Grodeska uses the term “CivicTech” and I think there is a fair amount of overlap between “Civic Imagination” (the idea of imagining a better future and then taking steps to make it happen) and “CivicTech” (which is the idea of making sure we use digital tools wisely and with agency to affect change in the world.)
It’s the hardest thing to move from ideas to reality, from talk to action, and it takes time and planning and a shared vision. Our local writing project site has shifted into connecting Civics with writing, and with teacher leadership, and both of these blog posts may come in handy as educators ponder on their role in the mix of public discourse, and student engagement and leadership.
Someone else shared this video out in the #DigCiz stream, and I appreciated the bend towards “human concern” in a world seemingly overrun by corporate interests, and the way those corporations are influencing the political realm that is impact us as individuals. How to effectively counter that push is the question facing many of us as voters and constituents.
I’m still trying to learn more about sketching. Recently, I took a break from writing for a week to do sketching from my couch, and I found it very enjoyable.
I am still not confident or comfortable with myself as a visual artist — I find myself falling back to words and text to understand and view the world — but I want to become better at sketching. I am interested in how different media forces you to have a different kind of perspective, and how different art changes the way we tell stories to each other (and ourselves).
So, of course, when I saw this book– The Urban Sketchbook — on the shelves of our public library, I had to grab it, take it home and peruse what was inside. If I had any doubts, the tagline on the cover had me before page one: Get Out. Walk. Observe. Draw. Lose Yourself. Create.
First of all, I didn’t even know that Urban Sketching was a thing. Of course, it’s a thing. Folks organize and gather together with sketchbooks in urban centers all over the globe and head out to the streets and city blocks to find scenes to sketch, some of which may be turned into more formal art. Most will not. Most of the art will remain in the books. There’s an informal warmth to sketching.
This book, a collection of ideas and resources by writer/illustrator Sergi Camara, is a fine introduction, touching on tools of the trade, the reasons why people sketch, the impact of social media on sketchbooks and collaboration, and more. There’s even an interesting introduction to the history of sketching.
I felt a bit like an outsider here, but the text and images and examples of sketching was very inviting, and I didn’t feel as intimidated by the art as I thought I might be.
I don’t live in an urban area. That didn’t matter. Carmara’s book gave me ideas on how one might view the world from different angles, with an eye for colors and lines and shapes and contours.
My friend, Terry, wrote this phrase elsewhere in a discussion about “hospitality” and his words stuck with me, for its spirit of generosity of others. I hope I do that with my close reading activities, with quote pulling, with comic making, and with the remixing stories of others and sharing back.
By amplifying the work of others, we amplify the thinking of ourselves, for when you choose what to focus on in the work of others, you share a bit of yourself, too. This approach is also a way to counter the selfie-centered heart of technology. Turn the lens on someone else, and make a connection.
PS — Is ampen a word? I don’t think so. A quick search came up empty. Is it important? Nope. I still love invented language, and ampen to me signals a variation of amplify, but with softer and kinder tones.
(This is for the Slice of Life challenge, hosted by Two Writing Teachers. We write on Tuesdays about the small moments in the larger perspective … or is that the larger perspective in the smaller moments? You write, too.)
I took my 12-year-old son to Guardians of the Galaxy 2 for the second time (we first went on opening weekend) because his friend had not gone yet. That seemed a shame. We had a blast in the cold theater on a hot day and my son’s friend loved the movie.
Once again, the scene where Cheap Trick’s Surrender plays hit me the heart of memory, reminding me of playing that song in my college-days rock band, Rough Draft.
So, I dug our cover of Surrender out. It was part of an audio track to a cable television recording we did, and then the studio lost the video tape so we don’t have that, only the audio. Maybe that’s a good thing …
That’s me singing and playing rhythm guitar. We used to have so much fun with that song. It was not a band of finesse. It was a band of loud energy. Rough Draft, indeed. Three of us from that band are still very close, and we get together once a year. In fact, that reunion is coming in two weeks.
We’re all all right! We’re all all right! We just seem a little weird …
Peace (no cheap tricks),
PS — bonus song? Only if your ears can take it. This was early song of mine for Rough Draft. I was just starting to do some writing.
The conversations around the #DigCiz hashtag have certainly gone into different directions this past week. I’m still trying to create comics based off discussions, and blog posts, and tweets, and whatever folks are doing. The comic above, for example, was in response to wondering how people represent themselves different in different digital spaces, and how our multiple identities are both connected an disconnected.
There’s been more wrestling with language, too, and what words one uses to describe connector points. Communities. Networks. Conversations. I don’t even know anymore. Let’s just talk and worry about what to call it some other time.
We circled back to a talking point from a few weeks ago, too, on whether online sites should be open for readers to engage the writer, or closed to the readers to protect the writer. I fall on the side of open.
Interestingly, hashtags themselves became a topic of conversation, and what it means when discussion centers around a shared hashtag. Who owns it? Are there rules?
And what happens if you break the rules? (if there are any)
There was the theme of “hospitality” that many of us grappled with this week. I see it as, how do we welcome newcomers and encourage latecomers, and connect with those already there. Whatever “there” is. Or wherever. See? Language!
