What’s All the Fuss About Connected Learning?

Last week, the MacArthur Foundation released a significant new report, Connected Learning: An Agenda for Research and Design, which should warrant the close attention of my regular readers, especially those of you who are strongly invested in thinking about the nature of education within a networked era. The report comes more than six years after the launch of the Digital Media and Learning initiative and represents an important re-assessment of what’s working and what’s not as institutions at all levels have responded to the changes which are impacting our information environment. The authors of the report include some of the most important American and British thinkers about youth, new media, and education:

Mizuko Ito…Kris Gutiérrez…Sonia Livingstone… Bill Penuel…Jean Rhodes…Katie Salen..Juliet Schor…Julian Sefton-Green….S. Craig Watkins 

The report is sobering in its acknowledgment of some of the real challenges confronting us, especially in its focus on the growing inequalities in terms of access not simply to the technological infrastructure but to the skills and opportunities required to meaningfully participate in the new media environment:

Despite its power to advance learning, many parents, educators, and policymakers perceive new media as a distraction from academic learning, civic engagement,and future opportunity. Digital media also threaten to exacerbate growing inequities in education. Progressive digital media users … are a privileged minority. There is also a growing gap between the progressive use of digital media outside of the classroom, and the no-frills offerings of most public schools that educate our most vulnerable populations. This gap contributes to widespread alienation from educa- tional institutions, particularly among non-dominant youth. Without a proactive educational reform agenda that begins with questions of equity, leverages both in-school and out-of-school learning, and embraces the opportunities new media offer for learning, we risk a growth in educational alienation by our most vulnerable populations….

This report is skeptical and hard-nosed, challenging some of the optimism which has fueled previous work in the Digital Media and Literacy tradition, raising concerns about what is happening to those who are being excluded from meaningful participation. The authors raise alarms about how all young people are impacted by an educational process which gives them few chances to pursue their own passions and interests within a regime of standardized testing and a fragmented media environment where children have much greater access to highly commercial sites than to those which speak to them as citizens and learners.

The report raises these issues while also recognizing the very real educational opportunities DML scholars have identified when we look at those communities which have proven rewarding for a growing number of young participants, communities which have a shared ethical commitment to encouraging and scaffolding their participation. The authors believe something valuable is taking place in many corners of the web (and in the context of young people’s everyday engagements with media.):

Young people can have diverse pathways into connected learning. Schools, homes, afterschool clubs, religious institutions, and community centers and the parents, teachers, friends, mentors and coaches that young people find at these diverse locales, all potentially have a role to play in guiding young people to connected learning. Connected learning takes root when young people find peers who share interests, when academic institutions recognize and make interest-driven learning relevant to school, and when community institutions provide resources and safe spaces for more peer- driven forms of learning.

Examples of learning environments that are currently integrating the spheres of peers, interests, and academic pursuits include athletics programs that are tied to in-school recognition, certain arts and civic learning programs, and interest-driven academic programs such as math, chess, or robotics competitions. These connected learning environments ideally embody values of equity, social belonging, and participation. Further, connected learning environments are generally characterized by a sense of shared purpose, a focus on production, and openly networked infrastructures.

The report is skeptical, not cynical. It asks hard questions precisely so we can empower meaningful change. The authors do not fall prey to the paralysis which consumes so much academic writing, but rather they offer a number of concrete recommendations about what new kinds of educational structures and practices need to emerge. What I admire most about this report is this movement between critique and advocacy, between analysis of existing problems and the willingness to find concrete solutions. I have admired these pragmatic qualities in many of these authors individually in the past. See, for example, my previous interviews with Mimi Ito, Craig Watkins, and Sonia Livingstone, about their research.  

The report includes rich case studies, demonstrating the kinds of experiences some youth have enjoyed through joining the Harry Potter Alliance, enrolling in New York City’s Quest to Learn School, or participating in the after school offerings of the Chicago Public Library’s YouMedia Center. Such projects illustrate what happens when everything comes together. Here, for example, is a bit from a sidebar written by Sangita Shresthova and Neta  Kliger-Vilenchik, two researchers from my Civic Paths team at USC’s Annenberg School, dealing with the learning culture which has grown up around the Harry Potter Alliance:

Although fun and social in nature, involvement in HPA pushes young people to connect their recre- ational interests to social and political issues that they might not otherwise be familiar with. Because HPA turns its attention to many issues, ranging from net neutrality to fair trade and voter registra- tion, this forces participants to study up in a range of new areas. Almost every campaign is accompa- nied by a period of learning about the new issue and making sense of it. Chapter leaders will often educate the group on a new issue. Participants also talk about how involvement in HPA helped them see the political messages within Harry Potter. One chapter has gone as far as opening a 6-week study group on “Harry Potter as a tool for social change,” discussing links between the narratives and real-world issues. In other words, HPA is a site of hybridization and translation between political and fantasy-centered frames of reference.

Coincidentally, Andrew Slack, HPA’s Founder and Leader, also released a new TED talks video last week, which is a wonderful illustration of the HPA approach at work.

Here, Slack is very much in his element, speaking to a room of youth, giving himself over to his inner fan boy, and at the same time, encouraging critical media literacies and informed engagement with social issues. You also get a sense here of how Slack and others in his organization are moving beyond a focus on Harry Potter fandom and seeking to demonstrate how we might learn from a range of popular media and literary texts.

Such educational opportunities are exciting — they have sustained my own enthusiasm over the better part of a decade now — but they are not in and of themselves enough, not as long as many young people lack the kind of adult mentorship which might help them to identify meaningful online experiences or make connections between what they are learning in these communities and the demands of more formalized education.

The heart of the report seeks to identify design principles which might address these concerns:

Our hypothesis is that in order to develop these cross-cutting repertoires of practice, young people need concrete and sustained social networks, relationships, institutional linkages, shared activities and communication infrastructures that connect their social, academic, and interest-driven learning. It is not enough for young people to have knowledge “in their head” and expect that they can apply it appropriately and effectively in varied settings on their own. They need caring adults, supportive peers, shared cultural references, and authentic ways of contributing to shared practices in order to mobilize their skills and knowledge. In contrast to the voluminous literature and research on cognitive and individual models of transfer, there has been very little work that looks more ecologically at the relational, infrastructural, and institutional settings that undergird effective translation and transfer between formal instruction and varied practices.

I can’t begin to do justice to this report. You need to read it yourself, and then, we need to launch some serious conversations about its implications for our own practices.

 

Once You Open Your Laptop…: Final Exam

For the past week, I have been sharing insights and materials from my Technology and Culture class last semester. As I described last week,  we had explored how to integrate transactional memory, collective intelligence, and participatory culture practices into the design and implementation of the class. We built collective problem solving into the class from day one, gradually formalized student’s membership into teams which would acquire skills at working through challenges together, and culminated the term with a collective final exam, which would demonstrate what these teams could do when they pooled knowledge and worked together under deadline pressure. What follows is the exam, exactly as it was presented to the students. We are offering it as an example to help other educators think about how they might redesign their teaching practice to encourage students to be more effective at producing and sharing knowledge through online networks.

 

Teams should select three (3) of the following four (4) questions to address on the exam. Collectively, you should strive to answer the questions as fully as possible. Be sure to address each part of the question.

Responses to three (3) of these questions should be emailed to your TA no later than 3:30 pm on Wed. Dec. 5.  Please be sure to list all of the members of your team who participated in responding to these questions and also identify any other people or resources you consulted with in preparing your answers.

1. In his short story, “To Market, To Market: The Re-Branding of Billy Bailey,” Cory Doctorow presents both a celebration and a sharp critique of pervasive marketing and advertising in the 21st century.  Through Billy’s character development, and his interactions with Mitchell McCoy and Ronnie Ryan, Doctorow touches on many of the larger contemporary debates around “spreadable media,” advertising’s most recent “creative revolution,” and the current state of the music industry.

