Intellectual Production 8: Indigenous Innovation

The article I propose as an essential addition to the course is “Supporting Self-Determined Indigenous Innovations: Rethinking the Digital Divide in Canada” by Winter & Boudreau (2018). In this article, Winter & Boudreau critique traditional western notions of the digital divide, arguing that most policies and opinions “focus far too heavily on what technology can do for Indigenous peoples – not what Indigenous peoples have and can do with technology” (2018, p.40). The colonial imaginary, which is still very much alive today, positions indigenous peoples and communities as reliant on the progress of other nations and communities. However, innovation and technology are and have always been part of indigenous systems of knowledge and culture.

To illustrate indigenous innovation, Winter & Boudreau present several case studies: Digital Storytelling, Virtual Landscapes, and Makerspaces. Each of the case studies demonstrates the diverse ways indigenous people and communities are utilizing digital technologies and media to articulate and redefine identity and indigenous representation in media, sustain cultural knowledge and practices, and rewrite indigenous history away from the colonial gaze. Instead of using technologies in typical ways, Winter & Boudreau argue that indigenous people and communities not only recreate technology uses to fit indigenous ways and knowledge but are also helping shape technology (2018).  For example, virtual technologies are being utilized to create real and imagined virtual indigenous spaces representative of indigenous knowledge systems (Winter & Boudreau, 2018). Similarly, digital and virtual spaces are interwoven with indigenous traditions and practices through storytelling and eldership. Video games as a medium, with its use of story, design, and sound, provides a rich platform that compliments oral traditions of storytelling and creates a pathway to cultural preservation and revitalization (Winter & Boudreau, 2018). Through Makerspaces, technology and mentorship with elders meet, as youth learn to make traditional goods and jewellery with new technologies, such as 3D printing (Winter & Boudreau, 2018).

Winter & Boudreau (2018) conclude by rejecting need-based and solution-oriented programs to solve the digital divide, as such solutions reaffirm colonial myths of technology and innovation. Instead, they argue that indigenous innovations often “lie at the intersection of art and innovation, promoting a STEAM (science, technology, engineering, art, and math)” (Winter & Boudreau, 2018, p. 45). Indigenous cultural knowledge has always been evolving through “a living embodied practice” (as cited in Winter & Boudreau, 2018, pg. 45). As this article challenges traditional western views of technology, innovation, and indigeneity in Canada, I recommend it as an addition to the course.

References

Winter, J., & Boudreau, J. (2018). Supporting self-determined indigenous innovations: Rethinking the digital divide in Canada. Technology Innovation Management Review, 8(2), 38-48.

 

 

Intellectual Production 7: Remediation and Blockchain

In my teaching context, blockchain is a technology that is starting to remediate technologies and business practices. At its core, blockchain is a technology that permanently records verifiable transactional information in an encrypted decentralized network that cannot be manipulated by third parties (Turkanovic et al., 2018). As the information is contained in a decentralized network, it makes unauthorized access or ‘hacking’ almost impossible. In my organization, we have recently started using Org Book, a blockchain project led by the Government of BC that provides users with a searchable general ledger of verified BC business information. Prior to Org Book, verifying BC business information required opening accounts, filling out forms, and visiting brick and mortar offices. Org book has streamlined how we obtain business information and our ability to discern a business’s legitimacy and compliance with the Province of BC.

Org Book and other blockchain technologies are remediating local records and databases used to store business and personal information. Prior to Org Book, one often needed to request information from several different government and affiliate offices to obtain the same information, as the information was stored on a local database specific to individual offices. As Bolter and Grusin (2000) argue, remediation has economic, cultural, and social aspects. The reduction in sources and interactions inherent in blockchain’s general ledger reduces administrative time and costs, which increases Org Book’s economic viability as remediation for local databases. As government and educational institutions are often targets for hackers, the decentralized network reduces costs, social risks, and cultural fear associated with fraud and identity theft, solidifying blockchain’s economic, social and cultural place in the remediation of local databases and record keeping. Turkanovic et al. (2018) note a similar dynamic in educational record-keeping and credential verification in the blockchain pilot EduCTX.

While blockchain offers increased security and access to information, it is not without risks. Loss of information due to lost keys or passwords is a drawback, as evidenced by the recent $190 million cryptocurrency lost due to lost password (Cuthbertson, 2019). On one extreme, fear of fraud and identity theft have led to the unalterable decentralized network of blockchain for protection, while on the other extreme, the unalterable decentralized network may lead to losing access to information with no recourse. The changing dynamic of blockchain is reminiscent of McLuhan’s tetrad, as the technology for record-keeping seems to flip to its opposite when under pressure. However, it is the social and economic pressures that flip record-keeping technology aligning with Bolter and Grusin’s (2000) remediation.

 

References:

Bolter, J.& Grusin, R. (2000). Networks of remediation. In Remediation: Understanding New Media. Cambridge, MA: MIT Press.

