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The contents of my brian
Fig. 1. A moment to reflect
This by the by was the title of a TV screenplay I submitted to the BBC – rejected otherwise you might have seen it on the box by now and I wouldn’t be sitting here.
As the round up to my final, final MA ODE module H818: The Networked Practitioner it is suggested that we prepare a timeline drawing on possible blog entries, as well as ‘appearances’ in the OpenStudio platform we’ve been using.
I’ve posted some 80 times since H818 began. I’ve posted some, I don’t know, 1000 times here since February 2010?
The surprise is to find a dozen references to H818 from 2012 and when contemplating how I got to the ideas that I delivered for H818 where these may have emerged from. This in turn takes me as far back as a visit to the Science Museum in 2010. Then all manner of things, from the launch of Martin Weller’s book ‘The Digital Scholar’ and attending seminars in Bristol on ‘curation’ and earliest indicators that I may take an MA in First World War studies having tried to write on the subject for … well, 22 years ago another failed TV play optioned by Tyne Tees Television called ‘That’s Nothing Compared to Passchendaele’ – which is what my late grandfather said to me while we watched the local news featuring a private in the Durham Light Infantry out in Saudi Arabia. He was 96 in 1992 and had joined the DLI in his teens in late 1915.
And all of this for my very, very, very last EMA ever.
And what did I just jot down
‘Word counts in an EMA are anathema to the culture of open education’
My first draft, I haven’t ever dared look, will run to anything between 6,000 and 12,000 words.
Talking of writing … never one to say never, I have committed to a week long ‘retreat’ with a dear friend and writing tutor. My goal is to work on … ‘The Angel of the North’ a story set in the era of the First World War about a woman who flies over the Western Front.
(Actually, I’ve just thought of that. She does fly with an RFC pilot/instructor … and in the final pages is about to set off to attempt to fly the Atlantic for the first time in the wrong direction. She does, as a couple of women did, impersonate a soldier to get herself into the Front Line …)
Oh boy. And I thought I was done with writing. Thought that getting 5,000 words finished was a challenge. It is, but the OU provides the parameters and schedules, the kick up the arse and the carrot that no other kind of writing has yet provided. Except for once.
Meanwhile I must get the kids to school, must walk the dog and must prepare for an online conference I madly volunteered to do a few weeks ago as if I didn’t have enough on … which will include sitting with a veteran of the Second World War this weekend, he was in the Polish Resistance during the Warsaw Uprising. I have a Sony Flip camera and digital sound recorder in my pocket determined to interview him as I did my grandfather …
Onwards to … more of the same I should think
p.s. yes, it is my ‘brian’ – the idea of the brain is so ridiculous.
L’Enfer (Hell), Georges Leroux, 1921
Fig. 1. L’Enfer (Hell), Georges Leroux, 1921.
If QR codes are the key into content on the First World War then audiences need to be grabbed in an instant … in the first 45 seconds. Horror shocks. This image, recreating the last moments of the soldier featured, is an idea I have to create a short, powerful film. Once I have their attention, then I/we, the community of people interested in the First World War, can share and point to further information and experiences.
Three reasons to revitalise, reinvent and revolutionise education
Fig. 1, Ken Robinson: On education … and a fix for the huge drop-out rate in American Schools.
An excellent TED lecture. Worth taking notes. These are mine.
Offered by fellow student Marshall Anderson on the H818: The networked practitioner journey.
Worth listening to a couple of times (as I have just done).
Music to my ears, though I am not a teacher and have given too much of my career to the mechanised teaching he knocks … digital and interactive learning is and has been, surely, a product of the mechanised approach? But you don’t question the legitimacy of e-learning in an e-learning agency and suggest that a blended approach would be better.
They have one product on the shelf.
Which puts me at odds with the hand that has fed me for the last couple of decades. Next stop Finland? There is of course an answer here and that is recognising, please, that children, whilst deserving a better education system and approach, are NOT always at school … this curiosity and motivation can be developed at home if and where a family have parents with the time and inclination and where, ideally, they also have contact with grandparents and even cousins, and especially friends.
FIG.2. TED Lecture with Ken Robinson
Ken Robinson is right to celebrate the human side of the child, that:
- human beings are naturally different and diverse
- that ‘lighting the light of curiosity’ is key and that
- human life is inherently creative.
For the moment my interest is with my 17 year old daughter and 15 year old son … hoping and helping them to find and know what motivates them. It is this that will get them through school, a worthwhile goal beyond the barriers that exist in formal education – you still have to satisfy the standardised tests in order to get a place at university. Which is another schooling environment Ken Robinson doesn’t touch upon – you can give us human beings too much freedom. Parameters are stimulating, both the negative and positive ones.
