‘I don’t want to change the world’ – a call for a personal revolution (learning style now!)

10922335_10152977900377908_963475187960087205_o


Apologies and much respect to Billy Bragg and Bikini Kill for appropriating their lyrics for the title


Those of you who follow this blog will have seen me explore some common threads around pedagogy and the constraints and challenges of effecting change within the complex construct of higher educational institutions. To some extent, throught course of my posts and the think that goes along with constructing them, I found myself creating the kind of intractable, unsolvable problem that generally gives me a headache. How do I reconcile the ambitions and aspirations I can see for a higher education sector that engages with innovation and transformation and the reality of shrinking budgets, rapidly increasing competition and a pace of change too fast for even the most agile institutions to keep up with? The challenge for me is to find a focus within this chaos. To find what I stand for and how that shapes that way I approach learning and teaching with technology in the post digital age. But equally not expending all my energy on a soapbox built for one.

Recently, I saw an exhibition of contemporary Korean art called ‘Garden’. Through a collection of primarily visual artworks, the exhibition sought to tell a story about how engagement with art can serve a similar purpose to a garden, to sooth, to find focus, relax, reflect and bring together people within an urban community into a common green space. Within the ‘Garden’ exhibition, the artworks were organised into four active process centred themes. Encounter. Pause. Dialogue. Wandering at Ease. These kind of abstract processes resonated for me as I tried to articulate some my thinking around how we address the pinch points around adoption, resistance, innovation and transformation (although arguably all this thinking was not so fun for my wife who knows when to wander off in a gallery leaving me to my own pondering. ?)

2014102102402358319747 (1)

Let’s get down to it. One of the great challenges learning technology faces is the momentum of organisational change. Historically we have ridden waves of change by providing for and then supporting toolkits that supported the transition of practice from one medium to the next, without actively pursuing an agenda for pedagogical change. A VLE simply replaced photocopying and OHP slides in many instances. Lecture capture became the new way to photocopying slides held in the library. These large scale firewalled behemoths required recurrent support, frequent upgrading, are bloated by an ever increasing array of features and have extended their tendrils into a multitude of other organisational systems. Much of our practice has been built from these foundations. And we sometimes approach the new array of learning conditions facing us in similar ways. What is in our toolkit to support emerging pedagogical challenges? How do we better support the existing teaching and learning practice? I think the challenge for us entering 2015 is to look past the tools, the toys and the platforms. There simply isn’t a single out of the box solution for the challenges we face. We can’t rely on growth through systems support and development. There are significant and intractable tensions between the dynamic epistemological shifts that are fundamentally changing the way media is consumed, knowledge is constructed and learning engaged with. The simplest analogy I have come up with is watching TV.

1. Encounter
(a nostalgic remembering of times past warning)
When I was young, we watched TV in very different ways. We waited patiently each week for the next exciting instalment of our much loved shows. IN Australia, this was sometimes month or years after they had debuted in the US or UK. People talked about what had happened, theorised, and then sat up waiting for 8.30pm to tick over. I remember clearly when someone from the US sent me VHS copies of the latest Star Trek episodes in the early 90s months before Channel 9 showed them. Media consumption was episodic. In the modern era, technology has transformed this practice. We add to our consumption practices the ideas of binge and bites. We either binge whole series or shows (there are binge companions for shows like Breaking Bad) or we consume small bites on youtube. Sure, there are still examples of episodic watching (Game of Thrones), but shows now are faster paced, often shorter in duration, wider in scale. I recently watched an episode of the 70s classic ‘Space 1999’. I was taken by how slow the story was, the pacing was so different to the flash cuts and lightning progression of modern TV. These two factors combined have changed the way people consume media. They have changed the business models for producers and broadcasters and they have made starts of new media makers and distributors.

