Personal Blogs

I use the metaphor of essay writing being like sewing a tapestry but wonder if making a house of cards wouldn't be better? In many respects this is how I now write: notes from copious reading reduced to frames in a presentation, and even notes on Rolledex cards that are in time grouped into a coherent argument and then 'stacked' into shape to form an essay. Looked at in this way an essay is a case of assembling the right parts in a logical order. Looked at this way, on reading through, you can identify a card that is out of place or faulty. It takes great care if the entire edifice is not to fall, or, however reluctantly, you have to dismantle the thing and build it up again from scratch. THIS is where I fail to get the illusive distinction - faced, inevitably with such a house of cards, I am loath to fix that card, wherever it might be, knowing that to reassemble the 'house' will take time and effort and a degree or repeating a task you thought was done.

For all the gadgets I've gathered around me and despite for 18 months doing everything on a screen through a keyboard or touchpad, I know have a whiteboard and put sheets of paper on the wall. I take notes. And when I need to hunker down I pick one of these and commit.

Green - One Minute

Yellow - Three Minutes

Black - Thirty Minutes

Blue - An hour

I practice I find 3 minutes does the job and I may keep going for several hours. My heart is telling me not to panic then the adrenalin rush kicks in.

An hour is just that. It is a pre-arranged slot and I find I am yawning at 55 minutes, as if I am waiting for the class to end.

I have just downloaded Power Structure - a piece of software I first had on a PowerMac 15 year ago. It came on a pack of foppy discs then. It's been nearly four years since I used it - since my Macbook died. I've been begged and borrowed desktops and laptops for most of the MA ODE and have only got the money together in the last few months to get my own computer and gather in some of my favourite software.

Power Structure prompts me to construct a sound treatment once I have an idea in my head that I want to run with - not suprisingly its something that has come out of the last five months of a module on research. Somehow I've leant towards Web 2.0 or what the healthcare industry is calling Pharma 2.0 and a world where we wear and swallow microchips that gather and record data on our health.

Reread the introduction to Crook and Dymott’s chapter. Then read the rest of the paper. As you are doing so, make notes on the following:

What part do the five aspects of writing (text on the screen; text on the network; text as electronic traffic; text and the website; and the dialogue around text) play in describing the activity of writing? Do they ‘effect’ writing or ‘constitute’ it? How?

Do you think that the learning involved in writing the assignments, or carrying out the other tasks described, is located in the head of the students? Or do you think it is distributed and situated?

Crook and Dymott discuss the fact that there were substantial differences in the ways in which individual students used resources in one of the tasks (p. 103). What does this tell us about the mediated, situated and distributed nature of the activity?

If you were given the opportunity to assess some of the students’ assignments that are described in this chapter, where would you focus your attention: on the end product or on the process of writing, and why?

Which methodologies would you use to carry out your assessment of the students’ assignments, over and above those described in the chapter, and why?

_____________________________________________________________________

Writing is a function of the communicating clusters in our brain and will produce the same results whether cuneiform on clay, hieroglyphs on stone, handwriting on papyrus, printing on paper, text on a screen or an annotated animation in a video. The way the brain functions is to read it or to compose it remains the same.

Learning is both an artifact and a process - the artifact exists as a potential in the brain and when stimulated can in part, through the complexity, be seen in a fMRI scan. The process of learning takes place as an interaction with the world around us, more people, but also the context and ours.

Quiz 100 students at the OU who study online and you will get a wide variety of answers.

I don't think one approach would correlate with better or worse results either. Students come to understand that it requires some kind of participation with the text beyond simply reading it - so whatsoever the platform you learn to take notes, or highlight, or in my case even screen grab and crop in order to filter, punctuated, and reduced the text - and in the process make it you own.

The end result is far and away the most important consideration, if the result is very good or very poor it might be worth asking what the students did. Chances are nit long ago it would have been exactly the same thing - the higher scorer simply doing more of it, with greater effort and focus.

An in depth hour long interview, with video recording for further later analysis - and a follow up even to this. And stuffing the ethics of it leaving the recorder on beyond the end of the formal interview. This is necessary in order to get some semblance of what was really going on.

