#Eminent2016: Why Bob? Why Now?

My goal is to try and stick to some sort of chronological ordering of the aging of Dylan in the images used in the creation of this project. Hence, this young shot of Dylan in his Greenwich Village folk days here at the outset of the project, moving toward his more current iterations as the study progresses.

Image courtesy of Rolling Stone.

After almost ten years at the helm of the TALONS annual Eminent Person Study, I decided to conduct my own study alongside this year’s classes. These posts will be collected here. 

Why Bob?

They say everything can be replaced

That every distance is not near

So I remember every face

Of every man that brought me here. 1

For a brief moment when I first thought that I would take on the Eminent Person Study, I initially declared my intentions to study Bruce Springsteen. In recent years my musical tastes and affection has leaned heavily toward the Boss, and I would relish the opportunity to delve deeper into his life and rock catalogue. But with Dylan’s recent Nobel Prize win I’ve been hearing a lot more Bob, reading various responses to his inclusion as the first musician to be awarded with the literary honour, and been coming reacquainted with my first true love (and one of Bruce’s, to boot).

Before Bruce, and Josh, and even Gabriel Garcia Marquez, there was always only Bob.

Why Now?

Image courtesy of Consequence of Sound

An artist has to be careful never to really arrive at a place where he thinks he’s at somewhere. You always have to realize that you’re constantly in a state of becoming, and as long as you’re in that realm, you’ll sort of be all right. 2

Back when I was in an older version of our district’s gifted program – the forerunner to TALONS that operated at Dr. Charles Best Junior High back as far as the late-nineteen seventies – our teachers would occasionally participate in the major projects with us: studying eminent people, or engaging in-depth studies to sing or sew, and creating their own inquiries, findings and meaning alongside us. This always seemed an exceptional example to me of what life might be as an adult: that we might go on, continuing to strive, and learn, and change markedly into our middle and advanced ages. But we haven’t much made or had the time to engage in these sorts of pursuits as TALONS teachers in recent years.

It’s true, two of us have completed advanced degrees, a PhD and an MEd between us, and we regularly share our personal and professional struggles and triumphs in blog posts and classroom conversations about the nature of lifelong learning and aspiration. But engage in a project directly alongside our students, we have not.

Additionally, TALONS seems to stand somewhat perched at a crossroads in its continued evolution. Having doubled a few years into our run as a two-teacher, twenty eight student cohort, there are now four teachers and nearly sixty students these days, two of them new to the program this fall; we’ve added courses in the senior grades, and are breaking new trails in Adventure Trips, and other aspects of our learning and organization all the time.

As well, I find myself nearly ten years into my career, with just shy of that time spent facilitating the TALONS learning across a variety of subjects. And with so much change arriving in the TALONS world, I feel compelled this year to strike out a little beyond my own comfort zone as an act of solidarity not only with my grade nine and ten students, but my new teaching partners. Our program is a place where adults as well as adolescents are challenged to grow and develop beyond what they may have previously thought  possible, and to be joining such a juggernaut of an ecosystem as ours must be an intimidating prospect.

Hopefully some of this process extends an invitation to them to join the ranks of public learning that makes our program unique, both for what it teaches the young people among us as well as those of us beyond the school.

But… why Bob?

It’s not a good idea and it’s bad luck to look for life’s guidance to popular entertainers. 3 

Around the time I was graduating from university, I had begun to play guitar with the idea that I might be able to expand the scope of my expressive capabilities into music. I would be earning my degree in Creative Writing (with a minor in French and an additional honours thesis on civil society and ideology around a Boy Scout summer camp that I had spent two summers interning for), and had written a roughshod novel during school, along with hundreds of other essays, newspaper columns, letters, and stories. But like Kurt Vonnegut wrote once, “virtually every writer I know would rather be a musician,” I had always been drawn to music, to the images and melodies that lit fires in undiscovered places in myself. And so I set about exploring my existing taste and experience in music through a borrowed acoustic guitar; when I moved home to Vancouver I bought my own and started unpacking the history of popular music from Elvis on forward.

I listened to the Beatles incessantly, and in chronological order. I watched the Anthology documentaries and began to untangle the thread of blues and rock that ran through Elvis, and Chuck Berry, and Johnny Cash. I began to see the tightly woven threads of the culture that connected Jack Kerouac and Alan Ginsberg to Jim Morrison, and back to Robert Johnson. I’d had some experience with each of these threads in isolation: I’d studied the Beats ravenously as an undergraduate; that hasty youthful novel written in my third year bore an inscription from one of Jim Morrison’s poems; and I could talk for hours about the complimentary and divergent aspects of the Beatles and the Rolling Stones’ early aesthetics.

Untitled

Then my dad bought the Martin Scorsese documentary on Dylan, No Direction Home, and everything became obsolete. Here was the Rosetta Stone to synthesize and decode the American spirit that unified the story I’d been untangling for years. Here was an artist who defied category or classification, who by the time you had decided what to call him had morphed into something else entirely, who seemed to know his own voice and gifts so well for never claiming to understand them so much as he would never cease to explore their potential. With Dylan there were no lines, no titles, no boundaries, and I wanted that for myself.

I wanted, as I still do, to find what my vision and voice can see and say: to expand beyond what I’ve previously thought possible, and to create new ways of being for others to follow, which is Why Bob, Why Now.

  1.  “I Shall Be Released”
  2. No Direction Home
  3. Songwriters on Songwriting

Singing Taylor Swift Songs

Introductions, Gender, and Amplification

Every year in #introguitar (an open online guitar class I teach at my school, and which you should totally enrol in as a non-credit participant) I ask my students and our open learners to introduce themselves and their intentions to the group in a brief video. And rather than rehash a template video of my own from ages ago, I appreciate the opportunity as a student of music to focus my learning about guitar from semester to semester in new video introductions.

In past years I’ve worked to learn skills and techniques around lead playing, band-leading, and performing, documenting my growth in subsequent videos and reflections throughout the year.

This year, I’m taking my work in guitar in a direction slightly away from the guitar itself, and toward the conversation about gender, inequality, and diversity in the wider culture of popular music; I’ve resolved to only play songs written by women.

A while back I read about journalist Anil Dash’s experiment to only ReTweet women for a year, an experience that made him more mindful of the voices he amplified on social media:

Based on my experiences, my recommendation to others is simple: Give it a try. If you’re inclined, try being mindful of whose voices you share, amplify, validate and promote to others. For me, it was giving a platform to women where I wasn’t able to mansplain the things they were already saying, but instead just sharing out their own thoughts in their own words. It may be by issue, or by identity, or by community, or some other consideration.

