This morning I got a lengthy email from someone whose grandfather is featured in a 1918 photograph of RAF cadets I put up on Flickr, I also got a lengthy email from someone sharing a review on a book on the First World War on Amazon. Today, Dan Snow helped launch an initiative through the Imperial War Museum that aims to repeat what the IWM started to do in 1919 - campaign for people to share photographs, artefacts and stories of people who served, suffered, thrived or survived the First World War - this is at the 'Who do you think you are' exhibition at Olympia - I will try to get over on Saturday. And finally, a fascinating conversation with my brother in law on why a gallery curator is inviting people to feedback and respond to works of art through social media - and the curator's philosophy of 'openness' and a desire to move away from the grand voice of the patron in favour of mutliple voices and interpretations. He particularly likes to describe the value of 'dirt' to challenge perceptions and permit the points of view of anyone, and called this dirt 'soil' that would nurture fresh and vibrant ideas - he's Italian, speaks with an accent and chooses his words carefully (he is a tutor in fine art and art history). We got into discussions on learning and why as a student he'd have to queue up early in Bologna in order to hear Umberto Eco. This enthusiastic, reflective discussion continued as he prepares supper and I help - eager to pick up some cullinary tips too.
I'm 'next door' in a group of 20+ using OULive for a conference - my turn to speak in an hour. Eeeek. Four years online with the OU and I have to say this is proving to be thrilling and engaging ... and the effort everyone puts in clearly the result of a lot of hard work.
We are in a break, sort of, so I'm not doing the equivalent of sitting in the back row texting my mates.
A good deal of the EMA will be to reflect on this experience, rather than the 'artefact' we deliver tonight. It has very much a case that my fellow students have helped me to set all kinds of parameters while introducing me to new platforms and supporting my output.
Leveraging mobile technologies and Web 2.0 tools to engage those with an interest in the centenary of the First World War in the stories of the people of the era using strategically placed Quick Response codes.
If you are doing a Masters of Open and Distance Education Module (MAODE) you should be aware of an interested in the conference that is currently running in CloudWorks and OULive.
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Fig. 1. Lewes War Memorial, East Sussex, England J F Vernon (2011)
The problem with war memorials is that those named on them risk becoming forgotten words on a list.
By using the Web we can find out who these people named on the war memorials were and where they lived; we can try to put a face to the name and a story to the name … and then we can share what we find.
There are more than 54,000 war memorials in Great Britain, most of these put up after the First World War. There is barely a community without one. Significant interest already exists, especially as we approach the centenary of the First World War making this initiative a potentially easy one to add to what is already taking place.
Fig. 2. British Legion Poppy featuring a Quick Response Code
In his 2011 book ‘The Digital Scholar’ Martin Weller shares the thoughts of Brian Lamb to describe those technologies that ‘lend themselves to … the networked and open approach’ as ‘fast, cheap and out of control’. It was with this in mind, taking an interest in the centenary of the First World War and obsession with war memorials that I started to think about using Quick Response codes as a personalised entry point to the Web that anyone could generate in order to share a story about someone who served in the conflict, and to do so both online and on the street. Quick Response codes are fast, they are free and their potential in learning has yet to be realised.
Worn in this way, featured in the center of your commemoration Poppy, you can share directly with others the person whose life you wish to remember, as well as directing people to the content online and inviting them to ‘adopt’ a name from a war memorial themselves. Though exploiting the Web, this is designed as a ‘blended’ experience that uses face-to-face, community and classroom experiences, as well as taking people outside to monuments, buildings, streets and battlefields.
Esponsorvik (2014 )
Fig. 3. Toyota Quick Response Code and Using a TV remote control Espensorvik. Flickr
‘QR codes’ are a product of the car manufacturing industry. Faced with increasingly complex components, Denso, a supplier to Toyota, came up with what is a 2 dimensional bar code in the 1990s (Denso, 2010). Made free of patent, and using free software anyone can now generate their own unique QR code. You can even print them out on standardised sticky label stationery.
Fig. 4. Google Search ‘Quick Response Codes Education Images’ (2014)
There are a myriad of uses for QR codes, from embedding information that is read and stored by the device to a quick link to rich content online. Barrett, 2012). The interest here is to use QR codes to link to learning resources, in mobile, or ‘m-learning’ contexts in particular and for users to both read and write such context. I liken QR codes to using your phone as a remote control to click to a TV channel (Fig 3) . You point a smartphone, or tablet at the QR code to read it and go instantly, pretty much, to a web page.
Their use in education in the last decade has been limited. ‘Refereed (sic) papers are few’ (Gradel & Edson, 2012), but between these and other published reports, suggestions can be made regarding their strengths or weaknesses.
If QR codes are to be used successfully then champions need to be identified to take up the cause in schools, colleges and local associations. Whilst QR codes use the power of the Web to connect people to rich content, that they may create themselves, a good deal of thoughtful planning will be necessary ‘in the classroom’, not just explaining how to make use of QR codes, but also working them in, where appropriate to current learning schedules where QR codes used in this way will meet clear learning objectives. Support online could be provided in a short eLearning module. What has been shown repeatedly, in museums and ‘out in the field’, is that simply ‘put out there’ the QR codes are ignored (Gradel & Edson, 2012). An innovation such as this requires considerable promotion and support. This makes the idea of wearing your own QR code on a Commemoration Poppy all the more appealing, as each person becomes an ambassador on the ground, for that nugget of information, especially if they are responsible for creating and hosting that content. The opportunity exists, therefore, mentored and guided by educators, with support online, for schools, colleges and associations to engage people in bringing the stories of those named on our war memorials alive. In this way a deeper and more meaningful connection is made with the past and our relationship to it.
Copyright © 2010, The New York Times Company. Photography by Jim Wilson
Fig. 5. Handheld curator: IPod Touches and visitors at the San Francisco Museum of Modern Art. (The New York Times)
According to the 2009 Horizon report (Horizon, 2009) the following would be of growing significance in teaching: mobile devices, clouding computing and the personal web. As an innovative approach, QR codes exploit all three of these developments.
Use of QR codes in learning however has had mixed results. Simply putting a QR code in front of a museum artifact, as they’ve done at the Museum of London and did at the Design Museum does not work (Vernon, 2013) – there is plenty already, there is little to attract or promote their use, not everyone has a smartphone or tablet of course and the technology is often not robust – ‘out of use’ signs are familiar. Outdoors QR codes added to signs in the South Downs National Park, for example, barely received a view a day during a three month trial and in some instances there was no signal at all (Kerry-Bedel 2011; South Downs, 2012).
Where QR codes have been successful is in targeted learning experiences in schools (Tucker, 2011; Gradel & Edson, 2012), where the affordances of the QR code have been exploited to form part of an engaging, constructive and collective learning experience. To be effective this initiative with war memorials requires galvanising people to take part in a joint exercise – easier with a class in school or college, less easy with the general public unless it is through a national, regional or local community association or interest group.
Examples where QR codes work include where participants are ‘equipped’, and where they can take an active role, such as in ‘on the spot’ surveys or quizzes, where they are prompted into cooperative learning and where timely ‘Frequently Asked Questions’ are given. (Awano, 2007: Information Standards Committee 2008; So 2008; Robinson, 2010; Hicks & Sinkinson, 2011; Ryerson Library & Archives, 2012.)
