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robertogreco : dialogue   51

The UX design case of closed captions for everyone // Sebastian Greger
"Are video subtitles really chiefly for users who cannot hear or lack an audio device? A recent Twitter thread on “closed captions for the hearing” triggered a brief qualitative exploration and thought experiment – there may well be a growing group of users being forgotten in the design of closed captions.

Most commonly perceived as an auxiliary means for the hearing impaired, video subtitles, a.k.a. closed captions (CC), have only recently started to be widely considered as an affordance for users in situations with no audio available/possible (think mobile devices in public settings, libraries, shared office spaces); the latter to the extend that contemporary “social media marketing guidelines” strongly recommend subtitling video clips uploaded to Facebook, Twitter et al.

So: subtitles are for those who cannot hear, or with muted devices?

Who else uses closed captions?

I’m personally a great fan of closed captions, for various reasons unrelated to either of the above, and have often noticed certain limitations in their design. Hence, the user researcher inside me just did a somersault as I randomly encountered a Twitter thread [https://twitter.com/jkottke/status/1091338252475396097 ] following Jason Kottke asking his 247.000 followers:
After seeing several photos my (English-speaking, non-deaf) friends have taken of their TV screens over the past week, I’m realizing that many of you watch TV with closed captions (or subtitles) on?! Is this a thing? And if so, why?

The 150+ replies (I guess this qualifies as a reasonable sample for a qualitative analysis of sorts?) are a wonderful example of “accessibility features” benefiting everybody (I wrote about another instance recently [https://sebastiangreger.net/2018/11/twitter-alt-texts-on-db-trains/ ]). The reasons why people watch TV with closed captions on, despite having good hearing abilities and not being constrained by having to watch muted video, are manifold and go far beyond those two most commonly anticipated use cases.

[image: Close-up image of a video with subtitles (caption: "Closed captions are used by people with good hearing and audio playback turned on. An overseen use case?")]

Even applying a rather shallow, ex-tempore categorisation exercise based on the replies on Twitter, I end up with an impressive list to start with:

• Permanent difficulties with audio content
◦ audio processing disorders
◦ short attention span (incl., but not limited to clinical conditions)
◦ hard of hearing, irrespective of age
• Temporary impairments of hearing or perception
◦ watching under the influence of alcohol
◦ noise from eating chips while watching
• Environmental/contextual factors
◦ environment noise from others in the room (or a snoring dog)
◦ distractions and multitasking (working out, child care, web browsing, working, phone calls)
• Reasons related to the media itself
◦ bad audio levels of voice vs. music
• Enabler for improved understanding
◦ easier to follow dialogue
◦ annoyance with missing dialogue
◦ avoidance of misinterpretations
◦ better appreciation of dialogue
• Better access to details
◦ able to take note of titles of songs played
◦ ability to understand song lyrics
◦ re-watching to catch missed details
• Language-related reasons
◦ strong accents
◦ fast talking, mumbling
◦ unable to understand foreign language
◦ insecurity with non-native language
• Educational goals, learning and understanding
◦ language learning
◦ literacy development for children
◦ seeing the spelling of unknown words/names
◦ easier memorability of content read (retainability)
• Social reasons
◦ courtesy to others, either in need for silence or with a need/preference for subtitles
◦ presence of pets or sleeping children
◦ avoiding social conflict over sound level or distractions (“CC = family peace”)
• Media habits
◦ ability to share screen photos with text online
• Personal preferences
◦ preference for reading
◦ acquired habit
• Limitations of technology skills
◦ lack of knowledge of how to turn them off

An attempt at designerly analysis

The reasons range from common sense to surprising, such as the examples of closed captions used to avoid family conflict or the two respondents explicitly mentioning “eating chips” as a source of disturbing noise. Motivations mentioned repeatedly refer to learning and/or understanding, but also such apparently banal reasons like not knowing how to turn them off (a usability issue?). Most importantly, though, it becomes apparent that using CC is more often than not related to choice/preference, rather than to impairment or restraints from using audio.

At the same time, it becomes very clear that not everybody likes them, especially when forced to watch with subtitles by another person. The desire/need of some may negatively affect the experience of others present. A repeat complaint that, particularly with comedy, CC can kill the jokes may also hint at the fact that subtitles and their timing could perhaps be improved by considering them as more than an accessibility aid for those who would not hear the audio? (It appears as if the scenario of audio and CC consumed simultaneously is not something considered when subtitles are created and implemented; are we looking at another case for “exclusive design”?)

And while perceived as distracting when new – this was the starting point of Kottke’s Tweet – many of the comments share the view that it becomes less obtrusive over time; people from countries where TV is not dubbed in particular are so used to it they barely notice it (“becomes second nature”). Yet, there are even such interesting behaviours like people skipping back to re-read a dialogue they only listened to at first, as well as that of skipping back to be able to pay better attention to the picture at second view (e.g. details of expression) after reading the subtitles initially.

Last but not least, it is interesting how people may even feel shame over using CC. Only a conversation like the cited Twitter thread may help them realise that it is much more common than they thought. And most importantly that it has nothing to do with a perceived stigmatisation of being “hard of hearing”.

CC as part of video content design

The phenomenon is obviously not new. Some articles on the topic suggest that it is a generational habit [https://medium.com/s/the-upgrade/why-gen-z-loves-closed-captioning-ec4e44b8d02f ] of generation Z (though Kottke’s little survey proves the contrary), or even sees [https://www.wired.com/story/closed-captions-everywhere/ ] it as paranoid and obsessive-compulsive behaviour of “postmodern completists” as facilitated by new technological possibilities. Research on the benefits of CC for language learning, on the other hand, reaches back [https://www.tandfonline.com/doi/abs/10.1080/19388078909557984 ] several decades.

No matter what – the phenomenon in itself is interesting enough to make this a theme for deeper consideration in any design project that contains video material. Because, after all, one thing is for sure: closed captions are not for those with hearing impairments or with muted devices alone – and to deliver great UX, these users should be considered as well."

[See also: https://kottke.org/19/04/why-everyone-is-watching-tv-with-closed-captioning-on-these-days ]
closedcaptioning  subtitles  closedcaptions  text  reading  genz  generationz  audio  video  tv  film  dialogue  listening  howweread  2019  sebastiangreger  literacy  language  languages  ux  ui  television  ocd  attention  adhd  languagelearning  learning  howwelearn  processing  hearing  sound  environment  parenting  media  multimedia  clarity  accents  memory  memorization  children  distractions  technology  classideas 
march 2019 by robertogreco
Why Gen Z Loves Closed Captioning – The Upgrade – Medium
"Old technology finds a surprising new application

“Everyone does it.”

These were the words from my college-aged daughter when I caught her lounging on our couch, streaming Friends with 24-point closed captioning on. She has no hearing impairment, and I wanted to know what she was up to.

Does “everyone” do it? My wife and I turned to Facebook and a private, nationwide group for parents with near-adult children. “Anyone else’s college student (without a hearing disability) watch TV with the closed captioning on and insist that everyone does it?” my wife posted. Seven hundred responses (and counting) later, we had our answer.

“It helps me with my ADHD: I can focus on the words, I catch things I missed, and I never have to go back.”
Many parents expressed similar confusion with the TV-watching habits of their millennial and Gen Z children, often followed with, “I thought it was just us.”

I returned to my daughter, who had now switched to the creepy Lifetime import You.

“Why do you have captions on?” I asked.

“It helps me with my ADHD: I can focus on the words, I catch things I missed, and I never have to go back,” she replied. “And I can text while I watch.”

My multitasking daughter used to watch TV while working on her laptop and texting or FaceTiming on her phone. She kept rewinding the DVR to catch the last few minutes she’d missed because she either zoned out or was distracted by another screen.

Her response turned out to be even more insightful than I realized at first. A number of mental health experts I spoke with — and even one study I found — supported the notion that watching with closed captioning serves a valuable role for those who struggle with focus and listening.

“I do see this a lot in my practice,” said Dr. Andrew Kent, an adolescent psychiatrist practicing in New York and Medical Director of New York START, Long Island. “I believe auditory processing is more easily impacted upon by distractions, and that they need to read [captions] to stay focused.”

Closed captioning is a relatively recent development in the history of broadcasting, and it was designed with the hearing impaired in mind. According to a useful history on the National Captioning Institute’s (NCI) website, the technology dates back to the early 1970s, when Julia Child’s The French Chef “made history as the first television program accessible to deaf and hard-of-hearing viewers.” Real-time captioning arrived later, with stenographers typing at a blazing 250 words-per-minute to keep up with live news and sporting events.

They use captions to focus more intently on the content.
If it wasn’t for the Twenty-First Century Communications and Video Accessibility Act of 2010 and additional rules adopted by the FCC in 2012, it’s unlikely my daughter’s IP-based Netflix streaming content would even have closed captioning options today.

While the NCI doesn’t explicitly acknowledge the growing use of closed captioning by those without hearing impairments, it does note that “closed captioning has grown from an experimental service intended only for people who are deaf to a truly global communications service that touches the lives of millions of people every day in vital ways.”

It’s certainly not just a phenomenon for young people. There are many people my age who admit to using them because they have some middle-aged hearing loss or simply need help understanding what the characters on Luther or Peaky Blinders are saying. They use captions to focus more intently on the content.

The need to read captions for what you can hear might even have a biological base. According to Dr. Sudeepta Varma, a psychiatrist at New York University’s Langone Medical Center, some people may have trouble processing the audio from television.

