[your amazing brain]

I came across this inspiring video via @ontarioliteracy on twitter:

[roots of reading]

[getting students to read]

Here is a great video I think I'll be showing all my first year undergrads. Author Jim Trelease (author of The Read-Aloud Handbook) compares reading to the process of cutting down a tree; both need to be done slowly and carefully.

Take a look:

[towards information literacy]

This Unesco report (from 2008) has a succinct definition of information literacy that has to do with people's capacity rather than specific rules:

"Recognise their information needs;
Locate and evaluate the quality of information;
Store and retrieve information;
Make effective and ethical use of information, and
Apply information to create and communicate knowledge."

Information literacy (as noted here and in the digital cultures master's module) doesn't just apply to one context, when using a computer for example, it's applicable throughout contexts and I think that's what defines capacity as literacy - readers/users can move through a variety of contexts (much like transliteracy). "IL skills are necessary for people to be effective lifelong learners and to contribute in knowledge societies."

These elements of information literacy say it all - they cross contexts:

"a. Recognise information needs
b. Locate and evaluate the quality of information
c. Store and Retrieve information
d. Make effective and ethical use of information, and
e. Apply information to create and communicate knowledge."

Citation info:

Catts, R. & Lau, J. (2008). Towards Information Literacy Indicators. Paris: UNESCO. Retrieved May 07, 2008 from http://unesdoc.unesco.org/images/0015/001587/158723e.pdf

via ICTlogy.

Read more of the report here.

[*becoming* technologically iterate]

On ‘Becoming’ Technologically Literate: A Multiple Literacies Theory Perspective/p>

FRANCIS BANGOU & MONICA WATERHOUSE University of Ottawa, Canada

doi:10.2304/ciec.2008.5.4.445

VIEW FULL TEXT | BACK TO CONTENTS LIST

This article uses a multiple literacies theory framework to explore the processes of ‘becoming’ technologically literate through a year-long ethnographic study of two Master of Education pre-service second language teachers, a Latina woman and an African American woman, who learned how to use computer technology to teach Spanish at a large Midwestern university. The case studies of these two women are analyzed to gain insights into how teacher education programs can support racial minority pre-service teachers in ‘becoming’ technologically literate. First, the authors provide an overview of the multiple literacies theory developed by Masny. Second, the stories of the two pre-service teachers are presented. Finally, curricular and pedagogical recommendations for second language education Master of Education programs are provided.

[digital arts and culture conference: cfp]

The biannual Digital Arts & Culture conference takes place in California in December 2009 (http://dac09.uci.edu)

The abstract submission deadline = May 1st

This time the conference is organised around themes, here is a very interesting one:

"Theme: The Present and Future of Humanist Inquiry in the Digital Field
What contributions may literary, poetic, and aesthetic idioms of humanist inquiry -- traditionally associated with problems of lyrical expression, narrativity, linguistic subjectivity, and authorial and readerly agencies -- continue to offer to the analysis of medial practices and systems in the era of mobile, distributed, and social media? The crux of this question, we
propose, lies in the specifically historical purchase of humanist method: its ability to (re)situate new symbolic practices in complex and nuanced relation to prior traditions and atavisms of expressive language and action -- in contrast to the reductively progressivist, de-historicizing impulses of much of contemporary digitalism.

This theme welcomes exemplary close readings (literary-theoretical, formalist, narratological, ludological, etc.) of electronic literature and poetry, single- and multiple-player computer games, social media, and hard and soft medial apparatuses of the digital field. Especially encouraged are such close readings which also make general claims regarding the significance of humanist investigations of digital arts and cultures."





More info at:
http://dac09.uci.edu/call.html

[the future of curriculum]

I read this article in the guardian with great interest...On the surface some curriculum reforms seem positive: promoting critical digital literacy...but focusing on certain applications per se (like Twitter and Wikipedia) might be a bit too constraining...Twitter is hot now, but in 5 years? Another app. will have come along with which our students (and teachers) should be au fait. Interestingly the new curriculum notes that children need more time to acquire these kinds of skills (ok) and that it's up to each teacher how and when to use these technological tools (of course)...but where is the time to help the teachers themselves come to terms with each new device? Plus, as always it seems, shifting the focus to technology raises more fears about the death of the book: "Computer skills and keyboard skills seem to be as important as handwriting in this. Traditional books and written texts are downplayed in response to web-based learning." I mean, surely digital literacy is not nearly as important as cursive writing...


Read the entire article here and the comments here.

[literate cities]

Six key elements are analysed in this study to dechipher which city is the most literate (American cities only) in 2008. These include: newspaper circulation, number of bookstores, library resources, periodical publishing resources, educational attainment and Internet resources and are then compared to the population rate (but only in cities greater than 250,000).

Somewhat oddly, the study does NOT include "reading test scores or how often people read, but what kinds of literary resources are available and used."

"Cities that ranked higher for having more bookstores also have a higher proportion of people buying books online, the analysis found, and cities with newspapers that have high per-capita circulation rates also have more people reading newspapers online. Likewise, cities that ranked higher for having well-used libraries also have more booksellers."

The author of the study, Dr. John Miller, makes a very interesting observation:

"While it is too early in this study to draw conclusions, it is nevertheless striking that newspaper readership rates in the US’s global economic competitors are significantly higher than in the US. Since literacy is generally regarded as a barometer of a nation’s social, cultural, and economic health, perhaps these findings are cause for national concern."

According to the USA Today report, "Preliminary results of a related study examining international literacy paint a less optimistic outlook for the USA. It notes that in per-capita paid newspaper circulation, the USA ranks only 31st in the world, far behind other countries, including Aruba, Liechtenstein and Japan."

[haptics and hypertext]

"Reading is a multi-sensory activity, entailing perceptual, cognitive and motor interactions with whatever is being read."

Anne Mangen at the National Centre for Reading Education and Research, University of Stavanger published a paper in October on haptics and immersion in hypertexts such as M.D. Coverley's Califia (2000), C. Guyer and M. Joyce's Lasting Image (2000) and there is reference to afternoon.

Mangen's article is interesting in it's approach, taking a phenomenological one. She explains: "If we take the main purpose and motivation for our reading to be that of becoming immersed in a fictional world, then the text will have to provide the necessary setting for such a phenomenological sense of presence – by way of whatever modality telling the story."

Though people do seem to equate turning the pages of print books with clicking a mouse Mangen notes that these two activities are quite different: there is an "ontological" difference.

"The feeling of literally being in touch with the text is lost when your actions – clicking with the mouse, pointing on touch screens or scrolling with keys or on touch pads – take place at a distance from the digital text, which is, somehow, somewhere inside the computer, the e-book or the mobile phone."

Mangen goes on to explain that the demand to click/interact in certain hypertext stories actually undoes any possible sense of immersion (a la Marie-Laure Ryan).