K Lepi (2012)Copyright 2013 © Edudemic All rights reserved
Fig 6 . A Simple Guide to Four Complex Learning Theories. Lepi (2012)
The theory behind the idea of using QR codes in a mobile and open way, is that in the digital age ‘connectivism’ is the ‘modus operandi’. In this diagram (Fig. 5) from Edudemic (Edudemic 2012) traditional and digital theories are concerned. All are relevant, each has its place, with the digital environment offering new and additional approaches to learning.
Whilst traditional learning methods have their role in schools, lecture halls and with mature students too, the complete learning package requires a level and quality of interaction and connectedness that can only be achieved on the Web and be effective where the body of learners is large and their approach is open and shared so that knowledge acquisition comes through the challenges and rewards of such intercourse. Connections won’t occur however unless they are nurtured. By way of example, wishing to support and promote the combat memoirs of my late grandfather John Arthur Wilson MM (Vernon, 2012) a number of organisations will be approached up and down the UK in relation to his experiences in the Durham Light Infantry, Machine Gun Corps and Royal Air Force. The Web will both help identify, forge and maintain and develop first and subsequent connections in what would hopefully be, to be effective, a two way, shared, open and reciprocal relationship. The beauty of having content already online is that others can quickly view it and images, text and sound files, even video, adjusted to suit different audiences, or uses - and used freely where appropriate copyright permissions are given.
JFVernon 2010 from statistics from Jakob Nielsen (1999)
Fig 7 . Creators, commentators and readers - how use of the Web stacks up. Vernon (2010) after Nielsen (1999)
This degree of connectedness does not come naturally. Just as there can be no expectation that people will use a QR code because it is there – they won’t. With an innovative approach such as this promotion is crucial. Significant time, thought and effort need to be put into letting people know what is taking place and supporting their participation.
Only a fraction of a population are naturally inclined to generate content.
Jakob Nielsen (1999) would suggest that as few as 1% create content (Fig. 6). If content is therefore to be created by participants then very large numbers need to be made aware of the initiative. Online, openness helps when it is massive. Participation is improved where it is supported and moderated. Creators, commentators and readers each have a role to play.
The balance needs to be found between the qualities of a tool that is fast and cheap and where out of control means that something isn’t used in a way to benefit a formal learning requirement. On the one hand those who want to generate content can be encouraged to do so, while in a formal setting the intention would that everyone generates content of some form in order to receive feedback and assessment.
J F Vernon (2011)
Fig 8. The Newcastle War Memorial by Sir William Goscombe John RA
The potential weakness of using QR codes are the requirement for participants to have a suitable device, say a smartphone or tablet and the possible communication fees when connecting away from a free wi-fi source – which is likely to be the case at a war memorial (Gradel & Edson, 2012). Reading from and using a smartphone or tablet may also present accessibility issues, from the need for dexterity and reading content that isn’t offered in alternative forms, such as text sizes and background or audio alternatives.
There are many examples where local councils feel a war memorial or building is so important that they have invested in information placards on site (Fig. 7). As commemoration of those who served and died in the First World War is of local and national interest funding is potentially available to help support initiatives such as these through the Heritage Lottery Fund, while organisations such as the Western Front Association have funding for branch activities too.
If permission is required for personalisation of a British Legion poppy using a QR code, then alternatives may be required, from working with other suitable groups such as the Imperial War Museum or Western Front Association to putting the QR code on a badge instead. Where used in the field it is likely that a teacher would put out sets of QR coded markers in advance and collect them afterwards. Where a photograph in a town featuring before and after views permission may also be required if any kind of QR coded plaque or poster is to be put up. Other inventive ways to use a QR code would be to attach them to an obstacle course like trench experience where each code triggers elements of a task, sound effects or narrative in keeping with the setting. By way of example, at the ‘In Flanders Museum’ in Ypres a number of exhibits require the visitor to duck, crawl or crane their neck before supporting audio or lighting is triggered by a Near Field code in a bracelet.
J F Vernon (1989-2014)
Fig. 9. The memoir of a Machine Gunner and RFC Fighter Pilot. ‘That’s Nothing Compared to Passchendaele’
In his 2011 book ‘The Digital Scholar’ Martin Weller shares the ideas of Robert Capps (2009) who coined the term ‘the good enough revolution’ – in relation to creating and sharing content in an open culture. This precludes being prescriptive or from expecting perfection. Whilst output on the First World War from the BBC, the Imperial War Museum or the Open University should understandably attain a certain professional standard, the kind of creation required of those research names on war memorials should take inspiration from that is more than just ‘good enough, from ‘pinning’ names from a war memorial to a home address, to ‘pinning’ submitted World War One photographs to Google maps over former battlefields, as well as numerous inventive YouTube videos and memoirs presented as blogs.
Awano, Y (2007). Brief pictorial description of new mobile technologies used in cultural institutions in Japan. The Journal of Museum Education, 32(1), 17-25 Barrett, T (2012). 50 Interesting ways to use QR codes to support learning. (Last accessed 6th Feb 2014 https://docs.google.com/present/edit?id=0AclS3lrlFkCIZGhuMnZjdjVfNzY1aHNkdzV4Y3I&hl=en_GB&authkey=COX05IsF
Denso (2010a). QR Code Standardization. (Retrieved 6th Feb 2014, from http://www.denso-wave.com/qrcode/qrstandard-e.html ) Edudemic. Traditional Learning Theories. (Accessed 19th April 2013) http://edudemic.com/2012/12/a-simple-guide-to-4-complex-learning-theories/
Gradel, K., & Edson, A. J. (2012). Higher ed QR code resource guide.
Hicks, A., & Sinkinson, C. (2011). Situated questions and answers: Responding to library users with QR codes. Reference & User Services Quarterly, 51(1), 60–69.
Horizon Report 2009 (2009) Educause (Accessed 14th Feb 2014 http://www.educause.edu/library/resources/2009-horizon-report )
Information Standards Committee (2008) Section 3: QR code, Synthesis Journal. (From http://www.itsc.org.sg/pdf/synthesis08/Three_QR_Code.pdf )
Kerry-Bedel, A (2011) Smartphone technology – the future of heritage interpretation: Its in conservation (Accessed 14th February 2014 http://www.kbstconsulting.co.uk/QR/images/ITIC.pdf )
Lepi, K (2012) A Simple Guide To 4 Complex Learning Theories. Edudemic eMagazine 24th December 2012. (Accessed 14th February 2014. http://www.edudemic.com/a-simple-guide-to-4-complex-learning-theories/ )
New York Times. The Best Tour Guide May Be in Your Purse. Article by Keith Schneider. 18 March 2010. Copyright © 2010, The New York Times Company http://www.nytimes.com/2010/03/18/arts/artsspecial/18SMART.html
Nielsen, J (1999) Web Usability Robinson, K. (2010). Mobile phones and libraries: Experimenting with the technology. ALISS Quarterly, 5(3), 21–22 Ryerson University Library & Archives (2012). QR codes. Retrieved 6th Feb 2014, from http://www.ryerson.ca/library/qr/. So, S. (2008). A Study on the Acceptance of Mobile Phones for Teaching and Learning with a group of Pre-service teachers in Hong Kong. Journal of Educational Technology Development and Exchange, 1(1), 81-92. South Downs (2012) Use of QR Codes (Accessed 14 Feb 2014 http://southdownsforum.ning.com/forum/topics/signposting-and-qr-codes ) Tucker, A. (2011). What are those checkerboard things? How QR codes can enrich student projects. Tech Directions, 71(4), 14-16.
