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Accessibility Guidelines

Fig. 1. Close on the Braille Map - Lewes Station, East Sussex

Two months into 'H810: Accessible online learning: supporting disabled students' I find my antennae are picking up signs and symbols, practices and expectations related to access.

A bus that is full unable to take on the wheelchair user. A blind person on the tube.

Fig.2 Sign as you exit Tower Hill underground. I like the fact that neither the words 'disability' or 'access' are used.

A notice outside Tower Hill tube station and Vvideo clips on products, services and experiences that give some insight into whether or not a piece of assistive technology works or not.

This week (or last) I've been getting behind so jump back and forth between the two we were asked to try some specific tasks as if we were blind. Being the stubborn type I have pressed on with this, alone. Taking my glasses off is a shocking start as I find my face close to the screen. Wearing a blind fold is the next step. Also, as I videod test drivers doing, putting goggles made of plastic coffee cups with the bottoms cut out over my eyes to recreate tunnel vision.

The evidence of the last couple of months, let alone witnessing the Paralympics, shoes how far more diverse the community of people with disabilities is, compare to the rest of the population. Loss of vision is on a scale, as is hearing and mobility.

I guess this is what I am meant to conclude.

I have tried to test accessibility from the point of view of someone who is visually impaired before. I try again using narrator.

Why does it fail?

1) Am I personally adapt at tackling new technology? If so, how so? One way or another I will take to something, visually impaired or not, if I find it intuitive. More importantly I have to have a time and task critical goal. And if that isn't adequate motivation, what is? Motivation will overcome many hurdles.

2) My context, especially past experience of the tools being used. Here's a test.

This sentence is written entirely as a piece of touch tyoung, You can see for your self when and where I start to get lost.

To do this, I found myself looking up at the ceiling.

Actually, EXACTLY as I have seen a proficient blind user of JAWS do.

Think of a blind pianist like Stevie Wonder.

Why look at the screen that offers no clues ... no support, rather sit back and let your fingers do the talking and the seeing. There is a reason why learning the piano as a boy the teacher covered the keyboard - at least I had the music to sight read. Equally there is a reason why learning to touch type on day three or four or something I found myself sitting at a blanked out keyboard. Decades on I delight in the fact that six or more keys on the keyboard have been wiped clean. I just centre my hands and get on with it. A similar challenge has been drawing while not taking my eyes off the object (or person) I am drawing.

These are skills of dexterity, with or without sight.

The appropriate test for assistive technology has to be with someone with the impairment being tested for ... and ideally, as you would do in any research, with a group that are representative of the adapt as well as new comers.

Whilst personas will do, when we have credibly empathy with a potential user, when it comes to disabilities first hand experience is required - far better to engage them and understand it from their point of view than try to imagine what it is like. THIS is how the wrong decissions are taken. Instead of imagining what it might be like - get out and do first hand research with actual representative groups. This is far, far more revealing (as planners in advertising agencies will tell you).

Fig.1. Lawrence Lek at the Design Museum

Both would learn from each other if given half a chance.

In swimming we talk about Long Term Athlete Development to differentiate by age and gender from around sge 4/5 to adult competitive swimmers in their 20s. Being a Masters swimmer too I reckon we regress.

What role does context play? I'm sure the 41 year old learns differently at a desk in an office than on an iPad at home.

Fig.1. Bristol Fighter at the Imperial Museum

My understanding of curation is embedded in museums - I overheard the curator of the current Superhuman exhibition at the Wellcome Foundation Museum being interviewed by Aleks Krotovski on Tuesday.

When I took a picture using my iPad a member of the museum staff  politely told me that 'the curator asked that people did not take pictures' (and that the curator was in part to blame as he hadn't wanted the signage saying 'don't take pictures' too prominent) – curator as stage manager and executive producer of a collection of themed objects. The term 'object' itself embracing stills, artefacts, video-clips and activities. You curate stuff in a space and set parameters so that an audience of visitors can get their head around what, in effect, has come the curator's mind.

