{"id":13096,"date":"2017-05-22T10:00:42","date_gmt":"2017-05-22T10:00:42","guid":{"rendered":"http:\/\/jenrossity.net\/blog\/?p=13096"},"modified":"2017-06-15T09:36:41","modified_gmt":"2017-06-15T09:36:41","slug":"references-for-learning-with-digital-provocations","status":"publish","type":"post","link":"http:\/\/jenrossity.net\/blog\/?p=13096","title":{"rendered":"Notes from keynote lecture, &#8220;Learning with Digital Provocations\u201d"},"content":{"rendered":"<p>I was delighted to give\u00a0a <a href=\"http:\/\/www.digital.hss.ed.ac.uk\/digital-day-of-ideas\/digital-day-ideas-2017\/\">keynote talk at the Digital Day of Ideas<\/a> here at the University of Edinburgh on 17 May 2017. Here are the slides, notes and references from my talk.<\/p>\n<p><strong>\u201cLearning with Digital Provocations\u201d<\/strong><\/p>\n<p><strong>Abstract:<\/strong> One of the most significant tensions in the convergence of technology and education is how the promise\/threat of \u2018disruption\u2019 comes up against theories, practices and structures of formal and informal education. Disruption in educational technology contexts has come to be aligned with neo-liberal discourses of efficiency, enhancement, personalisation, scale and automation; and we can be forgiven for cynicism about its critical and creative potential in education. This talk aims to reanimate the debate by reframing disruption in terms of inventiveness, provocation, uncertainty and the concept of \u2018not-yetness\u2019. Focusing on the recent AHRC-funded Artcasting project, and with other examples drawn from the work of the Centre for Research in Digital Education at the University of Edinburgh, it\u00a0argues that inventive digital approaches can help us develop critical responses to assumptions about the role of the digital in contexts including higher education, museums and galleries.<\/p>\n<p><strong>Slides:<\/strong><\/p>\n<p><iframe loading=\"lazy\" style=\"border: 1px solid #CCC; border-width: 1px; margin-bottom: 5px; max-width: 100%;\" src=\"\/\/www.slideshare.net\/slideshow\/embed_code\/key\/EI8xR5D0ncD8Ce\" width=\"595\" height=\"485\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" allowfullscreen=\"allowfullscreen\"> <\/iframe><\/p>\n<div style=\"margin-bottom: 5px;\"><strong> <a title=\"Learning with Digital Provocations\" href=\"\/\/www.slideshare.net\/jenrossity\/learning-with-digital-provocations\" target=\"_blank\">Learning with Digital Provocations<\/a> <\/strong> from <strong><a href=\"https:\/\/www.slideshare.net\/jenrossity\" target=\"_blank\">jenrossity<\/a><\/strong><\/div>\n<p>&nbsp;<\/p>\n<p><strong>Notes:<\/strong><\/p>\n<p>This talk brings together several ideas I\u2019ve been working on over the past few years, alongside the best colleagues anyone could hope for, some of whom are in the room today. The message I\u2019ll leave you with is ultimately a hopeful one, so you can look forward to that. But before we get there, I need to talk about the challenges of teaching and researching in the context of other things that are going on in the sphere of educational technology. I\u2019m going to start by telling you about the concept of \u2018disruption\u2019 and why, for a lot of us teaching and researching in digital education, it\u2019s become a dirty word. You can play along if you know what to look out for.<\/p>\n<p>So: next time you read a news article about educational technology, see how well you do in disruption bingo:<\/p>\n<ul>\n<li>Universities and schools are broken, failing, out of date<\/li>\n<li>Digital natives\/millenials\/?? demand, expect, deserve<\/li>\n<li>Teachers resist<\/li>\n<li>Efficiency, speed, simplicity through better technology!<\/li>\n<li>Personalisation\/individualisation is key<\/li>\n<li>Satisfaction guaranteed<\/li>\n<\/ul>\n<p>Harvard Business School professor Clay Christensen has been an important promoter of ideas about how education is fundamentally broken and in need of disruption through technology. We\u2019re not going to dwell on him for long, but his framing of disruption has been very influential. Here\u2019s <a href=\"https:\/\/www.bostonglobe.com\/opinion\/2014\/05\/09\/moocs-disruption-only-beginning\/S2VlsXpK6rzRx4DMrS4ADM\/story.html\">Professor Christensen writing in 2014 about massive open online courses<\/a> \u2013 the huge, free courses offered by universities through platforms like Futurelearn, Edx and Coursera.<\/p>\n<p style=\"padding-left: 30px;\">\u201cIn 2013, we witnessed <strong>aggressive discounting <\/strong>strategies as well as schools experimenting with lowering net \u2014 not sticker \u2014 prices in an effort to recruit students.\u201d<\/p>\n<p style=\"padding-left: 30px;\">\u201cFree access to content from prestigious institutions revealed that <strong>content didn\u2019t need to be proprietary.