Vernon J.F. (2012) (Blog Post) (Accessed 14th February 2014 http://machineguncorps.com/jack-wilson-mm/ )
Vernon, J.F. (2013) (Blog Post) Mobile learning at the Museum of London: QR codes and NFCs (Accessed 14th February 2014) http://mymindbursts.com/2013/11/10/molqr1/
Weller, M (2011) The Digital Scholar: How Technology is Transforming Scholarly Practice. 5% Loc 239 of 4873
|From E-Learning III|
Repetition or re-visiting is vital. We cannot help but change our perspective as we gain more experience, insights and knowledge. We need repetition in order to get 'stuff' into the deeper recesses of our brains where wonders are worked. Therefore, far better to exposure to brilliance often, rather than giving them something less than brilliant simply because it is new, or an alternative. If nothing else Web 2.0 ought to be giving students the chance to find and limit themselves to the best.
I was up at 3.30am and I'm not even presenting. I use these early hours to write - pulling together ideas before they blow away in the wind of daily life in a household where the number of teenagers has suddenly doubled. We have the older teenager couple, and the young teenager couple ... and the parents of two of this lot looking at each other and thinking 'we're teenagers too'.
Three hours of short presentations and without exception each has an impact and contribution to my thinking an practice.
This despite the presence of a lorry full of blokes with pneumatic drills who attacked the house an hour ago - cavity wall insulation.
I am sitting here with industrial strength headphones - for a 'test to destruction' I'd say that these Klipsch headphones are doing their job admirably. I 'suffer' from having acute hearing ... I do hear the pins drop a mile away. I need headphones like this whenever I leave the house otherwise travelling is a nightmare.
Is this normal?
The great value of a session like this is to listen to your fellow students - a voice, more than a face, evokes character and conviction. Not that I ever doubted it but everyone is clearly smart, focused and keen to 'play the game' when it comes to using online tools.
There isn't enough of it.
The OU has a habit of designing the life and risk out of a module. Bring it back. Vibrancy and energy are born of risk.
The 'visitor' vs. 'resident' differentiation rings true and is based on sound research. Prensky's original ideas of the 'digital native' have no foundation at all either in his own research (he did none) or even on an academic literature research. I look forward to returning to the papers, notes and discussions on this that I have in this blog - even showing how I went from niave believer to outright objector.
If you read most of Prensky's output as I have now done you will either be horrified or laugh or cry at the absurd statements that he makes and the truly riidiculous attempts at 'cod' academic writing where references are, to put it bluntly, complete buncum. He will quote, as if it counts, the very words used by Spock in an episode of Star Trek ... and give this as a footnote and reference as if watching the episode yourself will in anyway qualify his arguement, or he will quote someone and say, 'Mr Smith from England writing to The Times' as if this is a recognised and accepted way to reference - there is rarely any opportunity to check the references he offers - I've tried often and repeatedly fail. He gained an MA from Harvard, he states, but rarely reaches the most basic academic standards in much of his writing. Take a close look at 'Teaching Digital Natives' - it is counterproductive and will go against anything teachers have been taught. He is rightfully accused of hyperbole and scarmongering. Because he is controversial it does spark debate. There have been too many 'catchy phrases' regarding eLearning. There are now many research papers, by senior, experienced academics and their teams who repeat their research with students every few years. There has never been a 'digital native' - they are as illusive as the yeti. Invaluable to try and define different user types when it comes to technology, but it is as complex as any grouping, tagging or labelling of people can be.
With six OU modules under my belt, five MA ODE and one MBA module and a year working at the OU Business School my personal and inhouse experience of these live tutor moderate sessions convinces me that, for all their foiblee Elluminate before and OU Live now are vital tools - they can give you some of that residential scholol/tutorial feel but CRUCIALLY they are an often well needed injection of 'humanity' if I can put it that way: humour, friendship, sharing and even team building and committment. My very best experiences of the MA ODE have been during and after such sessions - I wonder therefore if I go back through this OU student blog I can identify a 'bounce in my tone' coming out of them. There may be stats that if nothing else coming into and leaving a Live session increases activity and improves motivation - even works in favour of commitment and seeing it through?
Sometimes the appeal of the Elluminate sessions was so great that we'd meet up in Google Hangouts too afterwards to keep it going ... the most memorable, and 'clean, open and honest' in an OU student way, was the 'pyjama party' we had. A laugh and worthy as a 'memory making' experience - and this with people across several time zones. We clearly had amongst us something of a hyper-gregarious 'party girl' (not a sexist term I trust, would 'party person' be better? Anyway, it isn't gender specific, more the outgoing, gregarious, organising, doing person).
So yes, a crucial ingredient that personally I feel should be right at the start of any module. Hear a person laugh or sneeze, get a sense of who we all are and buy into that natural inclination amongst us to want to learn together, help each other out and feel we belong to a thing.
To add to my experience of this I will keep signing up to things so it is about time I wrote this up ... doing a traditional, on campus MA is an extraordinary contrast. I really feel that it had might as well be the 1960s: long reading lists, back to back lectures (I fall asleep in the afternoon) and picking an essay title every couple of months for assessment ... but you chat over coffee and share a sandwich in the canteen and slowly form a bond, even if it's as if we are fellow galley slaves and to graduate will require two years of rowing! And come to think of it, one of the impromptu 'hang outs' we did in an MA ODE module included food and drink ...
What I miss was getting to know six or seven people as people - not the 2dimensional 'Gravatar' and biog, but, as it can slip out, a person doing 'person' things even as simple as ducking out to answer the door or put on the kettle. Though odd if you think of them as a formal learning gathering where in one case a fellow student always brought a plate of food to the session and the other tended to be in bed - once, LOL, with her grumbling husband at her side trying to read a book! People eh!?
This is the point, to a degree, the door just open a chink, you see a little bit into the lives of your fellow students.
And do we learn something? I don't remember, but is the learning the LEAST important reason for doing these things?
Fascinating, but possibly a couple of years since I did one.
Durham County Council http://www.durham.gov.uk/Pages/default.aspx
Church Commissioners of England http://www.churchofengland.org/about-us/structure/churchcommissioners.aspx
Commonwealth War Graves Commission http://www.cwgc.org/
English Heritage http://www.english-heritage.org.uk/
East Sussex County Council http://www.eastsussex.gov.uk/search/search.aspx?q=hastings&refine=world+war+one
Hastings Museum and Art Gallery http://www.hmag.org.uk
Imperial War Museum First World War Global Commemoration http://www.1914.org/
In Flanders Fields Museum http://www.inflandersfields.be/en
Shotley Bridge Village Trust http://sbvt.wordpress.com/photos/historic/
Lincolnshire County Council http://www.lincolnshire.gov.uk/
National Heritage Lottery Fund First World War Histories http://www.hlf.org.uk/news/Pages/HelpingtouncoverFirstWorldWarhistories.aspx#.UozA82QRCHs
National Trust First World War Centenary http://www.nationaltrust.org.uk/article-1355802519177/
The Western Front Association http://www.westernfrontassociation.com/
The Machine Gun Corps Old Comrades Association http://www.machineguncorps.co.uk/index.html
Tyne Cot Memorial http://www.cwgc.org/find-a-cemetery/cemetery/85900/TYNE%20COT%20MEMORIAL
Wired Sussex http://www.wiredsussex.com/
Wired Sussex Project Board http://www.wiredsussex.com/workproject/WorkProjectsearch.asp
WordPress Training http://wpcourses.co.uk/
Fig.1. 'Poster' constructed using a combination of 'Brushes' (to layer several photos in one) and 'Studio' a simple graphics app that provided the overlays and text. Images and screen-grabs cropped and saved into Picasa Web Albums.