Through an analysis of specific quotations and overall themes in “To Market, To Market,” write an essay that answers the following questions:

  • How does Doctorow present “the power of youth” in advertising?  How does this representation of young people relate to the various roles that youth may take in the consumption, creation, and spread of contemporary media messages?
  • How might the practices Doctorow depicts represent a logical next step in the evolution of the advertising industry’s relations to its consumers which Prof. Jenkins described in his lecture?
  • Does Doctorow portray advertising positively, negatively, or a combination of the two?
  • What tensions exists between “identity” and “industry” in the world of music among different players (specifically fans, artists, and record label representatives)?  How does Doctorow illustrate the ways that “identity” and “industry” converge and diverge?
  • What assumptions does the story make about the ways consumer’s choices are influenced by those made by other consumers? What might be other ways to discuss the role of consumers in contemporary culture?

To support your claims, use at least five (5) class readings (besides “To Market, To Market”), with at least one (1) reading being from each of the following three (3) different days of class readings:

10/29 “How Does Media Spread?”
11/12 “What Will Be the Future of Advertising?”
11/14 “Are Pirates a Threat to Media Industries?”

2. In the United States, women are currently the majority of registered voters, and vote in larger numbers than men.  In addition, the 2012 election ushered in a record number of women elected to the Senate.  However, issues directly related to women’s rights (e.g. reproductive health, equal pay) were infrequently discussed in the recent presidential election and debates.

Two sets of political memes in 2012 focused very specifically on women’s equality issues:

“Texts from Hillary” (http://textsfromhillaryclinton.tumblr.com/)
“Binders Full of Women” (http://bindersfullofwomen.tumblr.com/)

Through an analysis of EITHER “Texts from Hillary” OR “Binders Full of Women,” address the following questions. Based on what you’ve learned from earlier discussion section activities, trace the flow of these meme across at least three (3) online communities:

  • Which groups most readily embraced this meme?  How did these memes connect to ongoing discussions within these communities?
  • What kinds of commentaries do these memes make about gender inequalities and power?  How are these commentaries made using elements from popular culture?
  • Find responses to these memes from mainstream journalists. Do they see these kinds of participatory political practices as enhancing or detracting from meaningful political discussion?
  • Did the meanings associated with these memes change over time as they moved across different online communities? If so, how?
  • How open was this meme to expressing alternative ideological perspectives?

To support your claims, use at least five (5) class readings, with at least one (1) reading being from each of the following three (3) different days of class readings:

10/24 “What Roles Do New Media Play in American Politics?”
10/29 “How Does Media Spread?”
10/31 “How Generative are Online Communities?”

3. Recent readings have focused on hopes and fears for the printed word, as well as the way narratives can extend across various media.

Describe how your group sees the format of two (2) of the following literary genres evolving over the next ten years: comic book, class textbook, religious tome, science fiction novel, technical manual, children’s picture book, newspaper or news magazine. Be specific in terms of the contexts in which they will be used, and by which communities. Keep in mind that communities are also always in flux. Address the following questions:

  • Which traditional functions of these publications are best served by print? What might digital publication offer that would create new value as compared to print-based counterparts?
  • Cite examples of current digital publishing in this space.  In what ways are these experiments are offering new affordances and demonstrating new relationships to the reading public?
  • What economic factors might push publishers to adopt digital publication, even in those cases where there is not “value added” features?
  • What aspects of these traditional publishing genres are being served by grassroots producers and online communities?
  • What concerns might critics, such as Sven Birkerts or Nicholas Carr, raise about the movement of these functions into digital media?

To support your claims, use at least five (5) class readings, with at least one (1) reading being from each of the following three (3) different days of class readings:

10/31 “How Generative are Online Communities?”
11/26 “Is Print Culture Dying?”
11/28 “Has Networked Communication Changed the Ways We Tell Stories?”

4. Trace the rise of “Web 2.0″ and which of its components can still be seen in today’s web.

  • How was it a new paradigm? What are its key defining traits?
  • Cite several examples of exemplary Web 2.0 companies and the ways they relate to their consumers.
  • Discuss the relationship of Web 2.0 to other key concepts from the class, especially participatory culture, collective intelligence, and circulation.  What aspect of participatory culture are absorbed into Web 2.0 practices, what remains outside of commercial logic, and what are core sources of tension between Web 2.0 and these more grassroots practices?
  • Drawing on critics of Web 2.0, including Geert Lovink and Jenkins/Ford/Green, discuss what concerns people have raised about these emerging corporate practices. Which of these criticism do you agree with and which would you refute or qualify?
  • Does the current incarnation of the web facilitate discussion, self-expression and civic engagement?

To support your claims, use at least five (5) class readings, with at least one (1) reading being from each of the following three (3) different days of class readings:

11/5 “Have There Been Twitter Revolutions?”
11/7 “What is Web 2.0?”
11/14 “Are Pirates a Threat to Media Industries?”

Once You Open Your Laptop… Activities from My Technologies and Culture Class (Part Two)

These next activities mark the shift towards graded group work in the class. By this point, the students are working in permanent teams and these activities are explicitly presented as practice runs towards the final exam.

Week 10 Tracking Viral Success (Henry Jenkins)

Each video on YouTube has a story. While it can be hard to trace the origins of some of these videos, each was posted by someone, for some reason. Most reflect ongoing conversations within particular subculture communities. Each may inspire comments either as written texts or response videos. And each may travel from YouTube to other communities through social networking tools. Teams should choose one example from amongst those which have spread the furthest and gained the most hits. Select from one of the following:

Gangnam Style
Call Me Maybe
S**t Girls Say
Someone I Used to Know

Your team’s task is to help us to  better understand where it came from, how YouTube users responded to the video (find at least two remix/response video), how it spread beyond its original community, and how mass media responded to the video’s sudden popularity .  Here are some steps which members of your team can take to get the information they need to answer this question.

  • Start with Youtube itself. Look at the video and the information that surrounds it.
  • Read the comments section on the YouTube page and see how people there responded to it.
  • Check to see if there are more than one versions of the same video on Youtube. You might also broaden your search to look at other common video sharing sites, such as Vimeo.
  • On Youtube, look for videos which responded to the original.  Or other related videos which surface alongside it and may help give us clues about its context.
  • Use a search engine to track references to the video on blogs or news coverage of its spread. See if you can find out anything about who produced the video and why.
  • Allow time to write out your answer using googledocs. You may want to take notes as you go so if you run out of time, we can at least trace the steps you took and what you found, before you consolidated your responses.

Your final response should include an evaluation of how such current theories as “viral media,” “Memes,”  and Spreadable Media might have addressed the specific patterns of production, circulation, and response you have identified.  Try to draw on at least three readings in a meaningful way. You will be evaluated based on the amount of research performed, on the quality of the analysis you offer, on how you build off concepts from the readings and the lectures to help frame your analysis (including, ideally, direct references to specific readings), and on how well you understanding the nature of the new communications environment.

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Activity for Week 11: Kickstarter as a Web 2.0 Company (Andrew Schrock)

Kickstarter is a website for “crowd funding,” a way to finance creative and technical projects where small amounts of money are pledged with no guarantee of success, similar to a benefactor model spread across many parties. Projects must not be for charity, finite, and rewards should be intrinsically related to the project. Project proposals are reviewed by Kickstarter for adherence to guidelines, and funding is given only if projects meet their goal. About half of approved projects got funded in 2011, for an average funding rate of 46%, over a million pledges, with an average pledge of $86. The most popular projects are Film/video and music, although Technology has a larger average amount for successful financing.

 

Your assignment today is to summarize and contextualize a successful Kickstarter project, as selected from the list on the next page. Your tasks should include:

 

 

Your response should first be descriptive: tell us a story of who these people are, what their project is, and why you think this project succeeded over others. How does the project speak to particular communities through rewards and the video pitch? Second, you should draw on the readings from class to discuss the role Kickstarter played in the team’s personal / professional lives, and how crowdfunding operates in the larger funding ecosystem. Are they amateurs or professionals? How does Kickstarter serve as an alternative for established modes of funding, recall earlier models, or reinforce criticisms made of “web 2.0”? Were there controversies or discussions of this project on news sites and discussion forums? Be sure to employ concepts from at least three readings from this week.

 

List of Kickstarter Projects

 

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Week 12 Intellectual Property in the Music Industry (Rhea Vichot)

 

William Fischer, in discussing the role of technology within the contemporary media landscape, envisions an alternative system for artists to be compensated for their work.