A diary or journal kept st the time and discussed can offer insights though some will struggle so a prompt sheet of some 16 or so questions might help them record the facts and detail that matters.

Going to a further extreme, and with any ethical and legal, and privacy/data protection issues covered, to use a SenseCam or some such life-logging device in order to understand what really went on - in particular the context.

I am flat on my back on a bed with an iPad at the moment, but can be at a laptop in the kitchen or in front of some huge screens on my son's desktop. I prefer eBooks and will highlight, note, even comment and Tweet thoughts as I go along.

Wherever my head goes my 'cloud' comes with me.

When I can only have the book then I do as I did as an undergraduate - I take notes as I go along - into the iPad with pages bookmarked with PostIts.

1) Find an example of an online learning resource from your own context that has plenty of visual content that might need to be described for a visually impaired student.

Teaching breaststroke : symmetrical whip kick and glide, arms in front of the shoulders during the pull, head still looking no further than in front of your hands.

Coach Marlins - my swim teaching and coaching blog.

A personal resource, reflection on swimming (masters) and coaching for Mid Sussex Marlins Swimming Club.  A first step towards creating a mobile resource. Below is an excerpt from a typical morning teaching four groups - three grade groups (4.5.7) typically 7 - 11 year olds) and a disability swimming group of children and adults.

See 'The Swim Drills Books'

The introduction read here : YouTube

Grade 7 are technically superior and have more stamina and may be a little older. The ones I watch out for are the 7 year olds in with 10 and 11 year olds as they need a different approach, TLC and play.

WARM UP

• 3 x 50m warm up of front crawl and backstroke

Always giving a tip before starting them off (and accommodating the odd swimmer who is invariably late), say 'smooth swimming' or 'long legs'. i.e. reducing splashing and creating a more efficient swimmer.

1. Make sure too that there is a 5m between each swimmer.
2. 25m of Breaststroke to see what I've got and potentially adjust accordingly.

LEGS

• Kick on front with a kicker float.
• Taking tips from 'The Swim Drill Book'
• I remember to put as much emphasis on keeping the chin in.

The glide is key - this is where to put the emphasis.

• May start the 'Kick, Pull, Glide' or better 'Kick, Pull, Slide' mantra to get it into their heads.

ARMS

Standing demo of the arm stroke, from Guzman, forming an equilateral triangle and keeping the fingers pointing away.

• Will 'describe' the triangle poolside then ask what it is and what kind of triangle.
• Anything to get them to think about it a little.

• I show this as a single action.
• Other things I might say include 'heart shaped' *(upside down).
• And making a sound effect 'Bu-dooosh' as I push my arms out.

Repeat the need for a pronounced glide, even asking fo a 2 second count (one Mississippi, two Mississippi)

I support by showing images from 'The Swimming Drill Book' on an iPhone or the Kindle

Leading into the turn we do in sequence (from the shallow end):

• • Push and glide for count of 5 seconds
  • Same, then add the underwater stroke and See how far you can go.

Legs Only Drill (Advanced)

Arms outstretched above the head. No kicker float

• The whole BR transition counting 3,2,1.

2) Use the resources for this activity to help you to decide which visual content needs describing.

• The objects that need describing might be photos, diagrams, models, animations and so on.

In the resources I was impressed by the clear, logical, analytical description of some of the complex bar charts, flow charts, pie charts and others. This is how all descriptions should be. In 2010 or 2011 the BBC reviewed how weather forecasts were delivered. It was determined that they were far too flowery. A plainer, clearer approach - overview, identified the region, immediate and forecast weather. Move on. Much more like 'The Shipping Forecast' was wanted and worked better. No more 'weather-caster personalities' then. It isn't entertainment, it is information.

3) For those objects that need describing, decide what kind of description would be needed.

'Before beginning to write a description, establish what the image is showing and what the most important aspects are'. UKAAF

'Consider what is important about the photograph in the context of how the image is going to be used, and how much detail is essential'. UKAAF

In swimming, any description of these visuals should emphasise the purpose of the action, the key action in relation to the physics and physiology of the pull, the action in relation to the rules of competitive swimming.

• Keep it simple
• Get to the point
• Choose the right words

4) Choose two visual objects and write a description of each.

