Everyone Needs Positive Feedback #edcmooc

neverOne final reflection on the E-Learning and Digital Cultures MOOC (for now). Last week I wrote about what was required to complete the course. While it is not over-demanding, the possibility of failure is not something any of us welcomes, so it was with a sense of relief as well as satisfaction that I read the very positive comments on my final submission this morning, and discovered that I had secured a Grade 1 Pass (the only alternative being a Grade 0 Fail!).

I suspect that it is this aspect of the massive, open and online course which will attract most scepticism, if not outright cynicism, the fact that success and failure are based largely on the observations of your peers and not the course tutors. Yet in a way that is what I find most attractive about it. While the ultimate responsibility for learning remains with the learner, there is a great sense in which the whole endeavour is a collaborative effort. Every participant is reaching for a better understanding of the topic, not for the right answer. This piece of advice on the MOOC site sums it up perfectly:-

Giving and receiving constructive feedback
“Explaining your understanding of someone’s work to them will help them to refine their own understanding and will also help you refine your own – it’s a reciprocal process. This is the purpose of this peer feedback exercise.

Of course this formal exercise should not be the only opportunity that you take to interact with your fellow students during and after this course. This process is formal, and anonymous. You should seek to create your own opportunities for collaboration and discussion – in the discussion forum, and in self-organised and emergent groups in which you can cultivate relationships, pursue common interests, and engage in more intimate discussions.

You should be both supportive and critical in what you write. What might that mean in practice? The notion of being supportive is probably the easiest to understand. You are all in this together. This course – learning in general – is not a ‘zero-sum game’ where only one person can win and others must lose. When the group works together everyone benefits. Receiving feedback on our work provides valuable guidance and stimulus to further thought. Giving feedback on the work of others helps us to clarify our own thinking through the act of framing it in the process of communication. To be supportive will also imply courtesy and sensitivity in the way in which we express our views. We can more productively assimilate and work with a comment when the other gives it and we receive it in a context of politeness and trust.

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The notion of criticality is more difficult to grasp, not least because our everyday usage of the word tends to carry the implication of negative criticism – focusing on, and pointing out, what is wrong. However, it is perfectly possible to be positively critical as well. One may point out a strength in some work, and then build on this by giving advice as to how to enhance that strength. ‘I like what you have done there. It made me think of ….. You might consider incorporating …..’. Or it may be that you see a strength that the creator has not made as explicit as they might have done. Encouragement may then be offered to the creator to go further with what they have started. A positive criticality may involve seeking to empathise with the creator, and how he or she might take the next steps. It may be about articulating sincerely held questions about a piece of work, and about the creator’s intentions in its production.”

When I embarked on this 5-week course, one of my aims was to examine how the principles of the MOOC might be applied in school settings, within the context of compulsory education. Sharing the responsibility for learning, including greater use of peer assessment and feedback, and removing ourselves from that ‘zero-sum game’ might not be a bad place to start.

The E-Learning and Digital Cultures MOOC is offered by the University of Edinburgh via Coursera. If you are interested in taking part in a MOOC you may also want to have a look at the FutureLearn website where you will find courses run by some of the UK’s top universities.

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Assessing The Past, Predicting The Future #edcmooc

Flying MachinesThis is the final week of the E-Learning and Digital Cultures MOOC, so it is a time to look back and to look forward. What have I learned over the past five weeks, not only about the topic, but about the nature of the MOOC itself, and are MOOCs the way forward for education, or simply the latest fad? First, the reflection. I have really enjoyed engaging with the course materials and with the other course participants, through the discussion forums, Twitter conversations, Google Hangouts and other channels, but then I have become used to this way of learning over the past five or six years, so I was reasonably comfortable with it from the start. It could also be said that since I am no longer looking for full-time employment I have no more need for paper qualifications, and therefore my approach to the course, and to learning in general, has changed.