A struggle makes something worthwhile.
It helps to create a common memory too. Fundamentally this reminds me that any learning and especially e-learning needs to be seen in context – an e-learning platform or project is never exclusive, it is always part of what else is going on in the participant’s life.
Blended, rather than pure e-learning is surely therefore the way forward?
Wise words put succinctly and with wit. Common sentiments that we struggle to realise. Privately educate? Home educate? Or move to Finland, Canada or Singapore?
What do we know about learner-types by studying museum visitors ?
Fig.1. From the paper LISTEN: augmented audio-augmented museum guide (c) Andreas Zimmermann, Andreas Lorenz (2008)
This is a paper presentation at a conference of a museum visitor guide system that uses a combination of tracking/observation and audio-artifacts to create a personalized visitor experience. The paper reveals the extent of trials, tests and adjusts as well as evaluation which in turn offer ways that a proposal might be in the form of a presentation of the platform or a workshop that might assess how visitors are profile at the start of their visit.
Fig.2 One of the many multimedia moments at the ‘In Flanders Fields’ museum, Ypres. C. 2013 In Flanders Fields
I had in mind some kind of open, mobile personalized learning for use by visitors to military museums, perhaps national trust properties and even battlefields.
Each of these offer very differ user experiences and expectations though. A literary research reveals that the planning for visitors to an exhibition, collection of curated events or gallery is complex and the history of using technology to support visitor experiences is lengthy.
The research for conference papers is approached from two directions: the standard approach through the OU online library using terms such as ‘museum’ ‘elearning’ and ‘augmented’, while also drawing on personal knowledge of the many digital agencies based on the South Coast (profiles of these companies are available from the regional hi-tech association ‘Wired Sussex’).
Cogapp have been producing digital content for museums since the mid 1980s.
These and other agencies often present ‘papers’ at conferences, though the quality, in academic terms, of these presentations is sometimes questionable – is it promotion or is this the presentation of valid research?
Fig. 3 On Alcatraz. Following my audio guide, but too enthralled to be on site amongst a hubbub of people.
I can also draw upon a personal interest in museums, galleries, and other visitor attractions from national trust properties to battlefields all, or some of which, come with some kind of ‘guide’ – traditionally as a leaflet or guide book (Picasso Museum, Jean Miro), often with an audio guide (Alcatraz, Muir Woods, Royal Academy: Van Gogh, Bronzes), though increasingly from online resources with some attempts to use modern mobile devices (Design Museum, Tate Modern) or to personalize the experience (In Flanders Fields, Ypres). (Great North Museum)
There are major, global conferences on e-learning, some with an orientation towards, or significant presence from the museum sector. Over the last decade there has been considerable interest in improving, through personalization, the visitor experience.
The attraction of this paper, although it is limited to an audio platform whereas I had in mind something visual, the narrative from conception to testing, delivery and evaluation is thorough. It is insightful on studies of the museum visitor experience, curator relationships with artifacts, use and potential of audio and tracking/observation technology – both hardware and software (Zimmermann and Lorenz, 2008:391)
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motion-tracked wireless headphones
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current position
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head orientation
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individualized and location-aware soundscape
as well as content preparation and feedback on an iterative process.
These approaches will become increasingly sophisticated, discrete and effective for different visitor ‘types’, even reflecting how a person’s behaviour may change during the course of a visit. It is insightful to discover the degree of sophistication for understanding perception types (Zimmermann and Lorenz, 2008:391)
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self-perception
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visual
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tactile space-perception
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acoustic space-perception
And visitor types:
A definition of personalized (Zimmerman and Lorenz, 2008:394)
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Adapts
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Layers of information
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Increasing levels of involvement
Pedagogical (Zimmermann and Lorenz, 2008:400)
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increasing knowledge
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increasing comprehension
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considering the social context
McCarthy and McCarthy 2005 distinguish four types of learners:
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imaginative
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analytical
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common sense
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experimental
Gardner 1993 identifies seven:
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linguistic
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logical-mathematical
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musical
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bodily-kinesthetic
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spatial
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interpersonal
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intrapersonal
Veron and Levasseur 1983 determined visiting styles based on observations of animals (Zimmermann and Lorenz, 2008:404):
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ants (following the curator’s path)
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fish (holistic point of view)
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butterfly (interest in all exhibits without following the curator’s path)
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grasshopper (interest only in specific exhibits)
leading to the Macke Laboratory outputs of:
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sauntering: the visitor is slowly walking around with an excursive gaze.
