Joachim Vlieghe

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Summary

“Digital Reading Spaces: How expert readers handle books, the Web and electronic paper” - Terje Hillesund

Central issue: “(…) I have argued that there is a relation between text materiality and ways of reading.” (TH, p.13)
                                > Findings:
                                                » “Sustained reading is typically done on paper, especially reading of long-form text.” (Ibid.)
                                                                * “(…) immersive imaginary reading, such as reading of novels, is usually continuous, from beginning to end.” (Ibid.)
                                                                * “Immersive reflective reading, studying, on the other hand, is characterized by discontinuous and often treacherous reading.” (Ibid.)
                                                                                - “Experts seldom read a scholarly article or book from beginning to end, but rather in parts, and certainly out of order, actively using hands and fingers in flicking back and forth, underlining and annotating, often connecting their reading to their writing, and usually spreading pieces of paper around their desk.” (Ibid.)
                                                                                - “(…) expert readers use computers and the Web for overview, actively using the mouse and keyboard in search for information and literature in a manner characterized by skimming, browsing and bouncing – that is discontinuous and fragmented reading.” (Ibid.)

Definitions:
   - Sustained reading = “(…) all lengthy acts of reading (…).” (TH, p.6)
   - Immersive imaginary reading = “(…) readers get involved in a story, conjuring up vivid images of persons and places, living through situations, empathizing with characters. (…) Immersive imaginary reading is often associated with narratives and requires reading to be fairly fluent.” (TH, p.8)
   - Immersive reflective reading = “(…) readers get involved in argumentative texts, eager to understand, interpret and learn, to see connections and consequences, and to widen their understanding. (…) As with imaginary reading, reflective immersion requires reading to be fluent.” (TH, p.8)
   - continuous/discontinuous reading = “(…) text is laid out in space and read in time, and (…) always deals with some kind of subject matter. (…) [hence], reading can be described by degrees of continuousness, including temporal and spatial continuousness, and thematic connectedness.” (TH, p.6)

Observation: “(…) most traditional research has tended to treat reading in a rather abstract way, as if all reading were more or less the same, as an individual, silent and inward act of interpretation.” (TH, p.2)
                » “While physical aspects of paper reading are usually taken for granted – and thus focus on content – new tools inevitably direct attention to the materiality of text and the tactility of reading.” (Ibid.)
                » “While this focus on new form factors may be obvious, at some point all reading technologies have been new, and for coming generations it takes years of practice to internalize the use of dominant reading technologies in society, whether they be clay tablets, scrolls, manuscripts, printed books or computers.”(TH, p.3)
                                > Research question: “(…) how users react to new reading technologies, such as e-book reading devices.” (Th, p.2)
                                                > Sub questions:
                                                                - “(…) how do we arrange our surroundings when reading?” (TH, p.5)
                                                                - “How do we position our bodies, how do we handle the object (the book, printed papers, the computer or the mouse)?” (Ibid.)
                                                                - “What do we look for first – and last?” (Ibid.)
                                                                - “What makes us start reading a text in a linear fashion – and what makes us stop, or continue browsing?” (Ibid.)

Methodology:
                > “(…) a study among experts readers, represented by a group of academics, enquiring about their digital and paper-based reading.” (TH, p.1)
                > “In 14 semi-structured qualitative interviews, 10 participants – all established humanist scholars and social scientists – were asked about their reading: how and where is it done, how they sit when reading and how they use their hands and fingers. The participants were asked about their note-taking and underlining, if their reading was continuous or done in parts, following links or linear, embedded in scholarly practices or parts of ongoing communicative acts. (…) During interviews, I prompted respondents to go beyond commonly held notions about reading. At the same time, I wanted the respondents to recount and reflect freely on the issues, being cautious not to speak for them.” (TH, pp.5-6)

Observation: “Evidently, changes in text cultures have taken place throughout history, and written discourse has never been static. Philologists have repeatedly shown that supposedly stable written texts are by no means fixed entities, neither in the manuscript tradition nor within the print culture. Specific texts change and, as the history of the book reveals, so do their general material and typographical features. Moreover, literacy studies give convincing evidence of great variations in reading practices over time.” (TH, p.13)
                > “In contrast to previous modifications, the ongoing digital transformation fundamentally changes the physical form of text. In computers, the written text is no longer physically tied to the surface of a medium that simultaneously stores, and represents the text.” (Ibid.)

                                » Remark:
                                                Through analogous reasoning, one could say that the medium of written text allows the author to distance thought from the bodily ‘surface’ normally required to express thought in unmediated interaction.
                                                Or else: In printed texts, thoughts are no longer physically tied to the surface of a medium that simultaneously stores, and represents these thoughts.
                                                                               
Discussion: “(…) I [Terje Hillesund] agree with John Bradely (2008), who suggest that tool builders would have greater success if digital tools were more in line with the ways in which literacy events actually take place. By including a corporeal and material perspective in reading research, and by broadening studies to include different age groups and circumstances, a richer description of reading may result and probably a better understanding of how reading and technology interact in real-life situations. Such insights might assist developers and companies in their efforts to create enhanced reading applications and devices.” (TH, p.14)
                > This is also tied to: “Sellen and Harper’s (2002) study shows that the computer system is superior in the actual making and remaking of documents, in storing, accessing and retrieving documents, and in facilitating the distribution of documents. Paper, on the other hand, is used in many creative tasks such as editing, commenting and collaboration on text and in tasks that require certain levels of sustained concentration, such as reading, in which annotation, quick navigation and spatial layout of documents allow readers to deepen their understanding and to create a plan for their own writing.” (TH, p.5)