However, it would be easy to infer from all of the above that because of the very nature of the MOOC – free entry, high dropout rate, no formal qualification – that it is more ‘casual’ than traditional college or university courses. Not a bit of it. The course is highly-structured, deadlines are quite rigid, materials are well chosen and challenging, and tutor support is of the highest order. The standard of teaching is of a very high quality, at least on this MOOC, but unlike that in many conventional settings, it is highly focused and responsive to the needs of individual learners; feedback is more or less instant. There are no group lectures, but an introductory video to each block of study sets out clearly the themes and expectations for the week ahead. Whether these things are true of all MOOCs I have no idea, but for two very different takes on online learning I would recommend that you read this article, All Hail MOOCs. Just Don’t Ask If They actually Work, from Time magazine September 2013, and this post from the Learning with ‘e’s blog, The persistence of distance(learning) by Steve Wheeler.

“But what about assessment?”, I hear you ask, because while the internet has opened up the possibility of learning in all sorts of new ways, assessment still dominates much of our thinking and much of our conversation when it comes to education. Bear in mind that the course is only five weeks long, with a recommended study time of 5-7 hours per week, but since you asked, to ‘complete the course’ we have to submit a ‘digital artefact’ and evaluate the work of at least three other participants in the course, using agreed criteria – real peer assessment in action! The following notes are from the course guidance on the final assignment.

What do you mean by digital artefact?
We mean something that is designed to be experienced on and through the medbotium of the web. It will have the following characteristics:

  • it will contain a mixture of two or more of: text, image, sound, video, links.
  • it will be easy to access and view online.
  • it will be stable enough to be assessed for at least two weeks.

Try to have fun with this and use it as a chance to think broadly and creatively: anything goes in terms of the form of this assignment. As long as you keep the assessment criteria in mind you can be as experimental as you wish.

(Have FUN with this assessment? Doesn’t sound like an exam to me.)

Why do you want me to make a digital artefact?
Text is the dominant mode of expressing academic knowledge, but digital environments are multimodal by nature – they contain a mixture of text, images, sound, hyperlinks and so on. To express ourselves well on the web, we need to be able to communicate in ways that are ‘born digital’ – that work with, not against, the possibilities of the medium. This can be challenging when what we want to communicate is complex, especially for those who are used to more traditional forms of academic writing. Nevertheless, there are fantastic possibilities in digital environments for rethinking what it means to make an academic argument, to express understanding of complex concepts, and to interpret and evaluate digital work. In EDCMOOC, we have an opportunity to explore and experiment in a supportive and relatively low-stakes context. That’s why we want you to make an assignment that makes the most of the web – a digital artefact.

What topic should I choose?
There is a lot of flexibility in this assignment. You can choose to focus on the theme of ‘utopias and dystopias’, or on the theme of ‘being human’. You should use your artefact to express a question, an idea, a problem, a hope, a worry or a provocation that the course has raised for you. Consider how you can express something of your own context as an educator, student and/or technologist. What has the impact of this course been on your understanding of e- learning?

Actually, I am proposing to submit this series of blogposts as my digital artefact, but just for a bit of fun, I thought I would also try creating a short video clip which reflects a couple of the themes of the past month or so. The clip was created in iMovie, using the Trailer feature which allows you to choose which genre of film you are going to release (and makes things easier for beginners like me). It is also a very useful tool in the classroom if you are introducing young people to filmmaking, Thanks to a fortuitous tweet from one of my PLN, Kenny Pieper, I found these great templates for Planning a Better iMovie Trailer, which means you can spend some time working out what text to include – a good exercise in précis, since the more words you include the harder it is to read – and select your images in an appropriate sequence.

commonsThe images I used are from the Creative Commons, except the first three, which appear courtesy of my friends at Dreaming Methods and Inanimate Alice. The little running man was filmed on my phone at a street crossing in Girona, simply because it made me smile. I cropped it in iMovie itself using the cropping tool before inserting into the clip. The reason for creating the trailer was to encourage me to learn something about iMovie, which I had never used, and to express one or two of the course themes in a short timeframe.

One of these was what seemed to be the view of many technological determinists, that increasing technological advances will inevitably lead to a dystopian future, and the other was the fascinating idea that our use of metaphor tends to shape as well as reflect our view of the world. The green man on the ‘information highway’ is a very simple metaphor for the feeling that many people have when trying to navigate the world wide web – that they are in a very busy and potentially dangerous place – and he may also represent those ‘eco-warriors’ amongst us who are concerned that advances in technology are not made at the expense of the sustainability of the planet. I hope you find it interesting and amusing, and please feel free to evaluate it using the agreed criteria below.