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goal-drive: the visitor displays a direct movement with the gaze directed towards a specific artwork.
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standing, focussed: the visitor is standing with the gaze directed towards a specific artwork
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standing, unfocused: the visitor is standing or sitting with an excursive gaze
(Zimmermann and Lorenz, 2008:409):
- fact-orientated – putting a high eight on spoken text
- emotional – prioritizing music pieces and sound effects
- overview – focusing mainly in short sound entities
REFERENCES
Arnone, M, Small, R, Chauncey, S, & McKenna, H 2011, ‘Curiosity, interest and engagement in technology-pervasive learning environments: a new research agenda’, Educational Technology Research & Development, 59, 2, pp. 181-198, Academic Search Complete, EBSCOhost, viewed 5 November 2013.
Boehner, K, Gay, G, & Larkin, C 2005, ‘Drawing evaluation into design for mobile computing: a case study of the Renwick Gallery’s Hand Held Education Project’, International Journal On Digital Libraries, 5, 3, pp. 219-230, Academic Search Complete, EBSCOhost, viewed 5 November 2013.
Bohnert, F, Zukerman, I, Berkovsky, S, Baldwin, T, & Sonenberg, L 2008, ‘Using interest and transition models to predict visitor locations in museums’, AI Communications, 21, 2/3, pp. 195-202, Academic Search Complete, EBSCOhost, viewed 5 November 2013.
Brugnoli, M, Morabito, F, Bo, G, & Murelli, E 2006, ”Augmented itineraries’: Mobile services differentiating what museum has to offer’, Psychology Journal, 4, 3, pp. 311-335, PsycINFO, EBSCOhost, viewed 5 November 2013.
Cocciolo, A, & Rabina, D 2013, ‘Does place affect user engagement and understanding?Mobile learner perceptions on the streets of New York’, Journal Of Documentation, 69, 1, pp. 98-120, Library, Information Science & Technology Abstracts, EBSCOhost, viewed 5 November 2013.
Edwards, C 2013, ‘BETTER THAN REALITY?’, Engineering & Technology (17509637), 8, 4, pp. 28-31, Academic Search Complete, EBSCOhost, viewed 5 November 2013.
Forsyth E. AR U FEELING APPY? AUGMENTED REALITY, APPS AND MOBILE ACCESS TO LOCAL STUDIES INFORMATION. Aplis [serial online]. September 2011;24(3):125-132. Available from: Academic Search Complete, Ipswich, MA. Accessed November 5, 2013.
Gaved, M, Collins, T, Mulholland, P, Kerawalla, L, Jones, A, Scanlon, E, Littleton, K, Blake, C, Petrou, M, Clough, G, & Twiner, A 2010, ‘Using netbooks to support mobile learners’ investigations across activities and places’, Open Learning, 25, 3, pp. 187-200, Academic Search Complete, EBSCOhost, viewed 5 November 2013.
Jarrier, E, & Bourgeon-Renault, D 2012, ‘Impact of Mediation Devices on the Museum Visit Experience and on Visitors’ Behavioural Intentions’, International Journal Of Arts Management, 15, 1, pp. 18-29, Business Source Complete, EBSCOhost, viewed 5 November 2013.
Marchetti, E, & Valente, A 2012, ‘Diachronic Perspective and Interaction: New Directions for Innovation in Historical Museums’, International Journal Of Technology, Knowledge & Society, 8, 6, pp. 131-143, Academic Search Complete, EBSCOhost, viewed 5 November 2013.
Mengmeng, L, Hiroaki, O, Bin, H, Noriko, U, & Kousuke, M 2013, ‘Context-aware and Personalization Method in Ubiquitous Learning Log System’, Journal Of Educational Technology & Society, 16, 3, pp. 362-373, Academic Search Complete, EBSCOhost, viewed 5 November 2013.
McAndrew, P, Taylor, J, & Clow, D 2010, ‘Facing the challenge in evaluating technology use in mobile environments’, Open Learning, 25, 3, pp. 233-249, Academic Search Complete, EBSCOhost, viewed 5 November 2013.
Semper, R, & Spasojevic, M 2002, ‘The Electronic Guidebook: Using Portable Devices and a Wireless Web-Based Network to Extend the Museum Experience’, ERIC, EBSCOhost, viewed 5 November 2013.
STOICA, A, & AVOURIS, N 2010, ‘AN ARCHITECTURE TO SUPPORT PERSONALIZED INTERACTION ACROSS MULTIPLE DIGITALLY AUGMENTED SPACES’, International Journal On Artificial Intelligence Tools, 19, 2, pp. 137-158, Academic Search Complete, EBSCOhost, viewed 5 November 2013.