2. Pause
(back to the text)
Higher education is essentially episodic (especially in the context of residential of face-to-face teaching). Students are asked to consume content and then wait a whole week before they find out the next part. Yet, all their instincts and practices on consumption are predicated on binges and bites. MOOCs if they proved anything demonstrated the educational efficacy of education in bite form (or disaggregated for the purists). The significant increases in online education participation seen primarily in the US, especially in the context of work based learning, experiential learning and flexible pathways have equally demonstrated how binge practices can be applied to the pedagogy of higher education. Both of these are effectively fringe practices in HE. That said, new players are moving into the field. They are fracturing content, finding new value propositions for certification and making the case for the end of higher education as we have known it.

3. Dialogue
My assertion here is a simple one. I think we as learning technologists, educational developers and teachers have frequently got our focus wrong. In many cases we have centred on the mechanics of teaching. Toolkits, instruments, vehicles and containers. We have been obsessed with the 3D, widescreen, pixel definition and digiquantics (I may have made one of those concepts up). Youtube is not in itself an innovation, especially when it used to simply replace a badly stretched VHS. Reading list software does nothing to transform the educational experience for learners from that of the era of a printed handbook of readings. Equally, we can make the case that is not just about content either. It is generally accepted that the most innovative, challenging and informed TV shows are often the ones that fail to attract audiences. Arrested Development anyone? So, what is that we should focus on?

Far be it for me to assert what others should be doing. I think that is where the intractable problem rears its ugly head again. This is debate without winners and losers. There is no one right answer. Peoples jobs, identities and esteems can rest on their identification with the job they are doing. This creates dynamics that cannot be easily salved by logical debate or illogical impassioned argument. So, what was the dialogue that was tumbling around my head in that gallery in Seoul? The focus on toolkits and toys only serves to reinforce a number of unhelpful paradigms about technology; that the use of technology is the exclusive privilege of the technically adept, the young or the innovator; that technology is a ‘nice to have’, not an essential, integrated part of the action; that learning has been and always will be the same and new technology simply enhances and builds on the successes of the past. It is the acceptance of these paradigms that provides the paths of least resistance with faculty and institutions. However the past of least resistance leads to the lands of lost opportunities. Learning is changing. We have to understand how it is changing and what that means for pedagogy, teaching and the way our learners engage with their educational experience. We have to work with teachers, students, the community and employers to embed agility, literacy, connectivity and collaboration into practices and understandings about learning, not in the form of kit, but in the construction of curriculum and interactions. This needs to be a debate, a discussion, informed by experimentation, rigorous research and casual, engaging and robust arguments and hundreds of water-cooler discussions about what learning looks like in the 21st century. It has to be more than conversations that start with ‘In my day…’ These conversations need to involve students, alumni, potential students, parents, academics and the community as a whole. And it is our responsibility as learning technologists, educational developers and teachers to facilitate these discussions, to provide the environment in which inquiry, questioning, perspective and compromise can occur.

4. Wandering at ease
For me, this engagement is not a burden. It is the way around an intractable problem. Whether it be time pressure, fear, workloads that crush the soul or not being able to see the forest from the trees, it is far easier to forget that these changes are happening and get on with trialling a new platform, or attending another demo, or leaving that programme redesign to next year. The logical impossibility of challenging the status quo, the fear that perhaps there is not a single solution that we can plug in out of the box can prevent us from even recognising the argument is there, let alone engaging in it to any great depth. The critical question for me in 2015 is not about the rationale for the argument, or for the efficacy of engaging as many voices as we can in that argument, but how we can engage with those who don’t want to hear, those who see no need to speak or change. How do we advocate for change? How do we influence the society of higher education to recognise the need to debate social change? Do we need to see ourselves as a social movement? Seeters and James (2014) define social movements as;

‘(1.) the formation of some kind of collective identity; (2.) the development of a shared normative orientation; (3.) the sharing of a concern for change of the status quo and (4.) the occurrence of moments of practical action that are at least subjectively connected together across time addressing this concern for change. Thus we define a social movement as a form of political association between persons who have at least a minimal sense of themselves as connected to others in common purpose and who come together across an extended period of time to effect social change in the name of that purpose.’