Utilizing either the role you were assigned in lecture on Wednesday or, if you choose, one of four roles below:

 

  • Artist
  • Record Label
  • Intellectual Property Law Firm
  • Fan

 

Analyze FIscher’s Alternative Compensation system through one of these perspectives. In doing so, be sure to reference at least three other readings. What are the advantages and disadvantages to such a system for the specific role you are writing as? How does this model address piracy and does it do so to the satisfaction of your role? What is the role of advertising in this alternative system? What changes would you want to make to Fischer’s recommendation based on our readings and discussions?

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Week 14 Mapping Transmedia Worlds (Meryl Alper)

Transmedia storytelling, as defined by Prof. Jenkins, “represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience.”  Each medium contributes something unique to the world of the story.  Images, characters, stories, and songs travel between different media platforms, shaped in various ways by both corporations and consumers.

 

Your team’s task is to choose a media franchise, physically map how individual texts stand alone but also contribute to a larger transmedia story, and answer some questions on how your transmedia franchise reflects larger historical, cultural, political, and economic factors.

 

Choose one (1) of the following global transmedia franchises (and just a few texts to consider for each – there’s many more for you to map than the examples listed listed here):

 

1. Harry Potter (J.K. Rowling, Pottermore, The Wizarding World of Harry Potter)

2. Wizard of Oz (The Wiz, ruby slippers, L. Frank Baum, Wicked)

3. The Muppets (“Sam and Friends,” Cookie Monster and Rowlf in IBM commercials (e.g. http://www.youtube.com/watch?v=ZJVU-7WinQc, Jim Henson, movies and movie trailers, “Sesame Street,” http://www.muppetsmahnamahna.com/)

4. Batman (Why So Serious? ARG, Batman Live, live-action and animated TV series)

 

Mapping (Approx. 20 min.)

 

Your group will receive a marker, a large piece of white paper, and a pack of Post-Its.  On the Post-Its you’ll write out different textual elements (e.g. for Harry Potter, on one Post-It you might write “Harry Potter and the Sorcerer’s Stone (The Movie)” and on another, you might write “Platform 9 ¾ in London’s Kings Cross Station”).  You’ll “map” the Post-Its onto one of the sheet of white paper, and use the marker to draw connections between the elements.  “Map” is a loose term and there’s no wrong way to do this – it doesn’t have to be neat and pretty, but should reflect connections and distance between elements.

Questions (Approx. 30 min.)

After the mapping exercise, your group should then answer the following questions.  In your responses, please meaningfully incorporate material from Prof. Jenkins’ book chapter, his blog post you were assigned, AND at least one of Nick DeMartino’s blog posts from this week:

1) How does the franchise engage different types of transmedia logics?:

  • Storytelling (e.g. recurring minor characters like Boba Fett in Star Wars, story arcs across texts like Kermit and Miss Piggy’s relationship)
  • Branding (e.g. iconography like the Ruby Slippers in Wizard of Oz, consumer goods)
  • Rituals (e.g. holiday movie viewings, Harry Potter movie premieres, Super Bowl commercials)

2) Explain how one of your Post-It note “texts” relates to specific trends impacting the entertainment industry at the time of its creation.

 

3) Identify who owns one texts in your transmedia franchise (e.g. The most recent Muppet movie was produced by Disney, not the Jim Henson Company, because Disney now owns the Muppets).  How does media concentration play a role in transmedia?

4) In his “Transmedia Storytelling 101” post, Prof. Jenkins writes, “Transmedia storytelling is the ideal aesthetic form for an era of collective intelligence.”  Based on your experience working collectively during the second half of the semester and in today’s section, why or why not do you agree with that statement?

Next Time: Final Exam

 

Once You Open Your Laptop…: Activities from My Technology and Culture Class (Part One)

Last time, I shared some of the results of a semester-long effort to integrate forms of transactive memory and collective intelligence into the teaching of an undergraduate lecture hall class on communication technology and culture.  Over the next few installments, I am sharing the discussion prompts and exam questions we developed in this context. Each is designed to support the efforts of small scale 3-4 person teams as they seek to apply concepts from lecture into the investigation of contemporary digital phenomenon. I am sharing these prompts in part because they incorporate so many resources which may be useful for other media scholars and in part because they illustrate the kinds of questions and activities that work on the scale of social interaction we are exploring.

As you will notice, the activities became a bit more streamlined as the course went along, reflecting what we learned in terms of how much material the teams could process within the designated classtime and how much background they needed in order to be able to perform the activities. Your experiences will certainly differ in terms of the abilities and backgrounds of your students.

The chunk of activities featured on today’s post were ungraded, but intended to give students a chance to work in groups. I will signal when we shifted to graded activities.

I was lucky to be working with three very dedicated and creative Annenberg PhD students, Meryl Alper, Andrew Schrock, and Rhea Vichot, and I’ve given credit where credit is due here, indicating which activities each of them developed for the class.

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Week 3: Facebook and Privacy (Andrew Schrock)

Introduction: The terms of service (TOS) describe the uses that parent companies that maintain platforms and other web services deem acceptable. Among other things, Facebook’s terms of service describes the ways that Facebook captures, analyzes, and uses data related to our online identities and interactions. boyd and Marwick described privacy as “both a social norm and a process” – an entirely public or private life would not be feasible (or particularly enjoyable). Privacy is an extremely complex notion, reliant on culture and social context. Feelings of “privacy violations” are often sudden and leave us feeling confused or helpless, such as when our personal information is displayed in unexpected ways. To help us think through the complex negotiations that occur between individuals, platforms, and privacy, we can interrogate the TOS for possible areas of friction between platform-endorsed uses and individual practices.

 

Team activity: Your assignment is to read the terms of service for Facebook with a critical eye. In teams of 2-3, read a section of the terms of service at http://www.facebook.com/legal/terms. You will be assigned one of the following sections: 2 (sharing), 3 (safety), 4 (registration), 5 (protecting rights of others), 9 (special provisions to developers), or 11 (special provisions to advertisers). Please spend 10 minutes reviewing your section and prepare brief responses to the following questions.

 

Questions: What does Facebook consider private? How does it differ from yours? Do you see clauses that strike you as potential violations of privacy? If so, why?

 

What do you think Facebook frames the terms of service this way? How do you think Facebook uses the data it collects? How does Facebook exercise power?

 

Have you altered the privacy settings of Facebook or used social strategies to deliver messages to friends (“steganography” from danah/alice article)? Can you think of times you or your friends have accidentally or deliberately violated the TOS? If so, why did you?

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Week 4 Wikipedia Mechanics (Rhea Vichot)
Warmup (5 Minutes)
[Citation Needed:]

 

http://citationneeded.tumblr.com/

 

http://citationneeded.tumblr.com/post/29905972747/whac-a-mole
http://citationneeded.tumblr.com/post/31336657830/victor-salva
http://citationneeded.tumblr.com/post/28419289190/placeholder-name
http://citationneeded.tumblr.com/post/27763947374/cultural-depictions-of-elvis-presley

 

Questions:

 

  • Why is this funny? What kinds of critiques are being made about Wikipedia?

○      the humor is in the failed attempt at creating an “authoratative voice”. There are some critiques of the editorial policies of WIkipedia as well as the attempts to treat all subjects, no matter how trvial or transitory, with the same voice

○      I also feel there is a subtle poke at how white and nerdy Wikipedia editors are, but that’s just my take – RAV
Main Activity: How is Wikipedia Structured (Two Parts: 30-35 Minutes Total)
Part I (10-15 Minutes)
In groups of 2-3, have students look at one of the following Main and Talk Pages (5-10 minutes):

 

After 5 minutes, have each group provide a quick summary of the main points of their assigned page as well as an interesting discussion thread on the talk page.

 

Questions:

 

  • What ideals are being espoused on these pages?

○      SIngular voice

○      Being not a research circle, but a repository for secondhand research

○      WIkipedia believes in “meritocracy” whether or not that is what happens in reality

  • What kinds of concerns are these policies hedging against?

○      Trolls, Abuse

○      Misinformation

○      Infighting, Faction building

  • Does this make you more or less likely to contribute content to Wikipedia?

