Re-imagining learning for a post-digital world (part 3) – A design for learning?

A design for learning?

Part 3 of this extended blog post will focus on how to ‘do’ post-digital learning experiences and make them work as part of an integrated approach to learning and curriculum design.  And the glue that holds these approaches together is design thinking.  Design thinking represents an interesting conceptual framework in which to think about teaching and learning.  Meinel and Leifer (2010) describe four tenets or rules of a design thinking approach;

 

  • The human rule – all design activity is ultimately social in nature
  • The ambiguity rule – design thinkers must preserve ambiguity
  • The re-design rule – all design is re-design
  • The tangibility rule – making ideas tangible always facilitates communication

 

These frames help explore solutions for what design thinkers called ‘wicked problems’; difficult, intractable, nebulous or impossibly contrary questions that challenge the structures and fabrics of practice.  In higher education, wicked problems are pervasive and disruptive for evolving and emerging practices. They arise from the relationship between learners and teachers, between the faculty and institution, between the centre and the Schools, between technology and things remaining the same as they have always been.  But within the design thinking approach there are some perceptive and practical insights that can inform the idea of learning experiences as a critical factor in learning and teaching design.

 

Human  – Teaching and learning is a human activity. It is social and is guided and shaped by the mores, tropes and vagaries of human communication.  Identity, status, privilege, roles, language and intent are pushed into a sense of hyper-reality in the context of education.

Ambiguity is a parlour trick we often use to ensure the fourth wall remains unbreakable.  And next week, you will find out the secret of passing the exam, this week I will tempt, next week I will taunt, maybe a bit of tease the following week.  But ambiguity also can be a positive, taking the next step without knowing what is underfoot; leaping off a cliff hoping there will be someone there to catch you.  Ambiguity is more than a cliff-hanger.  It is a function of learning as an adult, because life is ambiguous.

Re-design – Almost all teaching is a process of redesign, whether its curation, remixing, re-purposing, summarising, aggregating, commenting.

Tangibility – making it and keeping it real.  Case studies, application, life experience, problem solving, practicality, it’s all there in what most people call good teaching and learning.

 

Post-digital learning experiences are a design thinking process.  How do we break the intractable nooses of institutional entropy, technological tensions and the incongruity of expectation?  How do we design tangibility, ambiguity and humanity into teaching and learning so that outcomes are enhanced, durability of learning continues to extend, transferability of experience is enhanced and the effectiveness of education is exponentially increased?  How do we do design thinking for learning?  This post will explore how to design learning experiences relevant for the post-digital age.  The PDLE idea comes from applying a design thinking approach to the wicked problem of teaching and learning in a modern institution, with modern learners and modern disciplines. It comes from the debate constructed so often in my blog about what happens if we do nothing.  What happens if we ignore the changes in learners, learning and society and carry on advocating the holy virtue of pen, paper and note taking?  What happens if we ask people to turn their devices off in order to learn or demonise them for wasting time on frivolous uses of technology?  Because often, that is where we are and that is the entrenched position defended to the death by the pure of heart from the marauding techno-hordes. It comes from the way people design stuff other than learning. Art, media, careers, discoveries, business, innovation and their lives.

 

learning with MOOCs IIlearning with MOOCs

 

Found

Found is the first of the post-digital learning experiences because it is the one closest to my own practice. The notion of making sense from discovery is at the heart of learning.  It has not all been written or discovered.  There are huge swathes of undiscovered countries.  At the core of found are two very powerful learning experiences; bricolage and discovery.  Found represents a way of explaining the sheer capacity of knowledges. Found is a way of understanding something, explaining something, adding a sense of the undiscovered and the unknown;

  • Asking the question without knowing the answer
  • Story without an ending
  • Problems without solutions

 

As a learning experience found can have many guises.  From the discovery of new and exciting ways of thinking and seeing, to the co-opting of knowledge from diverse disciplines in order to have insights into your own.  From seeing an image and telling a story, through to the remix and re-purposing culture of digital media making, through to the finding of meaning, found can change the way learning happens. However, much of modern learning uses found in its paste tense form.  Knowledge has already been found, and the job of the academy is to present you that knowledge.  The job of the research academic is to find out more.  The student is not the finder.   The student is the repeater of found knowledge.  The student is the next in the chain of Chinese whispers. In a modern bricolage culture, found is no longer a past tense.  It is a sense of future discovery; it is a label for artefacts and raw material.  Learning experiences that build on found enhance curiosity, complex linkages, independent thinking, collective intelligence, the progression of knowledge and an educational ambition that sets to to make that sure that there is more than that to be found.  Knowledge as an experience is not static in a found learning design.  It is a body of active pieces waiting to be reconstructed, reinterpreted, rediscovered and reused.