Troubadours and Teen Idols

Caption courtesy of RadioTexasLive.com

Along with inspiring the mournful western aesthetic of my university days, Ryan Adams wrote some of the first songs I learned on guitar (he also inspired the bad versions of Wonderwall I still play around campfires), and has been an artist that I’ve grown alongside for more than ten years as we’ve each experimented with bands, folk music, and life beyond our devil-may-care early twenties. His work of late has been especially sharp, I think, too; “Gimme Something Good,” and the rest of his self-titled album last year contain layers of guitar excellence and timeless hooks that are among his best.

Last year, word began to spread that Adams had set to recording a cover of Taylor Swift’s recent blockbuster, 1989; my worlds were colliding.

As a guitar teacher in a high school the last six years, I’ve been no stranger to the evolving songwriting career of Ms. Swift. Seldom in my tenure in #introguitar have I walked past an interesting turn of phrase, guitar riff, or chord progression to not be told upon inquiring, “That’s Taylor Swift.” Around campfires and in the park behind my parents house during the summer, the choruses of “Love Story,” and “You Belong with Me” have become generational anthems that are tattooed on suburban boys and girls alike.

There is doubtless something there.

Exhibit A in why I want to start calling #introguitar “Campfire Practice”

A video posted by Bryan Jackson (@bryanjack) on

Pronouns and Performing Gender

As long as I’ve enjoyed Taylor Swift’s tunes – and I have quite earnestly enjoyed them, making them a staple of class guitar playing and pieces to deconstruct as exemplars of composition – I’ve never truly played or performed any on my own. There have always been reasons for this, but I can’t say as though very many are very good.

Sometimes the key is too high, or the melody too…something. Sometimes the dance beat is too difficult to recreate on a single guitar. Sometimes they’re written too explicitly from a female or feminine perspective. None of which in itself is a big deal, but contributes to enough awkwardness that I don’t wind up learning the songs to a degree where I play them for other people.

Historically this has been true nearly across the board, with a few pop songs by female artists making ironic appearances alongside Notorious BIG covers once it’s late enough into the night or the jam. The list of songs written by women that are part of my repertoire is pretty weak, if not non-existant.

On a certain level, this is a matter of taste, sure. Why shouldn’t I play what I like to play? What’s easy to play? That feels like me? However, on another, I share the songs I play with a lot of people; I teach young people about the culture of musicianship, songwriting, and developing one’s own voice, both as an interpreter of other people’s songs, and a writer of originals. To present only my own perspective, or one which makes me comfortable, seems unfair to the myriad ways my students perceive and approach the world, and their music.

This is why I’ve decided to spend my time playing music for school this semester playing and performing songs written by women. I’m not play it ironically, insulating myself from whatever vulnerabilities arise in the performances with humour or distance.

And I’m going to leave the pronouns the same, because if it makes me uncomfortable to sing about Taylor’s “Stephen,” or about “his hands [being] in my hair,” I do enjoy the ability (one might say privilege) of challenging that discomfort so that it’s more acceptable for young men who know all the words to Taylor Swift, or Beyonce, or Lady Gaga’s songs to take the stage and belt it out.

Because these songs weren’t written as larks, or trivial, or silly: they were and are manifestations of tone,  character, and theme. They are expressions of an aesthetic in the tradition of songsmiths, where male voices have been disproportionately taken seriously as a matter of course by virtue of arising from male mouths.

Even Taylor Swift’s own songs became more highly regarded by critics once Mr. Adams had sung them. Ian Crouch at the New Yorker (which reviewed Adams’ record, but not Swift’s) wrote:

If anything, Adams’s version of “1989” is more earnest and, in its way, sincere and sentimental than the original.

There are a bunch of men’s songs I’ve shared and performed and taught the class in the past, and no doubt there will be in future semesters. But not because they’re any more sincere, authentic, or otherwise superior to any woman’s music.

And if that’s the case, I’d like to work to balance my catalogue of songs accordingly.

Adventures in Blended Learning

John A. Skype

As I mentioned in a brief thank you to Alec at our last class meeting, in many ways it feels as though I’ve been taking his course on The Blended Classroom for a few years now.

When I joined Twitter back in… can it really have been 2009? Alec was one of the first people I followed. Along with Will Richardson, Dean Shareski, Sylvia Martinez and a host of others who have spoken with us or been name-dropped throughout our time together this semester, Alec has helped form and inspire many of the ideas that have driven my blended practice in the years since, a journey that has been charted across the near-300 posts on this blog, as well as in other online spaces, physical artifacts, and dialogue with peers, colleagues and students.

Along with Dave Cormier I am interested in the blurring of the boundaries between formal and informal learning, and seek to integrate a more rhizomatic approach to institutional learning that makes use of the sprawling inquiries I have engaged in during my time as an open online educator. While it may be more chaotic, and difficult (if not impossible) to direct, this more organic approach has challenged me to make meaning of diverse experiences and connections in a manner which is far more in line with socio-cultural trends at the heart of the digital age and 21st century.

As a reflective practitioner, this has allowed me to plot a uniquely personal course of study that is relevant to my own interests and passions, classroom communities, and emerging perspective on my place in the world as an educator and member of the human project. But it has also offered the opportunity to engage in the type of emergent meaning-making that has become central to the philosophy of education underpinning my work as a graduate student. Taken together these experiences have influenced the type of learning opportunities I strive to create for my students, as well as the type of learning I hope they are able to engage in for themselves once they venture beyond the school.

This semester my own learning has met the gentle structure provided by Alec’s class and branched in what may be considered three overlapping directions: theory, practice and reflection.

Theory

I began my theoretical work in January with a look at the potential for Collaborative Inquiry to address teacher professional development interests, as well as put educators into the experiential role of learners as members of a community:

With increasing classroom needs, revolutionary changes in technology and information literacies, in an evolving culture dealing with widespread anxiety and mental health concerns, classroom teachers and extended school communities confront diverse language language needs and an increased awareness around gender and sexual identity, among other unique challenges. In British Columbia, public schools face the additional challenge of an ongoing and tempestuous negotiation between different stakeholders over curricular reform, teacher-contracts, and the role of education in society.

The convergence of these myriad adaptive challenges – “for which the necessary knowledge [does] not yet exist.” – seem an appropriate place to engage a process of collaborative inquiry which allows participants to “adopt new values and beliefs.”

In addition to the value that it might add to teacher-development and learning, this type of collaborative inquiry is in line with a conception of citizenship that is coming to ground my academic work around civic education. As the emergent view of knowledge described above may be seen to, the challenges presented by multiculturalism in pluralist democracies highlights the tension between creating and maintaining institutions that can bring about outcomes truly constructed out of their (ever-changing) constituent parts.

An ongoing theme in my work on this blog, the problematic view of emergence is described by Deborah Osberg and Gert Biesta:

“If we hold that meaning is emergent, and we insist on a strict interpretation of emergence (i.e. what emerges is more than the sum of its parts and therefore not predictable from the ‘ground’ it emerges from) then the idea that educators can (or should) control the meanings that emerge in the classroom becomes problematic. In other words the notion of emergent meaning is incompatible with the aims of education, traditionally conceived.”

