A Media Literacy Lesson that Matters

As we teach 21st Century literacies, teaching copyright, copyleft, public domain, and other copyright friendly designations like those from Creative Commons often is met by disbelief if not resistance by the my so-called "digital native" students. (They may be native speakers but their digital literacy sometimes has as many problems as their English grammar!)

In November I noted the Center for Social Media recently release of the "Code of Best Practices in Fair Use for Media Literacy Education" which will help teachers and students in the United States navigate copyright in the digital age. Now there's an interesting case at hand.

While working on video projects, my students point to all of the music and image that is being used on YouTube, while I point to the same as copyright infringement.

"But I bought the album, myself" students argues when I question if one got permission to lay down a commerical track, and "that gives you the privilege of playing it for yourself, not re-posting it in a video on the Web" is my response.

"How do you know if a photo is copyrighted if it doesn't say?" another student asks. "Assume it's 'all rights reserved," I remind. "Ask for permission," I coax. "Whenever I've asked for a photo to use in a non-commerical project I've received a "yes." A collective harrumph, says the digital native as he tromps back to Creative Commnons/Flickr.

Having done lessons on propaganda and advertising in the past, I know sometimes it's difficult to find examples from popular culture that students can understand and care about. Enter the Shepard Fairey /Associated Press /Mannie Garcia squabble over the famous and "Hope" poster of Barack Obama's likeness.


The Associated Press has claimed rights over a photo taken by free lance photographer Mannie Garcia and sought damages from Fairey who found inspiration in the photo for the iconic poster. Fairey has peremptorily sued AP citing "Fair Use" protects his work.



The upcoming ruling on this case may affect creative media use of intellectual property in ways important to digital natives (and immigrants) who use artistic content: how we download, remix and upload media in public spaces including the Internet.

National Public Radio's Fresh Air with Terry Gross presents a synopsis of all sides with fascinating interviews with Shepard and Garcia, a couple of official statements by AP, and commentary by Law Professor Greg Lastowka. All presented in nuggets of audio that can used easily to illuminate the key points and prompt discussion with students about media, artist expression, and copyright. The contemporary hipness and recognizable nature of the Hope poster, the clarity with which Shepard, who started as a skater-street-artist, talks of appropriating images for his graphics, and the implications hanging in the balance for our students and 21st Century media use combine to make this case perfect for students to consider. Thanks to Ms. Gross for her thoughtful, logical line of questions that layout a story's subtleties and nuances.

Obviously this story stands on its own for a lesson on media literacy. Also, it would work in with any study of propaganda--think Animal Farm or 1984. Fairey makes insightful comments on propaganda, the arts, and consumerism throughout. You'll find more of his iconographic street-graphic art at the Obey Giant website, which is a topic of discussion that brings up Orwell as an influence of Fairey's politic.



Image credit: Photo by Mannie Garcia for the Associated Press and Graphic by Shepard Fairey.

Creative Stuff

Something Ken Robinson writes about in his book Out of Our Minds: Learning to Be Creative has been in my head since I read it about a year ago. He describes the curious aspect of research in English studies as compared to research in say, as he does, physics. At least at the university level, physics profs are expected to do science, whereas English teachers are expected to research about English.

"Professors of English are not employed to produce literature; they are employed
to write about it. They spend much of their time analyzing the lives and
drives of writers and the work they produce. They may write poetry in
their own time: but they're not normally thanked for doing it in university
time. They're expected to produce analytical papers about poetry.
Producing works of art doesn't count as appropriate intellectual work in an arts
department: yet the equivalent in a science department, doing physics or
chemistry does" (65-66).

Point taken. At the high school level it's much worse, isn't it. As a teacher do more talking about English, than do English. That is, I research, and mostly secondary source research at that, on texts, authors, composition, grammar, etc.

Most of the time the curriculum I teach in asks my students to do the same--except for a semester or two when I might have section of Creative Writing or for the occassional assignment in my literature classes when I ask for a script or narrative piece.

A colleague of mine, Mary Culbertson-Stark, art teacher, and working artist, once asked me about my stuff. By this she meant original writing, presumably fiction or poetry, particularly what I going to be working on writing over the summer. I was flattered by the idea that she thought I had stuff. But I shrugged it off. Truth is, I've had a few poems and some short stories, and a couple of essays. Not much stuff.

Of course what concerns me is not only how little writing, acting, storytelling, and videoing my colleagues do ourselves but also how little we ask of our students. Much of literature study is done as a study without any attempt at writing, outside of a personal response of a paragraph or two, or a once a year ritual called the reseach paper. A dearth of writing of any sort by most of us English teachers exists. Some don't even read for pleasure.

