68. Mobile Music instruction

There are apps for just about everything but choosing when to embrace them for instruction needs to be a careful decision. In this episode, Trevor Jorgensen joins us to discuss how the decision to use mobile apps in music instruction is affected by where students are developmentally, convenience, cost, and other factors. Trevor is an Assistant Professor of Music and the Student Learning Outcomes Assessment Coordinator at SUNY Oswego.

Show Notes

Additional Resources

Transcript

John: There are apps for just about everything but choosing when to embrace them for instruction needs to be a careful decision. In this episode we consider where students are developmentally in a discipline, convenience, cost, and other factors on the choice of supporting music instruction using mobile applications.

[MUSIC]

John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer.

Rebecca: Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.

Rebecca: Today our guest is Trevor Jorgensen, an Assistant Professor of Music and Student Learning Outcomes Assessment Coordinator at SUNY Oswego. Welcome, Trevor.

John: Welcome.

Trevor: Hey.

John: Our teas today are:

Trevor: Pure Leaf Peach Flavor tea.

John: Iced tea.

Trevor: Iced tea. Sorry. Thank you.

John: …and Rebecca.

Rebecca: I have Chai today…

John:…and I have black raspberry green tea. We’ve invited you here to talk about how you’ve been using mobile technology in applied music instruction, specifically related to performance. Could you tell us a bit about that?

Trevor: Yeah, I think one of the most important things is to decide when to use technology where it benefits as opposed to be either a substitute for something you should learn in a different way, or whether you should implement it because it’s just convenient. Sometimes when it’s convenient, though, it takes away some of the learning behind it, and I’ll get into some of that later. So I think that’s the first thing. I have to make that decision on every app that I use, or every device that I employ. So, one of the main things that I do is decide what’s best for the student and what’s best for me. And a lot of it does substitute for other things, but in the end, it can’t. For instance, if I do a collaborative piano thing with my colleague, there’s a lot of tools that we’ll talk about today that will substitute for that collaboration. Except for, I cannot phrase with the app in the the same way that I can. We can’t make decisions on a moment’s notice, like I can with another musician. We can’t have talks… at least I shouldn’t be talking to my apps… about what the best way to do something is and then make that interpretation or change colors of stuff. But what it allows me to do is, instead of having a more rehearsals with somebody that’s really busy, it allows me to rehearse by myself. And then therefore, save some time when we’re actually in the rehearsal to talk about those musical decisions as opposed to just to try to learn notes or trying to learn one anothers parts.

John: What are some of the apps that you use with instruction or performance?

Trevor: One of my favorite ones is Amazing Slow Downer, and I use this for both jazz and classical, being a saxophonist, and also a multi-reed player…I play clarinet, oboe, and bassoon. I like to use it in every circumstance I can. And it’s really a great app because even though there’s things like YouTube where you can now click over the three little dots in the corner, and you can slow down to 25%, 50% and 75% and speed it up if you so desire. This tool is just something that I always have with me and I can always use. And I’m also more familiar with it, it allows me to do multiple things. So let me give you example if I can play musical selection here. The first two are not going to be on the music slower downer, it’s going to be on Amazon Music. But I want you to listen. These are Brahms’ Clarinet Trio. I performed this with a colleague and somebody from Symphoria recently. And one of the things you’re doing as a musician is you have to interpret the history of music, and that includes listening. So if I listened to multiple recordings of something, you know, we always ask “Why are there a thousand recordings—might be overstated—but of Beethoven’s Ninth Symphony?” That’s because the composer had a certain thing in mind. And then the conductor who prepares the music, and the individuals in that group have different ways of interpreting that music and every one is different. But for a lot of younger students, and sometimes myself when it’s really advanced players, I’m not exactly sure what they’re doing, either articulation wise or what they’re doing phrasing wise. And the slower downer allows me to think about what they’re doing and compare all these great artists together. So I’ll do multiple recordings on something like this Brahms’ clarinet trio in A minor and have my students listen to it. I’m going to play one of them for you, and then I’ll play another one, and then I’ll play the third one. And then the third one I’ll slow down to show you how we can listen for different articulations. You may or may not tell the difference between the three, some of them are obvious, like there’s a tempo difference between them. But as far as the phrasing and the articulation used by the cellist, and by that clarinetist, and by the pianist, is something to think about. What do I want to sound like? It’s great to imitate people, but it’s also great to make decisions between all these different things you’re, in a way, sourcing and decide what you want to do and why you’re doing those musical decisions.

Rebecca: Before we jump into listening, for our audience who maybe is not as familiar with the music terms that you’re using? Can you clarify the difference between phrasing and articulation?

Trevor: Sure. Great. So articulation is the front of the note, and thank you for your much for that. So as a saxophonist, it’s how I tongue the note, if I put an emphasis through air or through my tongue. Another word for that is “attack,” how it attacks into it. For a string player, it might be the direction—up bow or down bow—how fast they’re moving the bow. For the pianist, how they voice the chords and are there some fingers stronger than the others. A third comes out of the chord and the fifth comes out of the chord. For a chord you have multiple, you know 1-3-5s, or the seventh of the chord. And each one of those, as a pianist, when they’re putting down multiple fingers, they can decide which ones are the most important. Whether it be the melody, whether it be the bass part, whether it be the inner harmony. So, from a pianist’s point-of-view, they can listen for that, or how the touches on the piano, how much they pressurize it, or if they use pedal in this area that’s not dictated by the score exactly. So phrasing, the best way to describe it is like minute dynamics. Or just using what we normally do. We, as human beings phrase, if you like somebody you change your voice, or if you get excited like, “I have go to the bathroom,” you don’t think, “Hey, I should elevate the dynamic of my voice. I should make it sound strained, so that I show the excitement of me having to go to the bathroom.” But in music, we have to think about that. We have to think about where, based on the harmony that’s below the music, how much am I going to emphasize that note or more importantly, maybe even growth of that note, or that musical phrase. So phrasing’s how people interpret the music beyond playing the right notes in the right place, and doing the pianoforte dynamics; it’s how they’re going to go to a note and resolve a note. And not only that, they think about overall structure of a piece for phrasing and how everything fits together, if they’re amazing musicians. When we listen to amazing musicians—like the ones who found in these recordings, then what we’re going to do is interpret what they did. And then maybe in our own minds figure out why you think they did that, if that’s a choice that you like to do based on the harmony or just a different tone color they do. And that’s obviously easier to figure out when you slow down to 70% than it is when you’re listening to it at 100%. So before I play the examples, the actual artists will be in the show notes below in the description. First one is, I’m just going to name the clarinetist, Karl Leister, and this is them playing the Brahms’ Trio. And I’ll do the first 30 seconds or so, so you can hear how it sounds.

[KARL LEISTER PLAYING BRAHMS’ TRIO]

Trevor: The next example will be by the clarinetist David Shifrin, that trio that he’s in. I’ll play about the same amount of time for it.

[DAVID SHIFRIN PLAYING BRAHMS’ TRIO]

Trevor: The last one I’ll do on Amazing Slower Downer, the app. And we’ll actually play it in tempo first, since its Martin Frost as the clarinetist, playing the same piece.

[MARTIN FROST PLAYING BRAHMS’ TRIO]

Trevor: So what we’ll do now is we’ll actually slow it down to like 70% so we can actually hear a little bit better the articulations, the dynamics—as the artist gets louder, you’ll be able to hear it more individual. And we can even slow it down after that into something ridiculous like 25%, where you can actually hear the front of each note. It’s almost painstaking how slow it is, but interpreting different things, it’s interesting to see if they use a breath attack or a tongue attack, and some of them are so subtle, I’d have to listen to it 25 times without slowing it down where I can actually hear it at 25% right away. So let’s go back and do it about 70%.

[BRAHMS’ TRIO PLAYED AT 70% SPEED]

Trevor: Here’s 25%.

[BRAHMS’ TRIO PLAYED AT 25% SPEED]

Trevor: I’m just going to jump ahead a little bit so we get into the clarinetist and stuff. I’m just going to scroll ahead.

[BRAHMS’ TRIO PLAYED AT 25% SPEED]

Trevor: First of all it’s very unfair because I would never want to be heard at 25%—it’s just impossible to keep a phrase sometimes or keep a note perfectly that way—but what it does is for us is we can actually hear them the front of the note… we can hear the shape of that note even if it’s a quarter note if he—in this case it’s a he—de-crescendos or crescendos into it and we can look at the overall structure of the dynamics too. You can see if he’s actually growing on that note, if you’re taping the note as I said before… the overall picture or phrase too. I think 25% might be a little excessive, you have to find the happy medium based on the tempo of the piece. I think initially 25% for this one might have been a little painstaking at the beginning.

John: But for students, perhaps having the ability to slow it down to that level would be much more helpful than for someone with more experience?

Trevor: Right, there’s definitely that and then we’re looking into transcription later on too. There’s this great book called School for Cool: The Academic Jazz Program and the Paradox of Institutionalized Creativity by Eitan Wilf and I hope I’m pronouncing his name right. He wrote it in 2014 and he basically went to Berklee School of Music and then The New School in Manhattan. And he noticed that students were using this application even back then—and when I say back then is only five years ago, or four years ago, or three, because in the time of technology, that’s way back then—and they were actually interpreting, transcribing not only John Coltrane and getting his notes like I would have done when I was in grad school or undergrad, but also then listening to his articulation at the front of the note. So trying to make their tongue sound exactly like that slow, and then they’d be speeding it up. Also, in a real fast passage we use a fake fingering. What fake fingering is, is there’s a normal way of fingering D on saxophone which is like 123-123 fingers down and then there’s a way of playing the high D but not using the octave key so it comes out in kind of a muffled way, I could probably demonstrate it for you if you’d like.

[TREVOR PLAYS D NOTE 3 DIFFERENT WAYS]

Trevor: So you use three different fingerings for the same note, which I’d probably not do in classical, but for jazz, it adds a different color. A lot of people know certain people will play that way so that you can actually determine those notes when it’s really fast it’s hard to tell. Just that nuanced playing that you can actually interpret when you’re listening to John Coltrane, that I didn’t when I was that age of the students that he was, you know, surveying. But, slowing it down, it’s not something new. There’s another great book too, Thinking in Jazz: The Infinite Art of Improvisation by Paul Berliner who was published in 1994. He talks about how the old school players would get a vinyl record and they’d put their thumb on it and slow it down to like a third of the speed and then obviously transpose. Now they would be in the wrong key and way too low, and then they just transpose it up. So this technology, or using this technology, has been available as far as transcription. But if you did put your thumb on a record, it would probably distort the sound and the way that you can figure out articulation and you couldn’t figure out phrasing.

John: And the advantage of this is that students can preserve the pitch because all these apps maintain the pitch and you can hear the attack… just more slowly.

Trevor: This one is specifically and I’m sure a lot of things you can probably do this on YouTube. Also, a lot of my students have to in order to avoid buying a $15 app like this one is—at least when I bought it it was—they’ll find other sources, which I think is great. It doesn’t matter to me what they use as long as it does the same thing. I think on YouTube, you can do the same thing where you can loop it, and there is these three seconds or 10 seconds or whatever, and just loop it and here you can loop it. You can also save the file, save the section of the piece, call it what you want, and the next time you open up the app, it’s there. And you can also share your ideas with people. You can download stuff from things you buy on iTunes or you can use Spotify and there are other ways of importing into this app that’s really beneficial too. The nice part about this app is it can be used for classical and jazz. Most people use it mainly for jazz and transcription but I use it for everything and additionally you can actually slow your own self down which is always painful and hear that you weren’t phrasing that well or that your end of notes aren’t as tapered as they could be. And once you listen to amazing players you realize that they have control over everything. I’ve slowed myself down. I always know the differences between me and like the best person in the world, although I knew already but but it’s so evident when you slow it down to 50% and you hear the attack of your note is not as clear and not as shaped as the people that are just geniuses.

John: And you can also use that with students, though, to show them what they’re doing, right?

Trevor: Exactly. I mean, it’s a very revealing tool. So as far as students are concerned, I think it’s great tool for them but also can be somewhat depressing to hear yourself. It has to be a good balance and the student has to be at the point where we’re finding things not initially at the beginning, or maybe they’re even in their freshman or sophomore year, but at the end when they’re preparing for grad school or something like that, and it depends on the student as it does with every situation… what you can push them on and what you can’t. But, it’s just a great tool for that. So I also use the Amazing Slower Downer when I have a piece that I don’t have a—we’ll talk about Smart Music later where it is an intuitive accompaniment tool that takes away the saxophone or takes away or whatever it is you’re working on—but when it’s in pieces not in there or I don’t know the piece, I’ll find a recording of it and then I’ll play along with it. And this I can adjust a little bit of pitch if I need to and more importantly speed if I needed to get slower or I decided to take the piece at the end faster. Maybe now’s the time to talk about what the disadvantage of some technology is. I’ve got colleagues that don’t like using slower downers, not just colleagues but I’ve read articles and everything else, because you don’t have to go through the work and the persistence of doing so, and you should be able to hear it in the moment in the spot. And I think there’s something to be said for that. But I look at myself as one of the things where I get discouraged. I always think about one of my favorite reads, which is a psychologist by the name of Csikszentmihalyi and he’s got the flow theory, which is a book he published in 1990, which a lot of people are aware of. And number three of his flow theory is that there has to be a balance between the challenge and skills. For me, there wasn’t, my skills were low and my patience were also maybe lower when I was younger. [LAUGHTER]

John: And I think that’s true for most starting students. And a lot of people get discouraged when they don’t see that immediate progress.

Trevor: Yeah, that’s exactly it. So for me, I was able to use the tools that helped me a lot more. I painstakingly did it when I was my students’ age that was also because of the slower downers were $400 and I didn’t have the money. Now most students have phones but they use them for social media or actually using them as phones, or texting more likely. But now you can just download an app instead of buying a $400 machine for about $15, or you can go to YouTube and use that function or other tools that come with any kind of PC nowadays. Microsoft has their recording software and you can slow it down too. Not in such a certain way, but any of those tools are great too. Anyways I’ll slow my own recordings down of me playing along with other things. But the problem is trying to figure out that balance where I should be taking it to the tempo there I just took it or slowing it down. You just have to progress and move it forward so that you take it faster, faster each time. The thing about anything is once we do it more often, it becomes easier.

John: And the more they practice with this at a slow pace, the better they’ll be able to do it in real time as well.

Trevor: Right, and their ears develop immediately, faster and faster, and then therefore they can get to that point. I commend my colleagues and all the articles that I’ve read where you know, it’s better to do it that way. But for me, it was a wall, as it is for some of my students.

Rebecca: Sometimes it’s good to recognize when you are a beginner and that sometimes you need those training wheels just to feel like you got a little success.

Trevor: Right. That success as we all know it from pedagogy is that wields more success and it gets better and better every time. Let’s go on to a different app. Some of the obvious apps are metronome apps, every student can get a free metronome. I was excited in the mid 2000s when they dropped down to $20 as opposed to like $200, or the tuner is the same way, and then balancing that out. For me it’s I could buy a $20 tuner and put one on every one of my instruments but I always have my cell phone on me that’s what I love about it. I always have a tuner, I always have a metronome and I have no excuse, nor do my students. You know it’s a free app; you already own the phone. But there are some tuners and some metronomes that are better than others and I am not an authority, I don’t know every app that’s out there because there’s thousands. The ones that I know are the ones that I like… people have introduced to me and I’ll switch apps all the time if I find one that’s better. As far as the tuner or metronome it doesn’t really matter what my student brings in… whether she brings in the one that I prefer, like Cleartune for everyday apps, or if she brings in like TonalEnergy Tuner, but I’m going to talk about that one because it’s one that I found really interesting and it has a lot of functions on it. And it’s not only a tuner but a metronome. I use Tempo app for metronome primarily when I’m practicing but I’m getting into the TonalEnergy app for inside of it has also a metronome that I’m trying to investigate. So the app has so many different features to it, and I’ll show you and then maybe both of you can also chime in on what you think they look like, but…

John: I use the Cleartune app myself.

