Archived entries for

Learning Styles

Quite a while ago at one of the teaching and learning events universities like to hold (and in my institution we have apparently switched the phrase so that we no longer discuss teaching and learning but instead learning and teaching, in such paradigmatic leaps higher education likes to believe it actually does do something meaningful in the realm of education) I listened to someone explain to me the basics of learning styles. If you’ve been around any of the commentary that parades as research or even best practice in university education it is pretty hard to have missed this stuff, but the argument is that there are different learning styles, and that students (and ourselves) probably privilege one over the others. These ‘styles’ are auditory, kinesthetic, x and x. Let’s be really blunt here. This is a nonsense. The rationale behind it seems to be twofold. One on the one hand we are to use a mix of such styles in our teaching so that all students can get a hook into our content and so understand it. The second is the recognition that we have different ways of learning. Now, why do I think this is rubbish?

Well, in the first case it is pretty plain that we use all of them. Of course that’s the point, but the argument goes that we privilege, or are better learners, if we use our dominant style. However, this argument seems to rely on a very narrow conception of learning since as far as I’ve been able to understand, it largely utilises these ‘styles’ in terms of the receiving of content. That is, if I am an auditory learner then I learn well by listening to things (lectures, podcasts, radio?) and this is what I should emphasise. But surely this is a one sided view of learning where, regardless of which style I am apparently naturally attuned to, it is primarily about the reception of content. For me, that’s not learning. Learning is the ability to recontextualise information into knowledge. Recontextualise means taking something from one side and translating it to the other and through this translating (an essay perhaps) applying an idea, argument or some other device that shifts the information, for the student, out of the realm of information and into knowledge. It is the difference between knowing a fact or a definition, and being able to apply it or use it, possibly to other ends.

Now I imagine the advocates of learning styles methods would say that’s not the case, if you’re an auditory learner then you would also express your learning in this way, which I suppose would mean I’d enjoy tute papers. However, the majority of our forms of assessment do not support this, and even if they did there remains merit in being able to translate your understanding from one domain (style) to another because this ability to translate (for wont of a better term) is the mechanism that demonstrates (so makes identifiable for student and teacher) and supports deep learning, the reconxtextualisation I mentioned earlier. However, there’s a deeper issue I have with this. Quite simply you learn by doing. It really is that simple. You can be an auditory learner, kinesthetic, or whatever, but to learn how to write an essay you actually have to participate and engage in the practice of essay writing. If I want to teach students how to use a video camera they may like to read the manual, listen to explanations, but the learning shifts from a noun to a verb when they actually use the video camera. Writing, in my world, is fundamentally a doing. It is where thinking through and out takes place and is an active to and fro with ideas and the tension of the idea trying to find its own sense in your writing. It is not the reporting of the already known. So in my world writing ‘pushes back’, thought can be intransigent and to learn how to do this, to experience this, requires learners to write. Now, this is largely the same language that someone like Schön uses when he writes about reflective practice and learning in the context of design and music, and he emphasises not only the nature of the epistemic apprenticeship required but also the sorts of meta level questions and reflections that a good teacher (and student) needs to be able to learn by doing. So regardless of what learning style I think I might prefer, learning can only happen, in all cases, via a doing where in this doing something (knowledge, thought, a problem) pushes back. This is what matters as a learner (what do I do when it doesn’t work?).

And an after thought. I like reading, I learn a lot from reading. I learn a lot listening too. I also learn by doing. If I want to do something new on my mountain bike I’ll often try to find an explanation of how to do it, even watch a video, but I can only learn how to do it by getting on my bike and trying to do it. That is the only point at which I can reasonably say I’m learning how to do it. Everything else, the reading and watching, is preparatory to the learning. It helps, yes, but what you’ll notice is that I’ll use multiple sources of information in multiple styles because I want to learn. If I’m interested then I use them all. Same with my students – if they want to know about something they are really interested in then they read, listen, watch, sketch. My second reflective observation. I learn by reading and listening not because I’m unusual, I only pick up on new things, bits that stand out for me. I can read 50 pages and not really have a strong sense of the specifics, largely because I find it boring, pedestrian and stating what I think of as the bleeding obvious, but there will be one or two points in there that are new for me and those stick. Same with a lecture. Same with a documentary. It is not about learning styles but ideas that are worth getting and I seem to be able to grab those regardless of their ‘style’. I suspect I’m not the exception.

