//Mike Neary and I were in New York City from the 11-16th October, speaking about Student as Producer. We held seminars at Adelphi University, Baruch College CUNY and were part of a panel at the Mobility Shifts Conference at The New School. Here is a recording of the CUNY event, where we had the pleasure of sharing the seminar with Jim Groom, someone who’s been an inspiration for my work on the university WordPress platform.
//I’m going to the JISC Information Programme Meeting on Thursday and have been asked to join a panel where I’ll talk about our work at Lincoln under the heading ‘from unprojects to services’. Here are my notes.
Over the last couple of years, staff in CERD, The Library and ICT have worked closely together on a number of ‘rapid innovation’ projects, which have sometimes later attracted JISC funding. Much of our work has been undertaken at the initiative of individual staff, who have benefited from a supportive ICT environment that allows us the freedom to develop and test our ideas without running into bureaucratic walls. ICT – in particular the head of the department, Mike Day, and head of the Online Services Team, Tim Simmonds – recognised the benefits of employing undergraduate students and recent graduates, and established a post which Nick Jackson and Alex Bilbie share. Alongside this, I have been applying for JISC funding and successful bids have allowed us to employ Nick and Alex full-time rather than part-time. In recent months, this has worked very well and currently much of their time is spent working on JISC-funded projects which bring value to the University. Below, are a list of the services that this culture of innovation has allowed us to work on over the last year or so. Click on the links to go to the services.
//I was recently asked to present a paper to the university’s Teaching and Learning Committee about the role of technology in the context of Student as Producer. The paper was well received by the committee and I have been asked to draw up a Business Case which will be presented to the Academic Board and then, hopefully, for final approval by the Executive Board. Unlike this paper, which is pretty high level, the Business Case will go into more detail about what we actually propose to do and how. Comments very welcome. Thanks to my colleague, Sue Watling, for help with the section on ‘digital inclusion’.
Pedagogy, Technology and Student as Producer
Summary
Student as Producer will have a significant impact on the work of both students and staff at the university and this paper briefly addresses the strategic role of technology and teaching and learning within the context of Student as Producer. In summary, we argue that the university can lead the sector in re-engineering knowledge creation and sharing through the open development of edgeless social learning networks, based on a methodology of peer-to-peer innovation and a commitment to digital inclusion and critical, digital literacy.
Student as Producer
Student as Producer is underpinned by progressive pedagogical theory which asserts that students can and should be producers of their social world by genuinely collaborating in the processes of research, teaching and learning. Student as Producer has a radically democratic agenda, valuing critique, speculative thinking, openness and a form of social learning that aims to transform the social context so that students become the subjects rather than objects of history – individuals who make history and personify knowledge. Student as Producer is not simply a project to transform and improve the ‘student experience’ but aspires to a paradigm shift in how knowledge is produced, where the traditional student and teacher roles are ‘interrupted’ through close collaboration and a recognition that both teachers and students have much to learn from each other. Student as Producer is not dependent on technology but rather on the quality of the relationship between teacher and student. The extent to which technology can support, advance and even progressively disrupt this relationship is therefore key.
Critical, digital literacy
Increasingly, the language of digital networks is that of ‘users’ who produce and consume ‘content’. With the availability of ‘free’ Web 2.0 tools, we are told that anyone on the web is a potential publisher of content for someone else to consume. The message from The Edgeless University (2009) is increasingly typical: In the world of Web 2.0, universities are being positioned as distinctive “resource providers” i.e. research outputs, lectures and podcasts on iTunesU, Open Access institutional repositories and and Open Educational Resources, with the expertise to “validate learning”. Student as Producer both challenges and leverages this ‘abundance’ of open resources by articulating a “pedagogy of excess”, whereby the student is encouraged and supported in being not just a student-consumer but rather a productive, critical, digitally literate social individual. In this view, technology is inclusive and understated, advocated by the institution primarily to develop the individual’s critical, social understanding and abilities which they apply to their learning and in this way technology does not become an end in itself.