Trevor: Yeah, I loved that app until I saw this app. To give you a total side story, this one does analysis by waveform as it does it by another analysis and note names, too. This weekend, I judged a competition for high school students to get into all-county bands. And one of the other judges in the brass room said one of the students—and I don’t know the name of the student nor the judge—but the performance was really not great at all, where he actually pulled out his TonalEnergy Tuner to figure out what note the student was on to see if he could find out where he or she was was in the piece. That being the extreme of what the app is used for… nor do you want to use it for transcription because there are transcription apps where you plug it in and it’ll transcribe it for you. For playing our transcriptions—there’s worth to all those things—as far as actual transcriptions… a tool that you should have so that it ingrains in your memory and you have those phrases for jazz specifically. So this one here you can choose from waveform, you can do spectral harmonic analysis and note analysis. As you can see right now as we’re talking, sometimes I’m talking in tune and he gives me a happy face—it could be a she—gives me a smiley face, or if I’m really badly out of tune, there’s this little question mark with the thumb and finger or very sadness as you get way out of tune. But more importantly, as I do the waveform thing, it will record what I do.

Rebecca: I was also noticing that the color was changing as well. So, there was a lot of different identifiers to the user so if you had a certain kind of disability it’s actually providing that information in multiple ways.

Trevor: Yeah, and that’s great. And then over on the side it tells you pluses and minuses, I’m 13 cents sharp or whatever, 13.6 or flat. So, I can show the pitch, I can show the wave, and I can record it. Let’s go ahead and record it. You’ll see as we’re talking the spectrum, and then if I do with the notes, it’ll show me the notes, which ones they are, and how badly out of tune they are and we’re just talking. I could play my saxophone. But it would give you the same thing.

Rebecca: Right.

Trevor: So as far as I’m concerned, if I turn this away, and I can record it, and then go back and look at it, I’ll know that if I do nothing, or how much I need to do on the D. The D that I played for you before, nd gave you three different examples is the worse out-of-tune note on saxophone. So, I probably was sharp but this will tell me every note that I need to. You can even slow it down and stuff. You can also record your student visually and with audio. The visual thing is interesting because a lot of movement in the face will affect tuning. When I came to college, I chewed a lot, I had movements in my throat and my face and my teacher would just tell me what they were. But now I can like hold the video against them, show what their movements are, and how it’s affecting tuning and it’s, you know, just another another tool to get you there beyond just recording their facial features and hearing it.

Rebecca: It’s an interesting way to note take because it’s a visual note-taking method that you’re not just having to remember the conversation that you had with your faculty member or mentor, but that you can go back to and see again, if you’re able to record it and save it for later.

Trevor: Right. Yeah, I know, it’s great. It’s a neat tool. So, I’m starting to love this tuner and this metronome as much as the others. It does a lot of specific things where if I’m just pulling out a tuner like Cleartune, as we talked about, or Tempo, that’s more my functional as opposed to how badly I’m out of tune when I’m playing this passage. And the same thing I notice whether I’m using this app, TonalEnergy Tuner, or I’m using Amazing Slower Downer, or I’m using what we’ll talk about later, Smart Music, is that when I’m playing along with the pitch, in the case of Amazing Slower Downer, I know I can hear I’m out of tune, and then I can check it against this or if I’m playing along with Smart Music and you check it against here and see where I’m out. And I play multiple instruments so I’d like to tell you I’m perfectly in tune on every instrument but sometimes I’ll be playing A clarinet and I haven’t played that for a while where I normally do B-flat clarinet and I’m like, “Oh, that’s right. This B-flat is flat on the A but sharp on the…” you know, you have to adjust and unlearn and it allows me to do that prior to getting in there with my collaborative pianist and realizing that I’m out of tune. It’s a great tool. It’s got so many more features that I’m going to start looking into but there are funny features like… not really funny… but the band director or the the judge using it to try to figure out where they were, which hopefully we won’t have to use it very often for.

Rebecca: I wonder for a beginning student who has very little experience… maybe someone who’s not in the music program, but is learning an instrument. Have you worked with students using these kinds of apps with that population of students… like total beginners?

Trevor: Prior to teaching here at SUNY Oswego, I was teaching beginning students… so, seven to eighth in junior high program and then had fifth and sixth grade students. I haven’t used it and mainly because of physicality. Until you develop your armature, until you learn how to use the air, it’s almost impossible to use this effectively because if you don’t have the proper air you can’t make those minute adjustments. That being said, to get the initial tuning for every instrument, whether you’re in fifth grade or fourth grade, you do want to make sure the violin is in tune so students will start using that, you do want to make sure that your concert B-flat’s in tune, which only means after that all the other 11 notes are out of tune, but it’s a good reference point. And then students start to use tuners that way, and amazingly some of them like apps and stuff, and they get into and they show me different things they’re using for that I never thought. But initially, I try not… until those physical things are employed properly. It’s almost futile to actually do it all the time.

John: They need the fundamentals before you can work on tweaking.

Trevor: Right, yeah, especially for you know, with piano you don’t have to worry about tuning. Guitar, that’s got frets so it’s good to know how to tune it. You know that more…

John: You’ve never seen my piano, but… [LAUGHTER]

Trevor: Yeah, but yeah, no… We’ll talk about the next thing, Smart Music, and how it’s used more, or at least, I think more band directors in the public schools use it at elementary all the way through high school, then maybe as far as band music and material is than college professors. I use it for the solo literature, like clarinet concertos and sonatas ….but in the public schools they’re using this technology we’ll get into to not only evaluate their students—how they’re doing, to keep track of their practicing—but as a preparation tool, it’s great. And it can also be not as great for certain specific things and we’ll talk about that when we get there. The next tool—and we’re kind of focusing on my phone right now—the only app that is not available on a phone, a mobile platform that way, but is only on an iPad—is the Smart Music. As I said, we’ll get into that later. The next app I like a lot and I just got an email right before this, there’s a physics professor on campus who’s named Shashi and he’s a saxophone player. And he does exceptionally well, he’s way better of a saxophone player than I am in physics by any means. [LAUGHTER] He loves it. But he gave me an update “I used iReal Pro yesterday at an open jam session. I played these tunes” and went “Great, I’m excited.” It’s great to see that it can be used by by anyone. And as I said, he’s come miles and he loves this because for a physics professor he probably jams with people and he’s been doing a lot more of that. But initially, he’s like, “Who do I get to play with?” and if you don’t play music with somebody—it’s a social thing too… or people hear it—then you kind of like “Why am I doing this?” Even myself as a professional musician, my colleagues and I will prepare harder and more for either recordings or performances coming up then we will during the summer when there’s nothing to do. That being said, we’re preparing always for the next semester, but it’s always great to have that motivation. If I never played with anybody I probably wouldn’t continue playing, especially being a saxophone. A pianist is different, a guitarist is different, perhaps. Drummer is probably different too. I can’t imagine one person only being a drummer and doing that for the rest of life without collaborating with someone.

John: Did you tell us what iReal Pro is?

Trevor: In jazz, there’s these things called real books or fake books. Now, they’re legal. Back about 20, 30 years ago you can only buy them through illegal sources, and they were the melodies of famous popular music standards and jazz compositions, with chord changes behind them. And then you would get together with musicians and you’d play. Now back in the 70s, a guy by the name of Jamey Aebersold used professional musicians who recorded them on CDs—or back then I guess vinyl—and then gave a play along book with it. So he’s got the Jamey Aebersold play along. And what this is done is taking non-live musicians and put it into an app where you can play along with. You can see the chord changes. There are no melodies because you’d have to pay money and royalties for the melodies. But there is no royalties needed for chord changes, and so of the title of the tune and then the chord changes. It comes with no actual pieces on it until you go to the forum and then you can download thousands of pieces that are already programmed in that you can play along with. So I’m just going to pick up right now blues “Straight, No Chaser” by Thelonious Monk. Although it could be any blues until you hear the head and I’m just going to play you a little bit of how it sounds and then I’ll give you a visual description later about it.

[“Straight, No Chaser” PLAYS]

As you notice, when the music goes by, or the chord changes goes by, there’s a highlighted measure so that you know where you are, which is handy for students that are learning to improvise. Later on it’s not necessary, you could just look off a real book lead sheet and play along with it. There’s many features, one I can make the transposing instrument like I’m playing saxophone in the key of B-flat instead of C. I can see the chords transposed in front of me even though it’s playing the key of C. I can do that for any instrument. There’s like a balancing… if I’m a pianist, I can take the piano out or if I’m a drummer, I can take the drummer out. I’m not sure why a drummer would want to do that. And I can control the reverb… I can change the tempo… I can change the style—this is a jazz medium up swing—I can change it to almost anything—Latin, Gypsy jazz, trio guitar, slow swing, traditional jazz—and there’s pop and Latin stuff so I can change the beat behind. I don’t do that as much unless you’re working in the Latin situation but it’s nice to have and as I said, you can also program pieces in. So we just did a concert with this great alto saxophone player by the name of Dick Oatts down in the Village Vanguard Band—that’s where he is primarily and teaches at Temple University—a world renowned musician. And he sent us his charts which are really hard and don’t follow normal progressions. They’re really kind of tricky so I actually programmed them, or one of them, into here just so I could play along with it a little bit… hear the changes a little bit better. I mean I’ll voice them out on my saxophone like normal but it’s a really handy tool to have. And speed it up too like I can’t take it to the tempo he wants it so I’m gonna slow it down and feel good about myself and they’re not really that odd but they’re more unusual chord changes. They made sense but just needed more time to practice and I just programmed in it by…you kind of scroll up and type in F major and put a seven and you can do all the different things. It’s really interesting and you can save them and if you want and you can share them on the forum so other people can look at tunes. So this is an amazing tool. I love it for that because I can speed it up and slow it down, but there are other options. I think Aebersold things are still available online unfortunately for Aebersold ‘cause you know, he’s losing royalties and stuff on that. But then on YouTube, there’s “Learn to Play Jazz” I think if you type that in and whatever tune you want to do there’s that for the people that actually have iReal Pro copies on YouTube. You can’t slow it down, you can’t transpose it. You can adjust the balance and blend and stuff but it’s there. So my students will find those things too and use them. And I’m totally fine with that. You know, financially it makes sense. One of my favorite features is…and John, you have this app you said?

John: Yeah, I do.

Trevor: So you use this app, and have you have you looked at the tablature part of the app?

John: I haven’t been using it recently. Since we started the podcast I haven’t been playing so much music.

[LAUGHTER]

Trevor: Got ya. Give me a second here. So I’m going to show you…and do you play an instrument at all?

Rebecca: No. That’s why I was asking all those music questions.

Trevor: And please continue to do so. [LAUGHTER] In the corner of the app there’s this little thing that looks like a tablature and you can choose from multiple things. One is for guitar so you can select guitar chords. You can do piano, and the piano you can do one hand or two hands. You can do ukulele, which is a new feature and more importantly for me is the chord scale library which I use all the time. So let’s go back and add the chord scale library. So if I press play and then I pause it right away it’ll give me chords down at the bottom. So for that C7 chord I can do either dominant mixolydian chord if I scroll over. Actually for this one, there’s only one, but for a lot of times when it’s a different chord like flat 5 or something like that it’ll give you multiple options of what scaless you can use over top of it. Once you talk to a pianist—they’re not really fond of this app, because it’s not exactly like you would teach jazz piano—but if you have no skills, and you want to learn from an app, it can give you some things. It’s a really nice tool for myself and all of my students too. And as I said, our physics professor on campus uses it a lot and as do you prior to doing the podcast.

John: I used to use it more before we started this podcast.

[LAUGHTER]

Rebecca: Trevor, we found that students were using these tools—or when you’re using these as part of your teaching—that the students abilities have improved or that they’re playing has improved. Have you noticed a difference in the integration or?

Trevor: In some regards more about how they practice and how long they practice. But yeah, I’ve noticed an improvement. By having no one to play along with it’s difficult to improvise—you improvise in different ways—it’s a very valuable skill to be able to cut the changes… and me as a saxophone player, if I play and my colleague walks in the room they say, “Oh, you’re playing this tune” based on the solo I’m doing then I know I’m really cutting the changes. But when I don’t know a tune as well, it’s nice to have the harmonic progression so I can use my ear a little bit more than I can my mind and eventually, it’s a combination of both, I’d hope. But my students will then play along with the blues a lot more than they would if they were just doing it by themselves.

John: And much of the benefit is students can work and get up to a point where they’re ready to play with other students so that everyone can use their time more effectively when they actually do collaborate and meet at once. Rather than each person struggling just to do their own parts, they get to work out playing it together.

Trevor: Exactly, it saves so much time. In addition to that, when we think about rural areas. A lot of times you’ll be able to find a great collaborative pianist for doing your solo so it might be okay to use Smart Music—I hate to say that—or you might not have a chance to prepare so you play along with records—or you play along with, in the old days—and now you can play along with this. You know, even getting out and playing along with it at open mic night it’s just totally acceptable because it’s expensive to find musicians and especially in different places. Where in New York City I think would never see anybody using iReal Pro to play along with at a club, you know, just because…

John: …There’s a few musicians there, yeah.

Trevor: But I’ve heard of people pulling it out and it does irritate people. There is the idea that once you graduate from a jazz program—specifically, if you focus on jazz. I myself, did music education. I play jazz a lot and I also did classical clarinet, classical saxophone—but if you’re only a jazz major, or if you’re good jazz player, you’ll have like 150 to 200 tunes memorized. So you’ll call a tune, you’ll have the head, and you’ll know the chord progressions. But nowadays, a lot of the younger players are… from what I hear and what I hear from complaints from older generation people is that they’ll pull out the iReal Pro if they don’t know a tune and play along with it. And there’s pluses and minuses. Now you can actually play that tune. The minus is it’s not as ingrained as if you had to learn it and memorize it and ingrain in yourself, and that you won’t be able to interact with the high level players you’re playing with in the same way as if you did that work. So there’s, you know, again, pluses and minuses. It never should be a substitute for the ideal, but it should be a tool like you just said to get you there. Or in the cases of where there’s not a bass player to play with, at least it gives you a way to proceed until you can find one.

Rebecca: How do students respond to using these tools?

Trevor: They like them. They enjoy them. They think they’re really neat. This freshman student that came in—he was using YouTube, one of the play alongs he warmed up to it—but yet again, the disadvantage of this is all electronic and they sound electronic. So at least some of the “Learn to Play Jazz” are actually real jazz musicians. But you can alter the tempo—or you can’t—I guess you can with the 75%, 50%. I’ve never tried it, now that I think of it, on YouTube…but you know, it just it takes adjustment. You know, there’s nothing to substitute live musicians. The drummer can’t react to what phrase you just played. Nor can the keyboard voice omething different if you’re going there harmonically. But it is a tool. And yet again, a tool that’s not a substitute, but a tool that’s effective in preparing. The next tool we’ll talk about is actually on my iPad, and it’s Smart Music. Smart Music is an app which originally was on a computer and way back in the 90s when it came out it looked like the old Atari cartridges you’d buy with the machine for $2,000 and each cartridge would be like $80 or something and have one piece—Mozart’s Clarinet Concerto. But nowadays it comes on an iPad and you can also get it on your computer. The computer has more features on it but obviously is not as portable as the iPad. And what it does and what it’s being used for is amazing, but also can be negative and we’ll talk about that after we talk about the positives. It has all the band music that you’ll want to play in public school and what the band director can do—including myself as a band director—is that I can say, “I want you to play Holst’s ‘First Suite,’” is which we picked here, and gives you the saxophone part but I can also push the button as you can see, and I can pick whatever instrument I’m playing. So I’m playing bassoon, it gives you the bassoon part. It has the music in front of you and then once I play along with the rest of the band without that bassoon part or that saxophone part, it has little X’s and O’s and tells me what percentage of the music I got right rhythmically and everything else. So band directors will use this to say, “I want you to record this and get it to me and then that’s your percentage on it.” Now it does have some flaws. I’ve listened to students play and myself play and it’s no way that I’m getting 60% I’m getting closer to 85 or something like that. So some advantages and it’s gotten better over the years.

Rebecca: So just to clarify, it’s like Guitar Hero video game?

Trevor: To clarify, Guitar Hero has nothing to do with guitar.

Rebecca: Right. Yeah.

Trevor: It’s more of a rhythmic pushing buttons…

John: Pattern matching, yeah.

Trevor: Pattern matching and it has something to do with the music because it’s actually, you’re hitting it rhythmically along with the song, that’s about it. But you’re right, it’s like a play along, it’s like karaoke without the part you’re on. But this karaoke, in this case, records where your notes are wrong with red and green, where you’re behind, and it tells you where you’ve missed things, and then that goes back to the band director and they can grade you accordingly. So it saves them time.