"The links in a hypertext fiction present themselves as an experiential potential, a latently accessible actualisation of something currently unavailable, which becomes readily accessible with the click of a mouse. The sensory–motor affordances of the computer make it very easy to rekindle our attention, getting access to something beyond our present experience. As such, text or icons that yield (i.e., hot spots) afford haptic interaction with the computer. We experience these as links to be clicked on, and such
affordance is necessarily incompatible with phenomenological immersion."

Though I agree with a large part of what Mangen and others argue, I do wonder whether there is a different kind of reader, perhaps emerging in line with this turned-on, 21st century, tech world, a reader who actually becomes more immersed the more physical the demand of reading becomes? I know reading some narratives like Donna Leishman's Red Riding Hood (mentioned in this blog before) which requires a greater degree of haptics (compared with afternoon et al), I found myself more "in" the story, actually moving my own way around. Perhaps gamer-readers won't find this cross-modal situation distracting, though Mangen notes that as a "psychobiological rule" we tend to allow motor senses to overpower cognitive ones.


Read the full article here (if you have access):
Hypertext fiction reading: haptics and immersion, by Anne Mangen in the Journal of Research in Reading, Volume 31, Issue 4 (p 404-419).

See also this article that is freely available: Storybooks On Paper Better For Children Than Reading Fiction On Computer Screen, According to Expert in ScienceDaily (Dec. 22, 2008).

[infusing semantic web into operational data systems]

Patrick West, Peter Fox, Deborah McGuiness and Stephan Zednik from the High Altitude Observatory present their project on integrating data and the semantic web.

From their
"As part of our semantic data framework activities across disciplines from solid-earth, lower, middle and upper terrestrial atmosphere and solar atmosphere to integrative subjects such as climate response and space weather, we have collected a set of experiences: technical, collaboration and social that relate to how easy or hard the infusion process has been. We cover both the semantic web and knowledge infusion as well as underlying service infusion such as catalogs and OPeNDAP data servers."



Interesting points:

• It's easy to identify experts in each field and goo idea to get groups together to provide community support and external buy-in

• Tricky to conduct face-to-face meetings which are imperative to share expert knowledge between disciplines/fields
• Require a general ontology too cross data from one "data catalogue" to another
• tricky to gain access to data holdings etc...which are external to group
  

[google earth and beyond]

At the AGU conference this evening Michael Jones (Google) is talking about "The Spread of Scientific Knowledge From the Royal Society to Google Earth and Beyond."

Some notes (live blogged)

• implicit role of communication within technologies (telephone, television etc...)
• Roger Bacon
• Knowledge was lost with the Greek and Egyptan civilizations, kept alive by Syrians, Moors, Jews and other then advance and diffused by Arabic-speakng peoples

• spreading of scientific knowledge "by people on camels" is why we know what we know
• the rise of the university - efficacy of printing, the compuass as aid to navigation, the royal society (1645, England, Newton, shared knowledge in a very collegial way)
• This conference is like the Royal Society but only for a week, the next step in knowledge sharing is regular, informal meetings, R.S was more like a chat room rather than like a structured oratory
  
• it's not just about getting data together but organising it
• three great means for spreading knowledge: printing, the compass as aid to navigation, the royal society - says Joseph Glanvil (1630-1680). A Defence of the Royal Society, 1678
• radio was a wasted opportunity, could have been used to reach people who weren't able to go to schools etc...
• with computers you can do 100 times more than what newton did in the pub!
  
• in the last 10 years, 1.4 billion people went online
• there are 1.530,000,000 google searches daily... "and probably 100 other kinds"
• 400,000,000 google earth activations, everyone has to find grandma's house
• says communication online via social networks is very important, so are e-mails and IM's
• 10 billion YouTube videos streamed monthing in the USA, closest things used to be grandparents showing home videos so YouTube is changing how we communicate
• the point of google earth is allowing people to access information about their own world
• you have to care about knowledge in order for it to really make a logical understandng
• google earth is the equivalent of the blank web page or static on the radio, google earth is the empty graph paper for you to plot your graph - that's like the academics when they used to meet in the bar
  
  
  
  


• context brings knowledge to life
• Google Earth is most popular in countries where knowledge is restricted
• jones says he won't have a slide on this, talks of Obama and says how he has a preference to put money into technical advice
  
• Jones says academic research is about always needing more money to find out more, publish cursory results then ask for more money. instead, find rocks, glaciers etc... then publish the data, on your website etc. so other researchers can see it. then you can play a game of how smart you are, who can interpret the data and how, bring your notebook to the bar
• who is going to start doing this, scientists - the tone of increased funding should come with increased visability
• transparency of communication avaiable on the internet - don't apply for a grant to put your information on google earth, if things are intrically productive you would just do it, you wouldn't need funding for it
  

[visual literacy periodic table]

Interesting visualisation tool over at visual-literacy.org. I can imagine employing this tool as an educator, as a way of modeling to students how they might go about addressing problems or working through essay development etc... A good exercise might involve asking students to pick two "elements" of the visual literacy periodic table and apply them to the same problem to see which tool works best for the problem and their learning style.

Usefully, when clicking on each element an image appears with an example of the visualisation element. For example, clicking on the RI (Rich Picture) Element brings up:



Similarly, clicking on Tr or Mi elements brings up:



and:

Try it yourself at http://www.visual-literacy.org.

[enactive cinema with pia tikka @ the ioct]

From the IOCT blog:

"PIA TIKKA

Enactive Cinema
The Future of Creative Technologies
IOCT Lab
24th October 2008, 4.30pm

***

A New Concept in Cinema

The Enactive Cinema project introduces a novel kind of interactive cinema genre, which is described as enactive cinema:

How the narrative unfolds, and how rhythm and soundscape emerge, depend on how the spectator experiences the emotional dynamics between the characters. Enactive cinema emphasizes unconscious interaction between the cinema spectator and the cinema. Instead of the spectator directly manipulating the narrative, its unfolding is affected by the spectator’s emotional participation. The project suggests that unconscious and conscious experience interact in an inseparable and complex manner. The cinema experience is more than seeing and hearing. It is about sensing and re-living of one's own experience in what happens to the 'others'. This is, ENACTIVE CINEMA.

• Wanted to reinterpret Eisenstein's dynamic organic film theory of montage
• how to capture the dynamic nature of his theories in today's new media
• so used parachronic reading which is outside of time, recurise: linearity of historical time as put into brackets, or substituted by recursive dynamics of experience, a nowness involving events in a spiral manner.
  