Sigal Ben-Porath presents a potential resolution to this paradox in the form of Citizenship as Shared Fate, wherein “citizenship education ‘seeks forms of attachments, belonging and commitment that would enable children to become positive members of diverse communities of fate.'”

Such a citizenship, and thus citizenship education:

“aims to recognize differences in values, outlooks, language and preferences while developing institutional and conceptual concepts – particularly civic and political ones – in which different communities can develop ties and shared practices.”

Practice

In building on these theoretical underpinnings (among others), I sought during this semester to engage in my own professional learning, as well as facilitate my various classroom-activities, with an eye toward exploring the digital applications of these ideas in the service of both individual and community development.

Guitar

(One of) My own learning project(s) during the term took on the challenge of musical performance, both in my guitar classroom and the school community beyond, a process I documented and reflected upon in a series of posts both here and on the #IntroGuitar site:Murder at the Witch's Tavern

In addition to this somewhat formal performance (as well as those which will follow throughout the semester), I also took a stake in a fundraising evening of murder-mystery dinner-theatre for our drama department, writing and sharing a series of expository songs during the hastily produced play performed for local parents, colleagues and community guests.

In each of these examples, my aim was not only to develop and reflect on my own growth as a musician, but to engage in a process I regularly ask of my students so as to both cultivate empathy for the discomfort that often accompanies learning as well as share an example – successful or not – of stepping into Vigotsky’s Zone of Proximal Development for students and colleagues alike.

For my guitar students especially, whom I ask to document and reflect on their musical learning regularly, sharing my own journey as a guitar player is an integral part of cultivating an open course community within the structure of a for-credit classroom. Part of the ‘open’ ethos of the blended #introguitar environment creates the course site as a space for our students to cultivate and share their own narratives of learning among members of the class, but also those beyond.

But these individual and collective artifacts of learning also stretch beyond the classroom, leaving a lasting community of practice that is accessible – as the three iterations of the course that have used the course are – to future students of guitar, at Gleneagle and beyond.

TALONS Socials

The same might be said of the praxis of reflection and creation I have attempted to instigate in the TALONS Socials learning this semester, where members of the class have been asked to document various aspects of their learning: in blog posts, Tweets, pages of notes, and recorded class discussions and role plays.

With assignments separated into summative presentations and assignments, reflections and self-assessments, as well as documents of learning in progress (questions, notes on discussions, journal entries, marginalia in various readings, assigned and otherwise), the TALONS Social Studies semester orients itself toward students taking ownership over their own encounters with the course’s Ministry-mandated prescribed learning outcomes. Through a range of class activities and assignments, each is charged with the collection of various artifacts of learning that will be used in the creation of midterm, as well as final syntheses of learning, where these articles will serve as evidence that the curriculum has been encountered, critically interrogated, and integrated into their own emerging understanding.

Daily homework, if not otherwise specified, reflects the values of ongoing personal inquiry and is geared toward the TALONS being successful in what has become known as the Philosophy Pop Quiz:

  1. Did you read material for today’s class meeting carefully? (No – 0, Once – 1, Yes, more than once – 2)
  2. Did you come to class today with questions or with items you’re eager to discuss? (No – 0, Yes, one – 1, Yes, more than one – 2)
  3. Since we last met, did you talk at length to a classmate, or classmates about either the last class meeting or today’s meeting? (No – 0, Yes, one person – 1, Yes, more than one person – 2)
  4. Since our last meeting, did you read any unassigned material related to this course of study? (No – 0, Yes, one item – 1, Yes, more than one item – 2)
  5. Since our last meeting, how much time have you spent reflecting on this course of study and recent class meetings? (None to 29 minutes – 0, 30 minutes to one hour – 1, Over an hour – 2)

Working toward the highest possible class average score on the above quiz, the traits and habits required for daily success can become part of the cycle of personal learning without falling prey to being too prescriptive. The synthesis of a collective voice out of these various inquiries and encounters with the common course of study are able to become the task of the social curricula.

This has been particularly evident in the class’ recent study of Canadian Confederation, where an experiment in social media role-playing has built upon the debates and discussion various historical characters have been waging in the face to face classroom, realizing that multicultural difficulty:

“…to ‘teach’ toward these myriad truths is at once a curricular requirement and Quixotic pursuit, revealing the tensions of education for citizenship in a pluralist democracy, asking How do we create unity and cultivate diverse perspectives?

“In interpreting history, as well as our present moment, students ought be engaged in rehearsing this act, and with the dramatic role play the answer offered to the pedagogic problem lies at the heart of narrative.

“Of sensing an individual’s arc at the centre of a multitude of shared and individual lives.

“Of constructing ‘we’ out of many ‘I’s.

“Whether face to face or in the online sphere, this is the task of schooling in the multicultural society.”

Reflection

Perhaps apart from both the theory and practice summarized above, the learning engaged in on this blog regularly ventures into more personal reflections and syntheses of learning that go beyond the collection of classroom experiences or theoretical readings and attempt to articulate something of a larger polemic on the state of educational or cultural affairs.

In the past few months, these posts have charted a variety of themes encountered in my weekly wanderings, including some thoughts on the nature of Learning on (and of) the Web, My life as the Music Department Digital Archivist, and Teaching in the Patriarchy. On a more personal note, I looked back on more than a decade spent with the work of Ernest Hemingway.

Each of these musings serves to help synthesize and express an emerging interpretation of various themes in my teaching, learning and life, harkening back to an image I used in a post last December on Course Design and Narrative Discovery, where data is transformed to information, to knowledge, to wisdom.

By engaging in this open manner, and publishing this work and these thoughts alongside the TieGrad cohort which has inspired many of them in the past two years, each of these experiences – and their corresponding posts – represents at once the wisdom of today as well as the points of data that will be made into new meanings going forward.

In a way it’s been the lesson I’ve been learning from Alec for years, while at the same time a culmination and synthesis of everything I’ve been learning the whole time.

Just as learning should be.

Social Media/Studies

UntitledIn addition to more critical efforts to conduct inquiries into history as it intersects with our present landscape, the TALONS class has come to embrace dramatic efforts to enact and recreate history in their social(s) learning. Whether engaging in a mock trial of King Charles II, or making impassioned speeches as characters in the French Revolution, such theatrical turns have traditionally made for memorable classroom moments.

A few years ago, a group of TALONS grade tens approached me to see if they could ‘pitch’ a unit plan for our upcoming French Revolution study: in blog posts and classroom activities, members of the class would each adopt a character from the revolutionary period, and strive to realize and represent diverse perspectives on events in 18th century France.

In the years since, the unit has evolved to include Twitter, as well as a series of improvised discussions, debates and addresses – all in character.

