Geef een groepje van 5-7 leerlingen een paar foto’s en vraag of ze er een verhaal bij willen maken. Vrij te gebruiken foto’s op http://commons.wikimedia.org/wiki/Main_Page
Give a 5-7 students some photo’s and ask them to make a story about the photo’s. Free usable photo’s http://commons.wikimedia.org/wiki/Main_Page
So you want to tell a story and you do not know how to start?
This little exercise will help you.
You need some preparations for the story.
Make some pictures. You could copy the pictures, but do not use copyrighted pictures. Better use your own pictures. (More on digital storytelling on http://connectiv.wordpress.com/2013/02/03/digital-storytelling-1-etmooc/)
Dus jij wilt een verhaal vertellen en je weet niet hoe je moet beginnen?
Dit oefeningetje kan je helpen.
Je moet je voorbereiden, door een paar foto’s te maken.
Je kunt ze kopiëren, maar neem geen materiaal waar auteursrecht op rust. Het is beter om zelf foto’s te nemen. (op http://connectiv.wordpress.com/2013/02/03/digital-storytelling-1-etmooc/ meer over ditgitaal verhaal)
Choose some pictures:
3 pictures of a person (or animal), now you have 3 persons for your story. Make one the main character.
3 pictures of a place, now you have 3 places.
2 pictures of a thing, now you have 2 things.
1 picture of a means of transport.
Kies uit je foto’s:
3 foto’s van een persoon, dier, en maak een ervan de hoofdpersoon.
3 foto’s van een plaats een plek. Het verhaal speelt op 3 plaatsen dus.
2 plaatjes van een ding. Er komen dus minsten2 dingen in het verhaal.
1 foto van een vervoermiddel.
Put the pictures in some order. Think of connections between the pictures. Connect all pictures with a story.
The story will be digital if you publish your story in a blogpost. Have fun with your story, I would like to read it.
Leg de foto’s in een volgorde en bedenk wat de eerste twee foto’s met elkaar te maken hebben.
Verbind zo alle foto’s met elkaar. Zo ontstaat een verhaal.
Het wordt een digitaal verhaal als je het publiceert in je blog.
Veel plezier ermee, en laat me weten wat het geworden is.
Ben Rimes does some examples of digital storytelling. This is digital storytelling; capturing a singular moment of video and looping it in an act of “scholarly scrutiny“.
Ben Rimes geeft voorbeelden van digital verhaal. “dit is een voorbeeld van DS: een scène opnemen op video en de scene dan steeds weer afdraaien.
Wikipedia has an article on digital storytelling . Digital stories are multimedia movies that combine photographs, video, animation, sound, music, text, and often a narrative voice.
In Wikipedia staat een artikel over digitaal verhaal (Engels) Het zijn films die gebruik maken van foto, video, teksten, muziek, geluid en voice over.
You could start like you want to make a movie, with a storyboard. Quick analogous storyboard: large sheet of paper (newspaper format) and fold it 4 times. Now unfold the paper. You see 16 cells. In each cell make a scene of the story.
After that make or look for movies, photo,video, sound, music, text, voice.
Put it together in a movie. You could use iMovie or another piece of software to glue it all together.
Definition
Downes cites some arguments for OER on page 2. I have a problem with this argument about the stakeholders. I agree on the benefit for authors and readers in an open publishing model. But I doubt if an open publishing model is identical to an OER. Publishing a report or an article by a PhD student is not always opening an educational resource. Maybe it is when the student is working in the field of eduaction. This open publishing model could fit in the Little OER definition.
Definitie
Downes noemt een aantal argumenten voor het OER op pagina 2. Ik heb een probleem met dit argument over de belanghebbenden. Ik ga akkoord met het voordeel voor auteurs en lezers in een open publishing model. Maar ik betwijfel of een open publishing model is hetzelfde als een OER. Het publiceren van een rapport of een artikel van een promovendus is niet het openen van een educatieve hulpbron. Misschien is het wanneer de student werkt op het gebied van ecuaction. Deze open publishing model zou kunnen passen in de Kleine OER definitie.