Created for H818: The Networked Practitioner - towards a poster to illustrate a conference demonstration of an interactive mobile learning platform aimed at sourcing the involvement of many collaborators to enrich our understanding of this period in history.
The QR code should work, the YouTube video does not - it's a screengrab. The video clip, under 2 minutes, is there.
This is Jack Wilson's WW1 Story (blog) and here is the brief interview clip. In fairness I edited around 8 minutes down to 2 minutes, keeping one story about a young woman who came down from London to meet up and otherwise to compress the kind of circuitous conversation you can have with someone in their nineties.
Fig. 2. Jack Wilson (1896-1992) talks briefly about his few weeks military training at RAF Hastings in May/June 1918. Features several of his photographs from these weeks that he sent home to his mother in Consett, County Durham. (As YouTube doesn't embed on OU platform, link to YouTube)
Fig.3. The simplest of SimpleMind mind maps to remind me what the poster still requires and is certainly missing.
And as a reminder to me there is 2500 words to write too.
Only up because it it has sounded all night as if the roof was about to come off ... then load car with teenagers, dog and clutter to meet up with my wife and my in laws. Then 800 miles through France. I'll be back at my desk on the 6th Jan. But who needs a desk these days? I can get online from the passenger seat of the car - this summer it blew my mind to be online in a plane. It'll be considerably less pleasing to find smartphones are used as eagerly and noisily 3000m up a glacier as they are in a shopping mall. Our connectedness and desire to be so has to be the technical and social phenomenon that defines the era we are living through - I would prefer to have a chip embedded in my skin so that I wouldn't have to care about keeping the XXXXXX phone charged, on a loud enough ring so that I respond, and on my person wherever and whenever I am from something like 6.00am through to the early hours of the morning.
I'm drifting into reflection mode but at one end I am getting final calls, emails and texts from my wife (an 'owl') at 1.00am (I've been asleep for a good 2 hours) then fed up with the noise of the wind I check the BBC weather at something like 5.30 am and trigger something in Facebook that informs others that I am online and I get a message from a fellow 'lark'. Come to think about it I had might as well have been online for the hours I slept given the concoctions of my dreamworld.
- Pack car.
- Wake teenagers.
- Walk dog.
- Run through assorted check lists.
- Check weather.
- Wake teenagers.
- Go back to bed and set off later as it clears?
- Woken by phone at 11.30. Where are we???
- Wake teenagers.
- Set off.
- Arrive five hours late.
- Realise I have forgotten the dog ...
- Look forward to a power cut so that everyone's gadget dies so we can look forward to a traditional Christmas of charades, deluxe Monopoly and Twister.
CALL TO ACTION
If you or your relatives have old photos from the First World War how about sharing them and let's see of collectively we can bring these characters back to life by researching then telling them story. I'm always very interested to hear from people with a similar interest in the 'Great War' especially when it comes to the Machine Gun Corps and the Royal Flying Corps where my grandfather and great uncle served.
My WW1 blog might be the place for this.
This is fascinating and important. It was brought to my attention by a fellow student on H818:The Networked Practitioner. The differences between how a person spends their time when learning is spent whether online, say on a Massive Open Online Course (MOOC), 'tradionally' and in blended forms.
Having ways to present data in an informative and engaging way is vital. Here at a glance you can see how behaviours differ. I'm eager to read further papers on this to see how the research was undertaken and how therefore I might apply it as 'how we learn now' is of particular interest to me. The Educause article this came from offers ample further reading.
I thought these were DNA patterns. I'd like to see these charts as animations annotating and illustrating examples so that we can see and are therefore be reminded of the context. Simply put blended learning increases the time a student spends on a subject - that's as good as it needs to be from my point of view as with more and varied ways of engagement comes a developong interest, improved motivation and lasting learning formation. I rather think we blend learning anyway - once it comes off the screen 'it' interacts with the contents if your brain and is invariably shared in some form or another too.
It doesn't get any better.I thought I was on top of this by now, like riding a bike, but you don't really know what kind of a beast you have a hold of until you tackle it. All the more reason to get an early draft written and give yourself a week or two to work on it. This would have been fine but the entire process leading up to H818 TMA1 has been to expand, share, search, explore ... and so it went on until like the incredible stretching man my arms reached west to Dublin and east to the Urals. Part One had a work count limit of 1500. My first draft came in at 4,600. I hacked this down by 50% then did the wise thing and began again from scratch working on the basis they I had some juicy content in my head, I just needed to focus.
A mind map with a mere 7 links on it did the job. 200 words for each and 100 words to share across an introduction and conclusion ... sort of.
I'd references the longer version in my enthusiasm so had to unpick that - there is only one thing worse than missing out a lot of references, is referencing a lof of stuff that is no longer there.
Then part two.
For reasons only known to the OU IT team I couldn't zip two documents on my Mac so emailed the documents to my wife - I am sitting at her laptop now. The period between sending these files from my office 11 miles away and cooking supper (I do) gave me a chance to dwell on a sentence regarding part two
Students are encouraged to be bold and innovative in setting forth a project proposal.
A breathing space, a chance to reflect, a deadline fast being overdue ... so I went for it. Controversy gets attention. So does death. This has both. And if I play my cards right I'll need to find an actor, dress him up, get some make up then film them in their final moments.
Fig.1. SimpleMinds+ concept board/mind map for H818 TMA 01
Sometimes it is too much fun. Actually writing the assignment is such an anticlimax. Sometimes the tool offers too much. SimpleMinds (Free) does the job more the adequately. Here I got mesmerized by the ability to add pictures ... which might be a visual aide memoir but are unecessary and unlikely to make it into the assignment. Though I do believe in illustrating the thing if I can. However, given the module I'll have to be very sure indeed where I stand on the creative commons for any images used. There's a mash-up here from a publicity piece on the Musem of London using an application called Studio - I ought to attribute both. There's a photo I took in the Design Museum. To confuse the visitor some parts of this show permitted photography, some didn't - this did, but I don't know on what basis. In the centre there is a compex SimpleMind of my own on 13 learning theories (there are possibly only five or six, but I stretched the thinking a bit) I ought to have a creative commons licence on it of some kind so that a) I receive attribution b) there is no commercial use c) there is no chopping it about. ie. CC attribution, no commercial, share alike?
(p.s. up in the middle of the night with allergic rhinitis, waiting for medication to kick in. A pain, but far less troublesome from being kept awake with asthma).
Pointed here by Chris Pegler, from the BBC.
This ABC Australia, award winning 3d virtual tour of the first day of Gallipoli deserves attention.
This is the 'Avatar' of production values. Sympathetic. Balanced (I hope, it includes the Turkish perspective) and compellingly engaging. It sets the benchmark for delivering this kind of content. It says something too of the blood-letting, nation-creating, soul-searching in relation to loss in this way and on this kind of scale that many European countries will need to revisit over the next few years.
A teacher will never have the budget to create this kind of content, so how do they willingly use it in their teaching?