Thus the class is able to imagine and take in the passionate decrees of a young Maximilien Robespierre:

In the future I believe that it is not enough for the monarchy to only lose a portion of its power. France should be a country run for its people by the people, a democracy! At this moment I do not have enough political power to share my views in such ways, but in time I shall express my desires. One day I assure you, I will find a way to improve the lives of the poor and to strike down those corrupt from power.

And see the story through to his betrayal of Georges Danton, who addresses his friend:

I curse you.

We once had, if not brotherhood, at least mutual understanding. We were creating a France that our children would be proud of. I know not when your idealism became madness but I must have failed to see the signs, because I was not prepared for all the murders, and all the terror that you instilled into this country.

Robespierre, you will follow me into dissolution. I will drag you down screaming, and we will fall together.

In addition to these perspectives developing on individual blogs in monologues and comment threads, classroom time is spent charting the development of significant revolutionary events against characters’ reactions which are presented in improvised debates or speeches. And the dialogue continues on Twitter, as each character adopts an avatar to not only promote and archive their blogged artifacts, engage in dialogue with their allies and nemeses, and exercise their own democratic rights in carrying out the final assessments in the unit:

Screen Shot 2015-03-23 at 9.38.18 PM

Screen Shot 2015-03-23 at 9.39.55 PMSensing that there might be a popular uprising against a tyrant teacher bent on sticking steadfast to an arbitrary deadline, I asked to see a show of support for the idea:

Screen Shot 2015-03-23 at 9.43.23 PMThe idea was taken up quickly.

By philosophers:

Screen Shot 2015-03-23 at 9.42.33 PMThe King of France:

Screen Shot 2015-03-23 at 9.44.41 PM

Feminist leaders:

Screen Shot 2015-03-23 at 9.45.54 PMAnd even the farmers:

Screen Shot 2015-03-23 at 9.47.26 PM

At the culmination of the unit, each of the TALONS delivered a final address that looked back on their contributions to the revolution, and how they might have done things differently with the benefit of hindsight. And while each member of the class was only tasked with creating one unique angle on the historical events being studied, the effect rendered by the series of addresses on the unit’s final day presented a nuanced and multidimensional look into the various subjectivities that (might have) helped shape the revolutionary period.

From each of their perspectives, what the French Revolution might be about would likely sprawl in a dozen different directions: a part of a historical march toward justice; political reform; a spark in the narrative of female activism; the story of scarce resources driving extreme behaviour. And to ‘teach’ toward these myriad truths is at once a curricular requirement and Quixotic pursuit, revealing the tensions of education for citizenship in a pluralist democracy, asking How do we create unity and cultivate diverse perspectives?

In interpreting history, as well as our present moment, students ought be engaged in rehearsing this act, and with the dramatic role play the answer offered to the pedagogic problem lies at the heart of narrative.

Of sensing an individual’s arc at the centre of a multitude of shared and individual lives.

Of constructing ‘we’ out of many ‘I’s.

Whether face to face or in the online sphere, this is the task of schooling in the multicultural society.

With Hemingway

Ambos Mundos

Italy, Spain, Cuba – half the world is filled with the places that he appropriated simply by mentioning them. In Cojimar, a little village near Havana where the solitary fisherman of ”The Old Man and the Sea” lived, there is a plaque commemorating his heroic exploits, with a gilded bust of Hemingway. In Finca de la Vigia, his Cuban refuge, where he lived until shortly before his death, the house remains intact amid the shady trees, with his diverse collection of books, his hunting trophies, his writing lectern, his enormous dead man’s shoes, the countless trinkets of life from all over the world that were his until his death, and that go on living without him, with the soul he gave them by the mere magic of his owning them.

Gabriel Garcia Marquez Meets Ernest Hemingway

Last week I was fortunate once again to travel to the island of Cuba and visit the Ambos Mundos hotel and bar that once housed Ernest Hemingway before he purchased and moved to his estate Finca de la Vigia. His first Cuban home, Hemingway began writing For Whom the Bell Tolls in room 511 at the hotel in the heart of Old Havana.

Havana Daytrip

When I graduated from university, my sister and I spent the following summer working at a Boy Scout camp in the Ozark foothills, and made a pact to read nothing but Hemingway for the balance of our time at the camp and en route back to Vancouver. He and I shared a birthday (July 21), and as a creative writing student I had learned from professors with deep affections for authors I hadn’t yet digested: among them Hemingway, William Faulkner and Gabriel Garcia Marquez. At the outset of my life beyond school and what promised to be an adventurous summer – my sister and I would leave the summer camp after six weeks in the woods to fly north and road trip across Canada – we seemed to have been presented a fitting venue to finally set teeth to Papa’s ouvre.

I had started For Whom the Bell Tolls before M. got off the plane with her copy to To Have and to Have Notand we marched forward from there:

I finished For Whom in a tent in Molena, Georgia, at a National Certification School for the Boy Scouts.

A Farewell to Arms, and Green Hills of Africa were read mostly near the scout camp pool in Damascus, Arkansas.

I read To Have and to Have Not in the tent that was my home that summer.

Islands in the Stream went down riding the train from Montreal to Toronto.

There were others, of course: The Sun Also Rises, Old Man and the SeaA handful of short stories: “The Killers,” “Hills like White Elephants,” “A Clean, Well-Lighted Place,” and others. And by the time we crossed the continental divide, Hemingway’s protagonists and prose had enveloped the colour and tenor of our adventure.

View from Ambos Mundos

At twenty two years old, and newly graduated with a degree in creative writing, our summer in the woods and the ensuing journey home represented the discovery of an all-too-enourmous canvas upon which to paint my sister’s and my lives. Saying goodbye to intense and short-lived friendships, taking on the struggles of life outdoors, travel, not to mention fears about what lie ahead in terms of what I would do with my college education, Hemingway’s plots and conflicts provided a matter-of-fact commitment to the rough, sad, beauty of life.

In Niagra Falls, on the first afternoon of our trip, we found just more than $117 in our shared savings account, and more than 3000 kilometers between us and home.

Outside of Thunder Bay we drove into the darkening night and creepy dirt-road northern towns looking for a place to pitch our tent.

And upon arriving home, we learned that our mother had been diagnosed with cancer (which she would eventually beat).

Each of these difficulties was embraced with Hemingway’s words ringing in our ears: “The world breaks everyone, and afterwards many are strong at the broken places.” And as we crested the rocky mountains and entered again the lush and coastal climes of British Columbia, we had come to see ourselves as characters as large in life as the continent we had just crossed. There was little need to express this grandeur in hyperbole or poetry, however; the stark terms of Hemingway’s words created a notion of quiet heorism that was somehow the least any of us could do with our minute lives.

Papa's CornerYears before I would begin teaching a high school course in philosophy, Ernest offered a view on the good life I could embrace: “So far, about morals, I know only that what is moral is what you feel good after and what is immoral is what you feel bad after.”