Is this a call to arms? Perhaps. Am I advocating revolution? More likely. There is an opportunity to use the media and mediums we collectively own to shape this debate, to collaboratively experiment, not just locally, but globally. But what is most critical here is that we have an opportunity to engage win what Seeters and James called ‘moments of practical action’. Talk is important. What follows it is critical. And that is action. We need to hear and engage with those who are outside the box experimenting and breaking education as we know it. We need to form a community of those wanting and perhaps demanding change to the way we have done things in the past. We have to hear the voices of those who have resisted the dominant learning technology or teaching paradigms. We can’t be content with simply following the class of 1988. We need institutions to be willing to lead on these changes and not simply be content with keeping up. We need students to be part of a multivariate analysis of action. And we need you, to be the person who questions the why and not just the how. A friend of mine from Sydney sent me this quote from an Italian academic called Gianluca Bocci (2014) who argued;

‘When he does not seek to impose his/her own world on the spectator, but invites him/her to complete his/her own, through the construction of multiple paths. When s/he converses with other arts, with science, with psychology. Herein lies the deep fascination of the work of art: the end user is also a co-creator. This means admitting a plurality of registers and languages. Unfortunately, the myths of the modern era have championed univocality over plurality, both in relation to individuals and the community. Learning to pick up this polyphony of registers and languages is, I believe, one of the most important pedagogical and learning tasks of our planetary era’

To wander at ease means to be free from burden and from guided direction. This is my path. This is my garden. Maybe there is something in this post that helps you find yours, to be the co-creator of your unique take on the social movement of higher education. To help you find collaborators and people to coalesce around or co-opt to the cause. And now, Billy Bragg.

References
Gianluca Bocchi, Eloisa Cianci, Alfonso Montuori, Raffaella Trigona & Oscar Nicolaus (2014) Educating for Creativity, World Futures: The Journal of New Paradigm Research, 70:5-6, 336-369

Know your product: Is the MOOC the messiah or just a very naughty boy?

Where’s the professor?
We need him now!
Gonna tell you ’bout them
Yeah we take it all the way ’round the world
(The Saints – Know your product)

I have been bemused at the on-going howling and whooping about the seismic shifts cutting swathes through Higher Education.  It seems to me that there are two discrete things happening here; the desire to see change happen, led by people with the passion, enthusiasm and money and the equal desire to find quick fixes from the proverbial pot of gold at the end of the rainbow.  Change is a complex beast at the best of times, I think simply because there is rarely change that is universally embraced nor equally applied or applicable.  Even in 2008 when Barack Obama won office in the US, the result was one of the polarised oppositions in the history of global politics, defending their turf with ever increasing fervour and even more outlandish claims.  MOOCs and all their multiple variations are one such seismic ‘shift’.  Even this week a consortium of UK universities got together and announced to the world that MOOCs represent a ‘Napster moment’ for Higher Education;

UK universities to launch free degree-style online courses

and

UK universities are wary of getting on board the mooc train

But what do MOOCs actually represent in this fractured, and some would argue broken university environment still reeling from increased fees, the changing skills requirements of employers in a high unemployment world and shrinking global boundaries between systems and institutions? It would easy to argue that they are the messiah, bringing with them a new era in open learning, connectivity and smashing the cobwebbed ivory towers of the academic establishment.  It would be equally easy to label them a fad, like the yo-yo or the billion hit success of Gangnam style (wop, wop, wop, gangnam style!).  And it would be a cop-out to say that their impact lies somewhere in the middle.


(Two Gangnam style parodies – One from Stanford University and the other from York university)

For what it’s worth, I think MOOCs represent just another apparent quick fix to the bleedingly obvious problems most universities are facing.  Rapid expansions, bigger is better and an increasing dependence on less academic staff doing more with much less have all taken their toll on the most basic business and educational practices required to be a functional organisation. Academic stress is at its highest levels in recent memory and has engendered a long-hours culture and significant issues with depression and mental illness (http://www.ucu.org.uk/index.cfm?articleid=6344).  In the view of both our political class and the tabloid press, universities are always in deficit, never meeting the requirements of any our constituents, requiring constant funding cuts and increased competition to drag us from our 18th century ivory towers. And then there is the MOOC.  Trendy, fashionable, supported and promoted by the top universities that are often spared the harshest of the impacts described above (at least publicly).  Why wouldn’t every university, private college and ma and pa show want in?  It must be as easy as pie to do a MOOC? Go on, do one now, I dare you!