Does it motivate someone new to this story to find out more? How does it work as education or entertainment? Where does the funding come from? As mash-ups go this is very professional. The learning design and its gamified values are second to none.
(First posted in OpenStudio in my R&R 'concept board' as part of the MA ODE module H818: The Networked Practitioner).
Fig.1. CityStories for mobile
City Stories are files of content, like popdcasts with text and audio, with images and video, linked to a map that spots each 'talk' and tracks your position.
Fig.2. Where the walking starts and ends
Reading about this online and taking a look is one thing. Going to London to walk the talk is another experience entirely. The immediate and obvious point is the context. You aren't looking or listening to this content at a desk at home, but on the move. I get my bearings at a Patisiere Valerie in Holborn then head down the road to Queen's Square and a hub of hospitals that have been growing up here for centuries.
Fig.3. Where's the value in information that already exists?
There's no longer any excuse to get lost in London? And not more call for a GPS tracker?
Fig. 4. Where am I?
I put on headphones and become another pedestrian lost to the world, though probably taking more interest in my local surroundings than most.
Fig.5. Queen Square Gardens
I start in Queen Square Gardens. I find the audio guide somewhat eclectic though. It is sponsored by the Wellcome Foundation and has a medical theme, but the narrator sweaps up random historical tidbits from far and wide - we go from the first houses and first hospital in the square, with quotes from letters or diaries and then it is mentioned that a Zeplin dropped a bomb in the square during the First World War and that people sheltered below the square in a shelter during the Second.
Fig. 6 Where a Zepllin dropped its bomb on 8th September 1915
It harmed no one, though it left its mark.
And this commenced my search for this plaque to the Zeplin bomb, which I finally located, under dust and leaves and barely legible having by now found so much more that I wanted information on that this audio guide didn't provide. Of the 32 garden benches in the square only one does not have a dedication on it: most are to residents, some I would understand were treated in one of the several hospitals around the square, as well as memorials to former consultants, doctors and nurses. Poignantly, one to a person mudered in the London bombings.
Fig.7. One of the more poignant of some 28+ plaques commemorating those with a connection to the square - this is where 'pinned' augmented media can tell a story.
These are many interesting human stories here, non of which are explored.
Fig.8. Another local resident remembered
Such this memorial to a cat, as well as assorted other memorials, few of which explain themselves and none of which are mentioned in this audio tour.
It's as if the guide was written without actually standing in the square, looking around and as a radio broadcaster would do, give some colour and background to what you can see as you turn on the spot, or follow the path around the square. To miss something out is to say something, just as it says something to put it in.
My interest and disappointment here is that I thought there would be a set of QR codes around a trial of 3 miles and at each one I'd call up the link to information that would, if I looked around me, would inform me of what I was seeing and what is going on behind the scenes. It could offer a soundscape of a different era. Memorable insights. Something to encourage me to start a journey, to want to find out more. I didn't. I expected more on the Great Ormond Street Chidlren's hospital but got less than I'd get from a quick Google to Wikipedia or YouTube. It did take me to Thomas Corram's Foundling Hospital
Fig. 9. Thomas Corram's Founding Hospital Museum
The opportunity to create highly relevant, engaging, memorable, award-winning mobile learning exists. The above was created using the open software from WordPress. The research needs to go beyond the obvious, beyond the everyday guidebook or wikipedia. You need to knock on a few doors, get some local colour, hear from people who live in the square ... or lived in the square. And if you want to do a 'drama reconstruction' then get the investment for a proper soundscape, actor(s) and script. Leaving questions unanswered is fine - it is easier enough to research further.
Most fundamentally, who is your audience for this?
There are three kinds of people in this part of London: UCL students, patients and visitors to the many hospitals and those working in the hospitals and universities. Many will have a smartphone. IF they know what a QR code is then I'd expected to see this placed in opportune spots like miniature versions of those blue plaques you find on houses.
Fig. 9 Plaques today, engraved QR codes of NFCs tomorrow?
Isn't Google running something with Google Maps where you can pin content, audio and video, to a GPS location?
Fig. 1. Amanda Palmer TED Talk
A fellow student on H818 The networked Practitioner found this 13 minute TED talk from Amanda Palmer who secured $1.2m in crowdsouring to record an album. I reflect on the significance of her life story and perspective on asking for, trusting and giving. It isn't a collaborative endeavour where the crowd take part, but rather closer to a performer seeking recompense from an audience that permits them to do more of the same.
I doubt 'crowd funding' will kill of the X Factor.
Personaly I get what she is saying and will press on with a crowd sourcing project - a few people saying they'd put in $200 encourages me. I need to raise about $20,000 to digitise video 'archive' I shot as an undergraduate in the 1980s. That's just the start of it. Self-funding short-films that cost £10,000 to make for £500 TV rights doesn't work for anyone. In 1999 when I started to blog 'we' paired up with a designer who did the platform and coding for free ... but we'd ask for donations.
These generally came from the same people who were trying to make a go of this new medium so I guess the funds were circulating in a closed community - or, what I think is the case, for those who create there are 96% others who partake, or consume.
Like the trobadors.
What Amanda Palmer expresses IS common to much that is created on the web, certainly, for its earliest days of 'share and share alike' that I had felt had long gone. This sense of connection with people though comes from pleasing that fraction of a huge population.
Fig.2. Amanda Palmer in her days as the 8ft Bride living statue
Personally I have never given money to a living statue, though I have never shouted abuse at them either. I have however busked in my teens, even getting into bars and restaurants to do a set and by default found people wanted to pay me when I sat in parks drawing and would do portraits - I couldn't part with the drawings as I needed them for my A'Level portfolio. But I personally liked the sensation and drew satisfaction for doing something that others enjoyed that they couldn't do themselves - perhaps this explains my love for performance and theatre, another activity I long ago quit in favour of efforts to get and keep 'that job' that people yelling from cars would talk about.
I wonder if this too explains the inclination of educators to 'do it for free', at least from the security of tenure with a college, school or university?
My father in law is an 85 year old academic who has 'given it away' all his life, going way, way beyond allotted 'hours' as a tutor ... the consequence is that he does have hundreds turn out to 'gigs' and 'fund raisers' for his net project. So, interestingly, I think there is a lesson here that has a good deal to do with openness in education.
This isn't the same as collaboration though.
An audience gives their time, their presence, or food, or a sofa to sleep on - even money when it is asked for, and even inspite of not asking for it in the case of the $10 from the bloke who burned Amanda's CD that he had been given as a gift.
Openness, I wonder, from characters such as Amanda, is a psychological need for some and a requirement in society. We are still, as human beings, pre-urban, pre-monetised, where in a self-supporting community a community of people could meet all their needs - including the need to be entertained and taken out of our heads. Perhaps an anthropologist would describe Amanda Palmer as a natural 'witch doctor'. Amanda wonders if 'the internet is taking us back, about a few people loving us enough' - to a sense of shared society and community.
I like the comparison between sleeping on someone's couch and crowd surfing (though it wasn't her on the couch in this story). THAT is more usual, and I've done this too, hitching through France in my teens (again), on more than one occasion we were taken home, given a meal and either allowed to put our tent up in a garden or given the couch to sleep on.
So how does this explain or justify 'crowd sourcing'?
It comes down to trust. Which also means having a thick skin or ignoring some of the vitriol written in the comments to this TED lecture - nothing like controversy to get the fingers typing.