In the years since I’ve been guided by other artists, and other authors: Bob Dylan, Garcia Marquez. Springsteen. But in the spirit of Dylan, “I remember every face, of every man that’s brought me here,” and to stand in Hemingway’s lobby, and turn the knob on the door that he slept behind, is to touch something intangible that has profoundly shaped my life as an adult.

Last fall, I read The Dangerous Summera disappointing visit with an aging author in which his lesser qualities run too close to the surface: his infatuation with the brutal “beauty” of bullfighting, chief among them, perfectly representative of the shortcomings in his work around his own image, as well as masculinity and misogyny. But even while acknowledging these shortcomings, the ripples that he made with his mind in the world demand to be reckoned with, if only for me personally as someone who his work  has profoundly touched and influenced.

Sipping an icy drink in the lobby bar surrounded by pictures of a formal idol, a depressed man (along with fellow 21st’er Robin Williams) with whom I share a birthday, what he had created in his mind’s eye and invoked in my own imagination became real once more.

I was able to breathe its air, and touch its humid surfaces. To know that it and the life I had conceived in my mind were real.

Empire Questions for Discussion

Slide1

 

Following today’s discussion of the ways in which we might witness a formal and informal empire in our modern world, I am interested to hear your thoughts on (any one of) the following questions:

  • What is an aspect of the Formal or Informal Empire that interests you? How does it “determine key outcomes in the dominated society”? Why does this attract your attention?
  • Who typically derives economic benefits, access to important resources, control of strategic military territory and other forms of power? In other words, what might we put in the _____ in the above diagram?
  • And finally, is it possible to benefit from the oppression of others and not be responsible for that oppression? If so, how?

Please respond to one of these questions in the comments below. If you are arriving at the post after many of initial posts and comments, feel free to reply, extend, challenge or continue dialogue with your peers by replying to their comment.

On Playing Guitar

Brian and Bryan Jam

Photo courtesy of Alan Levine

As a sort of follow-up to my last post, I wanted to share some responses I had for a few questions one of the TALONS asked me as part of his own In-Depth Study Research.

1. How long have you been playing the guitar?

About thirteen years… I think.

2.At what age did you first start playing?

I first borrowed a friend’s guitar in the spring of 2003, I guess. So I would have been 22, or thereabouts.

3. Do you believe learning to play the guitar has benefited your life socially / physically / mentally?

Absolutely socially and mentally.

There are probably physical benefits – better hand-eye coordination or dexterity with my fingers and such – though I don’t know if these are beneficial other than in playing guitar.

As for socially, I’ve made a lot of great friends and shared a lot of interesting experiences with people I wouldn’t have found myself connected to if not for having been what can be called in some ways a musician. Beyond personalities, or senses of humour, or our unique interests, upbringings, or even the music we like, I’ve always found people who play music – whatever kind of music it is – easy to talk to, hang out with, and – naturally – play music with. I’ve played music with strangers on the street in Cuba, Croatia, and France, talked for hours about favourite guitars with friends of my parents, and spent weekends improvising with people I’d just met without so much as a word having to be spoken.

Even when I was just starting out, I’ve found that once you have enough skill to participate in communal music-making (even if it’s just plucking the same note or strumming the same chord along with a few friends), you have been allowed into some other plane of conversation with people – a conversation without words, but also a conversation without distinct points of view. In a verbal conversation, one person talks, then another, then the other again, and in doing so their unique perspectives are shared; but in music, the two ‘perspectives’ are essential components of the other, if that makes sense? My guitar solo cannot exist without the underlying chords, whose pacing and volume are reacting moment-by-moment to the energy, tones and volume of the solo. And that’s just with two people: as drums, or bass, or vocals or other instruments are added to the fray, this sense of a collective voice only becomes richer.

I think this sense of communication I’m trying to describe benefits both the social and the mental, though, because these experiences not only forge deep connections with the folks I’ve shared them with, but also have opened my mind to what it means to listen, and interact, and communicate with other people. Once you’ve experienced these sorts of things – an epic jam session, or a memorable performance, or just creating something out of nothing, even by yourself with your guitar – it is impossible to go back to having ‘un-experienced’ them; each leaves you fundamentally changed, however minimally, and changes the course you might take going into the future. I’ve left a lot of different sessions of playing with people thinking, “Why don’t I do *that* more?” And I always rededicate myself to finding more places and people to play with – it never stops.

4. What are some of the skills developed from playing guitar?

Listening is a big one, whether it’s to the people you’re playing with, or even songs you’re hearing for the first time or the millionth. It’s fun when you start to realize what’s going on ‘inside’ some of your favourite songs, and why it is you like them – a chord change, perhaps, or the way the lyrics fall across the rhythm of the song; and similarly, sometimes songs you thought were catchy fall apart when you learn how to play them, which can be disappointing, but leads you to other, more interesting music hopefully.

Beyond listening, I am also able to hear better, which is actually different than listening. I can hear subtle differences between notes and chords, can tell when things are out of tune – and even which string it is, generally – which I couldn’t do back when I began. I’m also able to distinguish what singers are saying now that I know how to breathe and sing and strum as the same time, and how the different instruments are interacting in ensembles.

5. How do these skills/benefits benefit/apply to your everyday life?

I think quite a few of these skills transfer over to everyday life, both in tangible, specific ways: I know a lot about different songs, how they are put together, and the people that made them, for instance, which finds its way into a lot of my work at school (and not just in guitar class); and my relationship with language has changed I think, as well, and I unconsciously try to make things more musical, direct, or poetic when I write or speak, perhaps.

But I think the benefit of playing music that most broadly transfers over into ‘real’ life is the sensibility that goes along with many different aspects of music. In looking over my answer to your third question, I like to think that this constructive sense of conversation or working with others influences every aspect of my life and relation to other people: everything one does with other people is an opportunity to build something – a conversation, a relationship, a professional project, or piece of art. And so because I know that these types of interactions are possible, I find myself approaching almost everything I do with the same sense of experimentation and expression.

6. Any other habits/effects that came from guitar?

The guitar is a dangerous tool for relaxation and procrastination, so not all of the habits and effects it yields are necessarily positive! I’m sure there are plenty of things I could or should have done some days than play guitar for half an hour (or three hours), and that’s not always the best thing to do. But I am glad every day that I stuck out those first few months (or years, if you ask my roommates or family members who heard me back then), until guitar became the thing I wanted to do when I got home from school or work. Once it became The Thing I wanted to do to unwind, or have fun, or challenge myself, I don’t think I could have ever gone back to being someone who doesn’t play guitar.

Hopefully you find the same soon enough.

An Open Learning Project

Letter Song by @bryanjack

Photo courtesy of Giulia Forsythe

Each spring the TALONS undertake an In-Depth Study, a five month “passion project” wherein they are asked to document their growth and learning toward personalized goals in learning a skill or craft. There are two universal goals for the In-Depth Study:

1. Know something about everything and everything about something.

In school you are usually taught about many subjects.  In this project, the goal is to learn a great deal about one field of activity, usually not available in a school setting.

