John Sayles on Harlan County, USA

I spent part of this morning in UMW’s library because the DTLT office floors were being cleaned. To my pleasant surprise UMW’s DVD collection (which is far too small) was out on the first floor for anyone to browse. How could I resist? 10 DVDs later I found myself with a laptop bag full of classics. I watched the first of these tonight, Harlan County, USA (1976) by Barbara Kopple. There is a lot to love about this film, and even more to marvel at: not least of which is how the hell a 20 something New Yorker embedded herself so entirely into a Kentucky Mining community? It was brilliantly done, and as John Sayles says in his discussion of the film in the above video, it’s the relationship Kopple had with the people on strike that made this film so remarkable. I love listening and reading John Sayles talk about film, his book Thinking in Pictures about the making of Matewan (1987) is brilliant—although I’m about 50/50 on the films he actually makes. Anyway, I would go on and on about Harlan Country, USA, and I may in the future, but for the moment I’ll leave you with Sayles insights about Kopple’s masterpiece which are on the money.

FYI, this documentary is on the National Film Registry (time to start taking some stock of these 🙂 ).

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ds106: The Spring 2012 Course Evaluations

Last Fall, in preparation for teaching ds106 this Spring, I blogged about a number of trends in my Spring 2011 course evaluations and how I wanted to work on my relatively poor scores when it comes to at least two elements of the course: “Clear Criteria for Grading” and “timely return of graded materials.” (We got course evaluations back much much quicker this year thanks to the course evaluation system moving online.) Turns out despite the best laid plans of mice and menaces, my numbers in both categories went down slightly. For example, “clear criteria for grading” was 3.95 out of 5 last year, and was 3.93 this year, which kinda pisses me off because I spent a lot more time framing expectations this time around. That said, grading in ds106 is very much part and parcel of one’s engagement in the work happening around the community, and despite how much I push this it always comes as a surprise to students at the end of the semester when it comes to grading.

The other area, “timely return of graded material” was an average of about 4.25 out of 5 last year across both sections, this year it was 4.13 for my larger, combined class. I am not as surprised about this because I pushed off our weekly meetings and didn’t send letter grades out after we met. I think part of my problem with both these categories is I am torn between totally abandoning the traditional notion of the letter grade but still making sure students have a clear sense of where they are throughout the semester—which is what I do three times a semester in individual conferences. This approach takes a ton of time, but I figure the more intimate, focused feedback on their progress and work is far more useful than a hard and fast grade. But I may be wrong on this count. I ride them regularly in their comments and through email from week 2 on so they don’t fail miserably out of the gate (which works very well, I highly recommend this—particularly for online students), the feedback is regular and sometimes brutal 🙂

As for the other categories for instructor evaluation, there were some my scores increased significantly others where it fell marginally. For example, this semester the class “met on schedule” was up .18 points from an average of about 4.62 to 4.8. Not sure what to say here, we met pretty regularly last year as well. Also, the “presented material in an organized fashion” was up about one-tenth of a point from an average of about 4.23 to 4.33—I think this has a lot to do with all of Alan Levine’s amazing framing of the assignments each week—I benefitted similarly from teaching alongside Martha the previous year as well.

I’m a little sad to report that my enthusiasm score went from an average of about 4.93 to 4.89—I wonder if this a case of a bit of ds106 ennui. This is most distressing for me, enthusiasm is all I got—it’s my life! 🙂

You can see all of the Instructor Evaluation details below:

The second part of the evaluation is the focus on the course experience. And I was pretty impressed with the results this time around because all six categories increased, and the separation of course experience from the instructor is promising for ds106. My larger take away from these scores—which I fully understand are subjective, unreliable, and potentially earth threatening— is the idea of the course and its usefulness transcending any one idea of an instructor, which is nice.

“I acquired substantial knowledge and/or skills in this course.” 4.57 –> 4.67
“I found instructor’s feedback useful”. 4.63 –> 4.85 (this is odd given how much I got tagged on feedback in my evaluation)
“I was encouraged to ask questions about the course material.” 4.79 –> 4.81
“I found the instructor to be helpful in clarifying difficult material.” 4.68 –> 4.85
“I was encouraged to reflect critically on course content.” 4.69 –> 4.88
“I found the instructor to be available outside of class for help (e.g., during office hours, special appointments, via e-mail, telephone).” 4.78 –> 4.84

Across the board the experience of the course ranked higher than last year, and it also had a 4.82 overall score which is significantly higher than the UMW average of 4.38.