Zaharias P, Michael D, Chrysanthou Y. Learning through Multi-touch Interfaces in Museum Exhibits: An Empirical Investigation. Journal Of Educational Technology & Society [serial online]. July 2013;16(3):374-384. Available from: Academic Search Complete, Ipswich, MA. Accessed November 5, 2013.
Zimmermann, A, & Lorenz, A 2008, ‘LISTEN: a user-adaptive audio-augmented museum guide’, User Modeling & User-Adapted Interaction, 18, 5, pp. 389-416, Business Source Complete, EBSCOhost, viewed 5 November 2013.
LINKS:
Recommended: MIT’s sixth sense device. Do you know about it? Here’s a link to it: https://www.youtube.com/watch?v=ig2RSID-kn8&feature=youtube_gdata_player
I would have written a shorter letter, but I did not have the time.
Don’t be fooled into thinking that when expected to deliver a five minute presentation that it will take less time to write than a ten minute presentation – it won’t.
In fact, the harder assignment would be to expect a one minute presentation.
I always thought that it was Jonathan Swift who apologised to a recipient of one of his very long letters that he hadn’t had time to write a shorter one. Did he? A Google search gives you Blaise Pascal
Je n’ai fait celle-ci plus longue que parce que je n’ai pas eu le loisir de la faire plus courte.
How I assembled a presentation as an exercise for the Open University Master of Arts in Open and Distance Education module H818: The Networked Practitioner
From the start of the Open University postgraduate master’s module H818: The Networked Practitioner I’ve aggregated screen grabs and photos into a dedicated album in Google+ ‘Picasa Web Gallery’. This, as a resource and aid memoir, also received copies of images from other albums, including the another two albums on elearning that contain some 3000 images from the six MAODE modules that I have done over the last four years and from other albums on the First World War and specific museum visits, including: the Museum of London, the Great North Museum, the Design Museum, the ‘In Flanders Fields’ and ‘Talbot House’ in Belgium, as well as inspiration and insights from the Picaso and Miro Museums in Barcelona and Alcatraz in the Bay of St.Francisco.
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From E-Learning III |
My interest in museums is lifelong and something emanating from them or to support them had been an intended topic for my last MAODE module H809. My interest in the First World War is also lifelong, fed by my late grandfather, a veteran of that conflict who lived into his 97th year – long enough to attend various events to mark the 75th anniversaries of the Battle of Passchendaele where he served as a machine gun corporal and the formation of the Royal Air Force as he had transferred to the Royal Flying Corps at the very end of 1917. Given the approaching centenary of the 1914-18 War I took the decision to enhance and formalise my understanding of the conflict with an MA in British First World War studies at the University of Birmingham. I further justify this by valuing the insight of doing a ‘traditional’ though part-time MA that requires attendance at lectures, and a substantial amount of reading – even from books, some of these a century old and getting a taste for another institution’s online offering. Here are my mashed up notes from a lecture on reviewing a text.
First ideas were around the use of QStream, a platform with its origins in supporting junior doctors in North America to pass tough written tests of their knowledge. Simply shoehorning in an idea rather than seeing what needs exist, or problems there are, say with museum or battlefield visits isn’t to be recommended. It was necessary therefore to try out for myself some of the mobile guides, for example City Walks.
I knew from experience the year before that QR codes had been used in the Digital Crystal exhibition at the Design Museum – efforts failed here as the promised free wi-fi didn’t work. A visit to the Museum of London was more satisfactory though throughout my visit I never saw anyone use them – spoilt for a wealth of activities and options, including touch screen interactive and computer consoles alongside many tactile and engaging ways to enjoy the exhibits perhaps rendered them redundant.
Most treasured visits to museums include the Royal Academy of Arts where my mother took my daughter, then 12/13 under her wing. I was also impressed by the quality of the audio guide at Alcatraz that featured the voices of inmates and prison officers.
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Reading I do always includes some kind of note taking; how I achieve this using digital tools varies. A significant, if not most of my learning is done via an iPad. Experimentation and habit has me use Kindle tools to highlight, tab and add notes that I later review and grab, while with papers I typically do a number of things: cut and paste a Harvard reference into my OU Student Blog which I use as an ePortfolio, as well as saving into RefWorks, while downloading the paper to a dedicated module folder. Rather than take notes, which I may do in front of a computer or very rarely these days onto paper, I will, as here, highlight and grab then later annotate and potentially post with notes and tags into a blog.
