While I’ve been out of the #tiegrad loop with the FitBit frenzy, I am a devotee to employing a good bit of technology in my own fitness regime of late, and wanted to collect a few thoughts on how the phenomenon relates to digital storytelling and learning.
Having received a Garmin GPS watch for my birthday, I’ve been cataloguing and measuring my runs, cycle commutes, and other workouts for almost a year, something of a surprising development at this stage in my athletic life, I have to say. Without getting back into a story that’s been rehashed in bits and pieces on my blog in recent years, once upon a time I went away to university on a running scholarship. However (as I delve into in greater detail in this … Continue reading →
In 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.
While the song is a few years old, I have elected to focus more on performing this semester, and have looked to present the tension in the song between the somber second verse and more jubilant ending. This involves establishing the song’s structure in the first two verses, which lead to transitional pre-choruses and full choruses, and then turning the corner into the final chorus / coda, gaining momentum and hopefully voices in a singalong ending.
And then Scott’ll come home / and the dogs’ll come home / and we’ll all be at home / and if Lindsay ever leaves she’ll still come home
In my recorded performance, I am not quite into the physical performance of the song; the guitar I had handy didn’t have a strap to facilitate standing. But I have managed to employ my rhythm playing in such a way that lets the storytelling in the vocals become clearly imagined by the audience.
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 … Continue reading →
Here’s a brief example of how you might contribute a course introduction during our first few weeks of class this semester. You can see many others here.
While open online participants are free to jump in and begin on any particular assignment they like, even a short video introduction to yourself and your playing can provide a meaningful connection to your classmates before we get going.
Here are some prompts to get you going:
Who are you? Where are you from? How do you come to find yourself in #IntroGuitar?
What is your experience or history with guitar (or music)?
What do you want to learn during the course?
Is there anything you would like support in learning from the #introguitar community?
Be sure to categorize your post under Course Introductionsso they will sort with everyone else’s, and connect with others who are starting out by offering a comment or feedback on their introductions.
“…increasing calls for educational provision to develop a more global orientation.”
Mark Priestly, Gert Biesta, Gren Mannion and Hamish Ross (2010) introduce a network of policy drivers in the UK including departments of education, NGOs and political groups calling for schools to “equip children and young people with the knowledge, skills, and dispositions that will make them more aware of, and more engaged with, global issues and phenomena.” However, they note that “the reach of this global curricular trend has been largely homogenous within the UK and elsewhere,” a statement supported by recent British Columbia Ministry of Education Focus on LearningForum: Rising to the Global Challenge.
Given this reality, the authors set out to define just what is meant by “Global Citizenship.” This discussion introduces two sets of inquiries:
The advent of the web enables a type of individual inquiry and collective synthesis that makes new experiments in constructivism possible. But creating the conditions for such epistemological emergence can be a challenging possibility to consider.
“…if educators wish 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.”
Such a conception of knowledge-creation presents a problem for educators in imagining a means of assessing the type of collaborative inquiry necessary to bring about this type of learning. However, Gardner Campbell … Continue reading →
This is, Rasmussen admits, “certainly a worthy aim.” However, the blind spot in this well-intentioned practice is the fact that “rescuers often seem oblivious to the possibility of stemming the oppression of others in the first place,” and he introduces the problem of such foreign interventions of critical pedagogy as lacking if they do not address the fact that that which many westerners seek to rescue the rest of the world from, we in fact cause. For western conceptions of “progress” to be realized, social organizations not based in the same economic or social paradigm as our own must be disintegrated.
But beyond the music-makers, it’s exciting to think that MelodyLab also equips visual storytellers with a mobile split-screen video camera anywhere they pack their phones. It is a potential that reminds me of Radiolab‘s poetic Symmetry video, and other epic split-screen moments in cinema.