'The perfect tools won't help us (I'm paraphrasing) if we can't face each other and give and receive fearlessly and ask without shame'. Amanda Palmer, TED Talk 12:11
But will this mean that like Cacofinix some musicians will play even when they don't have a commercial future?
The number of buskers who deserve my £1 are rare ... sometimes I give them £1 because I admire their nerve. Sometimes they too should keep quiet - they might get more as a living statue. I'll have to go and listen to Amanda Palmer's music now. This isn't sustainable for the film industry ... how can a movie costing $200m make its money back on handouts? Or is crowdsourcing and handouts an alternative means of funding?
I'll know when I've tried it.
If educators are funded by the state, from taxation, are they living on hand outs? Is the BBC a product of this culture of hand outs too? If during a MOOC participants are asked to pay what they can afford will this permit those who can't pay to continue thanks to the largesse of those who can and want to?
I'm off to make a donation to a friend who has spent his life writing - and to a lesser or greater degree getting published. How else can we enjoy commentators?
Couchsurfing IS my father in law staying with his former pupils whenever he travels to north America or continental Europe - they want to put him up, and on a lecturer's pension he couldn't travel otherwise. He didn't need the Internet to develop this crowd either - though it makes it easier to be in touch these days.
In education the Amanda Palmer as lecturer would put on a free gig and then take the hat around - those who could pay might pay over the odds, those who couldn't pay would have the benefit of her talk, while those who could pay but don't make up that fraction of society who habitually take and give nothing back anyway.
To what degree have religions relied on the largesse of followers? A hat being passed around at a gig? The hat going round after a performance by a juggler in Covent Garden ... or the collection box going round after a church service?
Thought provoking in its controversy.
I've not seen so many NEGATIVE comments coming out of a TED lecture before either.
Some Music (think 'Hazel O'Connor, Breaking Glass 1980):
Imagine a room in which students pick an item from a museum then do this with it on their screens. You have their attention. How do they then take it and create a string of memories that take them through assignments and beyond?
Imagine downloading ahead of a visit the audio tour for a special show? My visit to the Royal Academy to see the Van Gogh letters had my mother as the audio tour - I wish I'd recorded it. Where we now have ONE voice and script very soon there will be many - then you can choose who you want as your guide.
And then imagine an audiotour pinned to locations as you walk around a town, showing you before and after vistas, telling you stories or offering an alternative soundscape. Not if your in a hurry. And if on your daily commute you'll turn yourself into an expert and need to upload your own research and insights. Here the 'Blood, guts and babies' medical tour from the Wellcome Foundation.
And at the risk of getting hit by the next best, take your eyes of the footpath and take a augmented view not just of a shop or cafe, but illustrated history ... London Blitz would be scary, to see a motorbike currier heading towards a bomb crater.
Where have I been the last coupld of years to miss Near Field Communication ?
Certainly over the last six months I've been reflecting on the desire for some kind of situation-based, intuative, just-in time information-tailored system for applied learning ... and more recently for use in museums anf galleries. I have kids. I go to museums and galleries. The last time I looked we were still being invited to buy audio-guides.
Maybe that explains it. Does a museum or gallery want to diminish the value of its own paid-for services, even to reduce the likelihood of the purchase of a guide or any other sundry books or postcards if you're getting a suitably rich record of your visit for free?
NFC, QR codes and the ubiquitous Smart Phone must in time give way to wearable technology, the wrist band with a chip in it that I got at the 'In Flanders Fields' museum Ypres is the first step towards something bigger and brainier. The wrist band with a memory stick embedded in it from the University of Birmingham was a lost opportunity too - it should have been loaded with a 'good bag' some software, a piece to camera from the head of department and maybe an eBook to get us going.
In the past, and still, pen on paper, sometimes with coloured felttips, is the main form of 'user generated content' for students - apt as they will be assessed by writing and colouring in. This needs to be replaced by UGC that uses the devices they have in their hands - their images, typed in text (or voiced) with annotations and mash-ups.
Fig.1. YouTube video for the Museum of London's NFC initiative in 2011
Having picked through links that came to a dead end in a fascinating paper on the variety of technologies and tactics being used by museums in relation to mobile learning I started to see and read more and more about the use of QR codes (those matrix two-dimensional barcodes you use with a smartphone) and NFC 'Near Field Communication' which is becoming an industry in its own right.
Having been kept awake at night about a need for 'constructing knowledge' rather than being fed it I knew that visitors, students especially, need to engage with their surroundings by somehow seeking and constructing their own views.
Without QR and NFC the simplest expression of this is taking notes, and or photographs of exhibits - not just selfies with a mummy or your mates. Possibly doing bits of video. And from these images cutting/editing and pasting a few entries in a blog, Prezi or SlideShare. QR and NFC feed the visitor controlled and curated bite-size nugets, so more than just a snap shot, you can have audio and video files, as well as more images and text.
Fig.2. South Downs Way QR Code.
Successful trials mean that these have spread. Funny I've not noticed them living in Lewes and walking the dog most days on the South Downs. I'll take a look. NFCs have been used extensively, for 90 exhibits, at the Museum of London - so a visit is required. Though I won't be ditching my iPhone. Apple does not support NFC believing that the technology is still in its infancy ... like Flash, like Betamax and VHS, and all that stuff, a battle will be fought over the NFC benchmark.
So 60% penetration of smartphones in the population ... most of all of which can use a QR code, but less using a early version of NFCs. My experience?
Fig.3. QR Codes at the Deisgn Museum
Last year a visit to the Design Museum I found the 'Visualizing the mind' exhibition littered with QR codes.
They didn't work. Just as well they had ample computers. How often do organisations jump on the IT bandwagon only for a couple of wheels to fall off further down the road?
Meanwhile I'm off to walk the dog .. then using a trip to see Gravity at the Odeon Leicester Square with my kids to include an educational tour to the Museum of London (always handy to have a teenager around when using mobile technology).
'REPORTING RESEARCH' 2013, Interpretation Journal, 18, 1, pp. 4-7, Academic Search Complete, EBSCOhost, viewed 10 November 2013.
Fig.1. The Pity of War (1999) Niall Ferguson. Same page/location.
Unless someone can offer me away around this I have found myself, after reading, highlighting and adding notes to an eBook that the only way I could properly cite it would be to purchase a print copy. This I did for £1.86 exclusing p&p. Cheapest of all would have been the library, but getting it sent from an outlying library then not being able to locate my library card ...
Even for £1.86 I will not annotate the printed page. I'm loathe even to break its back ... some 500 pages takes some negotiation.
I have long taken the view that the amount of effort required to pull together your thoughts does more good than harm in the long run - I've engaged with and 'constructed' my personal understanding of what is being said here rather than on a whim highlighing pages in the eBook and never giving them a second thought. Matching up the Kindle Location to a page number has had me jumping back and forth.
Is there an easy way to do this? I find I look for tables and charts, or references (that are standard in both formats) near to the 'search' I\ve done in the Kindle book. Indexing is crude, the difference between throwing a dart or a kitchen knife at a target across the room.
In one made moment of 'blending' the approaches I thought I could buy two paperbacks, tear out the pages and wallpaper them to the garage wall, then use coloured string and such like to seek out all the links like some murder mystery investigation.
OTT (Over the top).
Will printed books soon seem as archaic as a codex or papyrus?
The highlights and notes in the eBook have been less useful than I had hoped. They were just jottings, moments that hinted at a need to give something further thought - more detailed notes would need to come on a third read through. I've managed two.
