[a pen]

Interesting digital poetry creation by Jim Andrews: “A project in visual poetry and programming. The project consists of an interactive software pen that uses four ‘nibs’ whose ‘inks’ are lettristic animations of letters.”

[teaching digital writing]

If I was still living in England..... This conference will be brilliant and my ph.d examiner (Ruth Page) and ph.d supervisor (Sue Thomas) will be speaking too along with "Inanimate Alice" author Kate Pullinger.



http://www.english.heacademy.ac.uk/explore/events/event_detail.php?event_index=281

Cost: No charge, but we reserve the right to charge a £15:00 non-attendance fee.

Last Date for registration: 14 Apr 10

Event Description:
Digital Writing crosses over Media, Creative Writing, Art & Design and English departments and demand for more higher education courses continues to grow. How are we meeting that demand and how is digital writing being taught? This free, one-day symposium is an opportunity to discuss, debate and sample Digital Writing with leading practitioners and university lecturers.

- How do we teach students to analyse digital writing?
- How do we teach students to create digital writing?
- What are the particular challenges and rewards of teaching and learning this developing genre?

These questions and others will inform the presentations and discussions.
The event takes place at the state-of-the-art Phoenix Square, in Leicester where delegates will have the opportunity to participate in a hands-on workshop and demonstration. Undergraduate and postgraduate students are welcome.

Confirmed speakers include: Award winning digital novelist – Kate Pullinger, Sue Thomas, Ruth Page and Tim Wright.
Programme: (subject to alteration) 

9:30 Registration
Coffee/Tea

10:00 Welcome
Brett Lucas, English Subject Centre

10:10 Presentation
The Transliteracy Research Group
Kate Pullinger & Sue Thomas, De Montfort University

11:00 Panel Presentation & Discussion
Doing Digital Writing
Tim Wright, Digital author
Donna Leishman, Digital author
Respondant TBC

12:00 Lunch

13:00 Panel Presentation & Discussion: Teaching Digital Writing
Digital Writing and Pedagogy: How do We Teach, What Do We Teach?
Matt Hayler, University of Exeter
Designing Narratives and New Media
Will Slocombe, Aberystwyth University
The Next Frontier? Teaching electronic literature in the undergraduate classroom
Ruth Page, Birmingham City University

14:30 Hands-on Workshop and Demonstration
Tim Wright, Digital author

15:30 Keynote Address
Michael Bhaskar, Digital publisher, Serpent’s Tail/Profile Books

16:30 Closing Remarks
Kate Pullinger & Brett Lucas

16:45 Close



Note: image from Engadget. 

[inanimate alice in my undergrad. English class]

x-posted at iTeach Inanimate Alice


On Thursday (19th of November) I started the final unit of the term with my English 102s at Grant MacEwan University (Edmonton, Alberta). After essays and other academic texts, our final study would focus on the multimodal narrative, Inanimate Alice.


Before I began the lesson I recalled what I had done with other classes (mostly media or creative technologies while at De Montfort University in Leicester, England). But this time, it would be a little different. I could incorporate more of a "literary" analysis as this was for an English class...right?


Interestingly out of about 30 students, only one admitted to having read something similar to Inanimate Alice (but when he was "younger"). I gave a background to Inanimate Alice. I introduced the students to Alice, to Brad. I also explained what Alice's parents do. We talked about setting and character development, noting that Inanimate Alice can be read as a bildungsroman.


We agreed to spend the remainder of the lesson reading Episodes 1 and 2. Students were also given time at the end of the lesson to reflect on their first-time reading a multimodal narrative. Some of the questions I asked them to think about included:

• How reading this online fiction is different from reading the essays in the course books or reading the texts for your research assignment
• What can readers infer about the identity of Alice? What traits does Alice seem to possess?
• 1 instance of foreshadowing
• Complete this sentence: “I think the author is trying to say....”

 
 
 Read more »

[meta meta cognition: the wired epileptic brain]

"A rare set of high-resolution readouts taken directly from the wired-in brains of epileptics has provided an unprecedented look at how the brain processes language.


Though only a glimpse, it was enough to show that part of the brain’s language center handles multiple tasks, rather than one.


“If the same part of the brain does different things at different times, that’s a thunderously complex level of organization,” said Ned Sahin, a cognitive scientist at the University of California, San Diego.


In a study published Thursday in Science, Sahin’s team studied a region known as Broca’s center, named for French anatomist Paul Pierre Broca who observed that two people with damage to a certain spot in the front of their brains had lost the ability to speak, but could still think.


