EDCP 571 Recurring Questions of Technology - Summer 2012
Overview of Course
Recurring Questions of Technology
A Brief History of Consciousness and Learning
July 9-13, 2012
University of British Columbia
This UBC/SFU summer course was an open institute, with leading scholars exploring how technology, as a particular regard for tools and techniques, reflects a state of consciousness that bears on our ideas of learning.
These questions involve educational issues of:
This 2012 summer program provides a rich platform for ongoing research to be shared and built upon by engaging with students, faculty, and community members.
Source: http://eplt.educ.ubc.ca/events/recurring-questions-technology
The course wiki is:
http://wiki.ubc.ca/Recurring_Questions_of_Technology
I created a video for this course, which can be seen here:
http://vimeo.com/46109617
We were assigned to complete five wiki entries. Mine were as follows:
Co-Creation Co-creation is a way that companies employ the customer to help produce or contribute value to their product, without payment for this work or contribution. According to Wikipedia, it “is a form of marketing strategy or business strategy that emphasizes the generation and ongoing realization of mutual firm-customer value,” which has an optimistic ring to it. In contrast, in their paper, Putting consumers to work: 'co-creation' and new marketing govern-mentality, Zwick, Bonsu and Darmody assert, “co-creation represents a political form of power aimed at generating particular forms of consumer life at once free and controllable, creative and docile.” They argue this is a nouveau form of corporate power. In contrast to the former passive consumer that was disciplined to act and consume according to a norm, the corporation is now working “with and through the freedom of the consumer.” They conclude, “administering consumption in ways that allow for the continuous emergence and exploitation of creative and valuable forms of consumer labor is the true meaning of the concept of co-creation” (Zwick, Bonsu and Darmody, p.1). Stemming from the international summit, “Copenhagen Co’creation: Designing for Change 09,” there is a manifesto which states, “Co-creation will empower people, companies, organizations and communities to assume responsibility and take action to create and continuously improve relevant ways of improving life. In return, increased empowerment will fuel and drive the process of co-creation itself.” It presents a positive outlook on co-creation, and perhaps does not explore its exploitative potential enough. The definition on the summit website is, “co-creation changes the game of innovation from designing FOR people to designing WITH people. Rather than being a tool or a methodology, co-creation is a mindset engaging people in the development of products and services thus creating new meaningful and profitable solutions and powerful organizations adaptable for change.” (Eva Ziemsen)
Digital Millennium Copyright Act The DMCA was a controversial copyright law signed by President Clinton on October 28, 1998, which “prohibits gaining unauthorized access to a work by circumventing a technological protection measure put in place by the copyright owner where such protection measure otherwise effectively controls access to a copyrighted work,” (Congress Summary). Yochai Benkler deems the DMCA as an “assault on peer-to-peer technologies,” and explains that Hollywood is the culprit behind it. He asserts that Hollywood is limiting the “freedom of action of those who wish to produce information, knowledge, and culture,” in an effort to secure their own monetary returns, (2006). “In addition, the DMCA heightens the penalties for copyright infringement on the Internet…The DMCA amended Title 17 of the United States Code to extend the reach of copyright, while limiting the liability of the providers of on-line services for copyright infringement by their users,” (Wikipedia). According to the U.S. Copyright Office Summary, the DMCA was divided into six titles. Title I, the “WIPO Copyright and Performances and Phonograms Treaties Implementation Act of 1998,” implements the WIPO Treaties. Title II, the “Online Copyright Infringement Liability Limitation Act,” creates limitations on the liability of online service providers for copyright infringement when engaging in certain types of activities. Title III, the “Computer Maintenance Competition Assurance Act,” creates an exemption for making a copy of a computer program by activating a computer for purposes of maintenance or repair. Title IV contains six miscellaneous provisions, relating to the functions of the Copyright Office, distance education, the exceptions in the Copyright Act for libraries and for making ephemeral recordings, “webcasting” of sound recordings on the Internet, and the applicability of collective bargaining agreement obligations in the case of transfers of rights in motion pictures. Title V, the “Vessel Hull Design Protection Act,” creates a new form of protection for the design of vessel hulls.” (Eva Ziemsen)