Assessment criteria

These are the elements peer markers will be asked to consider as they engage with your artefact. You should make sure you know how your work will be judged by reading these criteria carefully before you begin.

  1. The artefact addresses one or more themes clearly relevant to the course
  2. The artefact demonstrates an understanding of one or more key concept from the course
  3. The artefact has something to say about education
  4. The choice of media is appropriate for the message
  5. The artefact stimulates a reaction in you, as its audience, e.g. emotion, thinking, action

So what of the future of MOOCs themselves? What I liked about taking part in the MOOC was the collaborative aspect of the learning – the sharing of ideas, the conversations around the key topics, and to some extent the random nature of some of the interactions. We were advised from the start that it would be impossible to contribute to every forum, to respond to every text, and to keep track of everything which was going on. This is an aspect of MOOCs which I imagine many people will find difficult. Similarly, if everything is conducted online, you could argue that the ‘human element’ is lost, and that there is no substitute for meeting people face-to-face, but one of the advantages of MOOCs is that they bring together (virtually) people from all over the world. The fact that the MOOC is free is important, allowing access to people regardless of their means, but what I find particularly appealing is this key message – when the focus of education is on the taking part, everyone’s a winner.

Alice Is Coming Home

Good news for fans of the wonderful Inanimate Alice series. The long-awaited Episode 5 will be released on 1st December along with a newly re-vamped website, access to designer’s journals and a gallery of student-created content. If you haven’t met Alice before, now is the time to catch up!

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To Boldly Go. One Step At A Time. #edcmooc

“What is a television apparatus to man, who has only to shut his eyes to see the most inaccessible regions of the seen and the never seen, who has only to imagine in order to pierce through walls and cause all the planetary Baghdads of his dreams to rise from the dust.”

Salvador Dali

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I suppose it is entirely appropriate that the first week of my MOOC coincides with a week away from home. I am currently in Girona, where the people are preparing for an ‘illegal’ referendum on independence for Catalonia. It really is a beautiful city, but it means that I am at the mercy of the hotel wi-fi to access the course materials: so far it has been impeccably-well behaved. With so many strands to the course it would be easy to be overwhelmed, or to try to cover all the bases simultaneously, but fortunately there is good advice from the course tutors:

Last time we ran the MOOC, some key strategies emerged on how to manage it as a learner:

  • Read selectively: you are not expected to engage with every single area of course content
  • Choose one or two media streams only to focus on: you can’t be everywhere at once
  • Let go of the notion of ‘being on top of things’ – this is also impossible – instead, enjoy the serendipity of the random encounter
  • Relax, select, investigate, think, write when it makes sense to write, and write in a space that you enjoy
  • Forget traditional online teaching methods: there are around 7,000 people on this course, only 5 teachers and 6 Community Teaching Assistants

Many of these strategies are of course counter-intuitive to traditional learners and teachers, where ‘being on top of things’ is essential to survival. Which again has me wondering whether, and how, these principles could be applied in a secondary school setting.

tv-future2In terms of personal learning, we are still in the early days of the course, but I do like the use of short films as media artefacts, and already I am beginning to recognise some of the main themes and concepts coming to the fore, and to relate them to much of the reading I have done quite casually in the past. For example, Dr Daniel Chandler‘s term ‘technological or media determinism’ sounds quite daunting in itself, but it isn’t too difficult to find examples when you understand the definition (see below). Nicholas Carr’s The Shallows immediately springs to mind, tending as it does towards a dystopian view of the internet and its effects on our ability to read and think effectively.

“According to technological determinists, particular technical developments, communications technologies or media, or, most broadly, technology in general are the sole or prime antecedent causes of changes in society, and technology is seen as the fundamental condition underlying the pattern of social organisation… As an interpretive bias, technological determinism is often an inexplicit, taken-for-granted assumption which is assumed to be ‘self-evident’. Persuasive writers can make it seem like ‘natural’ common sense: it is presented as an unproblematic ‘given’. The assumptions of technological determinism can usually be easily in spotted frequent references to the ‘impact’ of technological ‘revolutions’ which ‘led to’ or ‘brought about’, ‘inevitable’, ‘far-reaching’, ‘effects’, or ‘consequences’ or assertions about what ‘will be’ happening ‘sooner than we think’ ‘whether we like it or not’. This sort of language gives such writing an animated, visionary, prophetic tone which many people find inspiring and convincing.”