 

Goals:

  • Understand what Wikipedia’s editorial policy
  • Understand that these editorial Policies are agreed upon and what assumptions may go into those conventions

Part II (20-25 Minutes)
In the same groups, they should visit a Wikipedia page on a topic they are familiar with (A novel, Film or TV Show, Comm theory from another class, A piece of technology, or a historical figure or event). They should look at: (1) The structure and content of the main page, (2) The Talk Page and relevant discussion Points, and (3) The history of the Page and Talk, including the first version of the Page. (5-10 Minutes)

 

Examples:

 

Dr. Pepper

http://en.wikipedia.org/wiki/Dr_Pepper

 

Steve Jobs:

http://en.wikipedia.org/wiki/Steve_Jobs

 

The Assassination of John F. Kennedy:

http://en.wikipedia.org/wiki/Kennedy_Assassination

 

50 Shades of Grey:

http://en.wikipedia.org/wiki/50_Shades_of_Grey

 

Questions:

  • What aspects of the topic were on the page. What was relegated to separate pages? What was missing, if anything?
  • What were the main points of controversy in the talk page?
  • What kinds of changes were made over time? Were they updates to the topic? Were they major changes to the content and form of the article?
  • How do the Editorial Policies above shape the content of the page and the discussion on the Talk Page?

○      Calls for citations, for better sources, and for discounting personal anecdotes as Original research and, thus, unsuitable.

Goals:

  • Practice skills needed for the Research Paper
  • Remembering that Wikipedia Pages are Dynamic, both temporally, and content-wise
  • Understand how the editorial Policies above shape the pages displayed

Pull Back: Some Recent Issues  (5-10 Minutes)
Gender Gap among Wikipedia Editors:

http://gizmodo.com/5942168/the-wikipedia-gender-divide-visualized

Define Gender Gap? Look Up Wikipedia’s Contributor List:

http://www.nytimes.com/2011/01/31/business/media/31link.html?_r=3

 

Philip Roth encounters trouble editing his own Wikipedia page

http://www.csmonitor.com/Books/chapter-and-verse/2012/0913/Philip-Roth-encounters-trouble-editing-his-own-Wikipedia-page

“An Open Letter to Wikipedia” – Phillip Roth

http://www.newyorker.com/online/blogs/books/2012/09/an-open-letter-to-wikipedia.html

Questions

  • In what ways do the editorial policies act as a barrier to contribution?

○      the weight of citations overwhelms even claims made by the subject of the article in question.

○      The community’s emphasis on meritocracy and “correctness” mobilizes privilege under the guise of “correct voice” and “citable sources” which shuts out marginalized voices.

  • What possible alternatives could there be to increase participation and the kinds of voices represented on Wikipedia?

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Week 5 Advertising a New Medium (Meryl Alper)

Warmup (10 min): “Advertising” New Media

 

Screen 2 YouTube clips:

1)Lots-o’-Huggin’ Bear Commercial (circa 1983)

2)Japanese Lots-o-Huggin bear commercial

Questions:

Who do you think is the intended audience for these commercials?

What do you think these videos are trying to sell?

 

Main Activity: Advertising “New” Media (30 minutes: 20 minutes in group, 10 minute share with class)

 

Humans tend to overestimate the “newness” of new media.  Not only do many technologies build on what innovations came before them, but the way a medium is advertised also builds, incrementally and creatively, on prior advertisements and advertising styles.

 

In the book chapter you read, Lynn Spigel talks about “popular media discourses” – ways people talk about or represent (through media) how society experiences media.  Spigel’s big claim is that popular media discourses about television and the family reflected sometimes conflicting viewpoints: that TV would bring families together, drive them apart, but also a hybrid of the two.  She analyzes popular magazine ads as evidence for her claims.

 

This activity will be an exercise in meaningfully comparing and contrasting two print advertisements from different eras but that share some common themes and styles.

 

Students will break into groups of 3 or 4.  All students will have had the PowerPoint sent to them prior to section.

 

The PowerPoint has 6 different pairs of advertisements:

 

1A – RCA VideoDiscs – “How to improve your social life” – 1980s

1B – Hohner Harmonicas – “The Hero of Amateur Hour” – 1940s

 

2A – Dumont Television – “Once upon a time…” – 1940s

2B – Atari – “‘New Frontiers’: Learn to brave new worlds.” – 1980s

3A – Sony – “Sound of a different color – 1980s

3B – Majestic – “For sparkling, vivid colorful tone…” – 1940s

 

4A – Western Electric – “There are still some things Americans know how to do best” – 1970s

4B – Tobe Filterette – “YOU BET the war has changed us!” – 1940s

 

5A – Douglas – “How satellites can give us low cost emergency telephone service” – 1960s

5B – Panasonic – “With a new Panasonic cordless phone, you won’t sounds like you’re calling from another planet” – 1980s

 

6A – Sharp – “The first laptop designed to be your first laptop” – 1980s

6B – Bell Telephone System – “Television” – 1940s

 

Each group will be responsible for one pair of advertisements.

 

Questions:

1. Briefly do an online search for major US & global events during the era of each ad.  How might these ads fit into larger historical trends (e.g. wars, economic up turns and down swings)?

 

2. Read the “copy” (written text) that the ads use.  A) On it’s own, what meaning does the copy have?  B) When taking into account the full visuals of the ad, does the copy take on additional or different meanings? (You’ll want to zoom in to take a closer look at the ads with smaller text.)

 

3. What kinds of anxieties and hopes do each of these ads reflect about:

  • Family life?
  • Social life?
  • Political life (in the US and internationally)?
  • Culture/stylistic trends?
  • Gender?
  • Economic issues?

 

4. Are the people in the ads are actually using the technology or are people are props around the object?  What does the space around the media look like?  How does this make a difference in the ads message?

 

5. Finally, don’t just describe each ad on its own; Put both of these ads in conversation with each other.  How might they complement and/or contradict each other?

————————————————————————————————————————————————————
Week 6 Hacker Week Discussion Activity (Andrew Schrock)

Introduction – What is open-source? (25 mins.)

Stephen Fry explains free software-  http://www.youtube.com/watch?v=YGbMbF0mdPU

What do you make of open-source? How does it relate with previous concepts we’ve encountered in the class? Why do hackers like open-source? How can it be contrasted with more restrictive control over source code?

 

Protei - open-sourced hardware project – oil skimming  bots http://www.youtube.com/watch?v=vmZ_uy2Ehi4

 

Who is involved with this project? How does hardware hacking differ from software? What observations can you make about the progression of the project?

Second part – Software hacking hands-on activity (20 mins.)

 

One theme of this class is thinking not just about how systems exist in isolation, but how information flows across systems that can talk to one another. Hacking describes a way of viewing technology with a critical eye to understand their inner workings.

 

If-this-then-that is a website that connects “triggers” to “channels.” Triggers are activated when something happens, and channels are what is triggered. The combinations are called “recipes” and can be shared publicly and modified. For example, every time you are tagged in a Facebook photo (trigger), you receive an SMS text (channel).

 

In groups of 2, think of a cool or interesting recipe. Look to see if one has been created already. Either use that or create one of your own and make it active. Test it out. Did your idea already exist in a recipe? Can you think of triggers that you want but can’t find?

———————————————————————————————————————————————————–

Week 7 YouTube’s Many Communities (Rhea Vichot)

Group Activity 1: YouTube as Site of Community and Remix Culture
In groups of 2-3, look through and choose a video from a participatory culture you are familiar with. If you can’t find one, you can also browse the YouTube charts: (http://www.youtube.com/charts/) and look through the Most Discussed and Most Favorited videos for the past week or month.

Questions:
1) Is it a commercial or amateur production? How can you tell?

2) What kinds of communities are these videos a part of? Is this a convergence of multiple communities?

3) Is the video critiquing or curating commercial content? In what ways?

4) Who are the creators of the content? How might that affect what is either being expressed or what sorts of comments are being made about the video?

5) What sorts of Intellectual Property (IP) are used? Are the uses if IP in your example defensible by Fair Use? How?

Group Activity 2: Creating Remix Videos

Using the YouTube Doubler: (http://youtubedoubler.com/), create a mashup of video and sound. Use the google URL shortener (goo.gl) to post a link on Blackboard.

