Technology, 21st century skills, and education

As Jon Andrews points out, the education world seems obsessed about framing our thinking around what the future holds, and guestimations of its possibilities. The term ‘21st century skills’ is a symptom of our future-obsession, as schools and governments scramble to prepare their students for … duhm duhm daaaahhhhmmm … The Future. In the late 20th century those words were a way of saying educators were futures thinking, but almost 20 years into the 21st century, I wonder about the usefulness of the phrase. How about just talking about the knowledge, skills, and capabilities students need now and into the future? Does ’21st century skills’ mean anything or is it a meaningless phrase interpreted in different ways by different people? When will we start talking about 22nd century skills?

In my recent reading and thinking about technology in education, talk of 21st century skills is ubiquitous. As Higgins (2014) notes, however, there is no consensus or clear definition of what it means, or what these skills entail. On the one hand, there is a sense of global urgency around the integration of technology in schools, and on the other there is challenge and resistance to technology integration and the contestability of 21st century skills (Hunter, 2015).

Higgins (2014) points out that discussion of 21st century skills is driven by a focus on the economic imperative for productivity and preparing students for the future world of work. In his review of literature around 21st century skills, he finds that the central tenant of what is considered a 21st century education is critical thinking, especially because digital worlds mean that information is increasingly available and questionable in its nature. Other skills that abound in global discussions around the skills required for being successful in the current century include creativity, innovation, communication, collaboration, problem solving, risk assessment, research and information fluency, and digital citizenship (Higgins, 2014). The US Committee on Defining Deeper Learning and 21st Century Skills defined deeper learning as knowledge that can be transferred or applied into new situations (Pellegrino & Hilton, 2013), mirroring Wiggins and McTighe’s (2005, 2011) focus on transfer as the key focus of learning.

Fullan (2013a) is critical of the 21st century learning skills agenda, calling it a vaguely defined skill set with too much focus on standards and assessment and not enough on pedagogy, and with little integration of student use of technologies. For Fullan (2013b), deep learning goals are what he refers to as the 6 Cs:

  • Character education: honesty, self-regulation and responsibility; perseverance; empathy for contributing to the safety and benefit of others; self-confidence, personal health and wellbeing; career and life skills.
  • Citizenship: global knowledge, sensitivity to and respect for other cultures, active involvement in addressing issues of human and environmental sustainability.
  • Communication: effective oral, written, and digital communication; listening skills.
  • Critical thinking and problem solving: thinking critically to design and manage projects, solve problems, and make effective decisions using a variety of digital tools and resources.
  • Collaboration: working in teams; learning from and contributing to the learning of others; social networking skills; empathy in working with diverse others.
  • Creativity and imagination: economic and social entrepreneurialism; considering and pursuing novel ideas; leadership for action.

Fullan (2013a) urges educators to move beyond a superficial homage to 21st century learning skills to developing what it means to actually implement them in practice. Higgins (2014) challenges us to ask: “Do we need a curriculum with less specified knowledge, allowing a greater emphasis on skills, based on the argument that information (and therefore knowledge) is more readily accessible? Or do we need more knowledge, as the basis for developing greater expertise and the ability to make informed and complex judgements, based on a deeper understanding of a topic or field?” (p.571). Certainly there are those who argue that knowledge is now more important than ever, and question a primarily skills-based education (e.g. Hirsch, 2016).

As part of the 21st century skills movement, digital literacy has become a global focus. In the UK, the Communications Act 2003 tasked the media regulator, Ofcom, with promoting and researching media literacy, defined on its website as enabling “people to have the skills, knowledge, and understanding to make full use of the opportunities presented by both traditional and new communications services” and helping “people to manage content and communications, and protect themselves and their families from the potential risks associated with using these services.”

