DOCSLIB.ORG

Creating Creators Cinema Project: Transforming Lives Through the Arts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Creating Creators Cinema Project: Transforming Lives Through the Arts LMU/LLS Theses and Dissertations 2019 Creating Creators Cinema Project: Transforming Lives through the Arts Christian Quintero Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/etd Part of the Art Education Commons, and the Educational Leadership Commons Recommended Citation Quintero, Christian, "Creating Creators Cinema Project: Transforming Lives through the Arts" (2019). LMU/ LLS Theses and Dissertations. 900. https://digitalcommons.lmu.edu/etd/900 This Dissertation is brought to you for free and open access by Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in LMU/LLS Theses and Dissertations by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. LOYOLA MARYMOUNT UNIVERSITY Creating Creators Cinema Project: Transforming Lives through the Arts by Christian Quintero A dissertation presented to the Faculty of the School of Education, Loyola Marymount University, in partial satisfaction of the requirements for the degree Doctor of Education 2019 Creating Creators Cinema Project: Transforming Lives through the Arts Copyright Ó 2019 by Christian Quintero ABSTRACT Creating Creators Cinema Project: Transforming Student Lives Through the Arts by Christian Quintero This work centered on the Creating Creators Cinema Project (CCCP), a for-profit organization that works with K-12 school districts in California to integrate student filmmaking into core subjects. The qualitative case study documented the experiences of CCCP’s founders, the teaching artists who mentor filmmaking youth, and the students participating in year-long projects, providing a “thick description” of the creation, implementation, and impact of the program in a high school setting. The research addressed the dearth of arts programs in urban schools and their connection to representation in arts fields, particularly filmmaking. The study utilized three frameworks: Critical Pedagogy, Constructivism, and Situated Learning Theory to analyze data about pedagogical approaches and impact in the personal and professional lives of those involved in the project. Findings revealed participants in CCCP challenge traditional schooling practices and create a professional identity for students in the program. This study affirmed the importance of arts education in student lives and identifies how arts is a transformative vehicle for students and educators. iii ACKNOWLEDGMENTS There are so many people and groups that I want to acknowledge who started me on the path to writing my dissertation. First and foremost, my spouse, partner, and friend Shuqian Guan, for sacrificing so much of her time to allow me to plan, research, and write. You are the epitome of selflessness; without you, the completion of this dissertation would not be possible. I want to thank Dr. Ernesto Colín, for your steadfast support, your generosity of time and space, and feedback on my academic endeavor. I am forever thankful for your guidance, expertise, and patience. To my committee members, Dr. Philip Molebash and Professor Terry Lenihan, for your sound advice and commitment to my project. To my LMU family (Cohort 12), each of your love, words, and support, guided me along my journey. I did not want to let any of you down. Your collective social justice commitments were the beats that kept me on task. To the LMU professors who expanded my thoughts on leadership for social justice and what it means to be an inquisitive educator. In particular, I want to thank, Dr. Jill Bickett, Dr. Marta Baltodano, Dr. Antonia Darder, Dr. Karen Huchting, Dr. Martha McCarthy, Dr. Mary McCullough, and Dr. David Sapp. Lastly, to the Creating Creators Cinema Project founders, teaching artists and students, for allowing me to tell their story. Polo and Jessica, thank you for giving your time, energy, and industry knowledge. I am inspired by your commitment to the arts and your collective commitment to transforming teaching and learning in the classroom. iv DEDICATION To my parents, Marlene and Gustavo Quintero. When I first told you of my acceptance to the LMU doctoral program, your immediate response was, “How can we help?” Your unwavering support, my whole life, has brought me to this point; my success is your success. To my twins, Sean and Karl. On my 40th birthday, you played me a duet version of “Imagine” on the piano that brought me to tears. May the world you create be driven by peace, love, humanity, and your music. To Shuqian Guan, your doctorate is next—it’s my turn to take care of you. v TABLE OF CONTENTS ABSTRACT .................................................................................................................................. iii ACKNOWLEDGEMENTS ......................................................................................................... iv DEDICATION ............................................................................................................................... v LIST OF TABLES ......................................................................................................................... x LIST OF FIGURES ...................................................................................................................... xi PROLOGUE .................................................................................................................................. 1 My Early Years .......................................................................................................................... 1 My College Years ...................................................................................................................... 