Rebecca: The visual cues are similar is really what I’m…

Trevor: Oh I see what you’re saying. Yeah, I haven’t I haven’t played a lot of Guitar Hero and I apologize. Most of my knowledge of Guitar Hero’s from South Park and we won’t talk about that. So it allows you to do all those different things and then record them. As far as soloists are concerned, that’s where I use it more. I use it more to play along with a collaborative pianist that’s not there. And it follows you. So for instance, I’m going to pick the clarinet Copland concerto that I’ve prepared for, and it’s got a piano reduction to it. It’s a very difficult piece to put together when you’re a clarinetists like me, who’s a saxophone player that also plays clarinet well. So I use it a lot of time to prepare before I meet with my collaborative pianist. And I’m going to pick an arbitrary section in the middle so you can hear the piano part. And the piano part will play and then once I play along with it—and I’m not actually going to play—it will record it, and I can play it back so I hear all my mistakes which is really nice, and also my pitch errors and stuff. And then if I am unsure of myself, I can actually set it so that it will play with the clarinet part along with me so that I can hear that part to make sure I’m rhythmically accurate with it. That comes to one of the problems with being able to play along with something that has 100% rhythmic accuracy, but you don’t. You know, our ear can pick up on things so quickly that… let me give you the example. When I was in high school, there’s this lady named Amanda and she was the first-chair alto saxophone. And Amanda would have the rhythm perfectly the first time and then me, who would after listening to her having it perfect the fifth or sixth time, so I didn’t really learn how to count properly. And by playing along with the Smart Music, where the piano is actually playing your saxophone part or clarinet part, and you’ve been listening to that. Then when it comes to actual real performances, if you play along with it all the time, then you’re relying on it so much and your rhythm goes out the window. So that’s where some technology can get in your way, specifically with rhythmic attributes, but also with other things too. But yet again, it’s a tool and if you recognize that, you know, I prepare it rhythmically with the students first, I don’t let them use Smart Music until they’re at almost the performance level. So we’re going to play a little bit of the Copland Clarinet Concerto somewhere, but 140 measures into it. I’m going to play it initially with the accompaniment but with nobody playing, and then I’m going to set it and you can hear the difference now with the clarinet part being played by a different sounding piano.

[COPLAND’S CLARINET CONCERTO PLAYS ON PIANO]

So that was just the piano alone. Now I will do it with the clarinet part being played by a secondary piano, and you’ll hear how it fits in and that’d be what I’d be playing along with if I needed the rhythmic help or I wanted to check my pitch.

[COPLAND’S CLARINET CONCERTO PLAYS ON PIANO WITH SECONDARY PIANO]

That wasn’t as obvious an example but if you knew the part you’d be able to hear there’s extra additional things added to that which should be the clarinetist. So this tool is just remarkable for that and as I said, for band directors in public school and at the university level too, it seems like an appealing thing. I just haven’t figured out a way to automate it or include it in my, you know, as part of the practicing routine for my students. And if they don’t come from it from the schools, it’s a little bit more difficult to implement. I’m not sure at the university level it’s ideal for me to implement. I’m still wrestling with that as I am with implementing any technology.

John: So how have your colleagues responded?

Trevor: One of my colleagues, Rob Auler, he uses it as much or more than I do, we always check out, “Hey man, check this app out. Do you think it works really well?” So we check out different apps and sometimes those apps apply—or in the case of Rob, a tuning app wouldn’t apply for him because, you know, somebody else tunes his piano for him—but he really loves Amazing Slower Downer. He uses the iReal Pro probably less than I do, because he could collaborate with himself in his left hand while he’s playing solo lines in his right hand. And he doesn’t use it as a tool like Smart Music because, you know, pianists are not usually playing along with other pianists, they’re the collaborators. And we’ve talked about that, too. He knows it’s not a tool that can replace a pianist. But when we work together, Rob is a consummate musician and so he learns things way faster than I do. His mother would feel the TV to see if he was practicing five hours a day when he was younger, where I was probably you know, playing out in the backyard with dirt or something. He learns things so much faster and he doesn’t want to spend time rehearsing. So for me I’ll prepare on Smart Music and I’ll prepare on these other apps and get to that point where now I don’t have to spend so much time rehearsing with him. We’ll just do it once or twice like professional musicians do and he’s always been that way. For me, it’s upped my ante and I’ve really enjoyed that. So we’ll talk about all kinds of technologies, he’s huge into it. Other colleagues, for vocal people, they prefer having a pianist collaborate with them—which makes total sense—so it’s not as prevalent and I understand that. But most of them are not against, they just don’t understand how to tie things into doing it because what they’re doing already is fine. And that’s one of my philosophies too: If something is working, and it’s not going to be any better by adding the technology, there’s no need to add it. But if it can be an efficiency, the fact that usually in history—and as I got older, I realized this—that convenience wins out. And if I look at audio recording, you know, tapes. Small tapes were horrible audio quality compared to vinyl and CD had finally came up to a very good audio quality, probably not as good as vinyl, but most people can’t hear that spectrum anyways for those people that believe it.

John: And usually it’s better the first couple times you play the vinyl. After, the needles have worn down the grooves, unless you’re reading it with a laser, the quality of vinyl degrades really quickly.

Trevor: It does. And then MP3’s everybody thought, “Oh that won’t stick,” you know, everybody kept to analog, and really, the quality doesn’t sound nearly as good. But most people are listening through cheap headsets and on phones and using it for different background thing. Most people are not audiophiles and most musicians are and they think that technology is not going to last. So unless there’s a technology that other than convenience as a musician that I think benefits my students, I don’t really buy into it too much. A lot of people have embraced it and for different reasons. I think everybody owns a tuner on their phone. Everybody has a metronome on their phone. My colleague Juan La Manna uses the digital recordings and visual recordings of Zooms and stuff like that for his conducting students to record them and give them feedback on it and he uses it to record himself on concerts and a lot of technology being used, but not the Smart Music so much outside of wind players, I think. And it’s also ingrained in the band world. Jazz musicians have always used technology as far as like play along recordings with Jamey Aebersold and later on so it’s only a natural progression to use something like iReal Pro, I think. But you know, most of my faculty enjoy technology when it’s beneficial if it doesn’t help them out, there’s no need to learn it.

Rebecca: So I always wrap up our podcast by asking, what’s next?

Trevor: One of the things I’ve held off on and my colleague Rob Auler has not is reading off of tablets for music instead of bringing paper along with them. So for him it made a lot more sense, because he can use the AirTurn Duo Bluetooth pedal, and he doesn’t have to rely on anyone to turn his page. It’ll take them a little time to practice it. You can actually write and notate things in there if you’re in the middle of rehearsal, you know, we want more piano here, or we listen to the cello or whatever. But for me as a single line instrument, it didn’t make that much more sense other than the convenience of it, which we’ve talked about, which is to not have a lot of music in your backpack. But then a few things have changed over the course of the last few weeks that made me think I need to do it for my students and myself. They should know this technology. So I went to a rock gig—I hadn’t played a rock gig for 20 years at a wedding one of my friends asked me to do—The bread, the money was pretty good so I decided to do it for the first time in a while. And most of the people were playing on that, I had this like four inch binder that the guy gave me. He wouldn’t give me his iPad, and I played there and then I did a soloist with the Syracuse Symphoria and I was there just watching the orchestra play in one of the pieces and the harpist… and harpists are one of the people that are not known for…you know, they play an antiquated instrument…. It’s a gorgeous instrument… But she was using an iPad. Ironically she was reading a hard copy book while she was waiting for her turn to play in different pieces [LAUGHTER] so I thought that was ironic but she was using an iPad and I thought, “Oh, maybe I should do this.” And also the advent of the iPad Pro, where it’s large enough. You know I tried it when Vornhagen came here when I was doing some pieces, and I wrote it and sketched it and put it on the iPad, it just wasn’t conducive to reading with low light. And then Rob mentioned something to me that I thought would be the ultimate reason why to get one. He goes, “Wouldn’t it be nice if everybody played off the score?” By that I mean piano score that has a cello and the clarinet part there and we could all take a look to see vertically what’s going on as opposed to what we normally play off, the cellist has a single line as do I. Obviously the problem behind that would…we have to like learn how to read music differently. Instead of going from one line to the other, I’d have to skip them things, but I’m a conductor so that’s not a problem. But it would actually save a lot of time in rehearsal if we got off, or more importantly, if we want to phrase something together or we’re talking about something like, “What happens there?” I’d have to go over and look over Rob’s shoulder. So that to me, outside of the convenience of it, and that I probably should get back into the 21st century and actually get playing off them so our students know how to do it. I think it’s something that my next step is going to be starting to do that. And yet again, you can edit it. You can draw on it. You can put in repeats. It just seems so much more logical to do. I put in for grant for this and at the end, they’re evaluating it and they asked me specifically, “What would you do if you didn’t get this?” and I said, “Probably use paper” other than than what Rob just mentioned to me right after that session where it’d be great to read off the score ourselves. The advantage of it is more mobility and portability. These fake books are two and a half to three inches thick and there’s three or four of them and he has them all on his iPad and I have to slug them around with me, so I have nothing against paper.

John: But it’s a whole lot easier carrying around an iPad where you can have tens of thousands of scores with you.

Trevor: It is. And a battery pack too. That’s the other thing, if you don’t have a way to charge it and stuff like that, but that nowadays that doesn’t seem like it’s a concern at all.

John: And iPads generally got 10 or 12 hours at least of battery life.

Trevor: Right.

Rebecca: Well, thank you so much for joining us, Trevor. It’s been really interesting to hear you talk about your practice with mobile technology. And I know for me as a visual artist, it was making me think about the kinds of tools that we use as a visual artist and kind of translating the kinds of activities that you’re thinking about with students to different kinds of activities that I could do with my students and also thinking about how to use those to kind of push students just a little bit further.

Trevor: Nice. That’s great.

John: Thank you.

Trevor: Thank you, appreciate it.

[Music]

John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts and other materials on teaforteaching.com. Music by Michael Gary Brewer.

John: Editing assistance provided by Kim Fisher, Chris Wallace, Kelly Knight, Joseph Bandla, and Jacob Alverson.

63. Building a Campus Culture of Accessibility

Colleges and universities, as well as individual faculty members, are legally required to meet federal accessibility requirements for all digital content that is posted online or used as learning materials within face-to-face, hybrid, or online classrooms. Most faculty, however, have received little or no training in how to create accessible materials. In this episode, Sean Moriarty, the Chief Technology Officer at SUNY-Oswego, joins us to discuss how our institution is working toward assisting faculty in creating materials that are accessible for all of our learners.

Show Notes

Transcript

John: Colleges and universities, as well as individual faculty members, are legally required to meet federal accessibility requirements for all digital content that is posted online or used as learning materials within face-to-face, hybrid, or online classrooms. Most faculty, however, have received little or no training in how to create accessible materials. In this episode, we examine how one college is working toward assisting faculty in creating materials that are accessible for all of our learners.

[MUSIC]

John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer.

Rebecca: Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.

John: Today our guest is Sean Moriarty, the Chief Technology Officer at SUNY Oswego and Chair of the SUNY Council of Chief Information Officers. Sean is the author of the recently published Educause Review article, “Building a Culture of Accessibility in Higher Education.” Welcome, Sean.

Sean: Thank you, John and Rebecca.

Rebecca: Welcome.

Sean: It’s great to be here.

Rebecca: Today’s teas are…

Sean: Well I’m having my Tim Horton’s coffee. I usually have my tea after dinner, so it’s too early for my tea. [LAUGHTER]

John: And I’m drinking Christmas tea with cinnamon.

Rebecca: I have my lucky English afternoon tea.

[LAUGHTER]

John: It’s not just for afternoons.

Rebecca: No, it’s all day long.

John: And it never has been, I guess.

Rebecca: Yeah. Before we jump into our conversation, first, can you define what accessibility is?

Sean: Well, accessibility is the idea that every user of the content has a similar experience. They’re not gonna be able to have exactly the same experience… So if you think of people who might have blindness, the content that they access on a website or in a document should be able to give them the same knowledge and understanding in terms of they would hear the content or have it read to them so that they would gain the same knowledge and understanding of what’s there. The disabilities that we have vary from people to people and you also have different issues in the way that content is provided; people who are blind can’t experience a picture in the same way, so there’s an expectation that you would explain what’s inside of an image so that they can understand what other people are seeing.

John: Accessibility issues have been around for a long time, but it seems that campuses are starting to pay more attention to this. What has prompted this increase in attention to issues of accessibility.

Sean: It’s an issue that has really raised in prominence over the last 15 to 20 years and has become a large issue for us here in New York state over the last couple years. So I’m originally from Canada, and I would say that accessibility and digital resources has been an issue there easily for 10 to 15 years and we spent a lot of time at the last institution I worked at, which was the University of Windsor, in terms of making our website accessible and meeting the accessibility laws and guidelines that the Canadian government has put in, and a lot of resources and time were put into that. When I moved to the United States, and particularly here at SUNY Oswego… that would have been five and a half years ago… I think it was less of an issue and people didn’t necessarily realize the need for accessibility and the effect that it had on others. The reason that it’s really come to more prominence is that some individuals have gone and worked towards making everyone aware of the law. So there are a couple of laws in the United States, and one would be the American Disabilities Act, and the second a law that really came into effect over the last couple years, has to do with digital resources and the requirements for them to be accessible for people. Now, one individual in particular has gone and put complaints against universities that their websites weren’t accessible and it really kicked off an awareness in terms of how people wanted to do it. At SUNY Oswego and throughout the state of New York—actually all the SUNY schools had complaints brought against them two years ago—it was really largely around the websites that were inaccessible and most of the SUNY schools got together and we looked at ways to go and comply. Now many of us were really not that far away from being a hundred percent compliant on the website. To go and to remediate most of the website isn’t that difficult when you start talking about items such as the HTML. It gets a lot more complex once you start looking at documents and PDF documents… and no one, I would say, is really a hundred percent compliant. Understanding the complexity of the issue once you start working on it, you really start to see how the issue—if you just try to go in to remediate it and fix it it becomes next to impossible, really. The only way to go and work and to become compliant and to really design the experience you want for the end user is to go and get in front of it to do it. Well, that’s one part of it is the legal issue, but part of it also is a social justice issue. I think when you want to go and start to think about how you want to design your website and make it attractive to all end-users you have to understand that there are people that need these accommodations and have different needs and you have to go and design your website to go and to make it accessible to them, and I think when you start to go and think of it from the social justice issue rather than meeting the requirements it just changes your whole way of thinking in terms of why you want to do it, how you want to do it and how you can get more people to buy in.

John: And when we’re talking about accessibility it goes far beyond just a website; there’s also EdTech tools and there’s also teaching materials and resources. Could you talk a little bit about those issues in higher ed and what we’re trying to do to deal with those?

Sean: A lot of the focus does go on websites, and particularly at the very beginning, I would say, in terms of when we go and try to meet accessibility from a digital point of view from an IT department, but there are a number of other items—we have digital content on PCs throughout the campus and run all kinds of applications and mobile applications. There’s an expectation that those will be accessible by all users as well. So one of the issues is that we have applications that are running on mobile devices… PCs… and our goal would be to have those accessible for all end-users as well. Really to go in, to manage that we have to look at how we procure those items and ensure and work with the people who want those applications that they’re going to be accessible… and ensure that the vendors that we’re dealing with are making it a priority to go and to make their applications accessible… and I think particularly there’s a couple of in-state systems that have done quite a bit of work and that would be the California State System… the Washington State System have done quite a bit of work in terms of going and making accessibility of applications a priority, and I think with the SUNY system joining in we can have quite a bit of power with the amount that we purchase and accessibility can even raise to a higher awareness with the vendors and we can push it forward from there. The other area where it really becomes an issue is inside the classroom; we’re delivering far more electronic resources to students than we have in the past and I think that’s partly because the experience is a more online and there are online classes that are delivered totally digitally or with an instructor helping, but accessibility becomes a larger part as we work there. But also as we deliver content to students through the computer as opposed to handing pieces of paper to them we have to go and think accessibility upfront. As we go and expand our markets… as we become more aware of students that have accessibility issues—we are having more students who come to school and have these requirements and it is going and adding a lot more requirements to go in to help those students succeed.

