This is a really (really!) important time to be doing this work, and we hope there will be lots of interest in applying, even under the strange circumstances in which we all find ourselves. In addition to the project itself, the successful applicant will be part of the first cohort of the Edinburgh Futures Institute’s Baillie Gifford programme in the Ethics of Data and Artificial Intelligence. Have a look at the other four projects being advertised to get a sense of the interdisciplinary opportunities being part of that cohort will bring. Professor Shannon Vallor is leading the programme, and there are a lot of great plans being developed for the cohort.
gesturing toward a future that involves a deeper understanding of the role surveillance has played and continues to play in universities and tactics and strategies for interrupting and perhaps reducing or reconfiguring its impacts. This requires a willingness to speculate that some of the surveillance roles we have come to accept could be otherwise, along with an acknowledgment that we are implicated in what Lyon terms ‘surveillance culture’ in education. What can we do with that knowledge, and what culture shifts can we collectively provoke?
Two new things have so far emerged from the network. One is a research project called Co-designing with Speculative Data Stories. This was funded by the Edinburgh Futures Institute Research Awards scheme, and the research team (me, Amy, Anna Wilson, Jane McKie and Martin Hawksey) proposed to run ‘speculative data stories’ workshops with groups of colleagues in UK universities whose roles involve supporting, promoting and working with learning technologies. With the current closure of campuses and intense pressures on those very colleagues to support their institutions to move considerable amounts of university work online, we have had to put this project on hold – but we are hoping to be able to reimagine it in some form, soon.
The second new thing – and the prompt to write this blog post today – is that Karen Gregory and I have been successful in securing one of five new funded PhD studentships on the theme of data ethics (Edinburgh Futures Institute/Baillie Gifford). These projects will be advertised in the next few weeks – ours is called The University of Data: Ethical and Social Futures of Data-Driven Education. I am very happy, as is Karen, to hear from anyone who might be interested in applying for this! More info to follow soon, in a separate blog post.
A big part of my working life for the next few years involves the development of a new postgraduate programme, to be part of the Edinburgh Futures Institute (EFI). The programme is made up of a number of interlinked pathways, including one on Education Futures – this is the one I’m leading on. The programme will be interdisciplinary, challenge-led, and have core data and creative skills courses as well as a range of core and option courses for each pathway.
Education Futures is particularly exciting (in my view!) because it will focus on some of the key ideas and topics informing learning, knowledge and education across the whole life course, with an emphasis on understanding the relationships between data and education. I want to see the pathway appealing to people from all sectors of education and learning, including schools, workplace learning, community education, and higher and further education. Things are still in the early stages of development, but by studying this pathway, we want students to be able to:
Understand and critically examine possible futures for formal and informal education.
Analyse education’s role in shaping and responding to global challenges and social, political, cultural and environmental change.
Make critical links between education and data-driven innovation, exploring the geographies, mobilities, values, ethics and forms of measurement that come along with greater innovation with, use of, and reliance on data.
Course topics we’re currently discussing include the future of learning organisations; educating for the future; personalisation, surveillance and anonymity; policy, metrics and governance; education and work; agency and social change; participation, care, inclusion and culture; expertise, literacies, trust and data fluency – and more!
I’ve meant to post about this for a while, but things have been hectic! Higher Education After Surveillance is a new project that my colleague Amy Collier (Middlebury College) and I dreamed up last year, in light of work we are each doing around issues of surveillance, trust, visibility, digital sanctuary and more, and as a way of trying to think big about some of the challenges we are currently facing. We enlisted the help of a small but mighty group of colleagues around the UK, US and Canada to get involved, and we hosted a virtual roundtable in March as a way of beginning to scope what such a group might do.
We’re aiming to develop this project in a sustainable way – it isn’t funded (or not yet, anyway), and everyone involved is already incredibly busy – so that it can become something genuinely meaningful, critical and impactful. We also need to think carefully about the scope (geographical and otherwise) of this work. It’s all very exciting, and timely, if daunting – it seems there are new stories, questions and areas for attention emerging most days (this week in the UK it was the announcement of a collaboration involving JISC and the Office for Students, led by Northumbria University, to ‘lead transformation in how the Higher Education sector identifies mental health issues in students‘. It… has not gone over well).