“I believe that there are a number of individuals who have ADHD who may also suffer from undiagnosed auditory processing disorder (APD), and for these individuals… this may be very helpful,” Dr. Varma told me via email. Closed captioning can provide the visual cues that APD sufferers need to overcome their issues with listening and comprehension, she added.

APD refers to how the brain processes auditory information, and though it supposedly only affects around 5 percent of school-age children, there’s reportedly been a significant uptick in overall awareness. As Dr. Varma pointed out, there may be a lot of people who don’t realize they have APD, but are aware of some of the symptoms, which include being bothered by loud noises, difficulty focusing in loud environments, and forgetfulness.

There may be applications in the classroom, too. In a 2015 study of 2,800 college-age students on the impact of closed captioning on video learning, 75 percent of respondents mentioned that they struggle with paying attention in class. “The most common reasons students used captions… was to help them focus,” Dr. Katie Linder, the research director at Oregon State University who led the study, told me.

And even four years ago, there were hints that the use of closed captioning as a focusing tool would bleed outside the classroom.

As a report on the study put it, “Several people in this study also mentioned that they use captions all the time, not just for their learning experience. Captions with Netflix was mentioned multiple times. So, we know that students are engaging with them outside of the classroom.”

When the NCI first co-developed closed captioning technology some 50 years ago, they called it “words worth watching,” and it did transform millions of lives. Today, we may be witnessing — or reading — a similar revolution."
closedcaptioning  subtitles  closedcaptions  text  reading  genz  generationz  audio  video  tv  film  dialogue  listening  howweread  2019  lanceulnoff  television  adhd  attention  classideas 
march 2019 by robertogreco
Just Research in Contentious Times 9780807758731 | Teachers College Press
"In this intensely powerful and personal new text, Michelle Fine widens the methodological imagination for students, educators, scholars, and researchers interested in crafting research with communities. Fine shares her struggles over the course of 30 years to translate research into policy and practice that can enhance the human condition and create a more just world. Animated by the presence of W.E.B. DuBois, Gloria Anzaldúa, Maxine Greene, and Audre Lorde, the book examines a wide array of critical participatory action research (PAR) projects involving school pushouts, Muslim American youth, queer youth of color, women in prison, and children navigating under-resourced schools. Throughout, Fine assists readers as they consider sensitive decisions about epistemology, ethics, politics, and methods; critical approaches to analysis and interpretation; and participatory strategies for policy development and organizing. Just Research in Contentious Times is an invaluable guide for creating successful participatory action research projects in times of inequity and uncertainty.

Book Features:

• Reviews the theoretical and historical foundations of critical participatory research.
• Addresses why, how, with whom, and for whom research is designed.
• Offers case studies of critical PAR projects with youth of color, Muslim American youth, indigenous and refugee activists, and LGBTQ youth of color.
• Integrates critical race, feminist, postcolonial, and queer studies."
michellefine  toread  webdubois  gloriaanzaldúa  maxinegreene  audrelorde  participatory  research  paricipatoryactionresearch  justice  methodology  queer  postcolonialism  objectivity  subjectivity  strongobjectivity  ethics  politics  methods  education  feminism  philosophy  situated  uncertainty  inequality  inequit  dialogue  criticalparticipatoryactionresearch  inquiry  distance  bias  epispemology 
november 2018 by robertogreco
Carol Black on Twitter: "I'm sorry, but this is delusional. If you don't read the book the first time for rhythm and flow, just *read* it, you haven't read the book. You have dissected it. This is like the vivisection of literature. There is no author ali
"I'm sorry, but this is delusional. If you don't read the book the first time for rhythm and flow, just *read* it, you haven't read the book. You have dissected it. This is like the vivisection of literature. There is no author alive who would want their book read this way."



"Look, the reality is that most people do not want to analyze literature. It's a specialty interest, a niche thing. There is absolutely no reason all people should have to do this. By forcing it we just create an aversion to books.

[@SOLEatHome "Would you consider someone re-reading a book they love and noticing things they missed the first time analysis? It at least fits what has come to be known as "close reading""]

Kids who become writers (or filmmakers, or musicians) re-read, re-watch, re-listen to their favorite things repetitively, obsessively. They internalize structure, rhythm, characterization, language, vocabulary, dialogue, intuitively, instinctively.

Close reading & analysis is a separate activity, it requires a whole different stance / attitude toward the book. It can enhance this deeper intuitive understanding or it can shut it down, turn it into something mechanical & disengaged.

I think it's a huge mistake to push this analytical stance on children when they are too young. I was an English major, & I don't think I benefited from it until college. Younger kids should just find things they love & process them in ways that make sense to them.

This is one of the many delusional things about the way literature is taught in HS. The reality is you have to read a book at the *bare minimum* twice in order to do meaningful analysis. But there is never time for this. So we just club the thing to death on the first reading.

One of the principal things a writer does is to work incredibly hard at refining the way one sentence flows into the next, one chapter springboards off the last. To experience this as a reader you have to immerse yourself, turn off the analytical brain, just *read* the damn book.

To insert analysis into this process on a first reading is like watching a film by pausing every couple of minutes to make notes before continuing. It's fine to do that in later study, but if you do it the first time through you've destroyed everything the filmmaker worked for."

[@irasocol: How a teacher destroys not just reading but culture. Can we let kids experience an author's work without dissection? How I tried to address this in 2012... http://speedchange.blogspot.com/2012/11/why-do-we-read-why-do-we-write.html "]



[This was in repsonse to a thread that began with:
https://twitter.com/SOLEatHome/status/1053338882496958465

"This thread details a real school assignment that was asked of a high school student to do while reading a book they hadn't read before. I assure you this is is not something isolated to one school:

Annotate.

Inside front cover: major character with space for...

...character summaries, page reference for key scenes or moments of character development. Evidently these are enormous books.

Inside Back Cover: list of themes, allusions, images, motifs, key scenes, plot line, epiphanies, etc. Add pg. references or notes. List vocab words...

...if there's still room. (big books or small writing?)

Start of each chapter: do a quick summary of the chapter. Title each chapter as soon as you finish it, esp. if the chapters don't have titles.

Top margins: plot notes/words phrases that summarize. Then go back...

...and mark the chapter carefully (more on these marks to come)

Bottom and side margins: interpretive notes, questions, remarks that refer to the meaning of the page (???). Notes to tie in w/ notes on inside back cover

Header: Interpretive notes and symbols to be used...

...underline or highlight key words, phrases, sentences that are important to understanding the work
questions/comments in the margins--your conversation with the text
bracket important ideas/passages
use vertical lines at the margin to emphasize what's been already marked...

...connect ideas with lines or arrows
use numbers in the margin to indicate the sequence of points the author makes in developing a single argument
use a star, asterisk, or other doo-dad at the margin--use a consistent symbol--(presumably to not mix up your doo-dads?) to...

...be used sparingly to emphasize the ten or twenty most important statements in the book.
Use ???for sections/ideas you don't understand
circle words you don't know. Define them in the margins (How many margins does a page have?)
A checkmark means "I understand"...

...use !!! when you come across something new, interesting or surprising
And other literary devices (see below)

You may want to mark:
Use and S for Symbols: a symbol is a literal thing that stands for something else which help to discover new layers of thinking...

Use an I for Imagery, which includes words that appeal to the five senses. Imagery is important for understanding an authors message and attitudes
Use an F for Figurative Language like similes, metaphors, etc., which often reveal deeper layers of meaning...

Use a T for Tone, which is the overall mood of the piece. Tone can carry as much meaning as the plot does.
Use a Th for Theme: timeless universal ideas or a message about life, society, etc.
Plot elements (setting, mood, conflict)
Diction (word choice)

The end. ::sighs::"]
carolblack  irasocol  howweread  reading  literature  closereading  2018  school  schooliness  education  absurdity  literaryanalysis  writers  writing  howwewrite  filmmaking  howwelearn  academia  academics  schools  unschooling  deschooling  analysis  understanding  repetition  experience  structure  rhythm  characterization  language  vocabulary  dialogue  noticing  intuition  instinct  film  flow 
october 2018 by robertogreco
Metrograph Celebrates the Inventive Truth-Telling of St. Clair Bourne | Village Voice
"Let the Church is so free of form and spirit that, presented without context, it could easily be seen as a fictional piece. It is not clear how much the scenes are staged, or, indeed, whether they are staged at all. Right from the first interaction, in which what seems to be a religious teacher laboriously explains the purpose of a sermon, there is a distance with the people filmed (broken on occasion by extreme zooming and direct address), as well as a writtenness and theatricality in the dialogue that can be delightfully confusing. What one learns while watching Bourne is that there are many ways to enter a subject, and one mustn’t refrain from exploring them, especially not in the name of nonfiction convention."



"Bourne conveys the collective through the individual: What do these voices reveal of the state of mind of the subject, and how do they mirror that of an entire community?"



"There are individuals who have been burdened with what Frantz Fanon has described, in Black Skin White Masks, as the “colossal task to make an inventory of the real.” Fanon was of course one of them, and so was Bourne.