                                » Remark:
                                                I think that recent developments within the field of digital reading tools and applications are in line with the suggested focus on: literacy events/practices and the importance of a corporeal/material perspective… (e.g.: E Ink electronic paper (Amazon Kindle), finger flicking/swiping (iPad), highlighting (Amazon Kindle, Copia, *OpenMargin, SubText), annotating (Copia, *OpenMargin, SubText), browsing & connecting different reading material (SubText), connecting reading and writing (Finding), etc. …)
                                                > This remark concurs with Hillesund’s observation (anno 2010) that: “Quite different then, is the new generation of devices based on electronic paper, such as the ‘Amazon Kindle’ and ‘Sony Reader’, specifically designed for reading.” (TH, p.9)

Source: firstmonday.org

    • #Terje Hillesund
    • #Hillesund
    • #reading
    • #expert
    • #expertise
    • #book culture
    • #books
    • #the web
    • #world wide web
    • #ebook
    • #print culture
    • #Digital Media
    • #literacy
    • #qualitative research
    • #modality
    • #multimodality
    • #writing
    • #recipient
    • #producer
    • #spatiality
    • #space
    • #time
    • #solitary reading
  • 3 months ago
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Twitter Fiction Festival #twitterfiction

Twitter Fiction Festival selections

Posted on: Tuesday, November 27, 2012

After reviewing a wide array of entries from 20+ countries, the Twitter Fiction Festival selection panel has chosen a diverse array of storytelling projects to showcase during the Festival. The external panel was composed of experts from around the publishing industry in the US, but the showcase they’ve selected includes published and novice authors from all over the globe. These special Twitter experiments will be highlighted on a dedicated showcase page during the Festival, starting Wednesday.

The Festival showcase will be a completely virtual event, taking place on Twitter with participants from five continents and stories in five languages. For five days, Wednesday, November 28 to Sunday, December 2, you’ll be able to find creative experiments in story-telling on Twitter around the clock.

As the stories chosen by the panel are showcased during the Festival, we invite everyone else (whether you submitted or not) to tell your stories on Twitter during the Festival too! We’ll highlight a number of your stories from the @twitterbooks account.

Whether you have a big idea or not, there are still some easy ways to get involved:
- create a character and tell a story in his or her voice
- tell a story from your own account
- tell a story in a single Tweet
…and of course, any other creative ideas you have. Make sure to use the #twitterfiction hashtag so that readers can find your work.

The Twitter Fiction Festival isn’t just for writers— it’s for readers too! You can enjoy the showcase selections at the #twitterfiction page. There will be stories being told on that page at all hours of the day during the Festival. You can also find and follow accounts telling stories during the festival by searching the #twitterfiction hashtag.

Without further ado, here are the selections:

  • Starting with the idea of a Twitter feed used as evidence, author Elliott Holt (@elliottholt) will tell the story of a crime. The audience will see that story unfold via three different perspectives, and then will have to weigh the presented evidence for themselves.
    Wednesday at 7pm EST (24:00 GMT) 
  • Author Jennifer Wilson (@writerjenwilson) will invite Twitter users to help her write epigraphs for gravestones. Posting photographs of the existing stones, the community input will inspire short stories about each of the departed.
    Friday and Sunday at 12noon EST (17:00 GMT) 
  • Harper Collins Australia (@HarperCollinsAU) presents “Around the World in 80 Hours”, a globe-trotting, media-mixing, collaborative story of intrigue. This story will be told with the help of authors Nikki Gemmell (@NikkiGemmell) and Greg Barron (@gregorybarron).
    Begins Thursday at 12am EST (05:00 GMT) 
  • Perhaps no story is more powerful than a myth. Lucy Coats (@lucycoats) from Northampton UK, will re-tell 100 Greek myths in 100 Tweets.
    Wednesday 21 Nov. till Sunday 25 Nov. 9am EST (14:00 GMT) 
  • “Censortive” is a story by a Chinese author that combines the words “censor” and “sensitive” and will explore the idea of permitted speech in the People’s Republic of China.
    Every night at 2am EST (7:00 GMT) 
  • The Museo Nacional de Ciencia y Tecnología is itself a fiction: @munacyt is meant to create the desire for a Mexican national museum dedicated to science and technology. Over the course of the Festival, the Museum will take us on an expedition in Spanish to a future island in Mexico.
    Thursday through Sunday at 11pm EST (4:00 GMT) 
  • Digital publisher Plympton and Code Meets Print have joined forces to invite readers to submit “Very Short Fiction” using the hashtag #VSS.
    Throughout the Festival 
  • In a project inspired by Italo Calvino’s “Italian Folktales”, @00serialTW is posting Twitter versions of folk tales in Italian.
    Thursday through Sunday at 4am EST (09:00 GMT) 
  • Marcel Lasoen, a very old man, has taken to Twitter to reconnect with his family. Author Marc Capelle, tweeting in French, will bring us @MarcelLasoen’s story.
    Thursday through Sunday at 6am EST (11:00 GMT) 
  • Shakespeare is eminently quotable, and publisher W.W. Norton (@wwnorton) will take advantage of that to offer “Found Shakespeare” selections, retweeting classic lines together into segments of the Bard’s plays.
    Wednesday, Thursday, and Saturday at 12noon EST (17:00 GMT) 
  • The Gronsteins are a modern American family going through a tough time after Dad lost his job. In Ben Schrank’s (@BDSchrank) story, they share a Twitter account from which they chronicle life in their home.
    Wednesday through Saturday at 1pm EST (18:00 GMT) 
  • London-based Faiq Muneef brings an Arabic language story to the Festival with the story of “The Crying Canary”.
    Sunday at 8am EST (13:00 GMT) 
  • Writing in French, Fabrice Colin (@fabricecolin) will bring us the serialized story of five strangers trapped on a bus and sharing an incredible experience.
    Thursday to Sunday at 7am EST (12:00 GMT) 
  • Emmy Laybourne (@emmylaybourne) and Anna Banks (@byannabanks) will put a humorous spin on the paranormal young adult story with love affair between a teenage girl and a…Sasquatch.
    Wednesday through Sunday at 4pm EST (21:00 GMT) 
  • For author Kurt Crisman (@unpublishedguy) online descriptions of TV episodes tell a story all their own. He’ll weave a whole story together out of these to describe five seasons of a science fiction show with an absurdist twist.
    Every day, updated hourly
  • In the 1960s, @FathomButterfly was a notorious English B-movie star, beauty queen and showgirl. Author Josh Gosfield (@JoshGosfield) has recently convinced her to write a “memoir in Tweets”.
    When: Wednesday through Sunday at 5pm EST (22:00 GMT)
  • “ManyPasts” (or “MuchoPasados”) is a writing game designed by Alberto Chimal (@albertochimal). In English and Spanish, and with the help of the Twitter community, Tweets will form branching stories.
    Friday and Sunday at 8pm EST (01:00 GMT) 
  • Plenty of mothers overlook the faults of their children, and The Proud Zombie Mom might be one of the worst offenders. According to Andrew Shaffer (@andrewtshaffer) she insists her zombie daughter only has “life allergies.”
    Wednesday through Sunday at 11am EST (16:00 GMT)
  • Come to dinner with Dana Sachs (@DanaSachs), who will be working with different literary characters to serve up Stone Soup, a celebration of great writing and (perhaps) truly bizarre food.
    Saturday at 8pm EST (01:00 GMT)
  • Ifeoluwapo Odedere offers a satire, written in the style of the King James Bible, about a Nigerian community whose attempts to find a sustainable power source are continually thwarted by a saboteur.
    Thursday through Saturday at 8am EST (13:00 GMT) 
  • Stevie Ronnie (@stevieronnie), from Newcastle UK, will tell an interactive poem of 50 lines that, when complete, can be read in either direction.
    Saturday and Sunday at 10am EST (15:00 GMT)
  • In a tense psychological thriller, Andrew Pyper (@andrewpyper) re-tells the classic Henry James ghost story “The Turn of the Screw” — set in a present-day White House. We will follow the Tweets of the new nanny, who is increasingly convinced something strange is afoot.
    Thursday through Sunday at 7pm EST (00:00 GMT) 
  • Writing from South Africa, author Lauren Beukes (@laurenbeukes) will challenge herself to write #LitMash stories: taking incongruous community suggestions (the weirder the better!) and telling a story that matches them.
    Wednesday, Thursday and Friday at 10am EST (15:00 GMT) 
  • From the city that brought us Dashiell Hammett, author Scott Hutchins (@ScottHutch) will tell a modern day detective noir tale illustrated with pictures from around San Francisco.
    Wednesday through Sunday at 6pm EST (23:00 GMT)
  • Lily is a girl who has to make a tough choice of one of two paths. Thanks to this story from Zoe Ruderman (@zoemarianna), we’ll be able to follow Lily’s story down both routes.
    Thursday at 8pm; Friday through Sunday at 1pm EST (18:00 GMT)
  • Joe and Veronica are two cubicle serfs who had a relatively banal love affair and break-up. Alina Simone (@alinasimone) will enliven the re-telling of their story with illustrations and other media.
    Thursday at 2pm EST (19:00 GMT) 
  • A group of four authors in Paris plan to work together to build collaborative sonnets in French, which they call #TwitRature.
    Thursday to Sunday at 5am EST (10:00 GMT) 
  • Over a hundred years ago Ambrose Bierce betrayed a man by the name of Ulysses McGraw. Now come back to life, McGraw will tell his story with the help of Brian O’Connor, writing from South Korea.
    Friday to Sunday at 1am EST (06:00 GMT) 
  • Writing in Argentina, Marcos Pereyra will bring us a prequel to his Spanish language Twitter thriller “Te sigo” (“I am following you”).
    Thursday to Sunday at 10pm EST (03:00 GMT) 

See you tomorrow at the Festival!

Posted by Andrew Fitzgerald (@magicandrew)
Media R&D

Source: blog.twitter.com

    • #Twitter
    • #twitter fiction festival
    • #fiction
    • #books
    • #literature
    • #writing
    • #production
    • #writer
    • #hashtag
    • #experimentation
    • #Pearltrees
    • #stories
    • #story telling
    • #expert
    • #novice
    • #Authorship
    • #author
    • #amature
    • #virtual worlds
    • #places
    • #spaces
    • #creativity
    • #participation
    • #participatory culture
    • #readers
    • #recipient
    • #imagery
    • #snippets
  • 5 months ago
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Summary

“Making is Connecting” - David Gauntlett

For once the summary is provided and presented by the author himself…

Central issue:
”Making is connecting. I mean this in three principle ways: (1) Making is connecting because you have to connect things together (materials, ideas, or both) to make something new; (2) Making is connecting because acts of creativity usually involve, at some point, a social dimension and connect us with other people; (3) And making is connecting because through making things and sharing them in the world, we increase our engagement and connection with our social and physical environments.” (DG, p.2)
   > Everything is … a remix … an experiment…
      “Typically, people mess around with materials, select things, experimentally put parts together, rearrange, play, throw bits away, and generally manipulate the thing in question until it approaches something that seems to communicate meanings in a satisfying manner.” (DG, p.4)

Observation:
”Thankfully, the World Wide Web soared in popularity, becoming mainstream in itself, and opened up a world of diversity and imagination where the content itself is created by everyday users (as well as a growing number of professionals [1]). This opportunity to make media and, in particular, share it easily, making connections with others, was unprecedented in both character and scale, and therefore a much more exciting thing to study.” (DG, p.3)
   > “Instead of individuals tending their own gardens, they come together to work collaboratively in a shared space. This is actually what Tim Berners-Lee had meant his World Wide Web to be like, when he invented it in 1990. He imagined that browsing the Web would be matter of writing and editing, not just searching and reading.” (DG, p.5-6)
          > Social Media…
             “Sites such as YouTube, eBay, Facebook, Flickr, Craigslist, and Wikipedia only exist and have value because people use and contribute to them (…).” (DG, p.7)

