Twitter for reflective activities

Twitter presentation for the University of Staffordshire online Twitter workshop:

Twitter For Reflection Jan 2020

View more presentations from Tony McNeill.

Digital literacy definition

'Digital literacies' are the constantly changing practices through which people make traceable meanings using digital technologies. (Gillen & Barton 2009 :1)

...there is no deterministic relationship between technological innovations and people's practices and hence how digital literacies unfold. Many mistakes - at the design, commercial and indeed theoretical levels - are made through assuming that there is a straightforward relationship between what a new technology can do and how – or even whether – it will then be used. (Gillen & Barton 2009 :1)

References

Gillen, J. & Barton, D. (2009). Digital Literacies. A discussion document for TLRP-TEL (Teaching and Learning Research Programme - Technology Enhanced Learning) workshop on digital literacies. Lancaster University 12-13 March 2009. Retrieved 29 December 2009, from http://www.tlrp.org/tel/files/2009/02/digital-literacies-gillen-barton-2009.pdf

Making sense of images

JD on Flickr

JD asks us to read 'Display, Identity and the Everyday' and consider the following questions:

1. what aspects of this work make this an autoethnography.
2. What are the advantages and disadvantages of this approach?
3. How else could Flickr have been researched and what other methods would have been useful?
4. This work was not specifically about literacy. How could a piece of research on Flickr look specifically at literacy?

Here are some quick answers:

1. Well, the author claims it's auto-ethnographic:

Drawing on Markham’s work (1998, 2004), I have thought of my work as partly ‘‘auto-ethnographic’’ (2007: 552)

It's auto-ethnographic insofar as the author positions herself as a participant in the culture and practices under investigation. The author claims it's 'insider research':

This paper is informed by my own experiences with Flickr, my observations of others in that space. (2007: 551).

There’s a history and a density of engagement:

I have been active on the site since it was launched in 2004. I am ‘‘embedded’’ in the culture of the site; I have uploaded several thousand images to Flickr; I belong to more than 100 groups and have around 150 ‘‘contacts’’ whom I only know from that space. (2007: 551)

2. Advantages? Well, the author claims that:

Insider knowledge is required in order to move beyond a fascination with the exotic, or the alienation sometimes experienced by ‘‘outsiders’’ to digital cultures. That is, the practices need to be researched by those who see beyond the charisma or alienating potential of technologies.(2007: 552)

So, auto-ethnographic approaches may avoid particular forms of misrepresentations that are produced by outsiders (Otherisation, the lure of the exotic etc.). Being deeply embedded in a micro-community of Flickr users (they're not a monolithic single community of amateur photographers), means a richness (or "thickness") of description.

Disadvantages? I'd better be careful what I write here as JD may get cross. I think JD's interest in the aestheticization of the everyday and the ordinary (street art, abandoned objects) leads her to neglect ways in which Flickr is used to display images of the exceptional or special too (weddings, birthdays, holidays etc.). So, being so much a part of one small community of users gives a great sense of detail but perhaps not the bigger picture.

For example, here's an image of popular Flickr tags from today:


What can we learn about the kinds of images uploaded to the site? Place names are popular suggesting that Flickr is used to upload holiday pictures. 'Wedding', 'party' and 'family' are prominent tags too suggesting that the staples of personal photography (weddings, birthday parties, family reunions) feature prominently.

3. How else could Flickr have been researched and what other methods would have been useful? I don't know.Could quantitative methods be used (e.g. frequency of use of particular tags as above)? However, I like JD's quasi-case study approach (looking at particular users, particular groups). Perhaps a case study analysis of a particular tag?

4. How could a piece of research on Flickr look specifically at literacy? Flickr is extraordinarily textual: titles, descriptions, tags, notes, comments, sets etc.. Literacy - in the 'lettered representation' (Kress) sense, is very much a feature of the site.