\u201d<\/strong><\/p>\n<p style=\"padding-left: 30px;\">\u201cFaculty have been <strong>forced to reassess <\/strong>how and why they teach the way they do.\u201d<\/p>\n<p style=\"padding-left: 30px;\">\u2026\u201cMany colleges and universities resist the idea of training students for jobs. Yet <strong>it is employers who are truly the ultimate consumers of degree-holders<\/strong>.\u201d<\/p>\n<p>The first three points might or might not seem objectionable to you, but I do want to draw attention to the fourth, which was buried rather far down in the article, right near the end. The idea that students are the product and employers are the consumers is a rather striking point from which to disrupt\/fix\/reimagine education, don\u2019t you think?<\/p>\n<p>When you see headlines like this \u2013 \u201c<a href=\"http:\/\/www.economist.com\/news\/special-report\/21646986-online-learning-could-disrupt-higher-education-many-universities-are-resisting-it-not\">many universities are resisting online learning<\/a>\u201d\u00a0 \u2013 I would encourage you to consider that resisting educational technology and online learning, at least in the form it\u2019s being offered by thinkers like Christensen and the companies, institutional actors and others that embrace these types of philosophies, might be a highly principled position. We\u2019ll come back to this.<\/p>\n<p>Another common line of reasoning in the disruptive technology for education genre is the analogy to failed business models in other sectors. A well-known one was <a href=\"http:\/\/www.shirky.com\/weblog\/2012\/11\/napster-udacity-and-the-academy\/\">Clay Shirky\u2019s analogy of how napster destroyed the music industry, and why universities need to take note of this<\/a>. Here\u2019s another one \u2013 Blockbuster. Where is blockbuster today? And what does this have to do with education? Well, <a href=\"http:\/\/www.huffingtonpost.com\/eric-sheninger\/education-is-ripe-for-dis_b_11767198.html\">according to Sheninger<\/a>, incremental change is not enough to save the education system. Only disruptive strategies will save education from being the next Blockbuster.<\/p>\n<p>There is literally no area of education that is immune from the idea that technology will disruptively improve it. This is from this year\u2019s <a href=\"https:\/\/tmt.knect365.com\/future-edtech\/\">Future EdTech conference web site<\/a>:<\/p>\n<p style=\"padding-left: 30px;\">Digital Disruption in Education:\u00a0Institutions have far understood that traditional means of communications are not efficient anymore when engaging with generation Y. Reaching out to recruits, current students and alumni, positioning your brand and communication can be massively assisted with the use of new tech that offers unprecedented insights and opportunities to personalise communication.<\/p>\n<p>Note the corporate language and the appearance of generation y and personalisation to talk about communicating with students.<\/p>\n<p>Pervasive rhetoric of disruption makes those in the education technology sector especially open to \u2018the next big thing\u2019, whatever it might be. As an example that emerged on the scene last year, I want to talk about the emergence of the concept of \u2018blockchain\u2019 for education.<\/p>\n<p style=\"padding-left: 30px;\">Bitcoin is a digital currency in which transactions can be performed without the need for a credit card or central bank&#8230; The blockchain is a public ledger of all transactions in the Bitcoin network. &#8211; \u00a0<a href=\"https:\/\/blockchain.info\/wallet\/bitcoin-faq\">https:\/\/blockchain.info\/wallet\/bitcoin-faq<\/a><\/p>\n<p>Blockchain is really fascinating, and if you want to learn more about it, you might like to check out Professor Chris Speed\u2019s ESRC project called \u2018after money\u2019 (<a href=\"http:\/\/aftermoney.design\">http:\/\/aftermoney.design<\/a> ).<\/p>\n<p>There are some big promises being made for what blockchain could do for society:<\/p>\n<p style=\"padding-left: 30px;\">let\u2019s put health records, voting, ownership documents, marriage licenses and lawsuits in the blockchain. Eventually, every dataset and every digital transaction could leave a \u201cfingerprint\u201d there, creating an audit trail for any digital event throughout history, without compromising anyone\u2019s personal privacy. [blockchain] could introduce a level of democracy and objective \u201ctruth\u201d to the digital world that even the physical world can\u2019t match. Its promise involves a future in which no one has absolute power online, and no one can lie about past or current events. (<a href=\"http:\/\/recode.net\/2015\/07\/05\/forget-bitcoin-what-is-the-blockchain-and-why-should-you-care\/\">http:\/\/recode.net\/2015\/07\/05\/forget-bitcoin-what-is-the-blockchain-and-why-should-you-care\/<\/a> )<\/p>\n<p>Education is no exception. This is a design fiction, based on what the creators called \u2018edublocks\u2019. This video was made by the Institute for the Future and the Act Foundation to generate discussion and debate, so we can assume it is aiming to be at least a bit controversial. Bear that in mind as we enter a world where \u2018learning is earning\u2019.