[...]


During the several days that three patients at Massachusetts General Hospital were medically wired, Sahin’s team asked them to repeat words verbatim, and translate them to past and present tense.


In the space of a quarter-second, a small part of Broca’s area — the only part read by the electrodes — received each word, put the word in a correct tense, and sent it to the brain’s speech centers.


This tested only one type of verbal cognition, cautioned Sahin, and the focus was unavoidably narrow, but it was enough to show that Broca’s area is involved not only in translating speech, but receiving it. That role was considered specific to part of the brain called Wernicke’s area.


More broadly, the findings may represent a general rule for Broca’s area, and perhaps other brain regions: Each part plays multiple roles, rather than performing a single task (emphasis mine)."

NB: Image by Ned Sahin on the Wired site.

[cross-disciplinary multimodal art]

Marlena Novak’s work is a cross-disciplinary hybrid including HD video, animatography, interactive time-based media, digital photography, and encaustic painting (BFA, Carnegie-Mellon; MFA, Northwestern) with solo exhibitions in Berlin, Cologne, Amsterdam, Enschede and the U.S. Her encaustic-painting technique was the subject of a documentary presented on PBS and she was invited to teach a course in this medium at the Amsterdam Institute for Painting in 1996.


Read more about Marlena Novak here: http://www.creativityandcognition.com/gallery/mnovak/mnovak.htm

[*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.

[phd training session: digital literacy & creativity]

A full-day for the AHRC funded CEDAR (Collaborative Digital Research in the Humanities), organised by the Universities of Bangor (Dr Astrid Ensslin) and Aberystwyth (Dr Will Slocombe).

As I've noted before, I'll be talking about academic blogging and the digital literacy (a favourite topic of mine).

For the students participating, feel free to add comments as directed in the presentation.



Please comment on the idea of reading and writing as “an invisible skill” (see Sue Thomas's video, 16:00) and whether you find the Stroop test challenging or not and why.


Literacy + Technology + Creativity = Digital Literacy in the 21st Century

Important that these elements are seen as interdependent


Read The Whale Hunt here: http://thewhalehunt.org


UPDATE: Keno Buss and Sascha Westendorf have joined us for a bit about their project and some hands-on experience with the De Montfort Creativity Assistant.

[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

[social media and sustainability]

Recently I was asked to give a presentation to a group on the theme of social media and sustainability. I began with an introduction to some web 2.0 applications (blogs, wikis, twitter) and the usefulness of rss. Then I gave some examples of organisations employing aspects of social media to generate interest/support in an environmental issue or to garner information. Early into my introduction I asked the group (there were about 35 or so) to answer some questions to give me (and them) and idea of how they are situated in relation to social media.
The questions I asked included:

• Do you send txt msgs?
• Do you blog or comment on blogs?
• Do you listen to podcasts?
• Do you have a Facebook profile?
• Do you participate on an e-mail list?
• Have you watched a YouTube video?
• Do you Tweet?
• Do you have a Flickr account?
• Do you aggregate RSS feeds?

How do you think the group did? Would your prediction change if I told you this was research-oriented group? That mostly everyone there was over 35 (except perhaps for a few ph.d students who joined us and the speaker of course...)?

Well no one had a blog though a few did listen to podcasts and the question about tweeting generated a few giggles. Two people in the room had photo-sharing accounts but no one knew what RSS was so definitely no one was using a feed aggregator. Having said this, I think I'd have received similar answers with a younger group. In fact, having posed this questions to my first year and third year media undergrads they too did not have blogs but they watched and uploaded videos and shared photos and updates with facebook. No one there knew about rss either. So, not too dissimilar...which leads me to...

Someone at the talk implied that *we* (harumph) are digital immigrants and that our students and the groups we're trying to target (in this case, to instill change and be proactive about the environment) are digital natives, ergo they *know* this *stuff*... Firstly, I disagree that technology-use is a generational thing (think of silver surfers). Secondly, just because you or your child or your niece or whomever...has access to a nintendo ds or a psp or txts all the time does not mean that they are literate and know how to protect themselves online and recognise issues related to identity theft, bullying and even future employment (do you really want your future employer to see evidence of a drunken saturday night - I know my first and third years did NOT realise this).

I think there's often talk about helping students become *literate* (or transliterate) in the online environment - how do they navigate all the different modes alongside identity and IP (especially for researchers) etc...but what about the teachers? Where is the acknowledgment that those doing the teaching also need time to learn, absorb and choose how and if they're going to implement web 2.0 applications? I'm wondering more about this because although the group I was talking with weren't there in terms of pedagogy the questions they asked were just as applicable:

• why *should* we use [enter application here, twitter/facebook/blogs/podcasts/youtube/flickr]?
• doesn't this just add more work?
• what are the benefits?