A Commonwealth of Australia (2009) report highlights digital media literacy as a dynamic concept and a necessary condition for a successful digital economy. It says: “Digital media literacy ensures that all Australians are able to enjoy the benefits of the digital economy: it promotes opportunities for social inclusion, creative expression, innovation, collaboration, and employment. … The focus of digital media literacy policy and programs is on the development of three core skill sets:

  • the technical ability to engage at a basic level with a computer and the internet, such as to create documents and emails;
  • the ability to understand and critically evaluate digital media and digital media content; and
  • the ability to create content and communications.”

While the movement to focus education on a contested set of 21st century skills is debated in education circles, governments around the Western world have acknowledged the need for their citizens to be critical, creative, collaborative, interdisciplinary in their thinking, and to be able to leverage technologies. I agree with Fullan that we need to move beyond lip service homages to preparing students for uncertain futures. I also align with Higgins’ suggestion that students need more knowledge as the basis for expertise. Skills don’t exist in a vacuum, and students can only think critically, creatively, divergently, and entrepreneurially, once they have a knowledge base from which to do so. I would like to think, for instance, that a knowledge of literature and history can help our students to become global citizens knowledgeable about past events, multiple perspectives, and dystopian possibilities. And that a knowledge of mathematics and science can lead to creative problem seeking and systematic problem solving.

What do you think? Can we retire ’21st century skills’, and instead talk about what knowledge, understandings, skills, and capabilities, our students need now and into the future?

References

Fullan, M. (2013a). Stratosphere: Integrating technology, pedagogy, and change knowledge. Toronto: Pearson.

Fullan, M. (2013b).  Great to excellent:  Launching the next stage of Ontario’s education agenda.

Higgins, S. (2014). Critical thinking for 21st-century education: A cyber-tooth curriculum? Prospects44(4), 559-574.

Hirsch, E. D. (2016). Why knowledge matters: Rescuing our children from failed educational theories. Cambridge, MA: Harvard Education Press.

Hunter, J. (2015). Technology integration and high possibility classrooms: Building from TPACK. Abingdon, England: Routledge.

Pellegrino, J. W., & Hilton, M. L. (2013). National Research Council. Education for life and work: Developing transferable knowledge and skills in the 21st century. Washington, DC: National Academies Press.

Wiggins, G. P., & McTighe, J. (2005). Understanding by Design. Alexandria, VA: ASCD.

Wiggins, G. P., & McTighe, J. (2011). The Understanding by Design guide to creating high-quality units. Alexandria, VA: ASCD.

Getting my Library on

A library … should be the delivery room for the birth of ideas. ~ Norman Cousins

Part of my current leadership portfolio (which also includes professional learning, research, pedagogy, and digital learning) is line management of the school library. This is a new space for me, but I feel at home there as an English and Literature teacher who has worked closely with libraries and librarians for years, and as a book lover who feels most at home surrounded by books, preferably accompanied by a good coffee. Some of my favourite places to be are libraries and book cafes. In some ways, this puts me at a disadvantage; I am not a distant observer, able to apply dispassionate logic to the library space. I am a romantic and an idealist when it comes to libraries.

my reading nook at home

In a world often obsessed with the new, the shiny, and the technological, in some ways I am drawn to a ‘back to basics’ approach to libraries as communities filled with books and contemplative spaces. I understand, however, that libraries evolve with the world, and that information literacy encompasses digital literacy. I understand that it is highly appropriate for libraries to have noisier collaborative spaces, 3D printers, coding clubs, and makerspaces. I know some libraries are headed up, not by librarians or by teachers, but by technology specialists. I shouldn’t let my inner book nerd limit my thinking around what a library is or might be.

In order to support my collaborative work with the school library team, I reached out on social media for advice from those with more knowledge and expertise than me – librarians, especially school librarians, across the world. Many responded generously with suggestions of books, online resources, and social networks of passionate and knowledgeable librarians.