<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/qqVRSe9nHY0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Controversial or not, the concept of blockchain for education has caught on, and<a href=\"http:\/\/er.educause.edu\/articles\/2017\/3\/the-blockchain-revolution-and-higher-education\"> Tapscott &amp; Tapscott assure us<\/a>, disruption is sure to follow.<\/p>\n<p style=\"padding-left: 30px;\">\u201cthe blockchain represents nothing less than the second generation of the Internet, and it holds the potential to disrupt money, business, government, and yes, higher education.\u201d<\/p>\n<p>Big players are getting into this. Last year <a href=\"https:\/\/www.cryptocoinsnews.com\/sony-blockchain-education-system\/\">Sony moved into \u2018blockchain for education\u2019<\/a>, and two weeks ago <a href=\"https:\/\/thenextweb.com\/apps\/2017\/04\/28\/google-opens-up-classroom-so-anyone-can-now-become-a-teacher\/#\">Google announced that its Classroom platform will be opened up so that \u2018anyone\u2019 can become a teacher<\/a>. The infrastructure, the funding and the desire is lining up behind making edublocks, or something like them, a reality. What does it mean to work critically in such a space?<\/p>\n<p>I think that pervasiveness of the discourse of disruption means that it is something educators and educational researchers have to grapple with. I\u2019ve hinted at some of the difficulties I have with the underpinning values being expressed through the concept of disruptiveness. Now I want to make explicit what we need, as digital educators, scholars and researchers, to take into account if we want to reconfigure this debate.<\/p>\n<p>Neil Selwyn offers a useful set of critical questions we can ask when faced with calls for disruptive educational technology:<\/p>\n<blockquote><p>What is actually new here?<\/p>\n<p>What are the unintended consequences or second-order effects?<\/p>\n<p>Who is pushing these ideas in education? What are their reasons for doing so? What wider agendas are attached to these conversations?<\/p>\n<p>What is being said about education that might be useful? What is being said about education that teachers might wish to challenge and talk back to?<\/p>\n<p>(Selwyn 2015, p183)<\/p><\/blockquote>\n<p>We shouldn\u2019t necessarily take claims about disruption at face value \u2013 I would argue, with Sian Bayne, that a lot of the current ideas about disruptive technology in education are popular not because they are so radical, but precisely because they leave what she calls \u2018deeply conservative assumptions\u2019 about education in place:<\/p>\n<p style=\"padding-left: 30px;\">[Technology Enhanced Learning] carries with it a set of discursive limitations and <strong>deeply conservative assumptions<\/strong> which actively limit our capacity to be critical about education and its relation to technology. At the same time, it <strong>fails to do justice<\/strong> equally to the <strong>disruptive, disturbing and generative dimensions<\/strong> of the academy\u2019s enmeshment with the digital. (Bayne 2015, p.7)<\/p>\n<p>Rhetoric of disruption, like that of enhancement, doesn\u2019t often signal a willingness to grapple with what is genuinely \u2018disruptive, disturbing and generative\u2019. Lesley Gourlay suggests that one of the big \u2018disruptive\u2019 ideas in education technology, openness, often carries with it some really troubling fantasies, including one of moving away from engagement with contestable knowledge, towards access to content:<\/p>\n<p style=\"padding-left: 30px;\">\u201cThe fantasy [of openness] appears to be one of <strong>total liberation<\/strong> <strong>from<\/strong> the perceived constraints of formal study, the <strong>rigours<\/strong> of assessment and engagement with <strong>expertise<\/strong> and established bodies of <strong>(contestable) knowledge<\/strong>, all of which are activities deemed hierarchical and repressive of creativity. The emphasis is instead reduced to access and the online generation of <strong>\u2018<\/strong>content<strong>\u2019 <\/strong>\u2013 which carries with it a further powerful fantasy of unfettered human potential which can be unlocked unproblematically in informal lay interaction. (Gourlay 2015, p.8)<\/p>\n<p>(Jeremy Knox has also done excellent work around the problems of framing openness as \u2018access alone\u2019 \u2013 see references for more on this.)