John: One of the nice things, though, about a move to digital materials is the content is already in digital format which makes it easier to convert as long as provisions are made for that; the old text-based systems were a lot harder—you had to have people either read materials to people or other types of content back in the earlier days. It creates opportunities as well as some challenges.

Rebecca: I mean the web, in general, was designed in a way from the beginning to be accessible to all; it has that power and capability as long as it’s used correctly. So one of the things that I know that we’re working on with this campus is helping people understand how to use all of these platforms more effectively to make the content accessible, because if you design things with accessibility in mind from the beginning it’s a lot easier, it’s a lot more effective and it’s a lot more powerful than trying to fix everything afterwards, which we’ve certainly experienced here; it’s a lot more expensive and time-consuming.

Sean: Yes, for sure. I think we have also tried to look at using the right medium for delivering the message. So, I would give examples on the website, particularly where people might go and make flyers and they’d create a PDF document that they go in and stick on bulletin boards around the campus and then just go and stick that same PDF onto the web which immediately isn’t accessible unless they have done it (properly). The proper way to go and to use the medium of the web is to go and create a website or a web page that would go and deliver that content. It’s more effective for people when they go and do it… that extra little step… and don’t take the shortcuts and it also helps them to go in to market their materials in the right way.

John: Economists often make the same argument; it’s called a putty-clay analogy that when you’re designing technology it’s like putty; you can shape it in many different ways, but once you bake that clay and turn it into ceramics you can no longer alter it as easily—it’s much more costly and you often have to start over, but it’s very malleable at the start when you’re designing things, like making curb cuts, where it’s fairly expensive, but now when new curbs are built they’re automatically including those curb cuts and that’s really not any more costly to build than the old system was but it was much more costly to go back and rebuild things and to start over, which was the argument you were making, I think.

Rebecca: I think curb cuts is a great topic too—it goes back to what Sean was mentioning earlier in the difference between checking a box to say that I’m compliant versus really thinking about what it means to have a curb cut. There’s an example that I often use when I give presentations on accessibility that’s a curb cut to nowhere, it’s a curb cut to some grass that doesn’t go anywhere. It’s compliant because there is one, but it’s not usable. So, I think that’s the key thing that you have to think about when you’re dealing with accessibility issues, that it’s not just ticking boxes off but you’re really thinking about the real people who it’s meant to impact.

Rebecca: I think one of the things that’s really exciting too is that not only does it help people with disabilities get the content and have an equitable experience but it also means that people that are using different kinds of devices or might be in noisy situations or other kinds of circumstances also have a better experience overall. From a design point of view, when it’s accessible the user experiences has just improved for everybody.

John: Before I got an iPad Pro with a higher volume level, when I was watching videos while flying I often would turn captions on because it was sometimes easier to read the captions than to hear over the noise of the jet and that applies certainly to students watching multimedia content in quiet places where they can’t play audio out loud or students in noisy environments who might not be able to hear the audio.

Rebecca: Or non-traditional students who might be around their kids or whatever and might need to control things like that.

Sean: Yeah, there’s many examples of technology that was brought in to help people with accessibility that become really mainstream that help everyone’s life.

It brings up the conversation or the thought that having the tools to do what you need to do and then actually using those tools appropriately and in the best way… and I would say that in many ways with accessibility at this point, some of the tools that are required still aren’t there to make things easy. We’re still working on having those tools and I think as we move forward that we’ll go and we’ll develop the tools and make it easy, but I think that’s really the stage of maturity that we’re at right now.

Rebecca: Going back to what you’re saying about the tools that we need don’t really exist yet to some extent. Using the tools that we do have to do the things that we can do, still makes a big impact. So, even using Microsoft Word to make assignment sheets and things but using the styles that are built in so that you’re identifying what’s a heading, what’s a subheading, et cetera, makes a huge impact and that takes care of a large percentage of the material, but then there’s that smaller percentage of a more complicated content and multimedia that’s a little more difficult to deal with… especially when there’s interaction as well as motion and some of these other things… but there’s still a lot that we can do with what we do have.

Sean: Yes, why then I think it goes back too to a skills issue and then part of it being knowledge and skills. So, people are used to using Microsoft Word for 20-plus years the way that they use it… and they’ve found their own shortcuts to just meet their own needs… But to go and to deliver and use a tool at the highest effectiveness you really need to have this additional knowledge and understanding of having templates that you can use and marking images that need to have a tag with them too. So we do have the tools but we also need to give people the skills and knowledge to understand how to use them effectively for this.

John: On past episodes we talked about how faculty coming through grad school generally don’t receive much training in how to teach, although that’s been changing a bit. But virtually no graduate students, I would suspect, has received much training in graduate school on creating accessible documents, so there’s a lot of inertia to overcome.

Rebecca: Not even in fields that deal with accessibility as part of their background—they might not even have that experience either. So, like computer science, design, et cetera… that’s something that’s just starting to bubble into curricula now.

John: One of the things, Sean, you and Rebecca have both been working on is developing an accessibility fellows program here at Oswego. Could you talk a little bit about that program… what it is and what’s the purpose of it?

Sean: Rebecca and I were talking about this earlier… and looking at it from an institutional point of view, I think if we want to go and to create this culture of accessibility, you’re really gonna have to go and put resources towards it and make it a priority… and I think here at Oswego we’ve tried to do that in a number of ways, and one would be to bring on an intern that Rebecca had trained and had excellent skills and we could go and work to remediate courses, for one item… and then to build a culture of accessibility here… and the only way I think to go and to build a culture is to go and to build it from bottom up… and show people it’s important by putting resources towards it… making time available for people to go and to work on it. So, the accessibility fellowship that we’re starting this year does that… and it does it in one way in terms of giving Rebecca some time to go and to provide the leadership that she does in terms of accessibility and it fits in with the work that she’s doing and the priorities that she has… and it also set some time aside for faculty to go and to work on accessibility and for them to become advocates for going and spreading the word as we move forward… and I think by going and putting the resources in, it’ll make a difference at the beginning, but the real difference will be four or five, six years down the road when we have a number of people and the person sitting next to you says to you, “Oh, you could make that more accessible if you did this…” and it just becomes part of the culture that everybody’s working on it. Rather than just Rebecca going and starting we got to make the triangle much larger.

John: The fellows are receiving a course release to free up time so that they can work on these activities.

Sean: Right, and with the expectation that they’ll have training… they’ll understand what it means to create accessible courses. They’re going to create accessible courses. They’ll have an opportunity to travel and go to a conference with accessible related material, become advocates for it as well…

John: We’ll also ask them to give some workshops for their colleagues. People are much more likely to show up for a workshop when it’s someone from their own department or area so by doing this across the campus we’re hoping that this will start spreading a bit more rapidly.

Rebecca: It’s important to note that there’s a wide variety of fellows from different disciplines. We have people from Business… we’ve got people from Science… people from English… people from Political Science… people from Education… people from… Sean: Comm studies…

Rebecca: Comm studies. Did I get them all? Oh… no… and Health, Promotion and Wellness.

Sean: So we were hoping to have four originally and we have seven. So, I think we’re very happy that people were interested and wanted to go and spread the word… and I think also as Rebecca says with the wide number of fellows that we have, we’ll be able to go and do some work… So particularly, like in the sciences there’s a lot of questions around accessibility and how do you go and create the accessible content? I think the person that we have will be able to go and to start some of the work and help it go in to build a knowledge base and be able to pass it on to others as we move forward.

Rebecca: I think that’s really key because there’s definitely some holes in the knowledge of the team that’s been working on these things as soon as it starts getting more specialized.

John: That person in the sciences is Casey Raymond, who is on our podcast on the first and third episodes.

Sean: Yes.

Rebecca: Uh hmm. Sean, one of the things that we’ve talked a lot about is building it from the ground up versus retrofitting or remediating. Can you talk a little bit about the difference in the workload and resources needed…

Sean: Right.

Rebecca: …for those two different approaches?

Sean: I would say one item that we’ve seen really over the last couple years, particularly as we’ve started to work on it, is the amount of time that we’ve had to go and spend remediating courses… and we do put a lot of focus in terms of online classes and we’ve just seen a tremendous growth in the amount of classes that need to be remediated. We have processes inside (Banner) and we’ve written applications inside Banner and create reports to go in and to identify students who are taking classes that are online that are going to go and be remediated. Where we might have been doing a couple or a few courses a semester before… the number has grown five hundred to a thousand percent more than it was before and that really required us to go in to create a position for an individual to go and to work and basically try to stay a couple weeks ahead of the course material for all the students that we’re dealing with… or at least all the courses that we’re dealing with for these students… and actually I would say with the growth and with the students that we have coming in this solution is not scalable. We’re not going to be able to hire enough people to go and to do it… and I’d say within a couple years if we keep doing it, we just won’t be able to keep up. It’s getting to that point. We have an accessibility committee on campus that would consist of people from the President’s office, our Diversity and Inclusion Officer, our communications, our web people, student disabilities, Rebecca, from the academic point of view… our web developer and Extended Learning, who do a lot of the online classes, and we spend a lot of time in those meetings. First of all, they start with the remediation that has to be done and when we have discussions around it, we realize it feels like the hole that we’re digging around accessibility just keeps getting larger and larger… and at this point our goal would be to stop the rate of the hole getting as large as it is. At some point maybe we can even it off and then get to the point where we can start filling it in, but I think the only way we’re gonna go and fill it in is over many, many years and when we redo classes they’ll be designed with accessible format as we move forward – going back and remediating all the work, it’s just not doable.

Rebecca: One of the things that I think you’re highlighting, Sean, is the difference between accommodation and accessibility. Accessibility is much more proactive where we’re actually going in ahead of time, making sure that when we’re designing content, it’s set up so that it’s accessible no matter what device you’re using it’s gonna work; whereas accommodation is… you register through the office of disabilities or whatever you have on your campus and you get a specific accommodation letter… the accommodation letter is given to the faculty member and then you’re given those accommodations and that office might provide the resources to convert a text or whatever might need to be done. This is much more front-loaded, but it helps more students and it also helps students who don’t want to identify as being disabled, especially if they have a hidden disability that they’d prefer to keep private. One thing that’s also different is that students who might have hidden disabilities or disabilities in general have always had the burden of getting the materials or asking and having to take all of the extra steps. In this case it’s the content generators with (the responsibility for) accessibility, so that’s a key difference between the two.

John: You noted that some students might choose not to report learning disabilities, but we should also note that some students might have undiagnosed learning disabilities. Those students can also benefit from the creation of accessible materials.

In order for our campus and other campuses to become fully accessible, it’s going to require the teamwork of quite a few people. Could you talk a little about how that process has been going here?

Sean: We’ve done a good job here at Oswego and we have a really good mix of people that are really interested in this topic and want to move it forward… so I think of our web developer, Rick Buck and how he’s gone and redesigned our website (although it was very compliant to begin with, let me say)… but he’s gone and put in the extra features that go and work to going to keep us compliant and he’s also spent considerable time with his team to educate our content editors who go in… and in any university you would have a very diverse group of people who would develop content in their specific department or area to keep the information relevant… but they need to understand their responsibilities inside of it… so going and training them and giving the knowledge and the tools. So, from the web point of view, I think we’ve done a lot, but also we’re lucky to have a mix of people here in the academic area who want to go and and do this. So, for example, with Rebecca and with the work that she does, first of all in the class and in the area of accessibility… we’re really lucky to go and to be able to tap into that and to put the resources necessary to move the whole project forward… and I would say that goes right up to the President here at the university and the Provost and them making it a priority and ensuring that we put resources towards this to move the project forward.

Rebecca: I would also add that without Sean really being the advocate for the entire process, I don’t think a lot of the things that we have in place would happen. He was the convener of the committee and some of these other things that really got the ball rolling… and it got rolling quickly. [LAUGHTER]

Sean: Why I do think it really helps being proactive and going and looking at it from a systemic point of view and going and trying to change the system and starting at the bottom; otherwise you just spin your wheels all the time and the hole gets deeper and deeper.

Rebecca: That leads us to: What next, Sean?

Sean: Well, I think we’ve covered a lot of the things that are coming up for us. You earlier referenced that I’m the Chair of the SUNY Council of CIOs. So, inside the SUNY system we’ve done a lot of work and tried to work with the CIOs to share knowledge in terms of what we’re doing, whether it be on our website and with applications that we’re purchasing and implementing. A couple of the other schools are doing even more. So the University of Buffalo is actually doing quite a bit and they’ve implemented a new procurement process that will go and put better, I would say, guardrails around how we go and purchase application software and I would imagine a lot of the schools will adopt what they’re doing… and the SUNY Provost is about to come out with a accessibility statement or policy and inside that statement and policy will be the need to have someone responsible for accessibility at each school, and how a school is going to need to have a plan in order to do it… and I would say that we’re among the leaders in terms of doing that. We’ll have a plan in terms of how we want to go and move it forward… and really the next part of it is I would say at this point is to go in and implement and let it grow and let the people do their work and share the knowledge that our fellows will have over the next period of time and then look where we want to go for that—we’ll need to go back and assess how we did this year and then I would say just guide ourselves through those waters and decide how we want to go and grow the program and share it with others.

John: Thank you. It’s always a pleasure talking to you.

Rebecca: Yeah, thanks for joining us, Sean.

Sean: Thank you for having me.

[Music]

John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts and other materials on teaforteaching.com. Music by Michael Gary Brewer.

John: Editing assistance provided by Kim Fischer, Brittany Jones, Gabriella Perez, Joseph Santarelli-Hansen and Dante Perez.

52. Metaliteracy

Do your students create digital media in your courses or just consume it? Does the concept of information literacy seem too limited in this context? In this episode, Tom Mackey (Professor in the Department of Arts and Media at Empire State College) and Trudi Jacobson (Head of the Information Literacy Department and Distinguished Librarian at the State University of New York at Albany) join us to discuss metaliteracy as a framework for improving critical thinking and metacognition while students become active participants in the construction of knowledge in online communities.

Show Notes

Transcript

Rebecca: Do your students create digital media in your courses or just consume it? Does the concept of information literacy seem too limited in this context? In this episode we discuss metaliteracy as a framework for improving critical thinking and metacognition while students become active participants in the construction of knowledge in online communities.

[Music]

John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer.

Rebecca: Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.

[Music]

John: Our guests today are Tom Mackey, Professor in the Department of Arts and Media at Empire State College and Trudi Jacobson, the Head of the Information Literacy Department and Distinguished Librarian at the State University of New York at Albany. In fact, she is currently the only Distinguished Librarian in the SUNY system. Welcome, Tom and Trudi.

Trudi: Thank you.

Tom: Thank you. Very happy to be here. Thanks for the invitation.

Rebecca: Today our teas are…

Trudi: I am drinking highland blend.

Tom: I’m drinking sweet cinnamon spice.

John: And I am drinking chocolate mint tea, a Harney and Sons blend.

Rebecca: I’m back to my good ole English afternoon.

John: Such a surprise.

Rebecca: Sometimes you just need to have the dependable option.

John: Both of you have written very extensively and done a lot of research and workshops on metaliteracy, with three books, three MOOCs (with a fourth one under development), several articles, a badging system and the metaliteracy.org blog. Could you tell our listeners a bit about what metaliteracy is?

Tom: Sure. Thanks, John, I’ll start. Metaliteracy is a pedagogical framework that empowers learners to be active producers of information in collaborative environments. So that’s our elevator speech right there in terms of what it is. Basically, it is an approach to teaching and learning that prepares individuals to be reflective learners in addition to being critical thinkers, and we’ll talk a bit about how that reflection piece is especially critical for a metaliteracy, which, of course, applies metacognition. By doing so, learners are informed consumers of information, which means they ask good questions about the information they encounter in a variety of environments, and as you know, that’s important today with all the different environments and social media environments and access to different kinds of new sources that we have; it includes those especially mediated by technology. And we’ll talk as the idea was first introduced and developed why that was so important to the concept. When we first introduced it we really argued that because of the emergence of social media, online communities especially, think about web 2.0 and the change from the original web—what a critical moment that was—that what we really needed was a metaliteracy that promoted effective participation in these environments. As we know, these collaborative social environments have an engagement piece that is important; we build that into this metaliteracy framework; we thought there was a real need for that—how we were developing it. We also acknowledge that in addition to acquiring information and looking critically at information that individuals really needed to creatively create and share information in this connected network world. This idea of consuming information versus producing information, it’s an idea that’s been around for some time, but we really thought it was critical to develop it into a metaliteracy that also focused on reflection as a core concept. The idea of a metaliteracy is that we look at some of the common characteristics that unite different forms of literacy—that was the other piece of this. We introduced it as this comprehensive, unifying framework. The idea for that was that in this social media environment what we really needed was to try to better understand different competencies, different characteristics of literacies instead of just coming up with a new literacy every time there’s a new technology. We were trying to look at things in a more comprehensive way. As the idea developed in the first book, especially the meta in metaliteracy, intentionally invokes this idea of metacognition. Or thinking about your own thinking: this is really key to metaliteracy because metaliterate learners are reflective about their own learning experiences and they really take charge of their literacy and learning which is really where the empowerment piece comes in.