If you are or know someone who needs to be involved in what we’re doing, please do get in touch.
We are so excited about this new PhD studentship that we want to let people know it’s coming. We’ll soon be advertising a fully funded AHRC Collaborative Doctoral Partnership (CDP) studentship, for a project we are (for the moment!) calling “Unlike a version: the lives of digitised artworks”. It was a working title, but we all found it so funny that we decided to keep it – and that probably tells you something about the team our lucky student will be joining (and in case you aren’t a 1980s-era Madonna fan, this is the reference (Youtube link) ). The studentship will start in October 2019.
If you don’t know about CDPs, these are amazing funded studentships that not only pay fees and a stipend (for eligible UK/EU students – there are some rules about this), but create really brilliant opportunities for students to be immersed in a cultural heritage organisation over the period of their studies, and support their professional development and scholarship with travel funding, a student development fund, and membership of a network of other doctoral students across the UK.
So: this project is the perfect opportunity for someone whose interests span art, digitisation, digital cultures, engagement and interpretation to spend a few years in Edinburgh working with a team of supervisors from National Galleries of Scotland (Christopher Ganley and Màiri Lafferty) and the University of Edinburgh (Jen Ross and Melissa Terras) on a project that will explore the meanings and movements of digitised artworks in the context of NGS’ collections. We think the right starting position here is that digitised artworks are more than merely versions of the ‘real thing’: they have meaning and value in their own right, and significance for sharing, interpretation, connection and inspiration. The project will develop a richer picture of digital objects and how they contribute to the shifting boundaries of the institution, to curatorial practice, and to NGS’ ambitions to open more of its collections to digital re-use.
My most recent article was published last week, and it bridges the recent Artcasting project with work I am currently developing about what ‘open futures’ for digital cultural heritage may look like, and why this matters.
In a nutshell, I argue that digital co-production:
• unfolds across multiple times and spaces;
• involves the ‘unknowable other’;
• challenges the stability of relationships;
• invites a rethinking of hospitality.
I use the example of the Artcasting project to illustrate these four elements. Ultimately, the theoretical contribution is the bringing together of hospitality and mobilities to consider hospitality as a ‘trajectory’, building on David Bell‘s (2012) notion of ‘host-spots’.
In the context of co-production, trajectory invites us to consider movements of people into, through and away from the museum, taking up different positions in relation to shifting host/guest trajectories as they enter, leave, and reencounter it. A range of practices in relation to access and use of digital cultural heritage objects offers many possible trajectories of hospitality. Theposition of ‘host’ shifts from the museum to the aggregator web site to the user themselves as control over and location of the digital object moves. Guesting is constructed and reconfigured through timelines, searches, mentions, likes and upvotes. The user-as-host might even extend a welcome to the museum-as-guest by mentioning it on their personal feed.
All of these trajectories coalesce around an object whose meanings are shifting in the process. I think the role of the museum in this context is to set up co-productive situations that can allow for multiple hostings and guestings, and (following Doron 2009) inhabit more uncertain, less secure positions in relation to its role as ‘host’. (Artcasting was a very interesting example of this multiplicity.)
Bell, D. 2012. “Moments of Hospitality.” In Mobilizing Hospitality: The Ethics of Social Relations in a Mobile World, edited by J. G. Molz and S. Gibson. Ashgate Publishing Ltd.
Doron, E. 2009. “At Hospitality’s Threshold: From Social Inclusion to Exilic Education.” Curator: The Museum Journal 52(2): 169–82.
Shout outs to Melissa Terras, Smita Kheria, Christopher Ganley, Mairi Lafferty, Ashley Beamer and Louise Rasmussen for all their contributions to the thinking-in-progress, to Phil Sheail for the work we did on hospitality that informed this paper, to Sian Bayne for reading and commenting, and to Jeremy Knox, Claire Sowton and Chris Speed for everything Artcasting related. 🙂