Monthly Archives: July 2024

Task 12: Speculative Futures

Prompt:

Describe or narrate a scenario about a curriculum found a few years into a future in which a profound historical evolution has occurred. Your description should address issues related to class and elicit feelings of dignity.

 

It is in 2045, when a group of anthropologists stumbles upon an archive in the ruins of what had once been one of the largest cities. The documents were found within a digital vault and they talked about an education curriculum adopted in this region at the very dawn of 2030: “The Harmony Curriculum.” The discovery provides a deep insight into the society that has passed through major historical evolutions and which had to deal with all these issues of class, equity, and human dignity that were not imagined in the prehistory. By the 2030s, the world was quite different after a convergence of crises: economic upheaval due to massive automation, runaway climate emergency, and extreme inequality causing social unrest. In these challenges lie the values and priorities that had to be rethought, therefore the long historic change from a competitive economy based on profit to a human-centered, socially equitable, and ecologically sustainable economy.

Central to this systemic transformation was the implementation of the “Harmony Curriculum,” an educative program geared toward preparing a new citizenry for living successfully in this new world of possibilities. Based on the tenets of speculative design, students were encouraged to envision and co-create a just and sustainable world. This was not just a program of study but also a blueprint for the new society. At the very philosophical core, Harmony curriculum was founded on the belief that education is a means to social change, not as much as employment training. It fused history, science, and the arts into an organic narrative that emphasized the interdependence of all life on Earth and that everybody should strive to work for the collective good and not individual fame.

As a group of five core subjects, there existed a group of several subjects, in sum forming the core of the course: the “Imagination Lab,” through which students took part in speculative design projects. They were supposed to think up several possible futures, some utopian while others were dystopian, and how decisions made at that moment could make things different. More practical is exercises like these ones, as they were closely associated with the understanding of the existing social, economic, and environmental issues by the students. The students’ critical thinking on how systems of power that have been in existence since then in shaping their world has led them to alternative ways of changing into societies with more equitability and dignity. They looked up examples of radical social change in the past—from slavery to civil rights—and they learned about how everyday people made the difference and improved their world.

Majorly, class was a theme within the Harmony Curriculum. Class, by this time in the future, did not anymore connote one’s economic class as such. Rather, it was viewed in an active interplay of access to resources, opportunities to participate in the decision-making process, and the option to live with dignity. The course was further enhanced by a “Class Reconciliation Program,” wherein students of varying backgrounds worked together as a team to dismantle systemic barriers that had long been employed as tools to keep people apart from one another. The program was aimed at respecting human dignity and was independent of a person’s social standing. It was about creating a society where everyone is accorded an opportunity to add value to the common good.

From projects, students learned that meaningful collaboration is when each of them brings to the table different angles of views and experiences. Thus, they discovered that dignity came from dwelling in Harmony with all others and the natural world and did not emerge out of wealth or power. The abilities intrinsically appreciated by the Harmony Curriculum in training for community resilience were: sustainable agriculture, cooperative governance, and conflict resolution.

The Harmony Curriculum was intentionally engineered to make every student feel dignified. It underscored that everyone, irrespective of outward attainments or social stature, had intrinsic and complete value. It gave students a sense of belonging and purpose. It let one know they belonged to something far bigger than themselves: part of a global community working towards the common vision of a just and sustainable future. It included encouraging students to reflect through activities such as journaling, small group discussions, and the issues that touched them most on their core human values in furtherance to the greater good of others. Such activities inculcated within students strong feelings of self-worth, empathy, and commitment toward social justice.

As the anthropologists keep searching in the archive, they are time and again struck by how profoundly the Harmony Curriculum shaped society. By the middle of the 21st century, the world had become to epitomize a place where dignity and equity were no longer mere virtues but lived out, real experiences. Thus, the curriculum was very central in training a kind of citizen that preferred cooperation to competition, care to consumption, and collective well-being to individual success. In a future society, the ravages of class struggle had dulled and the idea of class been practically recast. The Harmony Curriculum had proven to create a world in which all people, from whatever background or circumstance, can live in dignity. This had once been a utopian view of education, which had gained respect as the foundation of a new age of human flourishing.

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Task 9: Network Assignment

The student survey data created a network of nodes and edges, with each student equally influential by selecting 10 songs from the Golden Record. Initially, the significance of the data was unclear, but further analysis revealed that Tracks 14 and 7 tied for the most votes (16 each), while Track 3 followed closely with 15 votes. Notably, 7 out of the 23 students selected all three of these top songs. Additionally, two students had the highest number of identical song choices, selecting 7 of the same songs.

Reflecting on the political implications of these groupings, it becomes evident that the data is missing crucial contextual information such as students’ cultural backgrounds, musical training, socio-economic status, and personal experiences. This missing data limits our understanding of why certain songs were chosen over others, potentially leading to an incomplete picture of the students’ musical influences and preferences. Additionally, assumptions about the reasons behind the students’ song choices may arise. For instance, the popularity of Tracks 14, 7, and 3 might be assumed to reflect a universal preference, whereas the actual reasons could be more complex and varied. The survey does not capture students’ reasons for their selections, leading to potential misinterpretations based on surface-level data.