Trudi: Meta derived from the Greek… also means “after.” Metaliteracy is what happens after literacy. Basic reading and writing, what comes after that. Also what comes after information literacy, which is g enerally thought of as finding and locating information. The definition of information literacy has expanded since we started work on metaliteracy. In addition to reflecting on their own thinking, the metacognitive aspect of metaliteracy also means that individuals have the capacity to self-regulate their own learning, which means that they identify their own strengths and weaknesses and play a role in preparing themselves to adapt to new learning situations. Metaliteracy prepares learners to adapt new technology and to do so in a critical way, that is asking questions about how technologies are designed and the ways that technologies or platforms may impact how we access and create information as well as how we communicate with information. Originally we developed metaliteracy to emphasize how individuals participate in social media environments. And Tom, would you like to talk a little bit about that?

Tom: That piece is really essential to what we’re doing. We see this framework is relevant to a range of collaborative teaching and learning situations, but it is interesting that we saw a real need for emphasizing the social media aspect, online communities, this post web 2.0 environment that we are in, but we also don’t want it to be limited to that. We really see metaliteracy in all environments, all collaborative environments… communities of practice. This is something we should be thinking about beyond just the technology, but really how we engage with each other, how we participate and perhaps also how we blend the technology, how we mediate technology with those spaces as well.

Trudi: One of my favorite parts of metaliteracy is that it advances the idea that learners are teachers. We see this in collaborative environments where learners support and teach other learners, but what’s really important is that often students, for example, don’t think they have any particular expertise in something, and encouraging them to empower to teach others often leads to really interesting situations.

 Tom: That part is so key and that’s something that we saw in our own teaching experiences that when we had students in collaborative situations… group work… building technology tools together… building collaborative websites, for example, that the students themselves were as much a teacher as I was, and trying to foreground that so that they can see it, is critically important.

Rebecca: This is a really interesting framework and you’ve given us a lot to think about. Can you help us make it a little more concrete by providing an example of how you might emphasize metaliteracy in a class or what you mean by a student who might be metaliterate?

Trudi: One of the things that I would do in my classes is encourage students to be information creators and to explore the technology in doing so. So they don’t have a final paper that they have to write, but they may need to create a video or a tutorial or we’ll be talking about our badging system later, maybe creating content for that and doing it in small groups. If they’re doing something where they have to use a technology; I don’t teach them that technology; they sort of learn together and that “learner as teacher” often comes out in those situations because often there’ll be a student in a group who will have more expertise in that area or be more willing to just jump in and see what happens, and then the rest of the group will learn from that. One of the more interesting teams that I had when I’ve taught is one where none of the students felt they could do anything, but they actually accomplished it and their sense of pride and empowerment in doing that was wonderful.

Tom: I have an example: I’m currently teaching a course at Empire State College called “Digital Storytelling,” and the whole point of the course is that students learn about these resources, they locate them (with some prompts from me in the course), but it’s a fully online course and in many ways they have to figure this out on their own, they have to adapt to these new technologies, and I think that they’re looking at their own use of technology in a different way. So, for example, the very first assignment they have to create a selfie video with their cell phone. So they all have cell phones, they probably all done videos before, they probably all done selfies before, but this assignment is really designed for them to introduce themselves to everyone else in the class in a fully online course. From the very beginning they have to challenge themselves to present themselves a certain way to the class… to be themselves but to also think through that presentation, to really be the active producer of information in a collaborative setting where they’re doing something on their own but they’re sharing something about themselves to the other class. In an online course it allows us to get beyond just the text-based introduction and online discussion and to really seeing the students, to hearing from them. I posted a video of myself and it was great to see their response, so it was very much like a classroom situation but it happened asynchronously and online and it was a great way to get the class started, so from the very beginning they saw themselves as digital storytellers and they know that they now are starting their story and that we’re all going to participate and learn from them.

John: So it’s encouraging students not just to critically analyze information as consumers but to be active participants in social dialogues as producers as well. Is that a reasonable short summary?

Trudi: Yeah.

Tom: Absolutely. And what does that mean? …especially in today’s environment, which is very participatory but were divided and partisan in so many different ways. How do we get across those divides? What does it mean to be a responsible participant of information now? What does it mean to be an ethical contributor to these spaces? The whole idea is to really to get them to reflect on this, and not just to produce and share something, but now especially to think about the implications of that so that the informed consumer part is still important so that they’re thinking about these different sources that they’re encountering but also thinking about what they’re creating themselves and sharing.

Trudi: I think when they’re asked to be information producers in this way they think about themselves differently. They create information and share it on social media, but they don’t really think of themselves as information producers, and so I think it expands their horizon.

Tom: They may not have necessarily been asked to do so in an academic environment. This blurring of boundaries between informal learning and formal learning, I think it helps to push that a little bit. Not to say that they’re not beyond our classes, because they might be, but clearly they’re doing it in their everyday practice with their cell phones and the way they consume information now, but this really foregrounds, I think, in some of what the responsibilities are and what the empowerment of that is as well when they’re asked to construct something, so instead of a research paper maybe that is a collaborative media project with their peers—what kind of learning do you gain from that experience?

Trudi: Just one other point. The projects that I was talking about, they need to create them for public consumption. It’s not something that’s just directed at me as the professor of the course. They have to think about it a bit differently.

Tom: That’s a great point, because in the digital storytelling class they’re not just creating it even for the Moodle environment that we’re in; they have to actually upload their selfie videos to YouTube so that they’re thinking a bit about that public consumption piece even beyond the instructor and even beyond the class itself because now it’s up on YouTube and hopefully that’s having an impact on what they’re thinking about in terms of how they present themselves in the information that they’re producing.

Rebecca: I’m hearing two key things bubble up in what you’re talking about and one is audience and the second is reflection. Are those two key things to move up beyond traditional information literacy to this metaliteracy level?

Trudi: I think that those are two key pieces, but I think, well, there’s the old definition of information literacy and then there’s the newer one, which somewhat influenced by metaliteracy, but I think that often information literacy is thought of primarily as consuming and evaluating information, so not the responsible, creative production of it. It’s also too often, I think, seen in the academic setting as just related to research and not sort of life-wide. I think that that’s another element here.

Tom: In many ways that’s what I think we were really originally working against that original information literacy definition, the ALA definition and also the Association of College and Research Libraries, the original standards, b       which were very prescriptive in the way that they were designed, so that we were as a framework were really just trying to open this up and also take into account the technology piece—not make it all about technology, certainly, but in many ways the advance of web 2.0 and emerging technologies was kind of being, at the time, anyway, sort of avoided. We knew that there’s a real shift happening in our culture and I think that we’re sort of on the other side of that now, but I think that was important to bring that into the learning experience to have students really reflect on those environments and what they’re doing in those environments.

John: You both mentioned the new ACRL information literacy framework. How does metaliteracy relate to that?

Trudi: We developed metaliteracy in part because of a frustration, with this old definition as we were talking about and Tom mentioned the standards really were very prescriptive, very skills based, concentrated on behavioral and cognitive learning domains. Metacognition was not a part of it, so you identified metacognition so that reflection as something new and they didn’t explicitly address the affordances of web 2.0. So I was co-chair of the task force that was convened by the Association of College and Research Libraries and I brought the idea of metaliteracy to the group for consideration. There were a lot of forces at work in developing the structure of the framework and there were like 2000 people weighing in so it’s a very interesting process. Threshold concepts or core concepts was one of the primary features that we used with the framework. I sort of quote from the introduction to the frameworks; there are those ideas in any discipline that are passageways or portals to enlarged understanding or ways of thinking and practicing within that discipline. For example, in biology, evolution would be a threshold concept. That was one element and then the other was metaliteracy. The idea of learners as information creators as well as consumers—which we’ve talked about—definitely has a presence in the framework. There are four learning domains in metaliteracies: behavioral, cognitive, affective and metacognitive. These all have made their way into the framework, so there really is in part a close relationship between the two. For example, the affective domain maps to the whole sections on learner dispositions. I think that there really is a close relationship and I think metaliteracy has gotten additional notice from people because it is explicitly mentioned in the framework.

John: So it’s complementary that they fit well together, they link well together.

Trudi: That’s right.

Tom: I think that’s a good way to put it that they’re complementary, because that also allows each approach to still move forward because we see metaliteracy as this evolving concept and we’ve been working together—we’re working with a team of colleagues called the “Metaliteracy Learning Collaborative” on these ideas, we’re writing together and we’re developing this different MOOC and badging projects. Every time we do something new we’re learning something new and we’re trying to build that into the core ideas here. I think that this idea of complementarity is really important to these two; they’re not mutually exclusive, they work together, and as Trudi mentioned, when we go out and talk to different audiences on this they’re interested in both concepts and working with both. One interesting comment we often hear from people is that with metaliteracy they’ll say you found a way to talk about something that we were trying to do or that we were already doing but you found a name for that really made sense. We really like that: the fact that we were able to name something that really probably was in practice but maybe didn’t have as in-depth of a framework built around it and we like that dialogue with practitioners and something we try to do so this idea of theory and practice for metaliteracy is critically important and allows you to move forward.

Trudi: And the ACRL information literacy framework information literacy is not something that can be taught only by librarians so it’s really directed also towards faculty and administrators. It still seems to have a librarian focus to it, whereas metaliteracy, I think, extends beyond that. Librarians are interested in it but we’re also seeing all sorts of things that are being written or talked about by academics in a really broad range of disciplines.

Tom: And we’ve found that in the books we’ll talk about the two unedited books we’ve done in addition to the first metaliteracy book and we saw evidence of that when we do a call for proposal; it’s really from a wide area of academics. We definitely have librarians, but we also have faculty from many different disciplines, and also instructional designers. That piece of it has been really fascinating as well because we’ve been trying to really open it up to as many people as possible and not seeing it just within one particular discipline.

John: How have faculty and librarians responded to your work?

Trudi: There’s been a lot of interest in it to explore one of the collaborations. Somebody that I’m working with at the University at Albany is a political science professor. This will give you an indication how at least one person has responded to our work. She teaches a 200 level political science course that includes some of the general education competencies, one of which is information literacy, and she was developing this course from Pollock. She came to me to talk about information literacy. We ended up talking about metaliteracy and she was so excited by some of the things we’ve talked about that it would do for her students, so this idea of information creators, the empowerment that she has made metaliteracy sort of a key part of her course. She has the students do about 8 activities connected to metaliteracy. These activities come from a digital badging system that we can talk about a little bit later. She actually has students create an activity that would fit into this digital badging system, which is pretty exciting. This year she asked us to extend what we’re doing and we have been creating questions for the students about what it means to be an information creator, information producer, a teacher, a translator of information and we found this very exciting. It’s not just a collaboration in that she is using some of this material for her students, but her students are creating things for us and she’s giving us ideas. It’s just one example but it’s one where it has become a core part of this course, not only when she teaches it but when others teach it as well.

Tom: Collaboration has been key to what we’ve been doing from the very beginning. The first SUNY IITG we received was really to initiate to launch a metaliteracy learning collaborative and that first project led to the development of our first connectivist MOOC… b eginnings of the digital badging system, although it wasn’t part of the initial grant, but that’s something that we started working on, and also what was most important at the time was the development of the first metaliteracy goals and learning objectives which we’ve recently revised but it was important when we developed that that instead of just Trudi and I working on this together, we really opened it to a SUNY-wide audience that included faculty and librarians. Those goals and learning objectives are available via metaliteracy.org and we recently revised them as well. I think that collaboration with the metaliteracy learning collaborative also led to thinking about metaliteracy in a different way and thinking about those four domains of learning that Trudi mentioned previously; we would look at the metacognitive, which we’ve mentioned is key but also the behavioral, the cognitive and the affective domain so that what we’re really looking at is really the whole person. We’ve also through the metaliteracy learning collaborative we’ve been working on papers together, we’ve been working on these MOOCs; we were lucky enough to have the experience of working on a connectivist MOOC really early on and then I took Coursera MOOC and then a Canvas MOOC and now we’re working on open edX and all those projects involve faculty librarians from Empire State College, the University of Albany and other parts of SUNY, that’s really key. We’re very lucky that we’ve been invited to speak on this which also shows the level of interest and how people are responding to it and many different venues and last year we were lucky enough to present at a conference at the University of Guadalajara in Mexico for this literacy and learning conference and it was just a great experience to be there with international scholars who were talking about literacy in various ways and then we added something by talking about metaliteracy and there’s a lot of interest in what we were talking about. We appreciate those opportunities to have conversations that are both theoretical and practical; the response has just been really positive.

John: We should just clarify the IITG program you mentioned is a SUNY-wide competitive grant program for all of the colleges and universities within SUNY. You were one of the early recipients of that and have received some further funding from that, just to explain that to our listeners who are not as familiar with the SUNY system.

Trudi: John, since you mentioned the innovative instruction technology grant, just to show sort of interest from others, we did get one with School of Education faculty member, actually one from Albany and one from Empire State College because they were really interested in the digital badging, but also the idea of a digital citizen. The plan was and happened that graduate students in education who were going to be teachers would have an opportunity to learn about digital citizenship that’s important for them when they’re teaching, also what digital badging is, so there were a couple of different takeaways. We were able to move metaliteracy or an aspect of metaliteracy into graduate education for educators.

Rebecca: There’s been a lot of mention of metaliteracy badges so maybe we can talk about those?

[LAUGHTER]

Trudi: Yeah, certainly. This was something that developed out of one of those innovative instruction technology grants. We’ve been working on them ever since. What we did was we took the learning goals and objectives for metaliteracy and created open content, very ambitious scheme. There’s four digital badges in the system. Each one of which has anywhere from 12 to 20 activities, starting with lower level quests, moving up to challenges and ultimately you get to these four digital badges. They were written by members of the meta literacy learning collaborative. Tom has written some, I’ve written some. Students have written some, so undergraduate and graduate students they’re being used currently at Albany about 2,500 students have gone through parts of this badging system. The only ones so far who’ve actually earned badges are ones who have taken my courses. It’s content that can be used in classes across a range of disciplines. Also, adaptable to the disciplines. I mentioned earlier the political science professor and sometimes she sort of tweaks the assignments in there so it really relates to what she’s teaching in her political science course. The badge system itself at this point is restricted to University of Albany because there’s a single sign-on process, but we do have a website that has all of the content openly available. People are welcome to use this.

Tom: And from the perspective of someone who has developed some content for this it’s really a fascinating experience because you know that you’re somehow reaching learners that are not in your course but that it’s something that you’re opening and you’re sharing, so this idea of thinking about them as open educational resources that can be then adapted for different contexts. It’s really interesting and exciting to know that something I might create as a learning object could be used by a faculty member here at the University at Albany who’s having their students go through it. Some of them that I developed are based on learning activities I had created in some of my information science courses when I taught here at the university, but I’ve adapted them or updated them. That piece of it from a faculty perspective, as long as you’re open to it, is really engaging and interesting and a way to reach other learners who may not be students in your class but you’re sharing those ideas with them.

Trudi: And I don’t know if it’s ok if I plug a book that I just co-edited with Kelsey O’Brien… Just published this month, September 2018, Teaching with Digital Badges, which was published by Rowman & Littlefield. In that book there is a chapter written by Kelsey O’Brien on the metaliteracy badging system.

Rebecca: Great, you’re both working on a new book together, right?

Trudi: Yes.

Tom: Yes.

Rebecca: Can you talk a little bit about that new book and how it connects to your earlier work?

