this spring i'll be teaching an offshoot, of sorts, of the adolescent literacies course from last year which will be titled, "digital geographies and virtual spaces." i'm so excited to explore this topic with students and, like earlier this year, am seeking suggestions for texts to include. the brief, in-process course description is as follows:
Course Description:
Youth are traversing increasingly complex digitized terrains with the advent and growing access to new media and technologies. Young people’s social and cultural practices reflect a heightened engagement of new forms of communication and learning that occur in newly developed spaces. However, the voices of youth continue to be largely missing from current debates around the implications of these emerging technologies. In this course, we will explore these spaces and consider how the evolving relationship between new technologies and new modes of communication and literacy are making these spaces possible. Using texts that put youth voices at the forefront, we will look at how youth are using these digital geographies for a variety of purposes as well as how they engage a variety of digital and non-digital resources to create new geographies in order to accommodate the emerging practices around meaning making, including: video games, blogs, video documentaries, and more. Finally, this course will be a space to explore what it means for youth to represent in this increasingly digital age.
i await your suggestions! :)
11.29.2005
11.20.2005
harry potter and the ever-growing todo list
it's the 20th of november and i still haven't paid my $10 to sit and watch the cinematic representation of the fourth Harry Potter book. i am utterly entranced when i read the books - most attractive to me are the spells that rowling conjures up and which then i wish actuallly worked.
at any rate, i recently came across some movie reviews written by seattle youngsters who had just viewed Goblet of Fire. their enthusiasm is contagious and their attention to detail is exciting, but perhaps most entertaining is the use of language, imagery and persuasion by 9-13 year-olds. the take home message: go see the movie!
i'll report back after i do. in the meantime, i need to fit in rereading the book between an upcoming conference paper and an article revision. sometimes it's so much more fun to engage with adolescents and their literacy explorations rather than merely composing texts about them... hmmm...
at any rate, i recently came across some movie reviews written by seattle youngsters who had just viewed Goblet of Fire. their enthusiasm is contagious and their attention to detail is exciting, but perhaps most entertaining is the use of language, imagery and persuasion by 9-13 year-olds. the take home message: go see the movie!
i'll report back after i do. in the meantime, i need to fit in rereading the book between an upcoming conference paper and an article revision. sometimes it's so much more fun to engage with adolescents and their literacy explorations rather than merely composing texts about them... hmmm...
11.16.2005
mirror, mirror...sitting in front of me
i've been thinking a lot about the role of interviews: their purpose, the social dynamics, the physical interactions and linguistic jockeying... i recently interviewed two young men who i had only for a very short time prior to engaging in this rather intimate exchange. in this setup, i, a stranger, asked them to share with me aspects of their lives, how they felt about learning in their lives, and asked them to reflect - out loud - about these big ideas while being recorded onto minidisc. what was most surprising to me, however, was the enthusiasm with which each participated in this event. after each interview, as we engaged in an impromptu debrief of our conversation, both young men described the time that had just transpired as cathartic and enjoyable.
shortly following these interviews i was talking with a woman about a different project and we were settling on a time for me to interview her. i have known this woman for a little while now and so the background for the interview is different, yet she said something that made me wonder about my conversations with the two young men: she remarked that she was happy to do an interview and said that she, like anyone else, would welcome the chance to talk more and reflect on everyday goings on. in saying so she hinted that an interview would almost be a luxury.
this got me thinking about the role of interviews in how we gather data with young people. if interviews are so out of sync with their usual discourse patterns, what role do they really play in research with youth? linguists and linguistic anthropologists have wrestled with this question in other ways, noting that the interview itself is a peculiar speech event. thus, the information gathered must be engaged with the proverbial grain of salt. but this line of thinking strengthens the case of those of us who are seeking new ways to engage and include young people's perspectives, positionalities, and imaginations in our work. i would argue that the peculiarity of "the interview" demands that we rework and re-imagine methods that create opportunities for youth-full reflections...
with that said, there seems to be something valuable and significant about "the interview" in talking with and learning from young people, particularly in honoring the historical importance and tradition of oral history. ... and in collectively creating still more spaces for more voices to be heard oustide the construct of interviews.
when i asked one of the young men to expand on his remark that he had really enjoyed our conversation, he paused... and then noted that this was the first time he had had a chance to talk about "some of that stuff" and that it felt good to do so. it is my/our responsibility to make sure that his "stuff" is handled with respect.
shortly following these interviews i was talking with a woman about a different project and we were settling on a time for me to interview her. i have known this woman for a little while now and so the background for the interview is different, yet she said something that made me wonder about my conversations with the two young men: she remarked that she was happy to do an interview and said that she, like anyone else, would welcome the chance to talk more and reflect on everyday goings on. in saying so she hinted that an interview would almost be a luxury.
this got me thinking about the role of interviews in how we gather data with young people. if interviews are so out of sync with their usual discourse patterns, what role do they really play in research with youth? linguists and linguistic anthropologists have wrestled with this question in other ways, noting that the interview itself is a peculiar speech event. thus, the information gathered must be engaged with the proverbial grain of salt. but this line of thinking strengthens the case of those of us who are seeking new ways to engage and include young people's perspectives, positionalities, and imaginations in our work. i would argue that the peculiarity of "the interview" demands that we rework and re-imagine methods that create opportunities for youth-full reflections...
with that said, there seems to be something valuable and significant about "the interview" in talking with and learning from young people, particularly in honoring the historical importance and tradition of oral history. ... and in collectively creating still more spaces for more voices to be heard oustide the construct of interviews.
when i asked one of the young men to expand on his remark that he had really enjoyed our conversation, he paused... and then noted that this was the first time he had had a chance to talk about "some of that stuff" and that it felt good to do so. it is my/our responsibility to make sure that his "stuff" is handled with respect.
