IIIF in the Curriculum: Vertical Interoperability & Curatorial Pedagogy 2021 IIIF Annual Conference

IIIF in the Curriculum: Vertical Interoperability & Curatorial Pedagogy 2021 IIIF Annual Conference

Show Video

CHRISTOPHER GILMAN: Thank you josh. CHRISTOPHER GILMAN: And thank you to all the other organizers of the. CHRISTOPHER GILMAN: Of the conference, and thank you. CHRISTOPHER GILMAN: triple if.

CHRISTOPHER GILMAN: I am new to all of this i've been sort of actively engaged with AAA up for somewhere on the order of six months. CHRISTOPHER GILMAN: So I thought i'd bring to it a perspective. CHRISTOPHER GILMAN: A little bit from my own background in Slavic languages and literature's and apply a set of. CHRISTOPHER GILMAN: concepts and principles from literary and poetic theory. CHRISTOPHER GILMAN: Take it as, as you will. CHRISTOPHER GILMAN: So, first I want to say.

CHRISTOPHER GILMAN: By way of apology, that this is not a slideshow I put together my presentation in skylar and largely because I, I believe that, in a certain sense, the kind of. CHRISTOPHER GILMAN: high stakes communication at the beginning and end points of a lot of academic discourse occur in Microsoft word and PowerPoint and, to some degree. CHRISTOPHER GILMAN: face the power of of high quality interactive media such as as triple if.

CHRISTOPHER GILMAN: And essentially keep it kind of marginalized. CHRISTOPHER GILMAN: i'm going to. CHRISTOPHER GILMAN: run you through. CHRISTOPHER GILMAN: Hopefully, four sections theory. CHRISTOPHER GILMAN: Some practice. CHRISTOPHER GILMAN: couple examples of pilot curriculum that just concluded at UCLA and if time permits to share a.

CHRISTOPHER GILMAN: brief kind of manifesto of sorts found for thought. CHRISTOPHER GILMAN: And in the process, I hope to to get to basically two key points, one of them is that reuse rather than use. CHRISTOPHER GILMAN: Is the critical intellectual practice at the heart of an emergent digital curriculum using triple I haven't kindred technologies and the second point, which is somewhat obscure at this point, but hopefully i'll. CHRISTOPHER GILMAN: tease it out is vertical interoperability enables the projection of curatorial practice into curricular learning activities so that's kind of involved idea, so I thought I would quote my favorite somewhat obscure poetic theorist Roman Jakobsen.

CHRISTOPHER GILMAN: From a text language in operation, about the word never more in Edgar Allan poe's the Raven and bear with my my monotone i'll try to. CHRISTOPHER GILMAN: Give a little dramatic. CHRISTOPHER GILMAN: Quality to this to this reading. CHRISTOPHER GILMAN: Recently aboard a train I overheard a scrap of conversation, a man said to a young lady they were playing the Raven on the radio. CHRISTOPHER GILMAN: And old record of London, after dead, for years, I wish you had heard his never more, although I was not the addressee of the strangers whirl whirl message I received it nevertheless and later transpose this veterans first into handwritten and then into printed symbols. CHRISTOPHER GILMAN: Now it has become part of a new framework, my message the perspective reader of these pages.

CHRISTOPHER GILMAN: The stranger resorted to literary quotation, which apparently alluded to an emotional experience shared with his female interlocutor. CHRISTOPHER GILMAN: you're referring to a performance allegedly transmitted by broadcast a dead British actor was the original Center of the message addressed to whom it may concern. CHRISTOPHER GILMAN: He interned had merely reproduced that ground pose literary message of 1845 Furthermore, the American poet himself was extensively only transmitting the confession of a lover. CHRISTOPHER GILMAN: lamenting his deceased mistress perhaps the code himself perhaps some other man real or imaginary. CHRISTOPHER GILMAN: Within this monologue the word nevermore is attributed to a talking bird with the further implication that one word uttered by the Raven had been caught from some unhappy master as invalid colleague burden of is customary that's.

CHRISTOPHER GILMAN: that's the same single word was successively set in motion by the hypothetical master the Raven the lover the poet, the actor, the radio station, the stranger on the train and finally by the presence author. CHRISTOPHER GILMAN: And I should note that now, I am speaking these words to you from a scale or presentation over zoom at a conference. CHRISTOPHER GILMAN: Note that. CHRISTOPHER GILMAN: In all of this Jakobsen. CHRISTOPHER GILMAN: never mentioned anything about the word nevermore being consumed. CHRISTOPHER GILMAN: And that's, the key point here is that never more moves from context to context in the the transmission of all kinds of discourses and he goes on in this.