5 My Professional Years .............................................................................................................. 8 CHAPTER 1: INTRODUCTION: CREATING CREATORS CINEMA PROJECT .......... 12 The Rationale for Arts Education ............................................................................................ 16 The Problem ............................................................................................................................ 17 Social Theory of Reproduction ............................................................................................... 19 The Film and Broadcasting Industry ........................................................................... 22 Importance of Arts Education ..................................................................................... 24 Research Questions ..................................................................................................... 28 RQ1 ........................................................................................................................ 28 RQ2 ........................................................................................................................ 28 The Setting ............................................................................................................................... 28 Organization of Dissertation .................................................................................................... 30 CHAPTER 2: THEORECTICAL FRAMEWORK ................................................................. 32 Critical Pedagogy .................................................................................................................... 32 All Education is Political ............................................................................................. 34 Learning is Social ........................................................................................................ 35 Education is Emancipatory .......................................................................................... 36 Principles of Critical Pedagogy ................................................................................... 36 Constructivism ......................................................................................................................... 38 Situated Learning Theory ........................................................................................................ 40 The Case Study ........................................................................................................................ 41 Methodologies ............................................................................................................. 43 Life Histories ......................................................................................................... 44 Semi-Structured Interviews ................................................................................... 44 Focus Groups ......................................................................................................... 44 Document Analysis ............................................................................................... 45 Inductive Analysis ....................................................................................................... 45 Protection of Human Subjects ................................................................................................. 46 CHAPTER 3: CREATING CREATORS CINEMA PROJECT: THE FOUNDERS .......... 48 Methodology ............................................................................................................................ 48 vi The Creating Creators Cinema Project Founders: Polo .........................................................
Load more

Recommended publications
  • “Laboratório” De T V Digital Usando Softw Are Open Source
    “Laboratório” de TV digital usando software open source Objectivos Realizar uma pesquisa de software Open Source, nomeadamente o que está disponível em Sourceforge.net relacionado com a implementação de operações de processamento de sinais audiovisuais que tipicamente existem em sistemas de produção de TV digital. Devem ser identificadas aplicações para: • aquisição de vídeo, som e imagem • codificação com diferentes formatos (MPEG-2, MPEG-4, JPEG, etc.) • conversão entre formatos • pré e pós processamento (tal como filtragens) • edição • anotação Instalação dos programas e teste das suas funcionalidades. Linux Aquisição Filtros Codificação :: VLC :: Xine :: Ffmpeg :: Kino (DV) :: VLC :: Transcode :: Tvtime Television Viewer (TV) :: Video4Linux Grab Edição :: Mpeg4IP :: Kino (DV) Conversão :: Jashaka :: Kino :: Cinelerra :: VLC Playback :: Freej :: VLC :: FFMpeg :: Effectv :: MJPEG Tools :: PlayerYUV :: Lives :: Videometer :: MPlayer Anotação :: Xmovie :: Agtoolkit :: Video Squirrel VLC (VideoLan Client) VLC - the cross-platform media player and streaming server. VLC media player is a highly portable multimedia player for various audio and video formats (MPEG-1, MPEG-2, MPEG-4, DivX, mp3, ogg, ...) as well as DVDs, VCDs, and various streaming protocols. It can also be used as a server to stream in unicast or multicast in IPv4 or IPv6 on a high-bandwidth network. http://www.videolan.org/ Kino (DV) Kino is a non-linear DV editor for GNU/Linux. It features excellent integration with IEEE-1394 for capture, VTR control, and recording back to the camera. It captures video to disk in Raw DV and AVI format, in both type-1 DV and type-2 DV (separate audio stream) encodings. http://www.kinodv.org/ Tvtime Television Viewer (TV) Tvtime is a high quality television application for use with video capture cards on Linux systems.