<\/p>\n<p>Audrey Watters \u2013 talking about Sebastian Thrun (Udacity for-profit educational platform founder), and the context of market demands, precarious labour and automation \u2013 <a href=\"http:\/\/hackeducation.com\/2017\/03\/30\/driverless\">has a lot to say about the \u2018uberification\u2019 of education<\/a>. As she points out, Universities are holding on to accreditation and other protections\u2026 for now (but see blockchain above).<\/p>\n<p>Too often, what we see when we go digging into disruption is an impulse for change that isn\u2019t honest about its assumptions, and that can be destructive. That\u2019s why, for me, the most important thing about working in scholarly areas that focus on the digital is how we bring together sharp and critical analysis with creativity. That is: how do we work in a way that shows how things are, but also makes space to actively explore how they might be otherwise? What kinds of provocations can help us do this? I think what we need are approaches that are more surprising, and subversive, and imaginative.<\/p>\n<p>I first started thinking seriously about the role of provocation in 2011, when my colleagues and I were working on <a href=\"http:\/\/www.de.ed.ac.uk\/project\/student-writing-innovative-online-strategies-assessment-feedback\">a project about online writing, assessment and feedback<\/a>. We thought about writing some principles, but we decided that what was needed in our field at that time was not \u2018principles\u2019 or yet another version of \u2018best practice\u2019, but something altogether more provocative \u2013 a manifesto. The <a href=\"https:\/\/onlineteachingmanifesto.wordpress.com\">2012 and 2016 versions of the manifesto for teaching online<\/a> have been really important sources of discussion, debate and inspiration for us and our students, colleagues and others in the field. \u00a0The series of short statements are grounded in our own and others\u2019 research, and they open up a range of critical questions and ideas about digital education, framing these in active ways (we tried not to simply repudiate everything). This video interpretation of the manifesto, made by our excellent colleague and PhD student, James Lamb, gives a good way in.<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/185848879\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><a href=\"https:\/\/vimeo.com\/185848879\">The Manifesto for Teaching Online (2016)<\/a> from <a href=\"https:\/\/vimeo.com\/james858499\">james858499<\/a> on <a href=\"https:\/\/vimeo.com\">Vimeo<\/a>.<\/p>\n<p>The manifesto and an invitation it generated in 2012 led directly to meeting <a href=\"http:\/\/redpincushion.us\/blog\/\">Dr Amy Collier, now at Middlebury College in Vermont<\/a>. Amy and I have been working for the past few years on what we\u2019ve found to be a generative way of thinking about the future of educational technology. As Neil Selwyn points out:<\/p>\n<p style=\"padding-left: 30px;\">\u2018technologies are subjected continually to complex interactions and negotiations with the social, economic, political and cultural contexts into which they are situated.\u2019(Selwyn 2012, 214\u201315)<\/p>\n<p>The category of \u2018emerging technologies\u2019 is especially complex, since it brings the future into the equation. Our colleague George Veletsianos talks about these as \u201cnot yet fully understood\u201d and \u201cnot yet fully researched, or researched in a mature way\u201d (Veletsianos 2010, 15). Amy and I have coined the term \u2018notyetness\u2019 to capture something of this complexity and uncertainty:<\/p>\n<p style=\"padding-left: 30px;\">Practices, identities, pedagogies and technologies can be marked by this \u2018not-yetness\u2019 (Ross &amp; Collier 2016)<\/p>\n<p>Not-yetness works in the service of a messier understanding of what constitutes higher education, and how technologies act in this space; and it engages with complexity, uncertainty and risk, not as factors to be minimised or resolved, but as necessary dimensions of technologies and practices which are unknown and in flux. We want to continually centre this complexity, mess and uncertainty when we think about the future of education and its technologies.<\/p>\n<p>For me, that applies equally to research, and I\u2019ve been developing my own understanding of what that means over the past few years. It\u2019s helping me understand what \u2018creatively critical\u2019, provocative methods can do when applied to digital education. The best way I\u2019ve found so far to think about this is through the lens of speculative method. These methods are increasingly used in design disciplines, and they include approaches like design fictions. They\u2019ve also been taken up in the social sciences in a range of conceptual and empirical ways. Speculative (or inventive method)<\/p>\n<ul>\n<li>is \u2018explicitly oriented towards an investigation of the open-endedness of the social world.