In the bizarre ways that these things happen I recall, age six at most, creating a fossil museum with ammonites found in the low rocky cliffs of Beadnell, Northumberland.

I was a curator, I brought together a themed collection of rocks, set them out in a room and invited people in – no doubt in the back of my mind imagining the glass cabinets and displays in the Hancock Museum, Newcastle.

Ian McGreggor of the British Museum with his History of the World in 100 objects is a curator - far more so than an amateur's eclectic collection of e–stuff. Or am I being a 20th century snob? Craving for academic elitism that is fast vanishing down the plug–hole as the digtal ocean and equally digital–cloud washes and blows over everything? I search that externalised part of my own mind, an extensive blog 13 years in the writing, for what I've said or stumbled upon before regarding 'curation' and find three entries, one prompted by my intention to attend this session in Bath and feeding off a visit to the De le Warr, Bexhill and the rest from Martin Weller's book 'The Digital Scholar' in which he lists curation as something universities will need to do. On Chapter 12 he has this list on publishing as:

• Publishing
• Research
• Authoring
• Submission
• Rejection/modification
• Publication
• Dissemination

WHY?

• Accepted practice
• Academic respectability
• Reward and tenure
• Dissemination
• Curation

I wonder if this following quote gives a sense of Martin Weller's comprehension of the term 'curation' as used in a Web 2.0 context:

'If Boyer's four main scholarly functions were research, application, integration and teaching, then I would propose that those of the digital scholar are engagement, experimentation, reflection and sharing'. Weller (2011).

On a quest to become 'digital scholars' or 'thought leaders' we should, to change one word –engage, experiment, reflect and curate'? The word, used in this, come to think of it, ought also to include 'moderate', even to 'chair' or 'host'.

In 2002 Gilly Salmon, then a lecturer at the Open University Business School, tried to coin the terms e–tivity and e–moderator.

Perhaps then, as these things go, the digital community have not picked up on these terms – instead they have hijacked 'curation'. We are going through a rich phase of redefining and inventing words and understandably they result in carnage and debate. Academics are guilty I feel of sometimes wanting to be the first to coin a word or use a new phrase or word in a new way because citation will mean that they are then quoted for every more. This happens in academic publishing and study, unfortunately 'curation' can leave you wondering about the source. Is 'jumbling together' the content of others from multiple sources even more questionable than turning to self–monitored wikis such as wikipedia?

Weller also says:

'If the intention is to encourage engagement then low-quality routes may be more fruitful than seeking to produce professional broadcast material'. Weller (2011) and 'Low quality individual items because of their obvious ease of production, can be seen as an invitation to participate'. Weller (2011)

Is curation a dirty word? Is curated content reliable? What does it mean in the corporate world?

REFERENCE

Krotovski, A (2012) The Digital Human. BBC Radio 4 (last accessed 22 October 2012)
McGreggor, I (2011) The History of the World in 100 Objects –http://www.bbc.co.uk/ahistoryoftheworld/about/british-museum-objects/ + Neil McGreggor
http://www.bbc.co.uk/podcasts/series/ahow/all
Salmon, G. (2002). E-tivities: the key to active only learning. Sterling, VA : Stylus Publishing Inc. ISSN 0 7494 3686 7
Salmon, G (2002) e-moderation
Stodd, J (2012) https://julianstodd.wordpress.com/2012/10/19/creating-and-sustaining-high-performance-learning-cultures/
Sullivan, A (2000-2012) The Daily Beast
Weller, M (2011) The Digital Human. More from Martin Weller in his blog: http://nogoodreason.typepad.co.uk/Wijekumar, K. J., Meyer, B. J. F., Wagoner, D., & Ferguson, L. (2006). Technology affordances:  The "real story" in research with K-12 and undergraduate learners. British Journal of  Educational Technology, 37(2), 191-209.