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The Prom But Not Really

I’m sitting in one of the posh cabins at what here in Victoria we simply refer to as “the prom“. For out of staters this is Wilson’s Promontory, one of Australia’s (and I suspect internationally) oldest national parks, with a place in our hearts which I imagine is akin to Yosemite or Yellowstone for Californians. It would be pretty hard to be middle class in Victoria and not have had at least one holiday at the prom. Huge granite tors, middling mountains, very beautiful beaches and a promontory that is largely wildneress. It is a beautiful place. I was once working class (the sort of Australian working class where your parents, being from the bush, happily grant themselves the titular of middle class) so never got to see the prom until after I started uni, and only really then once I became a dad where I’ve been a few times with the kids (thus turns the screws of interpellation). But hey, it’s worth it. Fucking beautiful.

So I’m sitting in one of the posh cabins (and the story of how that came about involves marriage, money, divorce, blended families, remarriage, teenagers and so many other orbits of emotional detritus that Oprah ain’t in it) wondering at how I am now on the other side of the same parking lot that I used to walk past. Secretly sneering at the line of silvered European suburban metal while revelling in the virtuous squalor of my four day camping scent and stubble, yet here I am. At least the car is Japanese. Been working on some videos and realised that there’s a scripting error in the diptychs. I just suck at coding. The problem is that when you click to speed up or slow down the videos I have constrained the mouse count to a total of 5, ie you can click each one 5 times so that the video either ends up being 5 times faster or slower than normal speed. Except I didn’t do anything to reset this count, and so once you’ve sped it up to 5 times normal speed and you keep clicking nothing happens since the argument is simply, ‘while the mouse count is less than 6 set the film playback speed to be normal times the number of mouse clicks, otherwise play it at normal speed’. So I’ve started fixing this, in the comfort of my posh cabin – I can see I’ll have to add pics – but can’t work out if I should reset the mouse count or not. At the moment you click to speed up the video, it goes faster, right now it will keep getting faster (2, 3, 4…6, 7, 8 times faster), same for slowing it down. Mousing in to the button that pauses the video restores it to normal speed, but this is not intuitive, so do I now need another bloody button to just restore a video pane to normal playback speed? And if I do that what does the user then expect to happen when they click to go faster or slower? Should this be from the now restored normal speed? Or should it continue from whatever it was before they restored the video speed to normal?

Now, this might sound trivial. It might even be trivial. But I suspect below it there are some interesting questions being asked about video. Let’s jump sideways for a bit to try to see what I mean. Once upon a time in hypertext (well, this is still an argument worth having so we can probably do without that ‘once upon a time’ nonsense) very legitimate questions were raised in relation to back buttons and reading history. Reading history matters in many hypertext systems since this state information can be used to set programmatic conditions for the hypertext. For instance if I have visited node A then I might not be allowed to ever see node B. But what if I navigate to node A, don’t like what I find there, and rather than follow a link out from node A I use whatever key/device the hypertext has to go back one node (the back button on your browser for instance). Does that mean my reading history should now erase the fact that I did actually visit node A, or should the backspace be no different to a link from within the hypertext? On the one hand you can see the argument pretty clearly, the reader really did visit that node, regardless of what they did next, and so it would seem silly to suggest otherwise. This is even more strongly the case where that node (and remember node here applies equally to a video shot or sequence in an interactive video work) may contain significant narrative information, so that to go backwards and pretend that you didn’t see or read that particular denouement just doesn’t make a lot of sense. On the other hand you can also see merit in the contrary view, where the back button, as opposed to following a structural link (a link that is part of the architecture of the work) can be used or viewed by the reader as a “no, I didn’t mean to go there I want to backtrack and go elsewhere”. In this scenario it makes sense to erase reading history, so this most recently visited node is removed from the reading history, since the back button, as opposed to choosing a link or some other internally scripted pathway, is outside of the hypertextual structure of the work and so should not be used to affect the architectonics of the narrative (gee, wondered when I’d get away with using “architectonics” today).

To return to the video problem. When you slow down or accelerate a video, for whatever reason, and then restore the video to its normal playback speed, only to then slow down or accelerate the work, should the second change in playback speed be based on the normal speed of the video or continue from where you had already slowed or accelerated the rate to? In other words, should this speed be preserved as state information in the video to be used when you then wish to vary the speed once again, or does the decision (deliberate, accidental or exploratory) to restore a clip to normal playback speed in effect remove this state information? Why?