    [Show full text]
  • Cthulhu Lives!: a Descriptive Study of the H.P. Lovecraft Historical Society
    CTHULHU LIVES!: A DESCRIPTIVE STUDY OF THE H.P. LOVECRAFT HISTORICAL SOCIETY J. Michael Bestul A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Dr. Jane Barnette, Advisor Prof. Bradford Clark Dr. Marilyn Motz ii ABSTRACT Dr. Jane Barnette, Advisor Outside of the boom in video game studies, the realm of gaming has barely been scratched by academics and rarely been explored in a scholarly fashion. Despite the rich vein of possibilities for study that tabletop and live-action role-playing games present, few scholars have dug deeply. The goal of this study is to start digging. Operating at the crossroads of art and entertainment, theatre and gaming, work and play, it seeks to add the live-action role-playing game, CTHULHU LIVES, to the discussion of performance studies. As an introduction, this study seeks to describe exactly what CTHULHU LIVES was and has become, and how its existence brought about the H.P. Lovecraft Historical Society. Simply as a gaming group which grew into a creative organization that produces artifacts in multiple mediums, the Society is worthy of scholarship. Add its humble beginnings, casual style and non-corporate affiliation, and its recent turn to self- sustainability, and the Society becomes even more interesting. In interviews with the artists behind CTHULHU LIVES, and poring through the archives of their gaming experiences, the picture develops of the journey from a small group of friends to an organization with influences and products on an international scale.
    [Show full text]
  • 2.5 the Ubuntu Operating System 7
    By Courtney Loo http://courtneyloo.wordpress.com Edited by Justin Pot This manual is the intellectual property of MakeUseOf. It must only be published in its original form. Using parts or republishing altered parts of this guide is prohibited without permission from MakeUseOf.com Think you’ve got what it takes to write a manual for MakeUseOf.com? We’re always willing to hear a pitch! Send your ideas to [email protected]; you might earn up to $400. UBUNTU: AN ABSOLUTE BEGINNER’S GUIDE Table Of Contents 1. Introduction 5 2. Ubuntu 101 6 2.1 What Is Ubuntu? 6 2.2 The Ubuntu Philosophy 6 2.3 Proprietary Software vs Free/Libre Open-Source Software 6 2.4 How Can Ubuntu Be Free? 7 1. It’s Maintained By The FLOSS Community. 7 2. It’s Managed & Funded By Canonical 7 2.5 The Ubuntu Operating System 7 Linux: The Dreaded ‘L’ Word 7 What Is The Linux Kernel? 7 How Then Are Ubuntu & Linux Related? 8 2.6 Why Use Ubuntu? 8 3. Ubuntu Releases 9 3.1 Ubuntu Version Numbers 9 3.2 Ubuntu Code Names 9 3.3 Normal Releases vs. Long Term Support (LTS) Releases 9 4. Installing Ubuntu 10 4.1 Different Ways To Install Ubuntu 10 4.2 Installing Ubuntu Alongside Windows 7 With Wubi 10 What Is Wubi? 10 What Does Wubi Do? 10 5. Support & Community 14 5.1 Ubuntu Local Communities 14 Get Involved! 14 5.2 Free Documentation 14 Official Documentation 14 Community Documentation 15 5.3 Launchpad Answers 15 What Is Launchpad ? 15 HTTP://MAKEUSEOF.COM HTTP://COURTNEYLOO.WORDPRESS.COM, COURTNEY LOO 3 UBUNTU: AN ABSOLUTE BEGINNER’S GUIDE Why Should You Use Launchpad Answers? 15 6.