Fig.1 Assitive technologies to improve access to e-learning

There are a myriad of hardware and software tools that alongside other assistive technologies a disabled person may use to improve access to learning. As part of the MA in Open and Distance Educaiton (MAODE) module H810 Accessible Online Learning : Supporting Disabled Students we are reviewing the widest range of circumstances and tools - and MBA like applying these to our own contexts.

When I started this course I did wonder if it couldn't be covered in a weekend residential – boy am I mistaken.

So much so that I think it should be a 60 pointer over several more months.

If we can remember back to the Paralympics just think of the vast scale and variety of access issues these athletes had, then add cognitive impairments for which the Olympics are unable to cater - then think of any impairment as a position on a spectrum that includes us - our vision, our hearing, our mobility and cognitive skills are on here somewhere too. Indeed, there are tools that come out of assistive technology that have value to all of us, from automatic captioning, tagging and transcription of video, to screens over which we have greater control. Here area few I picked out:

HEAD POINTERS

Head pointers need to suit the precise needs, wishes and expectations of the user and may be used in conjunction with other tools and software. A sophisticated package such as TrackerPro costs £1,288 and includes head, visor and shoulder kit, a tracking webcame and software. At this level it can be used to engage with computer games, as well as to use packages designed to suit the users other needs in relation to visual and audio impairment. These packages are supported by assessors.

KEYBOARDS

Keyboards come in a plethora of shapes, sizes, textures and colours, with various overlays and supporting software for single hand or head pointer use too.

Integrated with screens, wheelchair, hardware and software a market leader for people with considerable mobile impairment, voice and sight impairment such as DynaVox Vmax will cost £9,000. There is considerable online support, with videos too. Setting up and support from an assessor is provided.

Beyond the tools provided with the operating system or browsers which will magnify images to a reasonable degree, there are software bundles such iZoom (PC) £321 and VisioVoice (MAC) £232 with a far greater level of sophistication and adjustment to suit users with sight impairments, dyslexia and mobility requirements. Working with a variety of inputting devices this allows the user to make many kinds of adjustments to the way information is displayed.

Fig.1 From 'Access to work' a video from MicroLink

Any of us could or will stumble the first time we are faced with a new tool or piece of software - I'd like to see any of us tested using a tool such as Delicious or ScoopIt and see how we get on, or trying to use a Microwriter, programme the washing machine or even turn on someone else's Microwave.

All experiences become familiar in time if we give them a go or get some useful tips. The same implies whether or not you have a disability or combination of disabilities or not.

To make sense of the plethora of accessibility tools, software and built-in 'assists' - and the equally enormous combinations and varieties of people who may benefit from using them I am having to get into my minds eye four people, or 'personas' who have quite different needs and imagine them, in context, wanting to and trying to use tools that ought to improve access for them. Some intriguingly are likely to suit all users if they offer a short cut or a different way into the information - I prefer a transcript over lectures. I like to use narrator in the car or when busy with some other task like painting the shed - the book is read to me as I can't do what I am doing and look at the screen at the same time. I call this the 'Montesori Effect' - how meeting a learning challenge for one community of learners you gain insights and create tools that benefit everyone.

As for any of us, when it comes to learning, context is important whether we have the space, time, kit and inclination. There is a big difference between giving something a go and having to use it with a set goal in mind. Anyone remember the first time they had to create something using PowerPoint, or Word come to think of it? Or writing a blog - let alone embedding images, video or audio.

Some of this reminds me of my first computer - an Amstrad. All green text and no mouse. My father got himself a Microwriter and mastered it. Bizarre. Confined to a wheelchair (badly broken leg from skiing) for some months in my early teens I ought to have been able to keep up with school work - but somehow a box of books didn't do it for me.