Tom: Sure, the new book is called “Metaliterate Learning for the Post Truth World.” We’ve shifted somewhat from I think what was a really optimistic view of the connected world and how great it is to be producers of information and be participatory to really trying to further emphasize some pieces that were there but I think needed to be fleshed out a bit more for the new environment we’re in post truth, which is based on confirmation bias and misinformation, false information and questions about new sources and all kinds of misleading facts that are being sent out. We really wanted to take that head-on because we saw metaliteracy in many ways even though it’s an idea that had developed previously as something that is a strong education response to some of the concerns and issues that we’re seeing today. Soon after the 2016 election we wrote a piece about fake news and that term is certainly changed even from the time that we originally wrote it. Wrote a piece for the conversation called “How to Reject Fake News in a Digital World,” so again taking a metaliteracy approach to looking at fake news in a critical way. Since that time even the term fake news, of course, has been weaponized, so we have conflicting thoughts about even using that term based on the research some educators think that it’s important to still keep using it and others want to reject it completely but I think we all generally know the narrative of that. The new book we decided to foreground metaliteracy in this environment and to make it an edited book so that we could engage other educators about this idea. Wasn’t just us but that it was other educators who were dealing with it. About half of the book is very theoretical and the other half of the book is more practical. When we did a call for proposals we tried to intentionally keep that open because we wanted different perspectives on this. I wrote the framing chapter to really talk about post truth, to reframe metaliteracy within this context and to also talk about a new figure that Trudi and I developed together based on the metaliteracy learning characteristics. The new book is going to present a new image, a new figure that further develops the metaliteracy idea from a theoretical perspective and talk about the importance of those characteristics in the post truth world. We’re joined by incredibly prestigious authors who from a theoretical standpoint look at things such as the importance of documentation in metaliteracy, and again, what they’re doing is they’re flushing out pieces of metaliteracy that we have not engaged with yet, so it was really exciting to see that. Another author talks about inoculation theory preparing learners to in many ways be resistant to some of the post truth issues that we’re currently engaged in. Scientific literacy, so there’s a whole chapter on the importance of scientific literacy and looking at it through the lens of metaliteracy. Also, looking at the synergy of word and image and photojournalism, Tom Palmer who teaches here in the journalism program at the University of Albany and it was also a journalist who works for the Times Union wrote that chapter. A few of the chapters do deal with the ACRL framework for information literacy for higher education, so we had that perspective. We were talking previously about both concepts are complementary and we have a few authors who really prove that. We also have a few authors who look at such topics as teaching students to be wrong, genre writing in the first year, writing instruction and the application of poetic ethnography in digital storytelling to create narratives in Philadelphia neighborhoods. I’m very interested in digital storytelling. I mentioned that previously and one of our authors also talks about digital storytelling to empower voices and to encourage students to really raise their voice in the current times that we’re in.

Trudi: And earlier you sort of asked how faculty, other educators, librarians have responded to metaliteracy. I think it’s really interesting. Tom and I did a workshop on metaliteracy at Temple University and a couple of these chapters actually came from people who were in that workshop. It was really sort of exciting to see the immediate impact that that had had.

Rebecca: That’s cool. So this sounds like a really great book; when can I get it?

Trudi: Next spring. [LAUGHTER]

John: Ok. Your current MOOC is a Coursera MOOC but you’re developing a new open edX MOOC. Could you tell us a little bit about that and how that new MOOC will differ from the prior MOOCs, because you’ve had more than one in the past?

Tom: This is part of a continuum of those three MOOCs. We actually wrote a paper in Open Praxis that talked about metaliteracy as a pedagogical framework that was applied in these different MOOCs, so we did a kind of compare and contrast of the different MOOC environments but also talked about our experiences and those different platforms and what it was like, and at the end of that paper one of our conclusions was that what we really needed to do next was create a kind of hybrid MOOC environment because what we had previously was the connectivist MOOC which was our first one and that Stephen Downes type approach. We actually used his grasshopper programming to run that MOOC, then we had the more structured xMOOCS, the Coursera and the Canvas. In many ways the paper was about that but what we decided at the end of the paper was we analyzed it was that we needed a hybrid version and it would it be possible to do that, is there a platform out there that has the learner-centered freeform approach of the connectivist MOOC with some of the structures that were valuable in the video that was really key to the xMOOCS. One of the ideas that propelled this idea forward… We also then, of course, had this shift to this thinking of a transition of kind of a connected world to a post truth world and what does that mean, and because we were working on this book “Metaliterate Learning for the Post Truth World,” we thought that’s a theme for a MOOC. We won’t go out there and call it the metaliteracy MOOC, but it’s a post truth MOOC that’s powered by metaliteracy that really applies the metaliteracy framework to each of the modules within the MOOC, so we’re really excited about that. We did apply for another SUNY IITG and we did receive funding for that, which allows us now to build a team—again it’s another Empire State College, University at Albany team—and we’re really excited about it, we’re developing it now, we’re exploring the open edX environment and as part of that too we’re working with the University of Buffalo because they’ve just launched an instance of open edX for their continuing education program and so they’ve already done a lot of the analysis and a lot of the footwork in terms of creating this instance of open edX on their campus, so they’re letting us experiment with what they’ve done and the idea is that our experience as one of the first two SUNY institutions beyond UV that are using open edX that we will hopefully pave the way for other SUNY faculty librarians that want to develop an open edX MOOC.

Trudi: One of the things that we’d like to do with this—Tom mentioned earlier—we’ve recently revised the metaliteracy learning goals and objectives. We are using those as the framework for this new MOOC. We would like to address issues such as confirmation bias, the role of expertise and authority in today’s environment, issues related to safety, security and personal privacy online, representations of reality in a virtual world and all the while sort of empowering participants to raise and share their voices while rebuilding communities of trust.

Rebecca: Who do you see is the audience for this particular MOOC?

Trudi: I think that we’re really hoping that it’s a very broad audience. We’ve had that, for example, with the Coursera MOOC where there were a lot of international participants everywhere from high school students to non-traditional types of students. We learned about their professions which just ran the gamut and I think that although we do hope to introduce this MOOC as part of courses both at Empire State College and at the University at Albany we’re really hoping that the participants are traditional learners and non-traditional learners. I think that what we’re going to be including in the way of content is something that needs to be broadly disseminated.

Tom: I think because that’s one of the advantages of MOOCs is that they do open up a potentially global audience, so we’re hoping for that international perspective as well, and as Trudi mentioned, we are developing courses so that we could on each of our campuses—I’m calling them wraparound courses—so that the courses that introduce students to the MOOC and they can then earn credit for doing so, because that’s been one of the big questions about MOOCs; can you learn credit, so what we’re doing is creating separate courses and in my version of the course I’m doing a full semester course so that the first half of the course will be introducing students to, well, what is a MOOC? What is post truth? What is metaliteracy? And I have a whole section on how to prepare for success in taking a MOOC, and then that will hopefully prepare them to be a successful learner in a MOOC environment so then they’ll take the six-week course and then there will be reflection piece at the end, which is very metaliteracy, and I actually think that a course about a course is very meta, so we’ve got that piece of it, and that idea to emerge from our very first connectivist experience where we tried to do it for credit and sure, you can talk about this experience at the University at Albany. In particular, in many ways the students were not prepared for the connectivist environment, so what we’re trying to do is in mind, since mine will be a full semester course, is invite students to take it but to really prepare them for being successful in MOOC because we know too that completion rates and MOOCs are not always great, but what if you offer it and prepare students for that environment. I think it is unique enough of an environment where that’s worth exploring.

Trudi: And Tom referred to our connectivist MOOC, which I did use as part of a course, essentially a blended course, and I was amazed when the students actually asked for more in-person class meetings because they couldn’t really grasp the idea of the MOOC and the fact that they were making decisions about their own learning. They were making decisions about which readings would be important. They needed to participate through a personal blog that was sort of elected and shared, and what they essentially did was doubt. I had about a 60% dropout rate in the course and the ones who were left were the ones who just wanted their hands held essentially through the rest of the course and that’s where we really learned that what Tom is going to be doing with his course, which is a full semester course, mine will be a quarter course again, is preparing them for this. This MOOC will be a more directed connectivist MOOC, but it was a very important takeaway.

Tom: And I’m hoping that by doing that it prepares them not only for our MOOC but it opens up the possibility of picking other MOOCs for lifelong learning. So that I think there are potential benefits, even beyond this experience. We’re hoping to launch the MOOC,—we’re developing it now—but we’re hoping to launch it for March 2019. It will be called “Empowering Yourself in a Post Truth World,” which is really important because we really want it to be a positive learning experience and one that provides resources for learners to be successful. You can imagine that talking about the post truth world could be a real downer, but what we really want it to be is a real positive focus of how to address the issues, look at these issues critically, but then to leave with some concrete ways of dealing with it. It also builds on some of the other MOOCs we had. The Coursera MOOC, for example, involved empowering yourself in a connected world and we’re running that now as an on-demand version. So when we first ran it in Coursera we were in the course and it was moving along and we were there in the discussions and following it but then Coursera changed its format a little bit and open up this possibility of on-demand and we actually like that because it allows us to have that content out there and to have learners engage with it in a self-paced way. Up to this point we’ve had, based on the stats we continue to receive from Coursera;—it’s running all the time—we’ve had 1,900 registrants and 900 active learners. We were really happy about that because it really gets some of these concepts out there, and I think it’s probably it’s been out there for a couple years now; it’s probably due for a revision, but that’s one of our projects that we’d like to do eventually, but I think that the post truth MOOC will in many ways build on that as well, so if someone wanted to go back they could look at that on-demand version, but as Trudi mentioned, the post truth MOOC is a six module, six-week learning experience on a very specific topic. I think it will be even more of a clearly-defined focused than even the other one.

John: Would be really nice to have all voters taking in the next couple of years. [LAUGHTER]

Trudi: We would like that.

Tom: Yes, yes.

Rebecca: So you’ve talked a lot about the learner side and some of the tools and materials and MOOCs and things that can help learners become more metaliterate. How do you help faculty coach students through this kind of process? What are the takeaways for faculty? They’ve listened to this episode, they’re really interested in the idea; where do they get started?

Trudi: I think not to just promote our books, but I think that perhaps if they took a look at the two edited volumes they might get a sense of how others are doing it and the range of disciplines is pretty broad, so they might find someone in their own or a related one. I think that that might be a good place to start. I think also taking a look at the learning goals and objectives might provide some ideas of things they’re already doing, but perhaps finding ways to highlight them or frame them slightly differently.

Tom: And not to promote our blog, but metaliteracy.org; everything is in there, including the goals and learning objectives. Summaries of all the books, because we’ve had the blog now for a few years, so it’s interesting even to kind of go back and look at some of the original postings, but it links to the books, it links to all the presentations. The presentations are available, and a few of the keynotes that were recorded are in there. I do think the metaliteracy goals and learning objectives are definitely key because those can be easily applied. Should we mention what we were just invited to write because that would actually address this audience as well?

Trudi: Yeah, we’re going to be writing a piece for higher education jobs. They have a couple of newsletters and going to be talking about the importance of teaching or emphasizing metaliteracy on campus for administrators and also what instructors can do. We think that those are going to be appearing in November.

Tom: Because we’ve had a commitment to making everything open—I know it’s a lot to look for, but we do have the metaliteracy YouTube channel, the blog, of course, the presentations and a lot of these resources were intentionally constructed that way so that other educators could use them, so go to “Empowering Yourself in a Connected World” on Coursera and access the videos, use the learning activities in any way you want. Go to the first module; there’s a PDF in there that has the metaliteracy learner roles and we’ve used them as learning activities in our own classes and it has some reflective questions, so you have this diagram that really explains the different roles a learner could take and then it has questions for learners to really think about those roles. So I think a lot of those resources can be adapted in any way that people want, and it’s really an open concept, so we want people to get involved and apply their own approaches to this.

Rebecca: We wrap up by always asking: what next? You’ve given us so much, but what else? [LAUGHTER]

Tom: That’s a really good question. The next book that we mentioned is coming out in the spring. We’re currently working on the open edX MOOC, “Empowering Yourself in a Post Truth World.” We also, of course, will be launching that in the spring.

Trudi: With the digital badging system we would like to if we can find some more funding have a learning pathway portion to it where instructors can really tailor the information or add components for their own disciplines. We’re also working on a metaliteracy module for another innovative instruction technology grant funded project called “I succeed,” which is being developed in western New York, and they’ve asked us to provide a module on metaliteracy and this is going to be directed to high school students who aspire to college or first year college students and can be used by instructors, so we are putting that together with four units.

Tom: We have a few upcoming panel presentations that OLC accelerate in Florida in November.

John: I may see you there.

Tom: Oh, great! I haven’t been there in a couple years so I’m looking forward to getting back and that’s such a great conference.

John: It is.

Tom: And of course there will be continued research and writing. I’m certain that the open edX experience that we’re currently immersed in will lead to a paper, and we’d like to do a research project that assesses the application of the metaliteracy goals and learning objectives. So much of what we’ve been doing is really theorizing and talking about practice and developing these environments, but we would like to delve into that a bit more. We might have an opportunity to work with an international scholar that we met last year at the University of Guadalajara, but we’re not sure about that if that’s going to happen, but that would allow us to really expand the metaliteracy concept: working with international scholars. So there’s a lot of possibilities. Perhaps a coil courses in our future, and that’s another SUNY resource; it’s a collaborative online international learning environment. I think that’s something that we would love to do with an international scholar, so we’ll see if that happens some day. A lot of ideas, got a lot going on, but we’ll see.

John: You got a nice track record of being really productive with us.

Rebecca: Thanks so much for joining us and spending time and giving us lots of things to think about.

John: Yeah, you’re doing some wonderful work.

Trudi:Thank you.

Tom: Thank you so much, we really enjoyed this.

Trudi: Yeah.

[MUSIC]

John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts, and other materials on teaforteaching.com. Music by Michael Gary Brewer.

48. The Culture of EdTech

As faculty, we engage with education technology as it relates to our classes but rarely consider the larger EdTech ecosystem. Dr. Rolin Moe,  the director of Academic Innovation and an Assistant Professor at Seattle Pacific University, joins us to discuss the politics, economics, and culture of EdTech.

Show Notes

Transcript

John: As faculty, we engage with education technology as it relates to our classes, but rarely consider the larger EdTech ecosystem. In this episode we examine the politics, economics and culture of EdTech.

[Music]

John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer.

Rebecca: Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.

[Music]

Rebecca: Our guest today is Dr. Rolin Moe, the Director of Academic Innovation and an Assistant Professor at Seattle Pacific University. Welcome, Rolin.

Rolin: Thanks for having me.

John: We’re glad to have you here. Our teas today are…Rolin, are you drinking tea?

Rolin: I am John.

Rebecca: Yes!

Rolin: I am having the Maui Up Country blend that I picked up on a on a vacation that I had brought for the office, and we ran out. So I am drinking the wonderful Keurig inspired Celestial green tea today. But I am joining you guys over there. [LAUGHTER] What are you guys having?

Rebecca: I think it’s a green tea day. I’m having black raspberry green tea.

John: …and I have a ginger peach green tea.

Rolin: Excellent.

Rebecca: We’re all in sync without planning, so that’s nice.

John: We invited you here to talk a little bit about your April 2017 EDUCAUSE Review article (which has created a little bit of a stir) where you were talking about the growth of educational technology in higher ed. What types of EdTech in particular were you talking about?