Examples:

“Ant on a Treadmill Vs. Breakfast Machine-Danny Elfman”:

http://goo.gl/iH7Or

 

“Rooster Vs. Alex Jones”:

http://goo.gl/6l1kz

 

Questions:

1) What sorts of Intellectual Property (IP) are used? Are the uses if IP in your example defensible by Fair Use? How?

2) What kind of juxtapositions does your example make? Do the juxtapositons made, either in your example or the ones provided, make a critique about the media used?

(MORE TO COME)

What Happened in My Open-Laptop Exam Class? (Part Two)

Learning About Collective Intelligence

From the start, the group activities were framed in terms of notions of collective intelligence and participatory culture, themes which had been central to the first part of the semester. By the time they got to the group activities, students would have done papers exploring how Wikipedia works, would have participated in lectures and discussions explaining some of the core findings from MacArthur Foundation’s Digital Media and Learning initiatives, and would have looked at a range of social media and media sharing platforms and their dynamics. We had prepared for the problem sets by having earlier inquiry based activities in discussion which were organized around groups at a variety of different scales but which were ungraded (except in terms of attendance)
Students had been given a set of exam questions about a week prior to the midterm, with a subset of the questions appearing on the exam. Students could bring their notes and other materials into the exam and consult them as they filled in their blue books.  Students had the option of sharing information or pooling insights with other students on the midterm, as long as they disclosed who they worked with. Most of the students seemed to work with at least one other person on the exam.

In one case, a team of students formed and posted online their collective responses to each question on the class mailing list the morning the midterm was to be given. This unanticipated situation posed a last minute challenge to the class instructors: we decided to write to the class, warning them that not all of the information contained in the posted answers was accurate, that they should use the material at their own risk and that they should disclose whether they had consulted these responses in preparing their answers. It turned out that one of the students had taken the liberty to posting the work of the other group members and some of them were not happy being placed in that situation. Other students said that they were afraid to even read the posted answers, but for the most part, the class took the situation in stride, there was still a great deal of diversity in the quality and content of the midterm answers. Whatever was going on behind the scenes, students did not mindlessly copy down the information that had been posted.

 

Taking the Final

The team’s performance on the final exam was uneven, but generally, the groups succeeded in creating richer, more fully documented responses than they would have been able to do individually. Some of the responses felt fragmented and contradictory, as if the teams had not been able to fully smooth out differences between members about the best way to approach a question; some of the responses included too much information, including much that was not pertinent to answering the question.  We had tried to break each question down into a series of steps, much like the weekly problem sets, so that students had a good way to structure their problem solving activities. In general, students did best where the questions were concrete and pointed to specific readings or topics from the class; they had more difficulty abstracting from the information provided, speculating about its future implications, or evaluating real world phenomenon based on proposed criteria. The collective process brought forward a strong tendency towards synthesis but set clear limits on their capacity to produce shared critiques. While some of the questions explicitly called on them to bring in their own examples, they tended to still operate within the borders of the class materials rather than going outside in search of new information. These later insights might be consistent with what we know about Wikipedia for example: that participants are often guided by a shared understanding of what an encylopedia entry looks like, that the community’s norms value “neturality” over critique and that there is a ban on publishing “original research.”  Success here rests, then, on correctly calibrating our expectations to value what works well in a collaborative context.

Student Criticisms

For those students who found this process frustrating, the largest single factor identified was a sense of loss of control over their own classroom performance.  One put it simply, “I have more control of my grade the first half of the semester and less control of my grade the second half of the semester.” Many of the USC students are very good at playing the traditional classroom game, calculating how many points they needed to get their desired grades, and giving the teachers what they wanted. If they grew up in a networked culture, they also grew up in a culture based on standardized exams, and so there was a certain degree of discomfort, among many of the students, with a more open-ended process which did not tell them what they needed to know and with a structure which meant that they were dependent on others for their mutual success. As one student explained:

“I preferred doing things on my own because I got stuff done much faster and more efficiently. I did not like relying on my other group members to do readings because I never knew if they had done them properly or not, and some of my team members did not even show up to a single class. That meant that they were going to receive the participation in lecture points based on my participation, and that does not seem fair to me at all.”

 

Others felt bruised by the lack of respect and trust shown them by other team members: “In order to work in a group, people have to understand the strengths and weaknesses of their group members and they have to be flexible.  When there are group members that don’t trust other group members and want to constantly be in control, the group fails.” One student described the final exam as a “debacle” because the group could not agree on strategies or criteria for producing a solid answer, while another complained about harsh treatment from classmates who did not value each other’s contributions: “I have never felt so disrespected in my entire life. Some of the other group members made me feel like dirt, just because they thought that they were better than two of us.”

Many of the frustrations centered around unequal sets of expectations between team members, including a different sense of how well they wanted or needed to do in the class. Here, for example, was a student who compared negatively the experience of working with an assigned group in a required class and the processes which made collective intelligence work outside the classroom:

“I did not particularly enjoy the group portion of the class because I did not trust certain members of my group to complete the work and to do it well. Although the group portion theoretically could have stimulated more conversation about the topics and inspired people to participate in their learning, a couple of members in my group seemed very uninterested and content to skate by on the work my other group members and I did…  I fully understand the value of learning how to work in groups, especially given our shift toward participatory culture; but I assume in participatory culture, the participants actually have some glimmer of interest in the content they are creating.”

 

Student Enthusiasm
For those who had a more successful experience, they felt supported by their teams and energized by the shared responsibility over the material:

“It was nice to have other people to help with the assignments. Our team worked very well together, and I think learning how to work in teams is an important skill to have. In the second half of the semester, I was pushed to do my assignments because I knew that the team relied on me. Compared to having to do assignments alone, it was nice knowing that if there was a reading that I didn’t understand, then there was somebody in the group that could help contribute.”

***********************************
“Honestly, I was a little skeptical as to how group work would ultimately play out and whether it would be successful, but to my pleasant surprise it was a great success. Just as the class was intended, different teammates were responsible for different materials and therefore were able to master different contents of the class and teach them to their team members. While I felt that the first half of the class was also well done, I had an even better learning experience in the second half of the class. While there was some participatory activity going on in the first half of the class, I believe there was a well-working participatory culture in the second half. The professor and the TA’s structured the discussions very strategically to be able to push the students to work quickly and efficiently in their teams by grouping their knowledge into a collective product. I genuinely feel that this made the team much greater than the sum of its parts.”

***********************************
“Group work is definitely more challenging. However it challenged me to practice better negotiation and communication skills. I would consider the second half a practical application for all the communication theories learned in past years”

************************************
“I really liked having the groups for the readings and in-class discussions. I felt that I was able to cover so much more material (even if only through the short-hand of my teammates) by examining the notes for ALL of the readings on our Google Doc. I felt that I was more informed coming in to lecture. The first half of the semester, it was often difficult for me to get all of the assigned readings done. But with only one reading per night, it was a lot easier. Plus, I had the weight of my team to encourage me to actually get it done on time.”

In many cases, they were thrilled not to have to go it alone, to be able to turn easily to someone else on the team who understood a particular chunk of course material better than they did. And even some who did not have a perfect group experience saw the value in the end of the process:

“If anything it made me realize that we all have limitations. One person can not carry a group. I feel that it all worked out in the end . I wish we had better communication within our group though.”

Some of the teams clearly acquired new techniques for coordinating and collaborating within a network: “Working on assignments together via Google Docs was very helpful because we each knew our roles and could quickly add to each other’s work if needed.”

 

Assessing the Experience

For all of the frustrations expressed by some students about students getting equal points despite not doing equal work, a review of the grades by group suggests there was significant variation in their final performance in the class within each team in part because of their individual performance in the first half of the semester and in part because the mechanism of rewarding those who attended and participated in sections worked as it was designed to do.

Overall, students seemed to have reflected deeply about the advantages and disadvantages of the collaborative production of knowledge, a theme which recurred throughout the class, and in the process, they developed a stronger appreciation of  research as a process rather than imaging knowledge as a contained body of information. There’s still a lot we all have to learn about making these kinds of group processes function, especially given the degree to which they fly in the face of the ways students have been socialized throughout their formal education to think of themselves as autonomous learners. Clearly, I am troubled by the reports of some of the destructive experiences which occurred within some of the more disfunctional groups, yet, over all, many more students expressed enthusiasm for the process than shared frustrations.