Daniel Chandler

You recognise any of that? It is a tone adopted by many bloggers (including in all likelihood this one!) which may suggest that it is linked to the quality of writing, where the author has a pre-conceived view of technology in the classroom and is determined to stick with it, no matter what.

Now we are asked to consider two other perspectives on the web and e-learning, alongside Chandler’s technological determinism (No.2). These are posited by Dr Lincoln Dahlberg of the University of Queensland and summarised as follows.

  • Uses determination: technology is shaped and takes meaning from how individuals and groups choose to use it. Technology itself is neutral. An example of this way of thinking can be seen in the educational mantra: ‘The pedagogy must lead the technology’.
  • Technological determination: technology ‘produces new realities’, new ways of communicating, learning and living, and its effects can be unpredictable. This is the position Chandler explores in detail in our core reading.
  • Social determination: technology is determined by the political and economic structures of society. Questions about ownership and control are key in this orientation.

future1Dahlberg argues that none of these perspectives, on its own, is enough to explain everything that needs to be explained about the internet. Each is useful, and each is overstated. Depending on the questions we need to answer, different approaches may be necessary. The same could be said about e-learning – that we need more complexity, more nuance, than any one determinist position can offer us. It’s therefore extremely useful to be able to identify these positions, and in particular to know what we are dealing with when grand narratives are told about how great, or how terrible, technology is.

I have to say that many of the blogs I read, and the educators I follow on Twitter, tend to adopt the ‘uses determination’ approach, but we are inclined to follow those who are in broad agreement with ourselves (or in fact those in direct opposition). Perhaps we are all guilty to a greater or lesser extent of technological determinism. Which of these three perspectives do you lean towards in your understanding of the relationship between technology and pedagogy?

Footnote:

Everything is connected. Earlier today I visited the Salvador Dali Museum in Figueres. For me the most interesting part of the collection was the jewellery, which is quite exquisite and includes a pair of ‘telephone’ earrings which it would be easy to dismiss as frivolous, but about which Dali himself had this to say:

“The Dali jewels are totally serious. I am pleased if my telephone earrings bring a smile. A smile is a pleasing thing. But these earrings, as with all my jewels, are serious. The earrings express the ear, symbol of harmony and unity. They connote the speed of modern communication; the hope and danger of instantaneous exchange of thought.”

Learning Independently – Together

“School is broken and everyone knows it. Public schools from kindergarten to graduation have been crumbling for decades, dropout rates are high, and test scores are low. The value – in every sense – of a college education and degree is hotly contested in the news every day. Students face unprecedented debt in an economy with a dwindling middle class and lessening opportunities for social mobility. This has a significant effect on lives and the economy itself.”

KioThus begins, controversially, Don’t Go Back To School – A Handbook for Learning Everything by the American writer, teacher and graduate school dropout Kio Stark, a comprehensive examination of the alternatives to long-established and formal educational pathways. I should point out before proceeding further that ‘school’ in this context is used to denote formal education in the broadest (American) sense, and mainly in the context of higher education, rather than ‘high school’ or ‘secondary school’ as we in the UK would understand it.

The text consists largely of a series of interviews with successful entrepreneurs – over 100 of them – who have, for a variety of reasons, eschewed expensive university courses in favour of independent learning. And herein lies the interesting element of the book for me – Stark’s definition of ‘independent learning’.

“Independent learning suggests ideas such as ‘self-taught’ or ‘autodidact’. These imply that independence means working solo. But that’s just not how it happens. People don’t learn in isolation. When I talk about independent learners, I don’t mean people learning alone. I’m talking about learning that happens independent of schools. Almost all of the people I interviewed talked about the importance of connections they forged to communities and experts, and access to other learners. Anyone who really wants to learn without school has to find other people to learn with and from. That’s the open secret of learning outside of school. It’s a social act. Learning is something we do together.”

The author goes on to reveal from her research four important features of almost every form of learning outside school:

  • It isn’t done alone
  • For many professionals, credentials aren’t necessary, and the processes for attaining credentials are changing
  • The most effective, satisfying learning is learning which is more likely to happen out of school
  • People who are happiest with their learning process and most effective at learning new things – in any educational environment – are people who are learning for the right reasons and who reflect on their own way of learning to figure out which processes and methods work best for them.