Digital inclusion
Digital divides, both within higher education and beyond our institutions, derive from the social shaping of technology where technical design and implementation is influenced by organisational, political, economic and cultural factors (Bjiker and Pinch 1984, Williams and Edge 1994). Technological ‘innovation’ is often the subsequent means whereby wider social inequalities are reproduced and reinforced. For example, operating effectively within a Web 2.0 environment privileges a narrow range of access criteria and assumes pre-requisite levels of digital confidence and competence. Those who fall outside of these parameters are digitally excluded and disempowered. In the development of critical, digital literacy, Student as Producer can raise awareness of the nature and effects of inequitable digital practices and in doing so, encourage socially responsible individuals who are then able to challenge exclusive practices and ensure inclusive ways of living in society.
Learning landscapes
In itself, technology arguably has no direct bearing on educational outcome. It is the extent to which technology is understood, developed and employed within the overall social and political environment that it contributes to the social wealth, education and overall well-being of society (Downes, 2010). The typical use of technology in higher education ranges from the mundane to the instrumental to the experimental, enabling, for example, the management of courses and assessment through the Learning Management Systems (LMS), the increasingly collaborative cross-institutional nature of research through discipline-specific Virtual Research Environments (VRE) and the creation of Personal Learning Environments (PLE) where teachers and students choose technologies appropriate to their own needs and capacities. Similarly, technologies such as Blackboard, are thoroughly embedded in critical institutional functions penetrating deep into the overall ‘learning landscape’ of the university. Networked technology is now ingrained in the very ‘idea of the university’ and the social production of knowledge. It is used to both intentionally effect change (i.e. innovate) in higher education and respond to change taking place in society (i.e. facilitate). Arguably, it is not a matter of asking “what is the role of technology in higher education?”, but rather “what is the role of the university in a networked world?” (Higher Education in a Web 2.0 World, 2009)
A pedagogy of excess
Student as Producer is perfectly timed to engage with what The Edgeless University states as a “time of maximum uncertainty and time for creative possibility between the ending of the way things have been and the beginning of the way they will be.” At a time when the higher education sector is being privatised and students are expected to assume the role of consumer, Student as Producer aims to provide the student with a more critical, more historically and socially informed experience of university life, which extends beyond their formal studies to engage with the role of the university and their own role in society. Pedagogically, this is through the idea of ‘excess’ where students, undertaking a critical evaluation of their subject and of their role in society, are anticipated to become more than just student-consumers during their course of research and study (Neary and Hagyard, 2010). In practice, a pedagogy of excess re-orientates the roles of staff and students to become producers of an edgeless university and creators of social wealth.
Student as Producer responds to calls for ‘edgelessness’ by asserting a radical agenda for the development and support of technology, extending the networks and spaces that we maintain to become social learning networks or, in Vygotsky’s term, ‘Zones of Proximal Development’ (ZPD), in which social learning has the potential to change the individual and their social context (Neary, 2010). We recognise the centrality of staff and students in “driving further innovation without losing the strengths of the traditional academic environment” (Learning Landscapes, 2009) and this should be coupled with the benefits that networked technology brings to the learning landscape, not only in advancing ubiquitous access to information but also the potential for challenging and re-engineering the relationships between teacher and student engaged in collaborative research.
Peer-to-peer production
To undertake this, we recommend that a flexible, cross-departmental team of staff and student peers are convened to further the research, development and support of technology for research, teaching and learning at the University of Lincoln. The team’s primary remit will be to support the objectives of Student as Producer through technology. To achieve this, it is proposed that the team has an acknowledged research and development role, and that the work of the team is theoretically informed by the progressive pedagogy of Student as Producer so as to engender critical, digitally literate staff and students. To this effect, the team will consolidate and extend the existing collaborative work taking place between CERD, The Library and ICT Services by inviting staff and students from across the university to openly contribute. The team will offer incentives to staff and students who wish to contribute to the rapid innovation of appropriate technology for education at the university, through work-experience, research bursaries and internal and external applications for funding. A core principle of the team will be that students and staff have much to learn from each other and that students as producers can be agents of change in the use of technology in education.
Conclusion
This proposal is supported by recent NUS data, which highlights the need for greater choice in how students learn, concerns around staff ICT competency, and the appropriateness of technology used across courses. (HEFCE/NUS, 2010). Overall, recent reports support the creation of a learning landscape where the distinction between teacher and student is increasingly fluid, emphasising the role of technology to enable collaboration and the co-production of knowledge. The multi-faceted nature of the institution remains highly valued, as does the multifarious role of the teacher. However, due to changes in the production and consumption of information in society, the student’s role is being reasserted in a new form of peer collaboration; one which we might call the ‘student as producer’.
