Monday, July 4, 2011

Losing Oneself: Past the End of the Road

What does it mean to wander? To get lost? To get found? To live deliberately in both states: lost and found? In Rebecca Solnit's A Field Guide to Getting Lost she tells us:
"Movies are made out of darkness as well as light; it is the surpassingly brief intervals of darkness between each luminous still image that make it possible to assemble the many images into one moving picture. Without that darkness, there would only be a blur." (p. 175).
This seems an apt metaphor for what it means to wander without purpose and purposefully; to do so with certain aim and without conscious thought. Along the continuum of light and dark we stand ready to not know, to unlearn, to dream in darkness.

Once at Grand Central (Manhattan, 2010)
"Not to find one's way in a city may well be uninteresting and banal. It requires ignorance--nothing more. But to lose oneself in a city--as one loses oneself in a forest-- that calls for quite a different schooling." - Walter Benjamin
To Lose Oneself in a City (Wall Street, NYC. 2010)

The Familiar Falling Away (Ringwood, NJ 2010)
"Lost really has two disparate meanings: Losing things is about the familiar falling away, getting lost is about the unfamiliar appearing" (p. 22, A Field Guide to Getting Lost, Rebecca Solnit).
The Unfamiliar Appearing (Ringwood, NJ, 2010)

The Space Between (Yuma, California, 2010)

"Once I loved a man who was a lot like the desert, and before that I loved the desert. It wasn't particular things but the space between them, that abundance of absence, that is the desert's invitation" (p. 129, A Field Guide To Getting Lost, Rebecca Solnit).

Out in the Desert (Yuma, California, 2010)

Terrible Things Happened in that House (South Dakota, 2010)

"In dreams nothing is lost. Childhood homes, the dead, lost toys all appear with a vividness your waking mind could not achieve. Nothing is lost but yourself, wanderer in a terrain where even the most familiar places aren't quite themselves and open onto the impossible" (p.182, A Field Guide to Getting Lost, Rebecca Solnit).

Flâneur (Warwick, NY 2010)


Sunday, July 3, 2011

The Independent Project: An Alternative within a High School

So after I posted the video about the Independent Projects, @nancyHeleterman sent me a link that showcased one of the student's projects.  Here is Robert Adler's film.



Thanks to @SethLeavitt who had tweeted this March 20.  Seth and I recently began following one another and I was checking out the tweets he had sent and saw this.



To learn more about this project: theindependentproject@gmail.com








Saturday, July 2, 2011

Being in the Middle: Learning Walks


Introduction

Image made on Learning Walk 7.1.11

So imagine a commitment to learning that involved making regular learning walks with high school students as a normal part of the "school" day.  Now, these learning walks should not be confused with walking tours, which are designed based on planned outcomes.  One walks to point X in order to see object or artifact Y.  The points are predetermined, hierarchical in design.

Instead, learning walks are rhizomatic.  They are inherently about being in the middle of things and coming to learn what could not been predetermined. Learning walks are part of the "curriculum" for instructional seminar (which I described here).  Instructional seminar--a service, not a course--will replace Lab Classes at a NJ high school this September (2011). Lab classes are a hold over of a factory model where students were deposited into generic English and/or math courses and "remediated."  Knowledge transfer was the belief that fueled the efficacy of lab classes.   Instructional seminar affords a more consistent opportunity for students to access fluid academic services and to do so with agency. A vision statement for Instructional seminar might well be: Experimentation Matters. 

Learning walks represent one aspect of instructional seminar (they are scheduled for every possible block across a rotating schedule so there are lots of IS sections) that at least a few of us (Celeste Hammell, John Madden,  @doumakara, @shklepesch and I) intend to experiment with during the upcoming school year.  It's our intention that ownership of leaning walks will shift from teacher-initiated to shared between teacher and learner as the school year progresses. Although physically our learning walks will have start and stop points and be constrained by time, the potential learning that is engendered will not be confined to the walk itself, nor will the walk have a route that is determined.  There are any possible walks on any day with the same and different people, as well as learning that is both predictable and unpredictable. The process is nomadic intentionally.