The final section of the book provides practical advice on where to find online collaborative learning systems, free and low-cost online learning platforms including MOOCs (see below), how to access scholarly publishing and academic research, and a ‘further reading’ list.

By coincidence rather than consequence, and as a firm believer that you can, in fact, teach an old dog new tricks, I made the bold move last week of signing up to take part in my first ever MOOC, which, for the uninitiated, stands for ‘massive, open, online course’, or, as Wikipedia would have it, ‘an online course aimed at unlimited participation and open access via the web. In addition to traditional course materials such as videos, readings, and problem sets, MOOCs provide interactive user forums that help build a community for students, professors, and teaching assistants.’

This particular course, E-learning and Digital Cultures, is being offered by the University of Edinburgh and Coursera, one of the biggest of the MOOC providers, and runs for 5 weeks through November and December, with a commitment of 5-7 hours a week. The course tutors promise that it is ‘not about e-learning’ but ‘an invitation to view online educational practices through a particular lens – that of popular and digital culture’.

“E-learning and Digital Cultures is aimed at teachers, learning technologists, and people with a general interest in education who want to deepen their understanding of what it means to teach and learn in the digital age. The course is about how digital cultures intersect with learning cultures online, and how our ideas about online education are shaped through “narratives”, or big stories, about the relationship between people and technology. We’ll explore some of the most engaging perspectives on digital culture in its popular and academic forms, and we’ll consider how our practices as teachers and learners are informed by the difference of the digital. We’ll look at how learning and literacy is represented in popular digital-, (or cyber-) culture, and explore how that connects with the visions and initiatives we are seeing unfold in our approaches to digital education.”

The plan is to take my friend Inanimate Alice along to find out where she stands in relation to e-learning, and indeed digital culture. Having just returned from an interesting and fruitful tour of the Frankfurt Book Fair and the Dutch Game Garden, we are keen to explore further how Alice’s personal journey could be used as the starting point for engaging young people (particularly girls) in the creative industries, and how this relates to the current seismic shift in publishing trends.

Should be fun, and I will of course be reporting back. After all, there really is no such thing as a free education, is there?

Footnote. In the course of writing this blogpost, and with half an eye on Twitter, as you do, my attention was drawn to this post by Will Gayhart on The Death of Graduate Schools of Education.

 

Alice Through the Looking Glass

Regular readers of the blog will know of my admiration for Inanimate Alice, the digital novel which has captured the imagination of teachers and young readers around the world, and many of you have already introduced your own students to the story, as well as making full use of the literacy resources which accompany the four episodes currently on the website. (You can catch up with my previous posts on Alice here, here and here). After reading about Alice and her travels, young people love to write their own version of the next episode, setting it in their own locations and introducing new characters, but their most frequently asked question is, When are we going to see Episode 5? Recently I caught up with producer Ian Harper of The Bradfield Company at his Vancouver Island base and asked him that very question, as well as what readers might expect as our eponymous heroine develops into young adulthood.

Bradfield.jpg

TLA. It has been a long time since Episode 4 appeared online. When can fans expect to see Episode 5 and can you give us any clues as to what it might look like?

Ian Harper. Yes it has been a while since Episode 4 appeared. Way too long in fact. We haven’t been entirely idle in the meantime and have been concentrating our efforts on establishing relationships with partnerships that will grow the title for the long term. Particularly noteworthy in this regard is the relationship we have established with Education Services Australia, the government organisation that has been responsible for the development of the curriculum across the country. We are delighted that Inanimate Alice was the first digital text chosen to be adopted into that national curriculum. That feels like a landmark moment. Education Services Australia has invested in both the development of new content and in the title’s discoverability across all of the nations education platforms and websites. Quite a commitment. It has certainly put Australia firmly on Alice’s map. This year we are developing interactive journals and translating the first four episodes of the series into Japanese and Indonesian for ESA’s Language Learning Space. We must be doing something right!