Kick without a float. Arm pull practice standing in water or on the side of the pool.

If you can, ask someone who has not seen these visual objects to read your descriptions. Then show them the object and the context. What was their reaction? (If you have online tools to share visual resources, ask another student in your tutor group to do this activity with you.)

5) Which aspects of this task were straightforward?

Knowing that gender is irrelevant. Putting it in context.

6) Which aspects of the task were difficult?

Care not to use terms or metaphors that the swimmer may not be familiar with if they have never seen them.

• Brevity
• Clarity

Reading text on a diagram and wanting to shut my eyes so that I can hear the description without the image. Need to use screen reader or record and play back.

'Remember that blind or partially sighted people cannot skim read, so let them know how long the description is likely to be'. UKAAF

Knowing what to leave out, being confident to leave something out then knowing how to handle it.

'It is important that information provided for sighted people is also made available to blind and partially sighted people, even if the way the information is given is different'. RNIB (2009)

An author should write with a single reader in mind - in this instance while visual impairment is the modus operandi - they are first of all a swimmer or swim teacher/assistant - so the description must be given with this in mind, which in turn defines the writing/editing process of what to put in or what to leave out.

7) What else might have helped you to do it more easily or helped to improve your descriptions?

Physically moving the student athletes arms and legs through the positions. With their consent, allowing a visually impaired swimmer lay the hands on the arms then legs of someone as they go through the movement.

• An artist's manikin or a jointed doll, male or female action figure,
• Braille embossed outline.

'However converting a visual graphic to an appropriate tactile graphic is not simply a matter of taking a visual image and making some kind of "tactile photocopy". The tactile sense is considerably less sensitive than the visual sense, and touch works in a more serial manner than vision. Therefore the visual graphic needs to be re-designed to make sense in a tactile form for blind and partial sighted readers'. RNIB (2009)

In some subjects, interpreting an image or diagram could be a key skill that students are expected to learn.

Drill-down organization

Descriptions should follow a drill-down organization, e.g., a brief summary followed by extended description and/or specific data. Drill-down organization allows the reader to either continue reading for more information or stop when they have read all they want.

Keeping this logic rather than imaging the sighted eye skipping about the page, so I imagine I am not allowed to lift the stylus from the screen ... it has to be ine continuous, logical flow. Constructing a narrative would add some logic to it as well.

10) Can descriptions be done in such a way that you are not giving students the answers?

This was an interesting and relevant point regarding humorous cartoons 'Cartoons and comic strips need to be described if necessary. Set the scene of the cartoon without giving away the joke Provide a brief overview of the image.'

The same therefore applies to 'giving the answer' - treat it as the punch line but leave it out. and like a quiz book say, 'answers on page x'.

11) What do you think your strategy would be if you can’t find a way to give a description without compromising the learning outcomes?

Script differently - this is after all a different audience - and all students are ultimately an audience of one. Perhaps all resources will become highly personalised in future?

12) How can providing descriptions be included in the workflow process of delivering an online module? (This was touched on in the discussion for Activity 17.3.)

• I liked this quotation:

"When organisations send me information in formats that I can read myself it allows me to be independent, feel informed and appreciated - just like every other customer." End-user UKAAF

From Describing images 2: Charts and graphs

• Definition of print disability
• A print-disabled person is anyone for whom a visual, cognitive, or physical disability hinders the ability to read print. This includes all visual impairments, dyslexia, and any physical disabilities that prevent the handling of a physical copy of a print publication.

REFERENCE

RNIB Tactile Images : http://www.rnib.org.uk/professionals/accessibleinformation/accessibleformats/accessibleimages/Pages/accessible_images.aspx

RNIB Image Descriptions : http://www.rnib.org.uk/professionals/accessibleinformation/accessibleformats/accessibleimages/imagedescriptions/Pages/image_descriptions.aspx

Gould, B., O’Connell, T. and Freed, G. (2008) Effective Practices for Description of Science Content within Digital Talking Books [online], National Center for Accessible Media (NCAM), http://ncam.wgbh.org/ experience_learn/ educational_media/ stemdx (last accessed 10 November 2012).