Online resources included: The Library Element blog, the American Association of School Librarians, Charlotte Danielson’s Framework for Librarians, the Austin Library, the Canadian International School, Toorak College, Mt Alvernia College, Scotch College, and the School Library Journal.

my pile of beautiful books on libraries

Two of the books I was pointed in the direction of are by library theorist R. David Lankes: The New Librarianship Field Guide (2016) and The Atlas of New Librarianship (2011). It was from these books that I have drafted a kind of mission statement for the Library, for our discussion as a team as we work together on a cohesive vision for our library:

Libraries aim to improve society through facilitating knowledge creation and learning. The power of libraries and librarians is that they are agents of radical positive change that make our communities and our society a better place. While libraries’ mission and values are unchanging, the librarian’s tools are changeable.

The Library is more than the centre of resourcing for the school; it is a welcoming, respectful, vibrant, and intellectually safe place of information, knowledge, conversation, collaboration, creation, and learning. It provides an anchor and a hub for our community in which diverse, global perspectives are sought and considered; reading and learning are championed; ethical, inclusive practices are modelled and supported; and the pleasure found in continuous, lifelong learning is celebrated.

The Library team works collaboratively to build the capacity of staff and students in the key areas of reading, research, knowledge creation, information literacy, and the capabilities required for active citizenship.

I’m looking forward to continuing my thinking in this space, and working with librarians whose work is fundamental to knowledgable, inquiring, and vibrant communities. As Lankes points out in his books, libraries were named after the work of librarians, not the other way around.

Feedback: It’s emotional

it’s emotional (Jeanne Moreau in Elevator to the Gallows)

The red pen is symbolic of marking. It’s viscous crimson ink, staining crisp white pages, is bedded in the history of giving feedback on written work. It stands out from blue or black writing, allowing corrections to be seen. That’s probably why the default colour for Microsoft Word tracked changes is red. It’s bold, noticeable, stark.

The red pen has also been at the centre of controversy. In 2008, 2013, and as recently as 2016, there were international articles arguing that marks made by red pens on student work were threatening and confrontational for students, and that teachers should stop marking with them. In 2010 Rutchick, Slepian, and Ferris found that teachers using red pens to correct essays marked more errors and awarded lower grades than teachers using blue pens. A 2013 study by Dukes and Albanesi was central to renewed furore, arguing that marking with red pens can upset students and lead to weakened teacher-student relationships. Some educators retorted that the whole idea was silly and continued to wield their red pens. Some schools responded with ‘rainbow marking’ policies in which teachers armed themselves with red-free sets of highlighters and pens. Yellow! Pink! Purple! Green! Blue!

This week a student asked me to look over a practice exam response he had done in his own time. I was sitting next to him and asked if he had a pen I could use to give him feedback on it. His immediate response: “Do you want a red one?”

Pat Thomson yesterday published this post about the ‘bleeding thesis’, explaining that doctoral students can feel like the pages are bleeding when they receive red scrawling annotations and red tracked changes on their drafts. I have heard high school students complain similarly about the ‘bleeding pages’ of their marked work. “Oh, my essay looks like it’s bleeding!”

When I was editing my PhD thesis I had a swag of Artline finline pens. My personal favourites were green, purple, and dark pink. When I was in a self-flaggelatory mood, I would use red. It felt like punishment, a dark culling of my words, permission to be ruthless with my writing.

Yesterday a colleague emailed me a draft paper and asked me to ‘scribble on it’, so I annotated it with my reactions, thoughts, and suggestions. Part of their email response to my annotations was “I feel like I am getting your feedback on a Lit essay I’ve handed in, and admit to feeling a certain amount of pride at the ticks and double ticks!” Yes, I ticked those parts of the paper that resonated with me or I felt were important (a hard English teacher habit to break). I know my students scour their marked work, counting the ticks. They often call out “I got a double tick!” And now that I think about it, I annotated my colleague’s draft in green pen.

Of course, it’s not really the pen that is important. It’s the quality of the feedback that matters. A tick can be meaningless (but nonetheless emotion-inducing) praise, unless there is an understanding of why it’s there. This 1984 study by Semke found that teacher-written corrections do not increase writing accuracy, writing fluency, or general language proficiency, and they may have a negative effect on student attitudes. Dylan Wiliam points out that feedback can help or hinder learning, and that the feedback-giver/feedback-receiver relationship is key to feedback’s effectiveness.