References

Davies, J. (2007). Display, Identity and the Everyday: Self-presentation through online image sharing. Discourse: Studies in the Cultural Politics of Education, 28(4): 549 - 564

Kress-fallen or too soon to inter textuality

A few years ago, Gunther Kress argued that the textual was being eclipsed by the visual as we move from printed pages to digital content viewed on screens (the ‘new Media Age’):

Two distinct yet related factors deserve to be particularly highlighted. These are, on the one hand, the broad move from the now centuries-long dominance of writing to the new dominance of the image and, on the other hand, the move from the dominance of the medium of the book to the dominance of the medium of the screen. [...] language-as-writing will increasingly be displaced by image in many domains of public communication [emphasis mine]. (Kress 2003: 1)

I think a problem with Literacy in the New Media Age is that, published in 2003 and therefore pre-dating the extraordinary developments in Web 2.0 and social media, it hasn’t the chance to absorb the array of new textual practices (tweets, status updates, tags etc.) associated with or enabled by those technologies. Kress views writing, as what he calls “lettered representation”, as on the way out for all bar political and cultural elites. However, from the vantage point of late 2009, text looks in rude good health (how many txt msgs, tweets, status updates per day from ordinary folks?).

It’s way too soon to inter textuality.

Prezi, PowerPoint, multimodality and the 'logic of the image'

I can't think of a piece of software with such consistently bad press as PowerPoint (especially in higher education). Here are some examples:

PowerPoint, the favoured tool of presentation for the unimaginative. All right, perhaps that is unfair, but I am suffering the after-effects of a surfeit of lifeless, list-full PowerPoint presentations that frequently served as a barrier to meaningful engagement between tutor, student and learning [...] It all became so routine, so anodyne, so dull. (Ward 2003 n.p.)

… the PowerPoint style routinely disrupts, dominates, and trivializes content. (Tufte 2003: 7)

… foreshortening of evidence and thought, low spatial resolution, an intensely hierarchical single-path structure as the model for organising every type of content, breaking up narratives and data into slides and minimal fragments, rapid temporal sequencing of thin information rather than focused spatial analysis, conspicuous chartjunk and PP Phluff, branding of slides with logotypes, a preoccupation with format not content, incompetent designs for data graphics and tables, and a smirky commercialism that turns information into a sales pitch and presenters into marketeers. (Tufte 2006: 4)

Such discourse reeks of technological determinism: lectures are tedious because of a piece of software; human agency is denied. PowerPoint in constructed as a malevolent presence reducing its users to helpless zombies, banging out bullet point after bullet point, slide after slide.

Personally, my take on PowerPoint is closer to Ian Kinchin:

… what PowerPoint is actually doing is to make explicit the taken-for-granted assumptions and implicit epistemological leanings of lecturers who are using it. The stereotypic teacher-centred, noninteractive mode of lecturing … is simply clarified and amplified by the use of PowerPoint. (Kinchin 2006 : 647)

Ok, perhaps this reeks a little of crude instrumentalism (it ain’t the tool but how you use it) but it has the merit of acknowledging agency and the often unacknowledged beliefs and habits we bring with us in our encounters with technology. We shape the technology as much as it shapes us.

And what of Prezi? Is it credible alternative to PowerPoint and the tyranny of linearity and sequentiality (one damn bullet point, one damn slide after another) that PowerPoint embodies?

The jury’s out but my initial thoughts are that it repackages linearity and sequentiality, dressing it up as something different through the admittedly neat visual trope of a canvas whose sections one clicks on to zoom into a detailed view. But users can – and do – create ‘paths’ or lines that connect one piece of content – some text or an image – with another piece of content placed on the canvas. Is this so very different to a PowerPoint slide? Could we see the text or media we place on the Prezi canvas as akin to the text or media we add to each individual PowerPoint slide?

A more positive take on Prezi is that allows us to think through the possibilities creating texts informed by what Gunther Kress calls the 'logic of the image'. Here is Kress on the 'logic of the text' and the 'logic of the image':

The two modes of writing and of image are each governed by distinct logics, and have distinctly different affordances. The organisation of writing – still leaning on the logics of speech is governed by the logic of time, and by the logic of sequence of its elements in time, in temporally governed arrangements. The organisation of the image, by contrast, is governed by the logic of space, and by the logic of simultaneity of its visual/depicted elements in spatially organised arrangements. (Kress 2003: 1-2)

With Prezi, one could arrange a space with text and other media types but with no clear 'entry point' and no single, linear 'reading path'. Even if the Prezi screen's content is mainly textual, there are multiple ‘entry points’ and multiple user-defined reading paths. In this more positive interpretation of Prezi, it's a presentation tool about space; PowerPoint is a presentation tool about time.

Prezi might be a cool tool that helps us think about what a presentation is or might be. It might make us more mindful of the possibilities of a more media-rich presentation. But it also might just be a tool that bored PowerPoint users – and hey, aren’t we all bored of it? – use for novelty value and because of the attraction of its much (much) slicker interface.