Rolin: So, John that’s a good question… and a little bit of preface on the article itself. I wrote that with George Veletsianos, who is Canada Research Chair in Innovation and a Professor of Education and Innovation at Royal Roads University in British Columbia. We started this project in 2013 at a time when MOOCs had just come into conceptualization. Laura Pappano noted that the year before had been the “Year of the MOOC.” John Hennessy at Stanford said that the MOOCs were going to be a “tsunami that was going to wash away higher education as we knew it.” Clay Shirky compared higher education to a rotting tree that was in need of a lightning strike and this was going to change it… and so, this very optimistic (to the point of Pollyanna) thought on educational technology. And George and I both, as people who are scholars and practitioners in educational technology, were a little taken aback by this. The promises that were being related to educational technology didn’t match the literature. The history of educational technology didn’t match the present and the future track of these innovations, based on their previous experiences (kind of Silicon Valley startups) was not a positive one. As I mentioned, we started writing this in 2013 and the landscape kept changing. Ownership would change, or business models would pivot, and we had to rethink what we were doing. So we kind of, instead, came back to this more systematic review of what is educational technology, or EdTech, and we thought of it in socio-cultural terms as a phenomenon. So, thinking about that, it’s not necessarily a product that we are providing critique for but it’s more of the idea that by bringing products in, whether they be cloud based softwares, learning management systems, apps, learning technologies interoperability, or LTI, or outsourcing it to a third-party vendor, whatever that vendor may be. That approach cannot be thought of as altruistic in and of itself, but it is built in society that is usually, at best, tangential to education, but often completely separate… being brought in for profit bearing reasons, whereas our institutions, by and large, are education-bearing institutions that are looking to gain enough profit to continue operation. So, what EdTech are we looking at? We really want to be creating a more critical consumer of all EdTech. And you can definitely see that today in privacy issues that are coming out with Facebook and algorithmic issues that are happening with Twitter, and discussions of what constitutes free speech or hate speech on these platforms. When we wrote, we were much more thinking about the technology that’s getting into schools, but even there, some of the things that are happening in K-12: the data from these students is not necessarily protected, whether it’s getting hacked and sold to other places or if the companies themselves have connections to other products and other vendors. So, it’s a really meta piece to be thinking about. I don’t necessarily have an axe to grind with any particular software. That’s why we were very software agnostic when we were writing the piece. We just really want to be much more conscious of how we’re using technology in our teaching practice and what is happening because of the technology we’re bringing into our classrooms.

Rebecca: Thanks for laying down that groundwork. I think that foundation is gonna give us a good ground for discussion today and will help our listeners know exactly where we’re starting.

John: A lot of these things, where people were really optimistic about the introduction of MOOCs and so forth, we’ve seen all this before. Television was going to do the same thing. Before that radio was, if we go back further, printed books were going to have this big impact. So, these are issues that have been around for a long time. But, you focus on several issues that, perhaps, are more pressing now. One of the things you talked a little bit about is how colleges have been pressured by economic circumstances, by rising tuition costs and pressure to keep costs lower, to rely more on these external vendors. Could you talk a little bit more about that aspect?

Rolin: Absolutely. I need to preface here again, John, I appreciate you bringing up television. Because there’s a time that a lot of institutions invested in broadcast studios, with the idea being that we were going to be able to amplify education and we’re going to be able to have closed-circuit educational opportunities at senior centers and satellite campuses. And so you have in many land-grant colleges these forgotten studios, that in some cases are now being turned into teaching and learning centers where you have a green screen and you can show what you’re doing in Canvas, or Desire to Learn, or Blackboard, or whatever the system is that you may use… Moodle, I don’t want to leave anybody out. But, to think about my experience as an educator, I have a connection to this particular podcast. I cut my teeth as an educator in my first career, which was in film, at Duke University’s Talent Identification Program where I got to know John Kane, who has been kind of very foundational in how I think about teaching and learning. So John, thank you for that, and it’s wonderful to be on your show. We’ve seen all of this before and we failed to learn our lessons in education. So, we didn’t get out of television what we thought… what we thought we’d get out of radio we didn’t get. It’s important to look back and see “Well, what didn’t happen that we expected to happen? What did we plan for? What was the consequence? What were the unintended benefits? and what were the unintended pitfalls?” The problem, or the big difference today, is a lot of the technology is being looked at from an efficiency standpoint. So, television and radio and even if you go back, like you mentioned with the printed books, you go back to correspondence courses and using the Penny Post in order to be able to give keyboarding instruction for secretarial jobs. So, those technologies were based on much more inclusivity in education. You had a technology that made education available for more, and you had an opportunity to get away from geographic distance as what was keeping people from school. With digital technology what we’re seeing now is almost an inverse relationship that “Yes, we have this opportunity and we sell it.” So, the MOOCs were sold as an opportunity to democratize education for everybody. But, this is really framed in a cost-cutting perspective. That we’re going to bring in technology to keep costs down. That’s very important, costs in education, and higher education especially have skyrocketed, and to think about how we can be looking at this. But it’s disingenuous to say that our digital technologies are going to democratize education for all when we want to use them to save money more so than grant access. We have to look at both critically. We have to put the same research behind both. Moreover, what’s happening when our use of technology is in the gaining of data analytics that could be used, at best, in our spaces, but at worst by third-party vendors that we’ve signed contracts with that we don’t truly understand where they’re going or where they’re taking these things. So, I started with your question and went in a lot of different directions I’m realizing. But, I think it’s important to do that historical review and think about all those places because there’s a desire there, with what education’s supposed to be, if you want to think about Enlightenment-based thinking on education. But, we are at a different point now than we were with what someone like Soren Nipper would have called generations of technology. The first generation being radio, the second television, the third digital. This fourth kind, of web 2.0, has a much greater economic impact, both on the institutions as well as the whole purpose of education. That’s something that we don’t see a lot of in the literature and something that compelled George and I to write this article.

Rebecca: I’m hearing you talk about the the desire for more access but then also these rising costs. If we’re using EdTech, are students actually just getting more access? or are we just making things more expensive at the cost of actual learning?

Rolin: Yes. [LAUGHTER] It’s difficult because in some cases there is an upcharge on taking the course online. And there’s good reason for that because in order to teach a course online, if I’m an administrator, I now have to think about a faculty member who’s going to be working through that course. I have to think about any licensing that I need for contents. So, making sure that my reserves in the library can be easily flown into my LMS and that I have the rights for reproduction in that space. I have to think about instructional design, I have to think about information technology. I have this much larger infrastructure that’s involved, depending on what I’m doing: if I’m going to be using an anti-plagiarism software; if I’m going to be using an online proctoring software, a special grader, a video library of contents. There are four or five different buckets of LTI and those are the general ones, not anything discipline-specific. So, that brings this cost up. At the same time, if you think about Moore’s law, and as technology is increasing and the capacity to do things continues to increase, traditionally we have seen costs go down in this model. That hasn’t happened with education. So you have a space where students are presented in media and, I would say in a lot of cases by schools themselves, that this online efficiency opportunity to engage is going to bring your cost down, but then your cost is becoming more, because the cost on the institution is more. All of that is to say, at some point, if you’re gonna be selling both cost savings and access, that’s not a recipe for success. In many cases, we have the access, but it’s not to people, it’s not to a high impact educational experience that you have come to think with a stereotypical higher education space. I think of the Sally Struthers ITT Tech, you know, where you can do the courses in your pajamas. So we’re giving access in real time to curriculum and to materials, are we necessarily giving it to really engaging learning activities? In some cases, yes… but I don’t think the literature would say that those brightest cases of access are meeting that romanticized version of what it means to be a student in higher education. In many cases the most successful institutions in creating access and bringing costs down are the ones where faculty have been replaced by kind of quasi-administrators who work as admissions support specialists, tutors, retention specialists, program developers, and fundraisers. Kind of doing all of that from an office space, and that looks remarkably different from what we see in cinema, as somebody who works in film studies… what we see in cinema as that college experience. So, we’re gonna have to rectify what it is we think college is supposed to be with what it is we’re selling it as.

John: Might some of that be that, with new technologies… giving an example from economics… when steam engines were first introduced, we didn’t see any real improvements in productivity for decades after that. When the internet was first introduced and people shifted businesses to that, it’s taken decades before we’ve seen much of an increase in productivity. Is part of it that we try to use the new tools in the same way that we traditionally taught and we haven’t learned how to use it more efficiently, or is it something inherent in the shift to more digital media that limits the interaction between the instructor and student and may limit learning somehow.

Rolin: John, thank you for bringing that point up. If you think about professional development technology, the stereotypical overhead projector that is used to present material is then replaced by the PowerPoint…and what was interesting is, in some cases, the first uses of PowerPoint in classrooms (because of bandwidth issues) were printouts of PowerPoint slides that were then put onto overhead transparency. So what we see in many cases today what constitutes online learning is the lecture based approach the “sage-on-the-stage” model of teaching where we’re using our learning management system to do what we’ve traditionally done, and it’s what I would call a mediocre middle. It both misses the point of improving education and also misses the point of utilizing the technology, but it’s what we do. My fear is that there has been a financial success in doing things in this way, or at least creating a media culture that equates formal education to the lecture. So you think about a TED talk, or you think about a Coursera lecture… this idea that it is a faculty members responsibility to share their wisdom as the person who’s speaking through it. A podcast is another space, we’re people who are talking in a space. Now that doesn’t mean there’s not a space for podcasts and there’s not a space for lecture, but it’s easy to package that content and put it into a learning space that you’re hoping to monetize. For learning to be effective online and bring down costs, probably requires a pretty seismic shift in how we think about business as normal. Some of the early critiques of online education were that it would turn us into a fordist space, where it was gonna be the assembly line production. That was gonna get away from a faculty member as kind of an auteur, somebody who has the course from its implementation to its full assessment. With online that’s almost impossible to do for the sanity of anybody. So, in some cases, that model is going to need to change in order to be successful. We haven’t figured out what that looks like yet and the human capital costs of doing it right so far outweigh the benefits that you get from allowing students to be able to take classes from a distance and increasing your enrollment, hopefully through online. We haven’t figured out how to weigh the human labor that goes into that. And I think some of it is also we haven’t changed… I’m gonna get radical here, the expectation of what it means to be a professor is still the same as it was 50, 60 years ago, but what we consider is knowledge has changed pretty significantly with Ernest Boyer’s thoughts on scholarship. What it expects to be a faculty member… so the expectations of teaching at even teaching heavy institutions have gone up but the expectations on scholarship or service have not changed. So instead of it being a triangle of scholarship teaching and service it’s this odd triangle that is morphed into a parallelogram with no extra time given to these spaces. So, we’re gonna have to think about our governance structures and our infrastructure if we’re going to be successful. There’s an article in The New York Times this week we’re recording this in mid-September talking about what the next financial bubble may be, and it points to student loans that the cost of education has gone up fourfold over the last 30 years, outpacing everything, including healthcare… and the student loan debt has over the last five years, overtaking credit card debt. It’s the largest amount of debt that exists in any industry. That cannot keep up. Y et costs continue to rise. So another thing; in the next 7 years, that traditional college age, students 18 to 22, is going to decrease in 2025 because of demographic shifts. So, there’s a lot that’s going on at this point, and John, you mentioned the steam engine and how it took decades… Well, we keep saying we’re the Wild West and we only have years until we get to the cliff, and many people would say we’re already past that point; we’re at the point of no return. I like to be a little more optimistic than that.

Rebecca: I’m gonna go back to a little bit of discussion about access. Some of the things that I hear you describing is that the technology is allowing us to have access to information or the distribution of information. Which is why the lectures, the podcasts, et cetera are easy to package and deliver the access to that information. But, what I’m not hearing is access to learning or the access to becoming a scholar, or a way of thinking or being in the world. And I wonder if some of the movements in OER or the open education resources are trying to push the envelope or push the technology and access more in that direction, or if it’s really still emphasizing the ability to just deliver information.

Rolin: Rebecca, you bring up a really great point. And I’ll touch on OER because it’s a fascinating case study in this space, but if you look at the history of distance education with technology, the focus was on bringing people together… that the content operability was not the key point… but it was being able to bring people from disparate geographies or cultures or climates together to learn. And so it is based in constructivism and constructionism and social learning theory and activity theory and all of the wonderful progressive learning theory that is moving teaching and learning today. And the technology that is predominantly used stands much more didactic, maybe behaviorist, in approach because it’s easier to measure that than it is to measure the much more engaging work that happens when you bring people together. So I had an opportunity (I’ll try and not give away any disclosing information on this), but I had an opportunity to work with a group on a MOOC in after the first wave of MOOCs—this was 2013–2014. They were on a major platform and they had created a course, and it was not a traditional STEM course; this was an arts-based course that they had created. And the platform came to them at the end and said, here’s what happened in your class and had this ream of analytics and they said “Well, wait a second. We had a Facebook group, we had meetups, we had a lot of people create artifacts. Where does that fit into this?” And the platform just kind of shrugged their shoulders and said, I don’t know. We can tell you how long someone watched the video and they were saying, “That’s not what’s important to us. What’s important is what were the conversations that were happening and how is that gonna relate to where they’re going further.” We’re in a time of measurement today, yet our measurement structures are much more basic than our capabilities with technology. And so we’re engineering the technology to perfect those measurement techniques. We can’t do much more with bringing people together and engaging more progressive emergent learning theory with technology. I think what George and I were arguing is the technology, as it stands today, doesn’t feed that because that’s not what’s getting the clicks, that’s not what’s moving the needle, whatever metaphor that you want to use in that space. MOOCs are a fascinating space to look at this because the MOOC acronym actually comes from an experiment in social connectivist learning from 2008 with George Siemens, Stephen Downes, Dave Cormier and the great Canadian contingent. And then Sebastian Thrun didn’t even talk about it when he became the father of the MOOC in 2011. He was looking at a bold experiment in distributed learning at Stanford. It was a New York Times reporter Tamar Lewin who made the link between what George Siemens had done and what Sebastian Thrun had done and called it a MOOC. And it kind of stuck and that’s where we went with that. So it’s very interesting to look at the hype versus the research and why the hype is what’s pushing the cart when in academia we like to say it’s the research that does. Now you mentioned OER. I want to focus on that because this is a really fascinating space that in the last couple years you’ve seen this remarkable push on open educational resources, open textbooks, and I am a longtime advocate of open education… been attending the open ed conferences that David Wiley has been putting on since 2013. I ran the unconference there last year. So I’m advocate for what they’re doing. But it is interesting to think about their success and what their advertising is. Their paramount success is really focused in textbooks. So while you have the opportunity to edit a textbook and you have the opportunity for a faculty member to build artifacts of knowledge with students and cross collaboration, that’s not what’s moving the conversation today. What’s moving the conversation are these static textbooks that bring costs down for students. And I like to be the voice that’s saying, don’t forget about these places, because I worry that we’ll see something, and you can even see a little bit of it happening now with publishers who are wanting to open wash or green wash or astroturf what open is and say, “Oh, you know, here we are over here at Pearson or McGraw Hill and this is our contribution to the space.” When you look under the hood it looks remarkably different, but if the focus remains on this static text book in that adoption, it’s easy for that to co-opt. So, to answer the question in a more broad sense, I think in general we have research that’s telling us one thing and we have marketing and public relations and cultural ideology that’s saying something else. I don’t want to say we’ve done a poor job, but the two are very incongruent right now and usually it’s that media PR machine that’s pushing things and we’re playing catch-up and it’s easy to lose track of the research in that.

Rebecca: As a public institution like we are, obviously access as in all people should have access to the information is really important, but I always get concerned about the people who are generating the technology pushing it in the wrong direction and people who value everybody having education and learning not being able to push the envelope or push the technology in the direction that we want to push it in. They’re kind of butting heads in some ways.

Rolin: I would absolutely agree with that. And accessibility, it’s really wonderful to see accessibility being brought forward in terms not only of contents but also of learners, and so the stigmatism of having learning disability or an emotional or physical or some need to engage with content, that now is going to be supplemented by an institution. And that we are designing with that in mind. We’re designing a universal access and UDL that we’re engaging in this space, and that’s a really wonderful change that has happened in higher education. When people talk about the cost of higher education, it’s important to note that things like that are bringing the cost up, and I don’t think any of us would want to get rid of any of those pieces. The problem, of course, becomes “What is the historical understanding of this place?” and “What is our institutional objective and our institutional memory versus these changes that are happening in how we think about teaching and learning?” And I’ve done as much as I can locally at Seattle Pacific University to start conversations and meet people where they are and I think we’ve had some some pretty remarkable success in rethinking some of our structures, but we’re a private liberal arts institution not dealing with the state bureaucracies, not dealing with a state system, not dealing with tens of thousands of students, and it becomes difficult to navigate all of that. Bureaucracy is the least worst tool that we have in order to work with that. But it’s also a great straw man or easy fall guy for any problems that come up, and too often problems continue to exist rather than being tackled because it’s tough to think about what the benefit would be going forward.

John: In your article, you talked a bit about the increasing reliance on private vendors, outsourcing tasks from institutions to vendors on the grounds that that opens things up to the free market in some way, but when we look at the provision of most of these platforms, it’s a fairly unstable market. We’re seeing so much concentration in the market where many small publishers have disappeared, and many of the innovative educational technology providers have been bought up by other large firms. We’ve seen many providers disappear.