11.07.2005
creating to the point of stupidity
last week i attended a conversation with frank gehry, hosted by kelvin shawn sealey. the conversation was held at columbia's low library as part of the citizen project, whose previous guests have included bell hooks, gloria steinem, and cornel west. gehry's visit was titled "architecture in the public imagination." i had little knowledge of gehry's work beyond the guggenheim extension in bilbao, spain and the experience music project in seattle, wa. (i later learned he was the architect behind one of my favorite buildings, located on the mit campus.)
during the course of the hourlong conversation i gained more insight into what i have written about earlier as trying to "break my eye open" - according to gehry, he tries to find ways to create movement through inert objects, hence the fluidity and almost falling-like nature of many of notable buildings. (there's also the significance of the fish as a source of design and inspiration, but that is a slightly longer story better told by frank, himself.)
in a clip that was shown from a recent documentary that his friend sidney pollack made about gehry, his life and his work, we see gehry note that a design he is working on is "so stupid looking it's great." he laughs to himself and the camera and at the cardboard mock-up of a building that has since been built.
as a young man, gehry was taken by his ceramics teacher, who, he noted at the talk, "must have seen something in me," to a house that he was working on and soon afterwards, seeing gehry's face light up with a mix of awe and enthusiasm, the teacher enrolled him in an architecture class. as he put it, "that must have been the beginning of that."
"that" turned out to be some of the "stupidest" looking buildings that make people stop, talk, listen, wonder, and question. if that's stupid, we should all be so lucky.
during the course of the hourlong conversation i gained more insight into what i have written about earlier as trying to "break my eye open" - according to gehry, he tries to find ways to create movement through inert objects, hence the fluidity and almost falling-like nature of many of notable buildings. (there's also the significance of the fish as a source of design and inspiration, but that is a slightly longer story better told by frank, himself.)
in a clip that was shown from a recent documentary that his friend sidney pollack made about gehry, his life and his work, we see gehry note that a design he is working on is "so stupid looking it's great." he laughs to himself and the camera and at the cardboard mock-up of a building that has since been built.
as a young man, gehry was taken by his ceramics teacher, who, he noted at the talk, "must have seen something in me," to a house that he was working on and soon afterwards, seeing gehry's face light up with a mix of awe and enthusiasm, the teacher enrolled him in an architecture class. as he put it, "that must have been the beginning of that."
"that" turned out to be some of the "stupidest" looking buildings that make people stop, talk, listen, wonder, and question. if that's stupid, we should all be so lucky.
10.27.2005
youth sounds
a view from their first year:
http://ia300124.us.archive.org/0/items/YearOne/YearOne.mov
for whom/in what ways does it matter that youth media production is a spreading phenomenon?
should we be seeking ways to increase the awareness of youth produced media? to disseminate it more widely? what are the consequences of doing so? what are the consquences if we do not?
http://ia300124.us.archive.org/0/items/YearOne/YearOne.mov
for whom/in what ways does it matter that youth media production is a spreading phenomenon?
should we be seeking ways to increase the awareness of youth produced media? to disseminate it more widely? what are the consequences of doing so? what are the consquences if we do not?
10.25.2005
storying his/herstories
this is the headline i saw when i logged onto cnn.com this morning: "Civil Rights Icon Rosa Parks dies at 92"
it's been almost 50 years to the day since her rise to historic fame as one of the public faces of the civil rights movement. as we approach the anniversary of ms. parks' instance of holding her ground on a public bus, i'm moved to ask what has happened to the movement? before giving in to my cynical side, i turn to youth and the rich storying that young people are engaging across a variety of modalities.
among these multimodal texts is this one: the children of birmingham
in this piece of animated storytelling, produced and created by youth iving in baltimore, a young woman's voice talks about the historical relevance of birmingham, al, and specifically about the role that children and youth played in the protests against segregation. the participants in this project were 10-14 years old and created this text as part of a summer program called kids on the hill.
consider their text within the broader narrative of civil rights in this country, and ask who has been telling the stories? their images, animation, story, and voice - complete with an occasional chorus of "we shall overcome" sung by the narrator - adds a new and intergenerational layers to the interview segments available in the online resource gallery of the birmingham civil rights institute.
bringing together reflections of the past with present interpretations makes possible a path to different futures. at least that's what young people who are busy making movies, telling tales, and demanding their voices be heard would have us believe. the promise of youth media to me lies in both the medium and the message. and the legacy of ms. parks is not dead.