UK Association for Accessible Formats (UKAAF) (undated) Formats and Guidance: Accessible Images [online], http://www.ukaaf.org/ formats-and-guidance#accessible (last accessed 10 November 2012).

University of Aberdeen (undated) Keep It Simple [online], http://www.abdn.ac.uk/ eLearning/ accessibility/ checklist/ keep-it-simple/ (last accessed 10 November 2012).

'Externalisation is a process of articulating tacit knowledge into explicit concepts. It is a quintessential knowledge- creation process in that tacit knowledge becomes explicit, taking the shapes of metaphors, analogies, concepts, hypotheses, or models. When we attempt to conceptualise an image, we express its essence mostly in language - writing is an act of converting tacit knowledge into articulable knowledge'. (Emig, 1983).

REFERENCE

Emig, J (1983) The Web of Meaning. Upper Montclair. N.J.

HOLIDAY READING

A little learning. Evelyn Waugh (1964)

Not an e-book, but as soon as I wanted to take notes or share sentences I wish it had been.

(His less famous, though more successful popular novelist brother Alec Waugh writes a far more enjoyable satire of school-days at Shrewsbury 'The Loom of Youth'. If I wrote about Sedbergh in the 1970s it wouldn't be satire, it would be an act of war - my only revolution was to leave before Sixth Form at which time the bullied would have had to become the bully).

I bookmark by folding over the corners.

Although the pages were falling out I didn't highlight or annotate the pages, though I could have pulled the pages out.

I make three notes:

• The obliteration of English villages. To investigate.
• Waugh thought there was a problem in the early 1960s
• Ronald Knox 'A Spiritual Aenid' and Evelyn Waugh's 'Life of Ronald Knox.'

Knox was known to open and oppose the same motion. The point he makes though is that 'audiences greed for originality is the extraordinary distaste for the obvious.

NOTE REGARDING MOBILE LEARNING

(All would be downloaded as eBooks where they available. They go to the Kindle so that I can read or listen to the book on one device while taking notes onto the iPad. Is this when reading becomes a learning activity? When you take notes? Or simply when you annotate or highlight the text itself ... if you dare do this to a printed book. Anyone shared highlights or notes they have made while or having read a common book? Like an asynchronous book club of the airwaves I guess).

'You learn, in approaching any subject, to search at once for the point that is new, original, eccentric, not for the plain truth.' (Waugh, 1964: 129)

And a note left by a previous reader (my mother, who sent me this book a couple of weeks ago) that reads 'pity'.

Against Waugh's line 'I abandoned my diary on the day I left school and have no source for the following years except inexact memory.'

I didn't. 36 years later and several million words I wonder what I got myself trapped into.

Some keep saying they want me to stop blogging for a couple of years 'to finish the book'. I have plenty to say on that too, though Steven Pressfield has the definitive response, 'resistance'. I say 'anything but,' I will fill my life with 'anything but' that three-five hours a day of effort in front of a keypad or notepad.

Is memory exact?

My diary is an aide memoire, an impression of the moment that changes all the time.

REFERENCE

Waugh, A.E. (1964) A little learning.

I cannot see the value in hereditary he gives to the first chapter, in predetermining the way some turns out, physiologically or psychologically, surely upbringing has more to do with it? He also concentrates on the male professional line. Rather selective? And from our point of view ignorant and sexist?

‘When people ask me how to keep a Diary, I refer them to Ira Progoff's Intensive Journal [method]....One cannot help being amazed by what emerges from this skilled inner journey. All the elements we attribute to the poet, the artist, become available to everyone, to all levels of society.’

Anais Nin

• How to start your diary
• In ‘The New Diary’ Tristine recommends that you:
• Begin with a self-portrait
• Begin with a period
• Begin with today

Each time I come back to a blog after an absence of weeks, months or years I approach it in one of these ways: I assess who I am, go over the previous period when I’ve been away from the diary, and count these musings as my first entry.