Interestingly, when I taught the subject two years ago with a much more conventional grading scheme, the average GPA for the class was 3.14, while the average GPA for the class with the collective experiment was 3.21, well within the average variation from one semester to the next.

 

 

 

NEXT TIME: THE DISCUSSION SECTION ACTIVITIES
COMING SOON: THE EXAM

What Happened With My Open Laptop-Exam Class (Part One)

Background

My plans for an open-laptop exam generated a fair amount of buzz when I announced them in the fall, so I figured you would be interested to learn more about how things played out. Annenberg PhD Student Adam Kahn, who helped design this curricular intervention/innovation, is still working through a massive amount of survey data collected about the process, so any observations I share now are provisional based primarily on what I saw from in front of the lecture room and on exit surveys students completed after turning in their final exams.  In general, I think the experiment was successful, even though, with any design process, there are many things I would change on the next iteration. And, as we will see, the experience had some critics among the students in the class.

To remind you, the basic set up was this: Students completed a series of individual assignments throughout the first part of the term, which counted for 50 percent of their total grades. In the second part, they were put onto teams, which worked together on every assignment, including a series of weekly problem sets conducted in the discussion section, contributions to class discussion, and the final exam. Students had to attend the discussion section in order to receive the team’s points for their contributions, but otherwise, participants received their grades based on collective rather than individual performance. We introduced this process into a 200 level lecture hall class on New Media Technologies and Culture, with a population of 110 students, mostly Communication majors, taking what was a required subject for their degree.  You can see the syllabus for the class, including the assignment structure, here.

 

Impact on Class Discussion

My first observation was that the emotional tone of the class shifted dramatically following the midterm as we placed students on teams. The teams sat together in the lecture hall; they chose a shared name, and they used that name to identify themselves when they participated in the class discussions. From the start, there was a strong sense of team identity for most of the groups. I’ve speculated that this approach might work especially well in the context of USC where there is such a strong sports culture.

From the start, I had placed a strong emphasis on class participation during lecture sections, trying to move towards a more Socratic approach to teaching the content. There had been push back early on when I relied too heavily on discussion, and so I had tried to find a balance between short lectures designed to introduce core concepts and then more open ended discussion to allow students to share their perspectives on core debates of the digital age. We struggled a bit with managing discussion in a large lecture hall context: students balked at the mechanics of passing around microphones, but some of the students had trouble being heard in the large space and were thus more reluctant to speak. Over the course of the term, the process started to feel more natural for both the teacher and the students, and we had some very engaged and informed conversations.

As with any discussion class, there were a number of students who were quick to raise their hands and engage, while there were others who were intimidated by the large size of the class. The most active participants continued to dominate discussion in the second half, but there were many others who made their first contributions during this period, either empowered by having teammates supporting them or by the sense of competitiveness that teams introduced into the mix. As one student explained, “I liked that we all sat together during lecture. This enabled us to whisper about the lecture content and, all together, come up with a question to pose or a comment to offer.” More dramatically, team members were much more likely to anchor their statements to specific statements or information contained within the readings. Indeed, it was clear that a much higher percentage of the students had done the readings and done them closely knowing that they were dependent upon each other for the quality of information being transmitted to the group.

A highlight of the course came when we conducted a role playing activity in one of the lecture sessions focused around debates about digital piracy and the evolution of new business models for the music industry. Each team was assigned a specific role — from new artists trying to break into the industry to recording studio executives, from fans to teachers and librarians, from religious performers to international musicians who are developing a following in the United States. The teams were assigned their parts in advance and encouraged to do a little home work so that they had thought through their assigned perspectives. Each group was asked to make an opening statement, which were surprisingly well informed, for the most part, and then, they were given time to negotiate across groups to see if they could identify common interests and propose new solutions to the issues. This was the only time in the term when we encourage activity across groups rather than within groups, and multiple students pointed to this activity as transformative in terms of their understanding of the value of the team process. It also resulted in a spectacular discussion which got students out of familiar debating points around issues of digital piracy and allowed them to develop a more systemic understanding of the issues. I would love a way to create more such experiences across the class the next time I teach it.

Working Within Teams

Students were placed randomly on teams, in the hopes of insuring greater diversity. On the one hand, we felt that if students self-selected teams, they would be more likely to choose people with whom they already shared many common interests, i.e. people who were like themselves. On the other hand, we also wanted to avoid the common pattern of consciously combining strong and weak students onto teams together, which tends to result in the stronger students being asked to carry the load by themselves.  In the exit surveys, students were sharply divided between those who felt that the random assignments insured that they met new contacts and brought more diverse knowledge together and those who felt that some of the logistical problems they encountered would have been minimized if students had been able to work with people they already knew.  Here, for example, was a student who valued being randomly assigned: “When my group worked, we worked efficiently because we didn’t know each other at all, so there were few distractions. We were friendly, but didn’t have a lot in common, which was conducive to learning the subject material.” Yet this student also noted that their lack of familiarity with each other could sometimes result in a lack of accountability:” I didn’t make it to class the first day and realized later that no one in my group had taken any initiative to do the necessary organization for future readings, in-class work, etc. No one was really a leader. We couldn’t count on each other. There were no ground rules set, etc.”  Some students wanted better mechanisms for dealing with students who failed to contribute to the collective good: ““I think the students should either be able to choose their own groups or somehow get rid of the weakest link.” The large scale of the lecture class makes it particularly likely to attract students who are not strongly motivated by the subject matter and who are likely to exploit the good will of their classmates.

Each team consisted of 3-5 students (with the unevenness a product of the uneven number of students who had registered for the different discussion sections which met at different days and times). It was clear from the start that the larger teams worked better, overall, with smaller teams more vulnerable to individual students who let down their team through under-performance.

Most of the teams became effective learning communities, but not all of them did. We had taken steps to insure shared expectations of members, asking each team to write a contract together so that they had a mutual understanding of their responsibilities to each other. We had built in one core check on group participation — i.e. the students had to attend the discussion section and work on the problem set in order to gain credit for that assignment.  Otherwise, we relied on social mechanisms to insure that they held each other accountable. Through these weekly problem sets, students gained practice working together, learning each other’s strengths and vulnerabilities. We had felt using the discussion sections in this way would insure some regular face-to-face time between group members (as did having students sit in team during lecture).

Overall, attendance in discussion sections increased with the emergence of a team structure, though there were still many students who still did not attend class regularly, a manifestation of the “free loading” problem which often crops up when working within a commons. And for those teams which were struggling with the process, there was a perception that the instructors were not doing “anything” about it. We wanted to resist the temptation of shuffling the teams once the process began, since doing so would be likely to disrupt the coherence of those teams which were functioning well, since we wanted to encourage teams to find ways to work through their own problems seeing learning to self-correct their process as an important learning opportunity. In many cases, teams that did not gel at first did find their footing over time, part of the value of repeated experiences working in teams, while in some cases, teams that had worked well up until that point hit real friction when they turned their attention to dealing with the high stakes final exam. Here, for example, was a student who felt the group had gotten in the swing of things just in time for the exam: “My group members let me down on numerous occasions but our final went so well and so smoothly that I’m having a hard time deciding how I felt about the whole thing overall.”  TAs did give advice to team members who were having a frustrating time; we felt that there were penalties built into the system for those members who under-perfomed — again, the fact that they did not get points for sections which they missed and the likelyhood that underperforming students had also underperformed during the individual portion of the class.  Next time, I want to provide much greater advice to the students about strategies for insuring team cohesion and meaningful interaction.

We struggled with the question of whether we should have introduced some self-evaluation process where team members could assess what each contributed to the process and so that we could adjust grading accordingly. We choose not to do so for several reasons: We feared that such a practice might further fracture teams which were struggling to survive, raising the tension level at the time when we wanted teams to be developing greater trust in each other, and as importantly, we felt that it would be inappropriate to change the rules of the game mid-process.  Next time we do this, I am going to weigh this question again more closely, since the lack of such formal mechanisms was the single most frequent complaint we heard about the group activities.

