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Part II. Storytelling in the Information Age ] 79 text has been created. After considering the suggestions and finalizing the text, the story is produced in digital form. In this phase, participants digitize their images, read and record their narration, and edit the chosen images and audio into video using editing software. All these activities are carried out in consultation with the group leader and members. In the final stage, the participants share the digital stories offline and/or online, discuss their experiences and evaluate each others videos (Lambert, 2002/2013). The above process is characterized by social, cooperative, and discursive activities as well as individual and productive activities. Text writing and the editing of images and video are facilitated by evaluative and critical peer interactions which can be seen as a form of authorial collaboration. The exchange of opinions and the reflections on each other's texts and images all serve the purpose of making the digital story both relevant for the author as well as interesting and authentic for the audience. The final product is the digital story, which StoryCenter defines as a unique artifact 2-3 minutes in length and illustrated with still images, accompanied by music, depicting a temporal context, and featuring the writer’s own point of view (Lambert, 2002/2013). Ohler (2013) argues that in its expression DST is less focused on the word digital and more on the word storytelling, as digital applications and online interfaces are in the service of self-expression and/or content management. The revolutionary innovation of DST is that it enables anyone to produce audiovisual content, previously was the privilege of professional filmmakers, so that anyone can articulate first-hand life stories (Lambert, 2002/2013; Lanszki, 2015a, 2017; Lanszki & Papp-Danka, 2017; Lanszki & Horvath, 2017). StoryCenter has collaborated with thousands of public and non-governmental organizations to organize workshops and introduce the process to thousands of people worldwide. Since 1998, DST has appeared among the courses of more than 100 higher education institutions in the US in the fields of teacher education, journalism, communication theory and practice, IT and creative writing. At the turn of the millennium the method has also spread to media institutions on other continents: the BBC’s regional Welsh channel, led by Daniel Meadows, has launched Capturing Wales, and the Australian Centre for the Moving Image in Melbourne has also discovered the power of digital stories. DST has grown into a genre of mass media, but with the web 2.0 turn, video-sharing portals have made it possible to publish digital stories individually, independently of larger media institutions (Lanszki, 2016a). By enabling users with no particular technological background to express themselves through multimedia, DST has grown into a movement, thus enabling people from different socio-economic and cultural backgrounds and native languages to express themselves online. Numerous conferences"! * These include the annual international traveling conference The Digital Storytelling Conference or the annual Digital Storytelling Conference in Cardiff since 2003, organized by the BBC, while the Un/