The only thing I did radically differently this semester was to provide every student with the option to take the class face-to-face (f2f) or entirely online. Of the 34 who finished the class, 19 took it f2f and the remaining 15 took fully online (sometimes a few of these online students came to class for the fun of it). So close to a 60/40 cut when given the option to take it f2f or online. What was unfortunate about this go around, unlike last semester, is that I can’t distinguish the feedback from f2f and online students given they’re all in one section—last semester there was a f2f and a separate online section. That’s another point to consider. I had about 10 to 12 more registered students in a single session of ds106 than I usually do (last year I was lucky enough to get paid for two sections, but that was “corrected”) so I decided to overload to see how that would go, and in retrospect it wasn’t that much more work because I did a good job of keeping the onus on them to be part of the community, comment, interact, and basically forge their own relationships within and beyond the class. Placing the responsibility back on the students and following up with them on it periodically is rather effective for managing a very mild overload of students in my experience (don’t imagine it can or should scale much beyond a handful of students).

More and more I think the distinction between taking d106 online and f2f is arbitrary in terms of the value of the experience, and for me that is a radical development. ds106 is a web native class, it is born of and on the web making the f2f experience potentially interesting and reassuring, but at the same time vestigial. I like the f2f classroom, I like getting to know students their and having the physical space to congregate in. That said, based on my own experience I’m pretty certain it would be erroneous to privilege it in this regard.

Finally, here are some anonymous student quotes from the evaluations that were pretty fun:

It doesn’t get much more awesome than this one—attack the evaluators!:

Attempting to evaluate my teacher in this manner is flawed and unacceptable. To pretend that my teacher, Jim Groom, deserves to be evaluated according to a quantified list of predetermined measures would be an assault to his viability as an instructor, an advisor, and a mentor. Although you wrap up this ‘course evaluation’ with a pretty bow (telling me my input is important, that these evaluations matter, etc.), I absolutely refuse to reduce myself to participation in your quantitative course evaluations and ‘outcome assessments.’ Do you really believe I can summarize my teacher’s abilities with a series of “5s,” symbolizing his extraordinary capacity to inspire students to learn? I sincerely hope you do not.

And this one ain’t so bad either:

This has been the most work intensive and the most rewarding course I’ve taken at UMW. It is unlike anything else I’ve taken before, and I’ve gained so much valuable knowledge about Web2.0 and online presence, not to mention the increased confidence in my creative and technical abilities. I will use the skills I’ve learned in this class for many years to come, no matter what profession I end up working in.

The idea of the intensity of the work is a recurring theme in the evaluations (which makes me happy, get your monies worth folks):

Overall I really enjoyed this class. At times I thought the work load was a little bit much for a 100 level class, but Jim was very understanding of our busy schedules.

Where is written that all 100 level classes are less work and by default easier? This is a fallacy of some kind, right?

The work was tedious most weeks, but the hard work was well worth it. I learned so many useful skills in this class. Allowing us an extra week for video was truly helpful–I recommend doing that again.

This is a great class that overloads right near the end, starting with the video weeks. Seriously, those burnt me out hardcore. The radio thing was already a TON of work, then 30 stars of video, THEN 15 remix stars ALL WHILE I’m supposed to be doing final projects, in addition to my OTHER CLASSES and work and a social life? C’mon.

This course has been very enlightening in terms of things that can be accomplished through the web as a medium. However, the class is so fast-paced, if you don’t have the time for it in your schedule, it is advised to NOT take it. It requires so much time and energy through some parts of the semester and can be difficult to juggle the coursework amidst work for other, more crucial classes! I love the idea of the course though and it has definitely been an interesting experience!

And the money quote which is at the heart of ds106:

I LOVED this class. It really opened my mind to my potential creativity

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Educational aPOPcalypse: The Video

Well, TEDxNYED has uploaded the video of my short 11 minute talk back in April. I already blogged about the presentation here, and this video is interesting because it edits out my flailing the first two or three minutes when the slides wouldn’t work. This version actually plays pretty smoothly, despite the fact I say “I’m fascinated by…” way too much. However, I think the coolest thing about this presentation wasn’t exactly my message or the ideas (there was something there but it was lost in the frenzy), but rather using the occasion of a technical glitch to bring the audience into the presentation. Making the experience very much in the moment, which in turn created an opportunity for connection with the audience. The TEDxNYED folks agreed to send me the original, uncut version, and I’ll blog that when I get it by means of comparison. I still hope to do this animated GIF presentation again, maybe I will resurrect a version of it at Keene State University in late June as an homage to Mike Caulfield who was the inspiration for many of the ideas in the talk I flubbed.