Freytag Pyramid Represents a structure for the arc of a narrative. It is based on the work of German playwright and novelist Gustav Freytag, who laid out the five-act dramatic structure, which is known as “Freytag’s Pyramid.” In his text Die Technik des Dramas, he specifies that the five components of a story’s plot consist of: “exposition, rising action, climax, falling action, and revelation/catastrophe, (denouement)” (Wikipedia). It is worth viewing the image, as it forms a pyramid. In the text, Interactive Visualizations of Plot in Fiction, the authors explain that "Freytag's Pyramid" has long been used to teach plot, and was originally used to describe traditional Shakespearean tragedy. They argue, however, that it is not useful for all stories, especially interactive narratives. With the innovation of plot lines in interactive games, Freytag’s Pyramid is less useful. Furthermore, many authors do not subscribe to the traditional plot structure. It is undeniable that “Freytag’s Pyramid,” along with other similar plot structures, such as the 3-act structure, is used most frequently in today’s narratives. Traditional literature and the Hollywood film industry have developed formulas based on this structure and have served to perpetuate it. However, with the development of new narrative vehicles, such as games and virtual worlds, other modes of narrative representation are being invoked. (Eva Ziemsen)
Geschichte According to the definition in the German Wikipedia, Geschichte is the German word for “everything that has happened.” Furthermore, it is used to formulate other words that describe different histories. For example, the word for history of humankind or mankind in German is “Menschheitsgeschichte,” which connects the word, “Menschheit” which means mankind or humankind, and the word “geschichte,” which formulates the meaning, history of mankind. The word “Geschichte” is often synonymous with the term “the past.” Furthermore it is also the title of the school topic that means, “history.” It is also used in the way that the word “story” is used in English, for example, in the context of telling a story. When entered into an online translator, the two translations that result are, history] and/or story, (Wiktionary). “Geschichte” is often combined with many other words, to specify which kind of history. For example, you can combine, Welt (world), Politik (political) or Kultur (culture) with “geshichte” and create a highly specific meaning of history (Wikipedia). As described by George Grant in Time as History, the meaning of the word “history” is often misused, due to barriers of the English language. Grant explains “the Germans are coming to make this distinction more clearly in their language by use of two separate words: Geschichte for that particular realm of being, historical existence, and Historie for the scientific study of the past” (Grant, p. 9). He highlights the limitations of English and suggests that perhaps “the word history should be kept for the systematic study of the past, while we should find some other word to denote the course of human existence in time,” (Grant). (Eva Ziemsen)
Online Learning Often interchanged with the term ‘e-learning’, online learning refers to learning through the Internet, either solely online or as part of a blended (a mix or face-to-face and online) model. According to the Ministry of Education in British Columbia, in their 2012/2013 Transformation + Technology Update, not all teaching methods work for all learners, and therefore online education has a place to support diverse learning needs. It reports that, “a third of all students now graduate with at least one online course; in fact, some districts require this, to prepare students for lifelong learning after graduation,” (p. 14). While online learning is not for everyone, it is a good option for those in remote areas or who cannot participate in classroom settings due to other reasons. A search for online learning on Wikipedia yields a definition for e-learning. “E-learning is the computer and network-enabled transfer of skills and knowledge. E-learning applications and processes include Web-based learning, computer-based learning, virtual education opportunities and digital collaboration. Content is delivered via the Internet, intranet/extranet, audio or video tape, satellite TV, and CD-ROM. It can be self-paced or instructor-led and includes media in the form of text, image, animation, streaming video and audio,” (Wikipedia). In the BC Education Plan, online learning is highlighted in the context of the section on ‘flexibility and choice’, providing the statistic that “enrollment in online courses has grown by more than 500% in the last five years.” Linda Harasim is known for the OCL (Online Collaborative Learning Theory) and has said in an interview, “the online learning environment offers an unprecedented opportunity for students to participate in group discussions or group work, at a time and place that is most convenient to them and appropriate to the task. Asynchronous e-learning is open 24/7! All students can, and with good instructional design, do participate actively and contribute to advancing group knowledge.” (Eva Ziemsen)
My assignment for this course entailed creating a video (as a form of essay or summary of the event). It is posted below:
A Brief History of Consciousness and Learning
July 9-13, 2012
University of British Columbia
This UBC/SFU summer course was an open institute, with leading scholars exploring how technology, as a particular regard for tools and techniques, reflects a state of consciousness that bears on our ideas of learning.
