Wednesday, June 20, 2012

Summer here Sommer here?

Sommer here Summer not, leave a message!  Sommer thinking about life and death.  How can it be only 13 years until the time my father had his first cancer diagnosis?  How can it be only 18 years until his death? How can I live well, live healthy and stay focused on loving enough to make this work out?
  • struggling for myself--how to use the time wisely, how to love enough and well, how to get my work done so that all that I do is in some sort of harmony
  • struggling for my sister--how to figure out her depression, how to love enough and well, how to get focus while still having time/without giving up one for the other
  • struggling
Kristin Armstrong wrote in her blog: Let me be one of the first to welcome you to the new season, to wish you the happiest, mellowest, bestest summa eva. Stay up late. Sleep in when you can. Smile often. Play. Run far and free.

Better!  The Summer here summer not is also from her, June 15.




Tuesday, April 5, 2011

self-fashion, self-create, and...self-center?

Sherry Turkle's chapter opens with troubling tension.  Should we care about what the games are doing to us? to our children? she seems to ask.  "Reflection has given way to domination, ranking, testing, proving oneself" (500) and I think you'll agree, the joy, humanity, childhood, innocence and dare-I-say socialization is gone.  In this "Me-against-the-world" false/manipulated reality, I am stunned by how much is missing, regardless of the virtual reality, how real do we want it, discussion of last week.  It acts like an addiction, and causes people to forgo food and other social outlets, and risk getting in trouble (my son, when he plays too long or downloads an inappropriately violent game), and what about the pull to return to the game/computer/device that we see even in our relationships to our phones...but I digress.

I really enjoyed Turkle's differentiation between pinball and video games.  Funny how we never even think about the improbability of the ball that doesn't obey the law of gravity or the crazy movements we see the "characters" of Wii or other games do.  I also love the "dance" she describes although I can say from experience that it is also part of the video games--even though it can not make the slightest difference if you punch that button even harder, we do it, and we jump around, and swing the whole arm when the Wii asks only for wrist. And also the fact that video games could constantly up the ante, making you move from screen to screen always to another opponent, or an obstacle that looked (virtually:) impossible.  Do you really have any choice?  The computer is manipulating you to think that going up is the goal, that surpassing your last challenge isn't enough.  As someone who has never mastered a game and made it to anything approximating a final level, is it ever enough?

Has anyone else played The Dark Crystal--I did love that one (and the movie) and think it was actually better than this clip shows.

"If there is a danger here, it is not the danger of mindless play but of infatuation with the challenge of simulated worlds.  In the right circumstances, some people come to prefer them to the real." (508)  I would say, that especially the disaffected and dissatisfied person, might prefer the pseudo-freedom of games to the work of being social and engaged in the community, with family and friends.  (teenagers are having a hard time with this anyway, so the computer/game just gives them a world that doesn't seem to need interaction and social contact is a gimme). Coercive and destructive? They'll grow out of it? Relentless and aggressive?  Promise of perfection in a game?  While David (510, 512) thinks that his game-self on a good day is cleansing/recentering/you-against-only-you, I disagree; for me it is all manipulation that somehow compels me to value something of no value.  So if I win at a game, I can handle the world, right, on the assumption that my prowess at anything is useful for everything? 

Finally, if we go back to Kay/Goldberg and the Dynabook, we are at the point that Terkle says is in her next chapter, children who "are working with computer systems that turn the machines into a medium for self-expression...The excitement here is not in process of deciphering the program (i.e. following the rules set by others), but of making it (the program) in a highly personalized (and creative way." I hope so, but I don't think that.  Just as not all students are readers, not all gamers will understand how games could be different, or how their choices are affecting them.

I am at a conference this week, sadly, and will not be present for our Wednesday foray into thoughts of new media.  I'll be reading with interest!

Tuesday, March 29, 2011

Poetics alienation? Am i the only one?