The task is even more herculean when the reality has been so intensely erased and distorted, including by the very medium in which Bourne decided to express himself. Hence the extreme sensitivity and curiosity that animates his body of work, which belongs — right next to the early literature of enslaved Africans, the films of Oscar Micheaux, the novels and essays of Toni Morrison, James Baldwin, and Zora Neale Hurston — on the shelves of every Black family, its images ornating the minds and memories of every Black child. Much like the Martinican psychiatrist did with philosophy, poetry, and psychoanalysis, St. Clair Bourne utilized the tools of television and cinema to uncover the multitudinous facts of Blackness — and to send his people many love letters."
fantasylla  2018  stclairbourne  film  documentary  blackness  filmmaking  frantzfanon  zoranealehurston  jamesbaldwin  tonimorrison  realism  dialogue  breakingform  form 
february 2018 by robertogreco
And so I am grateful too
"In return for believing in me, I offer belief in others. This is my currency, my economy: trust and belief. I said once about my role as managing editor at Hybrid Pedagogy that “I prowl the gates of this journal, I do—but to keep them open, not closed; to invite in rather than keep out.” But this is not work restricted to that of a journal editor: it is work we can all do in whatever role we occupy. It is the work of teachers, scholars, administrators, provosts, executive directors, instructional designers, technologists, writers, and more. For myself, I will always keep an eye open for new voices, voices that education and academia might not take seriously for whatever reason, I will listen carefully to what they have to say and I will offer them whatever platform I may.

In part, this means not speaking. Not writing Twitter threads. Not occupying any stage alone. The work others have done to give me opportunities must turn into work I can do to give others opportunities. I can be silent and listen. I can retweet. Hold the door so someone else might walk through, just as the door was held for me. And I hope, in my silence, I inspire silence in those who have the privilege—the leaders of the critical pedagogy and digital pedagogy conversation—to make way for other leaders. Because that is leadership in critical pedagogy.

Because critical pedagogy, digital pedagogy, #digped—none of these is our community. Increasingly, I recognize that there is no “us” when “us” means “our.” Should we find ourselves saying that someone is a good fit for our community, we are also saying that someone else is not. Some have seen me as a poor fit for their communities; and so how could I turn around and guard the gate in that fashion? Generosity of spirit, generosity of dialogue, generosity of justice, cannot be exclusive.

In the end, our only legacy will be the people we have loved, the voices we have amplified, the kindnesses we have offered and which echo out ongoingly. A published paper will be forgotten. A hashtag will disappear even more readily. A MOOC, a community, a conference… These all have end points when they disappear or disintegrate. But if in that published paper we cite a student or an adjunct; if across that hashtag we promote lovingkindness and encourage people to speak and listen; if in that MOOC, that community, or at that conference, we meet humans where they are and give them whatever doorways to discovery we can build—then something sustainable, something lasting might come of it.

If I have a wish for the new year, it is not for my life to improve. It is that, through whatever power I have, I might improve the lives of others. This is what Digital Pedagogy Lab is for. This is why I write. This is why I teach. My voice pales in comparison to the cacophony of voices waiting to be heard. I want to hear them. And I believe we all will be better off if we let that cacophony rise."
seanmichaelmorris  criticalpedagogy  ladders  academia  inclusivity  inclusion  education  2017  pedagogy  digitalpedagogy  community  payitforward  punchingup  exposure  generosity  justice  socialjustice  dialogue  privilege  interconnected  interdependence  listening  interconnectedness  interconnectivity 
january 2018 by robertogreco
Movement Pedagogy: Beyond the Class/Identity Impasse - Viewpoint Magazine
"Ellsworth had studied critical pedagogy carefully and incorporated it into her course, which she called Curriculum and Instruction 607: Media and Anti-racist Pedagogies. She describes the diverse group of students it drew, including “Asian American, Chicano/a, Jewish, Puerto Rican, and Anglo European men and women from the United States, and Asian, African, Icelandic, and Canadian international students.” This diverse context seemed ideal for engaging in critical pedagogy. And yet, problems arose as soon as the class began.

When invited to speak about injustices they had experienced and witnessed on campus, students struggled to communicate clearly about racism. They had a hard time speaking and listening to one another about the main subject of the course. Rather than dialogue providing grounds for solidarity, “the defiant speech of students and professor…constituted fundamental challenges to and rejections of the voices of some classmates and often the professor.” Ellsworth began to question the limitations of an approach to dialogue that assumes “all members have equal opportunity to speak, all members respect other members’ rights to speak and feel safe to speak, and all ideas are tolerated and subjected to rational critical assessment against fundamental judgments and moral principles.” These assumptions were not bearing out in her classroom due to the vastly different histories, experiences, and perspectives of those in the room.

There was difficulty, pain, and deadlock in communicating about the social structure of the university, a deadlock that fell along classed, racial, gendered and national lines. Like a broken window, fissures between the experiences and perspectives of Ellsworth and her students formed cracks, which then caused more cracks, until no one could see each other clearly.

Contrary to critical pedagogy’s promise of liberation through dialogue, Ellsworth’s classroom was filled with uncomfortable silences, confusions, and stalemates caused by the fragmentation. The students and professor could not achieve their stated goal of understanding institutional racism and stopping its business-as-usual at the university. She recalls that
[t]hings were not being said for a number of reasons. These included fear of being misunderstood and/or disclosing too much and becoming too vulnerable; memories of bad experiences in other contexts of speaking out; resentment that other oppressions (sexism, heterosexism, fat oppression, classism, anti-Semitism) were being marginalized in the name of addressing racism – and guilt for feeling such resentment; confusion about levels of trust and commitment about those who were allies to one another’s group struggles; resentment by some students of color for feeling that they were expected to disclose more and once again take the burden of doing pedagogic work of educating White students/professor about the consequences of White middle class privilege; resentment by White students for feeling that they had to prove they were not the enemy.

The class seemed to be reproducing the very oppressive conditions it sought to challenge. As they reflected on these obstacles, Ellsworth and her students decided to alter the terms of their engagement. They replaced the universalism of critical pedagogy, in which students were imagined to all enter dialogue from similar locations, with a situated pedagogy that foregrounded the challenge of working collectively from their vastly different positions. This shift completely altered the tactics in the course. Rather than performing the teacher role as an emancipatory expert presumed able to create a universal critical consciousness through dialogue, Ellsworth became a counselor, helping to organize field trips, potlucks, and collaborations between students and movement groups around campus. These activities helped to build relations of trust and mutual support without presuming that all students entered the classroom from the same position. Rather than holding class together in a traditional way, Ellsworth met with students one on one, discussing particular experiences, histories, and feelings with them, talking through these new activities.

As trust began to form out of the morass of division, students created affinity groups based on shared experiences and analyses. The groups met outside of class to prepare for in-class meetings, which “provided some participants with safer home bases from which they gained support…and a language for entering the larger classroom interactions each week.” The affinity groups were a paradigm shift. The class went from a collection of atomized individuals to a network of shared and unshared experiences working in unison. Ellsworth writes that, “once we acknowledged the existence, necessity, and value of these affinity groups we began to see our task as…building a coalition among multiple, shifting, intersecting, and sometimes contradictory groups carrying unequal weights of legitimacy within the culture of the classroom. Halfway through the semester, students renamed the class Coalition 607.” Ellsworth describes this move from fragmentation to coalition as coming together based on what the group did not share, rather than what they did share. Ultimately the class generated proposals for direct action to confront structural inequalities at the university.

Why doesn’t this feel empowering?

In 1989, Ellsworth published her now-famous article reflecting on the Coalition 607 experience. Provocatively entitled, “Why Doesn’t This Feel Empowering? Working through the Repressive Myths of Critical Pedagogy,” she used her experiences in this course to critique what she saw as a universalist model of voice, dialogue and liberation embedded within the assumptions of critical pedagogy. At the heart of this problem was a failure to recognize the fact that students do not all enter into dialogue on equal terrain. Instead, the social context of the classroom – like any other – is shaped by the very unequal histories and structures that critical pedagogy seeks to address. Thus, the idea that Ellsworth and her students might set aside their differences in order to tackle institutional racism on campus proved naive, and even harmful. Instead, it was through a pedagogical shift to coalition that they were ultimately able to build collective action. These actions were rooted not in claims of universality, but in a commitment to building solidarity across structural divisions.

Ellsworth’s story offers useful lessons for contemporary movement debates – debates that are often framed around an apparent dichotomy of class universalism versus identity politics. The question, “why doesn’t this feel empowering?” gestures toward the subtle (and not-so-subtle) processes of exclusion that occur within many movement spaces, where the seemingly neutral terms of debate obscure the specific perspectives that guide our agendas, strategies, and discussions. As Peter Frase notes, “appeals to class as the universal identity too often mask an attempt to universalize a particular identity, and exclude others.” Yet, Ellsworth and her students did not simply retreat into separate corners when these divisions flared; instead, they rethought the terms of their engagement in order to develop strategies for working together across difference. It was by thinking pedagogically about organizing that Ellsworth and her students arrived at a strategy of coalition."



"Ellsworth’s coalition – what we call thinking pedagogically about organizing – is an example of how to get to the imagined relation that dissolves the alleged impasse between class struggle and identity politics: thinking pedagogically creates an ideology of coalition rather than an ideology of impasse.

We can apply this insight from classrooms to activist spaces by examining a recent proposal adopted by the Democratic Socialists of America. At the national convention in August 2017, DSA members debated a controversial resolution calling for a rigorous program of organizer trainings. “Resolution #28: National Training Strategy” proposed to train “some 300 DSA members every month for 15 months” with the goal of ultimately producing “a core of 200 highly experienced trainers and 5,000 well trained leaders and organizers to carry forward DSA’s work in 2018 and beyond.” The proposal asked delegates to devote a significant amount of DSA’s national funds ($190,000) toward creating this nationwide activist training program, which includes modules on Socialist Organizing and Social Movements and Political Education.

