Sunday, March 11, 2018
Sometime in the mid '60s my father discovered drip-dry shirts. They were one of the many products of the modern world; a world in which science and technology seemed to know no bounds. They released my mother, at least temporarily, from the chore of ironing, because that's how the domestic economy was for them back then. The shirts were hung, rather unceremoniously, over the bath to drip and dry, and that could take rather a long time in the days before central heating. But they were something different, and they were, my father explained, man-made (not that other shirts weren't), and they were artificial, they were synthetic. And therein lay their downfall. They were still a little creased after drying and what's more they didn't perform particularly well when it, or should I say he, heated up, which happened on regular occasions. Soon he'd had enough of what he called 'that synthetic rubbish', and as a result, synthetic, the very word, became associated in my impressionable mind with the artificial, or the inauthentic - something rather inferior that imitated the real thing but clearly wasn't. So now, when I see that word synthetic associated with reading teaching, I can't help but think that the obsession with phonics-above-all, and particularly phonics taught in a very specific way kind of way, is just that - an artificial product. To cling to that particular dogma, because I'm afraid that's what it is, seems rather like exhuming those shirts from the '60s, hanging them up to dry without central heating and somehow conning yourself into thinking that they perform better than any others. They don't.
Friday, March 02, 2018
Guardian Roundtable on the future of handwriting. It is to their credit that the participants agreed that the 'or' choice simply reinforced an unhelpful binary. But there were some old ghosts in the room: penmanship as the mark of good character, handwriting as something that novelists do, the seamless fusing of body and mind in the creative process, the significance of making letter shapes in learning to read. All are open to question. I modestly proposed that we might re-channel the debate to consider 'writing by hand' which seems to me to be inclusive of a much broader range of communication, including, as it does, nearly all of the writing we do. We might also recognise that handwriting (in the traditional sense) can become yet another obstacle to those who are already struggling to keep up with a demanding, traditional curriculum. So what should we do? Perhaps we could allow teachers a little more freedom and discretion, perhaps we should not imagine that yet another debate could be resolved by an RCT, and perhaps we might allow ourselves more time to think, discuss, and evaluate - after all these are central to the business of education - aren't they?
Saturday, February 17, 2018
It's not just the fact that we're sailing in the wake of Latour's Re-assembling the Social - the growing appetite for all things socio-material or post-human represents an impulse to think differently about our place in the world. Suddenly, or so it seems, the non-humans have risen up to challenge the endeavours of social science. Is it strictly social anymore, you might well ask? That challenge, if taken seriously, is a challenge to what we focus on in research, how we go about studying it, analysing and even reporting it. Conceding to material agency must surely be an all or nothing affair. I've just been reading Adams and Thompson (2011) on 'interviewing objects' - yes, that's right, interviewing objects. Well, the sort of objects they are concerned with are technological, and if we allow them the temporary grace to separate (human) subjects so cleanly from (technological) objects, they make a compelling argument. I resonated with this observation, for instance, 'The technological milieu is shaping substantially - insinuating itself, habituating us and simultaneously informing and interpreting - how we act in and perceive the world (2011:13), and I enjoyed reading about the 'invitational quality of things'. I remembered a conversation with Julia a while back when she wondered out loud if the idea of affordance still worked in a socio-material universe. I suppose in a way an affordance is rather weaker than an invitation. Perhaps it suggests less agency? I can't help thinking that Twitter's 'What's happening?' prompt is a bit more like an invitation, and similarly that the little red dot that says 158 next to the envelope icon on my phone is an invitation - an invitation to worry or to read and delete. So, here come the non-humans, and really when you think about it they're all over us; they have us surrounded.
Friday, February 09, 2018
The Romantics' where I was staying in Kathmandu a few years ago. It just seemed to fit my mood. Context is a strange thing. Clearly there are no golden rules; if there were, stories would never travel, but nevertheless immersion appears to be a delicate experience and subject to all sorts of complex factors.
