Author: akyarkin

Prompt:

Describe or narrate a scenario about a device found a few years into a future in which society as we know it has come apart. Your description should address issues related to algorithms and elicit feelings of fascination.

Scenario: The Veil:

In a future where global crises have left society divided into isolated communities, technology has evolved into tools that both safeguard and isolate. One such tool is the Veil—a thin, nearly invisible film applied to the skin, particularly over the eyes and face. Initially created to protect individual privacy in a world dominated by surveillance, the Veil has transformed into a device that lets users shape their own reality. It allows individuals to filter out unwanted elements in their surroundings, altering how they perceive the world and how others see them, creating a personalized augmented reality (AR) experience.

For many, the Veil provides an escape from the harshness of the outside world. Those who have faced trauma or loss use it to build a serene, controlled version of reality. Others rely on it to feel secure in an unpredictable environment, modifying their surroundings to suit their preferences. However, as dependence on the Veil grows, users begin to lose touch with a common reality. Relationships deteriorate as people retreat into their curated worlds, and communities that once thrived on shared experiences become increasingly fragmented as individuals isolate themselves.

Over time, users struggle to distinguish their personalized realities from the world as it truly exists. What began as a tool for protection gradually becomes a barrier, trapping users in self-imposed isolation, disconnected from others and from genuine reality. The Veil becomes a symbol of extreme human isolation, where people live in their own tailored worlds, sacrificing authentic connection in the process.

Reflection: Speculative Design and Social Dreaming:

The Veil offers a speculative look at the potential outcomes of advanced AR technology. Inspired by Dunne and Raby’s (2013) speculative design principles, the Veil invites us to reflect on the ethical and social consequences of a future where reality can be extensively curated and controlled.

Dunne and Raby (2013) emphasize that speculative design should not only address practical issues but also provoke thought about potential futures. The Veil exemplifies how technology, initially intended for privacy and protection, can lead to unforeseen consequences like isolation and disconnection. This scenario encourages reflection on current trends in AR and personalized experiences, urging us to consider how much control over our perceptions is too much and what might be lost in the process.

The Veil also engages with Dunne and Raby’s (2013) idea of “social dreaming,” where design serves to imagine alternative futures that challenge existing narratives. In this scenario, the narrative involves taking technological control over reality to an extreme. It raises important questions about the balance between individual freedom and social cohesion and whether a society where everyone lives in their own curated reality can truly function as a healthy community.

As AR technologies continue to evolve, the Veil serves as a warning about the potential risks of these advancements. It challenges us to think critically about the ethical implications of technologies that allow us to shape our reality and underscores the importance of maintaining connections to shared experiences that are essential to our existence.

 

Dunne, A., & Raby, F. (2013). Speculative everything: Design, fiction, and social dreaming. The MIT Press.

 

I tried numerous prompts on the Craiyon website but struggled to find images that I could connect with. The only image that resonated with me was the one generated for the following prompt.

Prompt: A superhero team composed of members from different racial backgrounds.

The image generated by the Craiyon text-to-image website portrays a superhero team consisting of four individuals. The team includes three characters who seem to have lighter skin tones and one character of darker skin tone.

Upon examining the image, it can be noted that the image somehow can highlight the insufficient representation of individuals from various ethnic backgrounds, particularly those of Middle Eastern and Asian descent, in superhero media.

It also can be inferred that the image composition indicates a predominant representation of characters with lighter skin colours, with only one character with darker skin colour included in a minimal and often tokenistic manner rather than embracing a more inclusive and varied portrayal.

 

From the outset, the User Interface Game uses misleading buttons and links. For example, the “No” confuses the user and manipulates them into making unintended choices.

The game deliberately obscures straightforward navigation paths, forcing users to click through multiple misleading or irrelevant screens to find the desired action. This obstruction technique frustrates users and manipulates their behavior through sheer exhaustion and confusion.

The User Interface employs tactics that lead users to make errors deliberately. For instance, input fields may have unconventional formats or counterintuitive requirements, resulting in frequent errors that prolong the process.

Despite my best efforts, I was unable to complete the User Interface Game due to the intentionally obstructive design elements that prevented progress. This frustration mirrors the real-world experiences of users who encounter dark patterns in everyday digital interactions.

The User Interface Game exemplifies the dark patterns, coined by Brignull (2011), with its deceptive user interface designs that trick users into actions they would not normally choose, exploiting cognitive biases and heuristics. It includes bait and switch tactics, where options deceive users about their real function. It also employs forced continuity strategies Brignull (2011), which simplifies sign-up but complicates cancellation. These manipulative techniques often lead users to take actions detrimental to their interests.

Brignull, H. (2011). Dark patterns: Deception vs. honesty in UI design. A List Apart, 338.

Navigating the Palladio platform took some time, as it required familiarizing myself with its various features, understanding the interface, and learning how to effectively use its tools.

Examining the groupings within the platform’s facets, I found myself in group #0 alongside Joti Sing, Kristjana Young, and Chan Mi Lim. I shared three tracks in common with all of my three peers, and two tracks each with Kristjana Young and Chan Mi Lim.