 

But like most quick fixes, I argue that the MOOC idea is fundamentally flawed and risks futher de-stabilising already unstable institutions.  And to make my case I am going to make three (highly opinionated) arguments;

1. MOOCs are not a Napster moment

Napster was a platform to share music illegally.  It represented a kick in the arse by users who were tired of paying £15 for a CD that they already owned on vinyl, or being unable to find music by a band that a record company kept in the faults or refused to sign.  It was a rebellion; a punk act if you will (granted one that made Sean Fanning a rich man and have the distinct honour of portrayed by Justin Timberlake in a movie).  MOOCs are not led or run by the users.  They are not subverting the norm, just re-packaging it.  A more accurate analogy might be the move from vinyl to CD. And from that we had the highest record profits in history and then the greatest crash in revenues as users took control and democratised music, both in the production and distribution of it.

MOOCs are run by the establishment.  The user is simply grist for the mill; numbers to be held up as demonstrative of the great success of MOOCs in changing education forever.  The groundswell of user-led change stopped when MOOCs went commercial and the words ‘monetize’ and ‘consumers’ became part of the debate.  MOOCs are not Patti Smith or Siouxsie Sioux , they are Avril Lavigne.  They may look punk, dangerous and scary to your parents, but underneath they are still the mainstream masquerading as a rebel.

 2. The numbers game

I alluded to this in the first point.  Coursera has had nearly 2 million students enrol from over 196 countries.  Huge numbers! Game-changing numbers!! Participation in droves!!!  Their completion rate – between 7 and 8%.  Is it too blunt a point to say that if MOOC providers actually cared about learners then that kind of attrition should be horrifying to them?  Instead we hear all the right PR arguments about the reasons why people got involved, the desire to experiment and dip a toe in the water, and they are right, fair point.  Why shouldn’t HE encourage experimentation and engagement?  Of course it should.  And it used to do far more of it with continuing education programmes, community education and taster courses.  And almost exclusively they have been shut down, commercialised or sold-on, much to the detriment of an educated society.  So why are we talking in that language again? Do universities believe that we made a mistake by closing down our systems, fire-walling everything we did and making the whole thing user pays?  Without going all Mulder on you, I want to believe.  I really do.  But the Scully in me continues to have those nagging doubts about the altruistic intentions of MOOCs.

 3. What is this change thing anyway?

Good old Stephen Stills (I don’t say that often!).  When in Buffalo Springfield he sung this little couplet;

‘There’s something happening here / What it is ain’t exactly clear’. 

What kind of change do MOOCs represent anyway? Are MOOCs the same old, same old; a very web 1.0 way of didactic instructionism and academic-centred content?  Alternately, the pragmatic solution to assessment within some MOOCs (at least on the surface) privileges the role of the peer and the community.  There is a building discourse around the superficiality of change seeded by or in response to technology in Higher Education. One where the institutional position is to keep the entire house the way it was, but to simply change the colours of the wall.  Whether this is through a lack of skill or mismatch between the understanding of the academy and the needs and skills of the learner, there is evidence that many e-learning projects have simply become lecture 2.0 or tutorial 2.0, without appropriate thought to changing the pedagogy (Blin & Munro 2008). A discussion forum where the lecturer simply poses a question and asks the learners to ‘discuss’ does not ground the interactions either vertically or horizontally (between learners, other learners and academics). Using YouTube instead of a VHS recording, allowing the VLE to act as a file repository or a way of replicating the classroom virtually ignores the obvious benefits that technology can bring to enhance pedagogy. Are MOOCs caught in this ‘deckchairs on the Titanic’ mentality?  Are they driven by a new pedagogy, wedded to the demands and behaviours of a new learner cohort?  Are they seeking to make new knowledge in emerging disciplines?  Are they really learning 2.0 or just another attempt to re-package what we have already with a few bonus tracks and a novelty toy?  Or are they McDonalds Happy Meal of Higher Education, the same burger, fries and Coke that we have been served up consistently and efficiently for decades, just with a different plastic toy and a newer, funkier box?

