Elliott Masie’s Learning 2012 – Opening Night

These few days I (and 1600 others) will be attending Elliott Masie’s Learning 2012. I will be hosting a session with Marcel de Leeuwe and will be blogging about what I see.

The opening evening started with Lisa Nicole Wilkerson singing Defying Gravity, one of the themes of the conference.

Masie then made a comparison between how we watch television nowadays (everything on-demand and personalized) and how we do learning today (not quite there yet). So one of the themes is personalized learning. Another challenge that he sees is what he calls the Learning Mix: mixing live events with on-demand events. One more theme is Learning Together (he doesn’t like the term “Social Learning”). In this domain Masie touched my heart by talking about SharePoint “as a technology without a methodology”. A final theme will be Learning Everywhere.

The first keynote speaker was Richard Culatta. I first met him at this conference in 2008 when he was still at the CIA and presenting in the “trenches” of the conference. His career has progressed and he was now on the main stage. A lot of the conversation was quite obvious (at least for me), but I liked the short discussion about how learners will necessarily become designers. Richard also made a plea for there to be more “edupreneurs” and has started a MOOC, Ed Startup 101, to help this process. I’d be curious to hear his thoughts about the debatable role of VC capital in the educational world (see here and here).

Elizabeth Bryant from Southwest Airlines came to pick up a “Spotlight” award. Elizabeth talked about the learning centralization journey at Southwest.

Masie has started a program titled 30 under Thirty. All 32 of them (don’t ask) came on stage and talked a little bit about what drives them. They will be doing “reverse mentoring” at the event. Interesting concept!

Jenny Zhu of ChinesePod fame came to talk about the Masie Asia Project. This seems to be Masie’s attempt at getting a foothold in the fast-growing learning market in the East. I like Zhu’s post on 10 Chinese words that don’t have an English equivalent.

Lisa Pedrogo from CNN got a Masie award a few years back for her work with video in the learning space. Elliott shot a little video of her. He apparently did not get the memo about how to shoot video with a phone (from here, with a thank you to Marcel de Leeuwe for sharing it with me):

Lisa discussed how we shouldn’t make video more difficult than it really is. You shouldn’t be scared of using it and you should just have fun.

The final speaker of the night was Rahul Varma, the Chief Learning Officer of Accenture. It is interesting to see that Accenture has chosen somebody based in the East to head up learning for them. This probably has to do with the fact that the country with the most of their employees is India. He also talked about what he termed the talent challenge: how the rate of talent development will not keep pace with the growth of the emerging markets.

Finally, one interesting element of the conference is the Real-Time track comprising 15% of the scheduled content at the conference. This is explicit time and space for people to organize their own events. I will try to visit at least one of these events to see if and how they are working.

Privacy at Ars Electronica 2012

I attended Ars Electronica this year and noticed their was a lot of art about privacy. I’ve written a Dutch blog post for the civil rights activists Bits of Freedom about these art works. You can read it below or find the original here.

Ieder jaar wordt in Linz (Oostenrijk) Ars Electronica Festival for Art, Technology and Society gehouden. Dit jaar barstte het festival van de privacy gerelateerde kunst. Hieronder een aantal highlights.

Memopol-2 van de Estlandse kunstenaar Timo Toots was de winnaar van de Golden Nica voor interactieve kunst. Deze dystopisch aandoende kamergrote installatie scant paspoorten van bezoekers en verzamelt daarmee zoveel mogelijk informatie online. Deze informatie wordt met een donkere en enge esthetiek getoond aan de bezoekers. Door slim met gegevens om te gaan wordt bijvoorbeeld niet alleen je geboortejaar maar ook het jaar waarop je statistisch gezien gaat sterven getoond.

“Memopol-2 in KUMU Art Museum / Tallinn, Estonia”, foto van Timo Toots

Kyle McDonald is bekend van het controversiele project People Staring at Computers waarin hij met webcams foto’s maakte van nietsvermoedende computer gebruikers in Apple winkels in New York. Hij wilde met dit sousveillance project de lege blikken laten zien van mensen die computers gebruiken. Omdat McDonald in een juridische strijd met Apple verwikkeld is heeft David Pierce aquarellen gemaakt van een aantal van zijn foto’s. Die werden op het festival getoond.

