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Education through time – A continuous call for change in curriculum

First of all, I believe that this a great article to end this class with as it speaks to our efforts to improve the curriculum by incorporating multiliteracies  in our ELA  classrooms. Hannah Arendt, a well spoken political theorist, once said,“…we are all the same, that is, human, in such a way that nobody is ever the same as anyone else who ever lived, lives, or will live.” We need to realize the uniqueness not only of students and ourselves, but also the uniqueness of the era we live in.

Kress (2000) argues that our current educational system is in a stagnant state in that it is entrenched in educating a 19th century audience for the stability of the times, rather than catering to our 21st century students with, “an education for fluidity, for instability” (139). I believe that one needs to adopt a growth mindset in order to contend and take into consideration the claims expressed within the contents of this article. Kress notes that we live in a pluralistic society and I consider this characteristic as a requirement for change as action often comes from the plurality of society. It is within these societies that individuals collaborate to exchange views and build something new, something that is reflective of our current state. In addition, I would like to believe that educators always want to improve not only their lessons, but also more importantly, their approach to meet the needs of today’s students.  We undoubtedly belong to a profession that consists of lifelong learners. However, in all fairness, it is important to note that it may take anywhere between 20-30 or even 40 years before meaningful change takes place with regard to establishing a new and successful literary approach in our schools (Mackey, 2012). Nevertheless, we need to consider ourselves as designers who not only shape the leaders of tomorrow, but who continually design as, “designs speak of choices: choices which reflect the interests of their designer…”(143). Let then our interests lie in adapting our work, in whatever role we find ourselves, so that our pedagogy is consistent with the demands of today’s world.

In continuation on the theme of change, Kress notes that, “ ‘To learn’ was not supposed to mean ‘to change’” (140). We as educators are privileged with the role of educating the leaders of tomorrow, people who will implement change, if necessary, wherever they may find themselves. It is also our responsibility to act as role models so in a sense, we ourselves should not be afraid to seek and speak of change, if not implement change within our practice. It may be argued, that teachers are not administrators or that first year teachers should “go with the flow,” but as we become more experienced and develop our networks, we too may be in a position to if not directly implement change, to influence the process of change. Over time we may develop the courage to speak with our department heads and/or administrators about particular approaches, programs or even the selection of available books and resources.

 

Kress, Gunther. “A curriculum for the future.” Cambridge journal of education 30.1 (2000): 133-145.

Mackey, M. (2012). Mixing Media. In James, K., Dobson, T.M., Leggo, C., Eds. English in Middle and Secondary Classrooms: Creative and Critical Advice from Canada’s Teacher Educators. Toronto: Pearson.

 

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Some thoughts on E-Literature

(I apologize if some of you have seen my post on E-Literature before, but I cannot find it on our blog. I am re-posting it below….)

 

In retrospect when looking back at my educational experiences, I find that electronic literature may not only be a literary genre that is underrepresented, but it may also be underestimated in our 21st century learning environments. English Language Arts (ELA) education has and continues to revolve around canonical texts, texts that have many available resources and recognition in our schools. Educators in ELA should be exposed to the electronic literature genre by means of workshops during professional development days or speakers who speak to the skilful elements within these stories during teacher education programs. I strongly believe e-literature is a unique literary genre as it allows the reader to engage with the text at a different level due to the represented multimodalities of electronic writing. When reading in this genre, the reader will encounter multimedia content, animation, links and many other fascinating aspects. Educators should familiarize themselves with this genre, because incorporating such non-traditional, interactive fiction may actually make the study of literature more appealing to our students. Implementing electronic literature may simply bring us closer to our students in that we make an effort to relate our content knowledge to their world in this digital era.

The Electronic Literature Organization has published two volumes of E-Literature and it is crucial to remember that some of the stories found within these collections, may be underdeveloped as they come from the early stages of this genre. Prior to this presentation in this multimedia class, I was not aware of electronic literature or the notion that it is informed by computer games, animations and graphic design.  I believe that all educators, regardless of their speciality and core/elective courses, should see as many examples as possible of this genre to merit further investigation and implementation. Once some examples are found, educators may also be hesitant to incorporate these into the curriculum due to the fact that these books are read on a computer. Fortunately as part of my inquiry into this genre, I encountered an essay by Chris Mott that teases out some of the questions educators may pose. Here is a list of the questions that he addresses in the course of his work:

  1. Why should I teach electronic literature?
  2. How can I hep my students whoa re frustrated or confused by electronic literature?
  3. How do I help my students profit from the similarities and difference between print and electronic literature?
  4. How do we discuss a text that is not the same fro everyone?
  5. How do I assign reading?
  6. What sorts of assignments and exercises (intellectual tasks) are most relevant and effective?
  7. How do I teach in a medium/material I have not mastered?
  8. Which pieces should I teach?
  9. What resources are available to help me teach electronic literature?

I will be addressing many of the practical suggestions Mr. Mott offers in respect to these questions during the E-Literature presentation. Here is a link to the essay  http://newhorizons.eliterature.org/essay.php@id=3.html

Also, it is worthwhile to mention that there are many other essays on the Electronic Literature: New Horizons For the Literary website that may help inform your understanding of electronic literature.

http://newhorizons.eliterature.org/essay.php.html

A showcase of electronic literature can be found at http://eliterature.org/news/showcase/

 

Hayles, N. K. (n.d.).       Electronic Literature: What is it?    . Electronic Literature Organization. Retrieved July 2, 2013, from http://eliterature.org/pad/elp.html

Mott, C. (n.d.). Electronic Literature: New Horizons For The Literary :: Essays. Electronic Literature: New Horizons For The Literary . Retrieved July 4, 2013, from http://newhorizons.eliterature.org/essay.php@id=3.html

 

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What is E-LIterature?