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My established habit is to deconstruct a task into its component parts – in this case an early step towards a ‘multi-media artefact’ using SimpleMinds, a favourite App that I have on the iPad and Mac-Mini.
This detailed mindmap was an early step in assembling a ten minute presentation I gave on OULive on Monday on the potential and pitfalls of using Quick Response codes in education. Its next iteration was as a Prezi. It was ultimately delivered as a PowerPoint consisting of eight or nine slides.
Here I took some of my grandfather’s photographs and mashed them up using the apps ‘Studio’ – a graphics/sharing app and ‘Brushes’ – the iPad ‘painting’ app favoured by David Hockney. Together these allowed me to assemble layers of photographs, text and graphics so that I could express an idea visually.
At some stage I had the idea of putting a Quick Response in a Royal British Legion Poppy – as much for the promotional grab of the image as the practicalities of doing so.
In a module titled ‘The Networked Practitioner’ that is part of the Open University’s ‘Masters of Arts in Open and Distance Education’ the prompt to use, indeed the necessity to at least try a variety of sharing platforms is inevitable. Within the ‘walled garden’ there were module, student and tutor forums, OpenStudio, and wikis, while managed exposure beyond these walls included use of Cloudworks and the Open University student blogging platform. My own extensive use of external platforms includes blogging since 1999, and has developed to include: Linkedin, Facebook, Google+, Twitter, WordPress, Flickr, YouTube, Stumbleupon, Pinterest and others. Flickr and blogging has brought me to the attention of the BBC and National Trust, as well as individuals able to support my specific interest here on the First World War: a blogger in Belgium, the grandson of a veteran, a local historian in Hastings, a post doctoral researcher at King’s College, London, an author writing on the First World War for the National Trust, the Western Front Association who have published my grandfather’s story and a researcher and subsequently the BBC to feature in a story in their ‘People and Places’ series.
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Picking a Creative Commons copyright attribution only came after slides had been submitted to the presentation coordinator. Even once having reduced the number of slides proposed and having greatly simplified the images to be shown the need would then ideally to have added the CC as yet another layer onto these images – all the more reason to leave this task to the end once I had reduced some 32 images down to 8. Further simplification would be to restrict my use of images to my own photographs, charts and drawings. An attribution I may have circumvented is to acknowledge or link to Apps such as ‘Studio’ and ‘Brushes’ while I find it all too easy to lose track of where an image was sourced given how many screen grabs I do and photographs I take every day.
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Future plans would be to expand the thinking expressed in the OULive presentation to include a platform such as QStream that feeds by email spaced repetitions on a subject. I imagine a teacher, rather than the secondary school student, assembling a ‘cheat sheet’ of key facts as a revision sheet that is then offered back to them on their phone until, literally, they ‘have it in their heads’. This I base not only on the idea that managing our inclination to forget is a necessary part of formal learning but that only once you have aggregated enough ‘stuff’ on a topic in the brain can it be expected to make its contribution by enabling you to answer exam questions, but also by offering and allowing you to formulate your own ideas.
A shivver of vibrancy in a project to use QR codes as another way to egage people in remembering the combatants of the First World War
This morning I got a lengthy email from someone whose grandfather is featured in a 1918 photograph of RAF cadets I put up on Flickr, I also got a lengthy email from someone sharing a review on a book on the First World War on Amazon. Today, Dan Snow helped launch an initiative through the Imperial War Museum that aims to repeat what the IWM started to do in 1919 – campaign for people to share photographs, artefacts and stories of people who served, suffered, thrived or survived the First World War – this is at the ‘Who do you think you are’ exhibition at Olympia – I will try to get over on Saturday. And finally, a fascinating conversation with my brother in law on why a gallery curator is inviting people to feedback and respond to works of art through social media – and the curator’s philosophy of ‘openness’ and a desire to move away from the grand voice of the patron in favour of mutliple voices and interpretations. He particularly likes to describe the value of ‘dirt’ to challenge perceptions and permit the points of view of anyone, and called this dirt ‘soil’ that would nurture fresh and vibrant ideas – he’s Italian, speaks with an accent and chooses his words carefully (he is a tutor in fine art and art history). We got into discussions on learning and why as a student he’d have to queue up early in Bologna in order to hear Umberto Eco. This enthusiastic, reflective discussion continued as he prepares supper and I help – eager to pick up some cullinary tips too.
Positive and negative feedback, especially if constructive, sends a shiver through my bones.
Just ten minutes. A live online presentation. Why for me should it be such a big deal?
I said to my wife that I have not problems delivering other people’s words (acting) and I have no trouble writing words for others to speak (speech writer, script writer), but what I loathe and struggle with is delivering my own words on any kind of platform.