Based on the table of the data, Track 16: Rite of Spring (Sacrificial Dance) and Track 5: Morning Star Devil Bird from my selections were the most frequently selected tracks by my peers, chosen 16 and 13 times, respectively. The least selected record was Track 5: Morning Star Devil Bird. It was chosen only five times.

I have attempted to reread my peers’ task 8 posts to uncover their rationale for selecting the recordings. However, it has not been feasible to discern the reasons behind their choices without access to data that is not in our reach in this task.

 

Having familiarized myself with all 27 pieces of music on the Golden Record, I have chosen the following 10 musical pieces from it:

1. Java, court gamelan, “Kinds of Flowers,” recorded by Robert Brown. 4:43
2. Australia, Aborigine songs, “Morning Star” and “Devil Bird,” recorded by Sandra LeBrun Holmes. 1:26
3. Mozart, The Magic Flute, Queen of the Night aria, no. 14. Edda Moser, soprano. Bavarian State Opera, Munich, Wolfgang Sawallisch, conductor. 2:55
4. Peru, panpipes and drum, collected by Casa de la Cultura, Lima. 0:52
5. Stravinsky, Rite of Spring, Sacrificial Dance, Columbia Symphony Orchestra, Igor Stravinsky, conductor. 4:35
6. China, ch’in, “Flowing Streams,” performed by Kuan P’ing-hu. 7:37
7. “Dark Was the Night,” written and performed by Blind Willie Johnson. 3:15
8. Azerbaijan S.S.R., bagpipes, recorded by Radio Moscow. 2:30
9. Japan, shakuhachi, “Tsuru No Sugomori” (“Crane’s Nest,”) performed by Goro Yamaguchi. 4:51
10. “Melancholy Blues,” performed by Louis Armstrong and his Hot Seven. 3:05

I considered cultural and musical significance of each piece of the music that I selected. Ensuring a diverse representation of different cultures, time periods, and musical styles was crucial for me. This helped to provide a broad and inclusive representation from different parts of the world. I also assessed the emotional impact of each piece, considering how it might resonate with listeners from diverse backgrounds. Pieces that could evoke strong emotions or tell compelling stories were given higher priority.

 

In redesigning my “What’s in Your Bag” writing, I chose to incorporate an audio mode to enhance the multimodal nature of the piece. I converted the text into audio format using an online tool. The inclusion of audio mode captured the nuances of tone, inflection, and emotion that are often lost in text.

One significant benefit I encountered was enhanced engagement. Supported by New London Group (1996)’s advocacy for integrating multiple modes of meaning-making to address the diverse and dynamic nature of contemporary communication, the emotional resonance provided by voice modulation, pauses, and emphasis (a) the content more dynamic and engaging and (b) enhanced the emotional and experiential engagement with the content.

Another significant benefit of this redesign was supporting diverse learning preferences. By converting the text into audio, the piece would engage listeners in a different manner, making the content accessible to those who might prefer auditory learning or who might be visually impaired.

The New London Group. (1996). A pedagogy of multiliteracies: Designing social futures. Harvard Educational Review 66(1), 60-92.

I created the title and the plot of the TV show that I have watched recently using Emoji Keyboard. I began with the title because it sat the context for the plot description and provided a quick and recognizable summary of the show’s theme.

Emojis were chosen to represent broad themes and ideas rather than specific words or syllables. The choice of emojis was heavily influenced by how well they could represent key ideas and characters from the show. For instance, brain symbolized intellect and science and explosion signified the dynamic events of the show. The show’s plot often revolves around the daily lives, interactions, and humorous situations of the characters. Emojis like speech bubble and laughing face were used to indicate conversations and comedic elements. Furthermore, the characters’ shared interests and hobbies are recurring themes in the series. Emojis like video game controller and rocket represented their love for gaming, science fiction, and space exploration.

Representing multiple characters and their relationships was challenging, especially since some nuances (e.g., personality traits) were hard to convey through emojis alone. Each character in the show has a unique personality, quirks, and traits. Emojis could symbolize broad roles (e.g., scientist, friend) but fell short in conveying specific characteristics like eccentricity. Additionally, the show’s plot unfolds over time, with specific events leading to particular outcomes. Emojis could not convey the temporal progression or the sequence of events.

Exploring the World of Fictional Robots

This was my first time with Twine, and I was pleasantly surprised by how easy it was to navigate. Twine’s intuitive interface facilitated a smooth learning experience. Working with Twine to create the fictional story about robots was an enriching experience that allowed me to explore the intricacies of hypertext fiction. Twine proved to be a highly user-friendly platform. The drag-and-drop functionality made it easy to link different story passages and create decision points that allowed readers to influence the direction of the story.

One of the most compelling aspects of Twine is the interactivity it offers. This aligns with Bolter’s (2008) discussion on hypertext fiction, where it is highlighted that hypertext provides a new literary experience in which readers share control of the text with the author​​.