It is neither possible nor desirable to give great quantities of feedback. As an English teacher, I have to constantly navigate the balance between giving meaningful feedback to help students move forward, and balancing my marking workload. Over my career I’ve developed a suite of varied strategies to ensure students are constantly engaging in feedback over their work, without me constantly collecting and correcting workbooks or homework. I’ve found I can give every student some brief, immediate feedback verbally if I check homework in a lesson once students are working. I can set peer and self assessments designed to engage students with the task and the work so that they are empowered to give themselves and each other relevant feedback. I can work with individuals and small tutorial groups to give targeted feedback. I constantly ask myself: Who is doing the mental work? It is the student who needs to be thinking and working to improve; my correcting errors ad nauseum is going to have little impact.

But feedback, written and otherwise, is emotional. Sometimes feedback can feel collaborative and inspiring and propulsive and nurturing (a thank you shout out to my co-authors on various projects, and some generous reviewers!). Sometimes it can feel brutal and visceral and dismissive and unforgiving. Sometimes it’s a warm embrace and sometimes it’s a swift kick in the guts.

The harshest feedback I’ve seen hasn’t been from the ink of a red pen, but from anonymous peer reviewers for academic journals. This Twitter account might give you an idea of the kinds of feedback some academics receive about their work. It cites reviewer comments like, “You have put in a lot of effort answering a question that should have never been asked” and “The biggest problem with this manuscript, which has nearly sucked the will to live out of me, is the terrible writing style.”

We need to be ok with failure, as suggested by this post on self-esteem that a friend shared with me this week, and as I explain in this post, in which I share some harsh verbal feedback from one of my PhD supervisors. As I said in this post, receiving peer reviewed feedback can feel like simultaneously getting a high five and a punch in the face. One thing that doing a PhD, receiving feedback during the journal double-blind peer review process, and being a reviewer myself, have taught me, is that we need to train ourselves (and our students) to be resilient and interested receivers of feedback. By ‘interested’, I mean we need to be curious about what we might learn and open to listening to even that feedback which might hurt at first. If I find that a reviewer or colleague ‘just doesn’t get it’, I need to be able to take that as a sign that I could make my intention clearer.

As marketing consultant Jay Baer would say, when it comes to feedback we need to hug our haters. Or as a colleague of mine says, we learn most when we welcome complaints. It is through seeing our work through the eyes of others, and by being open to criticism, that we can figure out how to push our work forward, improve it incrementally, take it in a new direction, or defend it more vigorously.

What’s the point of technology in education?

source: pixabay.com @Pexels

I’ve always been a bit of a secret techy nerd, thanks, in part, to my dad who was an early adopter of computer technologies. In the 1980s, we had an Amstrad CPC desktop computer, one with a cassette tape deck to play computer programmes. My parents taught me how to write basic computer code using … BASIC (Beginner’s All-purpose Symbolic Instruction Code). My mum wrote programmes using BASIC that my brother, sister and I could play. We soon upgraded to an IBM PC and floppy disks. While we also had a full set of Encyclopaedia Britannica, we were at the bleeding edge of 80s technology! We continued to upgrade computers and have access to games. From the 80s I have fond memories of the arcade-style game Gilligan’s Gold, and in the 90s I loved strategic simulation games like Civilization and Jones in the Fast Lane. The Walkman revolutionised and mobilised music listening, and I spent hours of my high school years in my bedroom making mix tapes on a double audio cassette player; timing was everything.

Now for a statement of the ridiculously obvious: The technological landscape has changed dramatically since I was a child. Its physical, virtual, and ethical parameters are very different. I have been considering what our children and students need now in terms of technologies that can aid or augment learning and living, and what kinds of knowledge and nous they require to be effective and empowered negotiators of their current worlds and the multiple identities they act out on real and virtual platforms.