The book is chunky, a thicks as a telephone directory. You get NO impression of size with an eBook, not the weight, presence of page numbers.
I need to play around with it further still. I do wonder if after all there is real educational value, savings and practicality to loading an eReader with standard texts. A student has no excuse if that term's books are on a device in their bag. What is best practice with use of eBooks in post compulsory education?
Fig. 1, Ken Robinson: On education ... and a fix for the huge drop-out rate in American Schools.
An excellent TED lecture. Worth taking notes. These are mine.
Offered by fellow student Marshall Anderson on the H818: The networked practitioner journey.
Worth listening to a couple of times (as I have just done).
Music to my ears, though I am not a teacher and have given too much of my career to the mechanised teaching he knocks ... digital and interactive learning is and has been, surely, a product of the mechanised approach? But you don't question the legitimacy of e-learning in an e-learning agency and suggest that a blended approach would be better.
They have one product on the shelf.
Which puts me at odds with the hand that has fed me for the last couple of decades. Next stop Finland? There is of course an answer here and that is recognising, please, that children, whilst deserving a better education system and approach, are NOT always at school ... this curiosity and motivation can be developed at home if and where a family have parents with the time and inclination and where, ideally, they also have contact with grandparents and even cousins, and especially friends.
FIG.2. TED Lecture with Ken Robinson
Ken Robinson is right to celebrate the human side of the child, that:
- human beings are naturally different and diverse
- that 'lighting the light of curiosity' is key and that
- human life is inherently creative.
For the moment my interest is with my 17 year old daughter and 15 year old son ... hoping and helping them to find and know what motivates them. It is this that will get them through school, a worthwhile goal beyond the barriers that exist in formal education - you still have to satisfy the standardised tests in order to get a place at university. Which is another schooling environment Ken Robinson doesn't touch upon - you can give us human beings too much freedom. Parameters are stimulating, both the negative and positive ones.
A struggle makes something worthwhile.
It helps to create a common memory too. Fundamentally this reminds me that any learning and especially e-learning needs to be seen in context - an e-learning platform or project is never exclusive, it is always part of what else is going on in the participant's life.
Blended, rather than pure e-learning is surely therefore the way forward?
Wise words put succinctly and with wit. Common sentiments that we struggle to realise. Privately educate? Home educate? Or move to Finland, Canada or Singapore?
Fig.1. Applying learning on the First World War with e-learning - some Kindle reading.
I believe very much in the process of pulling apart, opening out, expanding, then editing, revising and condensing. There is an applied 'creation process' here - the three diamonds or Buffalo system that I sense H818 is taking us through.
Fig.2. The 'Buffalo' system of opening up, the compressing thinking
These days it is easy to grab and mash any content on a digital screen, but where I have a book I will, in some circumstances take pictures rather than write notes, then quickly bracket and annotate this text before filing it in an appropriate album online - for later consumption.
Regarding CC I'm afraid as the music and movie industries have already shown people will do as they please even where the copyright is bluntly stated. Academia will require and expect that everything is done by the book - the rest of the world won't give a monkey's ... 'we'll' do as we please until there's a legal shoot up or the 'industry' realises that it has moved on.
Regarding eBooks, Amazon are looking at and expect to be very much at the forefront of the evolutionary of the book. Google are competing in the same space.
'Have we reached the Napster moment in publishing?' a senior engineer at Amazon asked.
My head, content wise, is in another place, studying First World War military history. As never before on the MAODE or subsequent OU e-learning modules, I know have content to put into these processes. For example, 'the causes of the First World War' might require reading of a dozen books and papers/pamphlets starting with H G Wells in 1914 and ending with books appearing on tables in Waterstones this week. Courtesy of the Internet just about anything I care to read, at a price, I can have within seconds on a smart device ... or overnight courtesy of Amazon.
Whatever my practice, this content is mashed-up in my head.
If I mash it up through screen grabs, notes, sharing in social media and blogging then this is another expressing of what is going on in my head - though controlled by the parameters of the tools and platforms I use - currently a wordpress blog, SimpleMinds for mindmaps, and 'Studio' for layering text and images over screengrabs i.e annotations. As well as what ever Kindle gives me in the way of notes and highlights.
This kind of 'extra corporeal' engagement or visualization of what is going on in my head with the content gives it an life of its own and an extra dimension while also re-enforcing my own thoughts and knowledge. I'm sure that I am rattling along this learning curve at a far, far greater pace then I could have a decade or two decades ago. Patterns are more apparent. And I am spotting too many misappropriated images too. The idea that you can grab a frame and relabel it is 100 years old!
Fig.3. How I filmed the Front. Geoffrey Malins
For example, the footage from the 'Battle of the Somme' is often 'grabbed' with subsequent combatants and authors claiming these to be original photographs of their own - they must have had access to the negative. This footage, as I am very familiar with it, is repeatedly put into films and documentaries completely out of sequence.
As reference above is correct - I find 'grabs' from the film footage and photographs taken by Ernest Brooks who accompanies the 'cameramen' around the Somme in June/July 1916 constantly claimed as another person's own photograph or belonging to their collection.
A false or alternative impression is therefore built up.
Then, across YouTube, sections of TV dramas and films are snatched and cut into a person's own re-hashing of a different story. Harry Patch died age 111 or something - the last veteran. A tribute to him uses footage from the TV drama staring Daniel Radcliffe called 'My Boy, George".
Are we therefore seeing with text, stills and moving images what has been happening to music for the last decade or more - deliberate, and often illegal sampling and mashing, rehashing, exploiting of someone else's work? If so what impact will this have on content in the future? Does too much of it start to look familiar, rather than original? Or does originality come out of this process too?
The conclusion might be that people simple sidestep the stilted, stuck, formal process of academia - where the sharing process is so desperately slow. The paper I read on use of audio and tracking in a museum I thought was reasonably current as it was published in 2008 but the technology used comes from a different era - 2003. Research done in 2006, initially submitted as a paper in 2007, published the following year.
An R&R department functioning like this would be left behind.
Knowledge must leak, must be shared sooner, and where those share a work in progress it should be commended.
Fig.1. Listening to a memorable and evocative 'visitor audio tour' on Alcatraz. Away from the bussle of people, by a nature reserve for nesting ganets.
1) Theme and Format. Presentation of a multimedia model, QStream, for use before, during and after a trip that might be to a museum, historic property or battlefield.
2) With the centenary of the First World War upon us I would like to find ways to enhance the visitor experience, perhaps for those with a GCSE or A’Level, or an undergraduate interest rather than for the general public. Ideally there would be options to select a level of interest and previous understanding.
3) For this audience Secondary or Tertiary audiences will be of most interest. Perhaps even promoting an MA course for graduate Historians?
4) I have had an interest in QStream for a couple of years and developed a proposal for its use with patients with chronic illness. This is an alternative, though equally valid use for the platform. My only variation on this would be to include an audio component, and/or to track visitors so that content might be tailor to and for them.
5) How an App that spaces learning over a period of weeks and months can support the experience of visiting a museum, historic property or battlefield.
How an App is able to create a personalised experience for a visitor to a museum, historic property or battlefield that enhances the learning experience without ditracting from the artefacts or the place itself, in other words, in compliments and augments the experience created by the visitor on their trip.