Financieel
in het geval van kosten van OER spreekt het rapport voornamelijk over grote instituten die investeren in OER. De individuele bijdrager aan OER komt niet aan bod in de bespreking van de financiële modellen voor OER. (p. 34 35)
Financial
in the case of costs of OER the report speaks mainly about large institutions that invest in OER. The individual content contributor OER is not included in the discussion of the financial models for OER. (P. 34 35)
Toegang
In zijn bespreking van toegankelijkheid van OER komt de Little OER niet aan bod. In een groot nationaal OER systeem als Wikiwijs is plaats voor inhoud die niet in de database staat. Je kunt de URL van een OER opgeven, zodat de URL is opgenomen in de zoekmachine van het systeem. Maar de inhoud hoeft niet in de database te staan. De meeste OER is niet opgenomen in een database maar via de gebruikelijke Internet-zoekmachines te vinden.
Access to OER
In his discussion of accessibility of OER, the Little OER not addressed. In the Dutch national OER system Wikiwijs is room for content that is not in the database. One can specify the URL of an OER, so the URL is included in the search engine of the system. But the content does not need to be uploaded into the database. Most OER is not included in a database but can be found through the usual Internet search engines.
Content
Het is opmerkelijk dat de uitspraak van Mohammed-Nabil Sabry dat OER gebruik effectief kan worden verbeterd door middel van een verschuiving van een ‘aanbieder / gebruiker’ paradigma naar een community model met gezamenlijke ontwikkeling. Het toeschrijven van de kunstmatige provider / user / organisator / sponsor rollen aan de verschillende actoren in de eerste beraadslagingen over OER zijn dwingend en misleidend: de realiteit van OER-creatie, aanpassing, gebruik, belangenbehartiging en financieringen is ingewikkeld en chaotisch, maar biedt veel meer ruimte voor creativiteit en duurzame ontwikkeling. Zoals een deelnemer opmerkte, is dit een verschuiving van ‘kennis voor iedereen’ naar ‘constructie van kennis door allen’. ” (UNESCO, 2005b)
over content niet is doordacht in de rest van Models for Sustainable Open Educational Resources
Content
It is noteworthy that the statement of Mohammed Nabil Sabry Began That OER use could be improved musts Effectively through a shift from a ‘provider / user’ paradigm to a community or collaborative model development. The artificial provider / user / organizer / sponsor roles Attributed to different actors in the first deliberations on OER are constraining and misleading: the reality of OER creation, adaptation, use, advocacy and financing is less neat, but biedt far more scope for creativity and sustainable development. As One participant characterised it, it would represent a move from ‘knowledge for all’ to ‘construction of knowledge by all’. “( UNESCO, 2005b )
about content is not thought out in the rest of Models for Sustainable Open Educational Resources
De meeste OER is gemaakt door leraren, ze maken materiaal voor hun eigen lessen en delen die via internet. Delen kost in dit geval niet meer dan de moeite nemen het op internet te plaatsen. Downes noemt dit het co-producer model. Kwaliteit ontstaat in dit model doordat gebruikers verbeterde produkten delen. Dit weblog is een kleine OER, het kost niets, je mag het kopiëren en verbeteren, bewerken en her-publiceren.
Most OER was created by teachers, they create their own materials for teaching and after that share it over the Internet. Sharing costs in this case no more than the trouble to publish it on web. Downes calls this a co-producer model. Quality arises in this model because users improved products and share these. This blog is a small OER, it costs nothing, you may copy and enhance, edit and re-publish.
Small is beautiful?
De neiging om grote instituten leidend te maken in de ontwikkeling van OER heeft ook gevolgen voor de vrijheid van onderwijs. de visie en waarden van grote instituten zijn niet noodzakelijk de visie van de leerlingen en leraren die de OER willen gebruiken.
The tendency to view large institutions as leading in the development of OER also has consequences for the freedom of education. The visions and values of large institutions is not necessarily the same as of students and teachers who want to use the OER.
Connecting information to knowledge is one way to make sense. The Aha-Erlebnis is the moment when a new bit of information finds its place in the network of knowledge, and the moment you know that.
When learning new information good students try to find connections to existing knowledge. Good teaching is connecting new lessons to existing knowledge.
Do we translate <context> as <a network> ??
More on sensemaking jupidu, she translates Karl E. Weicks organizational sensemaking to learning sensemaking.
I did write earlier on sensemaking. In that blog I do translate sense with value. We could also use the word ‘meaning’ for sense.