 

Designing Problems

Designing the problem sets for the discussion section proved challenging for a number of reasons. We wanted the questions to be sufficiently challenging so that students were motivated to put in the extra efforts and also be able to see that they could indeed do more collectively than they would have been able to do individually. We wanted the questions to be open-ended enough so that students could show what they knew, bring their individual and collective knowledge beyond the class into the process, and have a chance to dig deeper into their own passions and interests. We also wanted to have questions which relied on as many of the readings from the week as possible, since we were encouraging students to divide up the readings between them and then deploy what they needed in response to each problem. Early on, it was clear the teams needed more guidance on the best way to find the information they needed, and the challenges of working in a hour long discussion section (well, 50 minutes really) meant that we needed to simplify the options in order to allow students to get out of the gate quicker. Here, for example, is how one student described their team’s frustrations:

“The assignments given in discussion sections were rather long and difficult for the amount of time allotted to students to complete them. The assignments also placed a large emphasis on the skill of being able to produce quick thoughts and responses to questions that students were not fully prepared to answer. If the questions were given prior to coming to class, it would have helped to allow students to come in more prepared and produce more thoughtful and engaging responses.”

We streamlined the problems week by week, but students still complained that they did not have time to fully complete the assignments during the class period. (I am going to share with you the assignments in a follow up series of posts).  We had been reluctant to extend the time working on the problem sets because we were afraid the most anxious students would turn them into a much bigger project than intended and because extending them beyond the class time would increase the logistical challenges involved in working with teams.

While most of the students complained about the time constraints, some felt like we had achieved an ideal balance: “I think that the discussion section questions struck the perfect balance in that they pushed the students to produce a lot of quality work in a short amount of time, yet it was completely fair as our knowledge was collaborated from what we obtained throughout the week. I was always very satisfied and impressed with the work we were able to produce in such short periods of time.” Some students used the practice runs to rehearse strategies and refine skills in preparation for the final: “The activities done during discussion section were also beneficial because you could kind of gage what people’s strengths and weaknesses in the course material were and how it can be applied to the final.”

Overall, we felt the quality of the problem set responses were strong, with most of the teams scoring in the A-B range, and with signs of general improvement over time, suggesting that, in most cases, the teams were learning to work better together each time they confronted a new problem.

(MORE TO COME)

 

The More We Know: Academic Games Research and Industry Collaboration (Part Two)

The last time I reported about iCue on this blog, it was part of an overview of the work of The Education Arcade. In what ways were the choices made on iCue informed by the Education Arcade’s previous experiences developing prototypes for “serious games”? What are some of the factors which have made it hard to get university-based games research beyond the prototype stage and into the world where it might have greater impact?

There is a lot of pushback in the system where change is required.  If there is a change required in the way teaching and learning are perceived, then it is much harder to get adoption.  As such, the teachers never really came for the games, but rather the other parts that they could adopt or adapt and plug into existing structures. In turn, NBC didn’t take the games as seriously; they didn’t grow the more innovative or risky ideas, and, due to the financial crisis in 2008, they couldn’t really even update them.

Thinking about how we moved from previous work into this project, we were working in a much more constrained space then we were used to.  Rather than having the flexibility to build something rich and multi-faceted as we had with Revolution, we were working in the narrower starting space of media archives and integration with the AP curricula.  That restricted the game space, but provided perhaps more realistic constraints than we were used to working within.


What do you see as some of the major hurdles which academic researchers face in terms of working with industry partners?

There are certainly competing interests.  In academia, we can take a longer view, learning and refining over time.  These learnings are valued in and if themselves.  Of course, we also need a successful product, but we can take the time to get there carefully and be thorough. We can be risk prone in the short term.  In industry, pressure to return revenue quickly creates risk aversion.  Even though NBC News’ then-CFO, Adam Jones, protected iCue against those pressures more than the average project, it still had to make compromises that we had to stomach. For instance, there was early hope that the site would feature remix tools for young people to author their own content, but NBC Standards and Practices department shut down that talk almost immediately.

What factors make the education marketplace a particularly challenging one to navigate?

There are big issues around who pays for products, and who makes the decision to buy.  Are schools paying? Can a teacher make the decision, or must they appeal up the food chain to their principal or district? Are parents going to pay? Would any of these stakeholders accept a free-to-play model with sponsored advertising?  Then, depending on these factors, how do you design and market the product? There are also issues of metrics and measurement—how do you show that your product is working?  Does it leverage existing metrics (which may be poor), or new metrics (which aren’t yet implemented or validated)?

Further, are the schools and teachers even ready for the product, both pedagogically and technologically?  Do they have the preparation they need to use the tool effectively?

Finally, if you can settle all of those questions but have a new product approaching learning in a new way, how do you communicate that to your audience?  It can be difficult to transmit that kind of messaging through the standard, narrow channels to schools and teachers.

 

If you could go back and time and leave a message for yourself at the beginning of the process, describing what you now know, what would it say?

Instead of moving our research team to an evaluation position on the project, stay on the design side.  Convince NBC News that the need to sell something quickly shouldn’t obscure the original vision of what this product might do in the hands of students (where it never really got).

We would also push back on timelines and growth models.  We might have seen more success if we had started in a more targeted area and grown from there. That would have almost certainly been a more effective model instead of jumping all in right away, diluting much of the opportunity for participatory learning and deeper learning experiences.


What challenges did you face working with the educational establishment? Were teachers ready for what iCue sought to do? Were students?

Teachers might have been ready, but ultimately the site lacked the depth and frequency of updates it needed to really achieve its goals.

Students might also have been ready, but iCue was a space populated with teachers when they arrived, perhaps sending the signal that it wasn’t a space for them.

The jury is still out on whether students can and will come to an academic social space like iCue was envisioned to be.  That is an interesting question that we continue to explore in our work.

 

Eric Klopfer is Professor and Director of the Scheller Teacher Education Program and The Education Arcade at MIT.  Klopfer’s research focuses on the development and use of computer games and simulations for building understanding of science and complex systems. He is the co-author of the book, Adventures in Modeling: Exploring Complex, Dynamic Systems with StarLogo, and author of Augmented Learning: Research and Design of Mobile Educational Games from MIT Press.  Klopfer is also the co-founder and President of the non-profit Learning Games Network.

Jason Haas is Graduate Research Assistant in the Media Lab and in The Education Arcade at MIT. His research focuses on the design and efficacy of learning games. Recent research and design has been for The Radix Endeavor, a Gates Foundation-funded MMORPG for science and math learning. Previous research has involved the role of narrative in learning in the casual physics games Woosh, Waker, and Poikilia and in large-scale collective intelligence gaming  in Vanished.

Alex Chisholm is Co-Founder and Executive Director of Learning Games Network, a non-profit organization bridging the gap between research and practice in game-based learning.  He has collaborated on product and program development with Microsoft, LeapFrog, NBC Universal, BrainPOP, Federal Reserve Bank-New York, and the Hewlett and Gates Foundations, among others.

 


The More We Know: Academic Games Research and Industry Collaboration (Part One)

The following is an excerpt from the foreword I wrote for a new MIT Press book, The More We Know: NBC News, Educational Innovation, and Learning from Failure, which was authored by two of my former MIT colleagues Eric Klopfer and Jason Haas. Klopfer and Haas are part of the Learning Games Network, a joint initiative between games-based learning researchers at MIT and the University of Wisconsin-Madison, and it describes the iCue project, which began while I was still back in Cambridge.

First, a bit from my foreword, and then, over the next few installments, an interview with Kopfer, Haas and Alex Chisholm about this book, which recounts some of the potentials and pitfalls in collaborations between industry and academia:

Three immovable objects walked into a bar. The first was the current world of corporate media (and especially what remains of traditional network news), the second was the current world of higher education (as it lurches towards new funding models and institutional practices), and the third, perhaps, the most immovable and intractable of them all, was the current policy and institutional mess we call public education (which is shaped by a profound mismatch between what we know of how students learn and policies setting standards that in no way reflect those insights). Each wanted to buy the others a drink, give them something that might ease their stress, sooth their tempers, or at least let them forget their problems.  But they couldn’t agree on what the ingredients of this beverage should be, or how it should be paid for, or how they should decide what it should contain, or what kind of relationship would be implied by the buying and selling of drinks, or in what order they should be drinking or….