The resolution emerged from a plank of the Praxis slate of candidates for the National Political Committee. On their website, the slate described this “National Training Strategy” in detail, emphasizing the importance of teaching and learning a “wide array of organizing skills and tactics so members develop the skills to pursue their own politics” (emphasis in original). Noting that “Poor and working people – particularly people of color – are often treated as external objects of organizing,” this educational strategy explicitly sought to use positionality as a strength. They elaborate: “If DSA is serious about building the power of working people of whatever race, gender, citizen status or region, we must re-build the spine of the Left to be both strong and flexible.” Aware that DSA members would be coming from a variety of positions, the slate made education a central plank of their platform. Members pursuing “their own politics” based on their precise structural location would create a flexible and strong spine for left politics. They write: “It’s not just the analysis, but also the methods of organizing that we pursue which create the trust, the self-knowledge, and the solidarity to make durable change in our world.”

While we can’t know for sure how the training strategy will work out, we highlight the resolution as an … [more]
criticalpedagogy  pedagogy  2017  davidbacker  katecairns  solidarity  collectiveaction  canon  affinitygroups  affinities  salarmohandesi  combaheerivercollective  coalition607  via:irl  elizabethellsworth  currymalott  isaacgottesman  henrygiroux  paulofreire  stanleyaronowitz  petermclaren  irashor  joekincheloe  trust  commitment  resentment  vulnerability  conversation  guilt  privilege  universalism  universality  dialogue  peterfrase  empowerment  repression  organizing  organization  identity  coalition  exclusion  inclusion  inclusivity  identitypolitics  azizchoudry  socialmovements  change  changemaking  praxis  dsa  socialism  education  learning  howwelearn  politics  activism  class  race  stuarthall  articulation  ernestolaclau  plato  johnclarke  fragmentation  generalities 
december 2017 by robertogreco
Saying ‘No’ to Best Practices – OFFICE OF DIGITAL LEARNING
"The worst best practice is to adhere to, or go searching for, best practices. I have been in countless rooms with teachers, technologists, instructional designers, and administrators calling for recommendations or a list of tools they should use, strategies that work, practices that cannot fail to produce results in the classroom. But digital tools, strategies, and best practices are a red herring in digital learning. Learning always starts with people. Instead of asking “What tool will we need?” ask “What behaviors will need to be in place?”

I emphasize and encourage a critical digital pedagogy—an approach to learning that grows from the work of writers and teachers like bell hooks and Paulo Freire, and that recognizes that in today’s world all learning is hybrid. But that approach never starts with the digital. It starts with the human. And I find that the most effective application of Critical Digital Pedagogy arises from a place of kindness, trust, and belief in students. With student (and teacher) agency as its aim, Critical Digital Pedagogy asks its practitioners to always, first and foremost, acknowledge that we are all in this room together—whether that room is a classroom or the whole wide web—and to act accordingly.

At a teaching workshop I was facilitating recently, I was pressed to offer a list of best practices. This is what I came up with. I offer these 10 best practices with what should seem like an obvious caveat. No best practices should ever go untested. I personally have tested each of these, but because learning and teaching are not homogenous experiences for everyone, I don’t encourage anyone to follow a best practice that doesn’t suit them.

Sean’s 10 Best Practices

Be yourself

While working with a group at the University of Delaware, I spoke to a graduate teacher whose upbringing in a Southern Baptist tradition sometimes leads her to present in her “preaching voice.” This is an authentic voice, and one that she’s very comfortable using; however, other teachers joke about it, or malign this aspect of her embodiment as un-academic. In digital spaces, she edits herself, creating a teacherly presence much more normative, almost unidentifiable as her.

In digital spaces, we tend to adopt mannerisms and a personality that are not entirely true to who we are. Be suspect of that, and watchful for it. In a classroom, we may perform ourselves in certain ways, but we are fallible, unedited, and vulnerable. These qualities make us better teachers. Don’t be afraid to be who you are in a digital environment as much as you are in your classroom.

Create trust / Be trusting

Jesse Stommel, Executive Director of the Division of Teaching and Learning Technologies at the University of Mary Washington says,
Learning is always a risk. It means, quite literally, opening ourselves to new ideas, new ways of thinking. It means challenging ourselves to engage the world differently. It means taking a leap, which is always done better from a sturdy foundation. This foundation depends on trust — trust that the ground will not give way beneath us, trust for teachers, and trust for our fellow learners in a learning community.

Critical pedagogy assumes that students want and are motivated to learn. Only about 75% of teachers I’ve talked to feel this way. We need to change that for ourselves. Teaching is not only more effective when we trust students to learn (which I distinguish from following instructions or passing a test), but it’s also more fun, more satisfying, and less exhausting.

Grade less / Grade differently

Peter Elbow writes, “Grading tends to undermine the climate for teaching and learning. Once we start grading their work, students are tempted to study or work for the grade rather than for learning.” We all know this is true. Working for a grade undermines not only a lifelong attitude toward learning, but also student agency. A critical pedagogy asks us to reconsider grading entirely; and if we can’t abandon it whole-hog, then we must revise how and why we grade. Consider allowing students to grade themselves. Offer personal feedback on work instead of a letter, number, or percentage. There are lots of options to evaluating work without artificial markers.

Question deadlines

When pressed, most teachers have told me that they enforce deadlines because students will need to meet deadlines in the “real world.” There are no students in higher education who got there without meeting deadlines. Education need not be militaristic about deadlines. Ideas and creation are more important than timeliness. I wrote, in my post called “Late Work,”

We are put in the most unique spot of coaching learners into a world of knowledge. What we need to remember is that their world of knowledge may not align perfectly with our own, their process may not fit our schedules, their ideas may not synch with our own.

Think about what you are actually teaching and question whether you need deadlines, whether students need deadlines, and whether either of you benefit from them.

Collaborate with students

Learners are pedagogues in their own right. Chris Friend, Director of the Hybrid Pedagogy journal, writes:
If we give students the freedom to choose their own path, they might choose poorly or make mistakes on our watch. But we must be willing to allow them the challenge of this authority, the dignity of this risk, and the opportunity to err and learn from their mistakes. They learn and gain expertise through experimentation.

If pedagogy is the sole purview of the instructor in the room, students are asked to follow along a path predetermined by that instructor’s best (we hope) intentions. However, because students bring different levels of expertise to any material or discussion—and because their lives, identities, and intersectionality inform their learning—students should be as involved in their own learning as possible. From syllabus creation to grading, building rubric and assignments to self-assessment. As Daniel Ginsberg writes, “my students are the most central members of the community in which I learn critical pedagogy.”

Inspire dialogue

Very little can be accomplished through direct instruction. Bloom’s Taxonomy makes a show of positioning knowledge-level learning as the foundation of any learning experience. But learning is more chaotic, messier, and more confounding than taxonomies provide for. In “Beyond Rigor,” Jesse Stommel, Pete Rorabaugh, and I argue that:
Intellectually rigorous work lives, thrives, and teems proudly outside conventional notions of academic rigor. Although institutions of higher education only recognize rigor when it mimics mastery of content, when it creates a hierarchy of expertise, when it maps clearly to pre-determined outcomes, there are works of exception — multimodal, collaborative, and playful — that push the boundaries of disciplinary allegiances, and don’t always wear their brains on their sleeves, so to speak.

Simply put, learning happens outside the lines. It’s perfectly acceptable for instructors to provide lines, but whenever we do so, we must just as diligently encourage learners to leave those lines—to question, to redraw, to imagine, to refuse, to explore. When we do this, we inspire dialogue, not just between students, but between ourselves and students, between ideas, between the act of learning and the act of instruction themselves.

Be quiet

Generally speaking, teachers fear dead air. Silence in the classroom, or few to no responses on a discussion forum, can stir all kinds of thoughts and emotions—from “they’re not getting it” to “I’ve done something wrong” to “they’re bored,” and worse. But in truth, thoughtfulness and thoroughness takes time.

Janine DeBaise writes that: “Every student has something valuable to teach the rest of us. I’ve made that assumption for over thirty years now, and so far, I’ve never been proven wrong.” If at the core of critical pedagogy we believe that learners are their own best teachers—and if we have spent any time at all as teachers ourselves preparing lesson plans and discussions—then we can acknowledge that teaching takes time.

Filling silence may come out of a desperation to keep the class moving and to ensure that all ideas are understood, but it also reinforces the teacher’s voice as primary. When we are silent, we can hear what students have to say (even when they’re not saying it), and listen for the swell of understanding as it builds.

Be honest and transparent about pedagogy

Teaching isn’t magic. In fact, there are very good reasons for teachers to reveal their “tricks” to learners. I have, numerous times, sat on the desk at the front of the classroom and called attention to how that’s different to standing behind a podium, sitting in a circle with the class, or lecturing from notes. Not to qualify one over the other, but to reveal something about the performativity of learning and teaching.

Similarly, we should invite students into a discussion about the syllabus, the 15- or 10-week structure of a course, the usefulness or uselessness of grades, etc. Kris Shaffer, in “An Open Letter to My Students,” brings students in close to his teaching process:
I am not perfect. Nor are any of your other professors. We are experts in the fields we teach, and some of us are experts in the art of teaching. However, we make mistakes … and each pass through the material brings new students with different experiences, backgrounds, skills, sensitivities, prejudices, loves, career goals, life goals, financial situations, etc. There is no one way — often not even a best way — to teach a topic to a student.

