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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 />

require new literacies. The example of Wikipedia shows<br />

how <strong>the</strong> typical concern about content accuracy is<br />

legitimate, but perhaps mislead<strong>in</strong>g at <strong>the</strong> same time.<br />

The real concern should be about how Wikipedia is<br />

to be read. Unlike <strong>the</strong> Britannica, Wikipedia captures<br />

<strong>the</strong> previous arguments <strong>and</strong> versions that lead to <strong>the</strong><br />

current pages be<strong>in</strong>g published. Knowledge should<br />

always be contested. There<strong>for</strong>e, users of Wikipedia<br />

should be go<strong>in</strong>g to <strong>the</strong> edit page <strong>and</strong> exam<strong>in</strong><strong>in</strong>g <strong>the</strong><br />

parts where def<strong>in</strong>itions are contested.<br />

These new literacies also mean that kids need to be<br />

taught critical reason<strong>in</strong>g, because <strong>the</strong>y have to be able<br />

to read <strong>the</strong> contested knowledge to make up <strong>the</strong>ir own<br />

m<strong>in</strong>ds about what to believe. This is also part of civic<br />

<strong>in</strong>telligence. JSB illustrates this through <strong>the</strong> famous<br />

photograph taken <strong>in</strong> Baghdad dur<strong>in</strong>g <strong>the</strong> Iraq War:<br />

<strong>the</strong> statue of Saddam be<strong>in</strong>g pull<strong>in</strong>g down appeared<br />

on <strong>the</strong> front page of every English-speak<strong>in</strong>g American<br />

newspaper. The photograph was real but cropped,<br />

<strong>the</strong>re<strong>for</strong>e alter<strong>in</strong>g its mean<strong>in</strong>g. What <strong>the</strong> photograph did<br />

not show was that <strong>the</strong> people pull<strong>in</strong>g <strong>the</strong> statue down<br />

were American soldiers <strong>in</strong>stead of Iraqis; <strong>the</strong> cropped<br />

photograph <strong>and</strong> <strong>the</strong> accompany<strong>in</strong>g headl<strong>in</strong>es made<br />

readers believe Iraqis had pulled <strong>the</strong> statue down.<br />

Fortunately, many kids today are so good at remix<strong>in</strong>g<br />

that <strong>the</strong>y have begun to underst<strong>and</strong> exactly how such<br />

messages can be manipulated <strong>in</strong> very powerful ways.<br />

The com<strong>for</strong>table world of relatively stable context that<br />

people have been so used to has changed irrevocably.<br />

As <strong>the</strong> world moves from stable to fluid contexts,<br />

today’s creators, leaders <strong>and</strong> teachers need to be<br />

able to constantly reshape <strong>the</strong>ir conceptual lenses.<br />

They need to radically reth<strong>in</strong>k how <strong>the</strong>y see th<strong>in</strong>gs.<br />

The problem is that <strong>the</strong>y may not even be aware that<br />

<strong>the</strong>y are wear<strong>in</strong>g <strong>the</strong>m nor realise how <strong>the</strong>se lenses<br />

<strong>in</strong>fluence how <strong>the</strong>y see. Even if <strong>the</strong>y are cognisant to<br />

<strong>the</strong> fact, <strong>the</strong>y do not know how it is so second nature<br />

to <strong>the</strong>m. In this digital world, kids are construct<strong>in</strong>g<br />

frames by t<strong>in</strong>ker<strong>in</strong>g <strong>and</strong> play<strong>in</strong>g <strong>in</strong> <strong>the</strong> ways that have<br />

been described above. Crucially, it turns out that one’s<br />

conceptual frames come from play<strong>in</strong>g.<br />

The play of imag<strong>in</strong>ation<br />

The sense of play emerges under at least two<br />

conditions: permission to fail <strong>and</strong> <strong>the</strong> exercise of play<br />

imag<strong>in</strong>ation. Extreme sports <strong>and</strong> hip hop are good<br />

illustrations. To reach extreme per<strong>for</strong>mance <strong>in</strong> extreme<br />

sports, kids must be given permission to fail aga<strong>in</strong> <strong>and</strong><br />

aga<strong>in</strong>. In per<strong>for</strong>m<strong>in</strong>g hip hop, kids are actually be<strong>in</strong>g<br />

poets <strong>in</strong> terms of attun<strong>in</strong>g to <strong>the</strong> most nuanced shades<br />

of sound <strong>in</strong> a phrase.<br />

Moreover, when kids are given a creative context<br />

<strong>for</strong> play imag<strong>in</strong>ation, epiphanies can arise which<br />

enhances learn<strong>in</strong>g retention. The learn<strong>in</strong>g that happens<br />

through epiphanies is never <strong>for</strong>gotten. One example is<br />

riddles. In solv<strong>in</strong>g a riddle, one needs to reframe <strong>and</strong><br />

register words, as illustrated <strong>in</strong> <strong>the</strong> follow<strong>in</strong>g: “A black<br />

dog is sleep<strong>in</strong>g <strong>in</strong> <strong>the</strong> middle of a black road that has<br />

no streetlights <strong>and</strong> <strong>the</strong>re’s no moon. A car is com<strong>in</strong>g<br />

down <strong>the</strong> road with its lights off, but steers around <strong>the</strong><br />

dog. How did <strong>the</strong> driver know <strong>the</strong> dog was <strong>the</strong>re” If<br />

one th<strong>in</strong>ks <strong>the</strong> reason is day time, one would be right!<br />

What needs to be done is to reframe <strong>the</strong> context that<br />

was <strong>in</strong>itially established (“black”, “no streetlights”, “no<br />

moon” <strong>and</strong> “with its lights off”). This is play imag<strong>in</strong>ation<br />

at work.<br />

Playful t<strong>in</strong>ker<strong>in</strong>g<br />

Moreover, it is perhaps <strong>in</strong> playful t<strong>in</strong>ker<strong>in</strong>g <strong>and</strong><br />

refram<strong>in</strong>g that one is be<strong>in</strong>g Homo Sapien, Homo Faber<br />

<strong>and</strong> Homo Luden all at once (Figures 6 <strong>and</strong> 7).<br />

20 <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>

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