From Ira Progoff’s A Journal Workshop seven useful techniques for diary writing are offered:

1. List or Period Log
2. Portrait or Life History Log
3. Map of consciousness (Recapitulations and rememberings)
4. Stepping Stones/Scenes from our lives
5. Twilight Imagery Log
6. Altered point of view
7. Unsent letter
8. Dialogue Dimension

Then read a few inspiring blogs from fellow OU students such as Rosie Rushton-Stone.

From HLM Flash DemoVideo player: Flash Demo

For someone who does NOT have a formal teaching background this for me is the first time in 13 months that I have something practical that is based in learning, not 'e-learning' that I feel can apply immediately to any learning context: instructing sailing, teaching swimming, advising on digital marketing, supporting a team making a short film ... and especially thinking of ways to occupy children who are now on a three week holiday.

Blogspot from conference presentation of HLM

Institutional e-learning services

HLM Grid

I found this exercise extraordinarily useful. In the space of an hour I felt I assembled the makings of a series of activities, a module that might take place over a weekend, or a week or two. Thinking of this as learning first, and e-learning second helped.

I decided on creating a course on 'marketing to the social web.'

I've always fallen back on system, surveys and so on. A set of questions, in this case cards, that you can mix about, sets the process up. A similar end result might be achieved in different ways, but here, falling back on the cards and working with these options helps you to get something down. Indeed, having the cards makes you appreciate at every stage you could approach it differently. It would highlight any repetitive approach, something some online educators are guilty of i.e. a course where every activity is a person talking to camera with a transcript of what they say. And no better than the weekly lecture and reading list which was almost my entire three year undergraduate experience.

The graphics worry me. I do think there is value in engaging the best graphic designer for things like this, to come up with something universal. I wonder how some learners would interpret a class that involved the use of flash cards with coloured in cartoons on them. Given the ability of the www to offer choices I'd give users a choice of a dozen alternative images for each activity.

As I'm looking at various courses on digital marketing I'll see how I can add to this.

Activity/Task –Objective

Learning Event

Teacher’s Role

Learner’s Role

Resources

Tools (inc. Technologies)

Other comments

Survey on current awareness of advertising/marketing in social networks

RECEIVES

Explain

Evaluate

Review

WWW

Marketing to the Social Web as key resource.

Survey Monkey

(e-reader)

Individual

24 hours of Google Alerts, Twitter and Facebook, Linkedin.

EXPLORES

Coach

Research

WWW

Min six people sharing task to cover entire 24 hour period.

Write in a blog, microblog. As text from the spoken word. Writing within parameters, not just Twitter’s 140 characters, but other word counts.

IMITATES

Perform

Apply

Perform

Reflect

WWW

Twitter

Wordpress

LiveJournal

Blogger

Writers & Artists Handbook.

Voice Recognition Software

Touch Typing Software

Trying to develop a fluid, immediate, even ‘stream of consciousness’ approach to writing.

Image only in a blog.

CREATES

Coach

Create

WWW

Flickr

Tumblr

Facebook

Digital Camera

Mobile Phone

Webcam

Comment on blogs, join in forum discussion .

EXPERIMENTERS

Explain

Practice

WWW

Blogging for Dummies.

Letters to the editor. Letters.

RSS

Within the group and beyond

Add sound to a blog … voice, music, live (Skype) and broadcast (podcast).

PRACTICES

Coach

Perform

WWW

Podbean

Headset

Microphone

Group

Measure

RECEIVES

Apply

Questions

WWW

Analytics

Neilsen

Research companies

Tools

Technorati

Google Analytics

Buzzmetrics

Group

Promote (PR, advertising, marketing)

EXPERIMENT

Perform

Explains

Explore

Perform

WWW

Viral Video

Event

D&AD DVD

Mobile platforms

DVD player

Group

Survey on final awareness of advertising/marketing in/to social networks.

RECEIVES

Explain

Evaluate

Review

WWW

Marketing to the Social Web as key resource.

Survey Monkey

(e-reader)

Individual

The Writer's Tool Kit

All these cards had me thinking of  a writer's tool kit, 'The Observation Deck' by Naomi Epel. In that period where I wrote fiction all day I often dipped into this, simply to keep me going. In pratise it is far more useful for someone who blogs all the time as it triggers a line of thought.

If you're running a creative writing course this IS your learning design done; each week take a different card from the box and do.