I think a lot of ed techies – me included – like to deride PowerPoint as part of our professional identity performance as technology connoisseurs. We show our mastery of the chronically mutating technoscape by our embrace of the New (Twitter, Google Wave etc.) and our displays of bored indifference and condescension to mainstream technologies (pretty much anything Microsoft Office). I'm bracing myself for the 2009-10 conference season in which Prezi is going to be the inevitable default software of the technorati in their presentations.

PowerPoint is soooooo last century darlink; Prezi where it’s at today.

But I’m just not so sure …


References

Kinchin, I. (2006). Developing PowerPoint Handouts to support meaningful learning. British Journal of Educational Technology, 37(4): 647-650

Tufte, E. (2003). ‘PowerPoint Is Evil’. Wired. Issue 11.09. Accessed 12 March 2007, from http://www.wired.com/wired/archive/11.09/ppt2.html

Tufte, E. (2006 2nd ed.). The Cognitive Style of PowerPoint: Pitching Out Corrupts Within. Cheshire Connecticut: Graphics Press LLC.

Ward, T. (2003, May 20). I watched in dumb horror. The Guardian. Retrieved March 12, 2007, from http://education.guardian.co.uk/higher/comment/story/0,9828,959242,00.html

Twitter and May '68

Not really sure why - possibly hot weather making me a bit lethargic and unfocussed - but I've started to mess around with some old May '68 posters.



I guess I'm remixing them for a digital era of cameraphones, Flips and social media. Iran and Twitter is still in the news (just) but I guess I'm still thinking about the G20 demonstrations in London. The violence of the policing was remarkable as was the initial mainstream media reporting that uncritically adopted the line fed them by the Metropolitan Police.




It took media outlets like The Guardian who picked up on user-generated content - especially the assault on Ian Tomlinson - to call into question official accounts.

The revolution will be twitterized (and forgotten)

This is the headline of an opinion piece in today's Le Monde by Corine Lesnes (La révolution sera twitterisée... et oubliée). It's more of a (sceptical) introduction to a technology that's making the headlines all over the world but which has so far had little impact in France. Not sure why - I've always seen the French as early adopters of this sort of thing (think Minitel in the 1980s).



Here's a variant (in English) from over a week ago (The Revolution Will Be Twittered)

Anyway, the reworking of Gil Scott-Heron's 'The Revolution will not be televised' ("... the Revolution, brother, will be live") raises an interesting question about the role of a new technology in representing political action and social change.

There are a couple of ways to write about Twitter and the Iranian crisis of legitimacy: 1) a study of the use of Iranian twitterers and, 2) western media reaction to the use of this emerging technology.

BTW, Gil Scott-Heron should really have copyrighted the title 'The Revolution will not be (add technology)ized'.

Draft Twitter paper

More than just passing notes in class? The Twitter-enabled backchannel

Publish at Scribd or explore others: Internet & Technolog Research twitter social networking

Memes, de Certeau and la perruque

I think that memes are a manifestation of popular culture as well as about popular culture which they remake and remix.

I love Flickr's Song Chart meme for example.

Memers are having a bit of fun with the pop culture around them as well as spoofing crummy business pitch PowerPoint presentations and their cheesy graphic representations of data.

Here's Meatloaf's 'I would do anything for love (but I won't do that)' (really cheesy song) as a very simple example:

Things I would do for love

I wonder of the memers are working at home or at work? I ask as this sort of meme makes me think of de Certeau's concept of 'la perruque' (the wig). 'La perruque' is the worker's own production performed at the workplace under the disguise of legitimate work for the boss. Nothing is stolen other than time. Here's de Certeau:

It differs from absenteeism in that the worker is officially on the job. 'La perruque' may be as simple a matter as a secretary's writing a love letter on 'company time' or as complex as a cabinetmaker's 'borrowing' a lathe to make a piece of furniture for his living room." (1984: 25)

In this tactic, employees divert time away from producing profit for his/her employer and instead uses it for his/her own enjoyment, for activities that are "free, creative, and precisely not directed toward profit" (de Certeau 1984: 25).

I wonder if it would be worth contacting memers - Flickr-based or not - to find out if this hunch can be substantiated?



References

De Certeau, M. (1984). The Practice of Everyday Life. Berkeley: University of California Press.