The Laurel reading puts me in a quandary and on a soapbox.   I can't help but be sure that she is right in her thinking and I SO don't like it.  It is backward, it seems to me, and a case of the medium being the message and manipulating us malevolently (say that 5x fast).  What don't I like?  I am deeply uncomfortable with the way that the games suture the player into the narrative/drama.  I teach  this drama portion of the poetics in almost every semester precisely so that I can emancipate my students from it, after all the 20th century, in addition to birthing the concept of gaming, also gave us/me Brecht's Epic Theater and the Alienation Effect.    So it is all well and good that video games are organic with patterns, spectacle and of human origin but that is to be pitied, not admired. I am being facetious, yes, because I have my vices in narrative too, but is it a good thing that the narrative stream is so strong that we want to watch it or join it even as it washes us away?  Emotional manipulation without reflection on how we are being "played".  I admit that I'm in a mood about this...it's a puzzlement. I would like to be convinced that we know/think about what is happening to our brains as we play.  Peace.

Wednesday, March 23, 2011

Life without editing is just not that interesting...

This may be my favorite reading so far; it has mapped not only onto my own life, but also onto teaching in German Studies.  Plus, who doesn't love a good porcupine story...
My life:  the 80s, the rise of video culture especially music videos as the encapsulating of bigger things/feelings/moments is where my interest and interaction in film, media, "cultural products".

My German Studies connection is the study of Alltag "the everyday" in life, a movement that came out of socialist realism and was both the savior and the bane of "culture" in the 1970s and 1980s in Germany.  Everyone started talking about what was going on in the everyday, what was in the grocery story, who wrote what letters to the newspapers, when did work begin/end, what chapters were assigned to be read by school children. Some of these were frightfully boring accounts, obviously, until you had heard/read/watched 20 hours of it when all of a sudden you realized how hooked you were; but more than that, the idea that daily life was worthy of study and revealed things that we needed and wanted to know...creative juices flowed into VERY extended projects and detail-oriented interviews and journals and, and, and...it captured the popular "imagination" in a way that turns out to be much more valuable than just knowing the dates of the last great ruler of ancient Egypt.  (This is absolutely anathema for Germans--we Americans might get it much faster). And, finally getting to my point, quoting Viola: "Discoveries are made which reveal that more and more things are related, connected (466)".  And I add--harder to pass judgment on/dismiss (and therefore easier to learn from).

Wednesday, March 16, 2011

Just do it!

I really enjoyed Kathleen's post and the NYT article she points us to, but especially the discourse on fluency in "poetry language" having been pushed to the brink by the emergence of the novel (the apocalyptical language is mine:).  I couldn't help but think of my mother being loathe to read anything on the internet--I think she is as uncomfortable with what she finds there as any of my students are when I put poetry (modern or not) in front of them.  And I tell her, without meaning to be patronizing, just do it!  Just as I tell my students that they will learn to read poetry (and maybe to like it, although that isn't as essential to me as they think it is) by giving themselves permission to read poetry.

Wednesday, March 2, 2011

Ellen Filgo was featured for her per-twitter-formance with Gardner's class last semester--in the Chronicle of Higher Education.  A great experience for the students to have a research librarian at their fingertips, even reading their virtual minds via their conversations in the class. Magic, they say!

Imitation counterpoint

"Considering children as the users radiates a compelling excitement...children really can write programs that do serious things...the kids love it!  The interactive nature of the dialogue, the fact that they are in control, the feeling that they are doing real things rather than playing with toys or working out "assigned" problems, the pictorial and auditory nature of their results, all contribute to a tremendous sense of accomplishment to their experience." (394)

When do we do our best work?  Maybe when we are "in control" and "doing real things"?  Obviously.  For me this returns us to Nelson problem with what is missing from education (and our CAI motivation).  Standardized testing is the epitome of not being in control and doing unreal (even surreal) things, so--no sense of accomplishment--and this goes beyond the student to the teacher and the principal and the district too. For a teacher's personal lament, a blog post I read called I don't want to be a teacher anymore but I digress.

Back to Dynamic Media the filing system reminds me of Zotero which Ellen Filgo introduced to me and my students yesterday, choosing the format and personal ways to crossfile everything from the obvious article or book to youtube videos, webpages, and anything (I gather) that can be indicated by your computer pointer.   But for me the really interesting part of this article was the music aspect which seems so much more intuitive than when I was learning to write counterpoint (poorly) in my music theory and composing classes.  That was back in the 90s, so I am guessing that there are programs that are like the one described here although I can't point to them. My favorite aspect is that "capturing" of the score which is surely magical to behold, and the idea that you can stretch, shift, repeat, and alter it without a "do-over".