T, lucidTranslucent connects sensemaking and anti-intellectualism . Is sensemaking sensoric (feeling) or is it about giving meaning (intellectual), or is it both or more?
Cos’è la creazione di senso e perché è così importante? SerenaTurri
È uno sforzo “per creare ordine e dare un senso a posteriori di ciò che avviene” (Weick1993); è
“un motivato, continuo sforzo di capire le connessioni. . . al fine di anticipare le loro traiettorie ed agire con efficacia ” (Klein et al. 2006).
[What is the creation of meaning and why is it so important?
It is an effort "To create order and make sense of what happens later" (Weick1993) is
"A motivated, continuous effort to understand the connections. . . in order to anticipate their trajectories and act effectively "(Klein et al. 2006).
It is important because it is in the presence of a fragmentation of the content and because the interaction presents problems for educators and students must be able to make sense of what is happening, to develop a coherent view of the many topics that make such a MOOC, complex system, consisting of
"A different set of actors, which dynamically interact with each other in a sea awash with feedback." (Miller and Page, 2007).]
(image: Calin MAN – Locomotion Pictures 3.0, Hypermedia application, 2001, screenshot, copyright Calin Man)
Playing a piece of music of Arvo Pärt and trying to make it a piece of my own. “Please play the notes as the composer did write them down”, teachers of (classical) music often say. Classical music often is music of Big Names, Great Composers, Best Conductors. In the “Classical Music Game” some rules about who is boss and who has to follow are important.
Maybe (I do not know, but have a feeling it might be) in Literature these rules are comparable. Great books, Important names.
What could be the function of these rules? Do these rules make us happy?
Wonder if we could find this kind of game also in Educational Theory, some Great Names, Important Stories about Education.
One of the features/rules is “High up there is a master (-musicoan, -author, headmaster) and we are only allowed to stand down here in awe”
Do we ‘from habit” apply these Classic Art Game rules being students to the MOOC? Do students apply these rules (with a lot of anger and resistance in some classes) to Education?
Is now the time to occupy the MOOC?
Is now the time to forget about being adapted respectable and well behaved students?
Who owns a MOOC?
Has a real MOOC facilitators?
If we want to know more about Connectivism as a theory of learning or knowledge or teaching, we could look at the “view of man” (mensbeeld) that is implied or expressed in connectivist texts.
A mensbeeld we call a set of assumptions and stories that relates to how people view human beings. Mensbeeld is Dutch for View of Man, Imaginem Humana (Latin), image humane (Fr).
Three bits of connectivist text to start with:
“Connectivism presents a model of learning that acknowledges the tectonic shifts in society where learning is no longer an internal, individualistic activity. How people work and function is altered when new tools are utilized. The field of education has been slow to recognize both the impact of new learning tools and the environmental changes in what it means to learn. Connectivism provides insight into learning skills and tasks needed for learners to flourish in a digital era.” [Connectivism: A Learning Theory for the Digital Age, 2004, George Siemens]
Do people change when their culture changes? (are people autonomous and independent or are they victim of external forces?)
Do humans change their culture?
Is it human destination to flourish?
Has learning ever been an internal individualistic activity?
“This implies a pedagogy that (a) seeks to describe ‘successful’ networks (as identified by their properties, which I have characterized as diversity, autonomy, openness, and connectivity) and (b) seeks to describe the practices that lead to such networks, both in the individual and in society (which I have characterized as modeling and demonstration (on the part of a teacher) and practice and reflection (on the part of a learner)).” [What Connectivism Is, Stephen Downes, 2007]
Is success an important goal of humans in a connectivist mensbeeld?
Are autonomy, openness and connectivity and diversity also part of the connectivist mensbeeld?
“Active MOOC participants are individuals high in the psychological trait of conscientiousness, geared toward duty and achievement” Individual experiences in MOOCs, part 3 diversity openness, Heli Nurmi
How does connectivism deal with uncertainty and questions with no known answer?
“Where structures of connections (ie., networks) differ from sets of observations or measurements is that there is in principle no external entity to which we can appeal in order to check our understanding. In a networked society, every person is a member of the network, and all things being equal, there is not some other networked society against which we can test our conclusions (prior to the days of global communications, societies did test themselves one against the other, but unfortunately though war and other conflict, a solution that was worse than the problem and which clouded their ability to interpret connections in a rational and dispassionate way).” An Introduction to Connective Knowledge, Stephen Downes, 2005
Is being a member of a network a major property of the mensbeeld?
