How PowerPoint is killing critical thought
Bored students is the least of it – the bullet point-ization of information is making us stupid and irresponsible
The genesis story runs like this: from the late 1950s corporations began to realise that, rather than going to the trouble of developing new products they hoped would meet a need, they could use marketeers to create the perception of need, then develop products to meet it (a shift brilliantly dramatised in the TV series Mad Men). To do this, different departments had to be able to speak to each other, to sell ideas internally. So while there had always been meetings, now there were meetings about meetings and – hey presto! – the modern world was born.
The presentational precursor to PowerPoint was the overhead projector, which is why PP screens are still called “slides”. The program owes most to Whitfield Diffie, one of the time lords of online cryptography, but it was quickly snapped up by Microsoft. Its coding/marketing roots are intrinsic to its cognitive style, being relentlessly linear and encouraging short, affirmative, jargonesque assertions: arguments that are resolved, untroubled by shades of grey.
It’s no coincidence that the two most famous PowerPoint presentations are: a) the one presented to Nasa managers by engineers, explaining with unarguable illogic why damaged tiles on the space shuttle Columbia were probably nothing to fret about; and b) General Colin Powell’s equally fuzzy pitch for war with Iraq. Now, blaming PowerPoint for Iraq would be a bit like blaming Darwin for Donald Trump, but the program made scrutiny of the case harder. Not for nothing did Brigadier General McMaster, of the US military, subsequently liken the proliferation of PP presentation in the military to an “internal threat”, saying: “It’s dangerous because it can create the illusion of understanding and the illusion of control. Some problems are not bullet-izable.”
More on the topic in this blog:
maximise PowerPoint’s true potential.
- An introduction to the principles of data visualisation
- Storytelling with PowerPoint
- How to design using PowerPoint
- Creating compelling narratives
- Practical exercise: create a sample slide using pen and paper
- Tools and further reading
- Q&A and group discussion
Engagement not completion
Design experience not product
Create change, not simply respond to it
He was a geography teacher : Dimitrina
Experience explore expand. Adventure based how to collaborate in ways we have not collaborated before pedagogical guidelines internet driven
Instructor – content – design
Today: first think is design, content, instructor. So how do we design learning environments is the most important one
Guide learners as designers. Constructivism. Design for meaning. Through the power of the story.
Geotetic design a learning environment learn geography using GIS
Situated movies (student-centered learning)
Grant Earthducation go to the most remote parts of the world to align their education with their culture, instead of what the government is downing as culture
Use of phone: whoever answers instructor’s question first, gets to pose the next question to the rest of the audience.
Design based research
Self-narrative, referencing the experience real world issues in real time
- reference knowledge . knowledge overlap. Technological pedagogical content knowledge.
Geotetic not only how prepare teachers, but desing learning environmwer of the story.
we explore: https://www.we-explore.com/
9.5 design as a learner.
the U Media Lab.
The Changing Earth. App GoX (instagram on steroids. tell their story through the app). How is this different from Google Earth
Raptor Lab (rehabilitate a raptor).
- design experiences
- build trust
- guide learners as designers
- recognize learners as experts
- encourage collaboration
- inspire self narrative
- reference the knowledge domains
- teach for change
- design as learner
firstname.lastname@example.org chasingseals.com @chasingseals
podcast pontification (audio version of blog self reflections)
Greg Steinke The U
A Digital Story Assignment using WeVideo
WeVideo is the Google response to iMovie cloud
The U is on Google email and thus google drive and all other google tools
The Center for Digital Storytelling. short videos, 3-5 min incorporate photographs with the author narration, reflection
Assignment (verbal directions). process (write a 2 page script, every page is about a minute of video), gather images that support the story; edit the script (rewrite); record audio to the script (use an app on the phone instead of WeVideo), WeVideo can edit the audio recording; edit the story, edit the photos to match the story; YourTube and/or Google+
working with faculty: is the digital story a good fit for your course? two questions: does the course have many writing assignments? does everyone have to do the same type of assignment? do you want to offer choices? do you want your students to share their work outside of the class? to you want to explore opportunities for students to develop 21 century skills?