A discussion of what does the host give up of their identity and authenticity to make the guest comfortable led to this:
This is what I hope will happen …
… but then, not long after, I was critiquing Google and other companies for siphoning up our data even while pitching educational sites to kids. Sigh. So much for pondering the positives.
But … the slip was momentarily … for the idea of remixing and collaborating and making stuff with others still keeps me involved and engaged, and hopeful, and I hope you find a way in, too.
This is an audio story I wrote and recorded some time back for my friend, who asked for stories about music. But since it is about my dad, and this is Father’s Day, I wanted to pull it back out again. He was here just yesterday, in fact.
This post has been sitting in my blog draft bin for some time. I remember thinking, this is a useful slideshow presentation from Bobbie Newman for considering the ways we write and read across various media and mediums. I guess I never brought it out during Digital Writing Month. The show’s a few years old now, but it is still relevant on its focus on storytelling across a wide range of concepts, including the way humans interact with narrative.
Two articles crossed my RSS feed yesterday (yes, I still love my RSS). One piece is about student activists on college campuses advocating Bills of Rights, with at least some components related to knowing where their data is going when they use technology for institutional learning. The other piece is about how to best resists that collection as well as the sale of student data from tools being used in education.
Every day, we participate in a digital culture owned and operated by others — designers, engineers, technologists, CEOs — who have come to understand how easily they can harvest our intellectual property, data, and the minute details of our lives.
Both pieces are centered on awareness, advocacy and resistance to the this scouring and selling of privacy and data. The focus is on students — mostly university students — yet think of how many K-12 schools are now being more tech-focused, marketing themselves in this Age of Choice as digital innovation hubs to attract more students, and thus, more tuition.
Many schools regularly tap into outside EdTech — like Edmodo for social networking (and a recent target of hacking of student emails and accounts), Google and sites like Turnitin, the focus of the Digital Pedagogy piece, which notes:
A funny thing happened on the way to academic integrity. Plagiarism detection software (PDS), like Turnitin, has seized control of student intellectual property. While students who use Turnitin are discouraged from copying other work, the company itself can strip mine and sell student work for profit.
Profit. Money. Growth. Turnitin, for example, has access to more than 700 million pieces of student work that its terms of service says allows it to use for its business model. The article explores this whole issue with more nuance that I do here, but this bit of Terms of Service language gives you a taste of what the writers are objecting to:
You grant Turnitin a non-exclusive, royalty-free, perpetual, world-wide, irrevocable license to reproduce, transmit, display, disclose, and otherwise use your Communications on the Site or elsewhere for our business purposes.
I’ve also been wary, for example, of a new initiative by Google called Be Internet Awesome. My wariness comes not from the content of the site — which is centered around teaching young people privacy and responsible use of technology and more, all of which I agree with, and a look at the curriculum there shows some positive thoughts about approaching these topics with students — but more about the way Google is designed as a company to use our data against us, by selling us to the highest advertising bidders.
Isn’t it a bit ironic that Google is both teaching young people to be on the alert and also, the one they need to be on the alert for? How many educators will use this site but not make visible how Google’s business model works and how we “trade” our privacy for access to information?
We owe it to our kids to make as much of this visible as we can. It doesn’t mean not using Google Apps for Education (which my district does and which we use all the time, and which has opened up lots of doors for my young writers) or even Turnitin and its ilk (although you might want to dive deeper into terms of service to make sure you and your kids know what’s what) and others.
The Digital Pedagogy piece includes this graphic of questions to ponder before entering a contract:
We should not enter into the World of EdTech with blinders on. Most “tech solutions” are built to make money, not serve in the best interests of our students, no matter how glossy and pretty their advertising is. The business plan is often what matters most, and all but a few business plans are built around profit.
Young users are most vulnerable, I think, because they trust that the adults (teachers, administrators, etc.) who bring them into technology apps and sites know what they are doing, have done their homework, and have their best intentions at heart. The vulnerability comes because not all of those assumptions happen, and because companies like Google understand the long game — hook young users now and make money for decades to come.
Novelist (and teacher) Colum McCann (whose Let the Great World Spin was an excellent book) has put out a small tome entitled Letters to a Young Writer, in which he distills some of his teaching and advice to writers who are about to venture, or are already there, in to the world of stories.
His most consistent and best advice: Put your arse in the chair and write write write!
Along with that bit of truth, McCann circles the wagons on the power of words — in fact, he relegates worrying about plot to the second tier of writing, and instead, he celebrates how writers use language to uncover the world. His rebalancing here had me wondering about how I teach my young writers about stories, where I find my focus on plot and structure to be important. Maybe I don’t let them play with language nearly enough.
The book weaves through topics such as editing and revision, and getting unstuck, about observing the world with notebook in hand and how to use your red pen to remove unnecessary baggage from your writing, and what to do when you stare at a blank page. He acknowledges the discouragement of rejection of writing, and cheers on those who persevere. He’s funny, and thoughtful, and knows that true writers have the unrelenting urge to write, as something intangible in the heart.
I found his first chapter and his last chapter most moving here, as he captures all of the ways writers interact and make sense of the world, and themselves — and therefore, others, too. His short sentences in these chapters play like a poem, digging deep into the heart and soul of writing.