There is power in secrecy, as any magician knows. But for a collaborative, critical pedagogy to work, that power must be shared.

Keep expectations clear

In digital learning, instructions are vital. If … [more]
bestpractices  education  pedagogy  teaching  howweteach  2017  seanmorris  learning  edtech  digitalliteracy  jessestommel  criticalpedagogy  sfsh  grade  grading  howwelearn  deadlines  collaboration  chrisfriend  hybridpedagogy  dialogue  peterorabaugh  rigor  janinedebaise  silence  quiet  listening  performativity  expectations  adamheidebring-bruno  change  thomaskasulis  maggiemaclure  krisshaffer  amycollier  jenross 
june 2017 by robertogreco
The Largest Ever Analysis of Dialogue by Gender: 2,000 scripts, 25,000 actors, 4 million lines
"Lately, Hollywood has been taking so much shit for rampant sexism and racism. The prevailing theme: white men dominate movie roles.

But it’s all rhetoric and no data, which gets us nowhere in terms of having an informed discussion. How many movies are actually about men? What changes by genre, era, or box-office revenue? What circumstances generate more diversity?

To begin answering these questions, we semi-illegally obtained 8,000 screenplays and matched each character’s lines to an actor. From there, we compiled the number of lines for male and female characters across roughly 2,000 films, arguably the largest undertaking of script analysis, ever.

Let’s begin by breaking down dialogue, by gender, for just Disney films."
film  gender  dialogue  hollywood  sexism  age  ageism  2016  data 
april 2016 by robertogreco
On Smarm
"It is also no accident that David Eggers is full of shit."

"Smarm should be understood as a type of bullshit, then. It is a kind of moral and ethical misdirection."

"The old systems of prestige are rickety and insecure. Everyone has a publishing platform and no one has a career."

"What carries contemporary American political campaigns along is a thick flow of opaque smarm."

"Romney clambered up to a new higher ground, deploring the divisiveness of dwelling on his divisiveness."

"Through smarm, the "centrists" have cut themselves off from the language of actual dispute. In smarm is power."

"A civilization that speaks in smarm is a civilization that has lost its ability to talk about purposes at all."

"Joe Lieberman! If you would know smarm, look to Joe Lieberman."

"The plutocrats are haunted, as all smarmers are haunted, by a lack of respect. On Twitter, the only answer to "Do you know who I am?" is "One more person with 140 characters to use.""

"To actually say a plain and direct word like "corrupt" is more outlandish, in smarm's outlook, than even swearing."

"Anger is upsetting to smarm. But so is humor and confidence."

"Immense fortunes have bloomed in Silicon Valley on the most ephemeral and stupid windborne seeds of concepts. What's wrong with you, that you didn't get a piece of it?"
criticism  culture  smarm  snark  daveeggers  malcolmgladwell  2013  tomscocca  buzzfeed  heidijulavits  isaacfitzgerald  daviddenby  bambi  arifleischer  lannydavis  leesiegel  cynicism  negativity  tone  politics  writing  critique  mittromney  barackobama  michaelbloomberg  ianfrazier  centrists  power  redistribution  rebeccablank  civilization  dialog  conversation  purpose  jedediahpurdy  irony  joelieberman  marshallsella  billclinton  mainstream  georgewbush  maureendowd  rudeness  meanness  plutocrats  wealth  publishing  media  respect  niallferguson  alexpareene  mariabartiromo  gawker  choiresicha  anger  confidence  humor  spikelee  upworthy  adammordecai  juliachild  success  successfulness  niceness  tompeters  bullshit  morality  ethics  misdirection  insecurity  prestige  audience  dialogue 
december 2013 by robertogreco
Photography Is the New Universal Language, and It's Changing Everything | Raw File | Wired.com
"Thinker, writer, curator, editor, blogger, and currently a Contributing Editor for Art in America and on the faculty at ICP-Bard College and the School of Visual Arts, Heiferman has watched the photography market explode and the acquisition policies of galleries and museums adapt accordingly. The art market is a one-percenter game, and Heiferman thinks it distracts us from the uses of images in our everyday lives. Photography is all around us and used in ways we don’t even consider. Raw File spoke to Heiferman about surveillance, facial recognition, the obsolescence of future technologies and why Midwest newspapers are so good at reporting the weird stuff about image use."



"People talk about photography being a universal language but really it’s not; it’s multiple languages. The dialogues you can have with neuroscientists about photographic images are as interesting and as provocative as the dialogues you can have with artists. People have wildly different contexts in which they use photographs — different criteria for assessing them, reasons for taking them, priorities when looking at and evaluating them. It creates incredible possibilities for dialogue when you realize the medium is so flexible and so useful."



"Look at Flickr. Look at what people do. It is fascinating to look at what people are taking pictures of, as we all take more and more pictures. I spoke with a guy named Steve Hoffenberg who worked for Lyra Research [now owned by Photizo] and is one of the go-to-guys when you want to find out how many people are taking pictures any given day. Steve talked about how the availability of cell phones cameras has changed the way we make images.

In the past, it was more conventional; we had to have reason to make a picture and it was usually to document something specific. Whereas now people are now take pictures because the camera is there [in their hand]. It has got to the point where sometimes if you ask people why they take pictures they can’t even say. I think people are using images in a completely different way and as a communicative tool."



"With people more actively using images, visual literacy becomes an important thing to talk about. Everybody pays a lot of lip service to visual literacy but very few schools teach it. There’s not a lot of discussion about what photography is. What’s a photograph? How does it work? Photographs are useful to you in different ways than they are useful to me."

[The book, Photography Changes Everything:
http://www.aperture.org/shop/books/photography-changes-everything-book
http://www.amazon.com/Photography-Changes-Everything-Marvin-Heiferman/dp/1597111996 ]
materiality  photography  technology  marvinheiferman  everyday  communication  language  universallanguage  expression  dialog  media  jonathancoddington  mobilephones  cellphones  cameras  digital  lyraresearch  stevehoffenberg  instagram  visualliteracy  literacy  stephenmayes  images  imagery  photosynth  philippekahn  hanyfarid  photoshop  davidfriend  flickr  newliteracies  multiliteracies  dialogue  books 
september 2013 by robertogreco
Michael Shanks: Archaeologies of the contemporary past
"The origin of many of the ideas here can be tracked back to Reconstructing Archaeology written with Chris Tilley, particularly through my book Experiencing the Past - where I sketched the elements of a contemporary archaeolgical sensibility - see now The Archaeological Imagination - a new work revisiting these matters."

"Embodiment and archaeologies of the ineffable: photographs and archaeological objects can introduce the heterogeneous and ineffable into discourse, that richness and detail in every photograph and artefact which lies outside the categories and schemes of discourse. I use the term embodiment to introduce bodily sensitivity as a means of suspending our conventional categorisations and a means of achieving more textured understanding of social realities. Photographs and artefacts can help us attend to materiality by saying "look at what has been omitted", rather than "look, believe this text". An imperative here is to keep open things which are passed over in an instant. Archaeological source materials are, after all, of a material world with a distinctive temporality. The challenge is to work with this.

To end then I extend an invitation to conceive of the dialectical text and image as tangent to the past - a vector (from the present) touching the past at the point of sense and then moving off to explore its own course, partaking of actuality, the temporality of memory. Such texts are part of a method which lends contexts of all sorts to images, words and artifacts. Good archaeology is such a humanistic discipline which is dialectical because it denies the dualisms of past and present, objective and subjective, real and fictive, with all their pernicious variations. We may work instead upon the continuities which run through our encounters with the shattered remains of the dead."
christilley  michaelshanks  archaeology  photography  documentation  anthropology  past  present  words  artifacts  memory  time  humanism  humanities  dialectic  dialog  sensitivity  discourse  temporality  via:selinjessa  dialogue  vectors 
march 2013 by robertogreco
Sandberg Instituut [from the Dirty Art Department page]
"The Dirty Art Department is an open space for all possible thought, creation, and action. It sees itself as a dynamic paradox, flowing between the pure and the applied, the existential and the deterministic, the holy and the profane. It is concerned with individuality, collectivity, and our navigation of the complex relationship between the built world and the natural world, and between other people and ourselves. It is a place to build objects or totems, religions or websites, revolu­tions or business models, paintings or galaxies.

Although The Dirty Art Department comes from a common background of design and applied art, it rejects the Kantian division between the pure and the applied. Since god is dead and the spectacle is omnipresent, the creation of new and alternative realities is the only way to provide a new perspective on our life on this planet.

The department is structured as an open space for all possible thought, creation, and action. It sees itself as a dynamic paradox, flowing between the pure and the applied, the existential and the deterministic, the holy and the profane. It is concerned with individuality, collectivity, and our navigation of the complex relationship between the built world and the natural world, and between other people and ourselves. It is a place to build objects or totems, religions or websites, revolutions or business models, paintings or galaxies.

In line with its inclusive view on design, the Master’s degree programme is open to students from all backgrounds, including designers, artists, bankers, sceptics, optimists, economists, philosophers, sociologists, independent thinkers, poets, urban planners, farmers, anarchists, and those with an inquiring mind. Encounters and crossovers with the other Master’s programmes at the Sandberg Instituut form an integral part of The Dirty Art Department’s mission.