But why bother with digital technologies? Why not stick to traditional technologies (pen, paper, the overhead projector!)? In part, our local and global context requires it. The world feels a sense of urgency around predicting our students’ future and busily preparing them for it. Being tech savvy has become an economic imperative.

In Australia, technologies and technology education are an ever-increasing focus. The 2008 Melbourne Declaration of Educational Goals for Young Australians states that “when students leave school they will be confident, creative, and productive users of technologies” (p.8) and that “practical knowledge and skills development in areas such as ICT and design and technology are central to Australia’s skilled economy and will provide crucial pathways to post-school success” (p.12).

As part of the 21st century skills movement, digital literacy has become a global focus. A Commonwealth of Australia (2009) report highlights digital media literacy as a dynamic concept and a necessary condition for a successful digital economy. It says: “Digital media literacy ensures that all Australians are able to enjoy the benefits of the digital economy: it promotes opportunities for social inclusion, creative expression, innovation, collaboration, and employment. … The focus of digital media literacy policy and programs is on the development of three core skill sets:

  • the technical ability to engage at a basic level with a computer and the internet, such as to create documents and emails;
  • the ability to understand and critically evaluate digital media and digital media content; and
  • the ability to create content and communications.”

In 2013 the Australian Curriculum, Assessment, and Reporting Authority (ACARA) published the seven General Capabilities in the Australian Curriculum, including the ICT Capability that “involves students learning to make the most of digital technologies available to them, adapting to new ways of doing things as technologies evolve and limiting the risks to themselves and others in a digital environment (p.49).

In 2014, the Australian Government released the Industry Innovation and Competitiveness Agenda that aims to strengthen Australia’s competitiveness. One of the major announcements at this time was the proposal to focus on science, technology, engineering, mathematics, and innovation in schools, and the introduction of the Coding Across the Curriculum Program.

In 2015 ACARA released The Australian Curriculum: Technologies, which aims to develop the knowledge, understanding, and skills to ensure that, individually and collaboratively, students:

  • investigate, design, plan, manage, create, and evaluate solutions;
  • are creative, innovative, and enterprising when using traditional, contemporary, and emerging technologies, and understand how technologies have developed over time;
  • make informed and ethical decisions about the role, impact, and use of technologies in the economy, environment, and society for a sustainable future;
  • engage confidently with and responsibly select and manipulate appropriate technologies − materials, data, systems, components, tools, and equipment − when designing and creating solutions; and
  • critique, analyse, and evaluate problems, needs, or opportunities to identify and create solutions.

ACARA (2016) has since declared STEM education a national priority, describing STEM as closely linked to Australia’s productivity and economic wellbeing, central to a well-rounded education, and contributing to a diverse and capable STEM workforce pipeline.

The introduction of OLNA as an online literacy and numeracy assessment, and NAPLAN moving to computer-based assessment from 2018 (on an opt-in basis), means that students from Year 3 need to be able to be proficient keyboard and computer users in order to effectively demonstrate national literacy and numeracy requirements.

So how are educators to engage in all of this? Fullan (2013) urges us to move beyond a superficial homage to 21st century learning skills to developing what it means to actually implement them in practice. Higgins (2014) challenges us to ask: “Do we need a curriculum with less specified knowledge, allowing a greater emphasis on skills, based on the argument that information (and therefore knowledge) is more readily accessible? Or do we need more knowledge, as the basis for developing greater expertise and the ability to make informed and complex judgements, based on a deeper understanding of a topic or field?” (p.571).

The launch of a new communication and learning management platform at my school and my involvement in a couple of strategic projects have had me thinking about digital pedagogy and how to choose digital tools for learning. In a sea of fast moving technologies and faster moving policy, perhaps we can anchor ourselves with the building blocks of teaching and learning: good curriculum and assessment design, well-considered pedagogy, and knowledge of our students. Then we can make decisions around technology based on what it is we want them to know and be able to do.

