The Unknown

Hart Seely at Slate Magazine has created found poetry from speech transcripts of various U.S. political figures… Sarah Palin, Donald Rumsfeld, and others.  The example from Donald Rumsfeld below is reproduced in the Wikipedia entry for found poetry, which is what led me to it:

The Unknown

As we know,
There are known knowns.
There are things we know we know.
We also know
There are known unknowns.
That is to say
We know there are some things
We do not know.
But there are also unknown unknowns,
The ones we don’t know
We don’t know.

—D.H. Rumsfeld, Feb. 12, 2002, Department of Defense news briefing

See: The Poetry of D. H. Rumsfeld

I chose this text not only for the comic relief, but also because it could describe what we know and don’t know about the effects of technology.

Found poetry is also interesting as text – it is an arrangement or creation at a macro level. It is a creation that depends on the intention of the compiler or poet (the author? not the author?) for its poetic status.  It reminds us that the meaning and intention of a text can be entirely disconnected from the meaning or intention of the original author or creator, and given new meaning by a new culture, creator or circumstance.

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A balancing act in the classroom

The microprocessor is the cornerstone for all our technological devices.  Moore, an Intel co-founder once prophesized that, “the number of transistors on a chip will double approximately every two years” (Intel, n.d.). Due to this rapid cycle, our society has come to expect the constant obsolescence of technology devices. The impact on education has meant that schools are also caught in a never ending loop of acquiring and integrating new tools.

Although we have no difficult imaging all the benefits that technology brings to education, Postman (1992) prompts readers to consider the costs. These technology costs can come in a variety of forms. For example, an economic cost can be the technology left languishing in the corner of the classroom without proper teacher support and encouragement to enable their use (Demetriadis et al., 2003; Hennessy, Ruthven, & Brindley, 2005; Mueller, Wood, Willoughby, Ross, & Specht, 2008). Another cost in the classroom might be the time investment, both in scheduling and preparation (Baylor & Ritchie, 2002).

Reflecting on the dialogue between O’Donnell and Engell, it became apparent that a balance needs to be struck in classroom  (Cambridge Forum, 1999).

 
Balancing lady
caption: Balancing lady orangebrompton CC BY-NC-SA 2.0

The image selected provides a metaphor for the balance between technology’s loss and gain. Educators cannot avoid technology; its pervasive nature is unavoidable. Technology will always be a part of our classrooms. On the other side of that balance are good pedagogical practices. Learning does not simply improve with increased access to technology; it can only come from the refinement of teacher skill and knowledge.

-Jerry

References

Baylor, A. L., & Ritchie, D. (2002). What factors facilitate teacher skill, teacher morale, and perceived student learning in technology-using classrooms? Computers & Education, 39(4), 395–414.

Cambridge Forum. (1999). From Papyrus to Cyberspace.

Demetriadis, S., Barbas, A., Molohides, A., Palaigeorgiou, G., Psillos, D., Vlahavas, I., Tsoukalas, I., et al. (2003). “Cultures in negotiation”: teachers’ acceptance/resistance attitudes considering the infusion of technology into schools. Computers & Education, 41(1), 19–37.

Hennessy, S., Ruthven, K., & Brindley, S. (2005). Teacher perspectives on integrating ICT into subject teaching: commitment, constraints, caution, and change. Journal of Curriculum Studies, 37(2), 155–192.

Intel. (n.d.). Moore’s Law Inspires Intel Innovation. Intel. Retrieved September 14, 2012, from http://www.intel.com/content/www/us/en/silicon-innovations/moores-law-technology.html

Mueller, J., Wood, E., Willoughby, T., Ross, C., & Specht, J. (2008). Identifying discriminating variables between teachers who fully integrate computers and teachers with limited integration. Computers & Education, 51(4), 1523–1537.

Postman, N. (1992). The judgment of Thamus. Technopoly: The surrender of culture to technology. New York: Vintage Books.

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Language as technology

http://www.flickr.com/photos/andyz/22991357/

[I posted this last week, but forgot to categorize it, sorry about that.]

I chose this picture of Orson Welles the night he performed “The War of the Worlds” by H.G. Wells, on October 30th, 1938 in the United States on the CBS radio network. In the course we have read about how language is technology and it shapes human consciousness (Module 1), and what better example of language doing just that. On the one hand we had the original text, brilliantly written, become and oral text that together with other technology (the radio), and the actors voice, managed to convince 1.2 million people that the Martians had landed (Campbell, 2011); though it was not the intent.

The radio alone did not achieve this; it was the text in the voice of the actor simulating a news flash. It was a combination of an old means of communication, an oral text, with a modern one, the radio. I can’t help but find a parallel with the Internet. Is the Internet the technology? It alone cannot shape consciousness, it’s the content that does that, and the content is language in its many forms.