Reflection at The Dirty Art Department takes the form of dialogue and exchange; a conference series and an online platform allow the course to function as an open school of thought, by sharing the toolbox, subjects, and lectures of the programme with the world at large."

[via: https://twitter.com/ablerism/status/308572231770980352 ]
art  design  holland  dirtyart  dirtyarts  openstudioproject  thinktanks  lcproject  individualism  individuality  interdependence  dirtyartdepartment  sandberginstituut  collectivity  making  doing  dialog  exchange  conversation  dialogue 
march 2013 by robertogreco
Andreas Gjertsen and Rune Stangeland from TYIN tegnestue Architects: “We are trying to start a dialogue” - Strelka Institute for media, architecture and design
"With the help of Andreas Gjertsen and Rune Stangeland from TYIN tegnestue Architects Strelka started to build its first objects. Curators of the workshop “Public space as a tool for dialogue” talked to us about their experience of constructing in Moscow and explained conclusions and observations which they came to during the last week."

"You see that the most difficult sites are those that nobody owns — in-between spaces between public and private — because nobody cares about them. And that is precisely the issue which we are discussing now: how to use this unused space in a way that would benefit people in the area. You do not have to be a proud inhabitant you actually have to feel that this is your area. Only after that you start caring about what happens around. It is supercomplex and seems to be very slow work."
2012  moscow  dialog  dialogue  publicspace  design  architecture  strelkainstitute  runestrangeland  andreasgjertsen 
august 2012 by robertogreco
New Tools for Men of Letters
"The new graphic arts devices are, I believe, capable of working the other way—as implements for a more [p.180] decentralized and less professionalized culture, a culture of local literature and amateur scholarship.

This possibility is especially important today, when electric power promises to develop the village at the expense of the metropolis, and when shorter working hours offer a prospect of leisure to a population of which an increasing proportion is being exposed to college education.



Today the Western scholar’s problem is not to get hold of the books that everyone else has read or is reading but rather to procure materials that hardly anyone else would think of looking at.



Western civilization now expects even poetry to fit the Procrustean bed of the publishing industry.



The art of conversation, with its counterpart the dialogue [p.186] as a literary form for presenting ideas, has also declined since the days of Galileo, while the art of advertising has advanced.

…"

[So much more, but another reaction: academics will always hope everyone is more like them.]
poetry  printing  duplication  microfiche  microfilm  near-print  micro-copying  books  photo-offset  learning  decentralization  professionalization  wpa  greatdepression  dialog  conversation  letterwriting  letters  ruricomp  rural  local  localstudies  academics  academia  research  writing  amateurresearch  amateurism  literature  graphicarts  liberalarts  leisurearts  leisure  education  community  publishing  microformats  mimeograph  media  technology  communication  scholarship  digitalhumanities  1935  robertbinkley  dialogue  artleisure 
june 2012 by robertogreco
DAILY SERVING » Summer of Utopia: Interview with Ted Purves
"I feel like a project is successful if we have had substantive encounters with people, if we have created spaces where a kind of exchange—whether it’s family history, or talking about why something should or shouldn’t be in an art museum, or sometimes it’s just swapping recipes—some form of animated or engaged dialogue comes out, or some sort of story emerges. It means we learn something, a story can be brought forward from that, that’s when things are successful. Another high-five moment comes when there is something compelling to look at. A lot of times when you see a social practice show, it’s either a room full of crap to read, or it looks like a place where they had a party and you didn’t get to go. I’ve been to a lot of those, and they’re not satisfying! You either wish they had just printed a book you could take home and read in your own chair—because it’s not very comfortable to sit in a museum—or you wish that you’d been at the party."

[via: http://randallszott.org/2012/05/25/ted-purves-aesthetics-social-practice-personal-economies/ ]
urbanism  rural  cities  urban  suburban  suburbia  suburbs  belief  via:leisurearts  democracy  alteration  change  perception  lemoneverlastingbackyard  wrongness  weirdness  glvo  openendedness  seeing  art  aesthetics  fruit  dialog  publicspaces  publicspace  workinginpublic  disagreement  decisionmaking  debate  negotiation  unplanning  thebluehouse  temescalamityworks  susannecockrell  sharing  2010  overlappingeconomies  capitalism  economics  utopia  thomasmore  socialpractice  tedpurves  dialogue 
may 2012 by robertogreco
We, the Web Kids - Pastebin.com
"We grew up with the Internet and on the Internet. This is what makes us different; this is what makes the crucial, although surprising from your point of view, difference: we do not ‘surf’ and the internet to us is not a ‘place’ or ‘virtual space’. The Internet to us is not something external to reality but a part of it: an invisible yet constantly present layer intertwined with the physical environment. We do not use the Internet, we live on the Internet and along it. If we were to tell our bildnungsroman to you, the analog, we could say there was a natural Internet aspect to every single experience that has shaped us. We made friends and enemies online, we prepared cribs for tests online, we planned parties and studying sessions online, we fell in love and broke up online. The Web to us is not a technology which we had to learn and which we managed to get a grip of. The Web is a process, happening continuously and continuously transforming before our eyes; with us and through us…"

[Update: Response by Alan Jacobs: http://ayjay.tumblr.com/post/18029873515/participating-in-cultural-life-is-not-something ]

[Update 2: Lengthy response, take-down: http://www.lileks.com/bleats/archive/12/0212/022212.html ]

[Chaser: http://metalab.harvard.edu/2012/02/twitter-nprs-morning-edition-and-dreams-of-flatland/ ]

[Cross-posted by Alexis Madrigal: http://www.theatlantic.com/technology/archive/2012/02/we-the-web-kids/253382/ ]
participatoryculture  criticalpractice  memories  govenment  dialog  cooperation  socialstructure  anarchy  anarchism  freedom  change  society  democracy  webculture  culture  cv  prostheticmemory  externalmemory  reality  anonymous  ACTA  2012  piotrczerski  digitalnatives  webkids  manifesto  cyberspace  dialogue  manifestos 
february 2012 by robertogreco
Claire Warwick's Blog: Inaugural lecture
"One of the great assets of the digital, and what it encourages and enables is multiple voices entering into a dialogue and creating new knowledge out of conversation and discussion."

"I was lucky enough to be taught by some of the greatest international authorities yet it was never assumed that their voice in the conversation was necessarily more important than mine. Far more important than who was talking was the quality of thought expressed and the nature of knowledge that emerged from the dialogue, and I think that's quite right."

"DH is…a collaborative field. We have to learn to work together and understand the different languages that are spoken by different partners in the dialogue: geeks, humanities scholars, information professionals, technical support people & indeed the public. In that sense, therefore, the voice of the DH scholar is of use as an interpreter between different languages & cultures. But interpreters cannot, but the nature of their job, exist in isolation."
information  mediadiversity  communication  diversity  complexity  email  affordances  gender  curating  curations  digitaldiversity  publicengagement  blogging  blogs  mentorships  mentoring  community  collaboration  socialmedia  facebook  twitter  socialization  media  context  understanding  meaningmaking  meaning  makingmeaning  hierarchy  dialogue  dialog  knowledge  lectures  2012  digital  discussion  conversation  learning  digitalhumanities  ethnography  education  teaching  academia  clairewarwick  mentorship 
february 2012 by robertogreco
The Creator Of TED Aims To Reinvent Conferences Once Again | Co. Design
"The format may or may not work -- most likely it will depend on the delicate chemistry between the pairing -- but in some ways, Wurman’s “conversation-over-presentation” approach seems in keeping with a current trend toward applying collaborative inquiry and discussion to today’s big issues and challenges. Of late, various types of innovation salons and conversational events have been popping up: Recently, Seth Goldenberg (a Bruce Mau Design alumni) launched the “IDEAS Salon,” initially in Rhode Island in April with a follow-up Silicon Valley event this fall. Instead of giving presentations, the high-level guests joined together to grapple with weighty questions; Goldenberg wanted to get away from what he dubs “the sage on stage” model used at TED and other conferences, in favor of a more conversational format. Similarly, the design firm Method has been hosting a series of salons in New York to explore big ideas in a more open and freewheeling manner."
education  ted  conferences  dialogue  saulwurman  2011  www.www  improvisation  vulnerability  sageonthestage  conversation  collaboration  collaborativeinquiry  discussion  tedtalks  tcsnmy  classideas  dialog 
august 2011 by robertogreco
SpeEdChange: Hulu in the Classroom: Building Literacy
""I've never understood our classroom commitment to "the book," but, I've really never understood our classroom commitment to "the chapter book."

What skills are learned from reading a book which are not learned from watching a film? I'm not saying books are "bad," just asking, "why are they 'better'?"

And why is longer 'better'?

[Short stories discussion]

But then I thought, why do we start with text on a page. I thought back to discovering books of those Twilight Zonestories after years of watching the show, and how much I loved "reading" them (or really, listening to them via audiobook, but I think that's the same).

And I thought that, as part of our effort to make kids want to read, want to write, we must first get them interested in stories, in wanting to know stories, and in how stories are told, and why.