it's been almost 50 years to the day since her rise to historic fame as one of the public faces of the civil rights movement. as we approach the anniversary of ms. parks' instance of holding her ground on a public bus, i'm moved to ask what has happened to the movement? before giving in to my cynical side, i turn to youth and the rich storying that young people are engaging across a variety of modalities.
among these multimodal texts is this one: the children of birmingham
in this piece of animated storytelling, produced and created by youth iving in baltimore, a young woman's voice talks about the historical relevance of birmingham, al, and specifically about the role that children and youth played in the protests against segregation. the participants in this project were 10-14 years old and created this text as part of a summer program called kids on the hill.
consider their text within the broader narrative of civil rights in this country, and ask who has been telling the stories? their images, animation, story, and voice - complete with an occasional chorus of "we shall overcome" sung by the narrator - adds a new and intergenerational layers to the interview segments available in the online resource gallery of the birmingham civil rights institute.
bringing together reflections of the past with present interpretations makes possible a path to different futures. at least that's what young people who are busy making movies, telling tales, and demanding their voices be heard would have us believe. the promise of youth media to me lies in both the medium and the message. and the legacy of ms. parks is not dead.
10.23.2005
adult producers of adolescent texts
i've been thinking more and more about who produces the images of youth that we see on television, on videos, in the newspaper, in literary texts, and in the movies (and elsewhere) and am more confused than before. confused by the motivation for some of the portrayals that are circulating, in particular. in the tv and youth course that i'm teaching this semester, someone made the following comment in response to the point that youth ought to be more engaged in how they are represented: "who would want to do that?" this person was referring to the related point that simple characters and flattened representations are what sell to the public at large.
following this discussion, i recalled the show "you can't do that on television" that aired in the early 80s on nickelodeon. i am struck by the memories of adolescent sketch comedy, green slime, and forgetful dialogue. yet i was hooked on this show, as i was to reading and re-reading nancy drew novels, the stack of enid blyton books given to me by my older cousin who grew up in london, and listening to old lp records (including elvis and audio recordings of the "six million dollar man") on my record player. as i recall this pastiche of not-very-critical texts that made up much of my childhood and adolescence, i wonder how i arrived here; that is, a stance of ongoing, critical inquiry.
while writing a paper for a course in grad school, i took to heart what bell hooks (1994) wrote about her relationship with critical thought and theory and noted that while the texts i consumed remained fairly uncritical, the texts i produced - namely, my journals, poetry, and the enacted performance of being - made attempts at raising questions, challenging existing cultural scripts and performing different identities. but what if i had met june jordan's words as a teenager? or written back to the musings of adrienne rich? would i have come into a critical consciousness earlier? and if so, what would have been different?
when i hear some adults talk about youth today i wonder if we expect too little of youth as we assume that they need to be taught how to be critical? that is, what if assumed that youth are developing a critical consciousness in various aspects of their lives? would we ask different questions in our literature, social studies, mathematics classes? would the space of education shift more toward the possibility of with? how would the scripts of youth be different if adults took seriously the notion that youth are collaborators in the pursuit of a more just, and socially conscious world?
following this discussion, i recalled the show "you can't do that on television" that aired in the early 80s on nickelodeon. i am struck by the memories of adolescent sketch comedy, green slime, and forgetful dialogue. yet i was hooked on this show, as i was to reading and re-reading nancy drew novels, the stack of enid blyton books given to me by my older cousin who grew up in london, and listening to old lp records (including elvis and audio recordings of the "six million dollar man") on my record player. as i recall this pastiche of not-very-critical texts that made up much of my childhood and adolescence, i wonder how i arrived here; that is, a stance of ongoing, critical inquiry.
while writing a paper for a course in grad school, i took to heart what bell hooks (1994) wrote about her relationship with critical thought and theory and noted that while the texts i consumed remained fairly uncritical, the texts i produced - namely, my journals, poetry, and the enacted performance of being - made attempts at raising questions, challenging existing cultural scripts and performing different identities. but what if i had met june jordan's words as a teenager? or written back to the musings of adrienne rich? would i have come into a critical consciousness earlier? and if so, what would have been different?
when i hear some adults talk about youth today i wonder if we expect too little of youth as we assume that they need to be taught how to be critical? that is, what if assumed that youth are developing a critical consciousness in various aspects of their lives? would we ask different questions in our literature, social studies, mathematics classes? would the space of education shift more toward the possibility of with? how would the scripts of youth be different if adults took seriously the notion that youth are collaborators in the pursuit of a more just, and socially conscious world?