 

Making

There has been an incredibly large amount written about making (in a post-digital world).  For a much better exposition of this idea, I point you to the work of David Gauntlett and his brilliant piece on making called ‘Making is Connecting’.   Making is a core learning experience.  It is rooted in conceptual frameworks like creativity, problem solving, tactility, abstract thinking and practicality. Maker spaces have traditionally been the realm of engineering and sciences but I have been advocating the creation of maker spaces for a wide variety of disciplines.  I am working on what a maker space would like look for the social sciences.  At the core of making for me is the concept of owning.  The learner owns the experience, the space, the outcome and the solutions.  Making challenges the theoretical safety net of HE to be realised in a practical environment.  Equally, creativity is a fundamental.  Technology has democratised creativity.  Technology has made your ability to make with others, share with contemporaries and make your making available exponentially wider and easier.  Everyone is creative in some way.  Creating learning experiences that provide people with the opportunity to make something opens up avenues of learning that consumption and reception can never replicate.  It might be as simple as a case or simulation right through to technology-led practices like media making, app development, product design or innovation.  There is a growing movement to make making more explicit and tactile, maker spaces and labs, simple to use but complex apps that allow everything from music making, to knowledge presentation through to design work to be done on a tablet.  Making is a design activity that is multi-sensual, trans-disciplinary and a tookkit for life-long learning.

 

Identity

I have written a lot about identity in a post-digital age.  It is a complex thing, caught flash hard in the debates about safety, responsibility, expression and citizenship.  Identity as a learning experience is inherently trans-disciplinary, providing a skill relevant across learning trajectories.  Without re-hashing the debates about digital identity (that you can see splashed through my blog history), there are some key aspects relevant to learning design.  Identity formation is a critical learning experience; what is your identity within a discipline? Where do you fit into traditions and discourses?   Identity sharing is a learning experience at the heart of effective portfolio learning, professional development and connected experiences. Identity development is a 21st century skill, knowing how to use and develop, manage and nuance multiple identities for different aspects of your life.  I have written a lot about the digital stranger (the person who reveals only small slices of themselves in an on-line environment, made easier by avatars, light touch registrations and the blurring of identity in social media) and how fleeting connections with people can shape thinking and development of beliefs and practice.  One of my favourite writers, Stephen Brookfield (1984) really nailed this idea in an article called ‘Tales from the dark side: a phenomenography of adult critical reflection’   In this seminal piece, he talks about how identity impacts directly on how we reflect critically as practitioners, identifying senses like impostership (the idea that reflection is not for the ‘likes of me’, cultural suicide (that to be true and honest in reflection could be shaming of friends) and lost innocence (that reflection troubles to address ambiguities best left unaddressed) as darker sides of identity interacting with communication, reflection and the practices of teaching.

 

From the way media can be shared and critiqued, to peer assessment, through to exploring and interrogating the necessity of anonymous double blind marking, identity is a learning experience that crosses through much of the learning activity we engage in.  And like the rest of these learning experiences, it is not the sole domain of our students.  Identity is at the heart of teaching practice too. The cult of the expert, the theatricality of the fourth wall in a lecture, the capacity to always be right and the artifice that protects poor assessment and feedback from anything other than student satisfaction criticism are all informed by crisis’ and concepts of identity.

 

Play

‘Play is at the heart of human behaviour, encouraging healthy relationships, enhanced literacy and creativity (Saracho & Spodek, 1998) and a better developed approach to work and career (Hartung, 2002). Play is not risk free, with some arguing that the best learning should hurt (Mann, 1996). Margitay-Becht and Herrera (2010) note that ‘fun is learning’ and observed little resistance by staff to engaging in fun activities such as virtual worlds and gaming but much higher resistance from the students, who wanted their experiences rooted in reality and play for the times after learning.’