    [Show full text]
  • The Power of Digital Storytelling to Support Teaching and Learning
    The Power of Digital Storytelling to Support Teaching and Learning Bernard R. Robin [email protected] University of Houston, USA Abstract Although the term “digital storytelling” may not be familiar to all readers, over the last twenty years, an increasing number of educators, students and others around the world have created short movies by combining computer-based images, text, recorded audio narration, video clips and music in order to present information on various topics. For more than twelve years, faculty members and graduate students in the Learning, Design and Technology Program at the University of Houston College of Education have been exploring the use of digital storytelling to support both teaching and learning. In 2004, the author established the Educational Uses of Digital Storytelling website (http://digitalstorytelling.coe.uh.edu) to serve as a helpful resource for those interested in learning how digital storytelling could be integrated into a variety of educational activities. This paper presents an overview of how digital storytelling has and continues to be used to support teaching and learning activities. In addition, recommendations and guidelines are presented for educators who would like to teach students to use digital storytelling as an educational endeavor. Keywords Digital Storytelling, Educational Technology, Teaching, Learning, Multimedia B.R. Robin 17 Digital Education Review - Number 30, December 2016- http://greav.ub.edu/der/ The Power of Digital Storytelling to Support Teaching and Learning I. Introduction This paper deals with the educational uses of digital storytelling and presents an overview of how digital storytelling has and continues to be used to support teaching and learning.
    [Show full text]
  • Intro to Video Production Meaning Is More Than Dialogue in Videos
    Intro to Video Production Meaning is more than dialogue in videos 2 Meaning is conveyed in videos through Visual metaphor Audio Editing 3 1 Visual Metaphor 4 Star Wars, 1977, Directed by George Lucas 5 Tools for Visual Metaphor Examples include ◦ Size ◦ Composition ◦ Movement (camera and subjects) ◦ Camera angles ◦ Color ◦ Lighting ◦ Scenery And many more 6 Color The Lord of the Rings: The Fellowship of the Ring, 2001, Directed by Peter Jackson 7 Color The Lord of the Rings: The Return of the King, 2003, Directed by Peter Jackson 8 Lighting Up, 2008, Directed by Pete Docter 9 Lighting Up, 2008, Directed by Pete Docter 10 Scenery Rocky, 1976, Directed by John G. Avildsen 11 Scenery Rocky, 1976, Directed by John G. Avildsen 12 2 Audio 13 The importance of music 14 The importance of music 15 Music can change a scene 16 Sound Effects Make a Difference as Well 17 Sound Effects Make a Difference as Well 18 Creative Commons Resources 19 Creative Commons (creativecommons.org) Attribution Share Alike Must attribute the Derivatives must use author/creator same or compatible license Noncommercial No derivative works Cannot be used for Can only be shared commercial purposes unaltered 20 Music and Sound Effects ◦ Free Music Archive (freemusicarchive.org) ◦ Jamendo (jamendo.com/start) ◦ IMSLP/Petrucci Music Library (imslp.org/wiki/Main_Page) ▫ Example ◦ Freesound (freesound.org) - includes sound effects ◦ Musopen (musopen.org) ◦ ccMixter (ccmixter.org) ◦ Internet Archive (archive.org/details/netlabels) 21 Videos ◦ YouTube search ◦ Archive.org (archive.org/details/stock_footage) ◦ NASA (nasa.gov/multimedia/videogallery/index.html) ◦ Hubble Space telescope (spacetelescope.org/videos/) ◦ Coverr (coverr.co) ◦ Public Domain Movies (publicdomainflix.com) 22 3 Editing 23 Transitioning Scenes with Editing Star Wars, 1977, Directed by George Lucas 24 Editing can change the emotion of a scene 25 Reaction Shot Mrs.