“Since the historical point at which education became institutionalized in a system of schools, learning has become a process directed by a teacher, whose task is to transfer nuggets of knowledge into young people’s minds. (…) school education has tended to settle around a model where a body of knowledge is input into students, who are tested on their grasp of it at a later point.” (DG, p.8-9)

On creativity:
(Csikszentmihalyi) “Rather than being a lightning-bolt of unexpected inspiration, he argues, creative ouputs appear from individuals who have worked hard over many years to master a particular ‘symbolic domain’ (…) and are encouraged by other supportive individuals, groups, and organizations.” (DG, p.14)
    (DEF) “Creativity, (…) is a process by which a symbolic domain in the culture is changed. (…) creativity results from the interaction of a system composed of three elements: a culture that contains symbolic rules, a person who brings novelty into the symbolic domain, and a field of experts who recognise and validate the innovation. (…) so creative ideas vanish unless there is a receptive audience to record and implement them.” (DG, p.14-15)

… Amongst other things, Gauntlett continues to talk about the benefits for citizenship, social cohesion and social capital.


[1] Remark: Perhaps it is the other way around, first the uploaders were mainly professionals or semi-professionals… and now with the rise of social media we see more ‘everyday users’ that are becoming uploaders.

Source: makingisconnecting.org

    • #David Gauntlett
    • #Gauntlett
    • #Social media
    • #Digital Media
    • #digital
    • #creativity
    • #creative appropriation
    • #appropriation
    • #transculturation
    • #symbolism
    • #symbols
    • #canonical breach
    • #scripts
    • #canon
    • #expert
    • #expertise
    • #recipient
    • #reception
    • #mastery
    • #education
    • #formal education
    • #informal education
    • #imagery
    • #Tim Berners-Lee
    • #Berners-Lee
    • #Bruner
    • #affinity spaces
    • #Csikszentmihalyi
    • #Sharing
    • #culture of sharing
  • 1 year ago
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Bob Stein: Social reading is no longer an oxymoron

Consequently Bob Stein states that a book is a place: a place where readers and sometimes authors congregate. This influences the way authors work: old fashion authors engage in a subject matter for future readers, new school authors engage with readers on particular subjects. Stein explains: ‘Suppose you write a piece, for example a biography of Obama, but instead of publishing it at once, you publish several parts every once in a while. Readers can pay a small amount of money for every post, instead of a larger amount for the complete work. This is more like MySpace or blogging, so it could be more natural for young researchers.’ Sounds like a good idea to me.

Stein continues with his project SocialBook.com. This is an online platform for social reading. With SocialBooks, he wants to build an ecosystem for publishing that assumes that books are places where people gather. Works will appear in the Browser, not in mobile apps or proprietary non browsers based readers. This is made possible with HTML5.

Moreover, he names four flavours of social reading. First, having conversations with people you know in the margin of the book. Second, having access to others’ comments in the book. Users can comment on the text, bring quotes forward that are highlighted, post comments to the group, tweet and Facebook it. They can also make comments to other readers of the same book, and can see a list of all the comments of all the readers of a certain page. In other words, the user can interact with the text. Third, reading and extracting comments and reading other people’s critiques. Social means being able to read an experts gloss on a book. For example, someone can extract their comments and export them. Stein explains: ‘think how important it is going to be when you have a guide through a book. In this case, when you get to a page that is interesting, you are in the book. ’Fourth, engage with authors asynchronously or in in real time “in the book”. There are lots of options of hiring authors or inviting them to your group. You can think of the relation between authors and readers differently. For example, some people would be willing to pay a small amount of money to ask questions to the author via SocialBook, or to have a tutor on math books.

Source: networkcultures.org

    • #Bob Stein
    • #Social media
    • #Stein
    • #affinity spaces
    • #commenting
    • #communication
    • #communities
    • #criticism
    • #expert
    • #expertise
    • #interaction
    • #interactivity
    • #interest
    • #oxymoron
    • #rhetoric
    • #snippets
    • #social reading
    • #sociality
    • #spaces
    • #trope
    • #tropes
    • #quoting
    • #publishing
    • #writing
    • #Authorship
    • #marginalia
  • 1 year ago
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HYPERAKT: Rebranding for Teacher Prestige

fastcompany:

Could A Rebranding Help Give Teachers The Prestige They Deserve?
Hyperakt’s design does away with the hokey, infantilizing teacher tropes.
The Brooklyn-based design studio Hyperakt schools teachers on honing their image through branding.

It’s a crappy time to be a teacher. The budget cuts. The overcrowded classrooms. The infuriating constraints of No Child Left Behind. To add insult to injury, teachers just aren’t represented terribly well in the media, whether they’re depicted as secular saints with apples on their desks or lazy union-enabled incompetents who hate your children. Could new branding help?

The Brooklyn design studio Hyperakt thinks so and has thusly devised a visual identity scheme that uses the metaphor of “connecting the dots” to portray teachers in a fresh, cheery light. “The visual language of these connected dots can be found in toys, in letter tracing, in classroom brainstorms, on the whiteboards of innovators, in maps, in molecular structures and beyond,” the designers say. “Connecting the dots allows us to create a boundless visual language that celebrates teaching and learning in a way we can all be proud of.”

Hyperakt came up with the concept at the behest of Kurt Andersen’s Studio 360, a public radio program about art and pop culture that has asked designers to rebrand everything from the gay-pride flag to Valentine’s Day. The impetus this go round: Kate Ahearn, a Haverhill, Massachusetts-based teacher, who wrote to Studio 360 last fall entreating them to redesign the image of teachers. “I have been teaching for 15-plus years and have enough of what I deem ‘apple crapple’ to last me a lifetime,” she told them.