Big fails on this count, emotionally at least would include:
- My grandfather’s funeral
- My groom’s wedding speech (I was pants at proposing too)
- My father’s funeral
- My mother’s funeral
…
Because it matters to me far too much when, and only when, the words that I give seem to emanate from my soul.
Let me blog, let me write letters, let me smoulder from my ears into the atmosphere with no expectation of feedback.
…
Both positive and negative feedback, especially if constructive, sends a shiver through my bones. Why is it that I crave confrontation, that I want to be mentally smacked around the head, then kicked up the arse and sent back into the fray to deliver some amazing show of ability?
…
We are all so, so, so very different, yet how we are taught, or expected to learn seems so very contrived, so set by context and numerous parameters.
I would prefer to be stuck in a cabin for a couple of weeks with an educator who hasn’t a clue about the subject, but is a natural educator, than someone who has ticked a collection of boxes in order to obtain their position. The natural educator can teach anything. The subject matter expert thinks they know everything.
eLearning can be the subject matter expect – ‘IT’ (literally) thinks it knows it all.
So, connect me, and for me connect students and educators – worry only about the desire and ability to teach or transmit and mange those hungry to gain knowledge, and for students concentrate almost entirely on motivation. If they want to learn pores will open up in their skull so that you can pour in the information and they’ll never be satiated.
Reflection: we are all so very, very, different when it comes to learning
Just ten minutes. A live presentation. Why for me should it be such a big deal?
I said to my wife that I have not problems delivering other people’s words (acting) and I have no trouble writing words for others to speak (speech writer, script writer), but what I loathe and struggle with is delivering my own words on any kind of platform.
Big fails on this count, emotionally at least would include:
My grandfather’s funeral
My groom’s wedding speech (I was pants at proposing too)
My father’s funeral
My mother’s funeral
…
Because it matters to me far too much when, and only when, the words that I give seem to emanate from my soul.
Let me blog, let me write letters, let me smoulder from my ears into the atmosphere with no expectation of feedback.
…
Both positive and negative feedback, especially if constructive, sends a shiver through my bones. Why is it that I crave confrontation, that I want to be mentally smacked around the head, then kicked up the arse and sent back into the fray to deliver some amazing show of ability?
…
We are all so, so, so very different, yet how we are taught, or expected to learn seems so very contrived, so set by context and numerous parameters.
I would prefer to be stuck in a cabin for a couple of weeks with an educator who hasn’t a clue about the subject, but is a natural educator, than someone who has ticked a collection of boxes in order to obtain their position. The natural educator can teach anything. The subject matter expert thinks they know everything. eLearning can be the subject matter expect – ‘IT’ (literally) thinks it knows it all.
So, connect me, and for me connect students and educators – worry only about the desire and ability to teach or transmit and manger those hungry to gain knowledge, and for students concentrate almost entirely on motivation. If they want to learn pores will open up in their skull so that you can pour in the information and they’ll never be satiated.
How to use Quick Response Codes in teaching about the First World War
Leveraging mobile technologies and Web 2.0 tools to engage those with an interest in the centenary of the First World War in the stories of the people of the era using strategically placed Quick Response codes.
Open Education in an Open Landscape
Inclusion: Innovation: Implementation
An OULive presentation by Jonathan Vernon 17th February 2014 @20:45
I’d like people to add a Quick Response code to their Commemoration Poppy
Fig. 1. Mashup of a Royal British Legion Poppy with a Quick Response code that links to the story of a veteran of the First World War.
Who are them men and women whose lives are remembered on British War Memorials?
Fig. 2 First World War War Memorials in Lewes and Brigthon
The problem with war memorials is that those named on them risk becoming forgotten words on a list. By using the Web we can find out who these people were and where they lived: we can try to put a face to the name and a story to the name – and then we can share what we find online.
There are more than 54,000 war memorials in Great Britain, most of these put up after the First World War; there is barely a community without one. There are some 900,000 names. Significant interest already exists, especially as we approach the centenary of the First World War making this initiative a potentially easy one to add, to what is already taking place.
“Fast, cheap and out of control”
Brian Lamb (2010) described those technologies that ‘lend themselves to … the networked and open approach’ (Weller, 2012 KL 244) as ‘fast, cheap and out of control’. It was with this in mind, taking an interest in the centenary of the First World, that I started to think about using Quick Response codes as a personalized entry point to the Web that anyone could generate in order to share a story about someone who served in the conflict, and to do so both online and on the street.
Fig. 3 How a Quick Response code might be used on a Royal British Legion Poppy in order to personalise your commemoration.