    [Show full text]
  • Live Media / Vjing Survey
    Live media / VJing Survey 1. What is your gender? Response Response Percent Count Male 79.5% 58 Female 17.8% 13 prefer not to say 2.7% 2 answered question 73 skipped question 0 2. What is your age? Response Response Percent Count 15 - 24 9.6% 7 25 - 34 43.8% 32 35 - 44 38.4% 28 45 - 54 5.5% 4 55+ 0.0% 0 prefer not to say 2.7% 2 answered question 73 skipped question 0 1 of 46 3. Have you performed or used live media (eg VJing and performance based audiovisual artforms) as a process in the last five years? Response Response Percent Count yes I have 89.0% 65 yes but I have stopped 6.8% 5 no - I am thinking about it and 4.1% 3 probably will very soon no - I never have and don't intend 0.0% 0 to answered question 73 skipped question 0 2 of 46 4. Where (primarily) have you been doing live media / VJing in the last five years: Response Response Percent Count Adelaide 8.7% 6 Brisbane 13.0% 9 Melbourne 18.8% 13 Perth 5.8% 4 Sydney 23.2% 16 Other capital city 13.0% 9 a regional city or place more than 14.5% 10 150kms from a capital city I travel between different city / state locations more than 50% of 10.1% 7 the time I’m Australian but living/working 4.3% 3 overseas I’m not Australian and I am 23.2% 16 based elsewhere Other (please specify) 18 answered question 69 skipped question 4 5.
    [Show full text]
  • Lives Video Editor
    GABRIEL FINCH LiVES: LiVES is a Video Editing System RECIFE-PE – JULHO/2013. UNIVERSIDADE FEDERAL RURAL DE PERNAMBUCO PRÓ-REITORIA DE PESQUISA E PÓS-GRADUAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM INFORMÁTICA APLICADA LiVES: LiVES is a Video Editing System Dissertação apresentada ao Programa de Pós-Graduação em Informática Aplicada como exigência parcial à obtenção do título de Mestre. Área de Concentração: Engenharia de Software Orientador: Prof. Dr. Giordano Ribeiro Eulalio Cabral RECIFE-PE – JULHO/2013. Ficha Catalográfica F492L Finch, Gabriel LiVES: LiVES is a video editing system / Gabriel Finch. -- Recife, 2013. 132 f. Orientador (a): Giordano Cabral. Dissertação (Mestrado em Informática Aplicada) – Universidade Federal Rural de Pernambuco, Departamento de Estatísticas e Informática, Recife, 2013. Inclui referências e apêndice. 1. Software - Desenvolvimento 2. Prototipagem 3. Multimídia 4. Usuários de computador 5. Vídeo digital I. Cabral, Giordano, orientador II. Título CDD 005.1 ACKNOWLEDGEMENTS The author would like to thank: The staff and students at UFRPE. All the LiVES users and contributors. My family. and the following, who have helped along the way: Niels Elburg, Denis "Jaromil" Rojo, Tom Schouten, Andraz Tori, Silvano "Kysucix" Galliani, Kentaro Fukuchi, Dr. Jun Iio, Oyvind Kolas, Carlo Prelz, Yves Degoyon, Lady Xname, timesup.org, LinuxFund, VJ Pixel, estudiolivre, mediasana, Felipe Machado, elphel.com. RESUMO Relativamente pouca pesquisa científica tem sido executado até à data atinente aos requisitos dos usuários de aplicativos de processamento de vídeo. Nesta dissertação, apresentamos um novo termo "Experimental VJ", e examinamos os requisitos de software para essa classe de usuário, derivados de uma variedade de fontes. Por meios desses requisitos, definimos os atributos que seria necessário um programa criado para satisfazer essas demandas possuir.