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Homeless

We received a ‘notice to vacate’ letter a few weeks ago letting us know the owner (or a member of their immediate family) intended to move into our rented home. This means we have spent the last few weeks trying to find a new home. Our needs are mildly complicated due to a blended family, and wanting to stay in our current neighbourhood. We pretty much need 4 bedrooms, even if one of them is really a study, bungalow, studio, cupboard that will fit a bed and chest of draws, etc. We just applied for 2, both great houses that tick all of our boxes, and didn’t get either. This is becoming a crisis, we need to move in about 3 weeks and right now we literally don’t actually have anywhere to move to. It is confusing to be professionally employed, with a decent salary, and to be contemplating a middle class no doubt comfortable version of homelessness. You also wonder if you’re becoming some sort of GFC white trash as unblended-mum-at-home-families who have opted out of the property market till “things settle down” are making our 3 child blended family plus small dog just not who you want around the stainless steel.

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Reading

While sitting around during squalling rain, alternating with drizzle, mizzle and rude teasing patches of gloried sunshine at the prom I’ve been reading Rancière’s “The Future of the Image”. Haven’t read Rancière before, and art theory is not really something I’ve dipped much into. The second essay in this collection, ‘Sentence, Image, History’ appears to be particularly interesting. However, I found it pretty hard going and during the course of this reading I was reminded of how I actually do read, which given how little I’ve done in the last few years was both a timely and pleasant reminder. When I read work like this, that is both in an unfamiliar theoretical field and vernacular, it is easy to get bogged down trying to understand it in what I might think of as a deep way. The sort of reading that seeks each turn and term of the argument to be clear. A sort of theoretical mastery. This is a lousy way to read, and frankly dumb. As I well know when I write I make an argument. This argument develops a shape (often of its own apparent accord) but really it makes best sense as a whole, that is in view of where the argument ends up taking me. This means to read something like this well, which is not the same thing as reading it with felicity (felicitousness at the time seemed too hard to spell), I need to first of all read it through, gleaning what I can, building and rebuilding temporary frameworks and schemata as I go. This is surprisingly productive as I am able to get a general idea of the key theoretical terms and I guess flavour of the writer, argument and what I suppose I think of as their regime of thought. In this way you avoid getting bogged down in the reading, in trying to understand something which, really, you can only really begin to understand once you’ve finished it because argument is always nearly teleological. The added advantage of this is that you can then work out what might deserve a second reading, the reading that actually begins to think with the essay or book. In this case ‘Sentence, Image, History’ could well deserve this second reading, what I’d call the actual reading. There were three or four wonderful sentences in there, as well as an argument about image and meaning that could be very productive for thinking about my own practice, as well as providing some theoretical tools for rethinking video online, narrative and the fragment. It is provocative in the way it helps me to rethink my own formalism and I suspect makes my own consideration of my work sadly naive. Such interrogation is good.

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Bookmarks for September 9th through September 18th

These are my links for September 9th through September 18th:

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Australian International Experimental Film Festival

Pity about their website but old school DIY is alive and well. The Australian International Experimental Film Festival is up and running. Pretty clear set of regulations to enter (but since they use frames I can’t actually provide you with the url, “hello 1997 my old friend”) so there’s experimental film, video and expanded cinema. Interestingly all will be converted to QuickTime for presentation. So, where’s the international festival, heck, the local festival, for video that doesn’t treat the audience as mere viewers?

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Video Vortex 5

VV05 is on for November 20 and 21 in Brussels this year. Hosted by the Cimatics festival. This will be the event where they try to move Video Vortex into a more formal organisation, be good to get to this for this reason alone, but doubt I have the money in the budget, let alone the week of time flying to Europe and back actually requires.

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Last Wednesday

the big coffee
On Wednesday’s I go in to the office. This is when I have supervision meetings with everyone, and I need to be out of the house as my very lovely mother in law comes and looks after the vibrant, vivacious and occasionally vicious (well, tantrumesque) three year old. So I stopped by the current coffee supplier near work and decided to finish some reading in there – I knew I could get more reading done there than in my office – and I ordered a large latte. What was I thinking? It came in a large brown cup come mug, larger than Texas screaming Starbucks grande schmonde all over it.

I thought I was saving time, getting a big coffee now and then I wouldn’t go out later in the day for another coffee. Never again. Might as well have been decaf soy with two sugars too just to really rub it in.

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ten rules

Via Rupert Howe, the ten golden rules for lomography, but translate very nicely to videblogging.

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Bookmarks for September 7th from 14:14 to 14:22

These are my links for September 7th from 14:14 to 14:22:

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