MOOCs, Methodology and Nuremberg Funnels

Posted by csdferwEHRTJR Rabu, 06 Juli 2011 0 komentar
One of the curious things about the recent MOOC debate between Stephen Downes, George Siemens and David Wiley is the fact that it's erupted around an issue of epistemology: whether there is or isn't knowledge 'transfer'. I don't get the impression that either party is advocating a Nuremberg Funnel - the oldest example of crude 'knowledge transfer', so I am left wondering what people are actually arguing about.

The deeper issue seems to be a debate about whether MOOCs, with their implicit constructivist foundations, 'work'. But then, that is a discussion we could have about anything in e-learning: nothing really 'works' in e-learning... or rather everything 'sort-of' works (or doesn't, depending on your point of view). It appears that the battlelines have been drawn not about the sort-of working-or-not of MOOCs, but on the epistemological foundations of their ideology.

That in itself seems strange, and somewhat illogical. But I think it's an indication of a deeper methodological problem we have in e-learning which makes it very difficult to grasp the nettle of things 'sort-of' working. That may be partly because currently used methodologies for evaluation are generally poor. But I think it has more to do with the fact that inevitably, evaluation is at some level political. A MOOC is a political proposition as well as a technological/educational configuration. Behind it sit a whole load of values, mostly of those who've invested time and effort in the idea. How are they to defend the values they believe in? They have to prove the causal efficacy of their underlying theories. That's how we get to "there is no knowledge transfer".

But saying "there is no knowledge transfer" is not a proof of causal efficacy! Nor are the various statements and extra distinctions (neural whatevers!) that are brought in to back it up. None of this is defensible (as indeed, neither is the opposing position).

Standing back from this, I think we really need to think about what 'sort-of' working means, and what we can learn from all of the 'sort-of' working interventions (with their associated values) in learning technology. This requires a different type of methodology and a different philosophical underpinning. It's probably not the only approach, but my own work has used 'Realistic Evaluation' (see http://www.evidence-basedmanagement.com/research_practice/articles/nick_tilley.pdf) with its underpinning in Critical Realist philosophy. This approach asks a simple question of 'sort-of' working things: "given that we see all of these things happening (i.e. works here, doesn't work here, some like it, some don't, etc), what must the world be like?". That's an appeal for what philosophers would call a "transcendental argument". Transcendental arguments in Realistic Evaluation take the form of descriptions of 'causal mechanisms', and the idea is to think of loads of possibilities and test them out.

I like this because it allows me to consider lots of possible theories, and some of them fit better than others. The value in it all lies in the fact that good theories will not only have explanatory power, but will also show predictive power. And predictive power gives us better control... which may be the best we can ever hope for in our efforts to grapple with learning technology!

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today is not my day.  period.  i want to start over: this time, taylor's missing tennis shoe will be right where all of her other shoes are.  and i will not have thrown a tantrum looking for it 5 minutes before we were supposed to be leaving for cheerleading camp.  and my house would not look like a bomb went off b/c i dumped all of our toy baskets out fanatically looking for that one silly shoe....i didn't find the shoe and we were late to the first day of camp.  tay is use to it.  the first day of ballet, she had to go shoeless b/c i couldn't find her ballet shoes.  i constantly beat myself up on why i am that mom.  i hate it.

*images courtesy of where the sidewalk begins, sun in bed, hooked on houses, decor pad

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Positioning and New Media (and how I am feeding back to students)

Posted by csdferwEHRTJR Selasa, 05 Juli 2011 0 komentar
I've been experimenting for some time with 'feeding back' to students using video. In fact, this practice grew directly out of my experiences of doing this blog, particulary where I use CamStudio to capture me writing using the inking tools in Microsoft Office. I've found that I can 'get through' to students more effectively in this way than by using text; they seem to actually respond to the comments made and develop their work more effectively (which, after all, is the whole point of 'feedback'). Whilst I don't want to say 'everyone should do it', I am interested in why (if it is more effective) video is effective, and how it might work.

My initial thoughts are that there is something more gentle about the video as opposed to text, both in its creation and in its viewing. The writing of text feedback to students is not top of my list of 'favourite aspects of the job', and sometimes the irritation I feel doing the task can seep into the content of what I write. I don't think I'm alone.

