audio file. For normal audio files, a lower frequency might not change the quality of the audio file significantly. However, for higher quality audio files, like those for music, a higher encoding frequency is desirable. Note that the encoding frequency does not affect the file that is recorded. Adobe Captivate records and stores all audio files using the encoding frequency of 44.100 KHz. Encoding Speed The speed at which the encoder converts the WAV file to an mp3 file. Higher encoding speeds might reduce the quality of the final output. The speed of publishing the project might increase when you choose a higher encoding speed. Calibrate Audio Input Click to display the Calibrate Audio Input dialog box. You are prompted to read a sentence into the recording device if you are using a microphone. Adobe Captivate uses the sample recording to detect optimal recording sensitivity levels. It is important to calibrate your recording device for optimal sound quality. Fade In and Fade Out Set a time, in seconds, for the audio file to fade in and fade out at the beginning and end of the project. Lower Background Audio Volume On Slides With Additional Audio Automatically reduces the background audio volume on slides that have individual audio files assigned, such as voice-over narration. Loop Audio The background audio file replays continuously. Stop Audio At End Of Project Stops the background audio when the project ends. Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 5 Integrating Media into your e-Learning October 7 & 8, 2010 Calibrate microphone If you are recording audio for a project, you must set the microphone or recording device to the correct recording level. This process is called calibrating the recording device. Adobe Captivate can detect optimal microphone and recording sensitivity levels automatically. Note: Adobe Captivate must be able to detect a recording device before trying to calibrate. Check that a microphone or recording device using “line in” is connected to your computer properly and is turned on before calibrating. 1. In an open project, select Audio > Settings. 2. Click Calibrate Audio Input. 3. To set the correct recording device level, read the following sentence into the microphone until the red recording window becomes green: “I am setting my microphone recording level for use with Adobe Captivate.” 4. When you finish, click OK. Record audio If you have a microphone connected to your computer, you can record audio to be included on a slide. You can use audio for many types of narration or instruction. 1. In an open project, select Audio > Record from the main menu, and select one of the available options: This Slide, Project, or Slide. 2. If you want to set recording options, click Settings and make the necessary changes. Depending on the type of recording (voice-over, music, and so on) and the desired playback (within an EXE file, over the Internet, and so on), you may need to adjust audio settings. 3. (Optional) If you have created text captions or slide notes that can be used as a script, add them to the fields in the Captions and Slide Notes tabs. 4. 5. 6. Click Record New Audio to begin recording. Speak into the microphone or recording device. Or, if you are using a line-in device (such as a CD) or a system file, run the file you want to record. When you finish, click Stop Audio. The audio is converted to mp3 format. 7. 8. 9. Click Play Audio to listen to the recording. (Optional) If you want to add silence or adjust the volume for the audio file, click Edit Audio and use the options to change the settings. When you finish, click OK. Record audio while creating a project Adobe Captivate lets you record an audio track at the same time you record a new Adobe Captivate project. This can be a very efficient way to create a full-featured project quickly. The following procedure describes how to record audio while creating an Adobe Captivate project about an application. Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 6 Integrating Media into your e-Learning October 7 & 8, 2010 1. Open the application you want to record. (You must do this before recording.) 2. Prepare your recording equipment. 3. Open Adobe Captivate. 4. Select File > New > Project. 5. 6. In the New Project dialog box, select the Record tab. Do the following:    7. 8. Select a recording mode Select the window you would like to record Customize the other available options. In the recording window, select the type of recording, and choose the type of audio input from the Audio menu. Click Record New Audio. If this is the first time you are recording audio, a dialog box appears asking if you would like to test audio levels. Click Yes to calibrate the recording device for optimal recording. Follow the instructions and when you finish, click OK. 9. 10. As you record the project, speak into your microphone or recording device to create an audio sound track. For example, you can explain the actions you are taking or read the text on captions. When you finish recording, press the End key (or other designated key) to stop recording. The slides are generated and your new project appears in Storyboard view. The audio files you recorded are assigned to the correct slide and saved as individual mp3 files. You can view the files in the Library. Note: If you need to pause the recording process, press the Pause/Break key. To restart project recording, press the Pause/Break key again. Record audio for objects You can record an audio file to use with buttons, highlight boxes, click boxes, or text entry boxes. Recording audio requires some basic equipment. Note: You can also add existing audio to text entry boxes, captions, slides, slidelets, and so on. 1. Right-click the object to which you want to add audio, and select Properties. 2. Select the Audio tab. 3. Click Record New Audio . 4. When you finish recording, click Stop Audio. 