10.15.2005
visualizing beauty and heartbreak
the girls and boys featured in born into brothels captivated me from the opening menu of the dvd. there is little doubt about the imagination, enthusiasm, and life that each child explores and exudes with their photographic journeys, sometimes to the chagrin and disdain of their families and surrounding communities. the power dynamics involved in taking someone's picture are complicated when the photographer is a child and the photographed is an adult; these dynamics are made further complex when the adult doesn't want to be documented in any way.
despite the moving stories and lives, i'm not sure how to respond to a dilemma that resonates with my work, as well: what happens when the project is completed? the filmmakers, zana briski and ross kauffman, have returned and done future photography workshop with increasing numbers of children living and growing up in calcutta. but the bigger question looms: what is the possibility of art to be a catalyst for social change? and from whom does art expect change?
i may return to this film for in a few posts - this images and stories will stay with me and will have to marinate for a while...
despite the moving stories and lives, i'm not sure how to respond to a dilemma that resonates with my work, as well: what happens when the project is completed? the filmmakers, zana briski and ross kauffman, have returned and done future photography workshop with increasing numbers of children living and growing up in calcutta. but the bigger question looms: what is the possibility of art to be a catalyst for social change? and from whom does art expect change?
i may return to this film for in a few posts - this images and stories will stay with me and will have to marinate for a while...
10.04.2005
napoleon dynamite... and the representation of youth
i just spent an hour crafting a response to the movie that i finally watched after being told to do so by friends and occasional strangers for some time now... and then lost the entire post... idiot!
as i watched, i laughed, i winced, i shook my head, i pushed away images that crept into consciousness of certain individuals from my past, i shifted in my seat when i saw glimpses of something too familiar, and i remained awed by the power of the "lack of arm movement" maneuver used in television and movies to indicate some form of social awkwardness. (case in point: the seinfeld episode when raquel welch fails to swing her arms when she walks)
what i found it difficult to do was "break my eye open," like the character of claire tries to do in six feet under. like a good movie watcher, i brought to this experience the expected frames of normal and not, of awkward and not; i gave in to the moviemakers' manipulation of viewer discomfort for what seems out of the ordinary, which is often made manifest in laughter. deb, an eventual friend of napoleon's, makes and vends handicrafts that she makes herself, as well as takes "glamour shots" as an amateur photographer in her basement. pedro, newly arrived from mexico, becomes napoleon's "best friend" within minutes and brings to the cast an optimistic truthfulness which eventually earns him the title of class president (thanks, in part, to a solo dance number performed by napoleon).
for those who haven't seen the movie, i'm not spoiling it for you - definitely rent it. but as you do, consider these questions:
- how do we learn to see differently?
- what is the impact of youth-focused movies on the general public's perception of and response to youth?
- why do most of us understand this as a movie about overcoming social displacement?
would it be too bizarre to produce a movie in which deb, for example, is who she is and does what she does without feeling the urge to project a future as a photo journalist? that is, why do movies about youth either indict or romanticize youth? (with a few exceptions...) perhaps these are the clouded dichotomized memories adults are left with about their adolescence... i wonder what youth would/do say about their lives as they are happening...
if we encourage youth to be more reflective, aware, critical, and thoughtful in their lives as young people, will they grow up to make movies that continue the dichotomy? or will we have more texture in future articulations about youth?
as i watched, i laughed, i winced, i shook my head, i pushed away images that crept into consciousness of certain individuals from my past, i shifted in my seat when i saw glimpses of something too familiar, and i remained awed by the power of the "lack of arm movement" maneuver used in television and movies to indicate some form of social awkwardness. (case in point: the seinfeld episode when raquel welch fails to swing her arms when she walks)
what i found it difficult to do was "break my eye open," like the character of claire tries to do in six feet under. like a good movie watcher, i brought to this experience the expected frames of normal and not, of awkward and not; i gave in to the moviemakers' manipulation of viewer discomfort for what seems out of the ordinary, which is often made manifest in laughter. deb, an eventual friend of napoleon's, makes and vends handicrafts that she makes herself, as well as takes "glamour shots" as an amateur photographer in her basement. pedro, newly arrived from mexico, becomes napoleon's "best friend" within minutes and brings to the cast an optimistic truthfulness which eventually earns him the title of class president (thanks, in part, to a solo dance number performed by napoleon).
for those who haven't seen the movie, i'm not spoiling it for you - definitely rent it. but as you do, consider these questions:
- how do we learn to see differently?
- what is the impact of youth-focused movies on the general public's perception of and response to youth?
- why do most of us understand this as a movie about overcoming social displacement?
would it be too bizarre to produce a movie in which deb, for example, is who she is and does what she does without feeling the urge to project a future as a photo journalist? that is, why do movies about youth either indict or romanticize youth? (with a few exceptions...) perhaps these are the clouded dichotomized memories adults are left with about their adolescence... i wonder what youth would/do say about their lives as they are happening...
if we encourage youth to be more reflective, aware, critical, and thoughtful in their lives as young people, will they grow up to make movies that continue the dichotomy? or will we have more texture in future articulations about youth?
9.20.2005
youth voices
2 things:
check out this new article, full of links, from MediaRights:
Generation PRX: Amplifying Youth Voices
also, i've been reading more and more about iPod use in classrooms and college campuses and am wondering about how people have used the these shiny metallic, colorful sound and image boxes in other settings broadly defined as "educational"...?? im particularly interested in thinking more about the use of the photo display function in conjunction with an ongoing project im working on, particularly as the youth are engaged in 'on the fly' comparative analysis of the contrasting images from different parts of town, and the stories they hold.
so many stories... so little time...
check out this new article, full of links, from MediaRights:
Generation PRX: Amplifying Youth Voices
also, i've been reading more and more about iPod use in classrooms and college campuses and am wondering about how people have used the these shiny metallic, colorful sound and image boxes in other settings broadly defined as "educational"...?? im particularly interested in thinking more about the use of the photo display function in conjunction with an ongoing project im working on, particularly as the youth are engaged in 'on the fly' comparative analysis of the contrasting images from different parts of town, and the stories they hold.
so many stories... so little time...