Bryant, Coombs and Pazio (2014)

 

We all play.  Life is full of play.  And play is equal parts fun and risk.  Some of the most fun we have ever have is when we play with risk.  Jumping from planes, falling off slippery dips or singing our signature song at Karaoke, this time in front of a live audience (I will tell you mine, if you share yours.  All song titles in the comments!).  Play is great.  Trouble is that learning can be so damned serious.  Brows get furrowed.  Stress balls are made from competing deadlines.  It seems that we are happy when are students aren’t having fun but worrying and stressing.  Part of life.  And then there is us.  Where has the fun gone in our jobs? Counting down the months, weeks, days, hours and minutes to holidays.  The stress of tenure and the worry that if even the smallest thing goes wrong, we are back searching on jobs.ac.uk.  Failure isn’t an option when it comes to pedagogy.  NSS scores, student evaluations, the push to higher and higher student achievement have driven all the fun and experimentation out of teaching.  So, how do we bring play back into learning? We have to encourage students to experiment, to fail, to fall flat on their faces or find themselves succeeding despite their best efforts, all in safe way.  It is no longer acceptable to simply get a degree in the UK.  You need a good degree (although hopefully this stupidity is now changing).  We have to support a culture where play and experimentation are natural components of good teaching.  Where we learn as much from failure as we do from success and we bring students along with us on the ride.  That way they don’t feel like guinea pigs when they are paying £9000 fees.

Play means a chance to use games, digital storytelling, media making, Lego, role plays and other mechanisms that break reality and put people into slightly uncomfortable roles.  I used to run a class where I used a thing called interactive case studies.  These were all set around a restaurant where certain characters created a scenario for HR or management students. I asked for a few volunteers from the class to play these characters.  I gave each ‘actor’ some basic character traits and asked them to improvise the characters based around them (simple traits like ‘always brought things back to them’ or ‘always lies’ or ‘will always support character Doris, even when she is wrong).  Sometimes it worked, and other times I had to step in, moderate and lead.  But every time I ran it, it was fun.  People laughed and played.  I gave people who weren’t feeling comfortable to chance to ‘tag’ another student into their role.  This was a safe space.  There were no grades, no pressure, some risk of public performance, but it was all about learning.  It tapped into identity, roles, perceptions and attitudes, all crucial  skills for people management.  We learn through play.  It doesn’t have to infantalise or regress people.  Adults play. But experimentation and play, whether it be through humour, or simulation or gamification are effective post-digital learning experiences.

 

Discontinuity

Life is chaotic, messy, non-linear, traumatic, joyful, unexpected and unpredictable.  Memory is much the same.  Learning however, is in the main structured, scaffolded, episodic and linear.  This tension could afford education with a unique opportunity to develop skills in navigating, leveraging and riding the chaos.  Instead, it tries to control it and at worst ignore it, assuming normalcy and norms dominate. This norm driven perspective assumes for example, that the jobs that existed when a student started their degree look exactly like the world they will enter three years later.

 

Discontinuity as a learning experience takes the fear and uncertainty that arises from not knowing if there is something waiting for your next foot fall and learns from the calculations, assumptions and sometimes faith (in the truly atheist sense) that goes through your brain in the split second before you step.  It lets the learner enter the story at the middle, or the end and work through the problem in reverse, identifying and challenging assumptions.  It shows them the natural end of a discourse and asks them to reverse engineer how we got there.  To identify what assumptions were inherent in the debate and what shaped arguments, discoveries or transformative moments.  It drops them in the centre of a problem, like the middle of a maze and encourages then to find and deduct their way out.   Chaos is equally as powerful a learning experience.  The wash of not knowing what is happening, that slight out of control feeling that eventually coalesces (usually around assessment time) has been part of higher education for years.  It can be dizzying, challenging and uncomfortable, like many of the things we experience in life and work.  Replicating even a dash of that through discursive activities, breaking of routines, cracking the fourth wall or challenging power structures brings an element of safe free fall into learning.  And it makes for authentic experiences that replicate the way we in part live our lives.  All of which brings us to…

 

Authenticity

This is an interesting concept, not less for the debates around what is authentic. Authenticity as a learning experience is rooted in ensuring that what the learner does feels and in effect is real.  Realness is a very fuzzy concept in an on-line world.  From the variability of identity to the mask of reality that on-line interaction can afford participants, defining something as authentic is difficult.  We may have defined authenticity in learning pre-digital age as things like field trips, simulations, model offices, work based learning or professional practice.  But in a more complex learning world what can constitute as authentic? At a simple level, it is about making sure that the learning experience means something, that it is not simply a test of character, or the rite of passage afforded to those who get to experience higher education, as an ivory tower hall of rotating knives.  At a more concrete level, it is about the skills required to develop ethical frameworks, approaches to working with and supporting people, developing and changing the world, and an academic/student relationship that is built on a dialogue or a conversation where each are shaped by the interaction, not a monologue delivered by someone who will never know your name.  Authentic experiences are not easy to facilitate, in fact, I would argue that it is the hardest of the PDLE. It is inherently personal.  Authentic experiences rely on trust, the developing of a relationship, the exchange of experiences and the realization that learning is a complex amalgam of the interpersonal and personal.