5. To listen to and test the audio file, click Play Audio. Insert audio   Contents [Hide] Import audio Add audio from library Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 7 Integrating Media into your e-Learning October 7 & 8, 2010   Create background audio Use a custom keyboard tap sound Adobe Captivate lets you add narration, music, step-by-step instructions, or almost any sound to your projects. You can use audio in Adobe Captivate projects in a variety of ways. For example, you can do the following, all in the same project:    Add a background track that plays for the duration of the project. Add sound to an individual slide. Add sound to a specific object, such as a caption, click box, highlight box, or button. Adobe Captivate lets you record your own audio files (using some simple equipment) or import existing files. You can record audio files at the same time you record the project, or you can add an audio file later. Imported files can be in WAV or mp3 format. (If you add a WAV file to a project, Adobe Captivate automatically converts the WAV file to mp3 format when you publish the project.) After you add audio to a project, you can adjust the timing of objects to fit the sound file precisely. Adobe Captivate also contains features for adding silence to audio files and for normalizing audio for all slides so the sound level is consistent. Adobe Captivate contains a gallery that has buttons, sounds, and animations (in SWF format) for you to use in your projects. By default, the gallery is stored in the following location when you install Adobe Captivate: C:\Program files\Adobe\Adobe Captivate 4\Gallery. You can attach an audio file to a button or click box and have the audio play when the user clicks the button or click box instead of when the button or click box is displayed. To do this, create the button or click box and select the Success Caption option. Make the Success Caption transparent and do not add any text. Add an audio file to the Success Caption. Import audio You can import an audio file to use with slides, buttons, highlight boxes, click boxes, or text entry boxes. You can also use the Library to add an audio file that is already in your current project. 1. In an open project, double-click the slide or object to which you want to add audio. 2. Click the Audio tab. 3. Click Import. Adobe Captivate contains a gallery that has buttons, sounds, and animations (in SWF format) for you to use in your projects. By default, the gallery is stored in the following location when you install Adobe Captivate: C:\Program Files\Adobe\Adobe Captivate 4\Gallery. 4. Browse to the audio file you want to add, select the file, and click Open. Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 8 Integrating Media into your e-Learning October 7 & 8, 2010 5. (Optional) To listen to and test the audio file, click Play Audio. 6. Set other options as necessary.  To edit the audio file (for example, change volume, add silence, change length, and so on), click Edit.  If you want the audio to fade in or fade out, set the number of seconds using the arrows in Fade In and Fade Out. 7. When you finish, click OK. Add audio from library You can reuse existing audio files for slides in a project. When you insert a new object (such as an image or video) into your project, Adobe Captivate enables the Library button on the Audio tab of the New Item dialog box. You can then browse the Library for an existing audio file. 1. In an open audio project, click the Audio tab or the Background Audio tab, or select Audio > Edit > Slide. Note: Edit option is enabled if a question slide or a project slide contains an audio file. It is disabled for question pools and random question slides. 2. Click Library. 3. Select a file from the list of Library files. Create background audio You can create background audio for your projects. The audio plays while the slides of your project are shown. Background audio can be music, sound effects, or almost any kind of sound you can import or record. You can use background audio together with individual slide audio for a truly professional effect. Adobe Captivate provides an option to lower the volume of background audio when a slide with audio assigned plays. For example, you can import a music file and set it to loop continuously as background audio. In that same project, you can record voice-over narration for individual slides, and when the voice-over audio plays, the music volume is lowered. 1. In an open project, select Audio > Background Audio. 2. Do one of the following:   3. 4. Import an existing audio file by clicking Import, navigating to the file, selecting the file, and clicking Open. (If you want to use an audio file that is already in your project, click Select Audio From Library.) Click Record New Audio and follow the instructions to record the background audio. (Optional) click Play Audio to listen to the audio file. Select from the following options: Fade In and Fade Out Lets you set a time, in seconds, for the audio file to fade in and fade out at the beginning and end of the project. Lower Background Audio Volume On Slides With Audio Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 9 Integrating Media into your e-Learning October 7 & 8, 2010 Automatically reduces the background audio volume on slides that have individual audio files assigned, such as voice-over narration. Loop Audio The background audio file replays continuously. Stop Audio At End Of Project Stops the background audio when the project ends. Use a custom keyboard tap sound Adobe Captivate includes a feature that records a keyboard tap sound whenever you press keys on the keyboard while recording a project. You can include or exclude the tap sounds. You can also create a custom keyboard tap sound to use. 1. Create a new sound for keystrokes, or use an existing mp3 file (for example, one of the Windows sound files.) 