\u2009\u2026\u2009the happening of the social world \u2013 its ongoingness, relationality, contingency and sensuousness\u2019 (Lury and Wakeford 2012, 2).<\/li>\n<li>is aimed at envisioning or crafting futures or conditions which may not yet currently exist.<\/li>\n<li>provokes new ways of thinking and brings particular ideas or issues into focus.<\/li>\n<li>may blur boundaries between research, design and teaching.<\/li>\n<li>involves considerations around epistemology, temporality and performativity.<\/li>\n<\/ul>\n<p>For me, three key elements to speculative method are epistemology, temporality and performativity. I\u2019ve written about this in a recent <a href=\"http:\/\/www.tandfonline.com\/doi\/full\/10.1080\/17439884.2016.1160927\">journal article in Learning Media and Technology<\/a> which you might like to check out if you want to read more.<\/p>\n<p>These methods challenge linearity and replicability \u2013 and they are explicitly about the kinds of questions being asked. Questions about the future, provocative questions, questions that create their own conditions of answerability \u2013 conditions that didn\u2019t exist before:<\/p>\n<p style=\"padding-left: 30px;\">the \u2018answerability\u2019 of a problem is introduced by crafting a method specifically to address that problem. (Lury &amp; Wakeford 2012)<\/p>\n<p>Wilkie, Michael, and Plummer-Fernandez (2015) argue that methodology itself is \u2018a process of asking inventive, that is, more provocative questions\u2019 (p.4)<\/p>\n<p>Speculative methods are also, in their focus on the future, very enmeshed in ideas about time. Visions of the future generate effects in the present, and our fictions and inventions are shaped by issues we inherit, and closed off from futures we can\u2019t yet imagine. Furthermore, the effectiveness of inventive methods \u2018cannot be secured in advance\u2019 (Lury &amp; Wakeford 2012).<\/p>\n<p>Importantly, speculative method relies on engaging with and provoking various kinds of publics \u2013 and how those publics, or audiences, or participants respond to \u2018objects to think with\u2019 determines the nature of the problem and its answerability.<\/p>\n<p>I\u2019m going to spend the last part of my talk sharing some examples of projects in the <a href=\"http:\/\/www.de.ed.ac.uk\">Centre for Research in Digital Education<\/a> \u00a0that have used speculative method to introduce creative criticality into areas that really needed it! I\u2019m going to mention two briefly, then talk in a little more detail about the third, the Artcasting project.<\/p>\n<p>The first of these projects tackled automation and the role of the teacher. This was <a href=\"http:\/\/www.de.ed.ac.uk\/project\/teacherbot-interventions-automated-teaching\">the \u2018teacherbot\u2019 project, led by Sian Bayne, with colleagues from Digital Education, Informatics and Design Informatics<\/a>. In this project we worked together to create an automated twitter bot that would respond to participants on the <a href=\"https:\/\/edcmoocteam.wordpress.com\/about\/\">E-learning and Digital Cultures MOOC<\/a>. Its responses were written by the course team and triggered by particular keywords that appeared in the #edcmooc hashtag. Participants engaged with it in all kinds of ways, both playful and serious. Teacherbot helped us explore, alongside MOOC participants, <a href=\"http:\/\/www.tandfonline.com\/doi\/full\/10.1080\/13562517.2015.1020783\">responses to automation and different ways of thinking about how humans and machines might teach together<\/a>.<\/p>\n<p>The second project I want to mention is the \u201clearning analytics report card\u201d, or LARC, project, led by Jeremy Knox:\u00a0<a href=\"https:\/\/larcproject.wordpress.com\">https:\/\/larcproject.wordpress.com<\/a> . LARC was designed to explore how Universities can develop critical and participatory approaches to educational data analysis. It did this by creating an interface for data from the Moodle virtual learning environment, where students could chose the types of reports they wanted to have generated about them, and would get \u2018plain english\u2019 results that we\u2019ve seen from engaging in them with students can be really generative and thought-provoking. By revealing data that is usually hidden, and presenting it in playful and provocative ways, the project is getting people more critically engaged with ideas around algorithmic culture and educational policy.