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A Curriculum for the Future: English and Design

Over the course of this education program, I have done a lot of thinking about what it means to be an English teacher in the current day and age. In his article “A Curriculum for the Future, Gunther Kress puts into eloquent words all that has been swimming around in my head. I truly believe that what he outlines as a new direction for curriculum in general and for English classes specifically is one toward which we should all be moving.

He starts off by prefacing his argument with the suggestion that “the presently existing curriculum still assumes that it is educating young people into older dispositions, whereas the coming era demands an education for instability…. When tomorrow is unlikely to be like today and when the day after tomorrow is definitely going to be unlike yesterday, curricular aims and guiding metaphors have to be reset” (133-4).

He then delves into a lengthy explanation of what the new curriculum should entail. Words that are frequently used are creativity, multiliteracies, innovation, adaptability, ease with difference, comfortableness with change, instability, agency, transformation, communication. These words remind me of a statement I made in this class a few days ago, about how in teaching English we are moving toward giving students the skills to talk about, write about, think about, and interact with content rather than simply teaching them the content itself. Rather than learning being top-down and content focused, I think that learning needs to become student-centered and innovative. Kress takes my point of view even further by arguing that the driving force of this new curriculum should be design. Students should  be learning to take what they know and transform it, design it to reflect their interests and to make it serve as a means for their interaction with and decoding of their personal environments and the globe as a whole.

Kress states that “What remains constant [in the new curriculum] is the fundamental aim of all serious education: to provide those skills, knowledges, aptitudes, and dispositions which would allow the young who are experiencing that curriculum to lead productive lives in the societies of their adult periods” (134). What has changed is the needs and requirements of society. Active citizens now need to be able to decode vast amounts of information from a wide variety of sources and recorded using a variety of literacies in an ever-changing environment and comment on it, interact with it, and produce something new, thoughtful, and useful.What arises from this need is an “Education for instability” (138), in which students are given the tools they need to adapt to this transforming world and to be the agents of their own designs and processes. Kress states, “Design makes the learner agentive in relation to her/his interests in a specific environment and in relation to the resources available for the production of that design. He or she is transformative, creative and innovative. Design asks for production of the new rather than replication of the old. Thus putting ‘design’ at the centre of the curriculum and of its purposes is to redefine the goal of education as the making of individual dispositions oriented towards innovation, creativity, transformation and change” (141). This idea of agency made me think about the principles introduced in today’s class on Gee’s article “Good Video Games and Good Learning.”  I think that a lot of the learning principles he outlines apply to the fundamental concepts of Kress’ new curriculum. Identity, interaction, production, risk taking, customization, agency, and situated meanings all apply to the notion of a curriculum of design within instability; ideas of transformation, agency, design, change, understanding, openness, communication, adaptability, innovation, multiliteracy, and creativity.

I think that a multiliteracies approach in the classroom that focuses on design through inquiry, agency, and creativity is one in which students will be shaped into individuals that are competent and skillful at navigating our developing and “unstable” current and future worlds.

– Rebecca Thomas

Gee, James Paul. “Good Video Games and Good Learning.” Phi Kappa Phi Forum 85.2 (Summer 2005): 33-37. Web. 13 July 2014.

Kress, Gunther. “A Curriculum for the Future.” Cambridge Journal of Education 30.1 (2000): 133-145. Web. 16 July 2014.

 

 

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Farmer Seminar Lead Discussion Questions (consolidated)

Visual literacy extends beyond the critical analysis of illustrative or photographic image, and includes all of the visuals included in a given product: the colours, shapes, fonts, and layout. What conventions of this layer of communication do you consciously understand and interpret, and how much of it is interpreted on a subconscious level?

The article talks about how important it is for students to be aware of visual manipulation, and suggests multiple different ways of introducing projects aimed towards this in the classroom. Bearing potential class compositions in mind, what are some possible difficulties that may present themselves, or how might these activities where students are producers need to be adapted?

Some digital images are edited so well that it is impossible for the average person to tell if an image has even been altered. Do you feel that critical viewing should only be applied to photos that have been altered? Or should we assess and evaluate all visual images regardless of editing?

How can we incorporate learning about visual elements and principles and understanding different cultures’ visual coding systems into subjects like English and Socials

How can teachers teach students about what makes an image persuasive in relation to their particular teaching subject?

What are the most important aspects teachers should be aware of when creating technology rich activities for students to explore visual images?

(Ashley & Co.)

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Presentation Visual Literacy

Response to Farmer article and discussion question for Seminar Lead

Lesley S.J. Farmer’s article, “I See, I Do: Persuasive Messages and Visual Literacy,” talks about the power of visual media to persuade its viewers. Farmer argues, “students need to know and apply technological visual principles and skills to become critical visual consumers and producers” (30).  In order to be critical visual consumers, students require extensive knowledge about the visual elements and principles used in visual media, such as line, dots, shapes, scale, direction, dimension, texture, value, color, balance, contrast, proportion, pattern, and variety (30-31). I think that learning about how to interpret these elements and their persuasive uses should be a part of all courses in grade school, not only those focusing on visual art or media.
Farmer’s argument is even more relevant now than when this article was written in 2007; now, in 2014, students have hundreds of encounters with digital and visual media every day. They need to learn the skills required to be able to decode the messages they see, and to be able to think critically about why and how they are receiving these messages. Without these skills, students will live their lives being subliminally convinced or persuaded by visual media, to an extent that can influence the world around them: “Digital tools also make it much easier to manipulate images in order to convince and persuade viewers. Even newspaper photographers have altered or combined different images in order to generate a more compelling story or editorialize about an issue; their efforts change election results, impact court decisions, and influence global politics” (32). Once students are able to unpack the messages they receive from visual media, they are better equipped to inquire further about the meaning of the image and its purpose. They can engage in more in-depth critical thought about a variety of topics pertaining to the image. I liken visual media literacy to some of the literacies required in an English class. In English classes, students are required to decode the messages that texts present, trace connections, identify themes, determine purpose and relate ideas to broader social and cultural issues and topics. To understand visual media, they need to decode the message of the image, trace connections between images and between form and meaning, identify themes, determine purpose, and relate the image to broader social and cultural issues. Thus, visual media literacy is a translation of English language literacy into the visual realm. Students need to learn how to “read” images just as they need to learn how to read texts. It will ensure that they are always in control of how they process the imagery they encounter on a daily basis, and it will ensure that they are also able to create compelling and convincing images themselves.

Discussion question for Seminar Lead:

How can we incorporate learning about visual elements and principles and understanding different cultures’ visual coding systems into subjects like English and Socials?

Rebecca Thomas

Farmer, Lesley S.J. (2007). I See, I Do: Persuasive Messages and Visual Literacy. Internet @ schools, 14(4), p. 30-33.

 

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