Quick Response (QR) codes are fast – they are easy to use, they are free; however to be effective in learning there has to be a ‘ modicum of control’ – the initiative has to come from somewhere. Worn in this way, I’d like to think that you can share directly with others the person whose name you have researched and whose life you wish to remember, as well as directing people to the content online and inviting them to ‘adopt’ a name from a war memorial themselves. This is designed as a ‘blended experience’, that uses ‘face-to-face’, ‘community’ and ‘classroom’ experiences, trips to monuments … and qualities of being and going online.
Fig. 4 QR codes are a product of the car manufacturing industry
Faced with increasingly complex components, Denso, a supplier to Toyota, came up with what is a 2d barcode in the 1990s. (Denso, 2014) Made free of patent, and using free software anyone can now generate their own unique QR code; you can even print them out on standardized sticky label stationery. There are a myriad of uses for QR codes, from embedding information that is read and stored by the device to a quick link to rich content online. The interest here is to use QR codes to link to learning resources, in mobile, or ‘m-learning’ contexts in particular, and for users to both ‘read and write’ such content. I liken QR codes to using your phone as a remote control to click to a TV channel. You point a smartphone, or tablet at the QR code to read it and go instantly, pretty much, to a web page. Unlike a TV remote though, you can just as easily create and share your own content too.
The use of QR codes in education in the last decade has been limited
Refereed papers are few, but between these and other published reports, suggestions can be made regarding their strengths and weaknesses. If QR codes are to be used successfully then champions need to be identified to take up the cause. Whilst QR codes use the power of the Web to connect people to rich content, that they may create themselves, a good deal of thoughtful planning will be necessary, not just explaining how to make use of QR codes, but also working them in, where appropriate to current learning schedules where QR codes can contribute to meeting clear learning objectives.
The 2009 Horizon report identified six technologies that were expected to be significant in the following few years, of these, five relate to this proposed innovative approach to learning by wearing a personalised QR code:
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mobile devices,
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cloud computing,
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geo-positioning
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the personal web and
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smart objects.
Use of QR codes in learning has had mixed results
Simply putting a QR code in front of a museum artifact, as they’ve done at the Museum of London and did at the Design Museum does not work (Vernon, 2013) – there isn’t enough to attract or necessitate their use, not everyone has a smartphone or tablet, and the technology is often not robust. While outdoors QR codes added to signs in the South Downs National Park, (Kerry-Bedel 2011) for example, barely received a view a day during a three month trial and in some instances there was no signal anyway.
Where QR codes have been successful is in targeted learning experiences in schools (Gradel & Edson, 2012), where the affordances of the QR code have been exploited to form part of an engaging, constructive and collective learning experience.
To be effective this initiative with war memorials requires galvanizing people to take part in a joint exercise – easier with a class in school or college, less easy with the general public.
Examples where QR codes work include:
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where participants are ‘equipped’,
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where they can take an active role, such as with ‘on the spot’ surveys or quizzes,
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where they are prompted into cooperative learning
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and where timely ‘Frequently Asked Questions’ are given.
(Awano, 2007: Information Standards Committee 2008; So 2008; Robinson, 2010; Hicks & Sinkinson, 2011; Ryerson Library & Archives, 2012.)
K Lepi (2012) Copyright 2013 © Edudemic
Fig 5. A Simple Guide to Four Complex Learning Theories. Lepi (2012)
The theory behind the idea of using QR codes in a mobile and open way, is that in the digital age ‘connectivism’ is the modus operandi. In Fig. 3, an infographic produced by Edudemic (Edudemic 2012) traditional and digital theories are shown. All are relevant, each has its place, with the digital environment offering new approaches to learning.
Learning ‘in the digital age’ enables and benefits from a level and quality of interaction and connectedness that is easier to achieve on the Web. It is particularly effective where the body of learners is large, where ‘birds of a feather, flock together’ (Li & Chignells, 2010) at a hub (Efimova, 2009) and their behaviour is open and shared so that knowledge acquisition comes through the challenges and rewards of sustained interaction. (ibid)
Only a fraction of an online population are naturally inclined to generate content. Nielsen (1999) suggested that only 1% create content, 9% might comment, while the remainder are readers or viewers. Nielsen cites the Amazon book reviewer who wrote 1,275 reviews in one year. I liken these people to what advertisers call ‘champions.’ The key influencers of a cohort or group, early adopters, who innovate first and do so with conviction and passion. (Vernon, 2012).