Annual Budget Required
Digital Development Co-ordinator (Grade 8 )
Student/graduate developers (Grade 4/5) x 4
Student bursaries £4000
Staff research grants: £7000
Hardware/Software: £10,000
Conferences: £4000
References
Bradwell, P. (2009) The Edgeless University, DEMOS. http://lncn.eu/dpq
Downes, S. (2011) Better Education Through Technology. http://lncn.eu/c57
JISC (2009) Higher Education in a Web 2.0 World. http://lncn.eu/kp7
Neary, Mike and Winn, Joss (2009) The student as producer: reinventing the student experience in higher education. The future of higher education: policy, pedagogy and the student experience. Continuum, London. http://lncn.eu/xz2
Neary, Mike (2010) Student as Producer: A Pedgogy for the Avant-Garde. Learning Exchange,Vol 1, No 1. http://lncn.eu/aq2
Neary, Mike and Hagyard, Andy (2010) Pedagogy of Excess: An Alternative Political Economy of Student Life. The Marketisation of Higher Education and the Student as Consumer. Eds. Molesworth, Scullion and Nixon. Routledge. http://lncn.eu/e23
NUS/HEFCE (2010) Student Perspectives on Technology. http://lncn.eu/uvw
Pinch, T. J. and Bijker W. E. (1984) The Social Construction of Facts and Artefacts: Or How the Sociology of Science and the Sociology of Technology Might Benefit Each Other. Social Studies of Science 14, 399-441. http://lncn.eu/cwz
University of Lincoln (2010) Learning Landscapes in Higher Education Final Report. http://lncn.eu/buy
Williams, R. and Edge, D. (1996) The Social Shaping of Technology, Research Policy Vol. 25, 856-899. http://lncn.eu/e49
//It occurred to me today that the work I did during my MA in Film Studies and Archiving (University of East Anglia 2001-2) might be of interest to someone of the Interweb. Here it is, retrieved from an almost forgotten folder on my hard drive. Let me know if you find it of any use.
My reason for undertaking the MA derived from my interest in amateur and avant-garde filmmaking. During 1998-2001, I lived in Japan and spent much of my spare time (and money), shooting Super 8mm and 16mm film (mainly landscapes and abstractions) and exhibiting international exchanges of European, North American and Japanese experimental film and video. I’ve never been interested in filmmaking as a career, but thought that working in film preservation and archiving would allow me to make a living out of a love for non-commercial filmmaking. With that in mind, here are the outputs of my MA.
Amateur Filmmaking During World War II
In my first paper for the MA, I discuss the dilemma of amateur filmmaking during war time, based on a study of original books and magazines from the 1930s and 1940s. In the second part of the paper, I draw heavily on my extended interviews with Dick Brandon, a soldier and amateur filmmaker during WWII. The paper lacks any critical theoretical method but offers a useful study of primary sources.
Amateur filmmaking during WWII
In my second paper for the MA, I discuss the development of amateur films within the context of early tourism. Specifically, I examine the broader development of commercial image making since the 18th c. and show how amateur travel films were simultaneously influenced by commercial, popular tourism and and its relationship with landscape painting and photography. I argue that “representationally, they add little to a notion of Englishness rooted in the landscape that wasn’t already well established and I am much more inclined to see them as commercial products which benefited from and contributed towards forms of economic and cultural consumerism.” I try to show how the production of amateur travel films was tied to the production of mass tourism, both of which are based on consumerism and the consumption of the immaterial. The paper draws on critical theory, secondary historical sources and my primary analysis of films held by the East Anglia Film Archive. Looking back at this paper now, I think that with the benefit of peer-review, this paper could be turned into a published journal article.
Site/Sight: Landscape and the Development of the Tourist’s Gaze in Early Travel Films
An Ecology of Images
Our end of year project was to make a short documentary which related in some way to the themes of archiving, preservation, conservation, etc. Some people made nice, straightforward documentaries about a given subject. I had a bunch of 16mm and 8mm footage that I shot during a trip across the USA (2000) and living in Japan (1998-2001) and used that to make a short film about history and memory.