[Imagine there’s a punchline somewhere around here.]

This is the story of the book you hold in your hand reduced to the level of a farce, as in you’d best keep laughing in order to keep from crying. But of course, the iCue saga is more than a farce. It might also be called a tragedy, in which the best of intentions are waylaid, malformed, and brought low through a series of fatal flaws which prevent each of these institutions from fully embracing change, which block them from seeing the future that the others see so clearly, or which require them to sell out what they value the most if they are going to make any progress forward.  Yet, calling the story you are about to read a tragedy is to imply that it was a perfect failure from start to finish.

And we all know nothing’s perfect.

In fact, as The More We Know makes clear, there were many localized successes along the way and as a consequence of the efforts described herein, other good things have happened. It is rather a story about imperfect failures and imperfect successes, about unintended consequences, unreached goals, and unanticipated results.

It is also an epic, involving a constantly changing cast of characters, each embodying as any good epic does, the contradictions of their times, and featuring multiple heroes, who push greater boulders up to the tops of high hills, only to watch them roll back down again.

The More We Know is also an adventure story set on the bleeding edge of innovation and reform, one which will offer some guideposts for those of you who would follow in the protagonist’s footsteps. There are relatively few post mortems on how great ideas and good intentions do not always turn out the way we expect. I would probably put this on my book shelf next to Brenda Laurel’s Utopian Entrepreneur, which describes the rise and fall of Purple Moon and the girls game movement, or perhaps Sandy Stone’s account of working at the early days of Atari. It certainly, as the authors suggest, provides a personal and extended example to illustrate some of what Mimi Ito has told us about the creation of educational software or what Collins and Halverson have suggested about the resistance of educational institutions to new technologies and practices.

Whatever its genre, The More We Know is the story of the people in the trenches on the front lines of media change and the authors, themselves key participants, tell it very well here….

In our classrooms, we were teaching our students that media change takes place through evolution rather than revolution, but in our labs, we still wanted to change the world, we wanted to blow down the walls and reshape core institutions, and we were painfully, awkwardly, sweetly naive. The path forward turned out to be harder than idealists predicted but not nearly as impossible as skeptics and cynics might insist.

The book you hold in your hands describes some of the walls we hit and the ways our faculty,research staff, and students worked around and through them. My hope is that readers will take from this the right set of lessons.  We succeeded sometimes, failed sometimes, and learned a great deal always about what it takes to make change in the imperfect world around us. The More We Know is not a warning to “avoid this path – there be monsters here”; it is a challenge to “follow us if you dare.”

 

 

 

The More We Know is, in some senses, what game designers would call a “postmortem.” What do you see as the value of this genre of writing and why do you think we see so few postmortems coming out of academic research projects compared to their prominence within the games industry?

Much of this boils down to how differently industry and academia perceive “failure.”  There is a perception within academia that funding follows success, and that small, successful projects attract bigger funding.  In industry, there is (at least sometimes) a feeling that failure can lead to learning for teams, which, in turn, become more fundable based on that learning.  This means that in academia we only want to talk about successes.

There is another issue, though.  For academia, we perceive failure to be a failure of our product—the thing we made.  But in industry one can perceive failure any place in a system – failure of marketing, timing, audience, etc.  They can think about the whole ecology surrounding the product.  Academics aren’t as prone to thinking about these things as much.  As such, we feel the failure to be much more personal,  even as the failure of academic products can be attributed to many parts of that ecosystem as well.

 

Describe to us the iCue project. What were its initial goals? What problems was it intended to address? What partners did it try to bring together?

 

Stated simply, the iCue project was originally conceived to bring younger people to the NBC News brand while supporting important learning goals through the repurposing of old media assets and the creation of a new digital experience.  More pragmatically, NBC News needed a cost-effective strategy to digitize its vast archives without breaking the bank.  Education and the perceived abundance of technology funding in schools provided the roadmap for what this project could possibly be.

The original pitch for iCue was that it was one part media archive, one part social learning network, and one part learning games and activities.  iCue was imagined to provide young people with media and tools for learning in a more engaging way, creating a bridge between the curricula and traditional media their teachers were comfortable with on the one hand and the interactive world in which they’ve grown up on the other. It was intended to be supplemental, enabling teachers and students to engage with it in support of Advanced Placement curricula in English Composition, U.S. History, and U.S. Government.  Since NBC News is a broadcast company with radio and television assets extending back to the very earliest days of broadcasting, project leaders sought to bring together a diverse set of education, archive, and print partners, including the College Board, Washington Post, and the New York Times, among others.

 

 

Eric Klopfer is Professor and Director of the Scheller Teacher Education Program and The Education Arcade at MIT.  Klopfer’s research focuses on the development and use of computer games and simulations for building understanding of science and complex systems. He is the co-author of the book, Adventures in Modeling: Exploring Complex, Dynamic Systems with StarLogo, and author of Augmented Learning: Research and Design of Mobile Educational Games from MIT Press.  Klopfer is also the co-founder and President of the non-profit Learning Games Network.

Jason Haas is Graduate Research Assistant in the Media Lab and in The Education Arcade at MIT. His research focuses on the design and efficacy of learning games. Recent research and design has been for The Radix Endeavor, a Gates Foundation-funded MMORPG for science and math learning. Previous research has involved the role of narrative in learning in the casual physics games Woosh, Waker, and Poikilia and in large-scale collective intelligence gaming  in Vanished.

Alex Chisholm is Co-Founder and Executive Director of Learning Games Network, a non-profit organization bridging the gap between research and practice in game-based learning.  He has collaborated on product and program development with Microsoft, LeapFrog, NBC Universal, BrainPOP, Federal Reserve Bank-New York, and the Hewlett and Gates Foundations, among others.

PLAY (Participatory Learning and YOU!)

Last time, I shared Shall We Play?, a report funded by the Gates Foundation and distributed by the Annenberg Innovation Lab. Today, we are releasing its companion report, PLAY (Participatory Learning and YOU!), which is authored by Erin Reilly, Vanessa Vartabedian, Laurel Felt, and Henry Jenkins. It continues our exploration of insights gained from our year-long work with elementary and secondary teachers from the Los Angeles Unified School District as they sought to develop a more participatory environment in their classroom.

Through this research, our teams has identified five core principles for participatory learning:

1.     Participants have many chances to exercise creativity through diverse media, tools, and practices;

2.     Participants adopt an ethos of co-learning, respecting each person’s skills and knowledge;

3.     Participants experience heightened motivation and engagement through meaningful play;

4.     Activities feel relevant to the learners’ identities and interests;

5.     An integrated learning system – or learning ecosystemhonors rich connections between home, school, community and world.

In this report, we will discuss each of these principles, describing specific examples of how they were applied through the workshop process, what impact they had on the teachers and students involved, and what some of the challenges we face in bringing about this kind of change within the current public schools system.

 

 

 

Shall We Play?

Earlier this term, I shared through this blog Designing with Teachers: Participatory Approaches to Professional Development in Education, a white paper funded as part of a grant from the MacArthur Foundation and released by the Annenberg Innovation Lab. The report, edited by Erin Reilly and Ioana Literat, featured case studies of innovative professional development initiatives ( Vital Signs, PLAY, Scratch, Ask Ansai, the Participatory Assessment Project) with a larger exploration of what it might mean to adopt a more participatory model for working with teachers.

Today, we want to expand upon that report with the first of two reports that emerged from our own PLAY (Participatory Learning and YOU!) project, discussing core insights we derived from a year-long program working with teachers in the Los Angeles Unified School District to develop more participatory approaches in their classrooms. The teachers spaned both grade-levels and curricular categories, allowing us to develop new approaches together that work in a variety of contexts.

The first of these reports, Shall We Play?, was written by Erin Reilly, Henry Jenkins, Laurel Felt and Vanessa Vartabedian. It represents a revisiting of my original MacArthur white paper, Confronting the Challenges of a Participatory Culture, and lays out what we see as core principles for participatory learning.  It includes some core reflections on what has happened in the Digital Media and Learning movement over the past six years as we have sought to bring a more participatory spirit to those institutions and practices that most directly touch young people’s lives.