    [Show full text]
  • Chrome Os Iso Download 2017 Chromixium
    chrome os iso download 2017 Chromixium. Web site: http://chromixium.org/ Origin: United Kingdom Category: Desktop Desktop environment: Openbox Architecture: x86, x86_64 Based on: Ubuntu Wikipedia: Media: Live DVD The last version | Released: 1.5 | July 18, 2015 Zobacz po polsku: Chromixium. Chromixium – a free and open source computer operating system designed to mimic the look and feel of Google’s Chrome OS but still retain the flexibility and power of Ubuntu Linux. The Chromixium goals are: – A modular approach to (re)building the Chrome/Chromium OS desktop allows us to keep the base system light whilst at the same time beautifully modern and flexible – Hardware support for a wide range of laptops, desktops, network, video and sound cards – Installable to a conventional hard drive or partition allowing access to local storage, USB devices, printers and network shares – Ability to create persistent USB installs for portability – Ability to install additional software locally eg LibreOffice, GIMP, media players (even web browsers!) using Ubuntu or 3rd party software repositories – Complete control over customization of your operating system – Background security updates for peace of mind and hassle-free computing. Cr OS Linux. Web site: getchrome.eu Origin: Category: Desktop Desktop environment: Cinnamon Architecture: x86 Based on: openSUSE Wikipedia: Media: Live DVD/USB The last version | Released: 2.4.1290 | December 9, 2012 Zobacz po polsku: Cr OS Linux. Cr OS Linux (previously: Chrome Linux and Chrome OS Linux) – a Linux distribution built around the revolutionary Chromium browser, using SUSE Studio. It provides a lightweight Linux distribution similar to Google Chrome OS for the best web browsing experience on any x86 PC, netbook or notebook.
    [Show full text]
  • CLASSROOM GUIDE Teaching the Film
    top spin Grades 5-12 CLASSROOM GUIDE USING DISCUSSION MEDIA LITERACY SUPPLEMENTAL ARTICLES AND THIS GUIDE QUESTIONS & RESOURCES RESOURCES REVIEWS POST-VIEWING ABOUT ACTIVITIES THE FILM Top Spin is a documentary film about three teenage athletes with Olympic dreams in competitive ping pong. A class screening of the film may complement a Health or TEaching Language Arts curriculum. Taught in conjunction with this guide, the film will challenge students to think critically about balance, competition, and what it means to make sacrifices in pursuit of a dream. Discussion questions and supplemental materials the film: facilitate further research into related topics such as peer to peer interactions, American culture and the transition to adulthood. All SFFS Youth Education materials are developed in alignment with California educational standards for media literacy. SFFS Youth Education welcomes feedback and questions on all printed study materials. Please direct all comments and queries to Keith Zwölfer, Youth Education Manager: San Francisco Film Society Youth Education 39 Mesa Street, Suite 110 - The Presidio San Francisco, CA 94129-1025 [email protected] 415.561.5040 ABOUT THE FILM USING THIS GUIDE DISCUSSION QUESTIONS & POST-VIEWING ACTIVITIES STANDARDS ALIGNMENT MEDIA LITERACY RESOURCES SUPPLEMENTAL RESOURCES ARTICLES AND REVIEWS materials are intended to facilitate group discussion, Using this guide individual and collaborative creative exercise, subject- based learning and access to resources for further This study guide is intended to flexibly support investigation of material. Educators are encouraged to educators in preparing for and following adapt and abridge the content as necessary to meet up on a class screening of Top Spin.
    [Show full text]
  • A Framework for Film Education Contents Executive Summary
    A FRAMEWORK FOR FILM EDUCATION CONTENTS EXECUTIVE SUMMARY For over 120 years, film1 has evolved across different The Framework collects what experts across Europe genres, modes, and platforms to become the dominant consider to be essential in film education. It connects cultural form of the 21st century. Over that time, the ‘outcomes’ that educators might want film education film has developed its own language, one that is highly to achieve, to the skills, knowledge, and experience complex, sophisticated, immensely powerful, and like that are seen to be essential if someone is to consider all languages, still evolving. In cinemas, online, on themselves to be ‘film literate’. television, in art galleries and through spectacular immersive experiences, film has become almost The Framework was created during 2014-15 by twenty ubiquitous in our lives. five film education practitioners, drawn from national EXECUTIVE SUMMARY 3 agencies, Cinematheques, universities, NGOs, schools, But despite film’s ubiquity, its complexity and cultural and industry-funded bodies in 20 countries across Europe. INTRODUCTION 5 richness, its social, historical and artistic importance, It seeks to consolidate a body of theory, practices and it has remained relatively marginal and underdeveloped principles behind various European film education SCREENING LITERACY 5 in most European education systems. This is not to activities, to simplify and make it coherent, in pursuit AN OUTCOMES-BASED FRAMEWORK 5 deny film education’s long history, nor the inspiring of an overarching aim: METHODOLOGY 6 work of many people in many countries across Europe; but this work has only reached a few, when it is the TO INSPIRE AND EQUIP PEOPLE ACROSS EUROPE DIAGRAM 7 birthright of all.