google communities for sharing
wewideo has a tutorial at Center for Digital Storytelling
students can use the digital story for their eportfolio
the entire exercise is entirely based on mobile devices
time frame: scaffolding options
3d printing products were the tangible result of the project and the digital storytelling just the format to present
Google Drive master folder for the phone images and video; iOS apps: MoviePro, FiLMc Pro, VoiceRecord Pro (including mp3); Android: WeVideo
Faculty Development Programs: Digital Storytelling Community of Practice
iPAD video kit:
Joe Lau critical thinking
apps: Popplet blog.popplet.com http://www.popplet.com/ (mindmapping)
into the book: http://reading.ecb.org/
Kahoot – the token system. Polleverywhere http://blog.stcloudstate.edu/ims/2015/05/21/polls-and-surveys-tools-for-education/
Symbaloo https://www.symbaloo.com/home/mix/13eOcK1fiV zotero, easybib, delicious, diigo depending on the grade
youth voices; http://youthvoices.net/ replace social media like teachertube is trying to replace youtube
quandary games in education. https://www.quandarygame.org/ sim city
citizen science alliance http://www.citizensciencealliance.org/
Toontastic https://itunes.apple.com/us/app/toontastic/id404693282?mt=8 now free storytelling
coding and programming: https://www.makewonder.com/robots/dashanddot scratch
Osmo : https://www.playosmo.com/en/ $79.99 + give a set for free Stride principle as a parental involvement
red herring (four categories) https://play.google.com/store/apps/details?id=com.BlueOxTech.RedHerring&hl=en
explain everything http://explaineverything.com/
Exploring and Connecting 3D Printing to Teaching and Learning Jason Spartz, Saint Mary’s University of Minnesota
Jason Spartz, Saint Mary’s University of MinnesotaFollow
Lisa Truax, Saint Mary’s University of MinnesotaFollow
Karen Sorvaag, Saint Mary’s University of MinnesotaFollow
Brett Bodsgard, Saint Mary’s University of MinnesotaFollow
chemistry professor. 3D printing with different materials.
what else can be made (e.g. reaction vessel)
printing of atoms
Karen: pre-service teachers professor: how to use 3d printers and be comfortable with them. Steve Hoover. Thinkercad and Autodesk123D>
3D academy http://www.team3dacademy.com/index2.html. Pinterest board for3d Printing with resources
Lisa: graphic design. not intuitive. Rhinoceros (not free anymore). 123D strong learning curve. 3d printing will be incorporated in the curriculum. sculpture students and others don’t like fudging on the computer, but Adobe people love it. Some items takes up to 4 hours to print out. when working on the computer is difficult for some students to visualize the dimensionality.
collaborative learning opportunities.
no makerspace or fab lab. additional interest from the theater and business dept. 3d printing is connected to future work skills. new media ecology or media literacy set of skills.
the main presenter: build excitement and interest and gradually step back. how much material goes through and should we charge back. clean and maintenance involved; not too bad. better then a copier. plastic inexpensive. sizes with plastic – $25 and $50. how many project of a spool: depending on the size of the projects but considerable amount. two printers one art dept and one in the faculty dev area.
non profit visually impaired students. how 3d can make difference in special ed.
3d printing lab with access for everybody. ownership brings policy. where housed: neutral place.
only one printer is barely sufficient for faculty to figure out how to use it. purchasing two more if students and curricula to be involved.
The Balancing Act: Team-Creating an eBook as an Alternative Method for Content Delivery Tom Nechodomu, University of Minnesota
Faculty Created digital stories – google “cultivaitng change series”
student created digital stories –
Susan Andre uses a slide titled “trust” to elucidate how the entire project was enabled. “trust” and “transparency” are sparse currency in the environment I work in. if she is right an ebook ain’t happening anytime soon at my place.
students involvement. use stipends. student artists. food for the video interviews. create a community, student centered.
people able to change the book.
copyright process; did you find it cumbersome. copyright permission center.
time span and amount of hours spent: 3-4 months per chapter.
David Wiley. Making Teaching and Learning Awesome with Open
MN Learning Commons
open educational resources
education – sharing feedback, encouragement with students passion about the discipline, yourself
open is not the same as free. free + permissions + copyright permission: 5 r = retain (make and own copies), reuse (use in a wide range of ways), revise (adapt, modify, and improve), remix (combine two or more), redistribute (share with others)
free and unfettered access
perpetual, irrevocable copyright permissions
(look but don’t touch is not open)
tech enables OER permits
traditionally copyright materials on the Internet – not so good ; jet on the road
openly copyright materials on the internet _ yes: jet in the air
permission-less innovation. relatively inexpensive and broad permissions.
intellectual infrastructure of education: learning outcomes/objectives; assessments; textbooks. they are relatively expensive and narrow permissions.
disappearing ink strategies: buyback, rental, ebooks, online subscription
mad, glad, sad, rad: the grumpy cat. student success per dollar
change in student learning: replace commercial with open books – small. realign, bigger change. rethink is the large change.