I think it's to be expected that there is anxiety with new things; adding to our work and generating frustration but I think the examples I showed of organisations leveraging social media to share ideas and generate buzz illustrated well the potentials. I quite like what ForestEthics, Greenpeace and Sierra Club BC, the three leading environmental groups that have worked with the B.C. government, First Nations and industry leaders to British Columbia’s globally unique Great Bear Rainforest. Together, they launched a social media campaign using facebook, twitter, blogs and youtube videos. They also made it easy for supporters to send pre-written protest e-mails and add their voices to the campaign. On the 31st of March 2009 the social media efforts paid off:

"March 31, 2009, Vancouver, British Columbia – The promise made three years ago to protect one-third of British Columbia’s globally unique Great Bear Rainforest and develop the foundations for a conservation-based economy in the region has been fulfilled. Today’s announcement is greatly welcomed by ForestEthics, Greenpeace and Sierra Club BC, the three leading environmental groups that have worked with the B.C. government, First Nations and industry leaders to ensure the promise would be kept. Today’s announcement lays out the tremendous ecological and economic gains for the region and the long-term commitment to ensure the health of the rainforest and communities."

Have a look at the youtube video:

The questions after the session were enlightening. Most were excited to explore social media themselves but admitted that they didn't really know about "these sorts of things." They wanted to learn but weren't sure whether they had the institutional support. So key the to us being able to pass on knowledge is institutional/work support in terms of teaching the teachers (employees etc...) and giving them the time to learn how to use tools effectively (of course this goes for anything right? not just social media or computer technologies). I must say, the IOCT is brilliant in that respect - using twitter and facebook and blogging are recognised aspects of research and demonstrate interaction with/in the field. (disclosure: I am employed as a Research Fellow at the IOCT).

[storytelling 2.0]

It's children's stories which are pushing the boundaries of *traditional* publishing and going multimodal and mobile. Read the article on a few recent projects here (there's a snippet below) which are interesting but...I don't agree with gaming elements as synonymous with "boy friendly" (paragraph 6)! ARG! There are girl gamers out there and look at how Inanimate Alice weaves gaming alongside story development...and I know girls read that story too.

"In late January Lev Grossman, writing about the future of the book in Time, said the novel is on the verge of evolving “into something cheaper, wilder, trashier, more democratic and more deliriously fertile than ever.” Although Grossman wasn't speaking to what is happening in children's publishing per se, there seems to be something in his description that taps into this brave new world.

It's clear that children's publishing is embracing the spirit of the book while finding more and more ways to tell a story outside the book. The challenge, as almost all who commented for this story said, will be figuring out how to create these non-book books cheaper, faster and better. As Katz put it,“This isn't landing in the new world, this is on the road to the new world.”

[conference: language in the (new) media]

Language in the (New) Media: Technologies and Ideologies

Thursday, September 3 to Sunday, September 6, 2009
University of Washington
Seattle, WA, USA

Download a PDF version of this call for papers

Keynote speakers

• Naomi Baron, American University, USA
• Sally Johnson, University of Leeds, England
• Jannis Androutsopoulos, Kings College London, England
• Theo van Leeuwen, University of Technology Sydney, Australia

Background
This is the third in a series of conferences organized around the role of the media in relation to the representation, construction and/or production of language. The first two conferences were held at Leeds University, England: in 2005, Language in the Media: Representations, Identities, Ideologies, and, in 2007, Language Ideologies and Media Discourse: Texts, Practices, Policies. In 2009, the conference will be leaving Leeds and coming to Seattle.

Conference theme
We invite you to submit abstracts for papers which explore the representation, construction and/or production of language through the technologies and ideologies of new media - the digital discourse of blogs, wikis, texting, instant messaging, internet art, video games, virtual worlds, websites, emails, podcasting, hypertext fiction, graphical user interfaces, and so on. Of equal interest are the ways that new media language is metalinguistically represented, constructed and/or produced in print and broadcast media such as newspapers and television (see below).
With this new media theme in mind, the 2009 conference will continue to prioritize papers which address the scope of the AILA Research Network on Language in the Media by examining the following types of contexts/issues:

• standard languages and language standards;
• literacy policy and literacy practices;
• language acquisition;
• multilingualism and cross-/inter-cultural communication;
• language and communication in professional contexts;
• language and class, dis/ability, race/ethnicity, gender/sexuality and age;
• media representations of speech, thought and writing;
• language and education;
• political discourse;
• language, commerce and global capitalism.