Hyperakt’s design thankfully does away with any hint of “apple crapple.” And all the other hokey, borderline infantilizing teacher tropes for that matter: ABCs, chalkboards, cartoonishly oversized pencils. Instead, the main component is the word “teach” rendered in chic Chevin, with the letterforms partially dotted and set against a school bus-yellow background. Okay, so you can’t eliminate all the hokey tropes.

From there, the logo can be easily customized. You can add on your school’s name or state or your subject matter. You can also generate a host of additional branding materials that transcend geographic locations and grade levels. That “Nurturing Brilliance” banner above would look just as good in a 10th-grade A.P. English classroom in Walnut Creek as it would in a kindergarten class in East Harlem. (And it certainly looks better than those tired “celebrities read” posters.)

Studio 360 featured the concept earlier this month, and since then, Hyperakt has developed an open-source companion website, InspireTeachers.org, full of connect-the-dots-themed logos, posters, calendars, and classroom signs. “Anyone can download the visuals and use them to celebrate teaching!” Hyperakt’s Deroy Peraza says. “We hope it spreads far and wide.”

That’s not to suggest that the design is some kind of quick fix. “We won’t pretend that a fresh coat of paint on the visual language used to represent teachers is going to solve all of the problems [facing the profession],” Peraza says. “But we do believe that attracting the brightest minds to the profession can sow the seeds of change. A visual language that does justice to the intellectual and creative development teachers help guide in students could be a powerful asset in attracting talent to the profession and instilling pride in teachers across the board.”

[Images courtesy of Hyperakt]

(via teachingliteracy)

Source: fastcodesign.com

    • #Hyperakt
    • #anyone can
    • #customization
    • #customizing
    • #everybody is
    • #experience
    • #expert
    • #expertise
    • #identification
    • #identity
    • #identity construction
    • #inspire
    • #metaphor
    • #network
    • #nodes
    • #nurture
    • #pride
    • #profession
    • #talent
    • #teacher
    • #teaching
    • #tropes
    • #snippets
  • 1 year ago > fastcompany
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Content curation on the net: The Hype Machine

The Hype Machine follows music blog discussions

Every day, thousands of people around the world write about music they love — and it all ends up here.

What is it?

The Hype Machine keeps track of what music bloggers write about. We handpick a set of kickass music blogs and then present what they discuss for easy analysis, consumption and discovery. This way, your odds of stumbling into awesome music or awesome blogs are high. 

Why?

We are creating tools that empower independent voices that write about music. We think a select group of passionate people can produce more engaging conversation than a huge social mob, or a rigid hierarchy of editors. We amplify their posts and the audio they choose, to help this vibrant culture spread.

Oh yeah, music runs in our veins. You already figured that out though.

How does it work?

The Hype Machine tracks a variety of MP3 blogs. If a post contains MP3 links, it adds those links to its database and displays them on the front page.

Those tracks are NOT available for download, but you can preview them via the play buttons that are next to each track.

The blog that posted a particular track is identified under every track by name so you can read more about why they posted it. If you enjoyed a track someone posted, stop by and let them know!

You can purchase CDs and individual tracks by using the “amazon” and “itunes” links that appear next to most tracks. Each purchase you make supports both the artists and The Hype Machine. Please buy and enjoy.

Source: hypem.com

    • #curator
    • #content
    • #hypem
    • #the hype machine
    • #Social media
    • #collection
    • #Sharing
    • #conversation
    • #discussion
    • #criticism
    • #taste
    • #taste fabric
    • #blogging
    • #music
    • #snippets
    • #expert
    • #expertise
    • #elite
    • #passion
    • #interest
    • #tools
    • #Empowerment
    • #culture
  • 1 year ago
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Summary

“Open access book publishing in writing studies: A case study” - Bazerman, Blakesley, Palmquist & Russell

Central issue:

“The problem, then, is not that too few books are being published. Rather, it is that a growing number of books are competing for the attention — and funds — of a limited group of readers. The situation is complicated by the rising costs of scholarly journals, which has decreased academic libraries’ resources for acquiring scholarly books. (…) Faced with decreased sales to libraries, academic publishers have covered the cost of publishing scholarly books by increasing the price of their books, which has reduced the attractiveness of those books to individual scholars. As scholars who care deeply about intellectual work, we are concerned that worthy ideas are not finding their way to readers. Although the argument can be made that good ideas will eventually win out, at best some of these ideas are finding their way to the marketplace of ideas far later than we would like. At worst, scholars faced with tenure and promotion decisions will set those ideas aside in favor of others that are more likely to find a market.” (BBPR)

Conclusions:

“Our experience producing open access scholarly books suggests it has the same advantages and difficulties associated with open access journal publication. These books disseminate scholarly work more quickly than print books, and appear to be viewed by a larger audience. As a result, these books are cited more widely than comparable print books. Open access scholarly books are also finding their way into the system of book and library circulation. (…) Open access scholarly books can be rigorously peer–reviewed, but it remains to be seen whether their authors receive the same credit for their work on these book than they would for print–only publications. To some extent, this will depend on whether open access books will find sites to house them that can carry the prestige of established scholarly presses.” (BBPR)

Source: firstmonday.org

    • #expert
    • #expertise
    • #prestige
    • #citation
    • #Bazerman
    • #Blakesley
    • #Palmquist
    • #Russell
    • #attention
    • #open source
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  • 1 year ago
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Reflections on the role of the critic in a social media culture…

Another piece about the role of the critic in the current social media culture.

Summary:

Miranda Sawyer (broadcaster & radio critic)

The point is that most people - especially those outside the high-culture capital of London - are involved in culture of their own choice, often of their own making. (…) Our interest - our personal cultural choices - are what define a good part of our identity. And mostly, those choices are ignored by mainstream media. (…) There is still a hierarchy of culture in the media.