2. Learn what others tell you is important and learn what you decide is important.

In school you are told what to learn and how to learn it.  In this project, you will decide in what field and with what strategies, you will become an “expert.”

Along with the Fall Retreat, spring Adventure Trip and the fall’s Eminent Person project, the In-Depth Study constitutes a significant pillar in the TALONS Program that, because it is predominantly designed and facilitated by my teaching partner, hasn’t been much documented here. Though in past years I have undertaken a couple of different learning projects that have seen their way onto my blog:

Learning Pearl Jam’s “Daughter
Part I, Part II, Part III, Part IV
Banjournal

This year, as part of Alec Couros‘ appearance in my University of Victoria #tiegrad cohort, I have the opportunity to combine a few different aspects of my course work with my classroom teaching this spring. For Alec’s EDCI 569 class (The Distributed, Blended & Open Classroom), we are tasked with engaging in our own learning projects, as well as participating in an open online course or community. And as they have in the last few years, these new academic requirements find a worthwhile conspirator in our Music Department‘s #IntroGuitar class.

I’ve taught #IntroGuitar now at our school going on five years now, but only in the last few has the course opened up to facilitate music-making, teaching, and collaboration to a wider community of open online learners. There is a perfect marriage of sorts between the type of discovery-learning that attracts people to an instrument like the guitar, and the type of ethos espoused in the MOOC movement. As Dave Cormier says, “you can choose what you do, how you participate, and only you can decide when you’ve been successful, just like real life,” teenagers have been learning guitar in this personalized and peer-to-peer fashion as long as the instrument has existed. Even my own playing has followed this path, beginning in the early days of the social web when guitar tabs seemed to have already have leveraged the constructivist potential of the read-write web in ways other communities would adopt across the last fifteen years.

But these online resources – much my early learning took place before the advent of YouTube – were only part of the course of my life with guitar, as a year into the project I moved in with another beginner with whom I was able to commiserate over barre chords and blues scales. Even better, this roommate had a friend who played in a band, and he and his friends served as early mentors who were able to rapidly advance our learning.

Since those early strumming days in Arkansas, I’ve expanded my inquiry into music by writing songs, playing with groups of friends, and a few informal performances. But as happens in the lifelong learning of a thing – and in lifelong, personalized learning in and of itself – the process of discovery and progress can only continue so long as the learner is able to continually synthesize and build on prior learning. And in recent years, I’ve been fortunate to explore successive challenges with supportive peers and mentors in a variety of settings.

I’ve collected a brief summary of these learning communities here:

DS106 Radio

In the spring of 2011, the brainchild of Jim Groom and Grant Potter began as a means of sharing course work created in Jim’s Digital Storytelling class at the University of Mary Washington, and quickly spawned and supported a community of educators / music-makers who began using the distributed web radio station to share live rehearsals, themed shows of covers, and recorded original works. And for the next couple of years, the station became a digital version of my own coffee-house open mic: I would play new songs, covers, riff on others’ material, and listen to my friends when they would take over the airwaves.

Out of this digital community have come countless opportunities to jam in face-to-face rehearsal spaces and kitchens, living rooms and campfires in the years since, including up to a few weeks ago in East Vancouver.

Unplug’d

Bryan Six Nation Guitar V2In 2011, and again in 2012, I was invited to participate at the Unplug’d Educational Summit on the edge of Algonquin Park, where I was able to meet many of my online colleagues in a natural setting, and share a host of songs – Canadian-themed and otherwise – with educators from across Canada and around the world.

At the 2012 Summit, with Jowi Taylor and Voyageur the Six String Nation guitar, serving as the weekend’s welcoming keynote, I was invited to deliver what I consider my first “real” performance for guests at the summit hotel in downtown Toronto. And over the course of the weekend I was able to share an original song I wrote that weekend – on Voyageur – with participants at the culmination of the weekend. (I’ve written a longer post about this experience here.)

The Judy and the Town Sessions

A few summers ago, I set about assembling a few former students whose band had recently lost its lead singer (to a road trip back east, nothing tragic) to act as my own supporting group to work out a few of the original songs I’d written in recent years. Having always written and played on my own – solo acoustic, with the exception of some of the DS106 Radio jams – I had begun to hear the songs I was writing in fuller resolution, with drums, bass and more guitar to fill out an emerging aesthetic in my mind’s… ear. And while the Judy and the Town sessions were cut short as more members of the band eventually joined their lead singer back in Montreal, these recordings offer a warm reminder of the potential for my quiet solo songs to take on a life of their own in the hands of others.

Georgia Straight Guitar Society

This past fall, I was fortunate to join one of my dad’s friends and a colleague from school at the annual Fall Jam hosted by the Georgia Straight Guitar Society. A weekend retreat at a 100 year old camp in serene Crescent Beach, the Jam featured musicians from all over the Lower Mainland – and beyond – and offered an opportunity to participate in songwriting circles, endless middle-of-the-night jam sessions, and a Saturday night concert, where I again tasted the joy of bringing one of my songs to life with the help of talented friends.

He not busy being born is busy dying.

This summer I will turn 34 years old, and with these minor triumphs listed above the compulsion arises to continue to raise the stakes in my musical life.

To scare myself, if only a bit.

Because along with Dylan’s line about being busy being born, I’m reminded of Brene Brown, who offers the inspiration that our vulnerabilities are often the fear that keeps us from accessing our potential. And so the next place to take my guitar playing and my decade-plus inquiry into music, by looking back at the narrative thus assembled…

…is performance.

In his final address on the Tonight Show, Conan O’brien talked about people who asked him about his secret to success “like asking someone how they got struck by a meteor,” so unique are the pathways which lead us to exceptional personal achievements. But he did add that the thing he had always tried to do was “always put myself in a situation where I had no choice but to be great,” and I’ve always thought about this when faced with the opportunity to perform.

I surely haven’t ever always been great. But when I haven’t been I have most assuredly learned a lot about how I should proceed next time, and looking ahead at a spring that has already yielded a few opportunities to hone this emerging skill, I am grateful for the push offered by my classes’ Learning Project / In-Depth Study.

#Eminent2014 in Motion

Slide13

The passage of autumn into winter in the TALONS classroom is marked by the arrival of the Eminent Person Study and culminating Night of the Notables. And while there is a great deal of tradition and meaning transmitted down through years to the current group of students undertaking the project, the chain of cultural transmission is captured in the chorus of individual goals, reflections in progress, and documents of learning blogged as the project unfolds.

While everyone fulfills the same few tenants of the study, the learning that takes place – collectively and individually – is largely a personal affair, one that is handed down from year to year in links and digital portfolios. And as the individual lessons of the study accumulate, so does the culture at the heart of the TALONS classroom congregate in RSS and digital artifacts.