And one great way to do that is to use short fiction in another medium - the short fiction of Hulu and other free sources of video - film and television."
irasocol  classideas  shortstories  reading  writing  hulu  youtube  film  learning  stories  storytelling  narrative  dialogue  2011  lists  video  tv  television  twiliightzone  huma8  literature  dialog 
august 2011 by robertogreco
Customized Learning - The Slideshow | Education Rethink
Great set of slides from John T Spencer. Notes are forthcoming, but the slides should speak for themselves. These were for his Reform Symposium presentation in 2011. (I missed it, so I'm glad it put them online.)
johnspencer  teaching  learning  tcsnmy  differentiatedlearning  customization  self-directedlearning  student-centered  studentdirected  pedagogy  unschooling  deschooling  standards  mastery  presentations  classideas  networking  hierarchy  freedom  autonomy  projectbasedlearning  science  socialstudies  reading  writing  flexibility  choice  dialogue  relationships  conversation  assessment  metaphor  ownership  empowerment  fear  dialog  pbl 
july 2011 by robertogreco
steelweaver - Reality as failed state - tl;dr version (I like doing this)
"I believe part of the meta-problem is this: people no longer inhabit a single reality.

Collectively, there is no longer a single cultural arena of dialogue…

The point, for the climate denier, is not that the truth should be sought with open-minded sincerity – it is that he has declared the independence of his corner of reality from control by the overarching, techno-scientific consensus reality. He has withdrawn from the reality forced upon him & has retreated to a more comfortable, human-sized bubble.

…denier’s retreat from consensus reality approximates role of the cellular insurgents in Afghanistan vis-a-vis the American occupying force: this overarching behemoth I rebel against may well represent something larger, more free, more wealthy, more democratic, or more in touch with objective reality, but it has been imposed upon me…so I am going to withdraw from it into illogic, emotion & superstition & from there I am going to declare war upon it."
reality  climatechange  climatechangedeniers  alternatereality  philosophy  mind  conspiracy  afghanistan  dialogue  environment  environmentalism  2011  awareness  conviviality  sharedhumanpresence  change  division  staugustine  truth  politics  policy  voting  politicalprocess  conflict  control  freedom  agency  technocrats  science  scientists  consensus  intuition  intuitivethinking  thinking  myths  narrative  meaning  meaningmaking  understanding  psychology  birthers  teaparty  realityinsurgents  dialog 
july 2011 by robertogreco
Composition 1.01: How a Tool Everyone Has Could Change Education - James Somers - Technology - The Atlantic
"Whatever you produce joins dozens of other efforts in a stack whose growing thickness doesn't exactly thrill your professor. But still he'll soldier on and read, and maybe re-read, and mark up and grade each one. Along the way he might leave short contextual notes in the margin; he might write one long critique at the end; he might do both; or he might do neither and let your grade do all the talking.

Trouble is, no matter how detailed and incisive the feedback, by the time it gets back to you it's already too late -- and, in a way, too early. Too late because your paper has already been written, and what you really needed help with was its composition, with the micromechanics of style, with all the small decisions that led you to say whatever it is you said. And too early because even if the professor's ex post pointers make every bit of sense, a whole month might go by before you next get to use them.

This is not the way to develop a complicated skill."
email  writing  teaching  education  practice  feedback  composition  2011  jamesomers  dialogue  learning  kandersericsson  malcolmgladwell  dialog 
july 2011 by robertogreco
MoMA | Talk to Me BETA
"New branches of design practice have emerged in the past decades that combine design’s old-fashioned preoccupations—with form, function, and meaning—with a focus on the exchange of information and even emotion. Communication design deals with the delivery of messages, encompassing graphic design, wayfinding, and communicative objects of all kinds, from printed materials to three-dimensional and digital projects. Interface and interaction design delineate the behavior of products and systems as well as the experiences that people will have with them. Information and visualization design deal with the maps, diagrams, and tools that filter and make sense of information. In critical design, conceptual scenarios are built around hypothetical objects to comment on the social, political, and cultural consequences of new technologies and behaviors."
cities  interaction  interface  augmentedreality  2011  talktome  moma  design  media  objects  dialogue  socialnetworks  information  technology  dialog  ar 
july 2011 by robertogreco
Neil Gaiman - Wikipedia
"For his seventh birthday, Gaiman received C. S. Lewis's The Chronicles of Narnia series. He later recalled that "I admired his use of parenthetical statements to the reader, where he would just talk to you...I'd think, 'Oh, my gosh, that is so cool! I want to do that! When I become an author, I want to be able to do things in parentheses.' I liked the power of putting things in brackets.""
writing  classideas  dialogue  narration  storytelling  via:lukeneff  neilgaiman  literature  books  cslewis  chroniclesofnarnia  parentheticalstatements  brackets  thewaywespeak  thewaywewrite  howwethink  mimicry  copying  voice  dialog  parenthesis  parentheses 
june 2011 by robertogreco
Hip Hop Genius: Remixing High School Education on Vimeo
"this video illustrates (literally!) the concept of Hip Hop Genius. these ideas are explored more fully in my book, Hip Hop Genius: Remixing High School Education (hiphopgenius.org)

the drawings were done by Mike McCarthy, a student at College Unbound (collegeunbound.org), a school that exemplifies many of the values espoused in the film. the entire video was shot in College Unbound's seminar space, where Mike has built a studio for his company Drawn Along (drawnalong.com)."
education  learning  politics  economics  creativity  hiphop  meaning  meaningmaking  dialogue  pedagogy  classideas  conversation  commonality  engagement  culture  love  identity  meaningfulness  ingenuity  instinct  confidence  remixculture  art  music  streetart  graffiti  resourcefulness  genius  sampling  individualization  projectbasedlearning  collegeunbound  change  gamechanging  flux  flow  freshness  emergentcurriculum  contentcreation  schools  unschooling  deschooling  mindset  dialog  pbl  remixing 
may 2011 by robertogreco
Eli Pariser: Beware online "filter bubbles" | Video on TED.com
"As web companies strive to tailor their services (including news and search results) to our personal tastes, there's a dangerous unintended consequence: We get trapped in a "filter bubble" and don't get exposed to information that could challenge or broaden our worldview. Eli Pariser argues powerfully that this will ultimately prove to be bad for us and bad for democracy."
elipariser  echochambers  serendipity  internet  online  web  media  relevance  search  google  facebook  exposure  2011  ted  via:jessebrand  politics  crosspollination  dialogue  walledgardens  algorithms  censorship  personalization  advertising  yahoonews  huffingtonpost  nytimes  washingtonpost  impulse  aspirationalselves  filterbubble  dialog 
may 2011 by robertogreco
Squishy Not Slick - Squishy Not Slick
"Squishy Teaching =

Spontaneous - Unique - Particular - Tailored - Entangled - Mixed together - Woven - Patched - Organic - Rebel Forces - Poetic - Ambiguous - Emotional - Non-linear - Non-sequenced - Inquisitive - Inextricably-linked - Constructivist - Experiential - Holistic - Democratizing - Authentic - Collaborative - Adaptive - Complicated - Contextual - Relational

Slick Teaching =

Mass produced - Psychologically manipulative - Planned years in advance - Manufactured - Imperial - Hegemonic - Afraid - Spreadsheeted - Shallow - Narcotizing - Cauterizing - Anti-intellectual - Uncritical - Uncreative - Emotionless - Scripted - Juking the stats - Dropout factories - Assembly-lined"
lukeneff  teaching  education  lcproject  unschooling  deschooling  mentoring  squishy  slick  frankchimero  pedagogy  holisticapproach  holistic  constructivism  democratic  ambiguity  audiencesofone  individualization  emotions  empathy  authenticity  spontaneity  collaboration  collaborative  adaptability  adaptive  context  contextual  relationships  meaning  sensemaking  meaningmaking  meaningfulness  dialogue  discussion  dialog 
may 2011 by robertogreco
BBC News - Five Minutes With: Alain de Botton
"I was a disturbed child, an adolescent, and I think that's where my interest in ideas comes from. I think that people become intellectual because of disturbance. My goal, raising my own children, is that they will never read a book or at least not be that dramatically inclined towards writing and reading. <br />
<br />
I think that reading and writing is a response to anxiety, often having a basis in childhood. I hope to at least quench some of that need in my children…<br />
<br />
The point of reading is to help you to live. It's not to pass an exam. It's not to sound clever. It's to get something out of it that you can use…<br />
<br />
We should be reading to help ourselves and help our societies. I don't believe in knowledge that is abstract and simply made to impress. I believe in knowledge that can be practical and that can bring us, in the broadest sense, happiness."
alaindebotton  philosophy  ideas  thinking  action  2010  parenting  paternalism  government  life  art  bbc  dialogue  debate  conversation  reading  writing  anxiety  tests  testing  adolescence  intellectualism  living  dialog 
april 2011 by robertogreco
LRB · Slavoj Žižek · Nobody has to be vile
"Being smart means being dynamic and nomadic, and against centralized bureaucracy; believing in dialogue and co-operation as against central authority; in flexibility as against routine; culture and knowledge as against industrial production; in spontaneous interaction as against fixed hierarchy."
zizek  communism  journalism  hierarchy  nomads  nomadic  neo-nomads  bureaucracy  anarchism  flexibility  routine  culture  knowledge  spontaneity  spontaneous  interaction  dialogue  cooperation  decentralization  dialog 
november 2010 by robertogreco
SlowTV | Anthropology and the passion of the political. Ghassan Hage | The Monthly
"Ghassan Hage is an internationally acclaimed thinker, both as an academic and an arresting public intellectual. In this Inaugural Distinguished Lecture for the Australian Anthropological Society, he looks at the function of anthropology today. He asks, what is the discipline's potential to help us understand, and be, 'other than what we are'?"