 

References

Fullan, M. (2013a). Stratosphere: Integrating technology, pedagogy, and change knowledge. Toronto: Pearson.

Higgins, S. (2014). Critical thinking for 21st-century education: A cyber-tooth curriculum? Prospects44(4), 559-574.

Choosing the (digital) pedagogical tool fit for the learning

source: pixabay.com @byrev

The list of digital technologies that might be used for teaching and learning is extensive. It includes: LMSs (Learning Management Systems); MOOCs (Massive Open Online Courses); BYOD (bring your own device); BYOT (bring your own technology); BYOC (bring your own connectivity); makerspaces; robotics; digital portfolios; online discussion forums; blogging platforms; wikis, microblogging; back channels; audio recording and music making; image and video editing; creation of infographics, slideshows, and presentations; digital storytelling; social media; collaboration tools; mobile apps; game-based learning and environments; coding and computer programming; augmented and virtual realities; technologies for creating physical or virtual 3D models; gesture-based computing; learning analytics and statistical analysis software; online authoring tools; wearable technology; affective computing; rubric generators; quizzes; online response systems such as polls and surveys; video conferencing; cloud computing; and student feedback tools such as Turnitin, GradeMark, and PeerMark.

E-learning technologies are sometimes defined as asynchronous (any-time) or synchronous (real-time). Flipped learning is that in which traditional teacher instruction is delivered between classes via online video or presentation technologies, and class time is used for application and collaboration. Blended learning melds traditional classroom pedagogies with online learning tools and environments. Rhizomatic learning, a loose appropriation of Deleuze and Guattari’s rhizome in an educational context, is non-linear and not predetermined (Cormier, 2008; Koutropoulos, 2017) and heutagogical learning is self-determined (Hase & Kenyon, 2000, 2007; Netolicky, 2016). Beetham (2013a) describes e-learning as learner-centred experience that allows learners more control over the time, place, and pace of their learning and the opportunity to connect with learning communities worldwide, much like the experience of many teachers who use social media for networking and learning.

I’ve been doing some reading since I recently posted my initial thoughts about digital pedagogy and I am reassured that scholars tend to agree that pedagogy should drive the use of technologies, rather than technologies driving the way teaching and learning happens, or as an end in themselves. Digital technologies and methods are mostly seen as part of a teacher’s arsenal of tools for teaching curriculum content, skills, and understandings.

Laurillard (2013) states that, while the scope and style of pedagogy changes as technology changes, no one has yet shown that we need to change our understanding of how students learn. Higgins (2014), however, argues that technology has changed what we learn and how we learn.

The changing digital technology landscape has led to educators attempting to personalise and gamify learning, to construct open online learning environments and self-directed learning opportunities, to leverage students’ personal mobile devices for learning, and to utilise technologies to facilitate processes such as analysis, collaboration, communication, and creation. Dichev and Dicheva (2017), however, found that even though gamification in education is a growing phenomenon, practice has outpaced research and we do not know enough about how to effectively gamify education or even whether gamifying education is beneficial. Additionally, online learning such as that via MOOCs can be overwhelming and confusing to those without highly-evolved skills in managing their connectivity (Beetham, 2013b). This brings into question the equity of technologies. Who has access? Who dominates? Who becomes lost in the system or excluded from it?

Many authors note that teachers should not assume that because students are surrounded by technology they are savvy, confident, ethical, or safe users of it. Safe, ethical use of technology needs to be guided and explicitly taught, as do skills such as online collaboration and evaluating the quality of available information. Students need the skills and aptitudes to sustain engagement with digital learning, especially if it is self-directed and self-paced.

Most proponents of digital learning base their use of technologies on traditional pedagogy. Good pedagogical design, traditional or digital, ensures that there is alignment between the curriculum we teach, the teaching methods we use, the learning environment we choose, and the assessment procedures we adopt (Biggs, 1999). Importantly, a role remains for teachers as expert designers of learning (Laurillard, 2013; Selwyn, 2016) who establish learning tasks, supportive environments for learning, and conducive forms of social classroom relations. Hunter (2015) suggests the following questions to teachers:

  • Where is the pedagogy?
  • What is the content?
  • How is your choice or the students’ choice of particular technology tools going to enhance learning?