Abstract submission
Please submit abstracts for papers (20 minutes plus 10 for discussion) by email to lim2009@u.washington.edu no later than Thursday 26 February 2009. Abstracts should include a title, your contact details (name, mailing address, email) and a description of your paper (250 -350 words). The conference committee will begin reviewing abstract submissions immediately after the deadline; notification of acceptance will be Thursday 19 March. (Please send your abstract as a Word document or in the body of your email.)

Program and registration
In order to help your early planning for the conference, we have already finalized the basic program structure for the conference a copy of which can be downloaded here (as a PDF). This outline shows the start and finish times of the conference, the main social events (reception, BBQ and conference dinner), as well as lunches and coffee breaks. The conference planning committee is also arranging an optional program of tours and activities for Sunday 06 September. A business meeting for the AILA Network will also be scheduled for the Sunday morning.

Official conference registration will begin on Thursday 19 March, with early registration ending Thursday 21 May. The final deadline for presenter registration will be Thursday 23 July in order to be included in the final program. Registrations after 23 July will be charged an additional late registration fee of $25.00.

Conference registration
Early registration – until 21 May	$350
Early registration (full-time students)	$300
Registration – until 23 July	$380
Registration (full-time students)	$330
Day rate registration (accepted until 20 August)	$150

[employment: multidisciplinary post doc]

Oxford Internet Institute

University of Oxford

RESEARCH STAFF GRADE 8 (£36,532 to £43,622 p.a.)

We are seeking a Research Fellow to complement our multidisciplinary team undertaking research into the societal implications of the Internet and related information and communications technologies. This Fellowship offers post doctoral researchers of outstanding promise or distinction an opportunity to pursue advanced research within this field.

Our preference is for candidates with a strong theoretical and/or methodological background in computer science, law or one of the following social science disciplines: communication, information, media studies, economics, political science, social psychology or sociology; and with an interest in research which will complement one of the OII's current research areas.

These concern the role of the Internet and ICTs in: everyday life and work; government and democracy; research and learning; shaping the Internet; and issues of theory and policy that cut across these settings. Applications from those with a track record of multi-disciplinary research on the societal implications of the Internet and/or related policy issues who have doctorates in other relevant disciplines will also be welcomed.

Based in the heart of Oxford, this post is available from October 2009 for two years in the first instance with the possibility of renewal thereafter.

How to apply

Grade 8 Fellow Application Pack (pdf, 100kb)

Further information, including details of how to apply, may be obtained from Nicola McVay, Administrative Officer, Oxford Internet Institute, 1 St Giles, Oxford OX1 3JS, UK. Tel: +44 (0)1865 212330; email: recruit@oii.ox.ac.uk

Applications must reach the Institute by 12:00 noon on Wednesday 25 February 2009. It is expected that interviews will be held on Tuesday 10 March 2009.

Research Fellow (Grade 7)

RESEARCH STAFF GRADE 7 (£28,839 to £35,469 p.a.)

We are seeking a Research Fellow to complement our multidisciplinary team undertaking research into the societal implications of the Internet and related information and communications technologies. This Fellowship offers post doctoral researchers of outstanding promise an opportunity to pursue advanced research within this field.

Our preference is for candidates with a strong theoretical and/or methodological background in computer science, law or one of the social sciences, including communication, information, media studies, economics, political science, social psychology or sociology; and with an interest in research which will complement one of the OII's current research areas.

These concern the role of the Internet and ICTs in: everyday life and work; government and democracy; research and learning; shaping the Internet; and issues of theory and policy that cut across these settings. Applications from those with a track record of multi-disciplinary research on the societal implications of the Internet and/or related policy issues who have doctorates in other relevant disciplines will also be welcomed.

Based in the heart of Oxford, this post is available from October 2009 for two years in the first instance with the possibility of renewal thereafter.

How to apply

Grade 7 Fellow Application Pack (pdf, 100kb)

Further information, including details of how to apply, may be obtained from Nicola McVay, Administrative Officer, Oxford Internet Institute, 1 St Giles, Oxford OX1 3JS, UK. Tel: +44 (0)1865 212330; email: recruit@oii.ox.ac.uk

Applications must reach the Institute by 12:00 noon on Wednesday 25 February 2009. It is expected that interviews will be held on Tuesday 10 March 2009.