• biomechanics: early Eisenstein and montage of attractions (1923)
• ecstasy : holistic experience auditory and visual
• She jumps over the other people important to Eisenstein - hegel, darwinism, karl marx, vygotsky, alexander bogdanov (political rival of Lenin, retired himself from political scen and in 1928 he died but founded "techtology"

"unifying all social, biological and physical sciences, by considering them as systems of relationships, and by seeking the organizational principles that underly all systems. His work "Tektology: Universal Organization Science", finished by the early 1920s, anticipated many of the ideas that were popularized later by Norbert Wiener in Cybernetics and Ludwig von Bertalanffy in the General Systems Theory. There are suggestions that both Wiener and von Bertalanffy might have read the German translation of Tektology which was published in 1928. In Russia, Lenin (and later Stalin) considered Bogdanov's natural philosophy an ideological threat to the dialectic materialism and put tectology to sleep. The rediscovery of Bogdanov's tectology occurred only in 1970s."

• Pia's theoretical background - emotion dynamics, cognitive ecologism (Ulric Neisser), recent neroscientific views of the human mind (Gallese), emmbodied simulation (Gallese), emotions as cognition (Antonio Damasio), homeostasis theory of cinema viewing (Torben Grodal)
• gallese draws on merleau-ponty: the body is...that strange object...
• Gallese and george lakoff collabor5ations on embodies role of experience, semantic studies and neuroscience (see this excellent article that i read the other day)
• toolbox for authoring and describing intersubjective cinematic understanding derived from Theory of Metaphors (Lakoff and Johnson, 1999)
• a way to get a hold of the cinematic experience via the tracking of sensorimotor aspects and spatial dynamics
• gap between phenomenology and how we describe the experience or gap between the phenomenological and the neurological - how to build a bridge between these
• embodied metaphors
• "My goal is to shed light and define novel perspectives especially on the categorization and attribution of emotions within the cinematic narrative. The artistic and scientific outcome is an “intelligent” cinematic system that anticipates and makes inferences about emotional narrative paths suggested by the spectator-participants' bodily actions. "
• enactive cinema - how the narrative unfolds depends on how the spectator experiences emotional dynamics between the characters
  

• dynamic emotion ecology refers to the dynamic interactinon between spectator and psychophysiological states
• emphasises unconscious interaction between narrative and emotional participation, the invitation to enact is very gentle. 5 chairs invite the spectator to sit down, there are also other biofeedback sensors measuring emotional level etc...

Listening to Pia Tikka's talk i'm wondering what happens with spectators who don't have high or normal functioning mirror neurons (perhaps as has been suggested in the case of autism? And what about gender issues. Some cognitive/neuroscience studies suggest there are gender differences with mirror neurons, deepening the stereotype that women are more empathetic because women's mirror neurons showed signs of stronger stimulation (for one example, see this article - "Gender differences in the human mirror system: a magnetoencephalography study")


Data that was monitored - heart rate, breathing rate, activity monitoring, non-body contact - all of this information can go into a toolbox for authors on how to create a narrative.

Have a look at the following video for an interpretation of Eisenstein's visual "vocabulary"

[txt spkish and learning english?]

At The University of Toronto there is an interesting development in the teaching of English as a second language...using tv colloquialisms ("eat my shorts man," "how YOU doin'" "I'm wasted"). Though these examples don't exactly suggest an "intellectual quest", they do however help students pick up "real-life" English.

"You can have academic English down pat, but that doesn't help when a classmate says `Catch you later' or `Get out of here!'" says Damjanovic, who dreamed up the notion of teaching conversational English through shared viewings of popular shows, with a cram session first on the phrases the class is about to hear.

When Damjanovic moved to North America as a high school student, she spoke English yet had no clue what kids meant when they talked about getting "wasted" on the weekend.

"I thought, `Wasted what? Wasted time? Money?' But these little phrases mean a lot when you're trying to communicate on a day-to-day basis, and sitcoms are surprisingly rich."

Damjanovic is careful to note which phrases are considered rude, a distinction the students carefully write down."

Read the whole article here.

[digital stitchings: my interview with rachel beth egenhoefer ]

I recently did an interview with digital/textile artist/creator Rachel Beth Egenhoefer for Furtherfield:

Jess: What are the main differences (pros and/or cons) of creating a work that is to be experienced digitally, and that which is contained within physical material borders (sweets, fabric etc...)? - this is very much a question to you as a *creator*

Rachel Beth: In some ways I feel like this is a hard question for me to answer because my work is very much about bridging these two experiences and pointing out that they aren't that different.

There's lots of clich'e answers like the digital being accessible anywhere on the web and that the material has the traditional sense of making and 'aura', but my work really sits between them and is about bringing the two together. Making the digital tactile, and the tangible coded.

Jess: What aspects of the digital would you like to be able to bring into your future work?

Rachel Beth: My most recent work, and the work I did during my residency in the UK uses motion and acceleration tracking. I'd like to continue using ideas around mapping motion and interaction. I'm not so interested in data visualization but rather how mapping actions and systems can make for new interactions or parallels. I've also begun to work with hacking the Nintendo Wii that has just kind of opened a whole slew of ideas. So I can see myself working more with that.


Jess: How would you define a literate reader/experiencer of your work? (I'm thinking especially of the lovely melting sweets...how do you want your IDEAL audience to participate?)

Rachel Beth: I don't really have an ideal audience. I strive to have multiple entry points in my work. I've had computer scientists view my work who know much more about code than I do but never knew that a knitting pattern looks exactly the same, or ludites who hate technology but suddenly realize there are simple, beautiful concepts in computing. Some people see my work and don't realize it's even a piece, some people spend hours coming back and looking at it. I'm okay with either of these extremes. It's my hope that people find something to grab on to or relate to. Leaving a door partly open allows other people to add their own perspective as well. It's always rewarding (well most of the time rewarding) when people discover things in your work you didn?t see before.


Read more over at Furtherfield.

[mirror neurons and literacy]

Proof that humans are "wired" to connect with others:

"Scientists have recently been decoding how "mirror neurons" in our brains work. They've realized humans are wired to connect with others, to live vicariously through others' experiences, in much stronger ways than we once thought. The brain doesn't differentiate much between watching someone do something, and doing it yourself - which is why there are so many obsessed sports fans in the world. Most important for teachers, these mirror neurons are also a key to how we learn. Just watching someone read a book teaches us more than we ever realized about the reading process. And we use our emotions to readily connect those experiences to other related tasks (either physically or emotionally). I will never be a gymnast (beyond the contortions I go through to get through airport security screening). But I can connect to the feelings of almost, not quite reaching a goal again and again, and finally succeeding. What teacher hasn't experienced weeks or months of helping a struggling student almost, but not quite, grasp a concept? It makes those breakthrough moments all the more sweet.

Mirror neurons are also the reason modeling in classrooms is so essential. When students see the strategies teachers use to tackle difficult texts, no matter the genre, their brains don't differentiate between their experiences and ours. The teacher's strategies become part of the mix that fires up whenever a student approaches a new text. Likewise, all those whole-class activities to build community around reading and writing early in the year become ingredients in the chemical soup in our students' brains as they read and write on their own. The consequences of broken mirror neurons can also be dire, as any teacher who has worked with an autistic child knows.