We naturally gravitate to others who share our interests (…). The reason why professional critics agree a lot is that they tend to be of a type. (…) [they] all want [their] culture to do the same things. [they] have similar taste.

The big difference Facebook and, especially, Twitter has made is that it is easier for critics to hear other people’s opinions. Even then, though, you tend to hear similar views of your own; after all, if you follow someone on Twitter it’s because something about them appeals to you.[1]

Jessa Crippin (editor-in-chief of the literary blog/e-journal Bookslut.com)

What we take away from this argument, then, is that the role of the critic is to sell product. She is simply an extension of the marketing department. (…) While mainstream critics have narrowed their focus to a handful of novels, movies, and television programmes, the field has never been wider. (…) If the print media isn’t having the conversation the reader wants, it’s no wonder the listeners have migrated to a place that is.

One of the great powers of the Internet community is its ability to shame the bombast, the overblown, the unquestioning. The focus isn’t mearely the work of art itself but the culture that produces and lauds it. (…) More than shame, though, the Internet’s greatest strength is enthusiasm. The tussle, the argument, the fun of criticism has move online. (…) Online (…), every niche has its community of producers, critics, and readers, and it’s fed by passion and dedication.

Philip French (film critic)

Neal Gabler rightly notes the continuing contest between elitists and populists for a commanding position as opinion-makers (…). By setting up supposedly elitist critics against what he calls ‘ordinary people’ or ‘ordinary folk’, Gabler does more justice to the former (…) and less than justice to those not professionally employed in (…) ‘the common pursuit of true judgment’. A harsher distinction - between the ignorant and the well informed, the insensitive and the aesthetically or morally responsive - would find adherents on both sides of this false divide.

The spread of the world wide web, which is now transforming our culture, allows anyone with a computer to set himself up as a reviewer, a participant in a critical discourse and a potential legislator.


The established critics have frequently stumbled in recognizing significantly innovative or original work. (…) the anti-intellectual practice of using ‘critic’ as a pejorative term (…) isn’t new.

Hari Kunzru (novelist)

(…) cultural elitism has little to do with the arts. (…) Aesthetics is very much not the issue here. The point is an attack on the social legacy (…) and an attempt to reverse the decline in the punitive moral authority (…).
(…) a cultural elite is threatening because it suggests that value may spring from something other than pure market forces. How dare you, the unelected critic, presume a specialist knowledge that can override the mystical self-unfolding of consumer choice?

(…) At worst, critics acting en masse, with one eye on what’s popular and one eye on what’s good, end up praising work that doesn’t upset them.

Social networks don’t strive for consensus. Instead they thrive on argument. A feed populated by diverse people (professionals or amateurs, paid or unpaid) whose taste you trust (and a few with whom you disagree productively) is the best way to squirm out from the tedious flubbery weight of middlebrow culture.

John Naughton (professor & columnist)

(…) of course the Internet had something to do with it, but the decline in critical authority began a long time before the net was imagined, let alone built. (…) The subliminal message was that culture was a toffs’ preserve - a royal enclosure of the mind, as it were. By putting something approximating to real life on the stage (…) suddenly everything that had gone before seemed, somehow, absurd.

The erosion of social deference had a cultural impact because until the late 1960s  professional criticism was also, if not a toffs’ preserve, certainly a highbrow, Oxbridge-dominated enclosure.

In addition to the article, a discussion thread was opened, asking readers to contemplate whether there ‘is still need for professional critics’? Listen to the recorded reactions below, or read the written reactions at guardian.co.uk.

Listen on audioboo.fm!


[1] Remark: digital media do not create a filter-bubble of their own accord, they only help to create it more efficiently. At the same time, when the filter-bubble becomes too efficient and a person ends up nodding all the time, a certain discomfort often sets in. At that moment, opportunity arises to question the filter-bubble which is create by humans using the algorithms which constitute digital media. The filter-bubble is not a matter of ‘either-or’ but a matter ‘and’: digital media facilitate external filtering of communication, but without the incentives of humans (i.e. the filter criteria they establish) these media are unable to filter anything.

Source: Guardian

    • #Argumentation
    • #Social media
    • #affinity spaces
    • #commenting
    • #consensus
    • #conversation
    • #critic
    • #criticism
    • #discussion
    • #experience
    • #expert
    • #expertise
    • #knowledge
    • #review
    • #roles
    • #social network
    • #snippets
    • #audioboo
    • #filter
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  • 1 year ago
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Summary

“Mediation” – James V. Wertsch

Presumptions:
                1. “Instead of acting in a direct, unmediated way in the social and physical world, our contact with the world is indirect or mediated by signs.” (JVW, p.178)
                2. “Mediation also provides the foundation for another of Vygotsky’s theoretical goals, namely, building a link between social and historical processes, on the one hand, and individuals’ mental processes, on the other. It is because humans internalize forms of mediation provided by particular cultural, historical, and institutional forces that their mental functioning [is] sociohistorically situated.” (Ibid.)
                                »> “By being included in the process of behavior, the psychological tool [i.e. sign] alters the entire flow and structure of mental functions.” (Vygotsky, 1981, p.137 in JVW, p.179)
                                                > Mutual shaping:
                                                   “This central idea (…) can be expressed in the following general formula: the relationship of thought to word is not a thing but a process, a movement from thought to word and from word to thought.” (Vygotsky, 1987, p.205 in JVW, p.185)

Central issue: “Given that the goal is to socialize students to use socioculturally provided and sanctioned semiotic means, the issue is how to engage them in a way that will lead to increasing levels of expertise, and this is where material sign vehicles as entry level mechanisms come into play.” (JVW, p.190)