So, we need to start with the desired learning outcomes. Curriculum design comes before pedagogy, which comes before technology. Then we choose the pedagogical tool fit for the learning purpose.

It cannot be assumed, however, that teachers, even those who are tech-savvy, know how to best use technologies for pedagogical purposes. Lei (2009) found that although pre-service teachers are often digital natives who use technology extensively for themselves, they lack the knowledge, skills, and experiences to integrate technology into classrooms to help them teach and to help their students learn, even when they recognise the importance of doing so. Teachers can leverage digital technologies within a pedagogical frame, but only when we have the knowledge and understanding of available technologies and their pedagogical potential.

References

Beetham, H. (2013a). Designing for active learning in technology-rich contexts. In H. Beetham & R. Sharpe (Eds.) Rethinking pedagogy for a digital age: Designing for 21st century learning (2nd ed.), pp.31-48. Abingdon, England: Routledge.

Beetham, H. (2013b). Designing for learning in an uncertain future. In H. Beetham & R. Sharpe (Eds.) Rethinking pedagogy for a digital age: Designing for 21st century learning (2nd ed.), pp.258-281. Abingdon, England: Routledge.

Biggs, J. (1999). Teaching for quality learning at university. Buckingham: Society for Research in Higher Education and Open University Press.

Cormier, D. (2008). Rhizomatic education: Community as curriculum. Innovate 4(5).

Dichev, C., & Dicheva, D. (2017). Gamifying education: what is known, what is believed and what remains uncertain: a critical review. International Journal of Educational Technology in Higher Education14(1).

Hase, S., & Kenyon, C. (2000). From andragogy to heutagogyultiBASE In-Site, 5(3), 1-10.

Hase, S., & Kenyon, C. (2007). Heutagogy: A child of complexity theory. Complicity: An international journal of complexity and education4(1).

Higgins, S. (2014). Critical thinking for 21st-century education: A cyber-tooth curriculum? Prospects44(4), 559-574.

Hunter, J. (2015). Technology integration and high possibility classrooms: Building from TPACK. Abingdon, England: Routledge.

Koutropoulos, A. (2017). Rhizomes of the classroom: Enabling the learners to become curriculum. In S. P. Ferris & H. Wilder (Eds.), Unplugging the classroom: Teaching with technologies to promote students’ lifelong learning, pp.103-118. Cambridge, MA: Chandos Publishing.

Laurillard, D. (2013). Forward to the second edition. In H. Beetham & R. Sharpe (Eds.) Rethinking pedagogy for a digital age: Designing for 21st century learning (2nd ed.), pp.xvi-xviii. Abingdon, England: Routledge.

Lei, J. (2009). Digital natives as preservice teachers: What technology preparation is needed? Journal of Computing in Teacher Education, 25(3), 87-97.

Netolicky, D. M. (2016). Rethinking professional learning for teachers and school leaders. Journal of Professional Capital and Community, 1(4), 270-285.

Selwyn, N. (2016). Education and technology: Key issues and debates. London: Bloomsbury Publishing.

Metaphors for digital spaces: Considering Westworld

the Westworld landscape (source: scifi.stackexchange.com)

You really do make a terrible human being. And I mean that as a compliment. ~ Maeve, Westworld

The Western genre involves representations of the powerful and the powerless, the heard and the voiceless, the abusers and the abused. In the romanticised landscape of the Western, heroes (usually white and male) overcome the challenges of the frontierland. Historical brutalities are often overlooked in favour of myth and legend; the Wild West is one of imagination rather than reality.

