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Learning in and for the 21st Century - NIE Digital Repository

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SYMPOSIUM <strong>and</strong> PUBLIC LECTURE<br />

Professor JOHN SEELY BROWN<br />

21–22 November 2012<br />

space is a space where kids can come <strong>in</strong> <strong>and</strong> build<br />

th<strong>in</strong>gs with o<strong>the</strong>rs. It is established around a culture<br />

where <strong>the</strong> community members love to build <strong>and</strong> t<strong>in</strong>ker.<br />

A physical sign outside one of <strong>the</strong>se hacker spaces,<br />

Open Studio, depicts <strong>the</strong> spirit of <strong>the</strong> space: “‘Hack’ is<br />

a verb, to devise or modify someth<strong>in</strong>g, usually skillfully”.<br />

Innovation thrives at <strong>the</strong> crossroads where ideas,<br />

perspectives <strong>and</strong> <strong>in</strong><strong>for</strong>mation from different fields,<br />

places <strong>and</strong> people collide <strong>in</strong> <strong>the</strong> chaos of creativity.<br />

Clearly, kids engaged <strong>in</strong> <strong>the</strong>se hacker spaces are<br />

com<strong>in</strong>g toge<strong>the</strong>r to build <strong>and</strong> to share th<strong>in</strong>gs with each<br />

o<strong>the</strong>r.<br />

context”. In particular, we might consider how a<br />

context could be made us<strong>in</strong>g digital technologies <strong>and</strong><br />

how <strong>in</strong> mak<strong>in</strong>g context, people are able to frame how<br />

someth<strong>in</strong>g is to be perceived <strong>and</strong> understood.<br />

The practice of remix<strong>in</strong>g is a fitt<strong>in</strong>g example of how new<br />

mean<strong>in</strong>gs are made by chang<strong>in</strong>g <strong>the</strong> context. Remix<strong>in</strong>g<br />

is tak<strong>in</strong>g <strong>the</strong> content <strong>and</strong> chang<strong>in</strong>g what <strong>the</strong> content<br />

means to <strong>the</strong> viewer. For <strong>in</strong>stance, when <strong>the</strong> music to<br />

a video is changed, <strong>the</strong> audience’s emotional response<br />

to it will change as well. But more could happen, is that<br />

what is seen would also be changed. For example, JSB<br />

shared that people may remember see<strong>in</strong>g <strong>the</strong> scene of<br />

<strong>the</strong> T-Rex swallow<strong>in</strong>g a man <strong>and</strong> chomp<strong>in</strong>g on him <strong>in</strong><br />

<strong>the</strong> movie Jurassic Park, directed by Steven Spielberg.<br />

However, if a still frame analysis of <strong>the</strong> movie were to<br />

be carried out, it will be discovered that at <strong>the</strong> critical<br />

moment when <strong>the</strong> jaws close, <strong>the</strong> movie goes blank.<br />

What does happen is that <strong>the</strong> music cont<strong>in</strong>ues, which<br />

is meant to make viewers imag<strong>in</strong>e or “see” <strong>the</strong> T-Rex<br />

chomp<strong>in</strong>g on <strong>the</strong> man. Triggered by <strong>the</strong> music, viewers<br />

fill <strong>the</strong> scene with <strong>the</strong>ir own image <strong>in</strong> a way that is more<br />

powerful than if <strong>the</strong>y had actually seen it.<br />

Figure 5. Three different epistemologies.<br />

Mak<strong>in</strong>g contexts<br />

Human be<strong>in</strong>gs are predom<strong>in</strong>antly thought of as makers,<br />

especially <strong>in</strong> terms of produc<strong>in</strong>g physical materials.<br />

However, <strong>the</strong>re are now many tools <strong>in</strong> <strong>the</strong> digital world<br />

to help users make context as much as content. This<br />

was literally impossible be<strong>for</strong>e unless one were a<br />

billionaire <strong>and</strong> bought a TV station to create a context<br />

of how news can be curated, <strong>for</strong> <strong>in</strong>stance. Now, even<br />

kids are start<strong>in</strong>g to make <strong>the</strong>ir own contexts. There<strong>for</strong>e,<br />

<strong>the</strong>re is a need to reframe “mak<strong>in</strong>g” <strong>in</strong> terms of “mak<strong>in</strong>g<br />

Ano<strong>the</strong>r practice that is context-build<strong>in</strong>g is blogg<strong>in</strong>g. A<br />

very successful blogger, Andrew Sullivan (2008) notes<br />

that “[A blogger] is – more than any writer of <strong>the</strong> past –<br />

a node among o<strong>the</strong>r nodes, connected but unf<strong>in</strong>ished<br />

without <strong>the</strong> l<strong>in</strong>ks <strong>and</strong> <strong>the</strong> comments <strong>and</strong> <strong>the</strong> track-backs<br />

that make <strong>the</strong> blogosphere, at its best, a conversation,<br />

ra<strong>the</strong>r than a production.” What is be<strong>in</strong>g suggested<br />

here is that blogg<strong>in</strong>g is creat<strong>in</strong>g <strong>the</strong> context of an ongo<strong>in</strong>g<br />

conversation.<br />

New contexts, new literacies<br />

The emerg<strong>in</strong>g onl<strong>in</strong>e practices, such as remix<strong>in</strong>g<br />

<strong>and</strong> blogg<strong>in</strong>g, create contexts <strong>and</strong> new contexts that<br />

<strong>Learn<strong>in</strong>g</strong> <strong>in</strong> <strong>and</strong> <strong>for</strong> <strong>the</strong> <strong>21st</strong> <strong>Century</strong><br />

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