<\/p>\n<p>Finally, I want to tell you about the <a href=\"https:\/\/www.artcastingproject.net\">Artcasting project<\/a>. This was an AHRC funded project that set out to find more inventive ways of evaluating how visitors engage with artworks. We did this by designing and trialling a mobile method for inviting, capturing and analysing people\u2019s connections between art and place through an app we called artcasting. The academic team was Chris Speed, Claire Sowton, Jeremy Knox and me, with Chris Barker providing the software engineering, and we worked with National Galleries of Scotland, Tate and the <a href=\"http:\/\/www.artistrooms.org\">ARTIST ROOMS programme<\/a> over the course of a year.<\/p>\n<p>ARTIST ROOMS:<\/p>\n<ul>\n<li>is jointly owned and managed by Tate &amp; National Galleries of Scotland<\/li>\n<li>a collection of more than 1,600 works of international contemporary art was acquired in 2008 by National Galleries of Scotland and Tate.<\/li>\n<li>is shared throughout the UK in a programme of exhibitions organised in collaboration with local associate galleries.<\/li>\n<li>aims to ensure the collection engages new, young audiences.<\/li>\n<\/ul>\n<p>Evaluation is a really thorny issue in the cultural sector at the moment, and there has been a lot of critique of instrumental approaches to evaluation and to measuring engagement, learning and impact. Belfiore and Bennett are two of the key people working on this, and they are pretty stark about the issues at stake.<\/p>\n<p style=\"padding-left: 30px;\">with the present levels of knowledge around aesthetic reception, it is not possible to make any meaningful broad generalization about how people respond to the arts, and if or how they might be affected by the experience. Even less plausible is the possibility of actually \u201cmeasuring\u201d any of these aspects. (Belfiore &amp; Bennett 2010, p.126)<\/p>\n<p><a href=\"http:\/\/clairesowton.net\">Claire Sowton<\/a> brought these and a lot of other critical perspectives on evaluation to the project from her doctoral work.<\/p>\n<p>Galleries and museums are generally good at thinking about how people get to the building, but other kinds of movement are less visible. We were hugely interested in understanding museum and gallery learning from a theoretical perspective that took into account social, spatial and technological mobilities. We saw the movement of artworks, people, ideas, inspiration and technologies as a really central part of what it means to understand the impact of art on visitors.<\/p>\n<p>So we built this app as a way of testing out whether more inventive ways of approaching evaluation could be productive for visitors and for gallery professionals. Artcasting was developed as a methodology that could capture articulations of engagement with artworks. We tested it out in two exhibitions \u2013 Robert Mapplethorpe at the Bowes Museum in Co Durham, and Roy Lichtenstein at the National Galleries of Scotland. Read more about how Artcasting worked: <a href=\"https:\/\/www.artcastingproject.net\/what-is-artcasting\/\">https:\/\/www.artcastingproject.net\/what-is-artcasting\/<\/a><\/p>\n<p>In total we ended up with about 170 casts that we could work with to try to understand what this approach could do.\u00a0Here are a few examples of the kinds of artcasts people sent.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-13117\" src=\"http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/school-1024x681.png\" alt=\"\" width=\"474\" height=\"315\" srcset=\"http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/school-1024x681.png 1024w, http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/school-300x199.png 300w, http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/school-768x511.png 768w, http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/school.png 1026w\" sizes=\"auto, (max-width: 474px) 100vw, 474px\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-13115\" src=\"http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/davinci.png\" alt=\"\" width=\"474\" height=\"433\" srcset=\"http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/davinci.png 810w, http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/davinci-300x274.png 300w, http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/davinci-768x702.png 768w\" sizes=\"auto, (max-width: 474px) 100vw, 474px\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-13114\" src=\"http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/blastoff.png\" alt=\"\" width=\"474\" height=\"210\" srcset=\"http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/blastoff.png 960w, http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/blastoff-300x133.png 300w, http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/blastoff-768x341.png 768w\" sizes=\"auto, (max-width: 474px) 100vw, 