Developing expertise = “(…) being socialized into an existing social order, characterized by an existing set of cultural tools, and expertise is reflected in the ability to use these tools flexibly and fluently.” (JVW, p.190)
   > “[Vygotsky] began with the assumption that signs first emerge in social and individual action without their users’ full understanding of their meaning or functional role.” (JVW, p.186)
                > (Vygotsky) “(…) higher mental functioning appears first on the ‘intermental’ and then on the ‘intramental’ plane.” (JVW, p.187)
                                » “When encountering a new cultural tool, (…) the first stage of acquaintance typically involve social interaction and negotiation between experts and novices or among novices. It is precisely by means of participating in this social interaction that interpretations are first proposed and worked out and, therefore, become available to be taken over by individuals.” (Ibid.)
                                                »» Socially constructed meaning and knowledge form the basis for expertise.
                                                          Thus, becoming expert implies a level of ‘performance before competence’.
                                                “What then follows is a process of coming to understand the meaning and functional significance of the sign forms that one has been using all along. In an important sense humans use signs before understanding what they are doing, or demonstrate ‘performance before competence’, as Courtney Cazden (1981) succinctly and elegantly put it.” (JVW, p.186)

Implications of this approach for mediation in relation to learning (cf. Affinity Spaces):
                1. “(…) material sign forms make it possible to initiate communication and self-regulation, at least at primitive levels, even when the agents involved do not understand their full significance.” (Ibid.)
                    or else: “(…) the material form of sign vehicles allows us to function at a level that is ‘out ahead’ of our current mastery.” (JVW, p.188)
                                > this sign system represents both ‘affordances’/possibilities and ‘constraints’. (JVW, p.186)
                2. “It always involves an element of collision and conflict between a sign vehicle, whose meaning tends to abstract and generalize and belongs to a preexisting semiotic community, on the one hand, and the unique, spatiotemporally located intention of the individual, on the other.” (JVW, p.185)
                3. “This approach suggest that the act of speaking often (perhaps always) involves employing a sign system that forces us to say more (as well as perhaps less) than what we understand or intend. We say more in the sense that our interlocutors may understand us to be conveying a higher level message than our mastery of the sign system would warrant. This is so in everyday communication, even when we are speaking about topics on which we have developed real expertise, but it has particularly important implications when it comes to how novices participate[1] in intermental functioning in instructional settings.” (JVW, p.187)
                                >“The standard situation in many instructional settings involves students’ saying and doing things that they only partially understand.” (JVW, p.188)
                                + “(…) the general goal of instruction is to assist students in becoming fluent users of a sign system.” (JVW, p.186)
                                                > “Not only may it be possible, but it may be desirable for students to say and do things that seem to extend beyond their level of understanding. This is because such a possibility means they can enter into a basic form of intersubjectivity with more experienced teachers and experts and thereby leverage their way up [2] through increasing levels of expertise. What might at first appear to be a failure to communicate is often the key to entering into a new area of instruction.” (JVW, p.188)

Necessary differentiation between forms of mediation:
   - Explicit mediation = “(…) the intentional introduction of signs into an ongoing flow of activity. In this case, the signs tend to be designed and introduced by an external agent, such as a tutor, who can help reorganize an activity in some way.” (JVW, p.185)
   - Implicit mediation = “(…) typically involves signs in the form of natural language that have evolved in the service of communication and are then harnessed in other forms of activity.” (JVW, p.185)


[1] Vygostky (1987) speaks of low level sophistication in use, or misuse (cf. Burke: definition of man as a symbol using and misusing animal).

[2] Cf. Vygotsky’s Zone of Proximal Development.

Source: cco.cambridge.org

    • #media
    • #mediation
    • #Vygotsky
    • #Zone of Proximal Development
    • #learning
    • #learning to join
    • #social learning
    • #social construction
    • #Social media
    • #language
    • #mutual shaping
    • #novice
    • #master
    • #mastery
    • #expert
    • #expertise
    • #cultural tools
    • #cultural objects
    • #cultural artefact
    • #signs
    • #symbolism
    • #symbolic actions
    • #symbols
    • #performance before competence
    • #collision
    • #conflict
    • #tension
    • #sign vehicle
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  • 2 years ago
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Summary

On Communities of Practice

(Note: This post is based on a collection of text (both digital and print) that are concerned with the concept ‘Communities of Practice’. All texts have been added to the general reference list, but will not be summarized or discussed separately.)

“People usually think of apprenticeship as a relationship between a student and a master, but studies of apprenticeship reveal a more complex set of social relationships through which learning takes place mostly with journeymen and more advanced apprentices. The term community of practice was coined to refer to the community that acts as a living curriculum for the apprentice. Once the concept was articulated, we started to see these communities everywhere, even when no formal apprenticeship system existed. And of course, learning in a community of practice is not limited to novices. The practice of a community is dynamic and involves learning on the part of everyone.” (Wenger (2006) Communities of Practice: a brief introduction)

“Communities of practice are formed by people who engage in a process of collective learning in a shared domain of human endeavor: a tribe learning to survive, a band of artists seeking new forms of expression, a group of engineers working on similar problems, a clique of pupils defining their identity in the school, a network of surgeons exploring novel techniques, a gathering of first-time managers helping each other cope. In a nutshell: Communities of practice are groups of people who share a concern or a passion for something they do and learn how to do it better as they interact regularly.” (Ibid.)

