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Fig. 1. In Dracula mode
I was up at 3.30am and I’m not even presenting. It brings out the vampire in me.
I use these early hours to write – pulling together ideas before they blow away in the wind of daily life in a household where the number of teenagers has suddenly doubled. We have the older teenager couple, and the young teenager couple … and the parents of two of this lot looking at each other and thinking ‘we’re teenagers too’.
Three hours of short presentations and without exception each has an impact and contribution to my thinking an practice.
This despite the presence of a lorry full of blokes with pneumatic drills who attacked the house an hour ago – cavity wall insulation.
I am sitting here with industrial strength headphones – for a ‘test to destruction’ I’d say that these Klipsch headphones are doing their job admirably. I ‘suffer’ from having acute hearing … I do hear the pins drop a mile away. I need headphones like this whenever I leave the house otherwise travelling is a nightmare.
Is this normal?
The great value of a session like this is to listen to your fellow students – a voice, more than a face, evokes character and conviction. Not that I ever doubted it but everyone is clearly smart, focused and keen to ‘play the game’ when it comes to using online tools.
There isn’t enough of it.
The OU has a habit of designing the life and risk out of a module. Bring it back. Vibrancy and energy are born of risk.
Fig.1. Here a ‘Near Field Code’ offers the visitor further information as a rich ‘nugget’ delivered to their smart phone – though not to iPhones. My perfect guide would have been my mother at my side.
An avid visitor to museums, galleries, historic houses and battlefields I have become intrigued by the kinds of guidance offered and the way this has changed with the greater use of IT and in some instances the use of Quick Response or Near Field codes. All of them appear to try to recreate the perfect visitor support – the sympathetic, well informed guide at your shoulder explaining what’s what and tailoring their response to your interests and level of interest. I had this, and my children, nephews and nieces got it too from my late mother on visits to art galleries. An artist who had studied art history too, she had a way of picking out nuggets of information and insight about an artist and their trade.
Fig. 2. Some galleries and museums now offer an audio guide that is at least triggered by your proximity to an exhibit.
Though you are of course still beholden to the words and tone of the expert, even if their words are spoken by a broadcaster. From time to time the quality of the content stands out – in my experience the audio-guide for visitors to Alcatraz in the Bay of San Francisco stands out because it had to my ears the hallmarks of a BBC radio docu-drama – expertly written and crafted with the right mix of interview clips from former inmates, and prison guards.
As learning experience this is still one way – however memorable I am neither constructing my own narrative nor sharing much with others, until of course you take off your headphones and share your feelings and thoughts with other family members.
A QR code offers more than just a switch that triggers a nugget of reading, viewing or listening at a specific spot – it offers the chance to take people to content that you provide and to make connections that lead to conversations and discussion. It is these aspects of the QR code that are of interest to me, students as ‘produsers’ and participants, having responsibility for, even pride in, content that they research, put online, tag and then promote with a QR code and then return to as the curator and moderator of their content, sharing and expanding their views through ‘connected learning’ practice.
Fig. 3. Using Quick Response codes to bring those who served in the First World War to life
In relation to the First World War, to achieve this requires more than simply sticking QR codes to poppies, and leaving poppies at memorials, in the railings outside historic buildings, or in the ground on battlefields – it requires three kinds of champion: institutional support, educator support and these ‘produsers’ – a term coined by the Australian academic John Bruns when writing about the value of blogging.
The institution, by way of example, in the UK, might be the British Legion, Imperial War Museum, Western Front Association or National Trust – as well as smaller, regional and local associations. The ‘educator’ to use its broadest sense is the classroom teacher or university lecturer who once introduced to QR codes sees how their use can be exploited within their own learning programmes.
Fig.4. My visualization and conception of those who are most active at generating content. After Jakob Nielsen (1999)
While the ‘produser’ is that rare 1% in an online population, like those who generate content for wikipedia, keep a blog or post video content to YouTube, who can be encouraged, within the context of the First World War to use QR codes in imaginative and innovative ways, probably drawing viewers to content or adapted content, that they have already created and in doing so indicating to others how straightforward it can be to upload a photograph and some text, or if they are moved to do so, to write a poem, compose a song, paint a picture, make a sculpture, complete some research or tell a story – and then to share it, especially at times and in places that are most appropriate.
Bruns, A. (2005) ‘Anyone can edit’: understanding the produser. Retrieved from http;//snurb.info/index. php?q=node/s86
Nielsen, J (1999) Web Usability
Using SimpleMinds multi-media mindmap as a concept board for a Tutor Marked Assignment (TMA) on the Open University module ‘The Networked Practitioner’
|From E-Learning III|
|From E-Learning III|
|From E-Learning III|
Fig.1. SimpleMinds+ concept board/mind map for H818 TMA 01
Sometimes it is too much fun. Actually writing the assignment is such an anticlimax. Sometimes the tool offers too much. SimpleMinds (Free) does the job more the adequately. Here I got mesmerized by the ability to add pictures … which might be a visual aide memoir but are unnecessary and unlikely to make it into the assignment. Though I do believe in illustrating the thing if I can. However, given the module I’ll have to be very sure indeed where I stand on the creative commons for any images used.
There’s a mash-up here from a publicity piece on the Museum of London using an application called Studio – I ought to attribute both.
There’s a photo I took in the Design Museum.
To confuse the visitor some parts of this show permitted photography, some didn’t – this did, but I don’t know on what basis. In the centre there is a complex SimpleMind of my own on 13 learning theories (there are possibly only five or six, but I stretched the thinking a bit) I ought to have a creative commons licence on it of some kind so that a) I receive attribution b) there is no commercial use c) there is no chopping it about. ie. CC attribution, no commercial, share alike?
Fig. 1 Mashup using Studio to indicate, at this stage, my choice of theme and format for the OULive conference in January 2014