I don’t claim to understand all of the data analysis that goes on when people research and examine all of the elements of our social interactions in places like Twitter and beyond. Here, for example, is what the Innovator’s Mindset MOOC looked like from a data analysis viewpoint.
Some of the elements explored here about hashtags and the wandering spirit of those in networked spaces in this research article certainly caught my eye. I am one of those people. And I wander around quite a bit, hoping to connect with people and picking their brains about writing, teaching and more. The insight of how hashtags are connector points makes a lot of sense to me.
I am intrigued by the term of “nomadic learners” — those of us who skirt and toggle between open educational spaces. In fact, that term is more fluid than the “lurker” terminology that is often used, and debated in online spaces. A nomad is forever on the move, but not just transient — they stop, talk, chat, share, gather and then bring what they have learned to other spaces.
The history of rap angle didn’t uncover much new for me (but I still enjoyed it), as I am interested in the music as an art form. I did appreciate all the elements of the research that Edwards has done into how the music is made (and was made, as things have changed over time with the emergence of technology). Many of the musicians here talk about the past production of hip-hop, of scouring records for beats and bass and then finding ways to isolate sounds, pulling them together to form the backbeats.
In particular, the use of Flow Diagrams by rap songwriters was something I had not come across before. Some rappers use Flow Diagrams (of various sorts) create columns for rhymes, and move across the columns as they rap. This allows for intentional internal, double-word and other kind of rhyme patterns. In the book, some rappers talk about setting up these kinds of charts as ways to use rhyme for rhythmic elements — words as beats and off-beats. I love when the process of writing is exposed like that.
Interestingly, much of the discovery of how to use samples from other tracks was often accidental. A rapper/DJ/producer tries to do this, only to discover that. They were smart enough to have their ears open at all times for opportunities, and when mistakes happened that sounded good, they took that and ran it with. The early days, it was not about the money (as it seems to be today), but about pushing the art-form into new terrain, and impressing others on the scene.
Of course, litigation for using unlicensed sounds made the old-school way of remixing sounds nearly impossible, so the collage-like, layered production work that went into albums like Paul’s Boutique by The Beastie Boys (and the Dust Brothers production team) or landmark tracks by Run-DMC, NWA and Eric B & Rakim might never be replicated now (without huge financial support from a company on the licensing side).
But I figure this … there are still plenty of people making tracks and creating new sounds on their own, and it is likely that those tracks are finding paths to listeners. Like so many businesses, the music industry is being upended, or has been upended, by technology and social media. While that may have diminished the field of music listening to some degree (it’s a time when all radio stations seem to be owned by corporate interests, and radio DJs have no say over what is being played, the landscape becomes rather hum-drum .. radio that I listen to here is nearly identical to radio that you listened to there), it has also opened up doors for more intimate connections to more niche bands and musicians in ways that were not possible just a few years ago.
I also wondered about the connections to what we think of as Digital Writing, and now remix and a new lexicon of song/writing construction might fit under that umbrella. It raises the question: when is writing a song a form of Digital Writing? Is it? It seems to me that Flow Diagrams and borrowing snippets seems to have interesting ramifications about language.
Edwards, whose book bio calls him “the Aristotle of Hip-Hop Poetics,” does a fine job here of exploring the historical perspectives of hip-hop music but he seems to conclude that its best days of innovation are far behind it, now that hip-hop is the touchstone of pop culture and a cash cow. I don’t quite agree, or maybe, I have faith that innovation is happening — even if many of us don’t see it. I just hope we can eventually hear it.
The basics: They have a list of known sound effects that I have pulled from the Garageband loop library. They choose five to seven of those sounds on the list and write a small story, with those sounds embedded or embellishing their story. They record their story on Garageband, and edit in the sound effects.
There’s a lot of excitement in the air this short week before Thanksgiving. They do enjoy using Garageband and using what are called Foley Sounds (side note: check out this cool site where a professional Foley Sound expert challenges us to figure out the sound), even though I purposefully give them only limited instructions. I want to see if they can persevere and figure things out, and turn to each other for help. Mostly, they are fine, but you can almost visually see the lines between those students with learned helplessness (they ask for help before even trying to figure out how to solve a problem) and those who just need a push forward, and space to figure it out, into resilience.
I’ll try to see if I can post a few of their sound stories another time. Here is the one that I made last year, which I shared with them as a mentor text.
There’s a new permanent sculpture on the front lawn of our county courthouse, right at the very heart of the downtown of my small Western Massachusetts city. Artist Greg Stone finished the piece in the days before passing away, and his piece — showing a young woman caring for a dove — is beautiful and powerful.
I felt the need to not just photograph it yesterday but also to remix the images of Stone’s piece. It’s yet another way for me to kindle the fire of Hope in myself and in my world. I tried to find a way to bring it all together, to tie the images into a larger digital composition. I could’t find a way to do that which satisfied me, so it’s pieces of the whole here instead of a whole with pieces.
Here is the original, from one angle:
I then began using an app called Fused, remixing the image (a second image is also from the courthouse — colored lights in the form of a peace symbol).
Working with the images gave rise to a poem.
I tinkered with the poem’s look, too.
I also followed my friend Carol V’s lead to tried out a 3D Cube tool, which is nifty but not practical for images with words, I found.
And then I did a podcast of the poem, using some recent guitar open tuning that I was messing around with as the underlying melody, which I thought meshed nicely with the poetry.
And that led to … Zeega … where I sought to combine the image and poem and media … this is closest to what I was thinking …
I still may yet do something more with all of these pieces. For now, I am happy just to have been deep with Hope.
I tried at Visual Notetaking, but I failed. I began with notes on paper during the meeting and then later, after the retreat, I used the Paper app to draw the visual with my stylus.