 

You might think, at the end of the day and this close to Christmas that perhaps all of this seems a little Grinch-like.  I argue that in most cases, for any real innovation to have significant and lasting impact, there needs to be a simplicity, a functionality and sometimes simply a sheer audacity to do what it says on the box, unafraid of the consequences.  The simplicity of making education more widely accessible is audacious in this time of austerity.  But what is missing for me is the reason why it needs to be done, aside from the ‘because we could do it’ solipsism.  Are learners demanding it?  By sheer numbers, yes they are.  Is a MOOC delivering what they want? Is it meeting their expectations? By the same sheer numbers, apparently not.

 

‘I’m just sitting in my chair when a voice comes on the air
Says “Why don’t you try it? You’ll feel alright!”
“It’s a great new brand of smokes
“Cool your head and clears your throat
“Keeps you young and so in touch.”

Said advertising, you’re lying
You’re never gonna give me what I want
I said smooth talking, brain washing
You’re never gonna get me what I need

(The Saints – Know your Product)


Thanks to all you who have read and commented on this blog in 2012.  I have been humbled by your interest and your engagement.  I will be back in 2013 with more thoughts and ideas, more music and perhaps even a mix-tape or two.  But in the meantime, if you are for something to keep you entertained over the holidays, check out my Australian music podcast called ‘Wide Open Road’ right here

E-Learning: Going down to the crossroads. Track 1: Tramps like us baby we were born to run: Singing to you, singing with you, singing for you, not singing at you…

Photo by Hardseat http://www.flickr.com/photos/hardseat/2156068845/

I was watching a documentary recently about the rise and fall of punk in NYC and London.  I was struck by some of the comments made by the people who there at the time, seeds of a movement that influenced not just decades of music but cuts to the core of the way people choose to live their lives today.  Over the next few weeks I thought it would be nice to write some short vignettes about these insights, and explore what relevance they have to both the ‘punk moment’ that I believe higher education is rapidly racing towards (or perhaps already seeing in its rear-view mirror) but also to the way we practice higher education in the midst of the squall.

Now I guess I’ll have to tell ’em
That I got no cerebellum
Gonna get my Ph.D.
I’m a teenage lobotomy

(The Ramones – Teenage Lobotomy)

Track 1:  Tramps like us baby we were born to run: Singing to you, singing with you, singing for you, not singing at you…

This idea sums up the spirit of the punk for me.  It blurs the line between the audience and the artist and defines the relationship as one driven by communication not broadcast.   It is not someone from a high altar of the stage telling you what you should do, it is a voice and a message that you get and understand.  When John Lydon (the lead singer of the Sex Pistols) wrote in his autobiography about what made the Sex Pistols different, or prescient he said;

‘Before the Sex Pistols, music was so bloody serious…There was no deep thought in it, merely images pertaining to something mystical, too stupid and absolutely devoid of reality. How on earth were we supposed to relate to that music when we lived in council flats?’ (Lydon & Zimmerman 1995)

 

Despite often have an adversarial relationship with his audience, Lydon in both his Pistols incarnation and his later band Public Image Limited, challenged the audience, made the uncomfortable but also included them, if they chose to be included;

‘The more I see the less I get.  The likes of you and me are an embarrassment’ From the song ‘Chant’ by Public Image Limited 1979

Higher education through its often slavish devotion to administrative systems, its movement towards a customer orientation within the student/institution relationship and wrapped up in its legislated position as a certifier of credentials, often seeks to draw clear distinctions between learner and teacher.  Power, authority, authenticity and perhaps an innate sense of fear colour the way we interact with learners.  These two processes alone provide the teacher with a privileged role within a network, making it difficult to provide an environment for learners to challenge, create, repurpose and experiment.  My colleague at the University of Greenwich, Patrick Ainley with Joyce Canaan (2006) notes that ‘…opportunities for enabling students’ critical thinking, and our collective critical hope, are more limited than previously as students and lecturers face increased pressures and constraints due to the neoliberal marketization of the sector’.  Along with many other he advocates for a new pedagogy that provides learners with the opportunity to make and create;

‘…for students to add to these bodies of knowledge and their practical applications by new acts of creation, experimentation, investigation or scholarship as the warrant of the quality of their graduation ‘ (Ainley 2012).