When I get stuck I can now turn to a son, daughter or my wife who may or may not be able to help. We also pick up the phone to 'The Lewes Computer Guy' for technical fixes. Had I a disability how likely is it that I can turn to someone with the very same set of challenges that I face for tips and advice? On some context a blind person will and can turn to a supportive community, but this might not be so easy if you are, or feel like, the only person with Dyslexia or Cerebral Palsy at your schoolor university.

Fig.1 Beware the 'unhappy valley' of storytelling

I was introduced to this concept at the Open University Business School Residential for 'Creativity, Innovation & Change'. The thought is that in business - and I believe this applies to politics too - you can apply narrative but only take it so far. Case studies work, anecdotes snd short stories too but take care about how far you apply it before you. call on professional input.

Producing narrative drama for training I will plan a treatment then take this to a professional writer - people with credits for drama series or serials. Anything less can sink you into this 'unhappy valley'. This also applies to casting actors and using a director with a track record in drama. What you want is something creditable.

Themes trend, this week it is 'curation' which is why I drove 168 miles to a get–together of e–learning like minds in Bath.

Some contrast to the webinar I sat through the same morning and somewhat counter culture in the era of doing everything remotely. Social media far from killing off socialising, it encourages face–to–face social interaction.

It is one thing to read about curation, even to hear disjointed voices behind a presentation online or share thoughts in messages and quite another to follow a presentation face–to–face, to hear and see the discussion, to relate to the speaker and how they come over. Before, in breaks and afterwards the variety of thoughts, ideas and views is like tipping stuff into the compost bin of my brain – dribs and drabs work for me, even in a small group of people in preference sometimes to the sell–out and packed events hosted by other groups around the country.

A test for anyone who is about to speak is when the technology fails.

If they believe in their subject and know their stuff they are better off without a screen of text, diagrams or examples to play with on the Internet – they do that online. Without any hesitation both speakers presented 'raw' – reflecting on how well this works I wonder if a genre of presentations where speakers go without these visual props and prompts should be encouraged. What you are left with, and all you need, is someone who has some ideas, some experiences and suggestions and a passion for what they do.

Writers, thinkers and bloggers are constantly taking common terms, the meanings of which we feel we understand, and giving them fresh, broader or nuanced meanings.

My understanding of curation is embedded in museums - I overheard the curator of the current superhuman exhibition at the Wellcome Foundation Museum being interviewed by Aleks Krotovski on Tuesday. When I took a picture using my iPad I was approached and politely told that the ‘curator’ asked that people did not take pictures – curator as stage manager and executive producer of a collection of themed objects. The term 'object' itself embracing stills, artefacts, video clips and activities. You curate stuff in a space and set parameters so that an audience of visitors can get their head around what, in effect, has come the curator's mind.

In the bizarre ways that these things happen I recall, age six at most, creating a fossil museum with ammonites found in the low rocky cliffs of Beadnell, Northumberland.

I was a curator, I brought together a themed collection of rocks, set them out in a room and invited people in – no doubt in the back of my mind imagining the glass cabinets and displays in the Hancock Museum, Newcastle.

Neil McGregor of the British Museum with his 100 objects is a curator.

And we now have, from the Quite Interesting team the radio show 'The Museum of the curious' and its host Jimmy Carr.

So 'curation' for me already means many things. I search that externalised part of my own mind, an extensive blog 13 years in the writing, for what I've said or StumbleUpon before regarding 'curation' and find three entries, one prompted by my intention to attend this session and feeding off a visit to the De le Warr and the other two excerpts from Martin Weller's book 'The Digital Scholar'.

In a moment I can scan through my notes, chapter by chapter.

The Digital Scholar Chapter 2

University Functions:

1. Teaching
2. Research
3. Dissemination
4. Outreach
5. Curation
· Change can be quick
· No assumptions are unassailable
· Form and function are different
· Boundaries are blurred.
· We can't wrap libraries and such like in cotton wool if their time is over.
· Global networks, unpredictable environments, rapid response.