Well, first of all, too many words. Too much text. But that’s who I am: a word man. And I wasn’t patient enough, either, for thinking through the visual design element. I sort of jumped in, started and then worked around my starting point. I’m not sure either of these really captures much beyond a pretty note.
Check out Sylvia Duckworth and her art. It really is inspiring how she listens, processes, and then captures the movement of ideas in her artwork. All of it seems logical and designed with an eye towards cohesiveness of the reader/viewer.
I’m not giving up on the idea of Visual Notetaking, but I understand that free-hand drawing is not my strength and never has been. It doesn’t help that I have a fat stylus for the Ipad, making detailed drawings more difficult than it probably should be. I am more apt to be creative when I have the art done for me, which has its drawbacks and limitations, and I can work on the writing and design piece. I need a partner!
Still, this opportunity allowed me to dive in and try the process, and I did find some good resources to put into my Diigo bookmarking for later perusal. I like the simplicity of this overview, for example.
Have you tried Visual Notetaking? Have you done better than me?
I went into MapStack and created a few versions of my neighborhood with its coloring layering tools and then pulled those images into Adobe Spark on my iPad, writing a poem as the narration, and ended up with a digital poem.
I like how the map layout doesn’t change, but the layered effects does, and the words are inspired by each image, to some degree. In other words, the writing of the poem came AFTER I had created various versions of the maps, not the other way around.
I also used the Fused app, which does double exposures of images, to pull maps together to make something slightly different. By keeping the layout exactly the same, the blends gave a slight twist to the originals. Subtle, even.
I did #WhitmanWednesday and #ThoreauThursday — two white guy poets of much acclaim — and I wanted to find a poem with the alliterative “F” for Friday that moved away from gender and race of the other two dudes.
So I wandered about, used a Search Engine as a compass for navigation, and sailed into Mary Weston Fordham.
Little is known about the life of poet Mary Weston Fordham. A free person of color from a relatively affluent family, she bravely ran her own school during the Civil War and was hired in 1865 as a teacher by the American Missionary Association. She taught during Reconstruction at the Saxon School in Charleston, South Carolina. Her poetry contains references to family and to the deaths of several children in infancy.
A single volume of her work, Magnolia Leaves (1897), containing 66 poems, was published by a South Carolina press with an introduction by Booker T. Washington. Her poems display an ease with meter and rhyme in lyrical explorations of historical, spiritual, and domestic themes.
I read and then tinkered around with her poems, which have a certain grace to them that I liked. I settled on “Shipwreck” for its theme and imagery of language, but also I was hooked on the last lines of the last stanza.
So, I took the last stanza of Fordham’s Shipwreck into the Visual Poetry and painted with her words for #FordhamFriday. Is that hashtag a thing? It is now.
I also took her poem, The Pen, and did some blackout work on it, recreating the words into something slightly new.
It’s #ThoreauThursday, and in an intersection with the concept of Digital Writing Month, I gathered up a bunch of Henry David Thoreau quotes and layered his ideas about writing into a Zeega media mix. The soundtrack? A song called Walden Pond.
The digital piece works best if you use the Full Screen option, in my opinion. Never used Zeega? The reader advances the slides as the soundtrack plays underneath. The writer puts the pieces together, but it is the reader with the agency on the pacing of the piece.
Wednesdays are #WhitmanWednesday, and so in a convergence with #DigiWriMo, I found a quote from Walt Whitman about writing and used it as an audio file, adding in sound effects and an underlying string melody. I like the heartbeat, although the heartbeat sounds a lot better with headphones than on my computer’s tiny speakers.
What about you? What can you do with Whitman’s words and poems today?
First, the Connected Learning MOOC (CLMOOC) almost didn’t happen. Now, Digital Writing Month is here for November but it is not really here at all. In both cases, those who envisioned online learning adventures and those who nurtured those spaces over years decided time had run out. For CLMOOC, it was my friends at the National Writing Project. For DigiWriMo, it is the folks at Hybrid Pedagogy/Digital Pedagogy.
I think there are valid reasons for founders to say, we’re moving on to other things. Things do run their course. NWP has been deep into Letters to the Next President (worth checking out … thousands of letters of all media shapes and sizes from high school students). Digital Pedagogy people may be shifting its focus to other ways to support digital writing and thinking about digital writing (and thinking about the teaching of digital writing.) Both organizations do wonderful projects, with vision.
I guess I have a hard time letting go, though.
I was part of the crowd-sourced CLMOOC this past summer (where the collective parts led the activities, and it was fantastic). Now I am part of CLMOOC folks working to plan some Pop-Up Make Cycle activities later this month for Not-DigiWriMo.
It always feels strange when the founders say, this is no more, and the folks who in the midst say, let’s do more. There is the possibility of tension there (I can hear the voice: “Hey, I thought we said this was over!”). I don’t revel in that tension, but if we all believe in the potential of dispersed ownership of Connected Learning and the open value of hashtags and social media spaces, then it makes sense that if the participants don’t want something to be over, there is no reason why it needs to be over. We’re following our passions. (Reality Check: in some cases, though, the brand of an online learning space might be legally attached to an organization, so there’s that … here, both organizations know something continued/is continuing onward.)
Where I am going with all of this? Well, DigiWriMo is officially “retired,” as the pioneering folks at Hybrid Pedagogy noted on Twitter this week. Digi Duck is no doubt kicking back on a beach chair, drink in hand, dreaming of bread crumbs.
But hey, don’t wait for us. Get writing, digitally. Make a poem. Write a video. Experiment. Tinker. Create. Many folks are still using the #digiwrimo hashtag on Twitter. Share. Inspire others. Get inspired.