CHRISTOPHER GILMAN: In this article to analyze the many ways that the word never ever more within the poem itself moves from moment to moment fundamentally changing its meaning significance as well as function as a speech act. CHRISTOPHER GILMAN: want to tease out one one other idea from yacht clubs and which is in many ways a rite of passage for students have structuralist literary theory the poetic function projects, the principle of equivalent from the axis of selection into the axis of combination. CHRISTOPHER GILMAN: He goes on to say equivalence is promoted to the constitutive device of the sequence So what does this really mean well let's go to the Raven itself and here is a beautiful illuminated manuscript in AAA. CHRISTOPHER GILMAN: which we can zoom into examine.

CHRISTOPHER GILMAN: and see the beginning once upon a midnight very while I ponder week and we're why pondered weak and weary. CHRISTOPHER GILMAN: So the point that Dr Carson was making is that the two words dreary and weary occupy a relationship of substitution, or they rhyme that the latter part of the word is identical. CHRISTOPHER GILMAN: And that relationship is horizontal, whereas in the poetic text it's it is projected onto sequence, so we hear a dreary first and were a second.

CHRISTOPHER GILMAN: And this principle pervades poetic language in many different ways that you could send explored in his career so you're committing to a certain extent, his. CHRISTOPHER GILMAN: crib this idea from Fernanda so Sir who introduced into linguistics the fundamental distinction or orthogonal distinction between the axis of simultaneous simultaneity. CHRISTOPHER GILMAN: And the axis of successions that is language according to disorder, this is sort could be understood as a system in one sense, but also a system that transitioned over time historically.

CHRISTOPHER GILMAN: But in so serves use these were orthogonal in the sense that they were not related to each other, the system was was. CHRISTOPHER GILMAN: integral at distinct moments in time and what Jakobsen brought into it is somewhat like the poetic equivalent of theory of relativity whereby when X is is projected or transposed onto the other. CHRISTOPHER GILMAN: So. CHRISTOPHER GILMAN: I have a sense that in thinking about and developing triple if the the the lion's share of focus and attention is on. CHRISTOPHER GILMAN: What I would call horizontal interoperability, that is, the the ability to substitute objects and items for one another, from various institutions, this is a complex and extraordinary task that is already well on on its way to. CHRISTOPHER GILMAN: To achievement and what i'd like to focus on is the vertical interoperability conceiving of a process that is perhaps analogous to the vertical integration of industry, where you have.

CHRISTOPHER GILMAN: In, for example, and monopolies control over raw materials production process, distribution and so forth. CHRISTOPHER GILMAN: But in. CHRISTOPHER GILMAN: In inspired by rockets and to think about the transposition of one logic to the to the other axis.

CHRISTOPHER GILMAN: Okay. CHRISTOPHER GILMAN: So all of this would be a pure abstraction, but it has some practical dimensions or qualities to it as well, and in that sense i'm just going to show a quick example of. CHRISTOPHER GILMAN: How a triple if resource might find itself in multiple contexts, with with various functions in an educational use scenario so, for example, one might. CHRISTOPHER GILMAN: pull a triple if resource from the smithsonian and view it in mirador for researcher, this is fantastic because you can zoom in and see all kinds of details. CHRISTOPHER GILMAN: In an educational setting it raises all kinds of issues and challenges and problems which is, for example, how do you get students to actually do something where this, how do you know how long it look at something, what do, how does deep zoom translate into learning activity.

CHRISTOPHER GILMAN: So, in the next context in this vertical integration, I suggest that the learning management system be deployed very actively and this case it's a screenshot from canvas i'll show you in a in a second example from from moodle where. CHRISTOPHER GILMAN: mirador the. CHRISTOPHER GILMAN: The item and other sorts of things can be dropped into the functions of learning management system. CHRISTOPHER GILMAN: And then, as a as a third possible stage, the use of AAA of content in the same class that uses that same learning management system in a digital project such as gaylor as i'm using right now.

CHRISTOPHER GILMAN: to import. CHRISTOPHER GILMAN: triple if resources and make use of annotation and. CHRISTOPHER GILMAN: Fantastic performances within triple I have to pull up exactly the portions of an image that you that you need. CHRISTOPHER GILMAN: So we tried that approach at UCLA in to pilot courses.

CHRISTOPHER GILMAN: History 97 see working with Professor Miriam mclendon English historian and society in genetics 182 with Professor channeling do Giuliani. CHRISTOPHER GILMAN: And the basic model that that that I helped support in this in this process with something called collections based research in the curriculum and. CHRISTOPHER GILMAN: Probably can't communicate all the nuances but just by way of contrast with a what I call this sort of standard or syllabus driven model of curriculum design. CHRISTOPHER GILMAN: course content is conceived somewhat on the basis of a text to be written to be read or written, and that is. CHRISTOPHER GILMAN: a string of assignments over time subject matter topics organized by chapters, etc, and that the act of designing curriculum is somewhat analogous to the writing or reading process and the assignments themselves are often written texts.