[employment residency: Cross-Platform Media Producer]

Cross-Platform Media Producer

Residence

Ref: MED295
c. £36k - £43.5k per annum

The Media School is seeking an experienced and enthusiastic cross-platform media producer (preferably 0.5 FTE but this is negotiable) to lead seminars/workshops and tutorials in cross-platform media production, explore new methods of learning and advise on curriculum development.

You should be an accomplished cross-platform media producer with significant relevant professional experience. You will be able to make a significant contribution to the delivery of cross platform media practice at both undergraduate and postgraduate levels of education and to the development of innovative teaching methods and materials. You will also be able to assist our thinking regarding the future of cross-platform practice, as well as supporting our close links with the industry.

The post is offered as a fixed-term contract for up to six months.

For an informal discussion about the post, please contact Fiona Cownie on fjcownie@bournemouth.ac.uk

A detailed job description and person specification are available from our website (www.bournemouth.ac.uk/jobs) together with an online application form. Alternatively, telephone 01202 964846 (24 hour answer phone).quoting the appropriate reference Closing date: 2 February 2009. Interview date: 12 February 2009.

[A Digital Humanities Manifesto]

There are 29 separate points in the UCLA Digital Humanities Centre's manifesto but these stood out for me:

"The first wave was quantitative, mobilizing the vertiginous search and retrieval powers of the database. The second wave is qualitative, interpretive, experiential, even emotive. It immerses the digital toolkit within what represents the very core strength of the Humanities: complexity.

Interdisciplinarity/transdisciplinarity/multidisciplinarity are empty words unless they imply changes in language, practice, method, and output.

The digital is the realm of the open: open source, open resources, open doors. Anything that attempts to close this space should be recognized for what it is: the enemy."

Each paragraph has links to comments from readers too...quite a few are critical...but good for discussion (say hello Digital Cultures' students!!)

[elements of digital storytelling]

Check out this amazing project over at the University of Minnesota. The School of Journalism and Mass Communication’s Institute for New Media Studies and The Media Center - Nora Paul and Christina Fiebich - address questions like:

What is unique about the digitial environment? How do users respond to it? How
can its potential be maximized? The Institute for New Media Studies and New
Directions for News are investigating these questions.

The Elements of Digital Storytelling site provides a:

• Taxonomy of digital storytelling


• Analysis of current practices


• Clearinghouse of effects research


• Showcase of innovative story forms


• Forum for discussion

[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).

[collective indigenous memory and digital archiving]

Gail Maurice says "Every step I take is with my ancestors; my memory in my bones..."

With this quote echoing in my head I'm wondering how this kind of cultural valuing of memory appears in a world where technology can ensure a kind of *archiving* of memory. Is taking a step with ancestors the same or even possible if new generations have access to digital memories? How does the passing on of stories, ideas, warnings, histories change if elders can include recourse to multimodal or hyperlinked creations?

This musing led me to "Designing digital knowledge management tools with Aboriginal Australians" by Helen Verran, Michael Christie, Bryce Anbins-King, Trevor van Weeren and Wulumdhuna Yunupingu. The article can be found in Digital Creativity, 2007, Vol. 18, No. 3, pp. 129–142.

In the article, the authors explain that "A significant number of indigenous and non-indigenous people respond with horror to the idea of using digital technologies to do collective memory in indigenous communities." This "horror" seems to stem from a belief that computers are anathema to a collective memory that is created together, in person, alongside nature/land. "Computers are actually more harm than good." There is a worry (understandably) that technology (or at least the way it is used) can help inculcate notions that indigenous knowledge is a commodity.

Verran et al call on feminist discourse to help negotiate the role of technology; there is an emphasis on the always-already provisional and partial view of knowledge (via mechanical means or otherwise): "Located accountability is built on what Haraway (1991, p.191) terms “partial, locatable critical knowledges”. As she makes clear, the fact that our knowing is relative to and limited by our locations does not in any sense relieve us of responsibility for it. On the contrary, it is precisely the fact that our vision of the world is a vision from somewhere, that it is inextricably based in an embodied and therefore partial perspective, which makes us personally responsible for it. The only possible route to objectivity on this view is through collective knowledge of the specific locations of our respective visions." (Suchman 2002, p. 96)