What about mirror neurons in staff settings? Simply put, our moms were right - we shouldn't hang out with the wrong crowd, and we need to choose our role models carefully. Mirror neurons imitate and absorb what they see around us whether we like what we're seeing or not. If you're surrounded by negative, unhappy people, it's human nature that you're going to absorb that outlook over time. Sometimes toxic environments or people can't be avoided, but it's important to note when it comes to "emotional contagions," negative environments have more powerful effects than positive ones. If you have a colleague or two who are always resentful or angry, you owe it to yourself and your students to limit your time with them. If you have to spend time with them, even decreasing eye contact or verbal interactions can help limit what your brain's mirror neurons pick up."

Read more here.

[chris joseph and NRG]

Today Chris Joseph, digital writer in residence at the IOCT presented his latest project, NRG. A culmination of his two years at the IOCT resulted in an impressive hybrid piece of electronic art that highlights issues pertaining to digital literacy, digital art, art reception, performance, narrative, multimodality, interaction, performance and the environment. Chris is well known for his work on multimodal digital fiction Inanimate Alice (with Kate Pullinger) and his work has frequently been nominated for a variety of prizes. Some examples:

2008:

Finalist (Interactive productions category), Learning on Screen Awards 2008, British Universities Film & Video Council, UK 2007: Selected Finalist, 2008 CULTURAS Intercultural Dialogue Awards, Madrid, Spain [Alicia Inanimada, Episodio 1: China] Selected Finalist, 8th Seoul International Film Festival, Seoul, Korea [The Surveys] IBM New Media Prize, 20th Stuttgarter Filmwinter, Stuttgart, Germany [Inanimate Alice, Episode 1: China] Selected Works, 20th Stuttgarter Filmwinter, Stuttgart, Germany [Inanimate Alice, Episode 1: China and Inanimate Alice, Episode 2: Italy]

Today Chris presented NRG at the IOCT. This work is a combination of bicycle, human power, narrative, multimodality and a laptop. Chris notes that he was initially very interested in raising the question of sustainability in electronic art, a question seemingly often overlooked. Spurred on by the success of The Magnificent Revolutionary Cycling Cinema, Chris attempted his own pedal-powered system. Players or readers or interactors must cycle to generate the story which appears on a laptop hooked up to the bike. As Chris says:

It's 2010 and you have been appointed to lead the new World Energy Directorate, with the power to control international spending and research on energy sources and production. Your decisions will influence the life of billions of humans, countless species and the Earth as a whole. How will your choices change all our lives during the planet's next forty years of industrial development?

Part environmental game, part multimedia artwork, NRG (short for En-er-gy) is self-sustaining, people-powered installation. No previous knowledge about energy issues is assumed or required, but NRG is intended to stimulate thought and discussion about energy consumption, its links to global warming and the need for the development of lifestyle alternatives.

***

Over the past fifty years electronic art has grown to become an established genre, yet energy – specifically the power required to view a work, as well as create it - is rarely acknowledged. But a electronic writers, artists and musicians must confront the fact that natural resources (converted to electricity) are continually required in order for the work to be experienced by both physical and virtual audiences. So in responding to the IOCT - an institution at the forefront of electronic creation - it seemed natural that my residency work should consider energy, both as a narrative theme and in the practical realisation of the piece.


NRG resides on a laptop that is not connected to the mains, but instead requires power to be periodically supplied by its ‘players’ through a bicycle generator. To play, simply select which energy sources the world should invest in, choosing as few or as many as you wish. Just as in the real world, the choices made will have significant impacts upon energy supply and use, population, carbon dioxide levels and other planet-wide measurements over the next five decades.

Perhaps the reading/kind of performance required to understand this work is a good example of transliteracy and of transdisciplinarity - various modes and disciplines coming together.

Congratulations Chris and best of luck!

[long live the experimental novel]

Long live the experimental novel with what Suzi Feay declares in her report in Sunday's Independent. Strangely that's also when a rather one-sided view on digital literature appeared. Feay's report on "Who'll be the bestsellers of tomorrow?" makes some interesting predictions including more books on the subject of our failing environment and, wait for it...digital narratives. One example Feay turns to is Chris Meade's In Search of Lost Tim, a magical musical graphical digital fiction "which uses fictitious blogs (hosted at www.insearchoflosttim.net) and YouTube videos to tell the story of a blogger who is contacted by a boy who claims he lives in the 1960s and is communicating via his "Futurizer"). Young Tim is trying to contact his future self, the political activist and secret agent Lord Tim. It's a jeux d'esprit, but also, just possibly, the future of fiction."

nb: note the allusion to Proust's À la recherche du temps perdu or...In Search of Lost Time

A Synopsis: "On holiday Jennifer begins writing a personal blog to help her through a recent bereavement. Then she receives mysterious messages from a boy who claims to be communicating through time via his 'Futurizer'. Young Tim has lost contact with his future self, with whom he has been fighting crime across the centuries.

In their 21st Century comic book world, Lord Tim and his glamorous Sidekick are under attack from the evil Mister B.
Should Young Tim save his elder self by tackling Bailey the school bully, or his suspicious neighbour, Barry?
What are 'Futurolusions'? Why is Jennifer caught up in all this? And is Young Tim in peril as he emerges into the dangerous, grown up world?

Starring a glove puppet, cartoon characters and a blogger, featuring words, ukuleles, video, photos and drawings, this is a multimedia novella about what the future means to a group of people living in the past, the present and the pretend."

[sonic and digital literacies]

As I think about the kinds of things I'd like my pilot group to read while enjoying various brain scans (this is an experiement in the works) I find myself trying to make sure I'm not too text-centric. I'm working in the online environment (mostly) and that means there is often recourse to images, sounds, video, text (which in my experience is often quite visual too) and of course there's some kind of haptics. But I find I almost forget about sound...sounds odd saying that because as I write I am listening to myself, how can I *forget* about sound? Is it more likely that I'm so immersed in sound that I just navigate through its presence (as is the case for certain students according to Michelle Comstock and Mary E. Hocks) Cornstock and Hocks ask how might educators engage this kind of sonic sensitivity in their own writing (composition) classrooms. It seems that this might be similar to what Ximena Alarcon is doing with her research into sonic environments and memory. Ximena did her ph.d at DMU (in Music Technology and Innovation.) and now she is working on a Leverhulme Trust - Early Career Fellowship 2007 - 2009. For her ph.d Ximena created an ethnography based artwork. "Twenty-four volunteers participated in the project, sharing their (deep) feelings, spontaneity, curiosity, interest, and passion for discovering how sound is important in their life. Sounds included in this project have been selected by them, after a process of travelling, recording, listening and remembering."

Ximena's current project stretches the sonic environment to Paris and Mexico, this time comparing these results with the London one's which formed the base of the ph.d.