I digress. These developments, though, have encouraged our creative team to proceed with the development of that long-awaited Episode 5. It is in production now with a planned completion date of the end of May 2014. We are seeking promotion of the episode in similar way to the launch of Episode 3 in the Guardian newspaper. Readers of the series will see familiar scenes in Episode 5 as this episode is set in the same town, the same school as Episode 4. However, Alice is two years older and trying out her storytelling skills using the Unity game engine for the very first time. So those readers may well be surprised to see 3D effects within a 2D linear storyline. This episode provides the transition to the full-on 3D explorable environment we are anticipating for Episode 6 when Alice is “off to college.”

I’m hopeful that long-standing friends of Alice will be pleasantly surprised by developments. There has been much more going on behind the scenes than can be gained from viewing the website. For example, the new Australian project will form part of Season 5: Gap Year where Alice takes up travelling once again, this time without her parents or the Aunt who accompanies her around Europe as part of Season 4. With Japan and Indonesia on the itinerary it is shaping up to be quite a year. Tasters, at least, of each of these Seasons will appear during the year and we will open up windows on Japanese and Indonesian culture in the same way that we have done with Alice’s Australian adventures. Expect to hit the ‘Japan’ button and find yourself in Hiroshima. ‘Indonesia’ will lead to Jakarta and the gateway to a country that doesn’t know how many islands it comprises.

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Work in Progress. A screenshot from Inanimate Alice episode 5. The bird silhouettes, like the cat and the nightclub in the following two shots, are animated and move gently, creating a sense of depth.

TLA. You have said often that IA was written as entertainment rather than education. Have you been surprised by the uptake from teachers around the world, and how do you account for its tremendous popularity in classrooms?
Ian Harper. For sure, teachers have taken us by surprise on many occasions and continue to do so, after all this time. The first surprise came quite early on when we noticed, from the website statistics, that most of the site users were teachers and, importantly, they represented almost all of those returning to the site time after time. It was then we decided to switch tactics and actively support teachers in their endeavours.
As the numbers grew, we were able to detect trends in usage and saw that in addition to literacy objectives teachers were using it right across the curriculum with high-spots naturally in literacy and ICT education. What was at first a surprise and continues to be a joy is the uptake in the language learning community. Around the world, British Council teachers of English are among the title’s strongest supporters. We see usage at international schools particularly across the Pacific Rim. The translations, too, have served to widen uptake with Spanish being by far the most popular at this time. This interest is from the Spanish speaking Americas as much as Spain itself. There are multiple factors at play when it comes to its popularity, the strongest of which must surely come under the heading of engagement. Students are immediately gripped by the dramatic storyline and teachers can rely on having the attention of everyone in the classroom. This is a primary consideration whether students are high performers or reluctant learners. It has turned into a bit of a mantra but one of the beauties of the title is that is suitable for deep-reading and re-reading, The story bears revisiting and viewers are often delighted when they experience something fresh on each occasion.
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TLA. How many episodes are planned in total, and how fully developed are they?

Ian Harper. We have long held on to the vision that there will be ten episodes in all, spanning Alice’s life from an 8 year old through to her mid-twenties, when we see that she has achieved her ambition to work as a computer game designer. One of the first tasks undertaken, by the writers Kate Pullinger and Chris Joseph, was to develop a story bible that not only described the arc of the narrative but also delved into the multimedia guidance we needed to understand her circumstances at each juncture. This document keeps us generally on track in managing her ever-improving skills as a digital creative, yet affords the flexibility for us to learn both from feedback gained and the improving technologies that help us better present the story. Beyond Episode 6 which has an established format, we have not developed the later episodes in any detail. The shift to 3D graphics and the provision of interactive journals that will run alongside and in-between episodes allow great opportunities to discuss challenges and intended outcomes with partners.

TLA. Are you prepared to give away the ending of the story?