I was heavily influenced by the narrative style of Chris Marker’s film, ‘Sans Soleil’ (my favourite film). The title is from Susan Sontag’s ‘On Photography’. I was reading John Berger’s ‘Ways of Seeing’ at the time, too…
The script is a blend of my own thinking at the time but also paraphrases Marker, Berger and Sontag considerably. The music uses bits and pieces by John Cage.
I was very proud of this when I finished it. Eight years on, I still quite like it.
Preserving the Hand Painted Films of Margaret Tait
In my dissertation, I discuss a small amount of the work of Margaret Tait. The Introduction offers a personal discussion on the profession of Archiving which I revisit in my conclusion. Section One provides a general overview of Margaret Tait’s life and influences. This brief biographical information serves as a background for the more substantial technical discussion in Section Two.
Though I do enjoy Tait’s films and find her work compelling, I should emphasise that I am not concerned with providing a critique of Margaret Tait’s films nor a complete overview of her life and work. I deem that to be a quite different paper and one I am not interested in writing. My main purpose here is to trace the technical developments Tait made in her filmmaking and show how an understanding of her practices can help in the restoration and preservation of her films. I hope this paper also demonstrates that the biographical is inseparable from the technical and for the Archivist, these two approaches to Tait’s work are again inseparable from the ethical and philosophical dimensions of the idea of permanence.
//Richard Hall and I are presenting at the OpenEd10 conference next week. Here’s a few slides that Richard has just put together. The paper can be downloaded here.
UPDATE: Here’s the video recording of our session. We ditched the slides.
//My presentation for the RSP event: Doing it differently. No slides, just a live demo using the outline below.
1. WordPress is an excellent feed generator: https://joss.blogs.lincoln.ac.uk/2009/04/15/addicted-to-feeds/ 2. It's also an excellent, personal, scholarly CMS https://joss.blogs.lincoln.ac.uk/2009/08/25/scholarly-publishing-with-wordpress/ 3. If you have an RSS feed, you can create other document types, too https://joss.blogs.lincoln.ac.uk/2010/01/04/creating-a-pdf-or-ebook-from-an-rss-feed/ 4. We conceived a WordPress site as a document (and a WordPress Multisite install as a personal/team/dept/institutional multi-document authoring environment) http://jiscpress.blogs.lincoln.ac.uk http://jiscpress.org 5. Here's my MA Dissertation as a WordPress site using digress.it http://tait.josswinn.org/ 6. WordPress allows you to perform certain actions on feeds, such as reversing the post/section order http://tait.josswinn.org/feed/?orderby=post_date&order=ASC 7. EPrints allows you to 'capture' data from a URI http://eprints.lincoln.ac.uk/2004/ 8. Suck it into your feed reader, for storage/reading - it's searchable there, too. https://www.google.com/reader/view/feed/http://eprints.lincoln.ac.uk/2004/2/index.html%253Forderby%253Dpost_date%2526order%253DASC 9. And use another service to create an ebook or PDF version http://www.feedbooks.com/news 10. RSS. Loosely joined services: Author: WordPress --> Preserve: EPrints --> Read: GReader Feedbooks etc... 11. p.s. How about using EPrints to drive a WordPress site, too? Why extend a perfectly good preservation and storage application to include web 2.0 features, when it can be used to populate a cutting edge CMS with repo data?
//Michael Albert is visiting the university later this month. Below are details of his class and public seminar. I’m looking forward to meeting him. I doubt he’ll remember the few months I spent volunteering as an editor of one of Z-Net’s web pages, back in 2000. I tried to impose standards-based XHTML onto their then, M$ FrontPage ‘driven’ website and lost the battle 😉
Journalism Research Seminar Series, Lincoln School of Journalism
Basics of independent media organisation and production
Seminar room MC 0024, Ground floor MHAC-Building, Brayford Pool Campus, 4-6pm on 27 October, 2010
School of Social Sciences Seminar Series
PARECON – Life After Capitalism
Jackson Lecture Theatre, Ground floor, Main Building, Brayford Pool Campus, 7.30-9.30pm on 27 October, 2010 Talk is open to the public
For further info and speaking dates of Michael Albert in the UK see: http://www.ppsuk.org.uk/matour/
Michael Albert is a longtime political and media activist with a tremendous record. He has authored 15 books and published widely on topics such as radical politics, economics, social change, peace and media. Furthermore, he is known for developing participatory economics (PARECON), an alternative model to capitalism and socialism. He cofounded the Boston (USA) based book publisher South End Press and the independent media platform ZCommunications. Until today, South End Press and Z have published works from renowned authors including Arundhati Roy, Noam Chomsky, John Pilger, Amy Goodman, Dahr Jamail, Robert Fisk, Vandana Shiva, Edward S. Herman and Howard Zinn.