474px\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-13116\" src=\"http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/rainyplaces.png\" alt=\"\" width=\"474\" height=\"275\" srcset=\"http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/rainyplaces.png 1022w, http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/rainyplaces-300x174.png 300w, http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/rainyplaces-768x446.png 768w\" sizes=\"auto, (max-width: 474px) 100vw, 474px\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13118\" src=\"http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/vancouver.png\" alt=\"\" width=\"960\" height=\"426\" srcset=\"http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/vancouver.png 960w, http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/vancouver-300x133.png 300w, http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/vancouver-768x341.png 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13113\" src=\"http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/arnie.png\" alt=\"\" width=\"668\" height=\"456\" srcset=\"http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/arnie.png 668w, http:\/\/jenrossity.net\/blog\/wp-content\/uploads\/arnie-300x205.png 300w\" sizes=\"auto, (max-width: 668px) 100vw, 668px\" \/><\/p>\n<p>The Artcasting data could be seen collectively as more or less stable \u2018traces\u2019 of memory, insight and message. But we also explored how those traces can be a volatile assemblage of engagement that can move in multiple directions away from a single point (for example a single artwork cast to many places and times). Interpretation, like the objects that spark it, is ambiguous and shifting \u2013 and the impacts that artworks and galleries have are never going to be easy to pin down.<\/p>\n<p style=\"padding-left: 30px;\">\u201cit is always possible to take an individual object and place it in a new framework or see it in a new way. The lack of definitive and final articulation of significance keeps objects endlessly mysterious \u2013 the next person to attach meaning to it may see something unseen by anyone else before.\u201d (Hooper-Greenhill 2000, 115)<\/p>\n<p>This is really consequential for how institutions talk about and engage with evaluation, and this project has helped us and our partners and others in the sector to think more imaginatively about these issues.<\/p>\n<p>I\u2019ve also been working on how to conceptualise \u2018digital co-production\u2019, using ideas about artcasting as a stimulus. Artcasting content is requested and is able to be interpreted by gallery professionals for accountability, audience development, and other purposes. But artcasting is also a form of public interpretation of the artwork, and visitors are creating new encounters with art in new places and times. The guest becomes the host of a new exhibition. This has implications for what I\u2019m calling \u2018digital co-production\u2019, which<\/p>\n<ul>\n<li>unfolds across multiple times and spaces<\/li>\n<li>involves the \u2018unknowable other\u2019<\/li>\n<li>challenges\u00a0the stability of relationships<\/li>\n<li>invites a rethinking of hospitality<\/li>\n<\/ul>\n<p>There is a lot we can say in 2017 at a digital day of ideas about how some of the digital ideas that we\u2019ve been engaging with over the years look pretty scary when socio-political landscapes shift. (digital labour is another context where the rhetoric and practices of digital disruption are wreaking havoc &#8211; <a href=\"http:\/\/www.sps.ed.ac.uk\/staff\/sociology\/karen_gregory\">I\u2019d refer you to the excellent work of our colleague Karen Gregory for more on this<\/a>)<\/p>\n<p>For me, this makes it even more important that we use technology provocatively rather than instrumentally, to explore big questions and possible futures, and to challenge assumptions. Some of those assumptions seem to be baked right into the DNA of devices, services, and organisational policies, but I believe there is (in the immortal words of Leonard Cohen) a crack in everything, and that\u2019s how the light gets in. I\u2019d like to encourage us all to keep working on how to keep being creative, to keep doing things, making things and trying things \u2013 as a way of bringing criticality to the urgent and interesting questions we are facing.<\/p>\n<p><strong>References:<\/strong><\/p>\n<p>Bayne, S. (2015). What\u2019s the matter with \u2018technology-enhanced learning\u2019? <em>Learning, Media and Technology<\/em>, <em>40<\/em>(1), 5\u201320.<\/p>\n<p>Bayne, S. (2015). Teacherbot: interventions in automated teaching. <em>Teaching in Higher Education<\/em>, <em>20<\/em>(4), 455\u2013467.<\/p>\n<p>Belfiore, E., &amp; Bennett, O. (2010). Beyond the \u2018Toolkit Approach\u2019: arts impact evaluation research and the realities of cultural policy-making. <em>Journal for Cultural Research<\/em>, <em>14<\/em>(2), 121\u2013142.