Ian Harper. The straightforward answer to this question is NO! However, I can tell you that the complexity and interactivity increases exponentially with each episode and that by the end of the series the last episode will have the look and feel of a AAA computer game title. That ambition brings great challenges and we hope to surprise and delight ‘Friends of Alice’ many times along the way. It is no secret that the Inanimate Alice series was developed from a theatrical movie screenplay. The ambition holds that folks, having met Alice through all 10 episodes, 3 hours of screen-time, but never having seen her face, will want to visit the Tokyo Games Show and meet her together with Brad for the first time.
TLA. One of the features which makes IA unique is that, in your own words, it was ‘born digital’. Do you think that the era of the paper book is over?
Ian Harper. By no means. The printed word remains just as fascinating, just as gripping as it always did. People still love to get their hands on a book. I’m sure that that desire will remain, but the sorts of books that consumers will buy in paper form will certainly change. The revolution we are now experiencing centres on content, words with audio-visual accompaniment, appearing in multiple forms, often concurrently. Formerly, readers would have the single option of getting their hands on a paper book. Now they can read and experience on myriad devices. They can browse now or download for later reading. They have the choice of ‘read only’ or selecting an enhanced version that offers the prospect of venturing outside of the linear narrative. This enhanced narrative experience is in its formative stages and its an exciting time to see this unfold.
From our perspective, one of the great advantages of having the title ‘born digital’ is the prospect of simply being able to take the title in any direction. It’s just as easy to anticipate smartphone delivery as it is to imagine what Inanimate Alice looks like in print formats. Ease of translation and switching between translations suggests far greater reach than the mere option of “do you want the paperback or PDF on an e-reader?” and thinking beyond “how much is it?” What fascinates me is the challenge of delivering stories and translations for example in print to students in Australia, while offering a mobile version of the stories directly to kids in Japan, China and Indonesia. This kind of reach was the sole domain of the world’s largest publishers until digital came along.
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If you haven’t already joined Alice’s growing band of supporters you can do so in a number of ways. Here are a few of them.
Follow Alice on Twitter
Like Alice on Facebook 
Follow Kenny Pieper and his English class as they engage with Alice here
Find out more about Alice on Wikipedia
Read the latest Alice news at Scoop.it!
Collect Alice images and pin them at Pinterest
See how other teachers are using the Alice stories on Edmodo
Download and re-mix the the digital assets from ‘Alice in Australia’
 

Can Creativity Be Taught and Measured?

There must be very few people in education who have not yet seen Ken Robinson‘s provocatively entitled presentation ‘Do Schools Kill Creativity?‘. Loved and loathed in almost equal measure, the fact that it has been viewed over 5 mistakes.jpgmillion times on YouTube would suggest that at least he is hitting upon something that reaches to the heart of our education systems, the debate about whether creativity is something which can be taught, or whether it is part of our DNA and can therefore only be nurtured or stifled. Is education indeed ‘a leading out of what is already there in the pupil’s soul’, in the words of Muriel Spark‘s most famous fictional character Miss Jean Brodie, or does creativity still justify its place at the top of Bloom‘s revised, but increasingly less revered, hierarchy of skills, to be taught as well as learned? The issue was brought into focus for me again recently with the publication of Education Scotland‘s new ‘creativity measuring tool’, the ‘Brewstometer‘, which apparently “introduces the principles of creativity and helps learners reflect upon and evaluate any creative experience they have had recently. This could include a lesson, a workshop, a performance, a gallery visit or project. You can use the Brewstometer in any way that suits the needs of your learning environment, whether as a whole class, in small groups or one to one.” The Brewstometer has been developed by Creative Scotland and Education Scotland as part of Scotland’s Creative Learning Plan.

“The Brewstometer is a Creativity Measuring Tool that introduces the principles of creativity and helps you to evaluate any creative experience that you have had recently. This might have been a lesson, a workshop, a performance or project. The Brewstometer will help you and your learners to think back and reflect on the experience, how it made you feel, how successful it was, and ultimately how creative everyone was being.”

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The Creative Scotland ‘Brewstometer’

So there you have it. A tool which measures how much creativity has been ‘taught’ by a gallery visit for example? An interesting concept. My initial reaction was one of extreme scepticism – there are some things which cannot and should not be measured – but it seems that everything in schools and education these days has to be measured, assessed and inspected or it is of little value. As always, however, I would be delighted to hear from any teacher whose use of the new tool has made their classroom or its inhabitants more creative. Regardless of your views on the ‘measurability’ of creativity though, the Creativity Portal from the same partners will provide you with some excellent resources and ideas to make you reflect on how creative you are as a learner and as a teacher. The site also has some useful links to blogs, case studies and contacts across all areas of the curriculum.

Further Reading

Flipping Bloom’s Taxonomy by Shelley Wright

I’m Not Really Sold on Bloom’s Taxonomy by Jaye Richards-Hill