9.13.2005
fall means...
a lot of things... new colors on the leaves on the trees; the increasing need for a light sweater or jacket; a new grade and the ever-present potential for new friends at school; the new tv season...
for me, all of these things coincided with another very important event, an event that allowed me the privilege of bringing in popsicles to school: my birthday. it is perhaps fitting that with each early september and new school year, i feel a sense of renewal and possibility - after all, according to the calendar, i am a year older. but each year, my birthday also gives me an opportunity to reflect on the years that have passed and whether it's because of my work or my memories, i find myself revisiting my teenage years. not because they were anything remarkable but because so much of who i am today was born in those years then. the shows i watched and the range of other texts i dove into, as well as the experiences i had to navigate no doubt inform what i do now. but how connected am i, really, to my adolescence? and how much is healthy? is there utility to this constant reflection? to reading my old journals? to watching reruns of old tv shows? does this help us better understand "the youth of today" or are we prone to idealistic nostalgia, running the risk of beginning sentences with "when i was young..."?
perhaps we do need to move on, gain distance, and perspective. and maybe this soliloquy is just my way of justifying my growing obsession with teen-targeted media!
for me, all of these things coincided with another very important event, an event that allowed me the privilege of bringing in popsicles to school: my birthday. it is perhaps fitting that with each early september and new school year, i feel a sense of renewal and possibility - after all, according to the calendar, i am a year older. but each year, my birthday also gives me an opportunity to reflect on the years that have passed and whether it's because of my work or my memories, i find myself revisiting my teenage years. not because they were anything remarkable but because so much of who i am today was born in those years then. the shows i watched and the range of other texts i dove into, as well as the experiences i had to navigate no doubt inform what i do now. but how connected am i, really, to my adolescence? and how much is healthy? is there utility to this constant reflection? to reading my old journals? to watching reruns of old tv shows? does this help us better understand "the youth of today" or are we prone to idealistic nostalgia, running the risk of beginning sentences with "when i was young..."?
perhaps we do need to move on, gain distance, and perspective. and maybe this soliloquy is just my way of justifying my growing obsession with teen-targeted media!
9.05.2005
katrina and technology
if you or someone you know has space to provide housing for those displaced by hurrican katrina, log on to: http://www.katrinareliefhomes.com
from the "about" page:
Katrinareliefhomes is a completely free site and built around the idea that technology can help to bring those who have, closer to those who need.
i also wonder: what about using mobile laptop labs at the 97+ shelters that have been set up so that people can connect with their missing family members??
from the "about" page:
Katrinareliefhomes is a completely free site and built around the idea that technology can help to bring those who have, closer to those who need.
i also wonder: what about using mobile laptop labs at the 97+ shelters that have been set up so that people can connect with their missing family members??
what's on tv...
each time i prepare to teach a course, i find myself in the position of negotiating between "existing work in the field" and the real and shifting landscape that is being created from moment to moment. as some of you know, i am scheduled to teach a course titled "tv and (the development of) youth" - the parantheses are my addition... and the readings for the course draw on a variety of sources, including the suggestions made by some of you, including sefton-green, buckingham, etc... however, as i've been watching the tv somewhat obsessively over the past several days, the images of children and youth in the midst of the tragic disaster and displacement that has taken place in the southern united states seem to suggest - demand, really - that they, too, have a place in 'the course.'
reading television images, interpreting them, making sense of them, etc., all seem to be one arc in engaging this broad topic. but what of tv's role in making the identities of youth? what can/should we say and discuss about the use of the television as propaganda? as information? as inciter? as educator?
for what do we rely on the tv? has other media replaced it? or, as i suspect, is the average repertoire of everyday media simply expanding? an unrelated case-in-point: the degree to which episodes of 'dora the explorer' mimic the 'dora' video game environment. what does tv, the web, video games, and the oft-forgotten radio expect and assume about its potential audience?
i'll continue to wrestle with this balance of the exisiting and the now as the course and the semester unfolds, and hopefully will also gain some insight into "what's to come"...
reading television images, interpreting them, making sense of them, etc., all seem to be one arc in engaging this broad topic. but what of tv's role in making the identities of youth? what can/should we say and discuss about the use of the television as propaganda? as information? as inciter? as educator?
for what do we rely on the tv? has other media replaced it? or, as i suspect, is the average repertoire of everyday media simply expanding? an unrelated case-in-point: the degree to which episodes of 'dora the explorer' mimic the 'dora' video game environment. what does tv, the web, video games, and the oft-forgotten radio expect and assume about its potential audience?
i'll continue to wrestle with this balance of the exisiting and the now as the course and the semester unfolds, and hopefully will also gain some insight into "what's to come"...