[via: http://plsj.tumblr.com/post/1190216571/anthropology-and-the-passion-of-the-political ]
ghassanhage  anthropology  otherness  understanding  dialogue  conversation  purpose  primitivist  traditionalism  academia  selflessness  empathy  learning  philosophy  colleges  universities  perspective  perception  sociology  differentiation  dialog 
september 2010 by robertogreco
Shikshantar - The Peoples' Institute for Rethinking Education and Development
"Shikshantar is an applied research institute dedicated to catalyzing radical systemic transformation of education in order to facilitate Swaraj-development throughout India."
alternativeeducation  education  india  learning  deschooling  activism  development  dialogue  organizations  research  unschooling  lcproject  factoryschools  tcsnmy  transformation  gamechanging  ivanillich  johnholt  kenrobinson  johntaylorgatto  schools  schooling  schooliness  paulofreire  dialog 
august 2010 by robertogreco
Nonformality | The quality of dialogue
"The nature of our conversations determines the quality of the ideas we share, and therefore it’s worth reflecting on the ways that we talk to each other – check out this infographic on dialogue by Peter Stoyko:"
communication  dialogue  groups  meetings  roles  organizations  conversation  tcsnmy  peterstoyko  learning  conflict  infographics  dialog 
june 2010 by robertogreco
This Blog Sits at the: Issac Mizrahi on Metro North
"wonderful piece of advertising...certain emotional tonality that distinguishes it from most fashion advertising I've ever seen...has a narrative verve...But...semantics of the narrative have been withheld from us. So the fun of the ad is figuring out what's up." + comment: "There's a meta-story here, as well. In his post, Grant highlighted the Paper Monster graffiti detail, riffed a few hypotheses on what it might mean & then the actual PaperMonster wrote in clarifying that the graffito was one of his tags. So the Mizrahi ad has now become, at least for the several people involved in this interaction, a platform for dialogue & a "place where people are meeting." As with the best viral marketing, the distinctions between the realms of media & "life" have dissolved & we are left with a multiplicity of forces exerting influence on each other. Advertising in the age of the critically literate consumer & the internet has the opportunity to create this mechanism & the chance to exploit it."
advertising  isaacmizrahi  fashion  grantmccracken  internet  medialiteracy  literacy  viral  marketing  dialogue  discussion  metastories  graffiti  conversation  meaning  storytelling  understanding  dialog 
july 2009 by robertogreco
TheHill.com - Why Washington doesn’t get new media

"And let’s be clear: What is newfangled in Government 2.0 is not the technology; it is the approach to communications — the idea that, suddenly, the public expects to talk back to its government.
government  newmedia  communication  dialogue  missingthepoint  policy  politics  dialog 
may 2009 by robertogreco
Debategraph
"Our goal is to make the best arguments on all sides of any public debate freely available to all and continuously open to challenge and improvement by all. In pursuit of this goal, Debategraph is: (1) A wiki debate visualization tool ... (2) A web-based, creative commons project ... (3) A global graph of all the debates"
debategraph  debate  semanticweb  community  mapping  visualization  politics  learning  tcsnmy  reference  mindmap  dialogue  argument  data  dialog 
april 2009 by robertogreco
Pulse Laser: The Utility of the Unfinished
"Matt has described this to me as “physical PowerPoint”. You instantly know from looking at this thing that it’s not necessarily finished yet; not quite complete. And rather than letting you down, that incompleteness (in this case, an aesthetic one) opens up a communication. It informs the observer that they can engage in a kind of dialogue with the radio, about what it is and what it does. Its form is not final, and that means that there is still space to explore and examine that form. A more finished project would shut out any such exploration from the user or observer, and simply impose its form on them; the only reactions left are accepting that form, denying it, or ignoring it."
schulzeandwebb  writing  conversation  design  unproduct  unbook  dialogue  patina  wear  glvo  prototyping  unfinished  berg  berglondon  dialog 
march 2009 by robertogreco
Thoughts on Assessment | blog of proximal development
"students had turned to community of peers to request feedback...none...asked me...didn’t see me as contributor in community...associated me w/ corrections & grades. At this stage, they were not ready for corrections yet...simply interested in having conversations about ideas...needed somebody to talk to & as teacher, I was not at top of list...we don’t spend enough time providing feedback for students & most of what teachers consider teaching & assessment consists of marking/correcting student work...does not engage students in rich interactive processes of talking about work & ideas. Initially, my role as teacher was limited to first presenting material (& initiating conversations) & marking work. I was absent from that rich part...in the middle where students continued classroom conversations online by brainstorming on blogs, requesting & providing feedback & engaging in conversations about...key ideas...Instead of engaging with them, I just waited for them to submit their work."
konradglogowski  teaching  grades  learning  assessment  engagement  community  blogs  peers  tcsnmy  grading  discussion  conversation  hierarchy  pedagogy  democracy  dialogue  teacheraspeer  teacherascollaborator  collaboration  dialog 
february 2009 by robertogreco
Archinect : Features : Markus Miessen on Participation - "Did Someone Say Participate?, edited with Shumon Basar
"describes the resourceful strategies by which spatial practitioners navigate and radically engage the system." "How does one manage to gain access into fields of knowledge and practices that one is usually not invited to take part in."
architecture  books  outsiders  interdisciplinary  crosspollination  ideas  thinking  gamechanging  participation  europe  dialog  change  dialogue  outsider 
may 2008 by robertogreco
Seed: Design and the Elastic Mind: In the emerging dialogue between design and science, scale and pace play fundamental roles. By MoMA curator Paola Antonelli.
"Much of this is being done by bona fide designers, but scientists and artists have also turned to design to give method to their productive tinkering, what John Seely Brown has called "thinkering." They all belong to a new culture in which experimentation is guided by engagement in the world and by open, constructive collaboration with colleagues and other specialists." ... "...importance of "critical design," or "design for debate," which he defines as a way of using design as a medium to challenge narrow assumptions, preconceptions, and givens about the role products play in everyday life"
paolaantonelli  seed  design  science  moma  gamechanging  designandtheelasticmind  nanotechnology  biomimicry  topography  brain  art  debate  eames  architecture  society  dialogue  interdisciplinary  crosspollination  johnseelybrown  dialog  biomimetics 
april 2008 by robertogreco
Purse Lip Square Jaw: Social sciences and design: managing complexity and mediating expectations
"Now, the idea that design can play a productive role in managing complexity is hardly new, but I do see a lot of potential in designing and using objects (things) to engage publics around particular issues, or matters of concern."
design  debate  socialsciences  emergingtechnologies  complexity  conversation  dialogue  public  objects  annegalloway  gamechanging  technology  critique  dialog 
april 2008 by robertogreco
How to Disagree
"If we’re all going to be disagreeing more, we should be careful to do it well...Most readers can tell difference between mere name-calling & carefully reasoned refutation, but...intermediate stages...here’s an attempt at a disagreement hierarchy."
writing  arguments  communication  language  howto  paulgraham  blogging  psychology  debate  dialog  discourse  discussion  internet  web  logic  netiquette  etiquette  conflict  conversation  culture  philosophy  argument  dialogue 
march 2008 by robertogreco
'Call to Renewal' Keynote Address [Wednesday, June 28, 2006] | U.S. Senator Barack Obama
"need to understand critical role separation of church & state has played in preserving not only democracy, but robustness of religious practice...Democracy demands religiously motivated translate concerns into universal, rather than religion-specific, va
barackobama  politics  religion  christianity  democrats  atheism  belief  elections  2008  2006  us  government  nuance  dialog  gamechanging  dialogue 
february 2008 by robertogreco
Education is a two way street « A Teacher’s Writes
"So then you have teachers who know how to use Power Point or wikis or blogs, and they utilize them in the classroom. But can we then teach them how to reconsider these tools as two-way communication tools rather than one way?"
dialogue  education  learning  technology  via:preoccupations  twoway  reform  change  schools  curriculum  dialog 
november 2007 by robertogreco
Seed Science Essay contest winners: What does 'scientific literacy' mean? - Boing Boing
"In the present cultural climate, altering one's beliefs in response to anything (facts included) is considered a sign of weakness...students must comprehend that it is not only possible but absolutely vital that we criticize each other's ideas firmly yet
literacy  science  society  ideas  politics  policy  thinking  etiquette  discourse  dialogue  debate  education  learning  children  schools  universities  colleges  students  dialog 
september 2007 by robertogreco
blog of proximal development » Blog Archive » Unending Conversation
"*classroom = community of inquiry where knowledge emerges from conversation *thought is internalized conversation generated in the process of contributing and interacting with others in a social space *All members enter into a semiotic apprenticeship"
learning  education  conversation  community  collaboration  blogs  practice  teaching  lcproject  process  konradglogowski  dialogue  uncertainty  drafts  unfinished  imperfection  wabi-sabi  dialog 
july 2007 by robertogreco
Thingology (LibraryThing's ideas blog): Libraries as Conversations: Gorman, Hives and Catalogs
"important learning and knowledge are conversation [that we ascend to over our lives through] *encyclopedias, books of facts *monographs (really "arguments") *academic journals *conferences Conversations work because they know/produce more than their memb
classification  conversation  education  information  knowledge  learning  libraries  reference  dialog  catalogs  folksonomy  communication  academia  dialogue 
june 2007 by robertogreco
Comment is free: Faith in common ground
"Claiming that our own beliefs are superior does nothing to promote understanding between people of faith and atheists."
religion  science  dialog  atheism  dialogue 
october 2006 by robertogreco

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