The data might also be misinterpreted to suggest a strong consensus among the students regarding their musical preferences. However, the choices may be influenced by factors such as familiarity with certain tracks, recommendations, or the perceived popularity of the songs, rather than genuine preference. The high number of identical song choices between two students could be misinterpreted as a strong alignment in musical taste, whereas it might simply reflect shared exposure to similar musical influences. Understanding the reasons why students did not choose certain pieces (null choices) is not captured in the survey data. These reasons could include lack of exposure to certain tracks, personal dislike, cultural disconnection, or simple indifference. Without qualitative data, such as interviews or open-ended survey responses, it is challenging to understand the motivations behind these null choices.

Capturing the reasons for null choices requires a more comprehensive approach that combines quantitative data with qualitative insights. This could involve asking students to explain their choices and the reasons for excluding certain tracks. Understanding null choices is crucial for gaining a holistic view of students’ musical preferences and the factors influencing their decisions. In conclusion, while the student survey data provides a snapshot of musical preferences, it lacks the depth to fully understand the reasons behind these choices. The political implications of such groupings highlight the importance of considering missing, assumed, and misinterpreted data to avoid drawing incomplete or inaccurate conclusions. Reflecting on the null choices and understanding the broader context of students’ musical influences requires a more nuanced approach, combining both quantitative and qualitative data.

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Link – Manual Scripts and Potato Printing

I am linking to Steph Takeda’s Potato Printing post.

Creating potato stamps to print a five-letter word was a surprisingly intricate task. Like Steph, I found that carving the mirrored reflection of letters posed a significant challenge. My initial approach involved tracing the letters by poking holes into the potato, but this method proved ineffective due to the holes being too small to see. Steph’s struggle with curved letters resonated with me, as letters like ‘O’ and ‘A’ were particularly difficult to carve out cleanly.

Time management was crucial, as the entire process of planning and carving took about an hour. This was similar to Steph’s experience, who also took about an hour for her project. My initial mistake of not cutting the potato lengthwise limited my carving surface, highlighting the importance of preparation and foresight. Steph’s reflection on the artistic charm of the imperfections and the appreciation for the physicality of writing was enlightening. It echoed my thoughts on the mechanization of writing and how it has distanced us from the laborious yet artistic nature of traditional text creation.

Both Steph and I used words with no repeated letters and found straight-edged letters easier to carve. This similarity in our experiences underscores the shared challenges and learning curve in this project. My choice of the word “NAOMI” added a personal touch, much like Steph’s choice of “OCEAN,” reflecting personal significance and connection.

Considering the effort required for this task, I now appreciate the efficiency and convenience that mechanized writing offers. However, this exercise also highlighted the value of traditional craftsmanship and the tactile connection to the written word, often lost in modern times. The imperfections in our prints add character and uniqueness, something that mechanized processes often lack.

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Link – Voice to Text

I am linking to Duncan Hamilton’s Voice to Text post.

Both Duncan and my posts explore the limitations of speech-to-text technology, but we approach the topic from different perspectives. Duncan’s analysis is thorough and analytical, identifying specific issues like punctuation errors, lack of structure, and frequent misinterpretations. He notes his surprise at the poor performance of Apple’s dictation feature, given his limited previous experience with speech-to-text technology. Duncan details how the software struggles with punctuation, resulting in run-on sentences and misplaced commas, and fails to maintain a logical structure, leading to text that feels disjointed. He also highlights instances where words were inaccurately transcribed, such as “tsukemen” being rendered as “superman,” and inconsistent capitalization throughout. Duncan argues that scripted text would provide better coherence, contrasting the informal nature of oral storytelling, which includes pauses and asides, with the structured format of written communication governed by grammar and punctuation rules. He draws on references like Ong’s and Gnanadesikan’s works to illustrate how writing transforms oral narratives into a more organized form, while acknowledging the challenges speech-to-text software faces in capturing the nuances of spoken language.

In contrast, my focus is more pragmatic, addressing key issues and proposing solutions to improve speech-to-text accuracy. I discuss how the time constraint during my recent use of the technology contributed to a lack of cohesion in the transcribed text. Like Duncan, I identify grammatical errors such as punctuation issues, capitalization inconsistencies, and structural deficiencies, including instances where the software misinterpreted words. Despite these shortcomings, I acknowledge that most words were correctly transcribed. I suggest that familiarity with specific speech-to-text commands could enhance punctuation and readability, advocating for a scripted approach to ensure a more organized and cohesive narrative. Additionally, I emphasize the flexibility and emotional depth of oral storytelling, which adapts with each retelling, contrasting it with the permanence of written stories. I also highlight the cultural significance of oral traditions, citing examples like First Nation educators who use storytelling as a means of preserving cultural heritage in the classroom.