<\/p>\n<p>Collier, A., &amp; Ross, J. (2017). For whom, and for what? Not-yetness and thinking beyond open content. <em>Open Praxis<\/em>, <em>9<\/em>(1), 7\u201316.<\/p>\n<p>Gourlay, L. (2015). Open education as a \u2018heterotopia of desire\u2019. <em>Learning, Media and Technology<\/em>, <em>40<\/em>(3), 310\u2013327.<\/p>\n<p>Hooper-Greenhill, E. (2000). <em>Museums and the Interpretation of Visual Culture<\/em>. Abingdon: Routledge.<\/p>\n<p>Isard, A., &amp; Knox, J. (2016). Automatic Generation of Student Report Cards. In <em>The 9th International Natural Language Generation conference<\/em> (p. 207).<\/p>\n<p>Knox, J. (2016). <em>Posthumanism and the Massive Open Online Course: Contaminating the Subject of Global Education<\/em>. Routledge.<\/p>\n<p>Knox, J., &amp; Ross, J. (2016). \u2018Where does this work belong?\u2019 New digital approaches to evaluating engagement with art. Presented at the MW2016: Museums and the Web 2016, Los Angeles. Retrieved from http:\/\/mw2016.museumsandtheweb.com\/paper\/where-does-this-work-belong-new-digital-approaches-to-evaluating-engagement-with-art\/<\/p>\n<p>Lury, C., &amp; Wakeford, N. (2012). <em>Inventive Methods: The Happening of the Social<\/em>. London: Routledge.<\/p>\n<p>Ross, J. (2016). Speculative method in digital education research. <em>Learning, Media and Technology<\/em>, <em>0<\/em>(0), 1\u201316.<\/p>\n<p>Ross, J., &amp; Collier, A. (2016). Complexity, mess and not-yetness: teaching online with emerging technologies. In G. Veletsianos (Ed.), <em>Emergence and Innovation in Digital Learning: Foundations and Applications.<\/em> Athabasca University Press.<\/p>\n<p>Ross, J., Sowton, C., Knox, J., &amp; Speed, C. (in press). Artcasting, mobilities, and inventiveness: engaging with new approaches to arts evaluation. In L. Ciolfi, A. Damala, E. Hornecker, M. Lechner, &amp; L. Maye (Eds.), <em>Cultural Heritage Communities: Technologies and Challenges<\/em>. London: Routledge.<\/p>\n<p>Selwyn, N. (2015). Never believe the hype: questioning digital \u2018disruption\u2019and other big ideas. <em>Teaching and Digital Technologies: Big Issues and Critical Questions<\/em>, <em>182<\/em>.<\/p>\n<p>Selwyn, N. (2012). Ten suggestions for improving academic research in education and technology. <em>Learning, Media and Technology<\/em>, <em>37<\/em>(3), 213\u2013219.<\/p>\n<p>Veletsianos, G. (2010). <em>Emerging Technologies in Distance Education<\/em>. Athabasca University Press. Retrieved from http:\/\/www.aupress.ca\/index.php\/books\/120177<\/p>\n<p>Watters, A. (2017). Driverless Ed-Tech: The History of the Future of Automation in Education. <a href=\"http:\/\/hackeducation.com\/2017\/03\/30\/driverless\">http:\/\/hackeducation.com\/2017\/03\/30\/driverless<\/a><\/p>\n<p>Wilkie, A., Michael, M., &amp; Plummer-Fernandez, M. (2015). Speculative method and Twitter: Bots, energy and three conceptual characters. <em>The Sociological Review<\/em>, <em>63<\/em>(1), 79\u2013101.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>I was delighted to give\u00a0a keynote talk at the Digital Day of Ideas here at the University of Edinburgh on 17 May 2017. Here are the slides, notes and references from my talk. \u201cLearning with Digital Provocations\u201d Abstract: One of the most significant tensions in the convergence of technology and education is how the promise\/threat &hellip; <a href=\"http:\/\/jenrossity.net\/blog\/?p=13096\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Notes from keynote lecture, &#8220;Learning with Digital Provocations\u201d<\/span> <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-13096","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/jenrossity.net\/blog\/index.php?rest_route=\/wp\/v2\/posts\/13096","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/jenrossity.net\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/jenrossity.net\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/jenrossity.net\/blog\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/jenrossity.net\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=13096"}],"version-history":[{"count":8,"href":"http:\/\/jenrossity.net\/blog\/index.php?rest_route=\/wp\/v2\/posts\/13096\/revisions"}],"predecessor-version":[{"id":13137,"href":"http:\/\/jenrossity.net\/blog\/index.php?rest_route=\/wp\/v2\/posts\/13096\/revisions\/13137"}],"wp:attachment":[{"href":"http:\/\/jenrossity.net\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13096"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/jenrossity.net\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=13096"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/jenrossity.net\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=13096"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}