There are blogs devoted to Ximena's field work in Paris and Mexico and on the Mexican blog there's an interesting comment from one of the volunteers. She has just listened to sounds from the London Underground while navigating Ximena's "ethnographic artwork." She notes the sound of the bells (doors opening and closing I presume) and notes that hearing the sound means she visualises the tube" in action" (my translation):

"Lo que llama en particular mi atención son las campanas en la parte del corredor, la combinanción de imágenes y los sonidos hacen realmente imaginarte un mundo en moviemiento"

I wonder if this synesthetic response is something that might be made visible with brain scanning research and is it something we (as educators) can work into our teaching? I suppose this aligns with Ong's thinking that sound "emanate[s] from a source here and now discernibly active, with the result that involvement with sound is involvement with the present, with here-and-now existence and activity" (qtd in Michelle Comstock and Mary E. Hocks)

I'll look forward to reading what parisienne/parisien commuters think.

[gender and literacy]

Sure women and men are different and sure our brains work differently but I didn't realise how drastically different. In a presentation on boys' writing and ict that I found at the Nottinghamshire Primary ICT Framework site there is a really interesting image of a girl's brain *at rest* and a boy's brain *at rest*:



"In the resting female brain, we find just as much neural activity as in the male brain that is solving problems."

[digital literacy: what is it and do we really need it?]

I'm reading "Literacy Debate: Online, R U Really Reading?" and while I'm scrolling through the article I'm googling some of the researchers mentioned (Rand J. Spiro, Elizabeth Birr Moje and Linda A. Jackson) and looking up some of the reports and studies. I'm also skimming through Research in Research Quarterly and Journal of Research in Reading (and complaining to myself loudly because of the 12 month embargo) and examining brain scan images. Obviously I'm reading and obviously I'm doing it in a manner different from print. But is it better? Better than what exactly? I think this is where my difficulty lies. It seems, as with the NYT article, that this is a vs matter. Print vs digital. Reading vs surfing. Literacy vs adequacy. But it isn't a simple vs issue is it? The video included in the NYT article shows a white affluent family. Each family member enjoys reading but the mum says reading for her is *quiet* and requires a comfy chair: "I can't curl up with my computer." But is this part of a quantitative assessment of online reading? Is it a feature of literacy per se? I wouldn't disagree with anyone that reading online and reading in print are different. But can we generalise and say that all reading online is different from all reading in print? Can we compare Manga online to its offline sibling? I think we could even find suitable comparisons between some early more text-based hypertext stories and print novels. Maybe instead of citing the differences we should be looking at the similarities as that might form part of the base of new literacies education and assessment. Ken Pugh says that reading in print encourages a more reflective stance, allowing time for rumination. Well, would that not only hold if students/readers are encouraged to do so. I know I've skipped to the good bits in books before {of course this is firmly in my past :)}. Do we reflect on what we read *only* when we read in print? Reading online is not always just about the "short bits" that Pugh refers to. Take a look at the project "Evaluating The Development of Scientific Knowledge and New Forms of Reading Comprehension During Online Learning" run by Dr. Donald J. Leu and Dr. Douglas Hartman. Their main research questions addressed the effects that "varying levels of intensity of Internet integration into seventh grade classroom science instruction." Their general findings suggest that:

"Internet integration generates greater online reading comprehension ability. Our results suggest it is better to have no integration or high-intensity integration of the Internet for developing concept knowledge, but not low or moderate intensity integration. Our study also provides preliminary data that suggests online and traditional reading achievement tests are not correlated."

• internet integration in a seventh grade science classroom resulted in higher achievement levels in online reading comprehension. This was true for both the ORCA-IM and ORCA-Blog; two assessment instruments with good psychometric properties. Each assessment required students to locate, evaluate, synthesize and communicate information on the Internet.
• Conceptual knowledge development in science was greater among students in the high-intensity Internet integration group and the control group.
• Consistent with new literacy predictions, we found no association between either of the measures of traditional reading comprehension (January and June DRP)and the measure of online reading comprehension (ORCA-Blog). No evidence of gains on a test of traditional reading comprehension following treatment.

Of course there are different kinds of reading too. Sometimes we read for information (and then maybe on the 'net we have quicker access to more resources) and sometimes maybe we're reading for the whole tactile and sensory experience and then we want our comfy chairs and crisp pages. But as educators, parents and leaders we need not only to address the different reasons our students/children etc... might read but also how. As Gay Ivey, a professor at James Madison University says “I think they need it all.”

[mentoring = key to digital literacy]

In his talk James Paul Gee tells us about the 4th grade slump: kids who were reading well up until 4th grade (or even earlier today as Gee notes) suddenly become less than proficient. Gee explains that this is due largely to the shift in English language (we're talking about American schools here I think). As kids enter the educational system, English is accessible but at 4th grade academic English (complex and specialist) becomes the norm. Sure kids need to learn academic English as that is the English used in secondary school and definitely at university however maybe there needs to be a longer kind of bridging process where students are guided from a more colloquial language to the academic one?

Just look at Gee's examples of accessible English and academic and envison how 4th graders would approach them:

Interestingly Gee explains that students who cope with the language change and don't suffer any ill effects to their level of literacy are kids who have grown up in surroundings (parents etc...) where academic language features.

However this literacy gap does not just involve language, it also concerns digital technologies/platforms etc... It's not just about access to mp3 players, the 'net, nintendo etc...it's about access to "good mentors" and "good learning systems."

[colouring significance/mapping meanings]

Gerry McKiernan has an interesting idea (sounds a bit like what Alan Liu suggested vis-a-vis wikipedia authority when he gave a talk at the IOCT last July). This kind of chromatographic writing happens in some southern Nigerian groups like the "Benin and Edo people." (See Cornell's online library for more info.) McKiernan's suggestion has some serious implications for tracking the publication of scholarly materials. Is there a kind of googlereader out there that reads for colour?

"I Propose That All Give Serious Consideration To Writing-In-Color(s) , With Each Color Representing A Respective Level of Significance Within A Text.

The Visible Spectrum Would Be The Basis For The Relative Levels Of Significance Of Given Text WHERE

Text of Least Importance Would Be Highlighted In RED;
Text of Intermediate Importance Highlighted In GREEN;
Text of Greatest Importance Highlighted in VIOLET, and
Text of In-Between Importance Highlighted in Appropriate Colors: ORANGE, BLUE, INDIGO
Initially, TEXT would be COLORED at the PARAGRAPH LEVEL By The Author(s).

Adjoining OR Disjunct Sections of Text Could Have The SAME COLOR.

Upon Publication, The Reader Would Have The Ability To ReCOLOR The TEXT ToReflect His/Her View On The Relative Significant Of Text In His/Her Opinion And/Or Relative To A Particular Purpose.

I also envision a feature by which The Reader would be able to colorlight individual terms and/or phrases.

Readers would also have the ability to assess the value of The Overall TEXT by LABELING THE TEXT with One Color (Color Digg).

The Higher The Color, The More Significant The Text."

NB - what if a reader is colour blind?