Campbell, W.J (2011). “The Halloween myth of The War of the Worlds panic”. BBC News Magazine. Retrieved http://www.bbc.co.uk/news/magazine-15470903
10/Sept/2012.

Well, H.G (1898). “The War of the Worlds”. Available online at http://www.online-literature.com/wellshg/warworlds/

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Text beyond words

http://www.flickr.com/photos/williamcromar/6653497785/

I chose a calligramme by the poet Gillaume Appolinaire, because he took printed text to new heights. Appolinaire felt poetry was not exploiting shape and sound. Poetry could be a visual and aural experience. He invented the calligramme, a visual/spatial poem that represented the object, concept or thought being represented. The aural aspect was achieved through alliteration, rhythm, etc. You can listen to Appolinaire here watch?v=oShj49SVUN0
In this sense his texts became objects, sounds, images and even acquired texture; a text as we have defined within this course. His work influenced what is known as ‘Concrete Poetry’, and he also played an important role in several important artistic movements: Surrealism, Futurism, Dadaism and Cubism. It was a time of major technological change which in turn led to artist finding new ways to communicate, portray reality, use language and more.

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Technology and Text: One in the Same?

Is Technology, Text?

Through the exploration of text and technology, it created a vision in my mind. I found the two concepts to be related and eventually came to the conclusion that “technology is text”.

Think about the tools we use to communicate.  Each tool requires the use of technology in some manner or another.  Whether we use chisel and stone, reed pen and papyrus, typewriter and paper, or a computer and keyboard, the inventions themselves have enabled us to create, share and save text.

I came upon this video while pondering the thought of “technology is text” and it all came to fruition. As the two people communicate and take pleasure in their day-to-day activities, technology helps them to create messages as well as enjoying and learning from other people’s work of “text”.  Technology brings people closer through text and helps us to learn and grow continually.  Although we may encounter loss in text as technology changes the presentation of it, it is all text just the same.  We gain and we loose, but we continue to evolve and find new ways to communicate.  This I know will be a constant.

[youtube]http://youtu.be/QyB_U9vn6Wk[/youtube]

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Technology in Adams’ Universe

Here is another favourite author of mine, Douglas Adams, “with a set of rules that describe our reaction to technologies:”

1. Anything that is in the world when you’re a born is normal and ordinary and is just a natural part of the way the world works.

2. Anything that’s invented between when you’re fifteen and thirty-five is new and exciting and revolutionary and you can probably get a career in it.

3. Anything invented after you’re thirty-five is against the natural order of things.

(2003, p. 95)

I may have already posted this in another MET course, but keep returning to the wry evaluation on the way humans, and in particular teachers, see the technologies in their daily lives. Rarely are students meant to marvel at how an eraser works, they just know it’s there, usually at the other end of their pencils, ready to be used if a mistake is made. Most teachers, I find, are at that turning point between rule two and rule three; perhaps at the beginning of their careers, laptop carts or digital video projectors were brilliant innovations, but now they find tablets and interactive whiteboards a curse inflicted upon their classrooms. Of course, younger teachers, many of us here in the MET program, are eager to make use of these revolutionary technologies, perhaps unheedful of the losses to the teaching profession these items represent.

Adams had his own unique relationship with technological change, starting off his career as a writer for the BBC. Shortly after Star Wars made its debut in 1977, the BBC were looking into sci-fi stories, and the radio show The Hitch Hiker’s Guide to the Galaxy came on the air in 1978. Of course, there’s nothing new about radio plays, having been around for decades before Adams’ birth in 1952. Producing the show, however, took its toll on the BBC, as Adams describes:

I think that the BBC’s attitude towards the show while it was in production was very similar to that in which Macbeth had towards murdering people – initial doubts, followed by cautious enthusiasm and then greater and greater alarm at the sheer scale of the undertaking and still no end in sight.

(1992, p.  9)

The show went on, and became a novel and television series, and eventually a movie. By 1984, a few years before Adams’ 35th year, a video game designer from Infocom collaborated with Adams to make H2G2 into a game, and this classic was born…

HHGttG Text Adventure

…one of the first MUD games I experienced, well before the age of 15! Here is a link to the  20th anniversary edition of the H2G2 game. Enjoy this exciting and new technology.

Kyle

Adams, D. N., (1992). The hitchhiker’s guide to the galaxy: A trilogy in four parts. London: Pan Books.

– -, (2003). The salmon of doubt. New York: Pan Books.

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Above subtext?

Here is part of a scene from Whit Stillman’s movie, Barcelona (1994):

EXT. AVENUE – DAY
Ted and Fred, dressed for work, walking up Paseo de Gracia in 8 a.m. pedestrian traffic. This morning the uniform wearing Fred and, by association, Ted, attracts even more hostile looks than normal.