Chapter 12 Publishing

· Research
· Authoring
· Submission
· Rejection/modification
· Publication
· Dissemination

WHY?

· Accepted practice
· Academic respectability
· Reward and tenure
· Dissemination
· Curation

If Boyer's four main scholarly functions were research, application, integration and teaching, then I would propose that those of the digital scholar are engagement, experimentation, reflection and sharing'. Weller (2011).

Skimming and skipping about instead of deep reading. Easily distracted, or persuasively detracted. But the overall tenure will be rearing to you hear the narrative.

· British Library Google Generation study (Rowlands et al. 2008)
· Has the need to learn by rote diminished?
· Outsourcing mundane memory to Google.
· Skittish bouncing behaviour Wijekumar et al. (2006)
· Web 2.0 and the 'mass democratisation of expression'.

NB 'low quality individual items because of their obvious ease of production, can be seen as an invitation to participate'. Weller

'If the intention is to encourage engagement then low-quality routes may be more fruitful than seeking to produce professional broadcast material'. Weller (2011)

An online diary or journal over a decade ago, to some a web log and now a blog can embrace curation – 195 posts on blogging and my favourite definition is 'digital paper' – a blog is anything you can do with it. Curation is perhaps therefore, a digital museum, library or gallery? By definition less self–publishing, and more aggregation of the works of others. My teenagers curate images on Tumblr, a tumbling riot of choice images grabbed and reclogged into a visual expression of who they aspire to be, or who they are or the people they want to attract. The museum of the person, for the person rather than a museum by a person for the people. Perhaps this is the answer – blurring the boundaries between blog, gallery, library and museum we each become the curators of the external expression of the contents of our minds forming in total a waterfall of information and ideas. As a reader, visitor or learner you are the fish swimming in this river, dipping in and out and through it. The space is an interplay between what others contribute and what you elect to tangle with.

Curation is more than aggregating stuff, there is a sense of purpose, a theme, even if it is a current in this river, this torrent, this deluge of information – the content is gathered, and presented in a certain way. Someone has made choices on the visitor's behalf. The collection is assembled for a purpose, to change minds, to open heads, to instigate a journey, to act as a catalyst for learning and the creation of understanding.

Whilst blogging implies creating content or self-publishing, curation is aggregating content by one person for others – going out with a broom to sweep autumn leaves into a pile then picking out the russet red ones. It isn't publishing either, these leaves are literally individual pages, not entire books, and they are, in the parlance 'bite–sized' pieces of information.

At what point does it cease to be curation? The London Underground Lost Property Office is not a curated space – this stuff has been pushed into the space, not pulled. Push or pull are key words when it comes to curation, especially where the curation is prompted by the desire to respond to a problem - such as engaging people to take responsibility for their own learning by providing them with a space with blurred boundaries that will contain, more often than not, objects that satisfy and pique their cursory in order that they then go on to construct their own understanding.

As the Radio show indicates we can curate some mighty odd things

Online, comments left by people become objects in this curated space – these are 'items'. They have a permanence, not only that, whether or not attributed, they can be shared, duplicated and reversioned. Whilst you curate them in spaces you control, what happens once the item has been shared on? It may no longer be in such an attractive space at all?

The curator has a multitude of tools.

Google Reader to aggregate content
RSS feeds
Delicious to tag and then into WordPress

The curator doesn't originating content then?

Tell that to ... a History of the World in 100 objects.

http://www.bbc.co.uk/ahistoryoftheworld/about/british-museum-objects/

Neil McGregor
http://www.bbc.co.uk/podcasts/series/ahow/all

• Presenter
• Curator
• Trustee
• Visitor
• Scholar

Funnelling streams of content into one place, is that curation? Curation is the choices. Curation implies responsibility and power, that choices are being made.

You select Apps and have them on your iPad or iPhone, you may share these choices with others but that is not curation.