Thus we can look back in the Notable class of 2009 astride our own, with Saskia’s learning center, one which still resonates today:

I left out postcards for people to write to Zahra Kazemi’s son: Stephan Kazemi. These I made from her photographs as a reference to the postcards she herself created (mentioned above). I wanted them addressed to her son for several reasons. By having people write about what they thought of Zahra Kazemi, I was honouring his mother and his own struggle to find justice for her. At the same time, it also showed him just how much his help made a difference to my project. Eleven people ended up writing postcards and I hope that when Stephan Kazemi receives them, they will make him very happy.

The sentiments of Raiya, a year later, looking back on her turn under the lights, echoes in this the fall of 2014:

Night of the Notables left me awestruck, amazed, and inspired. I realized that all my pre-N.O.T.N. stress was well worth the great moments that came with it. For me, some of the more memorable moments of the night were the ten minutes we were all getting a pep talk from Mr. J, the five minutes we were all singing the same familiar notes of “Don’t Stop Believing”, and those three seconds of dead silence after your speech, followed by the thunderous cheers from your classmates. The energy from that night will stick with us our entire life.

The TALONS newly departed, too, leave their thoughts to frame this year’s experience:

Slide11I always get the most peculiar tickling sensation in my tummy after late nights with TALONS. I don’t know if it’s those shooting stars or the fact that these late nights are way past my bedtime, but it’s always a rather homey feeling that curls around my chest when we join hands, all tired and warm from the long day.

But each of these predecessors merely sets the stage for the voices that are lent to this chorus across the TALONS blogs this fall. Newly migrated to a new domain – talons43.ca - each of the blogs is collected and syndicates in a steady feed of interviews, and speech drafts, and learning center floorplans. The results represent a new generation’s perspective on a timeless aspect of the program, which by changing stays the same.

And so this year we’ve been able to travel with Julia to SFU, and glimpse the individual learning on a field trip to a local university:

Before events happen, I usually have this weird distorted vision of20141030_101631 (1)what will happen. On this trip, I had some educational expectations and such. Something I really wanted to get as much as I could of was experience. Experiences are as valuable as any research, and going to an environment I hope to return to as a university student, I hoped to absorb as much as possible. Some aspects of the buildings themselves were how they were all made of cement. It made for a quite gloomy yet professional feel, and looked quite impressive from a distance. It would feel great to walk across the serene pond, down the massive steps, and graduate. There was also a pyramid in a clearing that could only be the pyramid of life, and I questioned it no further. Experiences demand to be felt, and I was entranced.

We’re introduced to fellow grade nine Emma M’s look back on her speech, and see the evolution of the draft(s) that brought her there:

Oh eminent speeches.

I have written many speeches, however I always stress about them and slightly go crazy yet end up finishing with flying colours. People say I’m a good public speaker, and I think that I’m good at it, just when I get up to speak I don’t know if it’s nerves or adrenaline running through my veins. As well, once I finish the speech I don’t speak for a while because all I’m thinking is “Wow, I just did that.”

Sensing the permanence of the blogged reflection, by taking stock of her grade nine speech Nazlie offers some advice to her future self:

I presented my speech on monday, which I am really proud of myself for. I’m usually not the best with public speaking, but I feel like I did pretty well and I am less nervous to present in front of groups of people, especially the classroom. I think I have a pretty good technique for staying calm whilst presenting now, which is something extremely useful that I have gotten out of this project so far. However, I have miserably failed to follow through with my goal of time management, I left my speech to be written on the last weekend before I presented. Personally this wasn’t a big problem for the outcome of my speech, but I still believe it would’ve been more efficient for me to have written at least some of it the weekend before. I literally spent 2 weeks brainstorming and then ended up doing something completely different from what I brainstormed. So, Future me, who will probably look back at this post a year from now and feel terribly embarrassed, PLEASE brain storm and do some speech writing on the same day, preferably 3 weeks before NOTN, so then you won’t have to spend all day on Sunday and Saturday before the big day writing your speech based off of brainstorm-notes and then end up realizing, on the 3rd speech you’ve rewritten, that there is a way better POV to use. Please.

While attending to her own project, grade ten Jessica takes the opportunity to shine some light on Nazlie’s speech, as well:

SFU trip with TALONS

I also want to comment on Nazlie’s project. I recently heard her speech on the woman who runs Rookie. It blew me away. During her speech, she didn’t ever really move, using no body language to aid her, however it worked in her favour. I believe this is because her speech was formed as a letter to her eminent person and letters are not often associated with body movement. She caught my eye because she spoke with such passion in a way that was relatable, and because she was talking about body images and the affects society have on us.

But as the project marches on, Alison takes a moment to forecast her goals for Night of the Notables:

Compared to last year, my learning center is not so complex and it occupies more space. Also, visitors will have to directly converse with me for information about my person rather than reading off a board or by looking at pictures. Although the idea may be more simple, I think I will be equally or even more busy than last year, but I look forward to it! I hope that this learning center idea will be successful and entertaining on the night of while showing the true eminence of Niccolo Paganini to the guests!

While Lyle shares his interview progress with the Reddit community:

If you recall from last year, my interview requests crashed, burned, asked me to tell their wives they loved her, and then convulsed wildly until their vital signs were zero. I believe this was because I was overly optimistic about securing an interview with my person himself and so did a pretty half-hearted job of seeking interviews from anyone else. In short, I was fishing with a line instead of a net.

This year however, my interview request was fired out to a potential audience of almost 60, 000 people, all who are knowledgeable or at least interested in graffiti. Where did I find such an audience?

Reddit!

Joanna shares her successful interview attempt, as well as her results:

So this year, I was extremely lucky to get an interview on my first try, with none other than Margaret Sanger’s grandson, Alexander Sanger, who also happens to be the Chair of the International Planned Parenthood Council.

Talking with Mr. Sanger has really made me feel like I know Margaret Sanger a bit better- questions such as the one I asked about her personality are really going to help me be in character on Night of the Notables, and being able to see this woman from a family members point of view gave me quite a bit of insight on her private life. I also got the chance to learn about some of her lesser known beliefs, and this knowledge prompted me to look into her accomplishments outside of the legalization of contraceptives.

While her sister shares another draft of her speech speech draft, along with the following caveat

The first thing I did for my speech was pretty much a free-write. The free-write is below. I will be posting my speech draft #2, which will actually have a semblance of organization, in a different blog post. The transitions are in bold because I had already decided where I wanted to start and end, so those are parts that won’t change much. You’ll be able to tell that they don’t fit with the free-write, because they were created separately.