 

Is this call a world away from what punk bands like the Sex Pistols and the Ramones offered their audience?  The conditions, by which they themselves could get on stage, make music and add to the body of knowledge that is popular music.  There is a clear distinction between singing to you, singing with you and singing at you.  It is the idea that an artist sees their audience in a different light.  They are more than simply passive consumers; there to sit at the foot of Buddha and hear all the imparted wisdom they need to find meaning, experience life or be inspired.  The late Johnny Ramone noted in a 1993 interview that ‘…that’s what I had always hoped (was) that when kids see the Ramones that they feel they can go out there and do this to’.  The audience are part of the process and can be emotionally transformed by the song.  The audience is their reason for being there.

 

The use of a VLE or CMS is a telling example of this problem in higher education.  The dominant paradigm within many programmes is to use the VLE like a radio station, with play-listed tracks, little opportunity for interaction, certainly little or no user generated content and in reality seeing the audience as simply the pathway to achieving other aims (such as advertising dollars).  The listener is expected to consume whatever is produced, or move to another radio station within a limited bandwidth.  It is the academy singing at them.  There is no engagement, no involvement, no connection.  The VLE that replicates the classroom does just that.  The lecturer curates the playlist, the learner does as they are compelled to do through activities and readings, and through doing this, contributes to a variety of performance measures (including participation in e-learning!).  It is then rolled over into next year, another audience, another town.  Hello, Cleveland!

It is like Spinal Tap in their Simpsons appearance having to lift their guitars and read the town name they were in, before screaming at the audience ‘Hello Springfield!’  Bruce Springsteen, despite playing stadiums was the exact opposite to this humorous disconnection.  Bruce chooses to sing to the audience, and encourages them to sing with him.  He connects with them at the most fundamental level.  He tells them stories around the dinner table.  He draws them into a fireside chat about things that matter to both of them.  He elicits a sense of solidarity with his fans, he never berates them, belittles them or criticises them. He rarely proselytizes about politics, his or theirs.  The fans are part of the same cause, the same experiences seen through different eyes.

 

Higher education teaching faces the same mountain as Spinal Tap (yes, I know they are ironic, but they were being ironic about something real!) and Bruce Springsteen.  It is easy, and perhaps comfortable, in a world where learners are coming to education with different experiences and skills (and maybe as Patrick Ainley argues with even less academic literacy than before) to rely on the tried and true methods of teaching and learning we have used before.  The institutional shift from one VLE to another becomes an excuse to scale back the interaction built up over time and ramp up the control or disengage the learner from each other.   Supported by a curriculum that can be up to five years old, learning can look less like the new world and more like the ‘new boss, same as the old boss’ (to quote The Who).  The VLE becomes a way of broadcasting materials that we have made AT learners.  There is little opportunity to personalise those materials, but significant provision to individualise the learning.  Do we provide an opportunity for the learner to make their own materials and resources, collaboratively or individually and share them?  Find resources and ideas through their own networks?  How are the communication tools within a VLE, such as discussion forums or blogs, used?  We seed them with thought provoking questions like, ‘I think that the new boss is not the same as the old boss – Discuss’.  Is there an opportunity for learners to start their own topics? Activities are assessed automatically, against a rubric.  A VLE supports quizzes, multiple choice tests, matching tests.  They are individual not personalised.  The continued reliance on an assessment system that requires and privileges an assertion of individual understanding is not modern learning.  It is memory, it is absorption and it is repetition; it is not application, use, social contextualisation and collaboration (Brown & Adler 2008a, 2008b; Hemmi, Bayne & Land 2009).