 

Community

‘…it’s through participation in communities that deep learning occurs. People don’t learn to become physicists by memorizing formulas; rather it’s the implicit practices that matter most. Indeed, knowing only the explicit, mouthing the formulas, is exactly what gives an outsider away. Insiders know more. By coming to inhabit the relevant community, they get to know not just the “standard” answers, but the real questions, sensibilities, and aesthetics, and why they matter.’ (Brown 2001)

 

Community is something that people crave for from a university experience.  Being part of a learning community (as opposed to a community of learners) is empowering.  But equally when that community can crowd-source knowledge and solve problems, when that community can leverage the power of the massive and through technology can span location, engage in social behaviours and create and share knowledge then it becomes truly transformative.   Community learning experiences build on the social aspects of learning; collaboration, collective assessment and engagement, group work etc and social media changes that game entirely.

 

‘Social media has facilitated a complex, co-created and immediate form of learning response, where content and openness challenge the closed, structured nature of modern higher education . Social media has had significant impacts on the way learners connect with people and with the knowledge they require in order to learn across a variety of contexts. Social media support more than user interactivity, they support the development and application of user-generated content, collaborative learning, network formation, critical inquiry, relationship building, information literacy, dynamic searching and reflection.’

(Bryant 2015 ) 

 

A social media community is far more than Facebook and Twitter.  Social media explore innovative pedagogical practices like making, ideation, creation, critique, sociality, connected practice, crowd-sourcing, entrepreneurship, digital citizenship, media making, identity, politics and policy.  And that is just the start.  The communities that form on social media are equally fleeting as they are lasting, large as they are intimate, collaborative as they individual.   They support lurkers, talkers, loud mouths, itinerants and learners.  Social media are being used by your students now.  They may be consuming yours, making their own, using their existing networks to find out stuff or leaving others because they have developed and moved on.  Yes, they can have arseholes in them, but so can a bus.  Yes, they have trolls, but so does a classroom.  Community formation and development through social media is not a ‘trend’, it isn’t ‘new’ nor will it go away like fax-based learning (was that ever a thing?).  Social media is for the foreseeable future how the internet is wired.  It is how society is increasingly wired and it is how many people form and nurture their communities, inside and outside work.  Sure, not everyone is an expert or a natural at social media. Not everyone likes talking on phones neither.  Doesn’t mean we never used them for work.

 

There you have them. Seven post-digital learning experiences.  None of them are ‘new’.  They are all built on good teaching practices that we have done ourselves or experienced.  They are rooted in deep traditions of experience, both socially and professionally.  They are not exclusively digital, but they are amplified and enhanced in a digital environment.  Technology makes them more possible and multiplies their potential.  They will work in off-line, blended and on-line environments because in a post-digital institution, there is no discernible difference.  They will will in open, free learning and closed residential experiences.  I know, we have made them work.  This is the shape of learning in the 21st century.  It is complex for sure.  It is not as simple as a voice in the room and the furious scribbling of pens.  It is not something that can be summarised in a high stakes exam.  But to be honest; effective, active, real learning has never been that anyway.

 

PDLE

 

 

 

Watching the detectives: Rethinking the way we teach digital identity

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Social media is a disruptive and potentially transformative practice for adult education. According to Edudemic, 91% of college faculty in the US are incorporating social media into their teaching, 80% of academics have at least one social media account and 2/3 of students access social media during class . There are wide variations in the understanding people (academics, administrators and learners) have about social media, both in its scope and scale. In the context of my recent posts about the notion of ‘e-learning potential’ I have riffed on the idea that resistance to pedagogical change arising from technology comes in many forms (action/activity, vicarious willing of failure, and lack of empirical research). The reactions to social media and the practices and policies that emerge can be seen as another form of resistance, which I call ‘It wasn’t me, it was them’. We look at learning innovations like social media in the context of ‘well we would use social media more, but employers are demanding a certain professional image of our graduates so we have to be careful’ or ‘learners use their social media in my lectures too much, and if they’d put their Facebook away for five minutes they would have passed’. I worked for an institution a few years back that actually banned all social media from staff and student machines on the premise that social media represented nothing more than a time wasting opportunity.