 “Electronic literature, generally considered to exclude print literature that has been digitized, is by contrast “digital born,” a first-generation digital object created on a computer and (usually) meant to be read on a computer.”

Electronic Literature Organization

“work with an important literary aspect that takes advantage of the capabilities and contexts provided by the stand-alone or networked computer.”

Key scholars

Dr. Katherine Hayles, Dr. Joseph Tabbi

Forms and threads of practice

  • Hypertext fiction and poetry, on and off the Web
  • Kinetic poetry presented in Flash and using other platforms
  • Computer art installations which ask viewers to read them or otherwise have literary aspects
  • Conversational characters, also known as chatterbots
  • Interactive fiction
  • Novels that take the form of emails, SMS messages, or blogs
  • Poems and stories that are generated by computers, either interactively or based on parameters given at the beginning
  • Collaborative writing projects that allow readers to contribute to the text of a work
  • Literary performances online that develop new ways of writing

Our Role

Important questions

  1. Is electronic literature really literature at all?
  2. Will the dissemination mechanisms of the Internet and the WWW, nu opening publication to everyone, result in a flood of worthless drivel?
  3. Is literary quality possible in digital media, or is electronic literature demonstrably inferior to the print canon?

 

Facade

The e-story “facade” describes a dinner party between a married couple. As the reader interacts with the conversation, the party quickly circles around the couple’s marriage. This work is revolutionary as it can accept any type of language produced by the user and assimilate it into the outcome of the narrative.

LINK: http://collection.eliterature.org/2/works/mateas_facade.html

 

Electronic Literature is Not Print

  • Relies on different language.  Need to begin with computer code; an entirely different source language.
  • Hypertextuality.
  • Cool factor.
  • Involves more genres than just literature (digital arts, computer games, and other forms associated with networked and programmable media).
  • Also “deeply entwined with the powerful commercial interests of software companies, computer manufacturers, and other purveyors of apparatus associated with networked and programmable media” (24).
  • “[E]lectronic literature can be seen as a cultural force helping to shape subjectivity in an era when networked and programmable media are catalyzing cultural, political, and economic changes with unprecedented speed” (24).  This is the key point.  How?  For real?  For the better?  This notion can be connected to McLuhan.
  • Espen J. Aarseth suggests e-lit to be “a purely ideological term, projecting an unfocused fantasy rather than a concept of any analytical substance” (21).
  • Is e-lit an attack on the imagination and bound for obsolescence?
  • Reliant on “the grid.”  Privileged genre?

 

E- Literature – Preservation, Archiving, and Dissemination

How exactly is e-literature preserved and archived? While there are methods to preserving physical work (as books, for example, can endure for centuries if printed on quality paper), how does the archiving of digital media take place? In her article, Hayes mentions that libraries, librarians, conservators and preservationists allow physical work to be conserved, but that no such method or mechanisms exist for electronic literature. This situation is further complicated by the fact that digital media is incredibly fluid – it is constantly changing and its direction is often uncertain (often due to software and hardware updates), making it unplayable or unreadable on newer systems.

The answer to this, according to Hayles, is The Electronic Literature Organization, which has taken a proactive approach to this crucial problem of preservation with the new PAD initiative (Preservation, Archiving and Dissemination Initiative). They collect, in their words, “innovative and high quality” works and compile them in a collection that features 60 recent works of electronic literature, includes brief descriptions of each work, a note by the author(s), a keyword index, and make it available to the public – all while preserving and archiving it. It is, essentially, an online electronic library.

Hayles also mentions that an article available on the ELO website called “Acid-Free Bits” by Nick Montfort and Noah Wardrip- Fruin, offers tips for authors on how to preserve their electronic literature. The tips advise authors to pay attention to how they digitally present their work, and make recommendations such as utilizing open systems instead of closed systems (open systems allow unrestricted user access while closed systems do not), choosing community-directed systems over corporate driven systems, and adhering to good programming practices by supplying comments and consolidating code.

Hayles closes the article by discussing what she calls a “visionary” proposal that is discussed in the essay “Born Again Bits” (Alan Lui et al). The authors in this essay make the proposal of an “X Literature Initiative”, which basically makes the argument that since XML – which is Extensible Markup Language – is and will continue to be the most widespread form up web markup language, it should be a means through which e-literature can be preserved. The proposal also puts forth the idea that a set of practices and tools can allow old works of e-literature to be migrated to XML – allowing e-literature of all ages to be encoded and preserved in the same manner.

Discussion Question:

In her article, Hayles mentions that when it pertains to the preservation of e-literature, the PAD initiative only selects “innovative and high quality” works for their archival collection. In your opinion, what potential problems could arise when it pertains to what exactly is chosen for preservation? How accurate do you think the ELO is in choosing “good” literature that the future generation would find beneficial? Should there be some sort of checklist for what is deemed “high quality”, and thus, preserved in the ELO’s collection?

 

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