    [Show full text]
  • The Current State of Linux Video Production Software and Its Developer Community
    The Current State of Linux Video Production Software and its Developer Community Richard Spindler Schönau 75 6323, Bad Häring, Austria [email protected] Abstract At the time it was started, there were two potential applications available that could have According to Linux and Open Source/Free been used instead of starting a new project. Those Software thought leaders, the current situation in 1 2 Linux video editing and production software still two options were Cinelerra and Kino which were leaves a lot to be desired. Here we give an accurate already quite mature and widely used at that time. overview of the software that is already being However for the needs of the author, Kino was too developed for Linux video editing, or that is simple to support the kind of workflow that he currently being worked on. We will introduce the anticipated, and Cinelerra was too complex to developers or/and the development communities teach quickly to his collaborators. They were not that are behind these projects, and how the only choices, as new editing applications collaboration between projects works. We will emerged, likely because other Free Software mention interesting events and places where Linux enthusiasts were finding themselves in a similar video developers meet, and what groups might be dilemma. Those however, were also very much at interested in our work, or ought to be involved into a starting point of development, and far from being specific aspects of our work. We will outline mature enough for general use. where projects are still lacking to support specific use cases, and why they matter.
    [Show full text]
  • The Lives of Others Open-Source Development Practices Elsewhere
    The Lives of Others Open-Source Development Practices Elsewhere Peter Eisentraut Senior Software Engineer Lab Development F-Secure Corporation PGCon 2009 Ground Rules I I don’t know everything. I If you are involved in other projects, chime in. I Discussion welcome Whom To Learn From? I Look at the biggest open-source projects I Metric: installation footprint, installation count I Where to find those numbers? I the Universal Debian Database I doesn’t count OS distributions such as Debian, Fedora, FreeBSD, OpenSolaris I Java also underrepresented Sidetrack: The Universal Debian Database Example: query for packages with largest install footprint and popularity SELECT rank() OVER (ORDER BY score DESC), source, sum(installed_size::numeric * insts) AS score FROM packages JOIN popcon_src USING (source) WHERE distribution = 'debian' AND release = 'lenny' AND component = 'main' AND architecture IN ('all', 'i386') GROUP BY source ORDER BY score DESC LIMIT 100; The Biggest Projects OpenOffice.org, Linux, GCC, GCJ, Qt, Mesa, KDE, Glibc, Firefox, MySQL, Boost, Perl, Samba, LDP, Vim, Gtk+, FFmpeg, OPAL, Evolution, OpenJDK, Gtk−−, wxWidgets, PyQt, Gimp, TeX Live, X.org, SCOWL, OpenSSL, Thunderbird, Xalan, Berkeley DB, ncurses, Foomatic, SELinux, Gutenprint, PHP, GNU binutils, Python, KOffice, Wine, Ruby, ICU, LAPACK, Webkit, PostgreSQL, glib, libsigc++, Inkscape, PWLib, GNOME, Apache, HPLIP, Xerces, Libxml, GNU Gettext, CUPS, SANE, Net-SNMP, Ghostscript, Mono, Eclipse, Pidgin PostgreSQL — A Role Model? Things to keep in mind: 1. Process details are hard to gather for outsiders. 2. Other projects are not without problems. 3. Many of them have worse problems than we do. 4. Others look at the PostgreSQL project for advice and inspiration.
    [Show full text]