I can hear the cry "where the time!" (I'm not sure I have the answer. It's been nearly three weeks since I've even posted to this blog.) We're are already teaching too much, and "covering a subject in instruction" is frequently just that covering, as in hiding and opaquing. Yet, I feel a bit of a hypocrite if I am not reading and writing while asking my students to do so. I challenge you, dear teacher-reader (as Dickens would say), to consider your own practice, in regard to yourself and your students. Begin to fit in the creative work in your life and your teaching and you students' lives and learning.

For every authentic project of writing, acting, or other creative work, about three other units must hit the dustbin. Isn't trade worth it? Our students are going to be called to be creative as much as they are going to be called to be analytical, so teachers might best get on with it and celebrate both. After all, can we teach creativity without critical thinking?

Surely, we've thought we could teach the analytical domain without the creative. And succeeded. On the other hand, creativity skills may, in fact, supercede anything on Bloom's taxonomy (Anderson & Krathwohl, 2001). Adding doing your discipline to your own practice as well as to your curriculum can only lead our creativity and that of our students to deeper, more meaningful places of inquiry.

When Tech Works, It Works Wonders

My previous post was as close to a rant as I plan to get in this blog. Rants usually have an audience of one. Let me make amends, dear reader, by noting some of my wonder when it comes to technology working that pulls me through. I've had several parallel experiences of dealing with online technology-in-education; here I share three.

After six-to-eight hours of reloading my students usernames and passwords to our Edublogs-based blog and then getting my students in successfully, I'm reaping the rewards of the power of scholarly dialogue in our literary discussions. You can take a look for yourself at our English 12 Honors Blog (if you are reading this post within 6 months of its posting). These are great first attempts of students finding their ideas and their audience online. I'm most impressed by the quality not only of the posts but also the comments that go beyond "way to go!" and "I agree." Next I hope to see bloggers bring research and links into support and extend their findings and support their claims.

In addition, for the past few months to I've also been beta-testing an online writing, grammar and research program from Pearson Education. The product is called MyCompLab. It's a poweful, comprehensive web-based resource in grammar, writing, and research and features a dynamic, interactive, collaborative place for composition, peer-review, tutorial, and assessment. We've had some hurdles to surmount with such a rich and complex project. This summer the new MCL was launched and my colleagues and I have been trying to get started with the program, not without several hiccups. Nothing more frustrating than being ready to work in a writing center (after pulling favors and making deals with other teachers for the scheduled time) to not have the students be able to log in. "Okay, class back to the regular classroom!" But in the past week, obstacles flattened, it's been exciting to see students engaging with the media, each other, and me in this online environment.

A particular labor of love has been working with the education department of Carnegie Museum of Art, located in Pittsburgh, Pennsylvania, especially during the current exhibition of the 55th Carnegie International "Life on Mars" (now until January 2009). My pet project has been to help teachers with online resources for school visits to the museum, or virtual visits. Again, collaborating with web developers, IT departments, artists, curators, funders, and fellow educators can resemble a instructional technology tower of babel; we all have a common goal but speaking a variety of languages. Sometimes it seemed like that we had aliens-among-us, some sort of educational end users encountering technicians from a different world who we depend upon us launch us into the blogosphere. (I'm sure this resonates with many teachers and IT departments throughout the universe.) After more than a year in the making. the International's online complement is offering unprecedent resources to reach out to students, teachers, and the general public via the Web.

Not only is Carnegie Museum of Art inaugurating it's first blog for this exhibition, which celebrates the finest contemporary art from around the world, but also it has no fewer than five! Museum staff sends its Signals blog to an general public audience who can send back blog posts in Soundings. A group of teen interns offers Zero Gravity blog. Teachers share ideas for the classroom and the exhibition on Ideas & Updates blog. And finally, teachers and students can augment their school visits with private or public blogs devoted to their own school group.

With this many opportunities for writing and reading online in response to one of the world's most significant and historical art traditions--the Carnegie International--it's been worth sweating the details of how to tweak the tech to make it work. My students are gearing up for their visit later this month. We use school-museum visits to inspire narrative writing and other compositions. Stay tuned for their posts.

I invite teachers from around the world to virtually visit the Carnegie International and the works of forty of today's top artists, the "old Masters of Tomorrow," with their students. And if you are in the Western Pennsylvania region, plan a school visit. Leave your teaching suggestions in Ideas & Updates and create a classroom blog with your students via the Classroom Resources. They'll be sharing their ideas on the art of their age for audiences now and in the future.

You know the cliche about "teachers touch the future." Well, when it comes to instructional technology, it's great when the future taps you back.