What's the difference with a blog then? The diffused nature of the web means that this content - images, video and activities, is itself a form of curation. The curation then is not just the choices, but how they are aggregated and the journey through this environment that you offered.

Curation as keeping a scrapbook. Why should anyone take an interest in stuff that hasn't even come out of your head? Is it not just a step on from clicking a Like button or rating to click at RSS feed and feel as if you are a channel controller.

What takes your interest and why would it be shared? Your choices, if a 'thought leader'.

Compare this to the journalism of Andrew Sullivan.

Sam– online learning for a mega finance co.

Key reason:

• More connected in and out of the company
• Understand the technology better
• Self-development

Opportunities beyond looking for the course list, so looking for relative content to solve their problems.

Sam's list of names:

Howard
Beth Kanter
Seek, Sense, Share – take the pain out of finding content.
http://www.bethkanter.org/content-curation-101/

Robin Good – master curator
http://www.scoop.it/t/digital-revolution-leaderboard

Robin Good on curation
Published on11 Jun 2011byHoward Rheingold

In interview Robin Good, that master of new media (http://masternewmedia.org) about curation -- what it is, what it requires, why it's important, how to do it.

• Google as MacDonald’s, a bespoke restaurant about curation.
• Sense making, not just links
• Learning better and faster from people you know or respect
• Curiosity as curation, with passion and antennae’s,
• Knowing the audience, not simply an artist
• Transparent, citation/links,
• Mixed tape or DJ
• Customise

Robin Good on curation

Published on11 Jun 2011byHoward Rheingold2,333 views
22 likes, 0 dislikes
In interview Robin Good, that master of new media (http://masternewmedia.org) about curation -- what it is, what it requires, why it's important, how to do it.

Howard Rheingold
http://m.youtube.com/#/watch?v=o1IeOzIoRDs&desktop_uri=%2Fwatch%3Fv%3Do1IeOzIoRDs&gl=GB
see video for what he thinks curation is a DJ  ... when did I coin the phrase BJ.

Breaking Views from Hugo Dixon, got ahead of Reuters, after 8 years they'd had enough and bought him out.

Andrew Sullivan, Journalist,  The Daily Beast 1 million views a month.

Thought Leaders?

Digital Scholar, Martin Weller – 3,000 followers, Book of the name Creative Commons so people can do as they please.

• Learn for myself, so started with blogs.
• First Delicious, the Diego +tag, organise with key words and RSS feeds.
• And various RSS aggregators.
• 250 curation tools. How do you know which are the best.
• Scoop It
• Pinterest
• PearlTree
• ReddIt
• DigIt

vs. a lot of noise.

e.g. 150 blog feeds, RSS feeds aggregated. Getting smarter.

Ran free accounts, and now as Pro Accounts on a landing page.

Still battling with 'why isn't there a course list?'

APP - Paint

LINKS AND COMMENTS

Learn Patch: http://learnpatch.com/2012/10/video-how-can-curation-be-used-in-learning/#comment-36

One the one hand informed people talking without notes or AV is refreshing and challenges you to think beyond what is being said - on the other hand this video answers many of the questions I've been formulating as a blog entry this morning and wraps up a week that has had me immersed in the 'curation' theme, from a discussion with Julian Stodd on Tuesday, coincidently at the RA where there is a stunning exhibition of bronze sculptures to multiple visits to museums and galleries to seek out this connection between an online experience of curation and the real thing. Curation is a form of stage management, even direction, a conscious decision to put some things in and leave others out, to appeal to a visitor or personas with certain needs and expectations. If this journey works, if the story draws them in, then by default they will be changed and therefore have learnt something.