2. Name the new sound file KeyClick.mp3. 3. Save the file and note the location to which the file is saved. 4. Using Windows Explorer, browse to the Adobe Captivate sound effects folder. (The default location is \\Program Files\Adobe\Adobe Captivate 4\Gallery\SoundEffects.) 5. Locate the file named KeyClick.mp3. This is the Adobe Captivate default keystroke sound file. Note: Before overwriting the file, you may want to copy and place the original KeyClick.mp3 file in a backup folder so it can be used again if necessary. 6. Copy the new keyboard tap sound from the location in step 3 above, and paste it into the Adobe Captivate sound effects folder. 7. Check that the keyboard tap sounds option is selected. Note: To delete a tap sound, deselect Play Tap Audio For Recorded Typing in the Category panel of preferences. Preview audio    Contents [Hide] Preview object audio Preview slide audio Preview background audio After you add an audio file, you can preview the audio to test it. There are two methods for previewing audio. First, you can preview the entire Adobe Captivate project and listen to the audio associated with an object, a slide, or the background. This lets you see exactly where the audio begins and ends in the project and enables you to experience the audio as your users will. Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 10 Integrating Media into your e-Learning October 7 & 8, 2010 Second, if you need to preview only the audio without hearing it in the context of the project, you can open an object, slide, or background audio and play the audio file. Preview object audio 1. In an open project, double-click a slide containing an object with associated audio. 2. Double-click the object with associated audio. 3. Click the Audio tab. 4. Click Play Audio to listen to the audio file. Preview slide audio 1. In an open project, double-click a slide containing audio. 2. Select Audio > Record. 3. 4. In the Record Audio dialog box choose one of the following options: This Slide, Slide, or Project. Click the Play button to listen to the audio file. Preview background audio 1. In an open project, select Audio > Background Audio. 2. Click Play Audio to listen to the audio file.     Edit audio        Contents [Hide] Edit audio files Edit audio timing Add silence to an audio file Edit audio using Adobe Soundbooth Add closed captions to an audio file Delete audio from a slide Delete background audio Edit audio files You can edit the audio files in your Adobe Captivate project at any time. Using the Edit Audio dialog box, you can listen to an audio file, insert silence, adjust volume, and change numerous other options. 1. 2. From Storyboard view or the Filmstrip in Edit view in an open project, find a slide containing audio. Do one of the following depending on your requirement: Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 11 Integrating Media into your e-Learning October 7 & 8, 2010   3. Select Audio > Edit > Slide. Select Audio > Edit > Project. Note: The Edit option is enabled if a question slide or a project slide contains an audio file. It is disabled for question pools and random question slides. Make any necessary edits in the Edit Audio dialog box. You can cut and paste sections of the audio file, insert periods of silence to lengthen the audio file, adjust volume, import a different audio file, and use more options. Cut Selection Click to cut the selected portion of the audio file. Copy Selection Click to copy the selected portion of the audio file. Paste Selection Click to paste information from the clipboard. (For example, if you select a section of the audio file, and then click the Cut Selection or Copy Selection button, the selected audio is placed on the clipboard. You can then use the Paste Selection feature to place the audio located on the clipboard back into any location within the audio file.) Delete Selection Click to remove the selected portion of the audio file. Undo Click to undo the last action taken. Redo Click to redo the last action taken. Insert Silence Select the portion of the audio file where you want to insert silence, and click Insert Silence. Choose from one of the following options: Current Selection Replaces the selected portion of the audio with silence. Start Of Audio Adds silence to the beginning of the audio file. End Of Audio Adds silence to the end of the audio file. Playhead Position Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 12 Integrating Media into your e-Learning October 7 & 8, 2010 This option is available only when you have not selected a portion of the audio file. The silence is inserted at the playhead position. Use this option when you want to insert an extremely brief period of silence. Adjust Volume Click to increase or decrease the sound level of the audio file. There is also an option to fine-tune quieter portions of the audio file. Normalize Select this option to have Adobe Captivate adjust the sound volume automatically. Normalizing audio helps keep the sound level consistent between slides. Dynamics Select this option to amplify quiet sections of the audio to help compensate for variations in audio volume. Ratio Specifies the maximum amplification that will be used. The default setting of 2.0 sets the quietest sections of the audio to be amplified by a factor of 2. A higher setting can improve projects with large differences between quiet and loud sections, but can also amplify background noise. Threshold Controls the amplification of background noise. Anything quieter than the noise threshold is not amplified. If background noise is amplified too much, setting a higher noise threshold may help solve the problem. (Note that the Dynamics option does not work well with high noise levels.) Zoom In Click to enlarge the waveform. Zoom Out Click to shrink the waveform. Settings Click to set various options such as recording device, audio