[inanimate alice & media literacy]

While working on the second Education Pack to accompany Inanimate Alice and to coincide with the release of Episode 4 (yay!) I'm researching various countries and their (sometimes very different) approaches to the teaching of new media writing/digital literature/electronic literature/born digital fiction... (insert term of your choice). I've recently come across an interesting publication: "A European Approach to Media Literacy in the Digital Environment" created by the Commission of the European Communities published on the 20th of December 2007. The report reminds readers that although media use is widely acknowledged as a key enabler, there is little understanding of how "the media work in the digital world, who the new players in the media economy are and which new possibilities, and challenges, digital media consumption may present" (p.2)



This EU document also presents a very detailed definition of media literacy including the notion of critical literacy. Some aspects of the definition have tinges of transliteracy, encouraging the use of different kinds of media and their role in daily life:

[lord judd & creative technologies]

(image from Sue Thomas)


Yesterday a few of the researchers involved with the IOCT were invited to a meeting with Lord Judd. Our brief: to give him an overview of our research and our findings.


Sascha Westendorf and Keno Buss kicked things off with an overview of their DMU Creativity Assistant:

"a tool designed to help develop creative ideas in a transdisciplinary multimedia context, based upon the thesis that "creativity is an emergent property". The intention is to first understand the stages that creative people move through in their journeys of exploration, discovery, innovation, and composition. The well-established path from preparation to incubation to illumination and verification is a good starting point, but more elaborate models are needed to guide software design for individual and social creativity support, and to deal with the controversial question of how such creativity support tools can be evaluated."

Next came Heather Conboy, E-Learning Co-ordinator for Faculty of Humanties at DMU she's also researching her phd on the impact of online environments on creative writers (a bit about a previous talk here). Heather showed us some interesting statistics including this one: 95% of UK higher education institutions have VLEs (Virtual Learning Environments). I wondered what that meant for the other 5%? Are they ahead of the game and using non-institution based systems like open source platforms or do they have class blogs and teach in Second Life? Heather did explain that these stats are from 2006...I wonder what the deal is now?

Also along the lines of creative writers, Anietie Isong shared with us his research on African Writers. Anietie is specifically looking at:

• How the internet is influencing writing from Africa
• The writers' attitudes towards their writing
• Burgeoning styles employed in their writing

Lord Judd asked if all the African fiction was...well, fiction...Anietie says that though it is mainly fictional there are deep political and relgious themes.

I was really interested in Anietie's research and wonder how concepts like "postcolonial" literature will appear (or not?) in African new media writing? What is the play between the marginalised and the privledged - especially when thinking about access to computers, internet, IT learning? I also wonder how the role of "native" might change as Anietie explained that some African writers are writing from the West (UK and USA were some examples).

See some of Anietie's own poetry here and a short story here.


I concluded the presentation segment with an overview of my ph.d research:

After my presentation we opened up into a more general discussion. Lord Judd (I just cannot say "Frank"!) raised some anxieties and concerns with which we agreed. I think this surprised him. In general I'd say that we all agreed that balance is the key to using new media. Though how MPs are to negotiate all the communication they receive and then have to respond to...I don't know. When I suggested just checking e-mail/letters etc...in the morning I was told that is near impossible; something really important might require feedback and can't just be left until the next morning. Sue suggested we have filters like already junk messages go into spam folders...but maybe we need intelligent agents (like PAs!) to sift through messages first? I didn't realise that MPs received so much communication? That's when the discussion turned to literacies...the literacy of navigating all the information available but also the literacy on the side of the people who write to MPs...do they realise (are they literate?) that they need not write for every small thing and are they sure they are writing to the right person?


Quotes of the Day:
When I introduced myself to him as Jess, he responded with: "I'm Frank." (not "Lord Judd")
When told of my recent phd award he said: "So you're a *real* doctor" (!!!)
When beginning the discussion he exclaimed: "I am not a Luddite. I am NOT a Luddite."

********************************************

Thanks to Sue Thomas for organising the interesting tête - à - tête and thanks to Lord Judd for sharing his time.

NB If you'd like to keep up with Lord Judd's speaking arrangements, you can sign up to an e-mail alert here or subscribe to the rss feed here (who said MPs aren't digitally literate?!)

Sue has blogged about the day over at PART.

[ur brain on compUtrs]

In the Sunday Times Magazine this weekend there was a feature by John Cornwell: "It's a No Brainer." The article gave an overview of Professor Susan Greenfield's latest research findings detailing the effects of extended computer use on young people's brains.

According to Cornwell, Greenfield is predicting a "nobody scenario" in which teens of tomorrow won't have a secure/stable sense of personal identity (which means lack of morality and inability to think about effect of actions).

"By spending inordinate quantities of time in the interactive, virtual, two-dimensional, cyberspace realms of the screen...the brains of the youth of today are headed for a drastic alterations. It's as if all that young grey cortical matter is being scalded and defoliated by a kind of cognitive Agent Organge, depriving them of moral agency, imagination and awareness of consequences."

Greenfield draws parallels between the degeneration of an Alzheimer's brain and "the implications of these newer threats." For Greenfield (via Cornwell) too much IT (from 6-9 hours a day...ah! sounds like me!) means brains develop differently: "The brain has plasticity: it is exquisitely malleable, and a significant alteration in our environment and behaviour has consequences."

Thanks to the "substitution of virtual experience for real encounters, the impact of spoon-fed menu options as opposed to free-ranging inquiry, a decline in linguistic and visual imagination, and atrophy of creativity, ccontracted, brutalised text-messagine, lacking the verbs and conditional structures essential for complext thinking" ..."the more we play games, the less time there is for learning specific facts and working out how those facts relate to each other." the result: "a failure to build highly personalise individual conceptual freamworks..."

I'm not sure about the seemingly sweeping negativity. Sure computers have changed/added to the ways we communicate but young people especially are still in school all day - there *must* be at least some real-life contact during those hours. A decline in linguistic imagination? I think text messaging is all about imagination rather than a "brutalised" form of language, this is a craft - a different kind of language for a specific purpose (only 140 characters to say what you mean). Sounds like the creation of a kind of code. But more research needs to be conducted before anyone can say exactly what changes are occuring and how parents/educators/society should (or should not) accommodate them. (See Charles Leadbeater: "But the reality is that most young people seem to see it as a way to participate and collaborate, socialise and express themselves.")