The article goes on to flesh out some ways of combining technology with the need to archive cultural memories. There are some interesting projects which, I think, can be quite appealing to students - especially aboriginal. Take for instance the TAMI database: "a fluid file management and database system which carries no Western assumptions about knowledge, and which maximises the possibility for the user to creatively relate and annotate assemblages of resources for their own purposes." This means that there are no hiearchies built into the system, no author, then subject etc... but rather: "The only a priori ontological distinction at work in the database is the distinction between texts, audios, movies and images. Apart from that there are no pre-existing categories (as there are in other database where metadata are sequestered into fields such as ‘author, ‘title’, ‘subject’). This provides a certain ontological flatness so indigenous knowledge traditions are not pre-empted by Western assumptions." Image cited in journal article. A project in a classroom might include students using google pages or delicious (though the latter might seem more "western" with the emphasis on text) to craft their own database of memories or experiences - perhaps focused on an emotion, story or single memory and from their build a multimodal archive. Also, rather than searching TAMI with a text string, as we do in google and delicious, users can scan thumbnails of each resource. Sounds a bit like some visual search engines. What the authors note at the end of the article is the ever-necessary importance of "digitally-canny outsiders" who know how to use the technology and are culturally sensitive.

See a map of UK memories here: http://www.nationsmemorybank.com/memorymap/


The image at the top of this post is of Cliff Island, Institute for Northern Studies fonds, University of Saskatchewan Archives, Institute for Northern Studies (INS) fonds – F2100. Binder 10. II. Slides – 4501 to 5000. Database ID: 20263.

[employment: podcast developer at UCL]

I haven't seen one of these positions at a university before. Pretty forward thinking of UCL even if it is only a year long pilot project. But, there is the implication, should the project go well, UCL will require a permanent podcast developer.

Podcast Service Developer

UCL Information Services Division

1 year post (ref 54260)

UCL has embarked on a project to assess the feasibility of setting up a service to record, store and then make lectures available for viewing or download. This is known as the Podcast Project.

The project will involve the re-encoding and publication of existing media into various publication environments, and the creation of portable and fixed capture stations that are integrated into the Podcast Producer environment. The project is for one year in the first instance.

We are looking for an IT professional to join the Applications Development team in ISD who develop and support e-learning and multimedia web-based applications. A key aspect of the role will be building work flows for Podcast Producer and Episode. The successful candidate will be able to communicate fluently and present technical information to both technical and non-technical audiences. This post could suit a new graduate with enthusiasm.

Salary will be on UCL salary scale 7 in the range of £31,620 to £38,250 per annum (inclusive of London Allowance).

Applications should be received no later than 5pm on close date.

Interviews are likely to be held on Tuesday, 9th December 2008.

To apply for the post, please download an application form and job description from ( http://www.ucl.ac.uk/is/vacancies. )

If you cannot obtain these from the web, you can email is-jobs@ucl.ac.uk quoting the relevant reference number (above), or write to Information Systems, University College London, Gower Street, London WC1E 6BT. Do NOT send a CV. For further queries, phone 020-7679-7357. No agencies.

Closing date for this post is 26 November 2008

[writing and publishing panel session]

Chaired by Kate Pullinger, speakers include Sara Lloyd, Michael Bhaskar and Chris Meade.


Chris Meade: "How new media writers do, could and will make their way in the world"

• How to earn money? No business model.
  
• Andy Campbell says: "The ratio of research/theory documents to actual quality work in the field is embarassing."
• consulting, teaching, writing
• "Presentation skills can be really useful" - Tim Wright
• need to be amplified individuals (i think this is from andrea saveri)
• there are all kinds of webby businesses that new media writers could get into - blogging, args, projects, e-learning
  
• think of project i mentioned this morning by the hon brothers, 21 steps geo taagging project and others. dan hon says "there's still a stigma attached to writing for the online world"
• how to collaborate - showcases, clusters, events, making the case together, spindlers are doing it for themselves
• Christine Wilks has uplifting quote: "you may find your source/s of income are around the edges of your main area of creative interest. It's an experimental field, so be flexible and inventive, and be prepared to learn, learn, learn - never stop learning."

Sara Lloyd

• talks about the manifesto she wrote on publishing in the 21st century
• publishers won't be needed in the future unless they get their act together
• did this to stir lethargic publishers, start a debate
• lesson in new media publishing, the journal that officially published the manifesto, allowed sara to publish it independently on her site
• means there's a value to sharing content

Michael on how Pan MacMillan's the digitalist blog interacts with the world

• the digitalist blog began as an internal newsletter
• place to try ideas
• converse with readers
• access knowledge of the readers by following links, this is engaging in conversation and enabling a level of transparency
• "we're not just giving the pan macmillan line on things....using it to sell more books...actually we're trying to make an argument...not a standard bs corporate blog"

[reader 2.0]

Here is some info from my presentation on how I see readers who engage with born digital works.