These questions involve educational issues of:
- Culture and History,
- Language and Knowledge,
- Identity and Difference.
This 2012 summer program provides a rich platform for ongoing research to be shared and built upon by engaging with students, faculty, and community members.
Source: http://eplt.educ.ubc.ca/events/recurring-questions-technology
The course wiki is:
http://wiki.ubc.ca/Recurring_Questions_of_Technology
I created a video for this course, which can be seen here:
http://vimeo.com/46109617
We were assigned to complete five wiki entries. Mine were as follows:
Co-Creation Co-creation is a way that companies employ the customer to help produce or contribute value to their product, without payment for this work or contribution. According to Wikipedia, it “is a form of marketing strategy or business strategy that emphasizes the generation and ongoing realization of mutual firm-customer value,” which has an optimistic ring to it. In contrast, in their paper, Putting consumers to work: 'co-creation' and new marketing govern-mentality, Zwick, Bonsu and Darmody assert, “co-creation represents a political form of power aimed at generating particular forms of consumer life at once free and controllable, creative and docile.” They argue this is a nouveau form of corporate power. In contrast to the former passive consumer that was disciplined to act and consume according to a norm, the corporation is now working “with and through the freedom of the consumer.” They conclude, “administering consumption in ways that allow for the continuous emergence and exploitation of creative and valuable forms of consumer labor is the true meaning of the concept of co-creation” (Zwick, Bonsu and Darmody, p.1). Stemming from the international summit, “Copenhagen Co’creation: Designing for Change 09,” there is a manifesto which states, “Co-creation will empower people, companies, organizations and communities to assume responsibility and take action to create and continuously improve relevant ways of improving life. In return, increased empowerment will fuel and drive the process of co-creation itself.” It presents a positive outlook on co-creation, and perhaps does not explore its exploitative potential enough. The definition on the summit website is, “co-creation changes the game of innovation from designing FOR people to designing WITH people. Rather than being a tool or a methodology, co-creation is a mindset engaging people in the development of products and services thus creating new meaningful and profitable solutions and powerful organizations adaptable for change.” (Eva Ziemsen)
Digital Millennium Copyright Act The DMCA was a controversial copyright law signed by President Clinton on October 28, 1998, which “prohibits gaining unauthorized access to a work by circumventing a technological protection measure put in place by the copyright owner where such protection measure otherwise effectively controls access to a copyrighted work,” (Congress Summary). Yochai Benkler deems the DMCA as an “assault on peer-to-peer technologies,” and explains that Hollywood is the culprit behind it. He asserts that Hollywood is limiting the “freedom of action of those who wish to produce information, knowledge, and culture,” in an effort to secure their own monetary returns, (2006). “In addition, the DMCA heightens the penalties for copyright infringement on the Internet…The DMCA amended Title 17 of the United States Code to extend the reach of copyright, while limiting the liability of the providers of on-line services for copyright infringement by their users,” (Wikipedia). According to the U.S. Copyright Office Summary, the DMCA was divided into six titles. Title I, the “WIPO Copyright and Performances and Phonograms Treaties Implementation Act of 1998,” implements the WIPO Treaties. Title II, the “Online Copyright Infringement Liability Limitation Act,” creates limitations on the liability of online service providers for copyright infringement when engaging in certain types of activities. Title III, the “Computer Maintenance Competition Assurance Act,” creates an exemption for making a copy of a computer program by activating a computer for purposes of maintenance or repair. Title IV contains six miscellaneous provisions, relating to the functions of the Copyright Office, distance education, the exceptions in the Copyright Act for libraries and for making ephemeral recordings, “webcasting” of sound recordings on the Internet, and the applicability of collective bargaining agreement obligations in the case of transfers of rights in motion pictures. Title V, the “Vessel Hull Design Protection Act,” creates a new form of protection for the design of vessel hulls.” (Eva Ziemsen)