In an open access, peer-reviewed paper published this month, Cyborgs, desiring-machines, bodies without organs, and Westworld: Interrogating academic writing and
scholarly identity, I use the HBO television series Westworld as a lens for exploring academic identity and writing. The Westworld setting is a theme park, called Westworld, a kind of real virtual reality that the very rich can frequent on their vacations, for a hefty fee. The theme park recreates the idealistic American desert frontier, full of sweeping vistas, damsels, brothels, gun-slinging bad guys, and cowboy heroes. It drags the Western genre and setting out of the archives, dusts it off, and breathes new life into it by marrying it with science fiction. Like much speculative fiction, it takes our current world and presses a hypothetiocal fast forward: What if technology evolves to a point where we can bring multi-player computer games to life in theme parks populated with robots that appear and act human?

The Westworld universe is one that brings together the Western genre—its hopes and its atrocities—with technology. The guests to the Westworld park aspire to play a part in this world as hero or villain. (In the show we mainly follow the arc of male guests, so it is their desires we see pursued and borne out.) The hosts of the theme park are cyborgs who follow narrative loops designed to allow guests to act out their darkest fantasies without guilt or consequence.

A recent blog post by Benjamin Doxtdator has me thinking more about the notion of the digital frontier, and about how we envisage ourselves in digital spaces. In his post, Benjamin explored the metaphor of the internet as a frontier-style landscape that can be mastered or explored. He argues that this is an unhelpful and even dangerous metaphor. He proposes the lens of surveillance capitalism as an alternative; here I imagine Foucauldian panopticism, the telescreens of Orwell’s 1984, and the Eyes of Atwood’s The Handmaid’s Tale.

Benjamin’s post got me thinking about what we might glean from considering the Westworld world as a metaphor for digital space, and the human characters as representations of how people and organisations interact with that space. The park’s creators manipulate the landscape and the cyborg characters in order to engage, entertain, and satisfy their guests, while the guests treat the park with egomaniacal entitlement. Some guests pursue exciting story arcs for themselves, while others leave their morals at the door as they live out depraved fantasies of violence and abuse.

The show presents the cyborg characters as more human than the humans, perhaps encouraging us to question our relationship with technology and its dehumanising influence. It also asks us to consider the ways in which we feel free to interact with digital spaces where we feel we can be either free from our non-digital selves, or to enact alternate identities online. Westworld, viewed this way, presents us with a humanity with which we don’t want to associate and provides a warning to its audience about the dangers of interacting unethically and unthinkingly with technologies.

Meanwhile the cyborg characters, with whom we are encouraged to empathise, are awakening and beginning to rise up against those who oppress and violate them. The show lays bare inequities and power imbalances in technological arenas. It presents a critique of the powerful puppet masters and privileged users of tech, questioning what people do with their privilege and with technology when there are no checks and balances. Westworld‘s artificial frontierland encourages us to reconsider what we might do in digital spaces, and to what ends.

In Westworld it is the cyborgs, the underdogs and the underclass, who provide us with potential for resistance and who begin to question their world. We are constantly, however, reminded of the ways in which the cyborgs are created, controlled, and sometimes cast aside by those who run the Westworld world.

At a time when I am working on a framework for digital pedagogy at my school, I am reflecting on the notion of metaphor. I agree with Benjamin Doxtdator that conceptualising technology as a playground is dangerous. How do we want our children and students to see and interact with the world of technology? In a world of big data, cyber attacks, and alternative facts, perhaps it is with a combination of enthusiasm, caution, fear, confidence and criticality.

Out of office reply

I am on holiday in Penang, Malaysia, spending time with my family and myself.

I have set my automatic out of office reply.

I have turned off my iPhone work email notifications for the first time since I went back to work after my first period of parental leave, six and a half years ago. Perhaps I won’t turn them back on.

I am not going to write an education blog today.

I am going to luxuriate in my present time and place.

I am going to remember that my oneword for 2017 is nourish.

Enough said.

Some of my pics (below) tell a little of our holiday.

Monkey Beach

Lanterns on Lebuh Armenian

George Town mural

fishing boat

George Town street art

Batu Ferringhi sunset