 

The commercial pitch for the plethora of e-learning tools on the market usually revolves around the notion of pulling academics back from the precipice of overwork and change and providing them with a point of calm in the ever-threatening maelstrom of higher education.  Is e-learning too much for you to do? Then simply buy our product, press a button and capture the lecture.  Click an icon and screencast everything you do, and as they say in Australia, ‘Bob’s your uncle’.  Jack a mic into your laptop and bingo, you have made a podcast.  Make your hand-outs into PDFs and put them on Moodle and voila, you are engaging in e-learning.  There is no exploration as to the reason why we would use these tools in the first place (‘pedagogy before technology’ we hear the collective academy sing, usually at us though – how many people actually believe it when they sing it?).

 

More importantly, there is little exposition around the way we make this content, the words we use, the techniques, practices and skills we acquire and apply and the scaffolding we integrate into the methodology.  Teaching and learning in higher education is at a point where it must take a root and branch look at the way it is engaging with its audience.  Perhaps, higher education can seek inspiration from the Ramones, a band of amazing virtuosity, influence and critical and popular respect, but equally one that people feel that they can be a part of, a template that is replicated, reused and mashed up.  They engaged in ‘new acts of creation’.   They took their rudimentary skills and made something with them, getting better and better and taking their audience with them.

 

‘Live punk rock actively tore down the barriers between artists and audience, intentionally exploding and deconstructing the image of rock star.’ (Dunn 2008)

 

The VLE and other forms of institutionalised e-learning can create barriers between the teacher and the learner.  The more automated the system becomes, the more learner feels disconnected from the network forming around them.  Is this the same as the way rock stars became disconnected from their audiences, before punk smashed the wall down and through confrontation and challenge made the audience re-connect, often viscerally?  Are we at a juncture where e-learning has made the academic the rock star? And if so, how do we explode and deconstruct that myth, hand power back to the audience, bring them on stage, show them a few chords and make them a member of the band?  How do we encourage the learners to make their own band?

 

Joe Strummer of the Clash inspired thousands of people to make their own music.  In some cases, he then went on to play on their records, rave about them in interviews, played with them live and was mourned by them on the occasion of his tragic death in 2002.  However, it would disingenuous to suggest that these artists were not in privileged positions.  This is not about, as Sonic Youth challenged ‘Kill(ing) yr idols’.   Teachers have a significant and important role in higher education.  We just have to accept that it may not be the same as before.  That our role is to sing to our audience, help them to make connections not just with us and the content we share, but with each other, sharing and making new content, to help them let go, experiment, express themselves and share experiences, and to help make the experience one of hope, of potential and of creativity.  Singing to them, with them and for them.


References

Ainley, P. 2012, ‘For A Really Open University’, Compass: The Journal of Learning and Teaching at the University of Greenwich, no. 4, p. 9.

Ainley, P. & Canaan, J.E. 2006, ‘Critical hope at the chalkface: An English perspective’, Cultural Studies? Critical Methodologies, vol. 6, no. 1, pp. 94-106.

Brown, J.S. & Adler, R.P. 2008a, ”Minds on fire’ : Open education, the long tail, and learning 2.0′, Educause review, vol. 43, no. 1, pp. 16-20.

Brown, J.S. & Adler, R.P. 2008b, ‘Open education, the long tail, and learning 2.0’, Educause review, vol. 43, no. 1, pp. 16-20.

Dunn, K.C. 2008, ‘Never mind the bollocks: the punk rock politics of global communication’, Review of International Studies, vol. 34, no. S1, pp. 193-210.

Hemmi, A., Bayne, S. & Land, R. 2009, ‘The appropriation and repurposing of social technologies in higher education’, Journal of Computer Assisted Learning, vol. 25, no. 1, pp. 19-30.

Lydon, J. & Zimmerman, K. 1995, Rotten: no Irish, no blacks, no dogs, Picador.