Freytag Pyramid Represents a structure for the arc of a narrative. It is based on the work of German playwright and novelist Gustav Freytag, who laid out the five-act dramatic structure, which is known as “Freytag’s Pyramid.” In his text Die Technik des Dramas, he specifies that the five components of a story’s plot consist of: “exposition, rising action, climax, falling action, and revelation/catastrophe, (denouement)” (Wikipedia). It is worth viewing the image, as it forms a pyramid. In the text, Interactive Visualizations of Plot in Fiction, the authors explain that "Freytag's Pyramid" has long been used to teach plot, and was originally used to describe traditional Shakespearean tragedy. They argue, however, that it is not useful for all stories, especially interactive narratives. With the innovation of plot lines in interactive games, Freytag’s Pyramid is less useful. Furthermore, many authors do not subscribe to the traditional plot structure. It is undeniable that “Freytag’s Pyramid,” along with other similar plot structures, such as the 3-act structure, is used most frequently in today’s narratives. Traditional literature and the Hollywood film industry have developed formulas based on this structure and have served to perpetuate it. However, with the development of new narrative vehicles, such as games and virtual worlds, other modes of narrative representation are being invoked. (Eva Ziemsen)
Geschichte According to the definition in the German Wikipedia, Geschichte is the German word for “everything that has happened.” Furthermore, it is used to formulate other words that describe different histories. For example, the word for history of humankind or mankind in German is “Menschheitsgeschichte,” which connects the word, “Menschheit” which means mankind or humankind, and the word “geschichte,” which formulates the meaning, history of mankind. The word “Geschichte” is often synonymous with the term “the past.” Furthermore it is also the title of the school topic that means, “history.” It is also used in the way that the word “story” is used in English, for example, in the context of telling a story. When entered into an online translator, the two translations that result are, history] and/or story, (Wiktionary). “Geschichte” is often combined with many other words, to specify which kind of history. For example, you can combine, Welt (world), Politik (political) or Kultur (culture) with “geshichte” and create a highly specific meaning of history (Wikipedia). As described by George Grant in Time as History, the meaning of the word “history” is often misused, due to barriers of the English language. Grant explains “the Germans are coming to make this distinction more clearly in their language by use of two separate words: Geschichte for that particular realm of being, historical existence, and Historie for the scientific study of the past” (Grant, p. 9). He highlights the limitations of English and suggests that perhaps “the word history should be kept for the systematic study of the past, while we should find some other word to denote the course of human existence in time,” (Grant). (Eva Ziemsen)
Online Learning Often interchanged with the term ‘e-learning’, online learning refers to learning through the Internet, either solely online or as part of a blended (a mix or face-to-face and online) model. According to the Ministry of Education in British Columbia, in their 2012/2013 Transformation + Technology Update, not all teaching methods work for all learners, and therefore online education has a place to support diverse learning needs. It reports that, “a third of all students now graduate with at least one online course; in fact, some districts require this, to prepare students for lifelong learning after graduation,” (p. 14). While online learning is not for everyone, it is a good option for those in remote areas or who cannot participate in classroom settings due to other reasons. A search for online learning on Wikipedia yields a definition for e-learning. “E-learning is the computer and network-enabled transfer of skills and knowledge. E-learning applications and processes include Web-based learning, computer-based learning, virtual education opportunities and digital collaboration. Content is delivered via the Internet, intranet/extranet, audio or video tape, satellite TV, and CD-ROM. It can be self-paced or instructor-led and includes media in the form of text, image, animation, streaming video and audio,” (Wikipedia). In the BC Education Plan, online learning is highlighted in the context of the section on ‘flexibility and choice’, providing the statistic that “enrollment in online courses has grown by more than 500% in the last five years.” Linda Harasim is known for the OCL (Online Collaborative Learning Theory) and has said in an interview, “the online learning environment offers an unprecedented opportunity for students to participate in group discussions or group work, at a time and place that is most convenient to them and appropriate to the task. Asynchronous e-learning is open 24/7! All students can, and with good instructional design, do participate actively and contribute to advancing group knowledge.” (Eva Ziemsen)
My assignment for this course entailed creating a video (as a form of essay or summary of the event). It is posted below:
