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Further iTextbook Thoughts

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As happens frequently, for me, blogging about a topic makes me think even further about it. So I’m still thinking about learning content and what Apple’s announcement might have to do with it. However, I don’t really have time to write it as a “narrative” (gotta finish this ancillary material; plus, my brother-in-law just arrived in town). So I’ll post my notes as-is, to serve as a placeholder.

(Made easier by Brett Terpstra’s “Indented or Markdown to HTML Unordered List” Ruby script.)

  • Don’t call it content
    • Access to content
  • Allowing students to contribute content
  • Higher Ed
    • Less about backpack
    • Semi-autonomous learning
    • Self-learning
      • Autodidactic
  • Realities of markets
    • Sectors
      • Creation
      • Distribution
      • Consumtpion
  • But learning is different?
    • Material to make you think
  • Social media
  • Hopes for Moodle 2.0, Sakai 3
  • Lifelong learning
  • Apple-branded learning management system?
  • Not much hope for what it might represent
  • Gradebook
  • Beyond Numbers template
  • Portfolios
  • iWeb and beyond
  • Online/Offline
  • Flexibility
    • Updates
  • Index and search
  • Modular
  • Distraction-free learning
  • Minisites and encapsulation
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Future of Learning Content

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If indeed Apple plans to announce not just more affordable textbook options for students, but also more interactive, immersive ebook experiences…

Forecasting next week’s Apple education event (Dan Moren and Lex Friedman for Macworld)

I’m still in catchup mode (was sick during the break), but it’s hard to let this pass. It’s exactly the kind of thing I like to blog about: wishful thinking and speculation about education. Sometimes, my crazy predictions are fairly accurate. But my pleasure at blogging these things has little to do with the predictions game. I’m no prospectivist. I just like to build wishlists.

In this case, I’ll try to make it short. But I’m having drift-off moments just thinking about the possibilities. I do have a lot to say about this but we’ll see how things go.

Overall, I agree with the three main predictions in that MacWorld piece: Apple might come out with eBook creation tools, office software, and desktop reading solutions. I’m interested in all of these and have been thinking about the implications.

That MacWorld piece, like most media coverage of textbooks, these days, talks about the weight of physical textbooks as a major issue. It’s a common refrain and large bookbags/backpacks have symbolized a key problem with “education”. Moren and Friedman finish up with a zinger about lecturing. Also a common complaint. In fact, I’ve been on the record (for a while) about issues with lecturing. Which is where I think more reflection might help.

For one thing, alternative models to lecturing can imply more than a quip about the entertainment value of teaching. Inside the teaching world, there’s a lot of talk about the notion that teaching is a lot more than providing access to content. There’s a huge difference between reading a book and taking a class. But it sounds like this message isn’t heard and that there’s a lot of misunderstanding about the role of teaching.

It’s quite likely that Apple’s announcement may make things worse.

I don’t like textbooks but I do use them. I’m not the only teacher who dislikes textbook while still using them. But I feel the need to justify myself. In fact, I’ve been on the record about this. So, in that context, I think improvements in textbooks may distract us from a bigger issue and even lead us in the wrong direction. By focusing even more on content-creation, we’re commodifying education. What’s more, we’re subsuming education to a publishing model. We all know how that’s going. What’s tragic, IMHO, is that textbook publishers themselves are going in the direction of magazines! If, ten years from now, people want to know when we went wrong with textbook publishing, it’ll probably be a good idea for them to trace back from now. In theory, magazine-style textbooks may make a lot of sense to those who perceive learning to be indissociable from content consumption. I personally consider these magazine-style textbooks to be the most egregious of aberrations because, in practice, learning is radically different from content consumption.

So… If, on Thursday, Apple ends up announcing deals with textbook publishers to make it easier for them to, say, create and distribute free ad-supported magazine-style textbooks, I’ll be going through a large range of very negative emotions. Coming out of it, I might perceive a silverlining in the fact that these things can fairly easily be subverted. I like this kind of technological subversion and it makes me quite enthusiastic.

In fact, I’ve had this thought about iAd producer (Apple’s tool for creating mobile ads). Never tried it but, when I heard about it, it sounded like something which could make it easy to produce interactive content outside of mobile advertising. I don’t think the tool itself is restricted to Apple’s iAd, but I could see how the company might use the same underlying technology to create some content-creation tool.

“But,” you say, “you just said that you think learning isn’t about content.” Quite so. I’m not saying that I think these tools should be the future of learning. But creating interactive content can be part of something wider, which does relate to learning.

The point isn’t that I don’t like content. The point is that I don’t think content should be the exclusive focus of learning. To me, allowing textbook publishers to push more magazine-style content more easily is going in the wrong direction. Allowing diverse people (including learners and teachers) to easily create interactive content might in fact be a step in the right direction. It’s nothing new, but it’s an interesting path.

In fact, despite my dislike of a content emphasis in learning, I’m quite interested in “learning objects”. In fact, I did a presentation about them during the Spirit of Inquiry conference at Concordia, a few years ago (PDF).

A neat (but Flash-based) example of a learning object was introduced to me during that same conference: Mouse Party. The production value is quite high, the learning content seems relatively high, and it’s easily accessible.

But it’s based on Flash.

Which leads me to another part of the issue: formats.

I personally try to avoid Flash as much as possible. While a large number of people have done amazing things with Flash, it’s my sincere (and humble) opinion that Flash’s time has come and gone. I do agree with Steve Jobs on this. Not out of fanboism (I’m no Apple fanboi), not because I have something against Adobe (I don’t), not because I have a vested interested in an alternative technology. I just think that mobile Flash isn’t going anywhere and that. Even on the desktop, I think Flash-free is the way to go. Never installed Flash on my desktop computer, since I bought it in July. I do run Chrome for the occasional Flash-only video. But Flash isn’t the only video format out there and I almost never come across interesting content which actually relies on something exclusive to Flash. Flash-based standalone apps (like Rdio and Machinarium) are a different issue as Flash was more of a development platform for them and they’re available as Flash-free apps on Apple’s own iOS.

I wouldn’t be surprised if Apple’s announcements had something to do with a platform for interactive content as an alternative to Adobe Flash. In fact, I’d be quite enthusiastic about that. Especially given Apple’s mobile emphasis. We might be getting further in “mobile computing for the rest of us”.

Part of this may be related to HTML5. I was quite enthusiastic when Tumult released its “Hype” HTML5-creation tool. I only used it to create an HTML5 version of my playfulness talk. But I enjoyed it and can see a lot of potential.

Especially in view of interactive content. It’s an old concept and there are many tools out there to create interactive content (from Apple’s own QuickTime to Microsoft PowerPoint). But the shift to interactive content has been slower than many people (including educational technologists) would have predicted. In other words, there’s still a lot to be done with interactive content. Especially if you think about multitouch-based mobile devices.

Which eventually brings me back to learning and teaching.

I don’t “teach naked”, I do use slides in class. In fact, my slides are mostly bullet points, something presentation specialists like to deride. Thing is, though, my slides aren’t really meant for presentation and, while they sure are “content”, I don’t really use them as such. Basically, I use them as a combination of cue cards, whiteboard, and coursenotes. Though I may sound defensive about this, I’m quite comfortable with my use of slides in the classroom.

Yet, I’ve been looking intently for other solutions.

For instance, I used to create outlines in OmniOutliner that I would then send to LaTeX to produce both slides and printable outlines (as PDFs). I’ve thought about using S5, but it doesn’t really fit in my workflow. So I end up creating Keynote files on my Mac, uploading them (as PowerPoint) before class, and using them in the classroom using my iPad. Not ideal, but rather convenient.

(Interestingly enough, the main thing I need to do today is create PowerPoint slides as ancillary material for a textbook.)

In all of these cases, the result isn’t really interactive. Sure, I could add buttons and interactive content to the slides. But the basic model is linear, not interactive. The reason I don’t feel bad about it is that my teaching is very interactive (the largest proportion of classtime is devoted to open discussions, even with 100-plus students). But I still wish I could have something more appropriate.

I have used other tools, especially whiteboarding and mindmapping ones. Basically, I elicit topics and themes from students and we discuss them in a semi-structured way. But flow remains an issue, both in terms of workflow and in terms of conversation flow.

So if Apple were to come up with tools making it easy to create interactive content, I might integrate them in my classroom work. A “killer feature” here is if interaction could be recorded during class and then uploaded as an interactive podcast (à la ProfCast).

Of course, content-creation tools might make a lot of sense outside the classroom. Not only could they help distribute the results of classroom interactions but they could help in creating learning material to be used ahead of class. These could include the aforementioned learning objects (like Mouse Party) as well as interactive quizzes (like Hot Potatoes) and even interactive textbooks (like Moglue) and educational apps (plenty of these in the App Store).

Which brings me back to textbooks, the alleged focus of this education event.

One of my main issues with textbooks, including online ones, is usability. I read pretty much everything online, including all the material for my courses (on my iPad) but I find CourseSmart and its ilk to be almost completely unusable. These online textbooks are, in my experience, much worse than scanned and OCRed versions of the same texts (in part because they don’t allow for offline access but also because they make navigation much more difficult than in GoodReader).

What I envision is an improvement over PDFs.

Part of the issue has to do with PDF itself. Despite all its benefits, Adobe’s “Portable Document Format” is the relic of a bygone era. Sure, it’s ubiquitous and can preserve formatting. It’s also easy to integrate in diverse tools. In fact, if I understand things correctly, PDF replaced Display PostScript as the basis for Quartz 2D, a core part of Mac OS X’s graphics rendering. But it doesn’t mean that it can’t be supplemented by something else.

Part of the improvement has to do with flexibility. Because of its emphasis on preserving print layouts, PDF tends to enforce print-based ideas. This is where EPUB is at a significant advantage. In a way, EPUB textbooks might be the first step away from the printed model.

From what I can gather, EPUB files are a bit like Web archives. Unlike PDFs, they can be reformatted at will, just like webpages can. In fact, iBooks and other EPUB readers (including Adobe’s, IIRC) allow for on-the-fly reformatting, which puts the reader in control of a much greater part of the reading experience. This is exactly the kind of thing publishers fail to grasp: readers, consumers, and users want more control on the experience. EPUB textbooks would thus be easier to read than PDFs.

EPUB is the basis for Apple’s iBooks and iBookstore and people seem to be assuming that Thursday’s announcement will be about iBooks. Makes sense and it’d be nice to see an improvement over iBooks. For one thing, it could support EPUB 3. There are conversion tools but, AFAICT, iBooks is stuck with EPUB 2.0. An advantage there is that EPUBs can possibly include scripts and interactivity. Which could make things quite interesting.

Interactive formats abound. In fact, PDFs can include some interactivity. But, as mentioned earlier, there’s a lot of room for improvement in interactive content. In part, creation tools could be “democratized”.

Which gets me thinking about recent discussions over the fate of HyperCard. While I understand John Gruber’s longstanding position, I find room for HyperCard-like tools. Like some others, I even had some hopes for ATX-based TileStack (an attempt to bring HyperCard stacks back to life, online). And I could see some HyperCard thinking in an alternative to both Flash and PDF.

“Huh?”, you ask?

Well, yes. It may sound strange but there’s something about HyperCard which could make sense in the longer term. Especially if we get away from the print model behind PDFs and the interaction model behind Flash. And learning objects might be the ideal context for this.

Part of this is about hyperlinking.  It’s no secret that HyperCard was among HTML precursors. As the part of HTML which we just take for granted, hyperlinking is among the most undervalued features of online content. Sure, we understand the value of sharing links on social networking systems. And there’s a lot to be said about bookmarking. In fact, I’ve been thinking about social bookmarking and I have a wishlist about sharing tools, somewhere. But I’m thinking about something much more basic: hyperlinking is one of the major differences between online and offline wriiting.

Think about the differences between, say, a Wikibook and a printed textbook. My guess is that most people would focus on the writing style, tone, copy-editing, breadth, reviewing process, etc. All of these are relevant. In fact, my sociology classes came up with variations on these as disadvantages of the Wikibook over printed textbooks. Prior to classroom discussion about these differences, however, I mentioned several advantages of the Wikibook:

  • Cover bases
  • Straightforward
  • Open Access
  • Editable
  • Linked

(Strangely enough, embedded content from iWork.com isn’t available and I can’t log into my iWork.com account. Maybe it has to do with Thursday’s announcement?)

That list of advantages is one I’ve been using since I started to use this Wikibook… excerpt for the last one. And this is one which hit me, recently, as being more important than the others.

So, in class, I talked about the value of links and it’s been on my mind quite a bit. Especially in view of textbooks. And critical thinking.

See, academic (and semi-academic) writing is based on references, citations, quotes. English-speaking academics are likely to be the people in the world of publishing who cite the most profusely. It’s not rare for a single paragraph of academic writing in English to contain ten citations or more, often stringed in parentheses (Smith 1999, 2005a, 2005b; Smith and Wesson 1943, 2010). And I’m not talking about Proust-style paragraphs either. I’m convinced that, with some quick searches, I could come up with a paragraph of academic writing which has less “narrative content” than citation.

Textbooks aren’t the most egregious example of what I’d consider over-citing. But they do rely on citations quite a bit. As I work more specifically on textbook content, I notice even more clearly the importance of citations. In fact, in my head, I started distinguishing some patterns in textbook content. For instance, there are sections which mostly contain direct explanations of key concepts while other sections focus on personal anecdotes from the authors or extended quotes from two sides of the debate. But one of the most obvious sections are summaries from key texts.

For instance (hypothetical example):

As Nora Smith explained in her 1968 study Coming Up with Something to Say, the concept of interpretation has a basis in cognition.

…

Smith (1968: 23) argued that Pierce’s interpretant had nothing to do with theatre.

These citations are less conspicuous than they’d be in peer-reviewed journals. But they’re a central part of textbook writing. One of their functions should be to allow readers (undergraduate students, mostly) to learn more about a topic. So, when a student wants to know more about Nora Smith’s reading of Pierce, she “just” have to locate Smith’s book, go to the right page, scan the text for the read for the name “Pierce”, and read the relevant paragraph. Nothing to it.

Compare this to, say, a blogpost. I only cite one text, here. But it’s linked instead of being merely cited. So readers can quickly know more about the context for what I’m discussing before going to the library.

Better yet, this other blogpost of mine is typical of what I’ve been calling a linkfest, a post containing a large number of links. Had I put citations instead of links, the “narrative” content of this post would be much less than the citations. Basically, the content was a list of contextualized links. Much textbook content is just like that.

In my experience, online textbooks are citation-heavy and take almost no benefit from linking. Oh, sure, some publisher may replace citations with links. But the result would still not be the same as writing meant for online reading because ex post facto link additions are quite different from link-enhanced writing. I’m not talking about technological determinism, here. I’m talking about appropriate tool use. Online texts can be quite different from printed ones and writing for an online context could benefit greatly from this difference.

In other words, I care less about what tools publishers are likely to use to create online textbooks than about a shift in the practice of online textbooks.

So, if Apple comes out with content-creation tools on Thursday (which sounds likely), here are some of my wishes:

  • Use of open standards like HTML5 and EPUB (possibly a combination of the two).
  • Completely cross-platform (should go without saying, but Apple’s track record isn’t that great, here).
  • Open Access.
  • Link library.
  • Voice support.
  • Mobile creation tools as powerful as desktop ones (more like GarageBand than like iWork).
  • HyperCard-style emphasis on hyperlinked structures (à la “mini-site” instead of web archives).
  • Focus on rich interaction (possibly based on the SproutCore web framework).
  • Replacement for iWeb (which is being killed along with MobileMe).
  • Ease creation of lecturecasts.
  • Deep integration with iTunes U.
  • Combination of document (à la Pages or Word), presentation (à la Keynote or PowerPoint), and standalone apps (à la The Elements or even Myst).
  • Full support for course management systems.
  • Integration of textbook material and ancillary material (including study guides, instructor manuals, testbanks, presentation files, interactive quizzes, glossaries, lesson plans, coursenotes, etc.).
  • Outlining support (more like OmniOutliner or even like OneNote than like Keynote or Pages).
  • Mindmapping support (unlikely, but would be cool).
  • Whiteboard support (both in-class and online).
  • Collaboration features (à la Adobe Connect).
  • Support for iCloud (almost a given, but it opens up interesting possibilities).
  • iWork integration (sounds likely, but still in my wishlist).
  • Embeddable content (à la iWork.com).
  • Stability, ease of use, and low-cost (i.e., not Adobe Flash or Acrobat).
  • Better support than Apple currently provides for podcast production and publishing.
  • More publisher support than for iBooks.
  • Geared toward normal users, including learners and educators.

The last three are probably where the problem lies. It’s likely that Apple has courted textbook publishers and may have convinced them that they should up their game with online textbooks. It’s clear to me that publishers risk to fall into oblivion if they don’t wake up to the potential of learning content. But I sure hope the announcement goes beyond an agreement with publishers.

Rumour has it that part of the announcement might have to do with bypassing state certification processes, in the US. That would be a big headline-grabber because the issue of state certification is something of wedge issue. Could be interesting, especially if it means free textbooks (though I sure hope they won’t be ad-supported). But that’s much less interesting than what could be done with learning content.

“User-generated content” may be one of the core improvements in recent computing history, much of which is relevant for teaching. As fellow anthro Mike Wesch has said:

We’ll  need to rethink a few things…

And Wesch sure has been thinking about learning.

Problem is, publishers and “user-generated content” don’t go well together. I’m guessing that it’s part of the reason for Apple’s insufficient support for “user-generated content”. For better or worse, Apple primarily perceives its users as consumers. In some cases, Apple sides with consumers to make publishers change their tune. In other cases, it seems to be conspiring with publishers against consumers. But in most cases, Apple fails to see its core users as content producers. In the “collective mind of Apple”, the “quality content” that people should care about is produced by professionals. What normal users do isn’t really “content”. iTunes U isn’t an exception, those of us who give lectures aren’t Apple’s core users (even though the education market as a whole has traditionally being an important part of Apple’s business). The fact that Apple courts us underlines the notion that we, teachers and publishers (i.e. non-students), are the ones creating the content. In other words, Apple supports the old model of publishing along with the old model of education. Of course, they’re far from alone in this obsolete mindframe. But they happen to have several of the tools which could be useful in rethinking education.

Thursday’s events is likely to focus on textbooks. But much more is needed to shift the balance between publishers and learners. Including a major evolution in podcasting.

Podcasting is especially relevant, here. I’ve often thought about what Apple could do to enhance podcasting for learning. Way beyond iTunes U. Into something much more interactive. And I don’t just mean “interactive content” which can be manipulated seamless using multitouch gestures. I’m thinking about the back-and-forth of learning and teaching, the conversational model of interactivity which clearly distinguishes courses from mere content.

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Some German Movies I Liked

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I remember a discussion I had as a kid, about German culture. A normal kind of conversation, in my family. As Francophones of Québécois and Swiss origins, our perspectives on Germany were quite skewed. And that’s probably why it was fun to discuss these things, casually. I was probably ten years-old so this happened almost thirty years ago.

As far as I can remember, much of our discussion had to do with stereotypes. But I remember saying something as if it were common-knowledge yet clearly wasn’t: that Germans were “known” for great movies.

At the time, I probably hadn’t seen many German movies. Even today, I can’t really say that I’ve watched a lot of German movies. At the time, I was probably reacting from having watched or even heard of a single German movie. Come to think of it, it may even have been based on an Austrian movie I had seen something about. In other words, my statement wasn’t based on a true appreciation but on a vague impression which surprised those with whom I shared it.

Since that time, I seem to have developed an appreciation for German movies. Again, not that I’ve seen so many of them. But those I’ve watched I usually enjoyed.

Several of them came back through my mind as I was playing TRAUMA. Not that the game directly referred to any of these movies. But the game’s visuals did trigger my reminiscence.

So, a very short list of some German movies I’ve enjoyed.

  1. Lola rennt (Run Lola Run)
  2. Im Juli (In July)
  3. Der Himmel über Berlin (Wings of Desire)
  4. Erleuchtung garantiert (Enlightenment Guaranteed)
  5. Bella Martha (Mostly Martha)

Yup, just five films. Of course, I could list many more French or Québécois movies I’ve liked. Thing is, I can hardly remember another German movie. In other words, it feels as though I have never watched a German movie that I didn’t enjoy. And there are some movies I haven”t seen but that I’d probably enjoy, such as Good Bye Lenin!

Not that there’s anything specific about German movies. As a kid, I probably believed in a sort of “national character” but my training in anthropology got it out of me before I watched most of these movies. But it doesn’t mean that there’s nothing common between those movies. Or that I’m not constructing my own “reading” of German movies on these few examples.

For one thing, it’s quite likely that German movies which are released outside of Germany have some specific features. Chances are, there are plenty of movies in Germany which never get released outside and these may differ quite a lot from what I recognize a German movie to be. After all, I’m not including in my short list the variety of movies in which Germans were involved through coproduction. And all of these movies are about some place in Germany, the same way stereotypical Irish songs (those created in North America) have to do with places in Ireland.

So I end up with a skewed, fragmentary, and artificial view of German movies from just a few examples. What’s funny about it is that, based on my experience with TRAUMA (as well as with a few German TV shows), my bias continues to affect my perception of other German productions.

Had I not been trained in anthropology, I might not perceive the severe limits of my views on German culture. In fact, because German Romanticism has been so important in the history of my discipline, my limited experience of filmic Germany clashes with different encounters with the complexities behind German identity and cultural awareness.

Maybe it just means that I should go spend a little while in Germany. I hear they have good beer. 😉

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Reviewing TRAUMA

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As an art piece, one can evaluate TRAUMA as a relatively effective proof-of-concept based on an interesting concept. It does bring about a sense of alienation as would a classroom exercise in computational arts. Yet it remains attached to a notion of art as a directed endeavour. TRAUMA leaves little room for interpretation and nuance. Unlike an art movie but like an art project, it forces some meanings on what could be a broader experience. Without being unilinear or monovocal, its structure makes it difficult to truly wander around, as would a “tourist” in the Myst worlds.

As a game, TRAUMA’s limitations are even more problematic. While the short duration of the game has been described as a problem, it may make sense in context. TRAUMA could be the game equivalent of a short story. But the limited interaction one has with TRAUMA’s four “levels” closes down the game into too straightforward a series of actions. Sure, most point-and-click adventure games have similar issues. The set of things which can be done in any scene is necessarily limited, and players frequently feel trapped in mindless sequences. But, for several reasons, TRAUMA restricts actions even more than the usual point-and-click adventure game, resulting in an almost-frustrating experience. While it may be that these limitations have a rationale in the artistic side of the piece (as it deepens the feeling of powerlessness), it makes the game experience less playful than it could be. The sense of discovery created by the usual adventure game is replaced by something close to hand-holding.

TRAUMA’s redeeming features have to do with the “craft” side of things. As a type of collage/montage/assemblage, it displays some skill. The music is appropriate and well-integrated. The voice-acting may be off-putting to some but it works in the narrative logic of the piece. Several scenes are reminiscent of well-appreciated German movies. Overall, it’s likely that Krystian Majewski will be involved in interesting projects in the future, either by collaborating with diverse artists, by training artists to do fascinating work, or even by serving as inspiration for groundbreaking art.

(Rating: 3.5/5)

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Semi-Academic Nonfiction

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It’s been such a long time since I last blogged and I have so many potential blogposts in mind, that I almost don’t know where to start or where it’ll lead me. Of course, I have many other things to do. But, coming out of a cold, I find it hard to just “get back on the saddle”. Besides, I’ve often noticed that blogging was an efficient way for me to ramp up towards more productive work.

The topic I’m considering now is related to the issue of “public intellectuals”, which has often preoccupied me in the past. This blog has never had a clear focus, hence the “disparate” title. But issues pertaining to the social roles of intellectuals have constituted something of a core thread, in my blog writing. In a way, it connects several themes that I like to explore, including some functions blogs may fulfill, in some people’s lives.

My “latest” blogpost on the topic (from August, 2010!) probably provides an adequate summary of some of my key thoughts on the issue.

An extension of these thoughts is found in the sphere of book-length publications. While I’ve been on the record with my dislike of longform texts, I do occasionally read them. Not frequently and not necessarily with positive results. But it’d still be inaccurate to say that I just “don’t read books, anymore”.

For better or worse, I do go through full book-length “content”, once in a while. And it’s starting to feel like those film studies people who can’t enjoy movies anymore because they know the structure of most movies by heart.

Apart from a few textbooks for classes I teach (a topic for another day), I mostly end up with books of a specific genre: “semi-academic nonfiction” (SAN, hereafter). SAN books are frequently written by academics but are meant for a “general audience”.

This genre has a clear definition, in my mind, whether or not publishers would agree with this genre definition. Since “genre theory” was part of my training in ethnomusicology and folkloristics, I find it amusing to think about this genre.

The reason I mention that publishers may disagree with my genre characterization is that it sounds both too broad (encompassing such disparate things as “popular science”, “philosophical essays”, and “business books”) and too specific (not all nonfiction books are “semi-academic”). My genre characterization is based on the observation of similarities at formal and structural levels between books which are likely to be found on different bookshelves in bookstores and libraries.

Some features common to SAN books are also found in other genres. For instance, a rich blend of anecdotes and facts is as likely to be found in a biography as in a “popular science” book. I still perceive a difference, though, in the way narrative and statement are integrated. In SAN books, personal narratives engage the reader on the path toward the core rhetorical devices in these books: statements of facts. Biographies work almost the reverse way as it sounds like factual section provide support for the personal, anecdotal, “lived”.

In SAN books, support for statements of facts is provided in a popular analogue to the academic citation. It has a bit of the “superlative tone” found in journalism (“Dr. Smith is a distinguished scholar from a well-known institution”), but it provides a more direct way to find the original statements than most journalistic references.

In other nonfiction books, there might be more of a tendency to present “documentation”. In this sense, these books are closer to the standards of academic history. In strike contrast with history, though, these books do little to encourage critical thinking. In a way, it’s almost as if providing a document is sufficient evidence and the reader should look no further. “There were 53 passengers on this boat. See this receipt from the shipping company as proof of this incontrovertible fact.”

An obvious but significant trope found in SAN books is the difficulty to understand academese. “Don’t worry! Though this book is based on academic concepts, we won’t use scary words.” Even if other nonfiction books use academic references and provide as much depth as SAN books, they appear to be immune from accusations of flirting with academese so they are unlikely to contain direct statements related to that trope.

Which connects to the fact that SAN books are significantly different from academic books. In some bookstores and libraries, both book genres may be found on the same shelves, especially if some academic book has received some notoriety in the general public. But most academic books are rarely found outside of specialized libraries and bookstores. Academic publishers typically have a very specific approach to distribution, distinct from the mainstream publishing houses which release most SAN books. Which is not to say that academic publishers exclusively release academic books. In fact, most university presses have “general” books, meant for a broad audience. But it still sounds like academic publishing is its own “game”, especially in terms of distribution.

At first blush, it’d seem that “readability” is the main differentiating factor between academic writing and what I call “semi-academic nonfiction”. To outsiders (including academics from another discipline), lack of readability is almost a defining feature of an academic text. To some, this unreadability comes from the complexity of the material itself. To others, it’s a sign that academics are unskilled writers. In such a context, the increased readability of books which “aren’t too academic” is probably welcome.

In my mind, there’s a lot more than readability at stake when we talk about SAN nonfiction.

Which might lead me to introduce a dimension I have yet to bring up but which has been on my mind. The genre I’m describing here is “culture-specific” in the sense that it relates most directly to a single cultural context: large English-speaking publishing houses in North America and Europe. Sure, there are equivalent genres in other contexts. But I still perceive differences between these genres.

For instance, Francophones may recognize several PUF books as bearing some similarity to what I call “SAN books”. Through the lens of “literary genres, though”, one could easily identify differences between the most popular of the PUF books and a typical SAN book. After all, PUF remains an academic publisher and its mainstream offerings would likely rate lower in readability than many academic books published in English in the United States. Flammarion and Les Éditions de l’Homme are other Francophone publishers which release a number of popular books which may resemble SAN ones. In fact, they offer French versions of some key SAN books originally published in English. Among their original offerings are books written by academics. Contrary to PUF, though, I would argue that these books are even more readable than SAN ones. Or, at least, they appear less “ambitious” in tone. They’re also marketed and distributed in very different ways, which has to do with the differences in book markets.

Of course, much of this is subjective in that I may perceive differences that others might find irrelevant, unrepresentative, or even inexistent. But part of genre work relates to the reading subjects, the “reception” of the books. Even if these books were identical, their place in their respective contexts would still distinguish them.

Something close to an argument, in the background of my thinking about semi-academic nonfiction: this genre is partly based on references to key exemplars. The “inspiration” for a SAN book comes as much from other SAN books as from the topic. Between SAN books, there is an “intertextual dialogue” (to use what some may consider academic jargon). After a while, the structural characteristics of a genre can give way to a “formula”, a “recipe”. The phenomenon has been discussed at length by movie critics, about film genres. It seems to me that something similar happens with some book genres.

It probably wouldn’t be controversial if I were discussing “self-help books”. The genre is known enough to have its clichés and parodies. Something similar could be said about other “recipe-like” book genres, also giving way to spoofs.  In these cases, it seems easy to identify what makes the genre “stick”, even if it’s at a superficial level.

For SAN books, there may be some clichés, such as the subversion of a well-known advertising message. And, certainly, “gimmicky” names are common. But these features are unlikely to help in identifying SAN as a genre, distinct from other parts of “nonfiction”.

A potentially easier way to describe the genre is to take one of its key components. In this case, “popular science” is perhaps most appropriate. To me, mainstream books written by academic scientists on topics pertaining to their area of expertise are at the core of the SAN genre. Depending on how far one may want to extend the concept of “science”, this could potentially include the majority of books that I’d label as “semi-academic nonfiction”. Wikipedia makes it sound like “popular science” could be the equivalent of French «vulgarization», which has long kept my interest.

But, then, there are features of popular science books which may distinguish them from other members of the SAN genre. The reference to the scientific method might be one, as other SAN books can borrow their methodology from humanities or other fields with infrequent claims of “scientificity” (including philosophy, mathematics, and theology). The relationship to a given discipline is another, as it’s quite possible to build SAN across diverse disciplines. I’m sure there are people who would label these other SAN books as “popular science” but, for one thing, the purpose of these books may be less about popularizing a science than about developing a special type of rhetorical device. And, clearly, there are many “popular science” books which deviate from the core model in that their authors are writing outside of their fields (or, at least, in surprising extensions of their fields). On some occasions, going outside of one’s area of expertise is a recipe for disaster. The point, though, is that it might be useful to separate “popular science” from other types of writing.

At the same time, it might not be so important to distinguish subgenres within the SAN genre, since my main concern is in describing the core of “semi-academic nonfiction”.

Business books are a special case, since many of them eschew any relationship to academia. However, I still perceive some similarities between books written by business school (and other) professors and SAN.

Maybe these books aren’t that easy to differentiate from other business books, though. And that’s part of what got me thinking about this genre. To me, nonfiction books written by academics tend to resemble some key business books, even if they have little to do with business. There’s something about tone, rhetorical devices, structure of the argumentation, status of proofs, handling of citations… There might be little in common between Musicophilia and Good to Great, yet somehow, I get the impression that popular business books have served as a model for SAN publishing. I don’t necessarily mean in terms of the authors’ writing. But in the way these books are selected, edited, presented, marketed, distributed, promoted, and sold.

I’ve already linked to a few SAN books, some of which I haven’t read (including one of the last two I mentioned). Much of my thinking about these books comes from just a few examples.

Chronologically,

  1. Good to Great (listened to the audiobook in a friend’s vehicle, on the way back from South Bend, IN)
  2. This Is Your Brain On Music (bought it, using a gift certificate, in view of a course I teach)
  3. The Most Human Human (listened to the audiobook after hearing interviews with Christian, used a chapter in a coursepack)
  4.  Now You See It (been listening to the audiobook, might use a chapter in a coursepack)

So, just four books, giving me a strong impression of belong to a specific genre. From there, I’ve been thinking about other books I’m either aware of or have read in part. And, at list in my mind, the picture is clear enough that there’s something there.

Much of the time, my awareness of SAN comes from podcasts. After all, as an aural guy, I tend to do a lot through “spoken word” and it shouldn’t be surprising that I’ve listened to audiobook versions of three of these books. But there’s more to podcasts and nonfiction than the audible aspect.

In fact, the relationship between nonfiction and podcasts is quite interesting as podcasts may be an ideal channel for the promotion of these books. Some of these podcasts are also broadcast on the radio, but the fact that I can listen to them at my leisure, stopping at will to take notes, means that I’m more likely to pay attention to these books.

At the same time, my approach to these books isn’t about “consuming content” (don’t get me started). It’s more about using them for a specific context. Frequently, I pay attention to these books because I think that they may be useful to other people. Most specifically, I’ve been paying attention to books that I could use for coursepacks.

Speaking of coursepacks. Brian Christian’s book on artificial intelligence is the only SAN I’ve used in a coursepack (in “cyberspace sociology”). I wasn’t able to use Levitin’s work on music cognition in a coursepack because I haven’t taught about music since I’ve read the book. If I get to teach about “cyberspace” again, which sounds likely, Davidson’s approach to educational technology will offer a nice complement to Christian.

That specific course on “cyberspace”, which I just finished, has been the context for something of an experiment. Apart from a chapter in Christian’s book (and other SAN texts), several texts may sound like strange choices for first-year university course, including a chapter from Tara Hunt’s The Whuffie Factor. What I noticed the most, in terms of genre distinctions and students’ reactions, is that even when readability is the feature students may discuss most explicitly, they’re able to do appropriate work across diverse types of writing. In other words, popular, SAN, and academic material can productively be integrated in the same coursepack.

As a kind of addendum… I haven’t discussed another book category which bears some resemblance to semi-academic nonfiction: pseudoscience and pseudo-academic writing. In fact, I had in mind the case of an author I’ve frequently discussed in a negative way (on- or offline). I could even use a rather damaging review of that author’s work by an academic I’ve already linked here. But pseudo-academic writing may not represent a genre. It may be an improper (and often journalistic) approximation of semi-academic nonfiction and, as such, can show the genre’s limits. But my main reason for mentioning it here is to point out that the “semi” in “semi-academic” shouldn’t be interpreted as pejorative.

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Open Letter: UnivCafé Testimonial

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Here’s a slightly edited version of a message I sent about University of the Streets Café. I realize that my comments about it may sound strange for people who haven’t participated in one of their conversations. And there may be people who don’t like it as much as I do. But it’s remarkable how favourable people are to the program, once they participate in it.

Having taught at eight academic institutions in the United States and Canada, I have frequently gone on record to say that Concordia is my favourite context for teaching and learning. By a long stretch.

Concordia’s “University of the Streets Café” program is among the things I like the most about my favourite university.

Over the past few years, I have been a vocal participant at a rather large number of “UnivCafé” events and have been the guest at one of them. Each of these two-hour conversations has provided me with more stimulation than any seminar or class meeting in which I participated, as a teacher or as a student.

In fact, I have frequently discussed UnivCafé with diverse people (including several members of the Concordia community). As is clear to anyone who knows me, UnivCafé has had a strong impact on my life, both professionally and personally.

Given my experience elsewhere, I have a clear impression of what makes Concordia unique.

  • Emphasis on community development.
  • Strong social awareness.
  • Thoughtful approach to sustainability.
  • Seamless English/French bilingualism.
  • Inclusive attitude, embracing cultural and social diversity.
  • Ease of building organic social networks through informal events.

In a way, UnivCafé encapsulates Concordia’s uniqueness.

Yet it goes further than that. Though it may sound hyperbolic to outsiders, I would not hesitate to say that UnivCafé captures some of the Greek academia (Ἀκαδημία) while integrating dimensions of contemporary life. More pithily: ”UnivCafé is a social media version of Plato‘s Academy”.

It seems to me that academia is in a transition period. For instance, the tenure system could be rethought. With social and technological developments challenging many academic models, universities are often searching for new models. I sincerely hope that the UnivCafé model is a sign of things to come.

I have discussed this on several occasions with students and colleagues, and this notion is gaining ground.