quality level, and recording device calibration. Export To Podcast Export the audio file as a WAV or mp3. You can later use these files for podcasting. Podcasting refers to distributing files over the Internet through web feeds to portable media players, and computers. Waveform Displays the audio file graphically. The waveform is a visual representation of the audio file. Record/Insert New Audio Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 13 Integrating Media into your e-Learning October 7 & 8, 2010 Click to begin recording audio. (To record, you need a microphone.) Stop Click to stop playing the audio file. Play Click to play the audio file. Status Displays the status of the audio file as playing, ready, and so on. Playhead Displays the selected location, in seconds, within the audio file. For example, if you are working with an audio file that is 10 seconds long and you click in the middle of the file, this playhead area displays approximately 00.05.00, or 5 seconds. Duration Displays the total amount of time it takes for the audio file to play. Selected Displays the total amount of time selected. For example, suppose you have an audio file that is 20 seconds long. If you click at the beginning of the file and drag to the middle, you will have selected approximately a 10-second span of the file. Scale Displays the scale at which the waveform is displayed. (To change the scale, click Zoom In or Zoom Out.) Library Displays the Select Audio From Library dialog box, where you can browse to a new audio file and import it. 4. Click Select Audio From Library to import an audio file from the project’s Library. 5. When you finish editing the audio file, click OK. Edit audio timing Adobe Captivate lets you edit the timing of audio files after you record or import them. Having control over the timing of audio files gives you the ability to use audio files of different lengths and incorporate them smoothly into projects. After you record or import an audio file, the file appears as a waveform in the Edit Audio Timing dialog box. If your project contains multiple audio files, you can see which audio files are assigned to specific slides. In an open project that contains one or more audio files, do one of the following:   Select Audio > Edit > Slide. Select Audio > Edit > Project. Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 14 Integrating Media into your e-Learning October 7 & 8, 2010 Note: Edit is enabled if a question slide or a project slide contains an audio file. It is disabled for question pools and random question slides. Audio files in the Adobe Captivate project are displayed as waveforms. Slide numbers are shown along the top of the waveform so you can see exactly how the audio files are currently distributed across the slides.  To change how audio files are distributed across slides, click a slide divider and move it to the left or right. The waveform remains static, but you change where the audio file begins to play within the Adobe Captivate project. This option is particularly useful if you have a long audio file and need to experiment with assigning the file to one slide or having it play over multiple slides.  To listen to audio, click a location within the waveform and then click Play Audio. The audio plays from the location you selected to the end of all the audio in the project. (You can stop the playback at any time by clicking Stop.)  To zoom in on a particular area of the waveform, click in the waveform and then click Zoom In or Zoom Out. (Alternatively, click in the waveform and roll your mouse wheel to zoom in and out). The scale at which you are viewing the waveform is shown in the Scale information box near the lowerright corner of the dialog box.  To cut or copy and paste audio, select a section of an audio file directly in the waveform, click Cut Selection or Copy Selection, click in a different location on the waveform, and click Paste Selection.  To delete audio, select a section of an audio file directly in the waveform and click Delete Selection.  You can insert a silent period within an audio file. If you want the silent period to begin in a specific location within an audio file, click the location directly in the waveform. Click Insert silence. Type in the length of the silent period you want to add and then select from the pop-up menu a location for the silent period: the location you clicked in the waveform, the beginning of audio, or the end of audio.  To adjust the sound level of audio files, click Adjust Volume. Use the slider bar to increase or decrease the volume and select audio processing options.   To set recording device and audio quality options, click Settings. To add a new audio file, click a location within the waveform, click Select Audio From Library, navigate to a file, and click Open. The audio file is imported directly into the Adobe Captivate project in the location you specified. Add silence to an audio file You can add a period of silence to any audio file that is part of an Adobe Captivate project. This feature is particularly useful if you have imported an audio file and need to synchronize the audio with objects and slides. By adding silent periods, you can make the existing audio file work in an Adobe Captivate project without having to edit the audio extensively. 1. In an open project, select a slide that contains one or more audio files, and do one of the following:   2. Select Audio > Edit > Slide. Select Audio > Edit > Project. You can add silence to the beginning of the audio file, to the end, or to a specific location within the audio file. If you want to add silence within the file, click the exact location directly on the waveform. Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 15 Integrating Media into your e-Learning October 7 & 8, 2010 Note: The Playhead and Selected information boxes near the bottom of the dialog box can help you choose a precise location in the audio file. For example, if you want to add a silent period four seconds into the audio file, click the waveform until the Playhead information box displays a number close to four seconds (that is, 00:04.00). 3. 4. Click Insert Silence. Select the portion of the audio file where you want to insert silence, and click Insert Silence. Choose from one of the following options: Current Selection Replaces the selected portion of the audio with silence. Start Of Audio Adds silence to the beginning of the audio file. End Of Audio Adds silence to the end of the audio file. Playhead Position This option is available only when you have not selected a portion of the audio file. The silence is inserted at the playhead position. Use this option when you want to insert an extremely brief period of silence. Note: When you select a part of an audio file, and then click Insert Silence, the pop-up menu lists the Current Selection option instead of the Playhead Position option. 5. Click OK. The silent period is added to the audio file and you can see the silent period in the waveform. The audio file with added silence is saved under a new file name. 6. To test the audio file with the silent period added, click Play Audio in the bottom left corner. If you find that you frequently want to add silence at the same position and of the same duration, press Alt+S to add it without using the Insert Silence dialog box. Edit audio using Adobe Soundbooth You can use Soundbooth to edit audio when you want to go beyond the audio editing options available in Adobe Captivate. You can batch process audio files by opening multiple audio files for editing in Soundbooth using the Library panel. 1. Select Window > Library to open the Library. 2. Select the files in the library that you want to edit in Soundbooth. 3. Right-click the audio files that you want to edit in Soundbooth. 4. Select Edit With. 5. Select Soundbooth. Add closed captions to an audio file You can improve the accessibility of your project by adding closed captioning. Closed captioning lets you create transcripts for audio files associated with the slides in your project. When an audio file is played for a slide, the transcripts are displayed, thus aiding hearing-impaired users. Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 16 Integrating Media into your e-Learning October 7 & 8, 2010 The option that enables closed captioning is available in the Skin Editor dialog box. For more information, see Slides. 1. Select a slide that contains an audio file to which you want to add a closed caption. 2. Select Audio > Audio Management. 3. Click the Closed Caption button . The following options are available in the Closed Captioning dialog box: Add Click to add a caption. A new row appears in the caption window below. Type the closed caption text in the Caption column. Remove Click to delete a selected caption row. Zoom In Click to increase magnification of the waveform. Zoom Out Click to decrease magnification of the waveform. Playbar Use these controls to preview the audio file. Caption Window Each caption appears as a row in this window, with the start time, end time, and caption text. Click any row to edit or delete the text or timing. 4. 5. If you want to preview the audio file, click the Play button. Click the specific spot in the waveform where you want to add a caption and click ”+.” A new caption row appears with the start time you selected on the waveform. 6. 7. 8. Enter the caption you want to attach to the audio file. To add another row to the caption for the audio file, click add. To remove a row from the caption for the audio file, click “-.” Note: For more precision, you can drag the end and start time markers of your caption if you want to manually adjust the timing of each caption. When you have added all the rows you want, click OK. You can also open the Closed Captioning dialog box in one of the following ways:    In Edit or Storyboard view, select a slide thumbnail, click the Audio icon, and select the Closed Captioning option. In the Timeline, right-click the Audio layer, and select the Closed Captioning option. From the Slide menu, select Properties, and in the Slide Properties dialog box, go to the Audio tab, and click the Closed Captioning button. Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 17 Integrating Media into your e-Learning October 7 & 8, 2010 In the Closed Captioning dialog box, you can add closed captions while the audio is playing by clicking “+’”or by pressing Alt+A. Note: Multiple closed captions must be contiguous. If you do not want a closed caption for an intermediate duration, add a blank closed caption for that duration. Delete audio from a slide 1. 2. In an open project, do one of the following.  In Storyboard view, select a slide and click the audio symbol in the lower-right corner of the slide.  In Edit view, navigate to the relevant slide in the Filmstrip and then click the audio symbol in the lower-right corner of the slide. Select Remove. Delete background audio 1. In an open project, select Audio > Background Audio. 2. Click the Delete button. Export audio   Contents [Hide] Export audio from slide Export audio from project Export audio from slide 1. In an open project, select Audio > Audio Management. 2. Scroll down and click the slide that contains the audio file you want to export. 3. If you want to export mp3 files, select Include MP3 Files In Export. 4. Click Export. 5. Navigate to the destination folder you want and click OK. Export audio from project You can export audio files that have been inserted or recorded. The exported audio files can be used for podcasting. 1. Select the slide whose audio you want to export. 2. Select File > Export > To Podcast. 3. Save the file in WAV or MP3 format.   Session 302 – Creating CAPTIVATEing Podcasts – Jeff Blackman, The Methodist Hospital System Page 18