8.28.2005
to not know the internet...
it's nearing the beginning of the fall semester here in the north east. new freshmen - whose parents look closer to my age with each passing year, and whose abundant energy oozes from each exposed appendage and inch of skin - are moving in. gone are the quiet campus days of summer, replaced instead by the discernable hum of "the undergraduate."
as i sat watching these barely-out-of-high-school teens meeting each other, getting past the awkward hellos and maneuvering the delicate dance of excitedly-but-not-too-excitedly saying good-bye to their parents, i was struck by a thought. (after a brief reminiscence of my own freshman move-in, of course)... it is 2005. in a few short years, a class of freshmen will enter college and it will be safe to say that they will not have known a day-to-day existence without the internet. it's an exciting thought, and one that reminds me of the first time, about six years ago, when i was visually overloaded with the exponential growth of cell phones as a common accessory.
what will the learning experience be like, i wonder, for college students who have routinely shifted between multiple communication, media and information technologies almost from birth? true, the realities of varied access to the internet across neighborhoods remains an issue - that is, not everyone is online. however, as i sat on a bench in the middle of campus, surfing online simutaneously for a pair of sneakers and articles about mcdonald's, i was excited by the thought that sitting on a bench surfing the web won't be a campus-only activity for long. cases in point: philadelphia and new york are both exploring plans to become wireless cities. of course wireless service providers aren't happy with the thought of losing revenue, but imagine the possibilities.
in a recently published, much-hyped book, My Freshman Year: What a Professor Learned by Becoming a Student, the author, rebekah nathan (aka cathy small, an anthropology professor) spent her sabbatical conducting research by enrolling as a freshman at the university where she teaches. she was mainly interested in what it was like to be a freshman, taking five classes and managing all the other "stuff" that comes with this big life transition. what i wonder, and what i don't think nathan/small focused on explicitly (though i haven't read the book to say for sure), was what it means to be a freshman given the newly developed mediating practices of information gathering, synthesizing, etc. that come with increased access to a wider range of resources. and, is there a widening gap, as many claim, in who uses what to convey how...??
so, i return to my initial question, with a twist: what will it mean to be teaching students for whom the boundaries between "online" and "offline" are as artificial maraschino cherries?
as i sat watching these barely-out-of-high-school teens meeting each other, getting past the awkward hellos and maneuvering the delicate dance of excitedly-but-not-too-excitedly saying good-bye to their parents, i was struck by a thought. (after a brief reminiscence of my own freshman move-in, of course)... it is 2005. in a few short years, a class of freshmen will enter college and it will be safe to say that they will not have known a day-to-day existence without the internet. it's an exciting thought, and one that reminds me of the first time, about six years ago, when i was visually overloaded with the exponential growth of cell phones as a common accessory.
what will the learning experience be like, i wonder, for college students who have routinely shifted between multiple communication, media and information technologies almost from birth? true, the realities of varied access to the internet across neighborhoods remains an issue - that is, not everyone is online. however, as i sat on a bench in the middle of campus, surfing online simutaneously for a pair of sneakers and articles about mcdonald's, i was excited by the thought that sitting on a bench surfing the web won't be a campus-only activity for long. cases in point: philadelphia and new york are both exploring plans to become wireless cities. of course wireless service providers aren't happy with the thought of losing revenue, but imagine the possibilities.
in a recently published, much-hyped book, My Freshman Year: What a Professor Learned by Becoming a Student, the author, rebekah nathan (aka cathy small, an anthropology professor) spent her sabbatical conducting research by enrolling as a freshman at the university where she teaches. she was mainly interested in what it was like to be a freshman, taking five classes and managing all the other "stuff" that comes with this big life transition. what i wonder, and what i don't think nathan/small focused on explicitly (though i haven't read the book to say for sure), was what it means to be a freshman given the newly developed mediating practices of information gathering, synthesizing, etc. that come with increased access to a wider range of resources. and, is there a widening gap, as many claim, in who uses what to convey how...??
so, i return to my initial question, with a twist: what will it mean to be teaching students for whom the boundaries between "online" and "offline" are as artificial maraschino cherries?
8.19.2005
tv course
thanks to all who responded about the tv course! the suggestions seem great and i will definitely pursue them. anya asked me to give more ideas about scope and big issues i want to focus on - here they are in my jetlagged state (yes, that's right - i was away without email access for a whole ten days!... this was both traumatizing and liberating... hmmm....)
broadly, i'm desigining the course around the ideas of "tv with, for and by youth"... more specifically, i want the course to be able to meet a variety of student needs:
broadly, i'm desigining the course around the ideas of "tv with, for and by youth"... more specifically, i want the course to be able to meet a variety of student needs:
- understanding youth as producers of media (including tv)
- designing television and media for youth audiences
- representations of youth on television
- the role of television and related media in the lives of youth
also, if anyone has read steven berlin johnson's everything bad is good for you, i'd love some thoughts on the book. i'm still waiting for my copy!