attribution and meeting other license requirements
thin common cartridge: a way to bring the content to the CMS, but the content remains on the creative commons
disposable assignment: students hate doing them, instructors hate grading them. waste of time and energy
open education infrastructure: open outcomes, objectives, activities, educational resources
the culture of glued legos must be eradicated. open pedagogy. open credentialing model
summary: don’t settle for “affordable.” improve student outcomes. improve affordability. improve design / academic freedom
links generated from the discussion at my presentation:
> The post 29.126 has been niggling at me for days. I originally want to
> reply with a simple observation that the appeal to storytelling is
> cast in such a way to avoid the complications of narration’s relation
> to narrative (the telling and the told; shown and said). But it was
> the theme of “borrowing” from one domain by another that leads me to
> recall a counter-narrative where there is no need to borrow between
> domains since the military-industrial-entertainment complex is one entity.
> I contend that fundamental to human interaction is narration:
> attentiveness to how stories are related. Stories are for sorting and
> storing. *Sometimes this soothes paranoia induced by too much
> A while ago (1996), I explored recursivity and narrativity. My
> starting point was the ability to ask questions (and learn from one’s
> bodily reactions). The musings may or may not have military relevance.
> Judge for
> Pedagogical situations are sensory. They are also interpersonal.
> Because they are sensory this makes even learning by oneself interpersonal.
> Egocentric speech is like a dialogue between the senses. In
> Vygotsky’s and Luria’s experiments, children placed in problem-solving
> situations that were slightly too difficult for them displayed egocentric speech.
> One could consider these as self-induced metadiscursive moments. The
> self in crisis will disassociate and one’s questionning becomes the
> object of a question.
> Not only is the human self as a metabeing both fracturable and
> affiliable in itself, it is also prone to narrativity. That is, the
> human self will project its self-making onto the world in order to
> generate stories from sequences and to break stories into recombinant
> sequences. Its operations on signs are material practices with consequences for world-making.
> The fracturable affiliable self calls for reproductive models suitable
> to the interactions of multi-sensate beings, models that render dyads
> dialectical, questionable, answerable. Narrativity understood
> dialectically does not merely mean making sequences or strings of
> events into stories but also stories into things, strung together for
> more stories. From such an understanding, emerge non-dyadic
> narratives of reproduction, narratives where a thing-born transforms
> itself into an event, comes to understand itself as a process.
> Funny to consider that those remarks were based in a consideration of
> language and feedback mechanisms. Make me think that the storytelling
> as “potent form of emotional cueing” may be directed to undesired
> responses such as greater self-reflexivity. And depending on how they
> are parsed, Hollywood films can contribute to undesired responses
> including escape. 🙂
> Francois Lachance, Scholar-at-large
> to think is often to sort, to store and to shuffle: humble, embodied
> On Mon, 29 Jun 2015, Humanist Discussion Group wrote:
>> Sharon Ghamari-Tabrizi, in “The Convergence of the Pentagon and
>> Hollywood” (Memory Bytes: History, Technology, and Digital Culture, ed.
>> Rabinovitz and Geil, 2004), describes in some detail the adoption by
>> the U.S. military of the entertainment industry’s storytelling
>> techniques implemented by means of simulation. This chapter follows
>> on from her excellent “Simulating the Unthinkable: Gaming Future War
>> in the 1950s and 1960s”, Social Studies of Science 30.2 (2000). In
>> the 2004 piece she describes a U.S. National Research Council
>> workshop in October 1996 at which representatives from film, video
>> game, entertainment and theme-parks came together with those from the
>> Department of Defense, academia and the defense industries. There is
>> much about this convergence that we might productively take an
>> interest in. Let me, however, highlight storytelling in particular.
>> In a military context, Ghamari-Tabrizi points out, skilled
>> storytelling techniques are used to help participants in a VR
>> environment sense that they are in a real environment and behave
>> accordingly. Storytelling functions as a potent form of emotional
>> cueing that would seem to elicit the desired responses. But
>> especially interesting, I think, is the fact that “many conference
>> participants argued that the preferred mode of experiential immersion
>> in electronic media is not the unframed chaos of hypertext, but
>> old-fashioned storytelling.” She quotes Alex Seiden of Industrial
>> Light and Magic (note the date — 1996): “I’ve never seen a CD-ROM
>> that moved me the way a powerful film has. I’ve never visited a Web
>> page with great emotional impact. I contend that linear narrative is
>> the fundamental art form of humankind: the novel, the play, the film… these are the forms that define our cultural experience.”
>> Willard McCarty (http://www.mccarty.org.uk/), Professor, Department of
>> Digital Humanities, King’s College London, and Digital Humanities
>> Research Group, University of Western Sydney
Turning Technophobia through Digital Storytelling