Julian Stodd

https://julianstodd.wordpress.com/2012/10/19/creating-and-sustaining-high-performance-learning-cultures/#comment-1144

'Tell me a story' says the child and if you don't have a book to hand you make one up based on what you know about them, what you can draw upon and what perhaps you'd like them to take from this experience.  The child invites you in, they pull at your knowledge set and want what you can bring to it - they don't always want the book or a familiar story, they want your take on things. Somehow tapping into these reciprocal needs is key to learning that is wanted, is engaging, timely and mutually beneficial. This coming after a week in which 'curation' has been a constant theme.

Fig. 1. The highest tide in a decade at Piddinghoe Village, East Sussex with the chance of worse in 12 hours time as storm clouds brew at the mouth of the River Ouse.

We live in Lewes.

A friend has a son christened Noah, born this October 11 years ago the day when we woke up to water on the door step. We were lucky, the view down the road looked interesting - the railway line to London was like a canal for toy boats.

I'd just taken the above picture when I was approached by someone in a flourescent jacket from Lewes Council keen for a record of how high the tide had reached and relieved when I pointed to a plank of wood in the river that had paused and was now heading back out to sea ... as if someone had just pulled the plug out of a huge bath.

PHYSICAL GEOGRAPHY IN ACTION

• Storm Surge
• Spring High Tide
• Terrible Weather
• Wind Direction

LINK: http://www.bbc.co.uk/programmes/b01h8nnt

Memory - a fascinating and insoired starting point to understand how we remember and what out digital world can do to help or hinder.

Fig 1. Daniel Kahneman

People go with the flow and chose the easy option of agreeing when they are:

• working on something else that requires a lot of effort
• in a good mood
• low on a scale of depression
• a knowledgeable novice in the subject rather than a true expert
• powerful, or are made to feel powerful.

From Daniel Kahneman (2011) 'Thinking, fast and slow'. pp134

This gives you pause to wonder about the complexity of what takes place in a social learning environment where people are offering their ideas. You want to hope that falsehoods will be knocked down while truths will be agreed upon, however, depending on the people and how the discussion is moderated you could theoretically end up with the opposite going on. Not only should students in such spaces be advised on how to behave in order to get the 'right' learning outcomes from the experience, but it is vital that the subject matter expect/moderator plays their role scrupulously.

Questions:

• Is the learner who is an unhappy, powerless expert likely to offer the more objective response?
• Is a grumpy, depressed subject matter expert who may run a cold class of greater value as an educator than the new college kid who is full of ideas and bounces around like Tigger?
• And if the happy, succesful novice is heard more often and supported by the community how do you make room to hear from the less confident, sad geek?

Guardian Book Review

One tactic used in all swimming training from club squads to the Olympics is the concept of whole-part-whole: to develop the stroke, either to improve skills or strength, you break the stroke into parts. The simplest expression of this is arms only or legs only followed by the full stroke. This is repeated over different distances and whether an aerobic or anaerobic set, against different turn around or repeat times. This is finessed with drills, so taking on of the four competive strokes - frontcrawl backcrawl, breasstroke and butterfly - what might we see?

This morning's Master's set had the following drills: short doggie laddle, long doggie paddle, catchup, touchfloat and closed fist. Each was a 50m drill followed by 50m full stroke. Later we did some arms only sets over 100m against the clock. And we swam sme backstroke and breaststroke for slme variety before some short full strokes sprints on Frontcrawl and a swim down.

How might this translate into a training session or e-learning module?

To start with the module, like a set, would need to change every week, so that there is progression in the challenges set, the skills in technique to demonstrate and even the times to rest or turn around a swim.

There would need to be variety too, which typically means emphasis on a different stroke but inlcudes having a different coach, swimming in a different lane and having different swimmers in the lane with you.

I rarely see such variety or such progressive, long term, planned in progression in learning and development, while many e-learning modules are no better than the leaflet or linear video they replace - they are fixed.

Does this work?

How do you reversion content so that it gets progrossively more challenging at a pace that puts the individual learning just beyond being able to d the thing with ease? Effort matters, easy learning isn't learning, just as a stroll in the park isn't a training run.