Interestingly, the print version of the Times' article has various brain photos but the accompanying online version does not. The images included in the print article are from the Science Photo Library which also has these amazing views of the brain speaking, hearing words and reading words:





As an aside to the article content (science, brain research, teens) the writing style of Cornwell suggests his own kind of ludditism...an inappropriate gendered kind. Baroness Susan Greenfield (Director of the Royal Institution of Great Britain, Fullerian Professor of Physiology, Senior Research Fellow Lincoln College, Honorary Fellow, St. Hilda's College) is described as "the motormouth publicist of science" whose "lower lip pouts as if to blow a raspberry." She is also a "glamourpuss" (though at least an "academic" one). We are told about her "bust up with her Oxford-don husband" and then treated to Cornwell's interpretation of her accoutrements: "she, in laboratory mode, is dressed down in a beautifully cut Russian-red jacket; a sleeveless, artificial-fur-lined silvery waistcoat; charcoal Armani trousers; a fetching beret (hint of Rasta-chic); and patent platform lace-up ankle boots." Further in the article, Cornwell describes Greenfield's "tight-fitting grey-blue trouser suit" she wears to a Birmingham lecture. Just one question: had the scientist been male, would Cornwell similarly draw focus to his "pouting" lips, eyes and clothes?

[blogging and literary analysis]

Via John Timmer at Ars Technica

"The rise of blogging clearly represents a significant social phenomenon, but studying it poses a challenge in part because defining a blog is not a simple thing. There have been a number of attempts to do so at the technical level, where the presence of material organized by time stamp or the existence of RSS feeds have been suggested as defining features. A group at the University of California-Irvine, however, decided to approach the question from the perspective of human-computer interactions, where the humans involved were blog readers. Mixing in a dose of literary theory provided some interesting insights into how readers view and define blogs.

The idea borrowed from HCI studies was a simple one: perform observations of actual users as they are interfacing with their computers. The observations took the forms of usage surveys, overseen reading sessions, individual discussions, and a single group discussion. Unfortunately, given the time-intensive nature of the work, the study population was small (20 subjects), and several of them did not participate in all aspects of the study. Attempts to log browsing habits didn't work out; the survey population was either savvy enough about privacy concerns to not install the logging software, or not savvy enough to manage a functional installation.

Still, the researchers were able to generate information about how readers interact with blog material. They argue that this can be as important as having information about the blogs themselves, citing the development of reader response theory in literary criticism. As applied to blogs, they state, "the reality and meaning of a blog exists neither solely in the blog itself nor solely in the reader, but rather in the reader’s active interpretation of, and interaction with, the blog."

What they found is that reading blogs has become a habit integrated into Internet use for many people, akin to instinctively checking e-mail. Several of the blog readers described it as simply a way to pass the time, using terms like "wasting time" and "doing nothing." One of them described it in terms of addiction: "I don’t really look forward to cigarettes anymore, but it's something that happens through the course of the day that I feel like I might need to do. It just becomes habit, I guess."

Given that attitude, a few of the other findings aren't much of a surprise. For one, the temporal structure of a blog is only important due to the role it plays in where stories appear on screen. People will tend to read the top ones first, and browse deeper only if they have time—if they don't, the deeper stories generally don't get read. A product of this is that few of the blog readers felt their habits contributed to a sense of information overload.

Despite this casual approach to content, blog readers take a number of aspects of the content very seriously. One example of this dichotomy is that a reader that can't be bothered to search for new blogs beyond the ones he currently reads, but still engages in offline activities based on what he's seen in the ones he does read.

One key feature for most users was a sense of community. Even though blogging is an inherently one-to-many activity, most readers felt a personal connection to the author. This could foster the feeling that the reader belonged to the community even in the absence of participation, and led those who did participate via comments to agonize over their content. Only one of the study participants said they enjoyed triggering flame wars; most of the others felt their comments were a form of appreciation for the blog author, and worked hard to make them insightful and cogent.

This produced a distinction between smaller blog communities and popular, news-focused blogs. These didn't produce the same sense of belonging, and readers tended to focus more on their content than their community. That result suggests that the blogging community will always have a long tail, as readers search for smaller places where they can continue to find a sense of connection with the authors.

The study's authors kindly provided Ars with a copy. It was presented at the Association for Computing Machinery's CHI Conference, and is available through their website."

[knowledge representation: tagging, folksonomy, content, information, literacy]

Claudia Cragg was going to interview me about tagging for her Creative Writing and New Media Master's project...sadly (and super annoyingly) my mic. didn't seem to work for skype today. So, we're going to go all social media with this interview and I'm going to post Claudia's questions here, with my answers, for any of you who might be interested in my views on tagging and folksonomy and digital literacy and and and...

So, here goes (caveat - my personal opinions!):


Who came up with the term Folksonomy and how is it defined?

Thomas Vander Wal came up with it during an e-mail list conversation in 2004.

As the name suggests, it's a taxonomy made by the folks – user generated definitions and information structures. But folksonomy is just a part of a larger idea: tagging. Tagging is the tying of words to objects. I think Vander Wall explains that this method of tagging has less "cognitive load" for users because it’s about key words rather than some kind of overlying systemic planning. I see it more of a free–form way of categorising information – personalising it.

Folksonomy is a subset of tagging – identifying/categorising for personal use, “re–finding” information

Has it caught on as a term?

Yes! Just do a google search for folksonomy; there are 1,620,000 hits (at 15:07 GMT). But then, I suppose just because it has "caught on" doesn't make it any less fractious. I'm thinking of "web 2.0" and how it is bandied around...still lots of problematising. I'm remembering Cory Doctorow's "metacrap" and I think a lot of people still don't quite "trust" the folks...that's why users concerned with retrieving the "right" kind of information might trust certain folks whose ideas they value...a kind of filtering through the (*wisdom* of the) masses.

What, in your academic opinion, makes a good or bad Tag Cloud? (i.e. your thoughts on Anatomy of a Tag Cloud vocalized)

Hrm...good question. Firstly, a caveat: there can be no *exact* laws or rules about good/bad tag clouds because the tags/vocab and value are constantly changing - a punctuated equilibrium.

For me, a good tag cloud makes information accessible to those who are interested in it. Tag clouds with a gazillion different terms look "messy" to me. A pet peeve is the inclusion of spam in tag clouds - that just changes the whole positive participatory idea behind folksonomy. Also, if taggers use a lot of similar words (as I did when I first started tagging) like: blogger, blog, blogging, blogs - that just adds to the mess. I guess rules are necessary, figure out if you're going to stick to uppercase or lowercase and whether you'll use singular or plural terms (blog or blogs? FirstName or firstname?)

Look at TechCrunch's tag cloud courtesy of technorati:

Most of the terms are of a similar size which makes spotting information trickier (at least for me) and there is some html included which shouldn't be there...so it seems messy.

A good tag cloud is "tidy" with (seemingly) transparent access to information. I don't want to be left wondering how the "blogger" and "blogging" tags are different and whether I should bother clicking both tags...I want the story (or most of it anyway) there in the cloud. I just want the general overview (I always look first for the tags that are weighed heaviest and then move to those tags least used), it's up to each tagger to make things more precise/personal to them. It's a vocabulary that's constantly evolving.


By the way, there are loads of tools out there to create tag clouds of your site (rather than of your delicious - or similar - bookmarks).