Emma F in turn sketches out the broad strokes of her turn as Frida Kahlo:

Although I have chosen not to illustrate a specific ‘snapshot’ moment or event in my speech, I have instead decided to address the concept Frida’s balance of surrealism and reality within her paintings. Although many have labelled her as a surrealist painter, she has incorporated so intimately the realities of her suffering in her work, which makes it difficult to dismiss her paintings as purely imaginative of dream-like. Of course it is necessary to acknowledge that there is a spectrum of realism within her paintings, from her most literal reprentations of people and still life to her most extravagant otherworldy images, but both polar opposites hold meaning and relevance in her life. Thus the ‘surreal’ paintings that she created still were rooted in the very real aspects of her experience.

And Jenny anticipates the Big Night:

Today the grade ten afternoons did a run through of our speeches. The result made me ecstatic! Our. Speeches. Will. Be. Awesome. Glorious. Magnificent. Superb. Spectacular. Terrific… etc. etc.

By Wednesday night, another cohort of grade tens will have passed across the stage which marks their true arrival as the program’s seniors. One of the TALONS pillars will have passed into recent history to be filed among the notables that have gone before, all to act as prelude for the grade nines who will inherit the honour next year.

Remixes, CRAAP Tests and Collaborative Unit Planning

Twitter as Citizenship Learning

For my EDCI: 335 class, Learning Design, I’ve thus far been addressing our discussion tasks and various thought exercises to my work with #IntroGuitar – especially as the class has been revised and relaunched for this new semester. But it feels as though there is also a lot going on in the TALONS Socials classes that has presented an avenue to manifest a lot of the theory underlying my term project in last semester’s EDCI 338, as well as aspects of our learning in EDCI 335.

As we have embarked on Socials 9 this year (our two-year class alternates between years of Socials 9 and 10), I have approached the spring semester in TALONS attempting to practice collaborative assignment and unit planning, offering opportunities in individual inquiry, media literacy created as an implicit expression of citizenship learning. With #IntroGuitar effectively “launched” for the time being, my planning focus has shifted to the beginning of socials 9, and the dawn of the modern era.

Remixing the Great Book of Knowledge

Over the past few weeks, we started with the source material of Kirby Ferguson‘s “Everything is a Remix” and CBC Ideas‘ The Great Book of Knowledge and set about discussing “the greatest knowledge revolution in human history ([which] began in our lifetime).” Pertinent as a connection to Gutenburg’s role in fostering the social conditions that brought about the Enlightenment period as well as to our present informational context, The Great Book of Knowledge presents the advent of Wikipedia as a manifestation of an emergent, socially created Truth. It seemed an apt place to begin talking about the advent of the bourgeois public sphere, and the creation of modern democracy.

From the hour long episode, each of the TALONS classes was left to organize and delineate the various themes and key ideas presented in the show. During each of these class discussions, I pledged not to talk unless necessary to clarify a technical aspect of information or procedure. In the vacuum created by eliminating the teacher’s voice, various individuals rose to the occasion to help bring about and represent the group’s thinking.

Momentum built slowly in either class’ discussion, with notes emerging on the board, and votes being taken to determine the show’s key themes and concepts.

Once the episode had been divided into as many segments as there were groups in the class, each ‘quad’ (group of four TALONS) was tasked with the creation of an audio remix that expressed the theme or thesis of their selected section. Each class brainstormed and supplied their own criteria for the assignment, and set about experimenting with the classroom technology – iPads, personal computers, Snowball Microphones.

Screen shot 2014-02-28 at 8.04.35 PM

As a finale, the finished remixes were presented on K12 web radio station 105 the Hive live as a debut broadcast from the TALONS classroom. Class members took on the duties of slotting the remixes into an order reflecting their content, preparing copy and questions to read as MC/hosts, learning to navigate the broadcasting software and attending to the group’s various social media. With a few hiccups (network connectivity, a tripped extension cord), both morning and afternoon classes made auspicious debuts in presenting the live broadcasts, and archived their work on the class blog.

We even received a note from the producer of The Great Book of Knowledge, the CBC’s Philip Coulter:

Hey talented TALONS people!

I heard some of the remixes you posted on Soundcloud of The Great Book of Knowledge. They were terrific! Really imaginative work- you had a great feel for the ideas behind the programme and for how to take those ideas to another level, which is what remix is all about, and you obviously get it.

You’re lucky to be in such a great programme, and from a little cruising around your site its obvious that you’re doing really interesting work. Keep it up with creating things that no-one ever thought of before- thats called Art, and that brings us a better world!

Philip Coulter

Producer, The Great Book of Knowledge “Ideas” CBC Radio

CRAAP Testing the English Civil War

This week we have moved into a different sort of crowd-sourced media literacy, emulating Jim Groom and Paul Bond‘s Internet Course at the University of Mary Washington, and CRAAP Testing resources on the English Civil War.

Screen shot 2014-02-28 at 5.01.52 PM

After applying the CRAAP Test to a reading that I supplied, we collected various resources and materials using a Google Form that was published in a wiki page dedicated to the activity. Next, each of the sources was evaluated and highlighted to indicate Good to Go (green), If you have time (yellow) or No Go (red).

In examining the resources Purpose(s), I provided the classes with the government’s prescribed learning outcomes for Socials 9, and asked which resources best fit the following tasks:

Students will: 

  • analyze factors that contribute to revolution and conflict
  • analyze the contributions of the English, French and American Revolutions in the development of democratic concepts
  • evaluate the changing nature of law and its relation to social conditions of the times

Collaborative Unit Planning 

Building on the questions raised by elements of the CRAAP Testing exercise, as well as the minimally guided dissection of The Great Book of Knowledge episode, collaborative unit planning has become a forum for developing the Ministry of Education’s “Applications of Social Studies,” wherein 

It is expected that students will: 

  • identify and clarify a problem, an issue or an inquiry
  • select and summarize information from primary and secondary print and non-print sources, including electronic courses
  • defend a position on a controversial issue after considering a variety of perspectives
  • co-operatively plan, implement, and assess a course of action that addresses the problem, issue or inquiry initially identified

Each of the morning and afternoon TALONS have pursued slightly different courses of action this week, as they have made their way through discussions about projects and readings, generating criteria and a two-week schedule (that will take us to Spring Break). In addition to addressing many aspects of the TALONS leadership curriculum in the spring semester – In-Depth Studies, Adventure Trips, and the culmination of an yearlong (and for the grade tens, a two-yearlong) exercise in community building – this approach is an extension of the reading and thinking I did last semester on developing an emergent curriculum.

Gert Biesta and Deborah Osberg describe a curriculum of emergence as one where:

“…knowledge is neither a representation of something more ‘real’ than itself, nor an ‘object’ that can be transferred from one place to the next. Knowledge is understood, rather, to ‘emerge’ as we, as human beings, participate in the world. Knowledge, in other words, does not exist except in participatory actions.”

Having had the opportunity to experiment with the concept last semester in Philosophy 12, I am getting more and more comfortable with the idea that

“…to encourage the emergence of meaning in the classroom, then the meanings that emerge in classrooms cannot and should not be pre-determined before the ‘event’ of their emergence.”