“applestore-employee”, copyright David Pierce

Het project qual.net won een beurs. Deze open source technologie maakt het mogelijk om compleet ad hoc een netwerk te maken tussen verschillende apparaten met een Wi-Fi antenne. De netwerkverbindingen worden niet centraal geregeld maar verspreiden zich als een virus. qual.net kan dus gebruikt worden om Internet blokkades te omzeilen en is ook een goed alternatief voor overbelaste netwerken.

Het Ars Electronica centrum heeft op dit moment een vaste tentoonstelling getiteld Out of Control – What the Internet Knows About You waarin de verschuivende grens tussen publiek en privé wordt onderzocht. Drie projecten maakten indruk:

Newstweek bestaat uit een klein kastje dat je op kunt hangen op een plek met een draadloos netwerk (bijvoorbeeld een Starbucks). Het kastje logt in op het netwerk en corrumpeert de ARP tabellen zodat al het netwerkverkeer via het kastje loopt. Met een simpele webinterface kun je daarna de tekst van bekende nieuws websites (onder andere het NRC) aanpassen en je eigen propaganda creeëren. Gebruikers van het netwerk zien dan bij een bezoek aan de nieuws site jouw aangepaste tekst in plats van de originele tekst:

[vimeo http://vimeo.com/23075736]

Faceless is een wat ouder project van Manu Luksch. Zij heeft een film gemaakt door voor het oog van London’s surveillance camera’s een aantal scenes op te voeren. Door middel van recht op inzage verzoeken heeft zij vervolgens alle beelden van die scenes opgevraagd. Om de privacy van de ommestaanders te garanderen moeten al hun gezichten geanonimiseerd worden. Vandaar de titel Faceless.

De Oostenrijkse student Max Schrems heeft vorig jaar alle door Facebook opgeslagen informatie over hem opgevraagd. Na wat juridisch gesteggel heeft Facebook uiteindelijk een dossier van 1200 pagina’s opgeleverd. Een uitvoerige analyse van de gegevens laat zien wat voor soort gegevens allemaal door Facebook worden opgeslagen. Dit zijn niet alleen maar de connecties met je vrienden, je foto’s en je status updates, maar ook zaken als je laatst opgeslagen locatie, gegevens over alle apparaten waarme je Facebook gebruikt, de mensen waarmee je inmiddels geen vriend meer bent, en je complete log in geschiedenis (zie hier voor de ontnuchterende complete lijst). In het Ars Electronica centrum werden de 57 categorieën mooi verbeeld als verschillende puzzelstukjes die tezamen het lijf van Max Schrems legden.

Kunstwerk Europe Vs. Facebook, van website Ars Electronica

Schrems is inmiddels een campagne gestart, Europe vs. Facebook, met vier eisen aan Facebook:

Meer transparantie over de gegevens die door Facebook worden opgeslagen
Opt-in in plaats van het nu gehanteerde opt-uit
Echte controle over de eigen data door de gebruiker
Data opslag minimalisatie

Daarnaast vindt Schrems het onacceptabel dat Facebook sommige gegevens voor eeuwig bewaard en gebruikers niet de mogelijkheid geeft om deze voorgoed te wissen.

Naast installaties over privacy was er aan de Donau nog veel meer interessante digitale kunst te zien. Ars Electronica is echt een aanrader.

A History of the World in 100 Objects

Last week I spent three days at the British Museum in London exploring their History of the World in 100 Objects collection. I had bought the book earlier and showed up on a Monday morning with the intention of going to see each object in the book (preferably in order) and reading the chapter about that object while sitting next to the object. By Wednesday noon I was done with a mindblowing experience behind me.

The collection consists of 100 carefully selected objects, divided into 20 chronological periods. Each period has a theme and contains five geographically dispersed objects. Through this device the collections informs us on wide range of historical topics. We see how we moved from hunter/gatherer societies towards agricultural societies and even towards the information society. We get insight into the migratory patterns of humans from our roots in the African continent to our presence in the Americas (made possible by the last ice age). We are shown the birth of the major religions (and their surprising tolerance for each other at many times). We see the proof of trade patterns between different continents through the use of certain rare materials in objects. We see one of the first pieces of art (a non-functional object) that we’ve found:

and the first known depictions of a couple making love. We get an understanding of how people like the Romans, the Aztecs, the Incas and many others lived. We are forced to adjust our thinking about what happened in Africa before the colonisation. We see techniques like pottery or glassblowing develop. We get an idea about the development of activities related to leisure like smoking or sports. We can track how money developed and gained importance. And much more.