Will humans improve and forget war?
Will there be a future of peace and justice for all mankind?
Is the mensbeeld rational and dispassionate?
” …Creatagogy? This would be based on a pedagogy for human being where learning is viewed as a growth of creativity and capability for people, with technology as affordance, together with digital pedagogy and netagogy. ” Sui Fai John Mak
Is creativity an important trait for the mensbeeld in Connectivism?
(to be continued)
This list has a connection to teaching and learning. (Is teaching an Art or Applied science?)
Music is a selection of sounds, a choice from all possible sounds. John Cage’s 4’33 is an example of this.
What would happen if we made software (maybe it does exist somewhere) to select sounds in a clever way. The software selects sounds with help of some rules and clever heuristics.
If the sounds were played by a computer would that be music?
If we did the same trick with software to write a novel, with help of smart heuristics, analytics of masterpieces of literature. Would the result be literature? art? a story? Would the computer beat the ape / monkey?
Theodore Roszak (‘The cult of information, the folklore of computers and the true art of thinking’, New York, 1986) does not believe computers are thinking machines. Processing information is not thinking. Thinking, creativity, dreaming, fantasy, are humane processes, and Roszak expresses fear we will forget the differences between thinking and processing information.
image: Master of Female Half-Lengths [Dutch Northern Renaissance Painter, active ca.1530-1540]
In ‘Psychologische Typen’ C.G.Jung explains his opinions on introversion in more than 400 pages. When we use the label ‘introvert’ we should think of this ideas of Jung. The label is shorthand for a very complicated story about people and their behavior. Jung does ask his readers to be very careful with the types, because it is a complicated matter.
In the blogpost on introversion an image of a Tarot card “the hermit” was added.
Jung did write the book on ‘Psychologische Typen’ as a psychiatrist, he needed background to his thoughts on therapy. Jung did philosophical, not psychological research, the book is full of literature and poetry. Jung did no empirical studies, he used his experience as a psychiatrist. The opinions of Jung as a psychiatrist and Tarot both are not modern science. Maybe the difference is psychiatrics (in the way of Jung) is a narrative discipline and Tarot is a narrative.
Labels like introvert or ADHD, or smart are very dangerous, because they are shorthand words. Most labels are shorthand for a load of books and discussions on a subject.
Jung does name different introvert types which are very different from each other. Just looking a little bit closer at Jung his thoughts on introversion will show this.
Jung saw 4 types of introversion (see diagram), and he stresses that these types never occur in a clear and ideal way. Jung explains these 4 types always exist in pairs or combinations (page 336). He mentions the combination of the thinking introvert with the intuitive traits. These combinations always cause struggle and change in the mind. Keep in mind Jung had a very complicated (complex?) view on human psychology and these types are only a small part of it.
The Tarot card of the Hermit is also a shorthand of a lot of stories on human life and types. And like different psychiatrists have different opinions on the human psychology (Freud, Jung, and others) books on Tarot do tell different stories on each card.
By the way: Jung used a kind of ‘rhizomatic’ analogy in his description of consciousness. Jung uses an image of a sea of the unconsciousness with islands of consciousness. These islands do appear on the surface and disappear below the surface in a kind of dancing. Like shoots of a rhizome do grow and appear above ground, and die and disappear.
I am an introvert. And I think a MOOC is very special, because no struggle is needed for rest and solitude in a MOOC. In a classroom or in a F2F teaching environment those noisy extraverts prevent a real human from learning. In a MOOC one could learn in ones own time and pace, without disturbances. In a F2F situation one is forced to listen to exclamations of other people, and think about these messages. In a MOOC one can think ones own stupid thoughts without bothering. In a MOOC one at once could go out for a thinking walk, chewing over a thought and no one is claiming your attention for social talk.
This week I did read about two books on introvertism. Do not believe that these authors are introverts themselves, introverts don’t write books about that.
By the way, it is not certain if introverts do exist. “Introvert” is a label. Labels are dangerous, because labels do not explain anything, and people tend to think labels are explanations.
BTW2 http://maryannreilly.blogspot.com/2012/01/5-things-i-want-my-teacher-to-know.html Do you think she is an introvert?