There is something remarkable about how appropriate the UnivCafé model is, in the current context. To my mind, UnivCafé does all of the following:

  • Encourages critical thinking.
  • Gives voice to people who are rarely heard.
  • Exposes participants to a diversity of perspectives.
  • Brings together people who rarely get a chance to interact.
  • Integrates practical and theoretical concerns.
  • Allays fears of public speaking.
  • Builds valuable connections through the local community.
  • Brings academics outside the Ivory Tower.

As may be obvious, I could talk about UnivCafé for hours and would be happy to do so in any context.

In the meantime, may this testimonial serve as a token of appreciation for all the things I have gained from UnivCafé.

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WordPress Syllabus Database 0.4 (Theme Files)

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Was able to create a “self-contained” version of my syllabus database theme, coding in features from outside plugins.

You can see the results on my new test site for this theme.

Here are some screenshots:

I’d still like to add a few things, especially in terms of further styling the “single” and “archive” pages (those which display syllabi individually or together). And I’ll be adding some fields and taxonomies. But the overall structure is in place. And it works.

A surprisingly long bug to fix was the name of the template for individual syllabus display. According to any documentation I’ve seen, it’s supposed to be called “single-syllabus.php”, and this worked in a previous version (on the site where I had used other plugins). But my template wasn’t being applied (so I couldn’t see the meta-data). But, it turns out, “syllabus.php” works. The reason the other filename continued working, on the previous site, is that the More Types plugin had left some traces in the MySQL database running the site. Just a few letters to delete, to solve the problem, but rather difficult to troubleshoot. Especially since I’ve had similar problems in the past but for other reasons.

Here are the files for the current version of my theme.

Syllabus Database 0.4 (Theme Files)

 

[gview file=”https://blog.enkerli.com/files/2011/08/syllabusdb-0.4.zip” save=”1″]

And here’s the export file for the two syllabi I created:

Syllabus Database, WP Export File (ZIP)

[gview file=”https://blog.enkerli.com/files/2011/08/syllabusdatabase.wordpress.2011-08-09.xml_.zip” authonly=”1″]

I changed some things to my local installation for the course display screenshot (to make things fit), but I was able to upload this file to another site (on another server), activate the theme and two plugins (Attachmentsand google doc embedder).

 

Yep! I’m still having fun…

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Using WordPress as a Syllabus Database: Learning is Fun

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(More screenshots in a previous post on this blog.)

Worked on a WordPress project all night, the night before last. Was able to put together a preliminary version of a syllabus database that I’ve been meaning to build for an academic association with which I’m working.

There are some remaining bugs to solve but, I must say, I’m rather pleased with the results so far. In fact, I’ve been able to solve the most obvious bugs rather quickly, last night.

More importantly, I’ve learnt a lot. And I think I can build a lot of things on top of that learning experience.

Part of the inspiration comes from Kyle Jones’s blogpost about a “staff directory”. In addition, Justin Tadlock has had a large (and positive) impact on my learning process, either through his WordPress-related blogposts about custom post types and his work on the Hybrid Theme (especially through the amazing support forums). Not to mention WordCamp Montreal, official documentation, plugin pages, tutorials, and a lot of forum– and blogposts about diverse things surrounding WordPress (including CSS).

I got a lot of indirect help and I wouldn’t have been able to go very far in my project without that help. But, basically, it’s been a learning experience for me as an individual. I’m sure more skilled people would have been able to whip this up in no time.

Thing is, it’s been fun. Close to Csíkszentmihályi’s notion of “flow”. (Philippe’s a friend of mine who did research on flow and videogames. He’s the one who first introduced me to “flow”, in this sense.)

So, how did I achieve this? Well, through both plugins and theme files.

To create this database, I’ve originally been using three plugins from More Plugins: More Fields, More Taxonomies, and More Types. Had also done so in my previous attempt at a content database. At the time, these plugins helped me in several ways. But, with the current WordPress release (3.2.1), the current versions of these plugins (2.0.5.2, 1.0.1, and 1.1.1b1, respectively) are a bit buggy.

In fact, I ended up coding my custom taxonomies “from scratch”, after running into apparent problems with the More Taxonomies plugin. Eventually did the same thing with my “Syllabus” post type, replacing More Types. Wasn’t very difficult and it solved some rather tricky bugs.

Naïvely, I thought that the plugins’ export function would actually create that code, so I’d be able to put it in my own files and get rid of that plugin. But it’s not the case. Doh! Unfortunately, the support forums don’t seem so helpful either, with many questions left unanswered. So I wouldn’t really recommend these plugins apart from their pedagogical value.

The plugins were useful in helping me get around some “conceptual” issues, but it seems safer and more practical to code things from scratch, at least with taxonomies and custom post types. For “custom metaboxes”, I’m not sure I’ll have as easy a time replacing More Fields as I did replacing More Taxonomies and More Types. (More Fields helps create custom fields in the post editing interface.)

Besides the More Plugins, I’m only using two other plugins: Jonathan Christopher’s Attachments and the very versatile google doc embedder (gde) by Kevin Davis.

Attachments provides an easy way to attach files to a post and, importantly, its plugin page provides usable notes about implementation which greatly helped me in my learning process. I think I could code in some of that plugin’s functionality, now that I get a better idea of how WordPress attachments work. But it seems not to be too buggy so I’ll probably keep it.

As its name does not imply, gde can embed any file from a rather large array of file types: Adobe Reader (PDF), Microsoft Office (doc/docx, ppt/pptx/pps, xsl/xslx), and iWork Pages, along with multipage image files (tiff, Adobe Illustrator, Photoshop, SVG, EPS/PS…). The file format support comes from Google Docs Viewer (hence the plugin name).

In fact, I just realized that GDV supports zip and RAR archives. Had heard (from Gina Trapani) of that archive support in Gmail but didn’t realize it applied to GDV. Tried displaying a zip file through gde, last night, and it didn’t work. Posted something about this on the plugin’s forum and “k3davis” already fixed this, mentioning me in the 2.2 release notes.

Allowing the display of archives might be very useful, in this case. It’s fairly easily to get people to put files in a zip archive and upload it. In fact, several mail clients do all of this automatically, so there’s probably a way to get documents through emailed zip files and display the content along with the syllabus.

So, a cool plugin became cooler.

Syllabus Database (archive)

[gview file=”https://blog.enkerli.com/files/2011/08/syllabusdb-0.2.zip” height=”20%”]

As it so happens, gde is already installed on the academic site for which I’m building this very same syllabus database. In that case, I’ve been using gde to embed PDF files (for instance, in this page providing web enhancements page for an article in the association’s journal). So I knew it could be useful in terms of displaying course outlines and such, within individual pages of the syllabus database.

What I wasn’t sure I could do is programmatically embed files added to a syllabus page. In other words, I knew I could display these files using some shortcode on appropriate files’ URLs (including those of attached files). What I wasn’t sure how to do (and had a hard time figuring out) is how to send these URLs from a field in the database: I knew how to manually enter the code, but I didn’t know how to automatically display the results of the code when a link is entered in the right place.

The reason this matters is that I would like “normal human beings” (i.e., noncoders and, mostly, nongeeks) to enter the relevant information for their syllabi. One of WordPress’s advantages is the fact that, despite its power, it’s very easy to get nongeeks to do neat things with it. I’d like the syllabus database to be this type of neat thing.

The Attachmentsplugin helps, but still isn’t completely ideal. It does allow for drag-and-drop upload and it does provide a minimalist interface for attaching uploaded files to blogposts.

First Attach Button (Screenshot)
Screenshot of First “Attach” Button

In the first case, it’s just a matter of clicking the Attach button and dropping a file in the appropriate field. In the second case, it’s a matter of clicking another Attachbutton.

Second Attach Button (Screenshot)
Screenshot of the Second “Attach” Button

The problem is between these two Attach buttons.

File Uploaded Screenshot
Screenshot of the Uploaded File

The part of the process between uploading the file and finding the Attach button takes several nonobvious  steps. After the file has been uploaded, the most obvious buttons are Insert into Post and Save all changes, neither of which sounds particularly useful in this context. But Save all changes is the one which should be clicked.

To get to the second Attach button, I first need to go to the Media Library a second time. Recently uploaded images are showing.

Images Only Screenshot
Screenshot of the Media Library Only Showing Images

For other types of files, I then click All Types, which shows a reverse chronological list of all recently uploaded files (older files can be found through the Search Media field). I then click on the Show link associated with a given file (most likely, the most recent upload, which is the first in the list).

Second Attach Button (Screenshot)
Screenshot of the second “Attach” Button

Then, finally, the final Attach button shows up.

Clicking it, the file is attached to the current post, which was the reason behind the whole process. Thanks to both gde and Attachments, that file is then displayed along with the rest of the syllabus entry.

It only takes a matter of seconds to minutes, to attach a file (depending on filesize, connection speed, etc.). Not that long. And the media library can be very useful in many ways. But I just imagine myself explaining the process to instructors and other people submitting syllabi for inclusion the the database.

Far from ideal.

A much easier process is the one of adding files by pasting a file URL in a field. Which is exactly what I’ve added as a possibility for a syllabus’s main document (say, the PDF version of the syllabus).

Course Data Screenshot
Screenshot of the Course Data Box

Passing that URL to gde, I can automatically display the document in the document page, as I’m doing with attachments from the media library.  The problem with this, obviously, is that it requires a public URL for the document. The very same “media library” can be used to upload documents. In fact, copying the URL from an uploaded file is easier than finding the “Attach” button as explained previously. But it makes the upload a separate process on the main site. A process which can be taught fairly easily, but a process which isn’t immediately obvious.

I might make use of a DropBox account for just this kind of situation. It’s also a separate process, but it’s one which may be easier for some people.

In the end, I’ll have to see with users what makes the most sense for them.

In the past, I’ve used plugins like  Contact Form 7 (CF7), by Takayuki Miyoshi, and Fast Secure Contact Form (FSCF)  by Mike Challis to try and implement something similar. A major advantage is that they allow for submissions by users who aren’t logged in. This might be a dealmaking feature for either FSCF or CF7, as I don’t necessarily want to create accounts for everyone who might submit a syllabus. Had issues with user registration, in the past. Like attachments, onboarding remains an issue for a lot of people. Also, thanks to yet other plugins like Michael Simpson’s Contact Form to Database (CFDB), it should be possible to make form submissions into pending items in the syllabus database. I’ll be looking into this.

Another solution might be Gravity Forms. Unlike the plugins I’ve mentioned so far, it’s a commercial product. But it sounds like it might offer some rather neat features which may make syllabus submission a much more interesting process. However, it’s meant for a very different use case, which has more to do with “lead data management” and other business-focused usage. I could innovate through its use. But there might be more appropriate solutions.

As is often the case with WordPress, the “There’s a plugin for that” motto can lead to innovation.  Even documenting the process (by blogging it) can be a source of neat ideas.

A set of ideas I’ve had, for this syllabus database, came from looking into the Pods CMS Framework for WordPress. Had heard about Pods CMS through the WordCast Conversations podcast. For several reasons, it sent me on an idea spree and, for days, I was taking copious notes about what could be done. Not only about this syllabus database but about a full “learning object repository” built on top of WordPress. The reason I want to use WordPress is that, not only am I a “fanboi” of Automattic (the organization behind WordPress) but I readily plead guilty to using WordPress as a Golden Hammer. There are multiple ways to build a learning object repository. (Somehow, I’m convinced that some of my Web developing friends that Ruby on Rails is the ideal solution.) But I’ve got many of my more interesting ideas through looking into Pods CMS, a framework for WordPress and I don’t know the first thing about RoR.

Overall, Pods CMS sounds like a neat approach. Its pros and cons make it sound like an interesting alternative to WordPress’s custom post types for certain projects, as well as a significant shift from the main ways WordPress is used. During WordCamp Montreal, people I asked about it were wary of Pods. I eventually thought I would wait for version 2.0 to come out before investing significant effort in it.

In the meantime, what I’ve built is a useful base knowledge of how to use WordPress as a content database.

Can’t wait to finish adding features and fixing bugs, so I can release it to the academic organization. I’m sure they’ll enjoy it.

Even if they don’t ever use it, I’ve gained a lot of practical insight into how to do such things. It may be obvious to others but it does wonders to my satisfaction levels.

I’m truly in flow!

A bilingual blog on disparate subjects. / Un blogue disparate bilingue.