8.07.2005
l'il help
seems like so much of my references are tv-based... and finally i get to use the vast history of television viewing: i'm teaching a course on television and youth and would *love* any and all suggestions for texts - articles, books, dvds, sites, etc. - to use.
a million thanks!!
:)
a million thanks!!
:)
patterns, behaviors, and plaid
when do we decide how we're going to live our life? and how do we arrive at these conclusions? i re-read marc's piece (see below) and immediately recalled the show laguna beach - aka "the real life oc" airing on mtv. why the connection? b/c one of the girls on the show (from season 1) is the daughter of a well-known preacher, who, as is made obvious by his family's inclusion on the show, is quite well off. in one particularly memorable scene transition, the daughter goes from discussing her upcoming gospel performance at the church and praying with her family to singing along with 50cent in her very expensive car.
what's the problem, people might ask? well... i wonder whether one can espouse charity and the "christian" spirit, chastize individuals who live "the wrong way," and consume like there's no tomorrow all at the same time. how do the youth who are growing up in our increasingly hypocritical world making sense of it all? of the competing messages bombarding all of us, and especially addressing the "disposable income" generation...
goldhaber writes about the "attention economy", a concept taken up and expounded on by colin lankshear and michele knobel. the basic premise: it's the attention, stupid. perhaps that's oversimplifying things greatly, but all three scholars are inviting readers to consider the real commodity involved in influencing the practices of youth: attention. so, who's competing for youth attention? it's too simple (again) to say everyone... but it certainly seems like it. young people are the focus of school reforms, censorship ratings on television, advertisements, video games, toys, magazines, and on and on...
but, does any of this matter? or, rather, in what ways does any of this matter? and what are we missing?
schools are so desperate to get and keep young people's attention, yet so often it seems that school practices run counter to what we know about the attention economy. like one young man i know once said: "there's too much attitude in school." he was referring to the relationships between teachers and students, but i think that his observation could extend to the broader point about adults and youth and the not-so-delicate maintaining of power in one direction. what would it really mean to reimagine institutionalized education as a series of experiences in which youth expertise was taken seriously and not as a threat. currently, it seems like our thinking about the attention economy continues to situate the proverbial ball in the adults' court. that is, we are wanting adults to find new ways to reach youth, to engage productively with youth. this is necessary. but if we truly believe that young people are engaged in meaningful activities and practices, then how about enlisting their help and input.
i wager that our adult-focused questions about how young people do what they do and are who they are will experience a shift when we take seriously the lives and intentions of youth; and hope that we start asking different questions. maybe then we'll better understand how a 16 year-old finds it a seamless transition to move between dinner table chatter and lyrical head-bopping... and why it becomes increasingly difficult, as youth transition into adults, to maintain those multiple identities as too many of us give in to rigid definitions of who to be, what to do...
postscript: one of my friends, one of the warmest people and most committed teachers i know, was sharing a story about his kids with me. she is 8 or 9 and was visiting a friend who lived two towns away. my friend and his kids are african american and her friend and family are white and jewish. when he went to pick up his daughter my friend spent some talking with the friend's mother. they realized they had much in common - both are writers, as well - and talked for thirty minutes while their kids continued to play. as he recalled the story to me during a conversation about racial dynamics and interactions, he noted that he was from a generation that still maintained its borders and how unlikely it would have been that he and the friend's mother would have talked if not for their kids. he mentioned a combination of historical, geographical, and social factors that influence his patterns of behavior. when i asked him if he thought his daughter would have the same choices to make he shook his head no and said that she had friends of "every shape and color" and that it was with the kids where even the invisible barriers break down. i said i hope so... but couldn't help think of all the reasons why persist...
what's the problem, people might ask? well... i wonder whether one can espouse charity and the "christian" spirit, chastize individuals who live "the wrong way," and consume like there's no tomorrow all at the same time. how do the youth who are growing up in our increasingly hypocritical world making sense of it all? of the competing messages bombarding all of us, and especially addressing the "disposable income" generation...
goldhaber writes about the "attention economy", a concept taken up and expounded on by colin lankshear and michele knobel. the basic premise: it's the attention, stupid. perhaps that's oversimplifying things greatly, but all three scholars are inviting readers to consider the real commodity involved in influencing the practices of youth: attention. so, who's competing for youth attention? it's too simple (again) to say everyone... but it certainly seems like it. young people are the focus of school reforms, censorship ratings on television, advertisements, video games, toys, magazines, and on and on...
but, does any of this matter? or, rather, in what ways does any of this matter? and what are we missing?
schools are so desperate to get and keep young people's attention, yet so often it seems that school practices run counter to what we know about the attention economy. like one young man i know once said: "there's too much attitude in school." he was referring to the relationships between teachers and students, but i think that his observation could extend to the broader point about adults and youth and the not-so-delicate maintaining of power in one direction. what would it really mean to reimagine institutionalized education as a series of experiences in which youth expertise was taken seriously and not as a threat. currently, it seems like our thinking about the attention economy continues to situate the proverbial ball in the adults' court. that is, we are wanting adults to find new ways to reach youth, to engage productively with youth. this is necessary. but if we truly believe that young people are engaged in meaningful activities and practices, then how about enlisting their help and input.