Image: View from inside Richard Serra's cor-ten steel scupture Carnegie, located in front of the entrance to Carnegie Museum of Art, Pittsburgh. (cc) 2007 Charles Youngs. Some rights reserved: BY-NC-SA.

The Power of Art to Get Inside a Play

Today I included a favorite lesson, one I learned from Anthony Cappa, last year's student teacher in my class. The lesson involves Henrik Ibsen's play A Doll House and the work of his contemporary and acquaintance Edvard Munch. By examining a half dozen of Munch's works through the lens of Ibsen's play, students unfold both--sets of images and scenes from the play.

We start with "The Scream." Familiar territory and a moment of recognition. They find connections that bridge the playwright's realism and the painter's expressionism. Themes, moods, characters, episodes, and bits of dialogue resonate outward from Munch's pictures.

By the time we get to Munch's portrait of Ibsen himself, we need the momentary chuckle over his mutton chops to shake the despair, longing, and alienation that stem from our better understanding the meaning of what Nora, Torvald and all go through.

Art has that power. Couple drama with painting--wow!

Publishing Le Blogue, La Raison d'Etre

A colleague with whom I've been working on student blogs, Nicole Roth, recently finished her doctoral research on blogging and its effects on high school writing. Her study indicates that despite an initial drop in proficiency that we guess might be accounted for by the newness of the experience, a learning curve of how-to use blog technology, or perhaps a hesitancy to write for a real audience after writing for "just to get it done" across so many years of schooling, soon the students were surpassing their peers whether they were writing in long-hand or via word processors. So our hunches about students writing more and writing for publication--and instant publication at that--leading to greater proficiency are confirmed. More on that and Nicole's study in a future blog.

What got me thinking about this was something I heard in a screencast from Elizabeth Perry's blog. Elizabeth Perry is a fellow educator, blogger, author, artist, and last but not least fellow Pittsburgher. In her screencast she eloquently describes the process of how she came to blog her daily sketches in the Carnegie Museum of Art in the aesthetically-tuned museum drawing project. It's worth some time spent in mulling over her work. Lovely drawings. For those folks who know the museum, will be the recognition that she has caught the familiar, natural order of the place in her sketches. Perry comments on a motivation of her blogging that I think is integral to why it might works so well. She reflects:

"Once I started, the public and shared nature of that process made me want to keep going. The response has been encouraging."

I find myself connecting with this sentiment with regard to my own and my students' blogging experiences. I've blogged now for a month and I feel a sense of small, quiet accomplishment every time I put my two cents in. My sense is that this feeling comes not from the reflection inherent in writing, and the thinking at the point of utterance, but also because it is not just for myself. I don't know if will always be so. But I know it is good for today. My first motivation to blog was to find out if I could hack it. There I was asking students to do something I had not attempted, other than what comments I had offered in our class blog. Whether or not I have an audience or am rattling on in an empty room seems to matter not. My keypad needs the exercise. Wait! someone lurked in from London this week! There's the adrenaline rush and I'm good for another 7 days.

I can remember as a kid I would spend all day making art projects. I had piles of drawings, pastings, cutouts, paintings--you name it, if it could be made with construction paper, markers, paste, crayons, pencils, cotton, pipe cleaners, ad infinitum, it was in my pile. I created one or several art pieces a day. Yet, I still remember having the realization one day at age 4 that I was wasting my time because no one was going to see the pile. I gave up the practice and tossed most of it away. And although I continued to dabble with graphics on through the rest of my life, and copped an job at an ad agency because of it, and have a strong appreciation for art, as a boy I never imagined an audience. I stopped for lack of a public. So maybe would not have become an artist. After all, artists claim they create for themselves, right?

And I at 4 concluded an audience was my art's raison d'etre and mostly ceased to create. For this post, I pulled out a drawing from kindergarten. (Note my teacher Mrs. Pullings' encouragement at the bottom.) Like a chronically ill patient that manages to live to see the cure, it's a survivor to the day of personal, global publication. What if I could have published my pile in 1968! Who knows? Maybe my art would have continued. Ah, well, not meant to be.

Yet, I consider the empowering nature of Internet publishing to our students and how it contributes to the depth of literary analysis, synthesis, and composition as they make their own voices known on our class blogs (By the way, the reason there is no hyperlink to the class blogs is that for the time being anyway, they are closed-forums, for security concerns, and therefore I am unable to share). But rest assured, for all their groaning about "having to blog," my students are gaining in their writing and thinking because of the practice and even more so because of the publishing, not to me, but to each other. They have a public that matters to them and I have the wisdom of a 4 year-old boy telling me so.