Rolin: I’m glad you bring that up, John, because if you think back… and John, you and I have a background in K-12 and it’s really fascinating to think about this from a K-12 perspective because in the 60s and 70s, the heyday of educational film, it was the job of the media resource specialists at a K-12 library to work with faculty to be able to understand how these pieces fit together, and so they were working with Encyclopedia Britannica and World Book and Disney and ABC and NBC and the different content providers of the time, who were making educational titles. It’s a fascinating, fascinating time. The computing craze in the 1980s came at the same time as a recession. And the idea being for people to think about how this was all going to fit together. When this was created the idea was that that role was going to be vital, and the change that happened was we got rid of the media resource specialist and believed it will be up to institutions and collaborations to grow this, to make this go further. Educational film died because it became less expensive to make it and the belief was more and more people would make it. What we instead make are lectures and YouTube videos, and there’s value to both but the great expectation that we had on what these contents could be is gone and we’ve lost that. And so there’s an opportunity… I think that if you think about learning as this contextualized and locally defined space… there’s an opportunity to be able to create these contents. But there’s a lot of risk that goes into that. There’s a lot of quality control that we we didn’t necessarily expect. And there are a lot of other costs that came in and so we output to these third-party vendors, hoping that we hit pay dirt with somebody. In many cases those companies are folding regularly or they’re being absorbed into others, the learning management system ANGEL, which was a rather popular system in the early 2000s and early part of this decade got bought out by Blackboard, and a lot of the people who liked ANGEL liked it for the reasons that it wasn’t Blackboard. But to think about, in that perspective, it’s almost impossible today for institutions to take this on their own. There’s just not a return on investment that works for that, so that means you either have to create these partnerships across institutions that historically have been at war with one another, or you invest in the promises of third-party vendor, either a small one that’s telling you what you want but may not be around in a month, or a large one that you have a lot of trust issues… best-case scenario, trust issues on the kind of service you’re going to receive; worst-case scenario, what does it look like what’s happening to your data, what’s happening to your analytics, what’s happening to the ownership of what you’re producing.

John: Going back to ANGEL a little bit, we used to use ANGEL here and in many ways I loved it; it had some really nice features that Blackboard is a ways away from getting. It had automated agents and so forth, but ANGEL was actually created at Indiana University. And one of the problems they had was that in the 2007 recession, state support for Indiana University was cut significantly and they owned this big cash cow that they could sell off… and so we lost a fairly viable provider in large part because we see in general a decline in federal and state support for higher ed and it puts institutions in a difficult bind where they often outsource more and more.

Rolin: Absolutely and ANGEL is a good example of that. You can go into the 60s with Plato. It was a Midwest State school that was doing Plato. I think about Quest Atlantis was another great thing that gets mentioned in all sorts of progressive educational research that was funded by grants and the funding dried up and there was no way to sustain it. The MEK Corporation, the people who created Oregon Trail and super munchers and that educational software, where is that today? And I work in educational film, I think about it from that perspective. How have we lost those film providers and now we just think that content will fit in for what was historically this really rich and vibrant place to engage, but we’ve lost it on the software side and the teaching and learning side, and we’re outsourcing so much of what we already do to the free market. Certainly there is benefit to that, but at what cost? And I don’t think there’s been enough analysis of what that cost has been.

Rebecca: So, you’re really bringing up the idea that EdTech is not neutral and that there’s competing goals. So, technology companies are obviously trying to make money and then we’re trying to have students learn, ideally. How do we help those things become more aligned? What needs to happen so that we’re not at odds but that we actually find alignment and essentially make the world better which, in theory or in PR, is what’s being said?

Rolin: I think for the first piece, Rebecca, is understanding that EdTech is not neutral, and once we have that foundation, that we understand what we’re using and what it relates to, we can be much more thoughtful about how we use it. So, I am a faculty member but I am primarily an administrator and I use our learning management system here on campus. I could go off the grid; I could try and do something completely different, but it’s important to show support of what we’re doing with an understanding of how that works, and so we have our LTI, whether it’s anti-plagiarism software or proctoring software and all these pieces, and as a scholar I can have criticism of that. So, as a practitioner, how do I help my students understand what they’re getting into with this and making informed decisions about that space. So, I think it really comes into this idea of understanding the learning environment and what my job is: to control… to create pathways for students to be able to learn and to scaffold that and to fill knowledge gaps and help people expand their zones of proximal development, to go Vygotsky on us. I need to cede some of the “management control” that goes into: “Well, we use this, and this is what’s going on.” But, let people make thoughtful decisions about what’s happening with the technology that they’re using. My son in K-12 can opt out of state standardized testing and that’s a decision that’s made as a family. Dealing with college students, we don’t give them the same rights to opt out of some of the technologies that are being used. So, I think about the proctoring technology that was out of Rutgers that was running in the background on computers using retinal scans to engage people and that’s just what you get when you sign up and there’s no informed decision or consent. There’s not even a Terms of Service that you have to read through and then click a button that you don’t actually end up reading. Can we have more of these conversations? Can we be more informed? Because, if we have that information, we’ll be much more thoughtful in the decisions we make on what vendors we choose. The vendors will then have to respond to that market in making software that is more open or more transparent in its use and the application of its data. People have to make a profit. Education has to make a profit. We can marry those pieces together and have a somewhat vibrant marketplace that is serving the learning of students. I think the issue is, right now for EdTech, the student is the customer, not the buyer, and so there’s a gap there that if we have students much more involved in all aspects of that and involved in those conversations, that becomes part of learning experience. I think that that could see some more direct improvements than just generally saying, “well, we’re thinking about this and we’ll continue to think about this going forward.”

Rebecca: I think one of the things I’m sorry I was gonna pick up on the threat of audience but okay

John: You mentioned keeping students in the zone of proximal development. One concern with standard lecture based teaching is that students are pretty much forced to move along at one pace. What’s your reaction to adaptive learning? Is that something that could help, or are there some limitations that we should be concerned with there?

Rolin: I mentioned Plato earlier, the first personalized learning network—basically adaptive learning. I think that there’s a wonderful opportunity for adaptive learning platforms and for being able to bring in competency-based education into spaces. Thomas Edison University has an amazing program that is built on the idea of competency-based education. Alternative pathways and moving away from “seat time…” there’s definitely viability for that. It just has to be thoughtfully executed… and what is the purpose of the learning that is happening in that space? So, if I think about a School of Health Sciences, I think about nursing… if I’m going to get a degree in nursing, there are really specific things that I need to do. I need to pass very specific exams that are proctored in very specific ways that expect me to maneuver in very specific fashions. The seat time is important for that, and that space there needs to model what I’m going to be getting into in an industry. So, I can’t be an intrepid change agent saying, “No, this needs to be social learning theory,” it needs to be what takes off in nursing. No, nursing students need to be able to be successful in the expectations of their field. There are the places that adaptive learning can fit into that. You see it in foreign language in many cases and the supplements that are happening there. Keyboard instruction is another one where that comes in. So, how could we use the best of that to be getting into other spaces. I think some things that we could explore there, as we rethink disciplines and what works for economics or film studies or education. I think there’s some places with that critical thinking… that soft skills, 21st century learner stuff… where the adaptive learning could come in…. so, misinformation, media literacy, fake news… big hot topic and I wrote an article in 2017 that got a lot of attention (not all positive) saying that fake news wasn’t the problem; it’s not what’s ended up resulting in Brexit or the results of the 2016 election. But it was a small part of a landscape that had been neglected and was suffering from blight for a long time because of how we teach this stuff. And I wonder if thinking about digital literacy, which we’re all expected to incorporate into our classrooms, if that could be served by an adaptive learning platform that engaged content, theory, criticism and evocative video to be able to move somebody on a pathway. That’s a place where all of us could come together because there’s no discipline that owns information literacy. It’s built out of information literacy in libraries. But librarians often are the most flexible in thinking about how their craft is going to change. Places like that, critical thinking, the stuff that we’re all told needs to be imparted to our students, but it’s just kind of this hooray concept of “Oh yeah, let’s have this.” Maybe those are the places to really focus on the successes of that and then the research can help define how economics could engage adaptive learning or film studies or education or cell biology.

Rebecca: One of the things that you said earlier is that students aren’t the audience of or aren’t the buyers of the technology. And I wanted to shift that a little bit to thinking about audience and who things are designed to and I think you’re right in that tech companies are selling to administrators who are the ones that are doing the buying and the purchasing who are trying to facilitate certain things, keep cost down, et cetera. How do we shift that conversation so that tech companies start to see the end users who are really students and faculty as the audience of their marketing, of their conversations, and actually shift things so that they focus on the research around learning and improve learning rather than just facilitating something?

Rolin: The key part of what you said, Rebecca, you kept going back to learning, and I think that’s what’s missing in these vendor conversations. We have this idea of what learning is and if I’m a vendor and have mounds of data I can point to achievement and I can point to the things that I measure in my platform that lead to that achievement, and for most instructors that’s not evidence of learning. That might be a small part of it but there’s a much larger picture. And we do a poor job of amplifying that research. That research doesn’t play well in mainstream media, so how do we do a better job of sharing that research. What constitutes learning? What makes learning happen? I love going to YouTube and looking up “do-it-yourself how to fold a fitted sheet,” ‘cause I don’t do a good job of folding a fitted sheet. And I’ve tried numerous times and I still struggle, so that video isn’t the piece that I need to be able to move me there. Now, there are other pieces, potentially making something for dinner that I would be able to replicate in that space, but replication again is not learning. So, even an understanding of: What is learning? What does that mean? How do we define what it is to have learned something? What it is to be a learner? “Lifelong learner” is a commodified term at this point when it really should be a state of being for, I would say, pretty much anybody. How do we engage those conversations? That’s a really complex question. In terms of an institution, how do we bring more student voices into these spaces? and not in a placating fashion of, “Well, we now have a student sitting on this committee.” But to really understand how that student can canvass and caucus with their peers to be able to provide us information. In the same way that if I’m serving on a faculty committee so that I’m meeting my service requirements, but if I’m getting something out of that and I’m giving back that’s a wonderful experience. A student serving on a committee… how can we provide them what they need for their CV or for their graduation in a way that what we’re asking from them they can provide us? …and not just sitting there and saying we’re listening to what they’re providing but often not doing that. So, more student voices in those decision-making processes… more research that’s going to be shown to the vendors… and I think we need to be more thoughtful about those vendor conversations. One thing we do here at Seattle Pacific University, we actually have… with our faculty… we provide entry points for vendor assessment when we do test demos. What are some of the things that faculty who are very interested in being part of these conversations but are coming in the middle of it… what’s happened so far and what are questions they can ask we’ll be able to draw out their expertise and what we need from the vendor? The more of that that we do, the better. I know the California State University systems doing something similar on automating a great deal of the pre-production that goes into assessing vendors so that the stakeholders who are asked these questions have that information in a repository and can access it very easily to make an informed decision, rather than it being brought down from higher administrators… lots of information that’s tough to digest in a small period of time.

John: What do you see as some of the most promising areas where EdTech has some potential?

Rolin: Excellent. My wife loves to say it’s very easy to show why you’re against something, but you get into this business to be for something. Get in education to really share the diffusion of knowledge and help people rise to heights they didn’t know were possible. Fall in love with things they don’t yet know exist as Dr. Gary Stager would say. So, what are some of the positive things that are happening? I really think there’s a chance for a revolution in multimedia. Here’s this podcast that is happening in an interdisciplinary fashion in SUNY Oswego bringing in a faculty member from a completely different perspective who serves an administrator having this conversation. More and more of this is happening. Before we went on the air, John, you were talking about editing your two channels and making sure the sound was right and all of these skills that were picked up that don’t come when you get your PhD in economics. So, as these pieces are coming in how do we value that and so you see more administrations and more governance bodies that are providing value to that. We were talking, Rebecca, about open education. The University of British Columbia now will recognize the editing of OER materials as part of promotion, tenure, and review for their School of Education. That’s a phenomenal change that has happened in how we think about the role of the faculty member as a distributor and conveyor of knowledge. I think people are being more thoughtful at this in this day and age. But, you did ask specifically about technology, so I need to pivot back there for a second. I love some of the stuff that’s happening in virtual and augmented reality. Some of the really interesting research that’s happening there. I like the drop-in classes that are happening around special interest topics that often, in many cases, are informal or non-formal learning spaces. Museums putting on areas where you can come in and learn in a certain time. Kind of a gap between a human experience and the MOOC but you’re kind of doing both at the same time. I think that the opportunities that we have with free and ubiquitous devices… and I don’t mean free as in cost but I mean free as in access to… and especially in the West with broadband capabilities, what’s going on with video and how we can better engage that and as more people learn about nonlinear editing and cinematography and camera and sound. What are some of the resources we’re gonna build there? Opportunities for students to share their knowledge is the main thing that comes forward for me. WordPress, which runs, what, a quarter of websites in the world is getting incorporated more and more into courses. You think about the WordPress camps. There’s a great thing happening in New York City coming up on managing the web and how you can work with students to be able to be creators and owners of the knowledge that they’ve created and what the implications are in that space. It is kind of a tough time to be bullish on technology if you think about Facebook and Google and Apple and Amazon and antitrust that’s going on in all of those spaces. And so a lot of the stuff that I’ve mentioned here is somewhat renegade, somewhat guerrilla even. So where are those opportunities to engage with environments through online? It comes back to community in that space. How do you find and foster that in your networked identity. There are opportunities and more and more that’s going to be happening. I think that we’re in this storm and after this there will be, not a calm, but there will be an opportunity to look at what’s been broken and how can we build and improve going forward, and I think that we’re getting to that point sooner rather than later.

Rebecca: We generally wrap up by asking what’s next. You talked a little bit about what’s next in EdTech, but what’s next for you?

Rolin: What we’re doing at Seattle Pacific University around academic innovation; we have been offering seed grants to faculty for the innovations that they see as necessary, whether that’s in a classroom, in a department, in a college across the entire campus working out in the community. We provided 45 of those over a two-year period, so almost a third of our faculty directly affected by those and it was very powerful, so we’re taking that a step further and engaging at a school or college level and finding innovations that we can then potentially put into day-to-day operations. So, one of the things we’re thinking about actually are adaptive courses. What would it look like for a course in nonlinear video editing to be almost entirely online. And you think about that with lynda.com. I can go to lynda.com and take a tutorial in using Final Cut or Adobe Premiere. What am I getting out of being in a higher education institution that I can’t get off of Lynda? That’s what we’re exploring: what does it look like to have that scaffolding and support that’s directed toward a greater understanding of knowledge? Other things are definitely around social justice. We are seeing at Seattle Pacific an increase in first-generation and historically underrepresented students who are coming in with the same scores as their peers but, once they get here, we’re seeing a discrepancy between where we would expect them to score and where they are scoring. And we have statistically significant research showing that that is the first-generation student demographic. So, what are some pieces we can put into play to be able to help them with their success? Because it’s not a matter of not being able to do it; it’s a matter of the structure and the culture is not befitting them. So, we have a program called the Bio Core Scholars where we are working with tutoring and mentorship on research, community, and knowledge gaps to be able to move these students. We’re in our fifth year of this program, we’re looking at expanding it. But we have brought the students up a full standard deviation in their scores, and we had an 86 percent success rate in graduating people to pre-professional health programs, which is just a remarkable number. Personally, I’m really big on what we can do with educational video. What are some of the things instead of it just being a lecture? I love Skunk Bear on NPR, taking a topic and in three minutes doing an entertaining, evocative dive into that topic, but again, that’s Oliver Gaycken would call “decontextualized curiosity.” How do we take that and actually put it towards learning? So, I’m looking at what does it look like to have lecture mixed with a very product based assessment mixed with more evocative filmmaking to move people into learning? How does that all go forward? It’s a very exciting time to be in higher education, even with all of the things that are looming on the horizon.

Rebecca: Certainly doesn’t sound like you’re gonna be bored any time soon.

Rolin: Not at all.

John: Thank you for joining us. We look forward to hearing more about this.

Rolin: John, Rebecca, thank you guys for having me.

Rebecca: Thank you.

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John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts, and other materials on teaforteaching.com. Theme music by Michael Gary Brewer.