TED

The words to pop songs are about the only literature of advice we have on romantic matters – most of the advice is bad.

FRED

Huhn. … Maybe you could clarify something for me. While I’ve been, you know, waiting for the fleet to show up, I’ve read a lot and –

TED

– Really? –

FRED

– and one thing that keeps cropping up is this about “subtext.” Songs, novels, plays – they all have a subtext, which I take to mean a hidden message or import of some kind.

Ted nods.

FRED

So subtext we know. But what do you call the meaning, or message, that’s right there on the surface, completely open and obvious? They never talk about that. (Using his hand as a visual aid.) What do you call what’s above the subtext?

TED

The text.

FRED

(Pause) Okay. That’s right. … But they never talk about that.

(p. 91)

Much of this film deals with two young Americans in Europe, experiencing anti-imperialist “subtext”, as it were, while conversing about love in a romantic comedy. Fred correctly points out that there is not much discussion on the text we see, and in this case, a reprint of a published screenplay (with citation below) that has to be formatted with HTML to appear on this webpage, does not seem that notable. It takes a certain amount of patience (or maybe way too much free time) to read the text of a screenplay.

Of course, might have been much easier just to embed the YouTube clip titled Subtext here, if only this scene were to be found in the creative commons. Is someone’s reading the screenplay, as most trained actors do everyday, going to give a different reading of the scene than what eventually made it onto screen. The writer also happens to be the director, who in the author’s note describes these words as “not exact transcripts” (p. vi) of the movie, but rather from the shooting script, which may or may not change on the day of filming. In what way does Ted nod, or how does Fred use his hand as a visual aid? Is it the actor, director or writer who creates the visual text, aka gestures?

For me, one of the things I enjoy about movies and movie-making is that someone invents a scene by writing words that eventually make a shooting script, and with the help of scores of film industry workers (camera technicians, lighting operators, make-up artist etc.) the image goes from inside someone’s head onto a screen, to be transmitted into other people’s head. In a way, it is a clunky, expensive but truly fascinating way of sharing ideas as text.

Kyle

Stillman, W. (1994). Barcelona & Metropolitan: Tales of two cities. Boston: Faber & Faber.

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They are Us

“They mediate our actions?
No, they are us.”

–Bruno Latour, “On Technical Mediation: Philosophy, Sociology, Genealogy.” Common Knowledge 3: 2 (1994) pp. 29-64.
http://www.bruno-latour.fr/sites/default/files/54-TECHNIQUES-GB.pdf

These are the final words in Latour’s essay referenced above. The “they” he refers to are “artifacts” (which he says deserve to be treated as “full-fledged social actors”) but I am going to pretend he means technologies – his article after all is about technical mediation. After three days of frenzied internet searches, these simple words appealed to me.

In ETEC 511 (The Foundations of Educational Technology), we came across the concept of hybridity – that we cannot separate technology from ourselves, and that each changes the other to become something entirely new. I have only a tenuous grasp of these theories, but hope to achieve illumination sometime this semester.

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The changing nature of text.

[youtube]https://www.youtube.com/watch?v=NLlGopyXT_g&feature=share&list=ULNLlGopyXT_g[/youtube] The Machine is Us/ing Us (Final Version) Michael Wesch Creative Commons Attribution-NonCommercial-ShareAlike 3.0

Although this very popular Youtube video is quite literal in defining the changing nature of text, I felt it illustrated some interesting elements from our Papyrus to Cyberspace discussion. At a conference, Wesch quotes Marshall McLuhan by stating, “We shape our tools and thereafter our tools shape us” (2009, p. 2). McLuhan’s statement illustrates the changing nature of how we interact with text and how it now influences our culture, communication, and acquisition of knowledge.

Through this video, Wesch shows the vast change that text technologies has played and will play in education. Further to this, a question was formed- Does a rough draft of writing need to occur by hand or should we be encouraging writing to be digital from start to finish?

-Jerry

References

Wesch, M. (2009). Mediated culture/mediated education. “In dreams begins responsibility” – choice, evidence, and change. Presented at the ALT-C 2009, Manchester, UK. Retrieved from http://repository.alt.ac.uk/656/2/altc2009_michael_wesch_keynote_transcript_20090908.pdf

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The Change of Technology

I came across this poem about technology by James S. Huggins. I thought it was not only humorous, but showed how technology has changed and will continue to change over time.

Technology and terms used in technology are always changing. This makes it challenging to come up with a definition. However, I see it as including the tools and materials, the art of making these tools and materials and the use of them in society.
As I read this poem, I thought about what technological terms would be used in a “Remember When” poem 25 years from now.

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