Cuthbertson, A. (2019, February 5). Millions of dollars of cryptocurrency lost after man dies with only password. Independent. Retrieved from https://www.independent.co.uk/life-style/gadgets-and-tech/news/bitcoin-exchange-quadrigacx-password-cryptocurrency-scam-a8763676.html.

Turkanovic, M., Holbl, M., Kosic, K., Hericko, M., & Kamisalic, A. (2018). Eductx: a blockchain-based higher education credit platform. IEEE Access, 6, 5112-5127.

 

 

Task 8: Golden Record Curation

In 1977, a NASA team set out to create a record that would accompany the voyager launch. This record was to be representative of humankind for potential alien audiences, lasting billions of years out-there in space. The record contains mostly musical tracks from around the world.

The task this week asks us to select 10 of the original 27 tracks. I found this activity very challenging for several reasons. First, after listening to all of the tracks, I felt that it was an incredibly biased collection. Western classical music traditions are over-represented and lack variance–do we really need that much Bach, Beethoven, and Mozart?  Asian musical traditions were underrepresented given their historical and representational significance. Gender balance also seemed not to be a consideration, as many of the songs were male-driven (eg. drinking songs), yet also transferring conventional ideas of gender norms (eg. women vocals in wedding song).  The collection also seemed historically biased, as there were folk/indigenous songs, classical, then it’s like all musical development stops with Chuck Berry. By 1977, there were several burgeoning and developed musical genres that combine classical genres and could be viewed as more inclusive–Hip Hop, Disco, Motown, Salsa just to name a few within the Western context. While I understand that creating a record to represent humankind will always present challenges, my modern ear took offence to Tim Ferris’s description of trying to make the record as inclusive as possible (TwentyThousand Hertz, Episode 65).

Another difficulty I had with the Golden Record project is not knowing the extent to which they involved Intellectual Property holders. Did they ask indigenous groups whether they could use their intellectual property for this purpose? From the sounds of it, it appears that most of the selection was performed by historical, cultural, and other ‘experts’ with an assumption that folk music etc… is public property.  Again, this is problematic to my modern ears that recognizes the importance and significance of indigenous sovereignty over their intellectual property.

As this record is likely to outlive humankind and could represent us for billions of years, it seems to me that there may be many people who do not see themselves represented in this project.  That means we will be lost once humankind ceases to exist, but this bias collection will continue to live on and represent us. As Smith (1999) outlines, this is one of the challenges of digitizing. What has current value and is cost-effective are often the works that get digitized, but if the value is not seen or digitization is extremely costly, the works are less likely to be digitized. In relation to the Golden Record, the team that assembled the collection by virtue of the task selected what is valued and representative of humankind.

And now it is my turn! In selecting 10 tracks from the original 27, I tried to be as inclusive as possible to select a collection of tracks that is representative of the variety of cultures and people throughout the world. Of course, my list is limited by the biases of the original list. However, I tried my best to correct some of the over and underrepresentation.

  1. Australia, Aborigine songs, “Morning Star” and “Devil Bird,” recorded by Sandra LeBrun Holmes. 1:26
  2. Mozart, The Magic Flute, Queen of the Night aria, no. 14. Edda Moser, soprano. Bavarian State Opera, Munich, Wolfgang Sawallisch, conductor. 2:55
  3. Stravinsky, Rite of Spring, Sacrificial Dance, Columbia Symphony Orchestra, Igor Stravinsky, conductor. 4:35
  4. China, ch’in, “Flowing Streams,” performed by Kuan P’ing-hu. 7:37
  5. India, raga, “Jaat Kahan Ho,” sung by Surshri Kesar Bai Kerkar. 3:30
  6. Peru, panpipes and drum, collected by Casa de la Cultura, Lima. 0:52
  7. Japan, shakuhachi, “Tsuru No Sugomori” (“Crane’s Nest,”) performed by Goro Yamaguchi. 4:51
  8. Senegal, percussion, recorded by Charles Duvelle. 2:08
  9. Navajo Indians, Night Chant, recorded by Willard Rhodes. 0:57
  10. Bulgaria, “Izlel je Delyo Hagdutin,” sung by Valya Balkanska. 4:59

Task 7: Mode Bending

This week’s task asks us to reinvent the “What’s in your Bag?” task using audio format. It should be a recreation or reinvention, not a mere description of each item in the bag.

I had tons of ideas for this assignment and could have easily made 12 different versions. I was able to cross a few options off my list by looking at what others were doing for their assignment, that way what I am doing is fairly unique.  In the end, I channelled the best I could of the spirit of the New London Group’s framework by focusing on the design elements that are possible in a multimodal recreation of a visual assignment.

 

This recreation is multimodal, using primarily audio and linguistic design elements. The visual is present in the form of the picture from the original “What’s in the Bag?” assignment–I added that so you did not have to stare at a blank screen the entire 3 minutes.