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More News from the YouTube Liberation Front

I have had some fun watching the dispute emails come in from YouTube about the videos I have uploaded over the years. And I am actually excited to report 4 of the last 5 disputes were decided in my favor. If you were to ask my why, however, there is no way I could tell you because the media companies hold all the cards in this game. I am simply a fiat of fate watching my culture move from company to company.

What’s interesting to me, however, is that Warner Brothers (who has rejected ever single fair use claim I have made thus far) has rescinded on two of the three videos I uploaded featuring Peter Sellers as Clare Quilty in Stanley Kubrik’s Lolita. The clips were part of this post about film auters, acting, and Kubrik.


http://www.youtube.com/watch?v=cUymEUg1Sj0


http://www.youtube.com/watch?v=e4OmdybGf2M

I was also very pleased to see the German licensing company Content Lizenz Agentur has released the clip I uploaded to YouTube from David Conenberg’s Scanners. (Although they look like on of these scam companies that claim copyright to see if they can get ad revenue off the videos from Google.)  That was the first film-based visualization of the internet as a child I can remember, and I wrote extensively about this clip as well on the bava here.


http://www.youtube.com/watch?v=uQWWlb_NCpI

Also, it was nice to see the company Music Video Distributors (I think this is their site: http://mvdb2b.com/) released their false claim on “Public Demonstrations of Affection will Not be Tolerated Here” —somethign I was pretty sure I would win given this video is available in the Public Domain on the Internet Archive here. Copyright cockroaches.


http://www.youtube.com/watch?v=BbL9YRznwB8

All that said, Warner Brothers refuses to give any way on The Wild Bunch, the refused my claim for the “so god damned right” scene with Thornton and Harrigan—shame.

I would love to begin to form a theory as to why some videos are being liberated and others not—and outside from seemingly obvious cases of copyright cockroaches claiming whatever they can to see what sticks—the rational from the major media outlets is veiled in unilateral secrecy making this process not only undesirable, but downright unAmerican 🙂 The corporate tail is wagging the dog here, people.

One more thing, I have yet another dispute in over an excerpt from the 1946 version of The Killers which was taken down recently, still haven’t heard back, but that is another case where I have a post on the bava and this clip is part and parcel of a larger argument about the film, noir as a genre, and the vision of a post-WWII world through director Richard Siodomak’s eyes (himself a German Jew who fled during the 1930s and came to the U.S.). This was the first clip I ever ripped and posted to YouTube for such a post, so in my mind it has sentimental value, plus the clip had been viewed 31,000 times. I’m sure many of whom are liked minded film lovers.

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YouTube: You lose most, you win one by default

As I blogged about earlier this week, results of my challenges to YouTube for more than 40 videos have been coming in, and for almost a week I got nothing but rejections (25 in all) of my claims of Fair Use—that’s all I got, a rejection. An simple email with a “dispute rejected, copyright claim re-instated.” No explanation, no nothing.

I was beginning to think this was every media company’s stock reply until today when I actually got a “victory.” eOne sent me an email telling me that the claim against The Tree of Life clip I put up from Terrence Malik’s masterpiece was being released. What?! Why? How can you!!! I was beginning to shape opinions here!!!

Still wondering if eOne (rather than NBC, Warner Brothers, etc.—who flat our rejected all my claims) backed off because they were feeling sorry for a poor educator trying to teach the ignorant kids some good old fashioned Kulture?—highly unlikely. Or maybe it was because eOne was forced to come to terms with the fact they didn’t ever have the rights to claim to begin with? Parasites. But say what you will about parasites, they at least released their claim, it’s those who believe they own our culture that are the truly deluded and deleterious.

Can’t say archiving my YouTube stuff has started in earnest yet—this week! I promise! I don’t believe these crucial issues for our culture should play out on YouTube’s server turf through this cloak of veiled corporate constable. I want public space on the web we can claim and articulate this argument more freely.

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Dear Jimmy, (missing home)

This was the first week at camp, one like you could never have known. You couldn’t have, you were far too young to know what I don’t know now. You were a kid on Long Island’s South Shore. You might have gone to Montauk or Cape Cod, but this week for you was probably the beaches of Pt Lookout with Aunt Carolyn (dead over a decade now) eating Entenmann’s Cookies and experiencing life with the anxiety at the margins. Beach, sun, evening visits from the ice cream truck, Italian Ices, pizza—these were all at center of the universe. You might remember some textures like the sand in your toes or the flourescent burn from the first few days out.

No, the pictures I can share with you 33 years later are in the woods—not an ocean for hours—with three whose life runs through you now and probably ran through you then, somewhere, in some unreleased packet. They are you now.