A Trial Learning Walk

Contact Sheet of Images Made While Walking
Yesterday I set out on a "trial" walk.  I gave myself one hour to walk about Morristown, NJ and document what I saw using my iPhone.  I knew learning would happen, but not based on a prescribed lesson.  Instead my trial learning walk would epitomize the premise, "We know more than we can tell" (Michael Polanyi as quoted in Thomas & Brown, 2011).  Douglas Thomas and John Seely Brown (2011) describe, in chapter six of The New Culture of Learning: Cultivating the Imagination for a World of Constant Change, the tensions between explicit and tacit knowledge. They define tacit knowledge as: "the component of knowing that is assumed, unsaid, and understood as a product of experience and interaction" (np, e-book).  I had hoped that my walking about would provide a brief occasion to experience a city-town I work in, but really don't know or understand very well. 

So I walked for an hour and snapped pictures along the way, as well as filming a bit too. I have included a contact sheet of 20 images I made while walking and a very brief film.  It's still early to make much of the images or film, but I know that there's an emerging sense of differences within the city and how geography of place gives way to neighborhoods. These may well be ideas that I will explore more, contemplate--or not.  I imagine how different the walk might be alongside others or if instead of filming and image making, I only captured sound.  I think about what it might mean to interview those I meet along the way.  Or what might happen if I and others captured (video) stories of people on the street and learned them well enough to perform a walk as an ethnodrama.


Possibilities happen when you remain in the middle of things.

Tacit Knowledge & Rhizomatic Learning

One of the outcomes sought via instructional seminar from an institutional point of view, is that students will deepen their capacities to read, write, and problem solve. Initially, invited students to seminar have been "identified" by teachers and based on former course and state test performances.  I think of this year as a bridge year: a way to span the great difference between the factory model of lab classes and a more rhizomatic understanding of learning.  As the practice embodied in seminar becomes better established, any student could opt in and out of seminar.  Seminar is not an assigned course as no credit is earned, but rather an academic service. One might think of academic seminar as a learning center.

What is different though about instructional seminar is that tacit knowledge is critical, not ancillary. And so one might ask, how would walking about help a student to read, write, or problem solve better?  These cognitive processes are deeply influenced by our tacit knowledge.  For example, I can engage in complex reading, writing, and problem solving based on the narrative my reading of the images I made on the learning walk suggests. The walk may well anchor future expressions and inquiries.  Instead of beginning with explicit knowledge, learning walks allow for embodied learning. This difference is critical and may well be difficult for many to understand. Learning is not determined but encountered within the experiences and as such is rhizomatic.

Thomas and Brown (2011) explain that:
In the old culture of learning, educational institutions and practices focused almost exclusively on explicit knowledge, leaving tacit dimensions to build gradually on its own, over time...Knowledge was valued in the old culture because it was seen as stable. It was thought to transcend time and place...The twenty-first century, however, belongs to the tacit. In the digital world we learn by doing, watching, and experiencing (np, e-book).
After the Children Went Home
Much of what we know about knowledge has been (in)formed by education and those of us who have not only attended school but have made our living working at school may find it difficult to even imagine learning that is not causal.   We have organized schools based on the belief that knowledge can be transferred from one individual to another, predicated on the belief that "knowledge" was considered to be a stable matter.  In truth, knowledge has never actually been a stable regardless of century, but dominant cultural beliefs have for the most part been the single player on the "what counts as important learning" stage and so a prescribed body of "explicit knowledge" was privileged.  Just considered the teaching of American history and the differences about what counts as knowledge as expressed in a traditional textbook, Howard Zinn's A People's History of the United States, or Marco Torres's students' films (SFETT).  With the presence of cultural revolutions and information technologies what counts as important learning appears to be a less certain affair. Perhaps now, especially with information access via the Internet, it is easier to recognize that knowledge is never stable, but constantly changing, and so too must our ideas about learning evolve.

Learning walks, like the one I took, are not about naming already determined facts, although these may well play a role in the learning and the expression of learning. Rather learning walks are about blending what we may have learned explicitly and tacitly with what we are coming to know.





























Works Cited:
Thomas, D.s & J.S. Brown. (2011). The New Culture of Learning: Cultivating the Imagination for a World of Constant Change.

Wednesday, June 29, 2011

Exploring Photography Apps: A Few Examples

In this post I want to highlight a few photography apps that I have been playing with:
  • Wordfoto App
  • 100Cameras App
  • Hipstamatic App
  • uSketch App
  • PhotoTropedelic Ap
  • CameraBag App
  • Lo-Mod App
Most of the images I altered were ones that I originally made using a Nikon camera (D80 and D300).  I then altered the images using apps.  The only exception are images tagged Hipstamtic App.  These images were taken using an iPhone and the Hipstamatic App.  This app changes the iPhone into a plastic camera.

I would recommend all of these apps.