Links to the web works I mentioned in my presentation:

http://twitter.com/manyvoices
http://www.flickr.com/photos/lynetter/2099009488/in/set-72057594139269787/
http://www.viddler.com/explore/hughgarry/videos/12/97.564/
http://emersoninbeijing.com
http://www.wetellstories.co.uk
http://thewhalehunt.org
http://transition.turbulence.org/Works/dynamo/index.html

Screen shots and the presentation to follow.

[creative writing & new media masters campus week seminars]

Following yesterday's slog, the students get a bit of a break today when they can sit back and listen to a few presentations including one by me on reading multimodal narratives, a panel on african digital literature and Peter Howard on digital poetry.

From the programme:

10.00-11.00 Meet your Reader Dr Jess Laccetti presents a reader�s eye view of new media writing.

11.00-11.30 Break

11.30-12.30 African Writing and New Media
Chair: Professor Sue Thomas
IOCT PhD student and novelist Anietie Isong introduces his research into African Writers and the Internet, and Nur Yaryare of the Somali Afro European Media Project presents his plan for a new media African heritage project in Leicester.

12.30-13.30 Lunch break

13.30-15.00 Writing and Publishing New Media
Chair: Kate Pullinger
Sara Lloyd and Michael Bhaskar, digital editors at Pan Macmillan, discuss Sara�s Book Publisher�s Manifesto for the 21st century, and Chris Meade, former CWNM student and Director of if:book London, presents Digital Livings, a report commissioned by CWNM to assess the potential of new media as a career path for writers.
Preparatory Reading for this session:
Book Publisher’s Manifesto for the 21st century by Sara Lloyd
Digital Livings by Chris Meade

15.00-15.30 Break

15.30-16.30 E-Poetry
This year CWNM offers an E-Poetry workshop for the first time. Tutor Peter Howard presents an introduction to E-Poetry including a selection of his own work.

Read more at the ioct blog.

[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.

[ TIR-W Volume 9 no. 2 Instruments and Playable Text ]

From the guest editor Stuart Moulthrop:

"Our work is animated by the desire to evoke from simple rules a plausibly infinite set of expressions. We come at this problem from various perspectives, techniques, and points of the aesthetic compass, and we arrive at happily different results, but a certain resemblance remains.

For Judy Malloy, who was a master composer when I was still learning canon and fugue, the key to invention lies in the artful crossing of pattern and chance, of musical and cybernetic form, in her "Concerto for Narrative Data."

John Cayley, who would be our Che or Tristan Tzara if this were an actual movement, gives us a newly re-engineered version of "riverIsland," an exploration of poetry-as-simulation that continues to define the possibilities of its form.

Next come some younger though no less accomplished talents, beginning with Shawn Rider, a writer, digital designer, and meta-gamer who is represented here with two pieces, "PiTp," a work laid open deliberately to digital intervention, and "So Random," a story that tells itself each time, specially, just for you.

Elizabeth Knipe, another relatively new player, offers "activeReader," an interactive media piece that brings its own interpretation of reader engagement and emergent, open form.

Nick Montfort, equally at ease with aesthetic programming and the long-form palindrome, offers what we might call a minimum instrument, "The Purpling," a maze of recirculating expression built from humble Web pages.

Last in train is my own "Under Language," a sort of talkative poem with consequences, far less credible in its claim to infinity than most of its companions, but still a kind of game, for those who will play."

Read the new issue here.

[nature and textile art]

A little while ago I participated in a round-table discussion at the ICA where 2 of the 3 artists were textile artists...or at least they created art with textiles. I'm thinking here specifically of Rachel Beth Egenhoefer and Nicola Naismith. Both artists create some really interesting objects and installations with wool etc... That must be why I'm going to be checking out the THE HYPERBOLIC CROCHET CORAL REEF at the Hayward Gallery in London curated by Margaret and Christine Wertheim from the Institute for Figuring.

"During Summer 2008 - in this International Year of the Reef - the Crochet Coral Reef will be showing in London at the Hayward Gallery. The exhibition will include an expanded version of the Bleached Reef, a new configuration of the Ladies Silurian Reef, the beautifully archaic Branched Anemone Garden, and the ever-growing Toxic Reef. On show for the first time will be the wondrously surreal Chicago Cambrian Reef (curated by IFF contributor Aviva Alter), plus a new formation of the Beaded Reef by master beaders Rebecca Peapples and Sue Von Ohlsen. The exhibition will also debut several new plastic installations: The Exploding Plastic Inevitable Reef (with hot-pink sand by Kathleen Greco), and the Bottle Tree Grove (featuring works by Christine
Wertheim, Evelyn Hardin and Nadia Severns). Hanging elements in the show will include the all-plastic-bag Rubbish Vortex by Australian contributor Helle Jorgensen, a flotilla of jellyfish by Irish crafter Inga Hamilton, and Dr Axt's psychedelic coral-cloud "Reefer Madness."