 

Of all the things I have seen that get academics angry (especially at conferences), social media is right up there. From the dangers of stalking, to the power we are ceding to corporations who own social media, to how it will change the world (already has, naysayers) through to the discounting of its impact as hype, social media and its use by our learners is debated ad nauseum. At lot of this argument is based on limited experiences, spurious assertions and sometimes Daily Mail level sensationalism (we won’t go into the case of the poor girl who lost her Police Youth Czar job and was interviewed by police for offensive behaviour because of tweets made as a 14 year old…as we say in Australia, we often live in a wowser society)

Wowser

In Australia, it is a derogatory word denoting a person who saps all the fun out of any given situation. Derived from the temperance movement in Australia and New Zealand at the turn of the C20th, when it was hurled as an accusation towards conservative teetotallers who were too prim and proper to relax and socialise, it has become a more generic term that can be assigned to any straight bore lacking a sense of humour, especially petty bureaucrats and Aussies politicians.

 

But equally, there is a generational gap in terms of social media usage. Phone calls, memos and faxes were replaced by email for my generation (I am proudly GenX). The average 14-21 year old rarely looks at their email inbox but will send between 1200-2000 texts, tweets and IMs a month. Yet the decisions about what constitutes acceptable social media usage as part of professional practice is made by people whose practices are not generally in line with those of their learners (such is the broader problem with e-learning generally, discussed in an earlier post) or were not exposed to the environment in the content we made is displayed and shared in different and technologically facilitated ways (who needs a slide night when you have a photo-stream, who sends out paper invites when you can create a FB event?).

 

So, to put this in context, I want to highlight some of the issues for HE around social media resistance by being deliberately provocative about what is a contested but extremely common practice and how we as institutions react to its impact…let’s talk about the detective employers who use online vetting…

 

‘They call it instant justice when it’s past the legal limit.’ – A case of employer-led practice development

 

There has been significant and some would argue hysteric media hoo-hah around the rights of an employer to ‘google-stalk’ or more politely ‘online vet’ potential employees, looking at their social media profiles and their shared content to see if they fit their company’s values. These companies check peoples Facebook profiles, read through their tweets and peer into their photo and YouTube viewing histories. There are HR services that have cropped up to help facilitate this investigative process. As HE institutions discuss the emergence and impact of social media, the constant chattering of resistance and cautious action points to how employers can find anything they want out about you, and that even if you take those photos down, they are still there, for the boss of your potential dream job to see and deny you the corner office. And with that, our narrative changes from the transformative power of social media to looking at how we can lock it down, teach students about the dangers and nasties of social media usage, that we have all the answers about the professional way to present yourself online.

Google stalk (from the urban dictionary)

search for facts/information about someone by looking up their name, address and any other known facts on google

Example: I spent all day google stalking our new neighbours – the one downstairs runs a record company from home

 

What right do employers have to look at social media profiles?

Every right on the planet (bar one). They are publicly accessible. The internet makes it easy. The law has no issue with anyone legally looking at public information. Note the bar one. I challenge their moral right to do so. ‘Oh very dangerous’ I hear you cry! And yes, it is a sweeping assertion designed to polarise the debate. Hear me out. Some people compare online vetting to the employer’s right to ask you to submit to a health check, a drug test or a credit or background check. There is one difference. I consent to those. They cannot happen without my consent. The social media stalking by employers occurs WITHOUT consent, under the tenuous notion that because it’s public, you have given consent. That sounds like reverse engineering to me. They also argue that they are not looking for just the drunk selfies you put up but for the good things you do like charity work or helping your nanna mow the lawn.
Going for a job as a bank clerk is not public office. You are not required to be held to the arguably contradictory standards people who hold political office are. Why does an employer have to vet you? How does a picture of you holding a pineapple cocktail enjoying yourself indicate that you have an alcohol problem, and is that any of their business?