6) Already familiar with QStream (aka Spaced-Ed) I checked on latest papers and developments. I searched ‘museum’, ‘augmented’ and ‘elearning’ and from a selection of around 12 papers have thus far read, in depth, two of these as well as a couple of commercial conference presentations of a museum platform. Based on this the idea is shifting towards headphones tracked in a space feeding a bespoke sound landscape and commentary based on where a person is and their observed and apparent behaviour. One platform avoided the need for any input by the user, though for my purposes GCSE (Key Stage X), A’leve (Key Stage Y) or Undergraduate, even Graduate is considered necessary so that you compliment the person’s necessary learning experience.
7) My literature research approach can always be refined, having completed H809 Research-based practices in online learning I feel compotent to conduct a thorough search.
8) One gltich was to in error delete a folder in RefWorks rather than create a bibliography. There was no back button to undo. I make look at purchasing a commercial referencing tool such as EndNote. Having always felt that online learning was a process I felt the need to have a subject specialism too, for this reason I am taking a Masters degree in British First World War studies with the University of Birmingham. This is a very different experience. A monthly day of lectures/tutorial, a reading list with books to find from a regional university library, and an online platform that makes the OU VLE look like Whisley to Bham’s assorted allotments under the railway bridge! But you do get to meet fellow students and librarians.
9) Audio, without visuals, felse like harcking back to audioguides of the 1980s and 1990s, yet today, with GPS and other sophisticated tracking devices a visitor experience can be situated, to the spot, personalised to the individual, and still be evocative through ‘paininting pictures’ in the mind without ditracting from artefacts museum curators have so carefully chosen. A recent experience visiting Alcatraz, for all its Disneyfication and complimentary wildlife sanctuary cum Native American protest camp, included what I would describe as a BBC Radio 4 docudrama that was intelligent, moving an engaging - a blend of officer, prisoner and officer family oral memoir and soundscape. However, it did rely on the visitor being in the right spot when the audio was played so that very quickly, taking my own route around the island, I found the content in my head at odds, in an interesting way, with what I was looking at: ganets nesting on an old basketball yard (making it akin to a visit to the Farnes Islands or the Bass Rock, also an old prison) while in the distance mulitmillion dollar multi-hull yachts raced the America’s cup.
The experience of Alcatraz would be extended if I had this audio-tour still to listen to repeatedly, to read as a transcript and then to find links for my own research. Having circumvented the regular tour I nearly found myself embarking with the headphones still plugged in ... I'm like the characters in 'Jurassic Park', I soon tire of someone else's plot and create my own journey. It gave new meaning to the 'birdman' of Alcatraz, for example. And I can see why Clint Eastwood would never have made it to land ... you'd be washed out into the Pacific.
Andreas Zimmermann, Andreas Lorenz (2008)
This is a paper presentation at a conference of a museum visitor guide system that uses a combination of tracking/observation and audio-artifacts to create a personalized visitor experience. The paper reveals the extent of trials, tests and adjusts as well as evluation which in turn offer ways that a proposal might be in the form of a presentation of the platform or a workshop that might assess how visitors are profile at the start of their visit.
I had in mind some kind of open, mobile personalized learning for use by visitors to military museums, perhaps national trust properties and even battlefields. Each of these offer very differ user experiences and expectations though. A literary research reveals that the planning for visitors to an exhibition, collection of curated events or gallery is complex and the history of using technology to support visitor experiences is lengthy.
The research for conference papers is approached from two directions: the standard approach through the OU online library using terms such as ‘museum’ ‘elearning’ and ‘augmented’, while also drawing on personal knowledge of the many digital agencies based on the South Coast (profiles of these companies are available from the regional hi-tech association ‘Wired Sussex’). Cogapp have been producing digital content for museums since the mid 1980s. These and other agencies often present ‘papers’ at conferences, though the quality, in academic terms, of these presentations is sometimes questionable - is it promotion or is this the presentation of valid research? I can also draw upon a personal interest in musuems, galleries, and other visitor attractions from national trust properties to battlefields all, or some of which, come with some kind of ‘guide’ - traditionally as a leaflet or guide book (Picaso Museum, Jean Miro), often with an aduio guide (Alcatraz, Muir Woods, Royal Academy: Van Gogh, Bronzes), though increasingly from online resources with some attempts to use modern mobile devices (Design Museum) or to personalize the experience (In Flanders Fields, Ypres). (Great North Museum)
There are major, global conferences on e-learning, some with an orientation towards, or significant presence from the museum sector. Over the last decade there has been considerable interest in improving, through personalization, the visitor experience.
The attraction of this paper, although it is limited to an audio platform whereas I had in mind something visual, the narrative from conception to testing, delivery and evaluation is thorough. It is insightful on studies of the museum visitor experience, curator relationships with artifacts, use and potential of audio and tracking/observation technology - both hardware and software (Zimmermann and Lorenz, 2008:391)
motion-tracked wireless headphones
individualized and location-aware soundscape
as well as content preparation and feedback on an iterative process.
These approaches will become increasingly sophisticated, discrete and effective for different visitor ‘types’, even reflecting how a person’s behaviour may change during the course of a visit. It is insightful to discover the degree of sophistication for understanding perception types (Zimmermann and Lorenz, 2008:391)
And visitor types:
A definition of personalized (Zimmerman and Lorenz, 2008:394)
Layers of information
Increasing levels of involvement
Pedagogical (Zimmermann and Lorenz, 2008:400)
considering the social context
McCarthy and McCarthy 2005 distinguish four types of learners:
Gardner 1993 identifies seven:
Veron and Levasseur 1983 determined visiting styles based on observstions of animals (Zimmermann and Lorenz, 2008:404):
ants (following the curator's path)
fish (holistic point of view)
butterfly (interest in all exhibits without following the curator's path)
grasshopper (interest only in specific exhibits)
leading to the Macke Laboratory outputs of:
sauntering: the visitor is slowly walking around with an excursive gaze.
goal-drive: the visitor displays a direct movement with the gaze directed towards a specific artwork.
standing, focussed: the visitor is standing with the gaze directed towards a specific artwork
standing, unfocussed: the visitor is standing or sitting with an excursive gazs
(Zimmermann and Lorenz, 2008:409):
- fact-orientated - putting a high eight on spoken text
- emotional - prioritizing music pieces and sound effects
- overview - focusing mainly in short sound entitites
Zimmermann, A, & Lorenz, A 2008, 'LISTEN: a user-adaptive audio-augmented museum guide', User Modeling & User-Adapted Interaction, 18, 5, pp. 389-416, Business Source Complete, EBSCOhost, viewed 28 October 2013.
Inclusion/Case Study : John, an engineering Postgrad PhD student with Cerberal Palsy.
Inclusion/Multimedia Demo: Xerte.
Inclusion/Workshop: Creative Problem Solving: YouTube
Loads of ideas in VanGundy's book: VanGundy, A.B. (1988) Techniques of Structured Problem Solving, 2nd ed, Van Norstrand Reinhold. Techniques 4.01, 4.06, 4.57
Innovation/Paper: Spaced-Ed, now QStream. A platform initially designed to support junior doctors as they revised for formal knowledge assessments. Paper (Paper available in OU Library)
Innovation/demo: QStream 90 day trial.
Innovation/Workshop: Creative Problem Solving:
TAGS: cerebral palsy, accessibility, junior doctors, harvard, qstream, spaced-ed, structured problem solving, van gundy, xerte, multimedia, inclusion, case study, engineering, phd, innovation, youtube,
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