CHRISTOPHER GILMAN: That, by contrast, the collections based. CHRISTOPHER GILMAN: Research in the curriculum model uses a curatorial approach, that is to say, to think about a finite set of curriculum materials often nonlinear often object based. CHRISTOPHER GILMAN: That allows students to deepen their engagement with subject matter incrementally and to do it in dialogue with themselves and over a series of. CHRISTOPHER GILMAN: inquiry and and production steps so, for example in history 9070 students pulled from items from the Clark libraries digital collection of. CHRISTOPHER GILMAN: annotated books, they use those and and in the learning management system also learned relevant technologies and then they culminated in a.

CHRISTOPHER GILMAN: In a scale or project that imported those items and use the importance of triple if and scale or. CHRISTOPHER GILMAN: Both for the purpose of information literacy proficiency but also to deeply examine subject matter and I will. CHRISTOPHER GILMAN: Take a quick peek at a sample page, so you can see, these are materials that were imported as links into scanner from various sources, this is from Yale Center for British art, this is from the talus fear.

CHRISTOPHER GILMAN: instance of the Clark library collection and then, as part of their analysis students. CHRISTOPHER GILMAN: Imported fragments using the standard triple if you try. CHRISTOPHER GILMAN: To focus exactly on what it is that they that they want to. CHRISTOPHER GILMAN: and, similarly, in a course in a different discipline doing robust annotations on media that is sourced from from these. CHRISTOPHER GILMAN: High quality.

CHRISTOPHER GILMAN: of collections at cultural heritage and scientific institutions. CHRISTOPHER GILMAN: So, as they went through this process, they are both learning the technology and. CHRISTOPHER GILMAN: And they are. CHRISTOPHER GILMAN: deeply diving into into the subject matter.

CHRISTOPHER GILMAN: So. CHRISTOPHER GILMAN: As. CHRISTOPHER GILMAN: As I sort of stopping and think about what is the important or relevant I think there are a few key points that I like to tease out as a sort of a manifesto of sorts that also has practical application, firstly content management is learning management that the ability to to handle. CHRISTOPHER GILMAN: Rich media content metadata. CHRISTOPHER GILMAN: in various contexts to critically analyze it and then and then share it with the rest of the world, these are all key proficiency.

CHRISTOPHER GILMAN: Secondly, that curriculum is a sequence of required learning activities, not an exploration of of inspiring material I think that's a real challenge when we think about critical. CHRISTOPHER GILMAN: uses educational uses sorry of of resources, such as this triple if we are focused on what technologies and the systems can do, but in in curriculum, the question is, what do you make students do with it. CHRISTOPHER GILMAN: Secondly, that thought is an embodied intellectual practice, and I am generally focused in this case on the presupposition that that education is focused on presenting material or content to students who beat it and then absorb it and have it in their minds and. CHRISTOPHER GILMAN: I think a more a more optimal approach is that not only do the students absorb it but in passing it along they integrate the intellectual and the and the. CHRISTOPHER GILMAN: sort of hands on practical, technical.

CHRISTOPHER GILMAN: aspect. CHRISTOPHER GILMAN: And then, lastly, about the. CHRISTOPHER GILMAN: The diplomatic work around. CHRISTOPHER GILMAN: vertical integration of triple if content and technologies, and that is the great work that's been done getting various museums. CHRISTOPHER GILMAN: archives libraries, universities, etc, to play nice with each other, all that has to be achieved as well interest institutionally in an educational setting so that libraries, particularly and archives find a way to work hand in hand with faculty who have. CHRISTOPHER GILMAN: Almost sold domain over the curriculum.

CHRISTOPHER GILMAN: Of the students and in that sense, I would just say that the. CHRISTOPHER GILMAN: that the approach I would advocate is not to break down the silos rather to develop. CHRISTOPHER GILMAN: A good strong convenient infrastructure and helpful pedagogical frameworks that essentially can transcend those boundaries, the way, for example, that light, rail or a highway my transcend a political boundary and between two two different States. CHRISTOPHER GILMAN: So that's. CHRISTOPHER GILMAN: that's all I have to say i'm happy to respond to any thoughts or questions in Hoover. Josh Hadro: that's great Thank you Christopher really, really lovely way of presenting all of that and.

Josh Hadro: So we are right at time but I see, there are a couple of questions and a couple chats in in the session page I see at least two questions they're both from Brian hey burger so maybe that's. Josh Hadro: Partly a prompt just to get you to conversing, but I am going to stop the recording here, but, as you said, maybe we can continue the conversation on there. Josh Hadro: This is the last session of the day, until folks want to join us for the. Josh Hadro: triple if in China Community events that's happening in a few hours, but otherwise no more events until tomorrow. Josh Hadro: So, with a thank you to you, Christopher and others for joining us here appreciate you joining and we'll see you at future events.

2021-07-19 07:13

Show Video

Other news