 

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Task 8: Golden Record

I found this task to be very creative and thoughtful. The assignment of curating 10 pieces from the 27 available for the Golden Record aligns closely with the themes discussed in the readings on digitization and cultural preservation. Both processes involve making strategic decisions about what to include based on cultural significance, diversity representation, and historical impact. Just as the readings emphasize the challenges of prioritizing materials for digitization based on value and accessibility, selecting music for the Golden Record requires balancing the representation of global cultures while considering practical constraints like space and accessibility. Moreover, both contexts highlight the ethical responsibility of curators and digitizers to ensure fair representation and thoughtful inclusion of diverse perspectives.

Here are ten selections from the Golden Record along with the criteria and rationale for choosing them:

  1. Bach, Brandenburg Concerto No. 2 in F, First Movement
    – Criteria: Classical Music, European Baroque Era.
    – Justification: Showcases the complexity and beauty of Western classical music, illustrating the high level of musical development and orchestration during the Baroque period.
  2. Java, court gamelan, “Kinds of Flowers”
    – Criteria: Non-Western Traditional Music.
    – Justification: Represents the rich cultural heritage and unique musical traditions of Indonesia, highlighting the diversity of global music traditions.
  3. Senegal, percussion
    – Criteria: African Traditional Music.
    – Justification: Demonstrates the intricate rhythms and vibrant percussion traditions of Africa, emphasizing the continent’s contribution to the global musical landscape.
  4. “Johnny B. Goode,” Chuck Berry
    – Criteria: 20th Century Popular Music.
    – Justification: A seminal rock and roll track that reflects the evolution of popular music in the 20th century and its widespread cultural impact.
  5. Australia, Aborigine songs, “Morning Star” and “Devil Bird”
    – Criteria: Indigenous Music.
    – Justification: Showcases the ancient and spiritual musical traditions of Australian Aboriginal culture, adding depth to the collection’s representation of indigenous peoples.
  6. Mozart, The Magic Flute, Queen of the Night aria
    – Criteria: Classical Opera.
    – Justification: Highlights the brilliance of Western opera and the vocal prowess required for such performances, representing a pinnacle of European classical music.
  7. Japan, shakuhachi, “Tsuru No Sugomori”
    – Criteria: Asian Traditional Music.
    – Justification: Provides an example of the delicate and refined musical traditions of Japan, showcasing the emotional expression and technical skill in shakuhachi performance.
  8. Louis Armstrong, “Melancholy Blues”
    – Criteria: Early Jazz.
    – Justification: Represents the birth of jazz, a uniquely American musical genre, illustrating its roots and the profound impact of African American musicians.
  9. China, ch’in, “Flowing Streams”
    – Criteria: Traditional Chinese Music.
    – Justification: Captures the serene and meditative qualities of traditional Chinese music, highlighting the ancient and sophisticated musical culture of China.
  10. Beethoven, Fifth Symphony, First Movement
    – Criteria: Iconic Classical Music.
    – Justification: One of the most recognized and influential pieces of Western classical music, showcasing Beethoven’s genius and the power of orchestral music.

Parameters and Criteria:
– Geographical Diversity: Ensuring representation from various regions around the world to illustrate the global nature of music.
– Cultural Significance: Including pieces that are emblematic of their respective cultures and have historical or cultural importance.
– Musical Variety: Covering a wide range of musical styles and genres, from classical and traditional to popular music, to demonstrate the diversity of human musical expression.
– Historical Range: Selecting music from different historical periods to provide a sense of musical evolution over time.

References

Smith Rumsey, A. (1999, February). Why digitize?. Council on Library and Information Resources. Retrieved August 12, 2022.

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Link – Emoji Story

I am linking to Katy Richards’ Emoji Story.

Reflecting on Katy’s post revealed several commonalities in our approach to the assignment. Both of us began by translating the movie title into emojis as a strategic starting point, which helped set the stage for the rest of the narrative. Additionally, we both faced technical difficulties in adding emojis directly into our posts. Katy had to provide a link to an image, whereas I embedded a screenshot of mine. These challenges underscore the limitations of the medium (WordPress) and the extra steps required to overcome them.

Another significant challenge we both encountered was conveying complex plot details and relationships using emojis. While some elements are straightforward to depict, others require more creativity and often fall short of capturing the full complexity of the narrative. This difficulty highlights the inherent limitations of emojis in representing intricate storylines and abstract concepts.

Both Katy and I touched on the concept of multimodal communication, referring to academic perspectives to frame our experiences. We mentioned the evolving nature of language and communication, with emojis serving as a modern example of this shift. This reflects a broader understanding of how digital communication tools are changing the way we express ideas and emotions.

I particularly appreciated Katy’s reflection on visual notetaking, drawing a parallel between this task and the practice of using symbols to represent ideas. Visual notetaking offers significant benefits, especially for students with learning or communication challenges. However, it also leans heavily on nouns and struggles to convey abstract concepts, similar to the limitations we encountered with emojis.

Furthermore, Katy’s post and my reflection both recognize the educational value of using visual symbols. Despite their limitations, these tools can enhance understanding and retention, particularly for students who might benefit from alternative forms of communication. The task has also provided valuable insights into the strategic selection and organization of content to aid comprehension.

 

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