"Interior"(2011). Taken with iPhone using the Hipstamtic App.

"Kara" (2011). Altered using the Lo-Mob App.

"Lane" (2011).  Altered using the Lo-Mob App.


"In the Moment" (2010). Altered using Lo-Mob App.

"Finding Eden" (2011).  Altered using Lo-Mob App.

"Homeless in New York" (2009). Altered using uSketch App
"The Proposal" (2010). Altered using 100Cameras App.



"The Proposal" (2010). Altered using PhotoTropedelic App.

"The Constancy of Waves" (2010). Altered using 100Cameras App.

"Mark" (2011). Altered using Lo-Mob App.

At the Beach (2009). Altered using CameraBag App.


Harry Teaching (2010).  Image altered with WordFoto App


Reservoir II (2011). Taken with iPhone using the Hipstamtic App.


This is an animoto film I made using the images made during the last few days.


50 People, 1 Question


This video was created by Brian Vagnini a teacher at Morristown High School in NJ and Kevin Montes, an MHS student, who were inspired by the numerous other '50 People, 1 Question' videos available on the web. Over the course of four days, they interviewed 50 people at Morristown High School and asked, "When you are having a bad day, what is something that makes you smile?"

Brian and Kevin dedicated the video to their friend Max who was diagnosed with cancer in 2011, his senior year.  They write: "Throughout all of his struggles this year Max has managed to continue smiling and laughing, and put everyone around him at ease while fighting to get himself better."


Brian and Kevin did not allow for response directly on the site where they posted.  But you can comment here and I'll pass it along.




50 People, 1 Question: Morristown from Brian Vagnini on Vimeo.

Tuesday, June 28, 2011

On Learning Limitations of Self

History (M.A. Reilly, 2011)
So today I was interviewed for a film that is being made about a learning initiative at the high school in the district where I work. As a photographer I was fascinated by the set up Ben and Oscar (the film makers) brought in order to tape the session. I asked a few questions about the technical end of filming and said that I knew that as a photographer, moving image, has become more and more a reality of the work. I kidded them that I really needed to learn how to shoot film and hoped when I got around to it, I could call on them for pointers.

I didn't think much more about this conversation until I was on my way home.  Commuting seems to be a good time for thinking. It occurred to me that shooting a film is risky for me and I recognized the "excuse making" I have offered instead of getting on with the new learning.  I write a lot about uncertainty, risk taking and so it smarts a bit when I have the opportunity to see myself, as tentative and resistant.

When I write about change I rarely (if ever) discuss the associated loss that accompanies change.  Years in analysis certainly showed this to be the case, and had me asking, What occupies the space between knowing x well and doing something related that is new?  I realized as I thought about learning how to film that it wasn't the new learning that was problematic, but more so all of the foibles and errors I now make as a photographer that would come into focus.  Learning something new might reveal the limitations I have as a photographer.

To learn something related to what I love to do now, I would need to reveal the imperfections and challenges I mask to some degree with photographic technique. For example, in many of my images the horizon line can be off, not parallel and I have learned how to fix this so as to not have it mar the composition. Another issue is sight. I wear reading glasses but don't shoot with them and often I will soft focus an image to compensate.  This soft focusing has become a signature of my work.  But how do you straighten a horizon line in a moving image?  How does soft focus work in film?

Learning something new will likely reveal the unresolved problems I have with the art making I love to do.

I wondered how parallel the story I am telling might be for educators who are moving from work they now do (with all the imperfections mostly hidden or covered by technique) to new ways of working which may reveal those imperfections, those hesitancies?  I thought about how I still retain agency in my story as no one is forcing me to make films.  It will be a choice.  What happens when educators are forced to learn something? When some other, more powerful, determines what the learning will be?

Some big questions for me to ponder. Wonder what you think about it, as well.

Want (M.A. Reilly, 2010)





Monday, June 27, 2011

Hipstamatic

Reservoir II
Today after purchasing an iPhone, I immediately downloaded the Hipstamatic App, for $1.99.  I have shot with a Holga camera (plastic toy camera) for several years, but have lately had a lot of trouble finding a place to process the film correctly.  The Hisptamatic app transforms the iPhone into a plastic camera.  It allows you to interchange different lenses, types of film, and flashes.

I am including in this post, the first images I made on my iPhone using the Hipstamatic App. I recommend this app for all.  It would be ideal for a classroom set of new iPods or iPad2s as well.

Walkway
The Beginning of Sorrow
Reservoir I
Interior