So instead, I imagine the student is sat in front of me. I relax. With their work (in Word format) in front of me, with the Word inking tools on, and with CamStudio recording what I do, I read through their text line-by-line, making marks as I do so. I'm very relaxed because I know that sometimes I'll make a mark only to change my mind. I do this in silence (I record my voice later). I can think and really engage with what might be going on with the student. I've even been known to doodle as I do it. CamStudio records the process I go through: it captures boredom, irritation, thoughts, ideas, changes of mind, revisions, recommendations, etc.

I then speed up the video in MovieMaker - because it's far too slow in real-time (I learnt this from doing my improvisations!); and no feedback video should really be longer than 5 minutes. I then record a voice-over which is often surprisingly easy, because I've done all the thinking as I marked-up the document. Job done. I render it and stick in Dropbox for the student.

I've done this a lot now. I have the following reflections on it:

  1. The experience involves a number of different types of communication: speech, visual: in fact, this is very similar to the rich feedback of face-to-face.
  2. The student has some vicarious insight into the experience of reading their own work through the eyes of the teacher.
  3. The teacher, in revealing their experience, is less of an authority figure, and more like another human being who's experience can be inspected.
  4. As a result the general experience is less threatening.


All of those things might be useful, but they don't in themselves explain why these experiences occur.

My sense is that there's something about the way students are 'positioned' by video feedback as opposed to text. Good positioning means empowering the 'social self' (Harre's Self-3). That can be done through creating a context where a greater connection can be made between psychological 'storylines' (intentionality) and illocationary acts. (This I think is the same as the structural coupling between Luhmann's Psychic and Social systems). What's in the 'position' that enables this? Well, I think that openness of the video, the ambiguous nature of its connotative communication (as opposed to the denotative communication of text feedback), the vulnerability that the teacher exposes and the greater empathy that results all can have a systemic explanation which can go some way to accounting for the experience.

But at the bottom of it all, there's something more richly sensual about the whole thing. The rich range of triggers as the video shows the pen passing over the learner's document ("that's my document they're talking about!"), and the voice of the teacher, all do something to the state of the observer. It may be that the route to the connecting of illocutionary acts to storyline (of psychic systems to social systems) lies in this twiddling of the 'sensual knobs' (an unfortunate phrase, but not inaccurate!) in rich communication.

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The purpose of education IS to make a profit! (so what do we now do about it?)

Posted by csdferwEHRTJR Minggu, 03 Juli 2011 0 komentar
I want to be realistic, not provocative. There isn't a vice-chancellor in the country not looking anxiously at the 'bottom line' and thinking 'how do we survive?', 'how can we be secure?'. This is the situation our economy has brought us to over a long period of time (probably since the 1944 education act). It may not be a great place to be, but it's where we are.

The reaction of many education radicals is denial. In support of their arguments they cite old-fashioned radicalisms of the 1970s: ideas from a different time that barely described the economic conditions of that time, let alone our own.

We need a new economic model, not the rehashing of old-style arguments. We are in a strange place (an economic situation) that nobody understands. We have probably replaced 'wealth' with 'risk' as the principal driver of our economy (as Ulrich Beck would have it) - but what does that mean? How does it work? And how on earth has education appeared as one of the the main industries?

The armour of resistance is better description of our world. Marx knew this of his world: 'changing' follows 'naming'.

Luhmann talks about the way social systems (and education is one) encode communications around key paradoxes (or 'contingency formulae'). But the code changes over time: 'love' in 1650 is not the same as 'love' in 2011; 'law' is not the same... and 'education' is not the same (its paradox Luhmann describes as 'cultivation').

What I think we're staring at is a shift in the coding of education, where 'cultivation' and 'economy' are becoming re-aligned in a fundamental way. Our categories from the French Revolution of 'equality' are consequently being challenged very profoundly. It's hard to conceive of the consequences of this.