In addition to the IFF reefs, the exhibition will also debut the amazing new UK Reef, currently being constructed by crafters across the UK (with contributions from Ireland, and even Australia - hey its a former colony)."

On the 13th of June there's going to be an all-day symposium with the crochet reef creators Margaret and Christine Wertheim; mathematician Dr Daina Taimina, inventor of hyperbolic crochet; radical UK crafters, environmentalists, and coral reef biologists. How neat is that?

Now I just need to learn how to knit or crochet...right Edith?!

Thanks to Sue for the head's up.

[recherche en littératies multiples - multiple literacies]

I recently received an invitation from Diana Masny at the University of Ottawa/Littératies Multiples to attend this amazing conference on multiple literacies. Colin Lankshear will be presenting his research on digital literacy (woo hoo!) from a sociocultural perspective. Check out the blog, Everyday Literacies that Colin writes with Michele Knobel.

[learning on screen - 2.1]

Rachel Isba, University of Manchester Medical School, "Fact and Fiction: The Use of Television Drama in Medical Education"


The gist: use House (the tv show) to help teach med. students about being a *good* doctor
(yay! she gave us an overview of her presentation)

• What is medical education
• drama as a teaching tool
• house study
• summary and questions

med. education - specifically the undergrad. degree, it's mainly a 1st degree and completed over 5 years, graduation and then students can start as a junior doctor


[bit of a break for tech problems, loss of sound... again I have to guffaw as in a room full of people who use *digital* tools for film/video/sound and teaching...no one seems to find the volume switch]

why use visual media to teach med students - varying exposure to rare or unusual cases, development of "alternative" formats, learning should be fun (I'm thinking of the international virtual medical school)

retention levels - proven that students retain only 5% from lecturing and 10% from reading but discussion group are 50% and practise by doing is 75% retention. In the middle is audio visual and demonstration at 20% and 30% respectively. Enter medical dramas.

*It's been shown that adults remember more if in a heightened state of emotion (interesting).*




Research Questions:
Can students learn from an episode of House and
How much do students retain?

Rachel says she believes House to be the most *factually* correct medical drama.

Benefits
can be done in students' own time
perceived as fun
exposure to unusual or rare cases

Risks
poor role models
acceptability (medicine shouldn't be fun when you're learning it)
misinformation (you can't actually shock a flatline, it won't work)




Drama is a valuable educational tool but more research needs to be done.

Question: Are the graphics useful?
Answer: in House they're not far off and sometimes the close-ups of cells are quite helpful and accurate

Question: Do you use House on it's own or do you embed it into your lessons?
Answer: both ways are possible

---

Dr. Chris Willmott, University of Leicester, "Sharing the Vision: Exploiting Web 2.0 technologies in promoting the use of multimedia in bioethics education"
http://www.blogger.com/img/gl.link.gif
Central thesis - web 2.0 technologies are useful for sharing and using information

Stem Cell Research: educational south park video (Kenny Dies)

Advantages of using blog service:
don't need to know any HTML (but gosh it's soooo much better if you do!)
range of off the self style sheets
built-in facilities to search (by tags, categories and reader-selected keywords)
built in site stats and tracking (but this is easy to add using google analytics or sitemeter etc...)
high visibility in google searchers
it's free

check out the bioethics bytes blog (with a delicious feed!)



conscious decision to have all different kinds of posts with video, documentary etc...and posts which engage with "academic literature" (like this post here on transgenics)


but how to get useful online videos?
bbc iplayer - short life span
streamed news footage - in perpetuity but platform dependent
Newsfilm Online (live from May 2008?)
youtube, google video - provenance of material, is it ok to recommend it if you didn't post it (given that "ethics" is in the blog title), is it ok to embed it if you didn't post it (yes if the source code is provided)
bespoke videos - student work

conclusions: TRILT is an excellent database and web 2.0 technologies are idea for teaching bioethics

---

"User Generated content - Triple L Project," Dr. Jan T. Goldschmeding

TRIPLE L - about live events, learning objects and learning environments

content - captured lectures


(arg battery dying and the are no plugs anywhere...)