i wager that our adult-focused questions about how young people do what they do and are who they are will experience a shift when we take seriously the lives and intentions of youth; and hope that we start asking different questions. maybe then we'll better understand how a 16 year-old finds it a seamless transition to move between dinner table chatter and lyrical head-bopping... and why it becomes increasingly difficult, as youth transition into adults, to maintain those multiple identities as too many of us give in to rigid definitions of who to be, what to do...
postscript: one of my friends, one of the warmest people and most committed teachers i know, was sharing a story about his kids with me. she is 8 or 9 and was visiting a friend who lived two towns away. my friend and his kids are african american and her friend and family are white and jewish. when he went to pick up his daughter my friend spent some talking with the friend's mother. they realized they had much in common - both are writers, as well - and talked for thirty minutes while their kids continued to play. as he recalled the story to me during a conversation about racial dynamics and interactions, he noted that he was from a generation that still maintained its borders and how unlikely it would have been that he and the friend's mother would have talked if not for their kids. he mentioned a combination of historical, geographical, and social factors that influence his patterns of behavior. when i asked him if he thought his daughter would have the same choices to make he shook his head no and said that she had friends of "every shape and color" and that it was with the kids where even the invisible barriers break down. i said i hope so... but couldn't help think of all the reasons why persist...
8.05.2005
"the lost generation"???
apparently, according to a preacher that my friend marc watched on tv recently, "Kids growing up today don't care about nothin' and nobody" and goes on to say that "All they want to do is party and have fun."
read marc's response, titled I Bling Because I'm Happy, part of the series, The Barbershop Notebooks.
read marc's response, titled I Bling Because I'm Happy, part of the series, The Barbershop Notebooks.
7.31.2005
poetry for a change
read this contribution to the latest Penn GSE Perspectives on Urban Education:
No Cow Left Behind
by Alexandra Miletta and Katherine Morris
the question remains: "Will the politicians listen?"
No Cow Left Behind
by Alexandra Miletta and Katherine Morris
the question remains: "Will the politicians listen?"
7.25.2005
summer wind
the new york heat is something out of fiction - who can believe it can be this hot? and it's not so much the weather as it is the millions of people who are moving at lightning speeds through it... and some who are moving not fast enough!
however, last week i was momentarily unaware of the searing heat as i sat in a subway car, which, thankfully had working a/c. but what captured my attention was a scene in which three teenage girls were laughing and enjoying themselves as they engaged in play around imagining futures with the help of a digital camera. one of the girls stood up and said, "what if i was a scientist?" and made a gesture like she was closely examining a test tube and adjusting her imaginary goggles. as she temporarily held this pose, she turned to her friend with the camera and asked excitedly, "did you take it?" her friend nodded and the three of them spent the next minute looking at the picture, zooming in on it, and talking about what it might mean to make the image into reality: what courses one would have to take? what kind of place a scientist would work? is this something either of them could or wants to do? who do they know who "does science?"
i wonder what we futures we imagine for youth... what futures do they imagine for themselves? and what are the tools, experiences, resources, supports... necessary to not only help them achieve these futures, but to keep imagination alive...?
on a related note, i learned the word "sankofa" today which is an Akan word that means "We must go back and reclaim our past so we can move forward; so we understand why and how we came to be who we are today." what does the past of youth and education tell us that we may do differently and move forward toward change?
the young men and women who participated in the dvd documentary Echoes of Brown are engaged in that work through spoken word, performance and poetry. in a review of this piece i quoted one of the elders who is featured who wonders:
however, last week i was momentarily unaware of the searing heat as i sat in a subway car, which, thankfully had working a/c. but what captured my attention was a scene in which three teenage girls were laughing and enjoying themselves as they engaged in play around imagining futures with the help of a digital camera. one of the girls stood up and said, "what if i was a scientist?" and made a gesture like she was closely examining a test tube and adjusting her imaginary goggles. as she temporarily held this pose, she turned to her friend with the camera and asked excitedly, "did you take it?" her friend nodded and the three of them spent the next minute looking at the picture, zooming in on it, and talking about what it might mean to make the image into reality: what courses one would have to take? what kind of place a scientist would work? is this something either of them could or wants to do? who do they know who "does science?"
i wonder what we futures we imagine for youth... what futures do they imagine for themselves? and what are the tools, experiences, resources, supports... necessary to not only help them achieve these futures, but to keep imagination alive...?
on a related note, i learned the word "sankofa" today which is an Akan word that means "We must go back and reclaim our past so we can move forward; so we understand why and how we came to be who we are today." what does the past of youth and education tell us that we may do differently and move forward toward change?
the young men and women who participated in the dvd documentary Echoes of Brown are engaged in that work through spoken word, performance and poetry. in a review of this piece i quoted one of the elders who is featured who wonders:
the teenage girl's imagined future of being a scientist can come to fruition only if past informs present, left (hand) works with right (hand)..."I was thinking about how expensive it is for one group of people - White or Black, rich or poor - to hold another group of people back. Because you can't dance if you got one foot on someone else's neck. The only way you can dance is with both feet and … I hope this society dances."
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