According to Bolter, hypertext fiction breaks away from the linear constraints of print narratives, allowing for a more flexible and interactive form of storytelling​​. This was evident in my Twine experience, where the non-linear structure allowed for multiple paths and endings, reflecting the diverse ways in which a story can unfold. This flexibility in narrative design is particularly beneficial in an educational context, as it allows for the exploration of various scenarios and outcomes, thereby deepening students’ learning experience.

Bolter also discusses the role of the reader in hypertext fiction, emphasizing the active participation of the reader in navigating the text​​. In “Exploring the World of Fictional Robots,” the readers’ choices directly influence the story’s progression, making them co-authors of the narrative.

Bolter, J. D. (2001). Writing space: Computers, hypertext, and the remediation of print (2nd ed). Lawrence Erlbaum Associates.

 

I utilized writing a draft research proposal on AI and STEM learning. I typically begin my writing process by hand, where I note down my ideas on paper. If I make any mistakes or think of improvements, I write notes in the margins. Once I have gathered a substantial amount of thoughts on paper, I move to a digital format of writing to enhance and polish them.

As pointed out by Innis (2007) that both handwriting and typing presented their own unique limitations and possibilities. When I made mistakes or wanted to revise my writing by hand, the process was undeniably cumbersome. Correcting and revising handwritten text was often messy and lacks flexibility. Additionally, physical storage of handwritten notes and documents could become unmanageable. However, despite the challenges, I did appreciate the act of writing by hand for its unique benefits. Handwriting connected me more deeply to the ideas that I jotted down. The tactile experience of forming each letter and word fostered a stronger cognitive connection with the content. When writing by hand, I found that I was more thoughtful and deliberate, allowing me to capture ideas in a raw, unfiltered manner.

With regard to typing, the constraint that I could think of was that digital format of writing could lead to distractions from notifications and other digital interruptions. Apart from this, my digital text were easily editable, enhancing the flexibility and clarity of writing. As discussed by Bolter (2008), digital writing technologies allowed my writing for a more dynamic and interactive engagement with text and providing seamless revisions and effortless reorganizations of the content.

At the end of the day, I would like to keep using both handwriting and digital writing. Writing by hand, I believe, represents a tangible connection to the text, where the physical act of writing fosters a deep, personal engagement with ideas. The digital format of writing, on the other hand, leverages the capabilities of modern text technology, facilitating flexible editing and effortless revisions of written texts.

 

Bolter, J. D. (2008). Writing space: Computers, hypertext, and the remediation of print (2nd ed). Lawrence Erlbaum Associates.

Innis, H. (2007). Empire and communications. Dundurn Press.

Here are six statements from Dr. Boroditsky’s lecture that resonated with me both personally and professionally.

1

[00:00:35] Dr. Boroditsky mentions, “This is one of these magical abilities that we humans have. We can plant ideas in each other’s minds using a finite set of words that we recombine into an infinite set of new meanings.”

As a teacher, I am always amazed by the capacity of language to communicate intricate concepts and ignite creativity. This often brings to mind numerous classroom discussions where a simple question or comment provokes profound, insightful responses from students, showcasing the ability of language to foster new ideas.

2

[00:01:45] Dr. Boroditsky states, “We don’t have just one language. There’re at least 7,000 languages spoken and there have been many more.”

This underscores the significance of embracing linguistic diversity in the classroom. Having taught students from diverse linguistic backgrounds, I have witnessed how their unique perspectives enhance classroom discussions.

3

[00:04:03] Dr. Boroditsky explains, “So in some languages, you have to distinguish between something you heard as opposed to something you saw as opposed to something you inferred from vision or inferred from sound or inferred from something that someone said.”

This statement highlights the importance of evidential reasoning, a crucial skill to teach students, emphasizing the necessity for clarity and precision in communication.

4

[00:12:44] Dr. Boroditsky says, “For the Aymara, in their language, the future is behind the past is in front.”

This challenges my conventional perceptions of time and encourages me to introduce students to alternative cultural perspectives. By exploring different cultural constructs of time, I can help students develop a more global and flexible mindset, enhancing their cultural competence.

5

[00:18:26] Dr. Boroditsky notes, “When you teach people to talk a new way [language], you’re teaching them to think a new way as well. And so that tells us that language has this causal power. You can change how people think by changing how they talk.”

This resonates deeply with my experiences teaching foreign languages. I have seen how learning a new language or a new way of thinking in a different discipline expands students’ cognitive horizons.

6

[00:31:38] Dr. Boroditsky observes, ” Speakers of different languages witness exactly the same event but come away remembering different things about that event.”

This statement aligns with my experiences in multicultural classrooms, where students’ diverse linguistic backgrounds result in varied interpretations of the same material. This diversity enriches discussions and enables students to appreciate multiple perspectives.

Dr. Boroditsky’s insights into the profound impact of language on thought and perception underscore the intricate relationship between linguistic diversity and cognitive processes. The lecture illuminates the powerful role language plays in shaping our understanding of the world. As an educator, I believe that recognizing the dynamic interplay between language and thought would allows me to appreciate the richness that linguistic diversity brings to the classroom.