In his first talk, eminent US social critic Michael Albert will reflect on more than 30-years experience working in non-profit, alternative media organisations. The talk will focus on issues such as how to finance non-profit media in a capitalist/market system, how to develop online media and how to structure an organisation to be truly participatory and democratic. Albert will do examine ways of how to cope with economic and political challenges and how students and non-professionals can produce and distribute independent media. The talk will be followed by Q&As.
His second talk (followed by Q&As) will be particularly interesting for everyone seeking a more just and peaceful world. This is what you can expect:
PARECON – Life After Capitalism
Today’s capitalist system has brought with it war, economic crisis, ecological decay, massive wealth inequality, alienation, authoritarianism and social breakdown. Are these problems inevitable, or could they be overcome in a different system? And if so, how? These issues, perhaps for the first time in history, have become a matter of survival.
Michael Albert, co-author of ‘ParEcon: Life After Capitalism’, co-founder of ZCommunications and leading US social activist will present ‘Participatory Economics’, a Vision for a type of democratic economy based on equitable co-operation that is put forward as an alternative to capitalism and also to other 20th century systems that have gone under the label ‘socialism’. It includes new institutions that seek to foster self-management, equity, diversity and solidarity. Parecon is a direct and natural outgrowth of hundreds of years of struggle for economic justice as well as contemporary efforts with their accumulated wisdom and lessons.
//I have written a paper with Richard Hall for the Open Education conference in November. You can download it here: Technology, open education and a resilient higher education. Of course we welcome all comments and criticism. Here’s the conclusion from the paper:
Open forms of HE are crucial in our overcoming of socio-economic disruption, and in framing spaces for personal and communal resilience. A key role for open curriculum development is the critique of hegemonic discourses and the contexts in which they emerge so that they can be challenged, and so that co-governance as well as co-production can be enabled and tested. A key role for technology, in a world of increasing uncertainty, where disruption threatens our approaches, is to enable individuals to engage in authentic partnerships, in mentoring and enquiry, and in the processes of community and social governance and action.
There is still a risk that the provision of frameworks for free associations between individuals will leave some people marginalised, and the creation of appropriate contexts that spark or forge opportunities for participation is pedagogically critical. Equally, the tensions evoked within institutions around, for instance: the ownership of technology; the openness of networks and practices; the structures of management data; engagement with communities at scale; and the validation/accreditation of curricula; need to be addressed. Despite these tensions, the capacity of technology to improve the opportunities for people to work together to shape and solve problems, and to further their critical understanding of themselves and of the world they live in, is significant.
Technology underpins the development of an open curriculum for resilience in three key areas.
I. The enhancement of student-agency, in producing both relationships within and across open communities, and open, socially-situated tasks is important. The student’s power-over the tools she uses and her power-to negotiate agreed socio-cultural norms is fundamental here, although issues to do with social anxiety, difference, self-conception and allegiance within closed groups, and the marginalisation of certain users, form potential risks. However, a modular approach to the use of technology for agreed tasks in meaningful networks is one aspect of defining resilience.
II. Re-framing HE experiences as open, in order to allow learners to test their self-concept is critical. Educational technologies offer an array of supportive networking contexts where learners can model practice and self-expression. Formative development is ongoing and demands a range of open engagements on a range of tasks with a range of roles in a range of networks. This diverse learning approach is a second aspect of defining resilience.
III. Feedback for learning from multiple perspectives underpins authentic personal development. Technologies facilitate near real-time feedback and enable the student to recognise the impact of her actions, which is a third aspect in the definition of resilience.
In this tripartite approach, the production and re-use of artefacts is of secondary importance to the social relationships that are re-defined by educators and students, and the focus on people and values that is in-turn assembled through open education (Lamb, 2010). In overcoming alienation and disruption, a resilient open education enables us to critique institutionalised forms of education. The challenge is to develop such a critique.