   »> Defined like this, the concept does not seem to deviate a whole lot from Gee’s conceptualization of ‘affinity spaces’, safe for the attention for mediation and space[1] which is lacking in the idea of ‘communities of practice’.
                > Yet, Gee’s contestation of the ‘community’ concept due to its connotations relating to identification and static membership is not entirely uncalled for.
                   Wenger refers to ‘communities of practice’ as lasting collaborative groups which its members identify with: “A community of practice is different from a team in that the shared learning and interest of its members are what keep it together. (…) It does not appear the minute a project is started and does not disappear with the end of a task. It takes a while to come into being and may live long after a project is completed or an official team has disbanded. A community of practice is different from a network in the sense that it is “about” something; it is not just a set of relationships. It has an identity as a community, and thus shapes the identities of its members. A community of practice exists because it produces a shared practice as members engage in a collective process of learning.[2]” (Wenger (1998) Communities of Practice - Learning as a social system, Systems Thinker)

The concept ‘Communities of Practice’ reaffirms the social and contextual nature of learning:
“Learning traditionally gets measured as on the assumption that it is a possession of individuals that can be found inside their heads… [Here] learning is in the relationships between people. Learning is in the conditions that bring people together and organize a point of contact that allows for particular pieces of information to take on a relevance; without the points of contact, without the system of relevancies, there is not learning, and there is little memory. Learning does not belong to individual persons, but to the various conversations of which they are a part.’” (McDermott 1999, p.17; in Smith, M. K. (2003, 2009) ‘Communities of practice’, the encyclopedia of informal education)
   > ie. Learning as becoming part of a conversation/discourse.
                > Focus is put upon participation and learning as identity construction:
                  “Learning involves participation in a community of practice. And that participation ‘refers not just to local events of engagement in certain activities with certain people, but to a more encompassing process of being active participants in the practices of social communities and constructing identities in relation to these communities’.” (Wenger in; Smith, M. K. (2003, 2009) ‘Communities of practice’, the encyclopedia of informal education)

»» The crucial difference between Lave & Wenger’s notion of ‘Communities of Practice’ and Gee’s notion of ‘Affinity Spaces’ is manifested in their understanding of the situatedness of learning.
    > “Initially people have to join communities and learn at the periphery. The things they are involved in, the tasks they do may be less key to the community than others. As they become more competent they become more involved in the main processes of the particular community. They move from legitimate peripheral participation into ‘full participation’.” (Lave & Wenger; in Smith, M. K. (2003, 2009) ‘Communities of practice’, the encyclopedia of informal education)
                                > “This way of approaching learning is something more than simply ‘learning by doing’ or experiential learning. Jean Lave’s and Etienne Wenger’s concept of situatedness involves people being full participants in the world and in generating meaning. ‘For newcomers (…) the purpose is not to learn from talk as a substitute for legitimate peripheral participation; it is to learn to talk as a key to legitimate peripheral participation’. This orientation has the definite advantage of drawing attention to the need to understand knowledge and learning in context.” (Mark Tennant; in Smith, M. K. (2003, 2009) ‘Communities of practice’, the encyclopedia of informal education)
                                                > Even though Lave & Wenger recognize the continuity of the learning process and importance of experiential learning, they make a clear distinction between the participation of novices (which to Lave & Wenger is only partial) and that of masters (which is referred to as ‘full’). The notion of ‘situated learning’ as proposed by Lave & Wenger therefor refers more to a theoretical situating of knowledge (contextualizing of content) than to pragmatic learning (situatedness of the learning(experience) itself). Gee, on the contrary, focuses equally on both when relating ‘affinity spaces’ and learning[3].

When considering ‘mastery’, both Gee and Lave & Wenger agree that: “(…) that mastery resides not in the master(…)” (Lave & Wenger (1991) Situated Learning: Legitimate Peripheral Participation, Cambridge University Press, p.94)
   > For Lave & Wenger mastery springs from “(…) the organization of the community of practice of which the master is part.” (Lave & Wenger (1991) Situated Learning: Legitimate Peripheral Participation, Cambridge University Press, p.94)
   > For Gee mastery emerges as variable constellations of intensive and extensive knowledge as well as distributed and dispersed knowledge; yet always in relation to the situation at hand.
                »> It is important to note that difference between these understandings of ‘mastery’ cannot be reduced to absolute versus relative. In addition to their agreement (as described above), both Gee and Lave & Wenger consider mastery to be variable. Nonetheless, the variability of mastery as conceived by Lave & Wenger is rather marginal and rare.
                “Insofar as this continual interaction of new perspectives is sanctioned, everyone’s participations [sic] is legitimately peripheral in some respect. In other words, everyone can to some degree be considered a ‘newcomer’ to the future of a changing community.” (Lave & Wenger (1991) Situated Learning: Legitimate Peripheral Participation, Cambridge University Press, p.117)



 [1] The distinction is confirmed by the following interpretation of the work of Lave & Wenger:
“Some communities of practice are quite formal in organization, others are very fluid and informal. However, members are brought together by joining in common activities and by ‘what they have learned through their mutual engagement in these activities’ (Wenger 1998). In this respect, a community of practice is different from a community of interest or a geographical community in that it involves a shared practice.” (Smith, M. K. (2003, 2009) ‘Communities of practice’, the encyclopedia of informal education)

[2] The shared process of learning is crucial to community and therefor also membership to that community: “Learning is not merely a condition for membership, but is itself an evolving form of membership”. (Lave & Wenger (1991) Situated Learning: Legitimate Peripheral Participation, Cambridge University Press, p.53)

[3] Gee refines the concept by adding an extra term, thus speaking of ‘situated embodied learning’. He thereby stresses the relation between experience and the contextualization of knowledge.

    • #legitimate peripheral participation
    • #participation
    • #peripheral participation
    • #communities of practice
    • #communities
    • #mastery
    • #experience
    • #expert
    • #expertise
    • #travel
    • #Jean Lave
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    • #Lave & Wenger
    • #Lave
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    • #James Paul Gee
    • #Gee
    • #apprenticeship
    • #affinity spaces
    • #spaces
    • #identity
    • #identification
    • #social network
    • #social construction
    • #social learning
    • #social identities
    • #social practices
    • #social meaning
    • #meaning
    • #meaning making
  • 2 years ago
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Joachim Vlieghe

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