I think we are all getting excited about the beginning of Summer and the prospect of exploring some possibilities at camp (Miles in Minecraft?). I am trying to make sure these three have some sense of who you are, what your world is like, and how those you knew that they never could in the same way are narrated. I want to use the time at camp with them to help them understand the stories we shared, the people we knew, and the places we saw.

I guess I am writing to you because I feel like a see you all the time now, it’s fun seeing you again, even if remotely through my blog. I have no pictures of you at that time, I really don’t know exactly what you look like, but I know the people you know. I have found a lot of their traces in old photo albums. They need to be part of this story we make for you over the coming weeks.

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Three Wolf Moon

Three Wolf Moon by snakepliskens
Three Wolf Moon, a photo by snakepliskens on Flickr.

For today’s Daily Create which asks us to represent the moon somehow, I immediately thought of the Three Moon Wolf shirt, which is an internet phenomenon that Tom Woodward turned me onto more than a year ago. In short, the Amazon page for this somewhat cheesy t-shirt design has become the inspiration for a comment campaign that has earned this piece of clothing a kind of internet cult status. According to many the shirt has magical qualities that are bestowed to any who wear it. This mythology around the Three Wolf Moon shirt was born out of the more than 2400 product reviews, add to that 48,000 users voting on the comment narrative and you have a pretty compelling example of freeform participatory storytelling. And after all that the shirt still has a rating of 4.5 out of 5 stars on Amazon.  It’s one of those fascinating cases where the most unlikeliest of stories plays out in the comment fields of a seemingly unremarkable item on a commercial site.

This is the web’s greatest Moon.

And then there is Paul Bond’s Keith Moon which hit the mark for me.

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Three Chinese Officials in front of duPont Hall

For today’s Daily Create I photoshopped in the Three Chinese Officals meme which actually doubles as a design assignment (3 stars—which is far too many for this!). I love the idea of three hovering Chinese government officials congregating in front of duPont wondering what’s going to come out of the epicenter of Teaching and Learning technologies next.

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Can you dig it? Is The Warriors culturally significant?

I have still yet to write about this year’s Faculty Academy, which was amazing and I’ve been trying to build up to blogging it slowly. What makes the process so daunting is what an awesome week last week was. Between a quick trip to Long Island to get family furniture, Faculty Academy proper, some good old fashioned partying, a couple of trips to the Library of Congress, Packard Campus to see Shaft (1971) and The French Connection (1971) (read Grant’s post here), live music, and a trip to DC museums we had an insane week—-a full blown blast. I could try and cover all elements in one post but I would be defeated, so I am gonna try and chip away at it beginning with a rationale of why The Warriors (1979) should be considered culturally significant according to the criteria of the National Film Registry.

Part of the idea for this post is born of my conversation with Donna Ross at the LOC Packard Campus last friday. Donna is an awesome ambassador for the museum, and i was lucky enough to have been invited out to the LOC, Packard Campus last Friday for a tour of the facilities—which are awesome (more on that in another post). We got to talking about various campaigns people have had for getting films on the National Film Registry, such as this push for preserving The Big Lebowski, a.k.a. “Save the Dude.” One of the other films that has had some support recently has been The Warriors—fascinating given it’s the cultural inspiration point around ds106 and ds106radio. What’s more, I spent a good part of my graduate career (and ever since) thinking about that very question as to why The Warriors is a culturally significant film.

Image Credit: Giulia Forsythe's "Can you dig it" animated GIF

In fact, I wrote about films like The Warriors, The Wanderers (1979), Fort Apache, The Bronx (1981), Times Square (1980), Escape from New York (1981), C.H.U.D. (1984) that trace a larger narrative of a narrative about 1980s New York City that told part of its punk/pimp cultural history on film (read a post I wrote on this “Of Punks, Pimps and C.H.U.D.s: Gentrification in NYC as told by 1980s film”). The Warriors would be the best example of this genre because it has become a touchstone for style, a sense of hardcore realism, as well as deeper sense of an underclass in revolt. A city at war with itself, and the emanations of the gangs and their various members has itself become an intriguing abstraction of the horror that is the inner city. A return of the frontier to the inner city, a new sense of order and rebellion. You might use these details to suggest these visuals and the racial integration in Hill’s film is completely fantastical, but then you take a look at Bruce Davidson’s Subway photographs from 1980 (one year after The Warriors was in theaters and you realize the city of The Warriors was either the truth or the subsequent vision.