What makes it so powerful is how the objects connect us to our shared humanity and to the people who interacted with the object. Most of these objects also have very personal stories to tell, sometimes about their users, occasionally about how they got to the museum. I was incredibly moved by the universal story of a refugee leaving all that they own which obviously happened to the wealthy owners of the Hoxne treasure and I cried thinking about how the Akan African drum was used on a slave ship and then on a plantation in Virginia and how it had traveled to Britain where they first thought it was a native American drum.

In short: those 100 objects and the book are fabulous.

You had better be quick if you want to experience these objects in the same way as I did: 16 of the 100 objects weren’t on show when I was there. Some of them are too brittle to be on display, some were on loan and others were being conserved (a 17th object was replaced by a replica). A few objects are already in a different spot than on the map and others don’t have the signage that is specific to the collection anymore. I hope the British Museum will continue to put an effort into keeping it whole, but it currently doesn’t look like it.

I have one regret: looking back I should probably have listened to the full podcast feed rather than reading the 550 pages of the book. This would have taken a bit longer, but would have allowed me to take a much better look at the objects. Maybe I’ll do that next year.

Spending a lot of time in the museum I couldn’t help but encountering all the other things that are absolutely brilliant about this museum with free entrance: the awe-inspiring white marbled and domed courtyard, all the school children doing their assignments, the free 30-40 minute “eye-opener” tours of the different galleries, the people taking painting lessons or drawing the museum pieces, the “Hands On” tables where you are allowed to touch pieces from the museum with the guidance of an expert, the large groups of Chinese tourists looking at their heritage in the Chinese galleries, the incredible selection of books in their bookstore and the friendly staff. This is probably the best museum in the world. I think that, because of its collection, you can also say that the museum belongs to the whole world.

One final note: I’ve recently read Sandel’s What Money Can’t Buy, The Moral Limits of Markets in which he writes about how market thinking is invading all kinds of spheres where it wasn’t before and where it doesn’t really belong (see my review of the book here). One example that Sandel uses is how many things now get commercial names, things like sport arenas. Some of the galleries in the British Museum are also sponsored in this way. This is troubling. They seem to be on a slippery slope (yes, I know I am using a well known fallacious rhetorical device here): Sainsbury has very little to with Africa, Mitsubishi sponsoring the Japanese galleries is already one step further, but with Citi sponsoring a gallery on money I am starting to feel uncomfortable about the influence of sponsorship on the content of the museum. I’d rather pay an entrance fee and be sure I get true editorial independence. Am I being naive here and have museums always had to appease their benefactors?

Facilitating “DIY” (Do-It-Yourself) Learning at Elliott Masie’s Learning 2012

In late October I will be attending Elliott Masie’s Learning 2012.

This year Marcel de Leeuwe and I will be hosting a learning lab session which is described as follows:

Facilitating “DIY” (Do-It-Yourself) Learning

Only knowledge workers themselves really know what their jobs entail, which makes providing learning for them increasingly difficult. The level of connectedness in our world and the abundance of suitable technical tools now allow these workers to organize many parts of their own learning. So, what is our role as learning professionals in this new world of “DIY” learning? We can empower our employees to create those tailored learning experiences!

Examples of self-organized learning from surprising places, like MOOCs, Edupunk, the world of juggling and social media in corporations
The principles behind facilitating self-organized learning
Create your own high-level design for a self-organized learning event

It would be great if you could make it to the session. You are more than welcome! Also, I am always interested to meet new people in the world of learning and (open) technology, so do reach out to me if you would like to have a chat in Orlando. I am especially interested in truly innovative uses of learning analytics and networked learning (i.e. a Connectivist pedagogy).

Will it Blend? Blended Learning and Quality

A few days ago I presented at a teacher’s conference at the Hogeschool Utrecht (HU) on the topic of Blended Learning and Quality. Naturally I started the talk with one of the Will it blend? videos:

[youtube=http://www.youtube.com/watch?v=MC8Zvl-8ziA]

I then referenced the seven problems that are written up by Kapp and O’Driscoll in Learning in 3D. Blended learning could be seen as a way to fix some of these problems. You do this through sound instructional design in which you blend working and learning (rather than face-to-face and online). I then highlighted the first principles of instruction that M. David Merrill wrote up and work that Betty Collis and Anoush Margaryan have done to expand this work into Merrill Plus.

Below my slides (in Dutch):

[slideshare id=14499735&doc=120926willitblendhu-120928033020-phpapp02]

(download them here if the embedding doesn’t work for you)