Scenario

George goes for his first job after university. He wants to work in the city for a major bank after finishing his finance degree. He sends LargeBank PLC his CV, they ask him for an interview. Laurie, the recruitment officer asks some questions to ascertain whether George is ‘LargeBank material’ and holds their values. The interview ends with George feeling good. He goes to the pub with his mates to debrief and relax as he usually does every Thursday. Laurie follows him to the pub, noting that he is at a pub (does he have an alcohol problem?) and he is there at 4.45pm (is he a lazy worker?). He sees a mate who he hasn’t seen in years at the pub and gives him a hug (he seems pretty rowdy and loud, is that an issue in our office?). He takes off his tie and suit (hhhm, causal dresser?) and sips his beer (must be a lager lout). George goes to the toilet (skiver!) and Laurie goes to all his mates while he is away and ask questions about George. Do they have embarrassing photos they can share with her? Any stories of holidays or former girlfriends? She might even ask if he has done any charity work. Is Laurie breaking the law? Probably not. Is it any different than looking through George’s Facebook? Yes, looking through the Facebook is anonymous and easy. And you have little or no risk of being detected, challenged or having the information filtered or interpreted. You get to form your opinion without any pesky potential employee getting in your way. Isn’t the internet wonderful? Lucky they didn’t have it my day, eh?

 

What does this mean for HE?

Employability is at the core of the policy agenda for HE and is a critical consideration for many of our learners. There is a tension then between the importance and proliferation of social media and the practices of employers. A variety of surveys have estimated that online vetting practice is occurring in between 1/5 and 2/3 of employers (a huge range I know, but how many of them truly admit something that has both legal and ethical implications). With professional practice, graduate attributes and personal development become increasingly prevalent in curriculum and learning, teaching and assessment, the practices of employers in this area are not necessarily challenged by the academy, but normalised by our acceptance of them. If employers are actively vetting their potential employees, then do we as a university alter our social media usage and practices to ensure that learners know the ‘stranger danger’ of having public profiles, sharing content and collaborating? In this scenario, is our most important lesson the one about how you construct an identity, as opposed to evolving one? Should we talking about managing internet privacy, taking professional headshots, using social media as tool to promote a personal brand?

 

There is no black and white here, but whilst I normally find myself answering such questions with outraged self-righteousness, I also know that there is a middle ground in this case. This middle ground does not lie in the scare tactics, the fear mongering or in normalising the arguably unethical practices of some employers (indulge me for one sentence: if any potential employer of mine online vetted me without my personal life without my permission, I would respond to them by saying that it is their values I hold in my contempt and I would not want to work for them!). The middle ground (to return to the point) lies in developing and supporting practices about how to use, shape, influence and lead on social media. What is the power of the community, of crowd sourcing and of collaborative media creation? It is the assumption that education prepares the manager of the future and that they will be the people making the decisions in probably less time than their parents or mine for that matter.

 

Teaching someone what not to do is often negative and frankly, of the moment. It is giving someone a list of fish they shouldn’t eat before you give them one they can. Using social media as part of HE should involve finding out what media they already use, how do they use it, how do I use it, why do they have an avatar or an alias? What skills have they acquired in using social media? How do we then transfer, repurpose, remix and reuse those skills for professional social networks, how do we analyse and understand the behaviours of others on social media, giving us insights into customers, community and societal and civic responsibilities? It is teaching them how to fish, how to share that knowledge with others and how design, develop and deliver the best fish recipe ever. Social media is not an instrument of hype any more than email is new-fangled way to say stuff. It is a fundamental aspect of society. Employers and institutions have to face up to that, and so do their practices, their expectations and the policies.

Shameless self-promotion – How do I know any of this was real?

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I have been working on a variety of radio, podcasting and sound art projects for years under my DJ non-de-plume – DJ Ringfinger.  These have varied between shows about Australian indie music (which I shamelessly plugged last year) through to some more experimental multimedia projects.  I usually like to keep my worlds only slightly bleeding into each other.  However, my latest piece, a sound collage-musique concrete composition called ‘How do I know any of this was real?’ is based on two common themes that I have written about this blog.

Firstly, I wanted to explore the idea of the digital stranger, and how much we and others we interact with, reveal about the real ‘us’ and from that what identity/s we construct through and because of that interaction.  And secondly, I am fascinated by the idea of realness and authenticity in on-line engagement, what constitutes it? Who decides what is real and authentic anyway?

Some of the spoken word comes directly from the text of this blog, which is why I spruiking it here.

For those of you into the specs of the piece; the words are spoken by Calisto (a voice actor) from fiverr.com (which is a site that links products and services to consumers for a nominal $5 fee) and the sounds are manipulated and contorted short samples from 1950s and 1960s classical-xploitation records.

(artwork by Melbourne street artist RONE http://r-o-n-e.com)