But this doesn't feel like a 'blip'. No repeal of legislation will sort it out. It's much bigger and much longer lasting. The way out is a long way off, and some serious thinking about where we've got to is necessary as we struggle through a difficult time. Beck would argue "Modernism has only just got started"

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Identity, Property and the Cherry Orchard

Posted by csdferwEHRTJR Jumat, 01 Juli 2011 0 komentar
In Checkov's Cherry Orchard, when Lubov, the eccentric aristocratic woman who has spent all her money returns to the ancestral home from Paris, she declares her excitement:
"I can't sit still, I'm not in a state to do it. [Jumps up and walks about in great excitement] I'll never survive this happiness.... You can laugh at me; I'm a silly woman.... My dear little cupboard. [Kisses cupboard] My little table."
Towards the end of the play, as she struggles desperately to hang on to her home, she explains:
"I was born here, my father and mother lived here, my grandfather too, I love this house. I couldn't understand my life without that cherry orchard, and if it really must be sold, sell me with it! My son was drowned here...."
The play charts a slow decay of her identity as her possessions gradually disappear, culminating with the sale of the Cherry Orchard.

What fascinates me about this is the extent to which the identities of the characters in the play are defined around the objects that surround them. As the objects change, so they change.. which leaves me wondering about their identity and individuality in isolation from those objects: indeed, this seems to be a major theme of the play.

The only character who seems not to be affected by objects is Trofimov. He is a revolutionary who espouses egolessness and redistribution of property. Yet he is affected by a different sort of 'property relation': his identity is not defined by the objects he relates to (although his 'negative' relation to objects is certainly part of his identity), but by his ownership of 'ideas'. In this way, Trofimov appears as a very similar sort of character to the capitalist Lophakin, whose identity is also not so much to property, but to a different set of ideas: the ideas of money and profit. As idealists, Trofimov and Lophakin are remarkably similar yet at opposite ends of the political spectrum.

But the characters develop as the objects of property develop. Trofimov attracts Lubov's daughter, who falls under his spell, and increasingly she serves to amplify his idealism. Lophakin, in buying the Cherry Orchard stands in a different property relation to the people who he once served, by buying them out. And Lubov is gradually hollowed-out.

The psychology is in those property relations, and the story is told by manipulating them. That would be worth modelling at a deeper level. What are the sensual relations to the house and orchard? (disruptions?) What are the sensual relations that Trofimov has to ideas? (exhortations?) What are the sensual relations that Lophakin has to money? (coercions - particularly at the end of the play). Lophakin's exhortations to develop the site have no effect on Lubov. Lubov meanwhile is forever fanciful and distracted - only the coercion of losing the property in the end has any real effect on her. And the only thing that really gets to Trofimov is when Lubov teases him about his virginity! (a disruption).

I think there may be grounds here for a deeper exploration about the creation of identity through property relations...

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hope you have a happy 4th!!  see y'all next week.....

*images courtesy of bippity boppity boo, sunday in bed

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Movie Wallpaper - Best Movie Posters Online

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The thing we all love most about movies, are the posters we see all around. By judging the wallpaper of the movie, you can already make up your mind if you want to watch it or not.

Movie Wallpapers are the top marketing point for a movie. Bad wallpaper, Bad marketing. But this again puts way too much stress on the designer. Designing a wallpaper for a newly launched movie is not an easy task. Producers pay thousands for the correct wallpaper to advertise their movie. Lets take a look at some great movie wallpapers.


We start off with Beowolf wallpapers. This is one of the best designs for a poster yet. The three top elements playing with your mind in this wallpaper is: 1. Darkness. 2. Mystery and Fantasy. 3. Angelina Jolie!!! All the men out there knows, when this girl enters the movie stage, its bound to be one to remember!



Next, 2 Fast 2 Furious! This is a well balanced wallpaper. Its pink to enforce "woman Power" to get the girls to watch the movie, and a stunning girl in front, to make the guys even more interested after they've seen the cars that featured in this film.



This is the famouse AVP. The quality of mystery enfused with the dark creature in the middle, makes for a top movie wallpaper. From just seeing this poster I simply had to watch the movie! it didn't dissapoint at all! On this one, I say job well done to the designer. This is first class designing!



Last but not least, is Transformers. Who ever can look at this poster that haven't seen this film yet, and doesn't rush to go by the dvd, is blind! This movie wallpaper is totaly stunning! This is designing at its best! the Transformers movie wallpapers has realy changed the way people look at other movie advertising. They set the benchmark for all movie posters yet to come.

So which one of these is your favourite? Feel I missed any? Leave a comment and I'll take it under consideration for the next post on amazing desktop backgrounds!

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