On the surface, it seems like I am only describing the items in the bag.  One of the affordances of mode bending into audio and linguistically driven design is the ability to tell a story.  So that is what I did! I created a narrative that connects all of the items in the bag with aspects of my life. In this narrative, I am pretending to be an investigator that is dictating notes, while unpacking the bag. As I was creating this narrative, I was alarmed at just how much information people could tell about my life by inspecting this small number of items in my purse. In the previous iteration of the “What’s in my bag?” assignment, my reflection and comments were needed to give the visual context verify this same information.   Any mode individually, only gives one a fragment or snapshot of the narrative. However, by using multimodal design, you can create a fuller narrative, accessing design elements from all or any modes you chose.

Bringing this back to education, understanding New London Group’s multimodal framework is important as our ability to interpret messages, narratives, and text in multimedia environments requires more than just a textual based literacy. Multiliteracies takes into account aspects of digital texts that go beyond our traditional understanding of literacy. As well, these literacies are situated within a specific culture and context, which can also impact interpretation and meaning.

In my teaching context, I work with adults in a non-profit organization where there is little employee turnover.  I have an easy time understanding the New London Group’s formation of multiliteracies, as I see employees experiencing difficulties with new technologies and multimedia every day. Additionally, in my role in learning and development, I am at the forefront of retraining employees for new tasks and roles created as the result of new technologies. For example, many of our employees are tradespeople who have never had to learn business acumen and analysis. Artificial Intelligence tools, which we use, has created a greater need for data literacy in the roles that tradespeople occupy. This is interesting, as many people assume literacy education is for the young or those learning other languages. However, I think corporate training will be engaging more with literacy education, as employers look to transform workforces as a result of new technologies and automation.

Task 5: Create a Twine Story

So this is my first semester using UBC’s WordPress platform. For most other projects, I have used Weebly or Wix. I wanted to try using the UBC sites, as I find the advertising very annoying and distracting. With the switch, the one thing I did not expect was some of the limitations of the WordPress platform. It is with this in mind, I introduce this week’s task.

This week’s task was to create a Twine story. Unfortunately, I could not embed this into this site, so I set up an alternative Wix site just to display the project. You can find this project at the following URL:

https://amandaleahklassen.wixsite.com/llamadrama

Intellectual Production 3: Jean Jacques Rousseau Paradigm Chart

Jean Jacques Rousseau was a radical educational theorist for his time. In the 18th century Europe, if you were lucky enough to receive an education, as de Castell & Luke (1983) point out, the focus was on religion and the Bible (p. 373). Recitation and repetition were central to pedagogy, while comprehension was not emphasized (de Castell & Luke, 1983). Rousseau deviated from popular educational thinking by introducing the idea of student-centred pedagogy (van Kleeck & Schuele, 2010). To Rousseau, education should focus on the unique development and interests of each child to promote and protect their natural goodness (Betram, C, 2018). The goal of education was to cultivate freethinking citizens who would pursue their interests. While only controversial to a modern-day reader, Rousseau’s theory argued for a different type of education for women, one that focused on domestic servitude (Lewis, 2019).

Below is a paradigm chart outlining the main features of Rousseau’s educational theory. To develop this chart, I used de Castell & Luke (1983) as a model. While many of the elements are similar, some were removed, as they were not relevant to Rousseau’s theory. For example, the “curriculum” section was removed, as the curriculum would be highly subjective and dependent on the child, development stage, and interests. In lieu of some of these elements, I added one for “place of learning”, as Rousseau’s position on the place of education is a unique feature for the 18th century. Finally, the elements are separated by gender, as Rousseau’s theory also made distinctions based on gender (Lewis, 2019).

Click the arrow icon to see chart in full screen.

https://www.canva.com/design/DADnRLGGpAE/view

As Rousseau’s educational theory is student-centred and subjective, so too are the educational tools and technologies. Games, exercising the senses, and informal learning experiences are tools and technologies that Rousseau introduces (van Kleeck & Schuele, 2010), replacing the Bible, repetition, and recitation.

While Rousseau’s ideas were controversial, his impact on educational theory can still be felt today through student-centred philosophy, gamification, and age/interest appropriate activities.

 

References:

Betram, C. (2018). Jean Jacques Rousseau. Stanford Encyclopedia of Philosophy. Retrieved from https://plato.stanford.edu/entries/rousseau/.

de Castell, S., & Luke, A. (1983). Defining literacy in North American schools: Socio historical conditions and consequences. In in de Castell, Luke and Egan (Eds) Literacy, Society, and Schooling. Cambridge, England: Cambridge University Press.

Lewis, J. (2019, July 14). Rousseau’s take on women and education. ThoughtCo. Retrieved from https://www.thoughtco.com/rousseau-on-women-and-education-3528799.

van Kleeck, A., & Schuele, C. (2010). Historical perspectives on literacy in early childhood. American Journal of Speech-Language Pathology, 19, 341-355.