The exhibit featuring Bruce Davidson’s work at the National Gallery was titled “I Spy: Photography and the Theater of the Street, 1938–2010” which eerily projected the very same aesthetic of the NYC subways found in The Warriors. Walter Hill captured a piece of NYC’s streets and the sense of both place, space, and the characters, but at the same time created one of the great action-driven plots of the post-war era. An abandoned gang is hunted by all the city’s gangs60 gang members: The Furies, The Riffs, The Lizzies, etc. All of which created such a lasting impression that the Riffs became the inspiration for Public Enemy’s entourage and a rare situation wherein a film become a successful video game almost thirty years after its made without any talk of a remake (it would have been unconscionable but 8 years ago). Not so anymore, and we have to save The Warriors before it’s original splendor is insulted with a remake. So I need to try and come up with a  campaign for saving The Warriors. I love this mashup of The Ramones and the Warriors on the same subway car.

Now that has taken hold in our culture in a big way because our culture has changed to some degree with the ability for us to voice our love of these movies. Can you dig it?

 

Posted in digital storytelling, moviemooc, movies | Tagged | 4 Comments

Networks within Networks: Humans, Technologies, and Metaphors

I’ve heard Gardner Campbell talk at length about Networks of Networks as a way to describe what’s happening in a course like his own New Media Studies or ds106. You can listen to him wax poetic on the concept in this talk given to ds106 back in January of 2011. The idea here is that rather than understanding courses like these as MOOCs in terms of massive, broadcast learning experiences, they become localized, fractal relationships that form a loose, yet dynamic, community born out of the web (not unlike the metaphor Mike Caulfield has been exploring with Inter Library Loan and online learning here).  I love this idea, and for me it’s a jumping off point for beginning to understand scale in new, more complex and compelling ways. The idea of numbers is compelling only insofar as you are trying to monetize those numbers, the figures of fractal course frameworks and transformative learning networks are much harder, though not impossible, to assess because it begins to outline the contours of humanity in these courses. In fact, the very idea of constantly using and re-using new relationships between ideas to explain these technologies seems distinctly human—but I have to admit I don’t speak dog 😉

The occasion for thinking about the Networks of Networks idea came while playing around with Jeff Mcclurken’s ds106 blog last night.  And let me say it’s awesome to see Jeff playing around with ds106, and his reasons for doing so are exemplary—walking the walk is always awesome. What’s more, mcclurken.org is actually a mapped network on UMW Blogs, not a mapped domain but a mapped network, and the difference is significant. Jeff can build a series of sites within his own domain that remain within the larger network of UMW Blogs, a network of networks that anyone and everyone inside (or outside of UMW Blogs) can create. As we move forward with the Domain of One’s Own project (which is a done deal and provides 400 faculty and students their own domain and web hosting the first year) we can start approaching the idea of setting up these spaces as networks of thought and interaction rather than the more static connotation of a site.

What I ‘ve always loved about WordPress is as a technology it provides a solid metaphor for the concepts of networked learning, web-based platforms, and distributed openness—it’s not surprising either because it’s an application of and on the web—a result of years of  web thinking, to quote Jon Udell. So when I was fixing a bug in Jeff’s network that was preventing comments on the site (basically the Cookies for Comments plugin had a rewrite in the .htaccess file that was borking all comments on networks other than UMW Blogs) it occurred to me that Jeff’s mcclurken.org is not just a mapped site, but a network of his work that other faculty and students can also create. From there the question of how we think about syndicating and aggregating these networks so that they make sense and provide possibilities for serendipitous discovery. This is just one of many questions that we have to grapple with in regards to the Domain of One’s Own pilot that we are starting at UMW. Let’s not force people to use the web hosting as much as we let them decide from a menu of options for mapping on an external service, networking on UMW Blogs, creating their own, etc.

Image credit: Scott Schrantz's "Monterey Bay Aquarium"

More than anything though, the macguffin that will be driving my thinking for the next year is how can we use aggregation and syndication to bring individuals, courses, and departments to the umw.edu website in a seamless way so that our university’s WordPress install can leapfrog UMW Blogs and become the public platform for syndicating and aggregating the activity around the community in order to demonstrate the life of the mind at UMW and beyond. This is an idea Cathy Derecki and Curtiss Grymala have been pushing for a while, and I outlined it at a recent talk I gave at Penn State University that the great Brad Kozlek was kind enough not only to attend, but also to take pretty comprehensive notes. The “university website is not a brochure – but a fish tank providing a view into the activity of community,” and the fact that UMW is soon to have numerous levels of engagement at the individual, course, and department level will allow us to start imagining what this might look like in terms of representing the work being done throughout the community in some simple, dynamic, and enagaging ways on the web.

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