I've just used TagCrowd to make a cloud of my current blog which lists my last 10 posts:



How can Tag Clouds be used to drive traffic to a site?

In terms of general business use – there is huge potential here especially for smaller to medium size companies.

I think tagging can help with “findability” of company information although perhaps not so great with emergent vocab. which keeps changing. Also, I guess there might be a need to compare internal tags (tagged by employees) with external tags (tagged by customers) as each might have different words for the same or similar ideas.

But, as with peppering content with keywords, you can make sure you tag specific blog posts etc...with key words that you know your customers will search for.

Plus, the easier it is for customers to navigate a site, the more chance they’ll come back and using a tag cloud is, I think, a good way of making visible an overview of company info.


Tagging can also be a chance for any company (or organisation or university group etc...) to popularise their key word/s (or coin one) while simultaneously making data cohesive. Before we started using delicious there was no "nlab" as a bookmark, but now it is there and it means conference-goers and other interested parties can follow what NLab has been up to for the last 2.5 years. Shirky suggests that a refined approach to this kind of group classification is the next "big frontier."

I wonder how many tags there were for "longtail" before Shirky's article or for "web2.0" before frames of reference changed and people took to O'Reilly's coinage? (See Michael Wexler's 3 part series "I Hate Tags")

"In reality, our understanding of things changes and so do the terms we use to
describe them. How do I solve that in this open system? Do I have to go back and
change all my tags? What about other people’s tags? Do I have to keep in mind
all the variations on tags that reflect people’s different understanding of the
topics?"

If tagging is about naming/defining/narrativising content, then tag clouds aggregate content. Businesses can use this information in numerous ways, a few initial thoughts: establish a new market/audience, create a (new?) community interested in the same (or similar) things, get to know (on a deeper level) the needs of your customers and by having "tidy" tag cloud businesses are able to provide that much-called-for "transparency."

For example, a company can get an rss feed of a certain term and then track its usage (there are 190,688 photos tagged with "ipod" on flickr).

How are they best structured as 'jumping off points for dialogue'?

I think it's more about it's use-value. There isn't a "best structure" for dialogue but perhaps there are rules/strategies for certain kinds of dialogues. Two key words: tag clouds can refine conversations: they are "specialised" and can become (I'm optimistic) more "sophisticated."

As for jumping off points - tag clouds always already offer serendipity not structure (other than in the most general and probably ephemeral sense). I think when Will Richardson quotes Bruce Sterling who quotes Stowe Boyd (structure? what structure?) what he is saying can also apply to the role of tag clouds in dialogue:

"Basically, conversation is moving from a very static and slow form of
conversation — the comments thread on blog posts — to a more dynamic and fast
form of conversation: into the flow in Twitter, Friendfeed, and others. I think
this directionality may be like a law of the universe: conversation moves to
where is is most social…The way I am getting tugged to blog posts is
increasingly as a mention within a conversational bite in Twitter or Friendfeed.
I then click out of the flow to see the larger post, and offer my view in the
flow — not on the blog — and then I return to the flow, where I will be spending
most of my time. This makes sense: I want to talk about the blog post with the
person who brought it to my attention, more so that with some group of strangers
at the blog, or even the author, who I may not know at all. I also don’t think
we can expect the fragmentation of the social experience to slow down: it will
get a lot worse before it gets better."

Yes, tag clouds are dynamic and (should) reflect changing ideas and changing communication and people are probably drawn to tag clouds/taggers who offer valuable information but, in the end, it IS about communication.

What can be learned from their early use in Flickr for those wishing to use them in a more strictly narrative context - should there be distinctions between the types of clouds for predominantly textual content?

At the outset when tagging was new and etiquette hadn't yet entered the scene, I think people used as many tags as they could to classify something, trying to be as open as possible. but as the use has focused so have the terms and we see people (look at delicious) using a handful of tags to describe their bookmarks instead of trying to be all encompassing

I think clouds evolve according to the information so they’re kind self–aggregating or self–describing as the info changes so I don’t think you really need a distinction between types of clouds – i think that’ll be apparent to users.

Look at the flickr tag cloud from Jan. 2007 that I included in my "Anatomy of a Tag Cloud" post and look at the current flickr tag cloud (these are both for the "all time most popular tags"):

key tags for '07 were: wedding, party, japan, friends, family, travel, london

but today look how "France" has appeared as a tag and "band". Also, both flickr tag clouds have the term "girl" but neither have "boy."

However, both clouds have the tag "me." Isn't that an answer there - tagging isn't about structure; it's all about "me"!

Do Tag Clouds in any way alter the reception of text by a reader and if so how?

I think there is an interesting difference between people who tag for themselves and those who tag for others – when there’s a clearer idea of the subject the tagging is much more concise. Readers of tag clouds might judge a site by it's cloud (judge a book by its cover?)...and come to the site with the knowledge of the value of a site or of a tag (depending on weight and size of font etc...).

I wonder whether the tags imbue readers with a certain kind of passivity or...gee, not quite sure of the word...some kind of awareness of their role as reader rather than creator? I'm wondering this because the flickr tags seem to be mostly descriptors...where are the verbs? If readers were guided by tag clouds/tags that were active (running, reading, creating, see, listen, looking) that must surely change the perception/reception of any ensuing text/story/media? I think it's about different kinds of readers and contexts (what are you searching for and why) as well as different literacies.

See Sheryl Nussbaum-Beach's tactical or strategic view:

In what other ways have Tag Clouds evolved and how do you think they might evolve in the future?

Have a look at Philipp Keller's tag history:

and read Vander Wall's own rationalising of the state of tagging.

My thoughts on the future of tagging...hrm...I think there is going to be a visual tagging service. I’m thinking of the new visual search engine that I’m beta testing (searchme.com) and I think we’ll start seeing visual tags and maybe sonic tags. Besides the richer interfaces and applications

As an educator, I'd like to see tag clouds used as a mode of assessment. I'm thinking of Janet Harris's use of Tag Crowd to analyse the MSNBC Democratic debate:

(aside: isn't there loads of interesting stuff here...note who is the only person to mention women...hrm...also note the use of "America" but one candidate chooses only to say American, keeping it more personal?)

We could generate tag clouds (of work that is handed in electronically) of the student's most-used words. Wouldn't that be a good way of showing students why it's necessary to avoid repetition if they can actually *see* the repetition? We could also use tag clouds for our lecture notes or powerpoint presentations etc...to help students get an overview of the key points we're trying to share with them. What about generating tag clouds of 18th C. lit. and current lit. to see how vocabulary changes? When I taught a media module last term we looked at the supposed *neutrality* of reporters...but we could generate tag clouds for each reporter and compare how they write about different news items as well as compare what reporter A and report B say on news item C. hrm...seems lots of possibilities here. But, that age-old question arises... critical/digital/transliteracy: how do we *teach* students how to adequately *read* tag clouds.






buttons found at haveyouseenthisgirl on flickr.