Tuesday, January 02, 2018
Cathy have really brought this out. After all, the idea of stacking stories depends on short narratives (or narrative extracts) based on research observations and field notes. In recent iterations of this I've been trying to capture the essence of an event without faithfully rendering every detail. In some of these attempts, I've been inspired by the short prose poems of Francis Ponge. I suppose the idea of drawing out the detail or the nuance of small ephemeral things can, if successful, work on the reader in interesting ways. There's something similar going on in the journalism of Joseph Roth. His shorter pieces, sometimes referred to as feuilleton, often draw attention to the minutiae of everyday life but, in doing so, also manage to comment on larger issues. For example, ahead of his time Roth, to whom the idea of the anthropocene would have been unknown, was keenly aware of our tendency to separate out something called 'nature' as a thing that has to satisfy a human function, to be of use, even if that is just as a place for recreation. He disdainfully describes that sort of attitude as a 'waxed jacket relationship with nature'. At the same time, however, he manages to celebrate 'the sudden, unexpected, and wholly meaningless rising and falling of a swarm of mosquitoes over a tree trunk. The silhouette of a man laden with firewood on a forest path. The eager profile of a spray of jasmine tumbling over a wall.' (Roth, 2003). It's a kind of attention to detail that works well for me. Detail, but in a compressed piece of writing (four pages in my paperback copy). Well then, the short form is at least something to aspire to, an ongoing project for 2018.
Labels: literacy; writing
Saturday, December 02, 2017
Colin and Michele commented on my blog from Australia, Canada or Mexico, or wherever they were at the time, that I thought oh my god, people will read this stuff, too! That actually fired more enthusiasm. The posts were still highly experimental and at that stage I was more or less stringing together links about strange, quirky things on the web - a bit like the original bloggers did. Colin and Michele rather flatteringly described my blog as a wunderkammer. Perhaps that was just a kind way of calling it a mess. But all in all it meant that writing could change. Pictures, links, tags and all the rest were new. And what's more a small band of academics began exploring blogging. Working with Julia Davies, who started blogging around the same time as me, I began to write about this phenomenon. A community of literacy academics started blogging too, and there was a tangible feeling of being on the edge of something important. Then that something changed. Blogging lost its playful, experimental edge, it became popular, it became formulaic and in came the 'A-list bloggers'. Usually white, mostly male, and predominantly American, this group effectively standardised blogging. It became - dare I say it - a genre. And now commercial outfits, media companies, universities, this group, that project and just about everyone else has a blog. Slowly my own posts began to shift from that heady 'isn't the internet weird' phase into more critical and reflective pieces. I began to use my blog to try out ideas. Ideas that might later get absorbed into articles or book chapters. And that's what it has become for me - just another opportunity to write, to publish. Guess what, I'm fifteen years older and my priorities have changed! But if I've changed, so has the online environment. I care less about who reads my stuff and in that sense I'm right back to my first post. But strangely enough, I care more about what I write than I ever did before.
Friday, October 20, 2017
I'm recently back from a week in Calgary on a fascinating project which I may write more about later. The preparatory task was to write a 'possibility' piece, and that in itself was an interesting exercise even though, as things turned out, that got shelved. But the writing got me thinking about how meanings get made in public spaces, like those in and around the iron age sites of Derbyshire. Here's part of what I wrote: ">Various objects decorate an old oak tree. The oak, bent and gnarled juts up from a fissure in the gritstone crag. Wicker, woven into heart shapes, strips of coloured fabric, ribbon, metal rings and bells dance in the wind. The wind is an unseen force; there is no-one about. This is an ancient landscape. A stone’s throw away the Grey Ladies of Harthill Moor stand tall and serene, Bronze Age megaliths marking an enduring relationship between land and people. Now they quarry for stone here, in and around honeypot villages of the Peak National Park. Sheep snatch at the grass at the foot of the rocks, cattle graze in a field below. Each of these decorations has been crafted with a purpose in mind – recalling the life of a friend or family member, marking a lovers’ tryst, celebrating a significant date – wishes and hope, fashioned from the materials at hand. On some there is message, a name, a date, but others are read by the wind whispering to one another, then blown across the land, carried like spore. It’s not always windy up here, but the bent limbs of the oak record a century or more of turns in the weather. Unseen, far underground, its network of routes fan out, a hidden web of fungal fibres in communion with others, the thinking trees. And three thousand years ago these crags served as a look-out and perhaps that still matters. This place has a tangible, magical atmosphere. I’d expected initials old and new carved into the gritstone - that, and a good view. But I just hadn’t imagined a tree decorated in this way. Maybe there’s a sort of animism at work here, connecting the landscape, the ancient world and the intimate secrets of the people who have been here before me.' And even though that fragment of writing didn't connect directly with what we did in Calgary, it did in another way. To get another sense of the place we visited the Blackfoot Medicine Wheel on top of Nosehill, and again became part of, or witness to, meanings being made 'on the land' and making connections to other places, other times, and other ways of being.
Labels: writing; education