Fig. 6. Creators, commentators and readers – how use of the Web stacks up. Vernon (2010) after Nielsen (1999)
So if we are to rely on participants to generate content the total numbers taking an interest as viewers and commentators needs to be large. Building on Nielsen, and authors who have called groups who identify with each other through connected blogs as ‘like minds’ and my own experience in advertising I devised Fig. 4 to suggest degrees of participation.
How I would see it work with War Memorials is that as well as the key creators, there would also need to be, say branch members of an organisation such as the Western Front Association, they have over 3,000 members with branches across the UK, as a body of ‘like minds’ supported to work on the content, a figure increased further by engaging local schools or colleges – especially where the work is made part of formal assessment.
A balance has to be found, I believe, between the qualities of a tool that is ‘fast’ and ‘cheap’, and where, if it is ‘out of control’ – but you want to use it, to do so by creating parameters or ‘scaffolding’.
Fig. 7. Following ‘City Walks’ near Bloomsbury Square, London.
The potential weaknesses of using QR codes include the requirement for participants to have a suitable device, say a smartphone or tablet and communication fees. QR codes may not be so easy to stick to, then read from, a standard Poppy either. Reading from and using a smartphone or tablet presents accessibility issues. Though these devices are also being used in resourceful ways to support people with disabilities, and an audio guide, say a minute per name, for a war memorial, has its appeal.
Fig. 8. A mash-up of old photographs overlaying a Google Map
In relation to creating and sharing content in an open culture, Robert Capps (2009) coined the expression ‘the good enough revolution’. This precludes being prescriptive or from expecting perfection. Whilst output on the First World War from the BBC and the Open University should understandably attain a certain professional standard, the kind of creation required of those researching names on war memorials themselves should take inspiration from this ‘good enough revolution’. Examples include ‘pinning’ names from a war memorial to a home address, sharing photographs in a Flickr gallery, ‘pinning’ World War One photographs to battlefield maps, sharing photographs on Pinterest, numerous inventive YouTube videos, shared documentaries and memoirs presented as blogs.
Fig. 9. A mash-up of War Memorial which featured a Poppy, adding a QR code and links to an interactive online activity and a blog.
What has been shown, in museums and ‘out in the field’, is that simply ‘put out there’ QR codes are ignored. This makes the idea of ‘wearing your Poppy featuring your QR code’ appealing, as each person becomes an ambassador on the ground, in the street, on site, for that nugget of information, especially so if they are also responsible for – and proud of creating the content you then link to. The opportunity exists to engage people in bringing the stories of those named on our war memorials alive and sharing this knowledge in an invigorating, dynamic and Web 2.0 way. As a result, a deeper and more meaningful connection is made with the past and our relationship to it.
REFERENCE
Awano, Y (2007). Brief pictorial description of new mobile technologies used in cultural institutions in Japan. The Journal of Museum Education, 32(1), 17-25
Capps, R (2009) ‘The GOod Enough Revolution: When Cheap and Simple is Just Fine’, Wired Magazine: 17.09. Avaialble at http://www.wired.com/gadgets/miscellaneous/magazine/17-09/ff_goodenough?currentPage=1 [accessed 18th February 2014]
Denso (2014). QR Code Standardization. Available at http://denso.com/ [accessed 18th February, 2014] also at http://www.denso.com.au/Products/Non-Automotive/Data-Capture/QR-Code
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Hicks, A., & Sinkinson, C. (2011). Situated questions and answers: Responding to library users with QR codes. Reference & User Services Quarterly, 51(1), 60–69.
Information Standards Committee (2008) Section 3: QR code, Synthesis Journal. (From http://www.itsc.org.sg/pdf/synthesis08/Three_QR_Code.pdf )
Kerry-Bedel, A (2011) Smartphone technology – the future of heritage interpretation: Its in conservation. Avialable at http://www.kbstconsulting.co.uk/QR/images/ITIC.pdf [Accessed 14th February 2014]
Lamb, B (2010) ‘Open Contempt’. Available at http://wiki.ubc.ca/Open_Contempt [accessed 18th February 2014]
Li, J., & Chignell, M. (2010) Birds of a Feather: How personality influences blog writing and reading. Science Direct. International Journal of Human-Computer Studies 68 (2010) 589-602
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Robinson, K. (2010). Mobile phones and libraries: Experimenting with the technology. ALISS Quarterly, 5(3), 21–22
Ryerson University Library & Archives (2012). QR codes. Retrieved 6th Feb 2014, from http://www.ryerson.ca/library/qr/.
So, S. (2008). A Study on the Acceptance of Mobile Phones for Teaching and Learning with a group of Pre-service teachers in Hong Kong. Journal of Educational Technology Development and Exchange, 1(1), 81-92.
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